SONGS OF FAITH AND LOVE: A STUDY OF OLIVIER MESSIAEN’S POÈMES POUR MI By

Emily M. Bennett

Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts.

________________________________ Chairperson Dr. Julia Broxholm

________________________________ Co-Chairperson University Distinguished Professor Joyce Castle

________________________________ Dr. Paul Laird

________________________________ Dr. John Stephens

________________________________ Dr. Michelle Hayes

Date Defended: April 1, 2016

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The Dissertation Committee for Emily M. Bennett certifies that this is the approved version of the following dissertation:

SONGS OF FAITH AND LOVE: A STUDY OF OLIVIER MESSIAEN’S POÈMES POUR MI

________________________________ Chairperson Dr. Julia Broxholm

________________________________ Co-Chairperson University Distinguished Professor Joyce Castle

Date approved: April 1, 2016

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ABSTRACT ItismydeterminationthatOliverMessiaen’sfirstsongcycle,PoèmespourMi

(1936),exhibitsnearlyalloftherepresentativemusicalandliterarydevicesofthe

composer’sarsenal:musicalandpoeticsymbolsandsymmetry,asymmetricandexotic

rhythms,colorandharmony,andisinspiredbyhisCatholicfaith,andmustthereforebe

regardedasamongthecomposer’smostsignificantearlyvocalworks.Afteroutlininga

briefbiographyandanoverviewoftheworkanditspremiere,thesubsequentanalysis

coversthecompositionaltechniquesandthematicdevicesarepresented,includingspecific

discussionofspirituality,numericalsymbols,modalvocabulary,musicalcolors,andthe

“Borismotif.”Adescriptionofthecyclefollows,highlightingimportantaspectsofeach

pieceastheyrelatetoMessiaen’sstyle.Musicalexamplesappearwhererelevant

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BIOGRAPHY OlivierEugèneProsperCharlesMessiaen,born10December1908inAvignon,

France,waspre-destinedtobeacreativeforceintheworld.Hisfather,Pierre,wasan

EnglishteacherandscholarbestknownfortranslatingWilliamShakespeare’scomplete

works.Hismother,poetessCécileSauvage,pennedabookduringherpregnancy,entitled

L’âmeenbourgeon(“TheFloweringSoul”),whichshededicatedtoherson.Thesepoems

incorporatedthreeimportantthematicideasthatwouldlaterinfluencethecomposer’s

works:nature(birdsong),music,andtheexoticismoftheOrient.ItwascleartoSauvage

thatshewastogivebirthtoaspecialboy,writing,“…Icarrywithinmetheloveof

mysteriousandmarvelousthings.”1

MessiaengrewupinthecityofGrenoble,atownrestingatthefootoftheFrench

AlpsinthesoutheasternpartofFrance.Itwastherethattheself-describedloner

entertainedhimselfwithnature’sbeauty,hismother’sstories,Shakespearereenactments,

fairytalesandthemysteryofthesupernatural,andagrowingloveofmusic.2Messiaen

taughthimselfhowtoplaythepianoasachild,composingthepianowork,LaDamede

Shalotte,basedontheTennysonpoem.3Aspredictedbyhismother,Messiaenrealizedhis

artisticfateattheageoftenwhenhisfirstharmonyinstructor,JehandeGibsonNantes,

gavehimacopyofClaudeDebussy’soperaPelléasetMélisande.Messiaenwouldlater

1CarlaHustonBell,OlivierMessiaen(Boston:G.K.Hall&Co.,1984),1-2. 2OlivierMessiaen,“OlivierMessiaen:TheMusicofFaith”(FilmsOnDemand,1984),accessed13January2016,fod.infobase.com/PortalPlaylists.aspx?wID=104680&xtid=10323. 3ClaudeSamuel,ConversationswithOlivierMessiaen(London:Stainer&Bell,1976),1.

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confessitwas“loveatfirstsight”4and“…probablythemostdecisiveinfluencein[my]

life.”5

Thefollowingyear,hewassenttostudyattheParisConservatoire,wherehe

studiedmusichistorywithMauriceEmmanuel,organwithMarcelDupré,andcomposition

andorchestrationunderPaulDukas.Between1926-1930MessiaenwonfivePremierPrix

awardsincategoriesrangingfromcounterpointandfuguetoorganandimprovisation,and

in1931hebecametheorganistfortheÉglisedelaSainte-TrinitéinParis,apositionhe

wouldholdformorethansixtyyears.

Theyear1936providedMessiaenwithbothprofessionalandpersonalsuccesses.

HejoinedthefacultyattheScholaCantorumandtheÉcoleNormaledeMusique,wherehe

taughtharmony.InadditionhehelpedfoundthegroupLaJeuneFrance(1936-1945)along

withcomposersAndréJolivet(1905-1974),Jean-YvesDaniel-Lesur(1908-2002),andYves

Baudrier(1906-1988).6Boundbytheirspiritualaspirations,themenaimedtorebuildand

encourageaninterestinthepassionsandsensualitythatcouldresultfrommusic—

specifically,whattheycalledlivingmusic.Itwasinpart,areactiontotheanti-Romantic

movementstartedbythecomposer-musiciangroupLesSix,whobelievedtheirmusic

shouldseekhigherlevelsofrefinement.7Inhispersonallife,itmarkedtheyearhisson,

4Ibid. 5RogerNichols,Messiaen(OxfordandNewYork:OxfordUniversityPress,1986),7. 6TheNewGrovelistsLaJeuneFranceasbeginningin1936withrecordofatleastoneperformanceaslateas1945.TheVichyregimewasrecognizedastheofficialgovernmentofFranceuntilAugustof1945,whichcouldexplainthedissolutionofthemusicalgroup.ThenameLaJeuneFranceisalsoassociatedwithapoliticalorganizationthatwasestablishedin1940inVichy,France. 7PaulGriffiths,"LesSix,"OxfordMusicOnline,accessed6January2016,http://www.oxfordmusiconline.com.www2.lib.ku.edu/subscriber/article/opr/t114/e6228

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Pascal,wasbornwithhiswifeoffouryears,violinistandcomposer,ClaireDelbos(1906-

1959).

The1940sand1950sprovedtobefullofchallengesandsuccesses.Messiaenwas

obligedtoleavehispositionsandjointhearmyduringtheSecondWorldWar,wherehe

servedasahospitalattendantandwastakenasaprisonerofwarbytheGermansandheld

atGörlitz,intheformerProvinceofSilesia.8Hewasreleasedtwoyearslaterin1942and

returnedtohisworkattheÉglisedelaSainte-Trinitéandacceptedanewpositionatthe

ParisConservatoire,wherehetaughtharmonyforthirty-sixyears.Itwasatthe

ConservatoirethatMessiaentaughthismostfamousstudents,includingYvonneLoriod

(1924-2010),PierreBoulez(1925-2016),KarlheinzStockhausen(1928-2007),andWilliam

Bolcom(b.1938).9AtthistimehealsobeganworkonhisTraitéderythme,decouleur,et

d’ornithologie(1949-1992),whichwouldbeaworkinprogressoverhismorethanforty

yearsofteaching.Theseven-volumeworkincludesmusicanalysisofsomeofhisown

worksandthoseofothercomposers(Mozart,Debussy),inadditiontohisthoughtson

composition,ancientandmodernrhythms,birdsong,color,modes,andtheology.

Additionally,Messiaen’sTechniquedemonlangagemusical(1944)waspublished.Inthis

treatise,Messiaenexploredandcitedexamplesofrhythmicvarieties,includingHindu

rhythms,addednotesrhythms,augmentedanddiminishedrhythms,retrogradeandnon-

retrogradablerhythms,andpolyrhythms. 8Duringhisimprisonment,Messiaencomposedoneofhisbest-knownworks:Quatuorpourlafindutemps(1940-41). 9YvonneLoriodwasknownforherstrongtechnicalskillsatthepianoandimpressivememory.PierreBoulezandKarlheinzStockhausenwereimportantcontributorstoserialandotheravant-gardemusic.Inaddition,Boulezisknownforconductingtheworksofmanytwentieth-centurycomposers,includingMessiaen.WilliamBolcomisanAmericancomposerandpianistwhosecompositionalstylespanstheinfluenceofcabaret,ragtime,populardancemusic,andoldpopularsongs.

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AsthingsbegantoreturntonormalinhisprofessionallifeafterWorldWarII,his

personallifewassuffering.Clairehadbecomeillandwassenttoasanatorium,whereher

healthcontinuedtodeclineuntilherdeathin1959.Twoyearslater,Messiaenmarriedhis

formerpupil,pianistYvonneLoriod.ManyofhislaterworkswerededicatedtoYvonne,

whowashisadvocatewellintothelaterhalfofthetwentieth-century.Inaddition,sheis

responsibleforrevisinghisTraitéderythme,decouleur,etd’ornithologie.10

OVERVIEWANDPREMIERE Thesongcycle,PoèmespourMi(1936)wasagiftforMessiaen’sfirstwifeClaire

Delbos,whomhemarriedin1932.“Mi”washisnicknameforher.Thecycleismadeupof

twobookswithpoetrywrittenbyMessiaen.Thissongcycle,alongwithChantsdeterreet

deciel(1938)andHarawi(1945)werewrittenspecificallyforFrenchdramaticsoprano,

MarcelleBunlet(1900-1991).11MessiaenwroteforBunletbecauseofher“veryflexible

voiceand[a]veryextendedtessitura.”12Theoriginalversion,whichcalledfordramatic

sopranoandpiano,wasfirstperformedon28April1937fortheConcertsdelaSpiralein

PariswithBunletandMessiaenperforming.13In1937,Messiaencomposedanorchestral

version,whichpremieredthatsameyearinBrusselswithBunletandtheBelgianNational

10PeterHill,“InterviewwithYvonneLoriod.”TheMessiaenCompanion(Portland:AmadeusPress,1995),284-285. 11MessiaenandBunletperformedPoèmespourMiataconcertinVichyin1954.Thisistheonlyknownrecordingwiththetwoofthem. 12ClaudeSamuel,ConversationswithOlivierMessiaen(London:Stainer&Bell,1976),82. 13OlivierMessiaen.PoèmespourMi,withOlivierMessiaen(piano)andLiseArseguest(soprano),recordedbyEverestRecords.SDBR3269,S-39050,1968,LP.

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RadioOrchestraunderthedirectionofFranzAndré.14Theorchestralversiondidnot

receiveapremiereinFranceuntiltenyearslaterattheThéâtredesChampsElysées,again

withBunletsinging,andRogerDésormièreconductingtheOrchestreNational.

Thefirstbook,whichincludesfoursongs,focusesonthepreparationformarriage,

asexperiencedfromthemalepointofview.Thesecondbookcelebratesthefulfillmentof

marriageandthelifethereafter.Withinthepoetry,onefindsabalanceofromanticlove

andGod’sloveandreferencestoGod’screations.WhileMessiaendividedthecycleinto

twobooks,onecouldarguethatthefifthsong,“L’épouse,”isthecenterpiecethatdivides

thefirstandlastsectionsofequallength.

COMPOSITIONALTECHNIQUESANDTHEMATICDEVICESSpirituality ThroughoutMessiaen’slifeandcareer,onethingremainedconstant:hisdevotionto

God.HewasraisedinahomewithaCatholicfatherandhismotherwasnon-religious.

Nevertheless,hefeltGod’spresenceasearlyashecouldremember.Inthedocumentary

OlivierMessiaen:TheMusicofFaith,Messiaenprofessestohavebeen“bornwithfaith”and

trustedthatevennon-believersexperiencesomelevelofspirituality.Heconsideredhis

musictobeaspiritualsacrifice;itwashistestimonytotheloyaltyhehadforthesecular

worldandechoedhisfeelingsabouthisfaith.Throughhismusic,Messiaendesiredtofind

the“innerunion”betweenhimselfandGod,whichtieddirectlyintothegoalsofthe

14Durandpublishedtheoriginalversionin1937,followedbytheorchestralin1939.

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CatholicChurch.15AccordingtoMessiaen,hismusicconsistsofthreetheological

categories:God’slove(asshownthroughthegiftofJesus),humanlove,andGod’s

creation.16Messiaen’s“hierarchyoflove”dividesloveinorderofimportance:divine,

maternal,human,andtrivial.17Manyofhisworks,includingPoèmespourMialsodealwith

thefollowingthemes:theTrinity,Ascension,theApocalypse,Transfiguration,andthe

Resurrection(bothChristandMan).18

NumericalSymbols Inadditiontotheaforementionedthemes,Messiaenutilizedbiblicallysymbolic

numbersthroughoutthework.Thesenumberscanbefoundinthepoetrythathesets,

formalstructures,rhythmicsyntax,andchoiceofmodes.Themostprevalentnumberis

three:thesymbolofdivinityandtheHolyTrinity.MessiaenalsoincorporatestheHindu

symbolofdivinitywiththenumberfive—itspecificallyrelatestotheIndiangodShiva,who

representsthedeathofdeathandisthereforeatypeofChrist.19Thenumberseven,

accordingtoMessiaen,isthe“perfectnumber,theCreationofsixdayssanctifiedbythe

divineSabbath.”20ThenumbersevenisalsothefoundationofGod’swordandwiththe

numbersevencomethesevenCatholicritesinstitutedbyChrist(Baptism,Confirmation,

15AndrewShenton,OlivierMessiaen’sSystemofSigns(Burlington,VT:AshgatePublishingCo.,2008),17-18. 16Shenton,26. 17SiglindBruhn,Messiaen’sLanguageofMysticalLove(NewYorkandLondon:GarlandPublishing,Inc.,1998),74-75. 18Ibid. 19RobertSherlawJohnson,Messiaen(London:JMDent&SonsLtd.,1989),41-42. 20ibid.

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Eucharist,Confession,AnointingoftheSick,Ordination,Matrimony).21Messiaenalso

utilizedthenumbernine,perhapsasapersonalsymbolofthemotherhoodoftheHoly

Virgin,divinecompleteness,andthemeaningoffinality.22

FavoritePitchSets Messiaenfrequentlyincorporatedintohiscompositionsthemodesoflimited

transposition,scalesthatcanbetransposedbyasemitonefewerthaneleventimesbefore

theoriginalsetofnotesreappears.23Thesemodesareconsideredlimitedduetosome

transpositionscontainingthesamenotes,eveniftheyhappentoappearinadifferentorder

inthescale(seeTable1.1).Thetranspositionsaredeterminedbaseduponthechromatic

scale,whichtotalstwelvesemitones.Forexample,ModeIinitsoriginaltransposition

includesC,D,EF#,G#,andB-flat.Knowingthatthismodeincludeshalfofthesemitonesin

atwelve-notescale,onecandeducethereisonlyonepossibletranspositionofthismode,

whichincludesC#,E-flat,F,G,A,andB.Thesearethenotesthatmakeupthewhole-tone

scale,whichcanbefoundoftenintheworksofClaudeDebussyandMessiaen’steacher,

Dukas.

21AndrewShenton,OlivierMessiaen’sSystemofSigns(Burlington,VT:AshgatePublishingCo.,2008),17-18. 22CarlaHustonBell,OlivierMessiaen(Boston:G.K.Hall&Co.,1984),60. 23Modeoflimitedtransposition,OxfordMusicOnline,accessed6January2016,http://www.oxfordmusiconline.com.www2.lib.ku.edu/subscriber/article/grove/music/50589.

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Table1.1:Messiaen’sModesofLimitedTranspositionMode1(wholetone): 11 C D E F# G# B♭ 12 C# E♭F GA BMode2(octatonic): 21 CC#E♭E F#G A B♭ 22 C#DEF G G# B♭B 23 CDE♭F F# G#A BMode3: 31 CDE♭ E F#G G# B♭B 32 CC#E♭ EF G G#A B

33 CC#D EF F# G#A B♭ 34 C#DE♭F F#G A B♭BMode4: 41 CC#DF F#G G#B 42 CC#DE♭ F#G G#A

43 C#DE♭E G G#A B♭ 44 DE♭EF G#A B♭B 45 C E♭EF F# A B♭B 46 CC# EF F#G B♭BMode5: 51 CC# F F#G B 52 CC#D F#G G# 53 C#DE♭ G G#A

54 DE♭E G#A B♭ 55 E♭EF A B♭B 56 C EF F# B♭BMode6 61 CDEF F# G# B♭B 62 CC#E♭F F#G A B

63 CC#DE F#G G# B♭ 64 C#DE♭F G G#A B 65 CDE♭E F# G#A B♭ 66 C#E♭EF G A B♭BMode7: 71 CC#DE♭F F#G G#A B

72 CC#DE♭E F#G G#A B♭ 73 C#DE♭EF G G#A B♭B 74 CDE♭EF F# G#A B♭B 75 CC#E♭EF F#G A B♭B 76 CC#DEF F#G G# B♭BSource:AdaptedfromSiglindBruhn,“LanguagesofDevotion,Magic,andAwe”inMessiaen’sExplorationsofLoveandDeath:Musico-PoeticSignificationinthe“TristanTrilogy”and

ThreeRelatedSongCycles(Hillsdale,NY:PendragonPress,2008),43.

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MusicalColors Theearliestmodeswereoftenassociatedwithacertainemotion,orcouldbeused

toconveyaspecificmood.Byusingtranspositionsoftheseoriginalmodes,Messiaen

providedhimselfwithapaletteofmusicalcolorsthatcouldgivevarietytothemoodofa

song,createvividimagery,andavoidtheconstraintsofastrictkeysignature.Messiaen

primarilyincorporatedtranspositionsofModesIIandIIIthroughoutPoèmes.

Thesemodesontheirown,andinrelationshiptoaspecifickeycreatedmusical

colors,whichMessiaenfoundtobecrucialtohisworks.ThecombinationofF#andmode2

areusedinslow,ecstaticmovements,whilethepairingofeminorandmode2represent

Christ’ssufferinguponthecross.24ThekeyofEmajorisslow,butimpliespraise,andG

majorrepresentsthedesireforthefulfillmentofhumanlove.25Itisworthnotingthat

Messiaendoesnotalwaysclearlyindicatethekeyofapiece;however,itcanbedetermined

uponcloserstudyofthescore.

Inadditiontoconveyingspecificmoods,Messiaenoftenwantedtocreatecolors

throughsound,muchlikewhatonemayseewhenlookingthroughastained-glasswindow.

Heclaimedtohaveseencolorwhenhearingcertainsounds,experiencingsynesthesia.26He

frequentlyusedmodes2and3andtheirtranspositions.InadiscussionwithClaude

Samuel,MessiaendescribedMode21as“blue-violetrocks,speckledwithlittlegraycubes,

cobaltblue,deepPrussianblue,highlightedbyabitofviolet-purplegold,red,ruby,and

starsmauve,blackandwhite.Blue-violetisdominant”whilehisdescriptionofMode22 24Johnson,43-44. 25Ibid. 26ChristineElizabethBronson,"MakingMeaningwithSynesthesia:Perception,Aspiration,andOlivierMessiaen'sReality."(MMthesis,FloridaStateUniversity,2013),45,accessed31January2016,http://search.proquest.com/docview/1411374735?accountid=14556.

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contains“goldandsilverspiralsagainstabackgroundofbrownandruby-redvertical

stripes.Goldandbrownaredominant.”27Mode23isdescribedas“lightgreenandprairie-

greenfoliage,withspecksofblue,silver,andreddishorange.Dominantisgreen.”28It

quicklybecomesclearthatMessiaenwasconsumedwiththevividimagerycreatedthrough

thetranspositionsofmodes.

“BorisMotif” Inadditiontohisfrequentuseofmodes,Messiaenborrowsathemefromthe

CoronationSceneofModestMussorgsky’soperaBorisGodunov(1869,rev.1872)forsome

ofthesongsincludedinPoèmes(seeMusicalExample1).Intheopera,the“Borismotif”is

usedtomusicallydepictchurchbellsandincludesthepitchesC#-E-D#-F#-C#.Messiaen

adaptstheoriginal,changingtheopeningintervalfromaminorthirdtoatritone,with

usuallyoneotherintervalinthesequenceshortened.Messiaenusesthis“motif”infourof

theninesongsinthecycleunderconsiderationhere(seeTable1.2).Noticeitisusedto

enhanceimportantwordsoroutcries,andisoccasionallyfoundinthepianopartaswell.

The“Borismotif”isfoundinanumberofforms:rhythmicallyaugmented,diminished,

repeatedseveraltimesinarow,andeveninvocalandpianodoubling.Additionally,the

variationsdonotalwaysbeginwithanopeningtritone,butmayinsteadmovebyathird.

Inusinghisadaptationsofthe“Borismotif,”Messiaenisabletobringattentionto

importantpoeticmaterialwhilecreatingunitywithinthecycle.

27SiglindBruhn,Messiaen’sLanguageofMysticalLove(NewYorkandLondon:GarlandPublishing,Inc.,1998),90. 28Ibid.

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MusicalExample1:Mussorgsky’s“Borismotif”

Table1.2:Messiaen’sUseofthe“Borismotif”inPoémespourMi

“Actiondegrâces” “Paysage” “Épouvante” “Lesdeuxguerriers”m.4“transforme”(“transformed”)

The“motif”isusedasavocalisethatdepictsthelight

transforming.

m.5-8Messiaenreturnsthe“motif”totherighthandofthepiano,whereitissoundedsixtimes.

Thesixthrepetitionisinterruptedbythereturnoftheopeningmaterial.Thefinal

pitchofthe“motif”isextendedrhythmicallytodescribethe“chagrins”(“grief”)and

“hesitant”(“hesitation”)theprotagonistisexperiencing.

m.40“ha”

Anaugmentedvariationofthe“motif”ispresentinthevocallineoverarhythmiccanoninthepianopart.Byaddingavariationofthe“motif,”

Messiaenhascreatedanotherlayerandextendedthe

sufferingexperiencedbytheprotagonist.

m.16“ah”

Messiaen’streatmentofthe“motif”inthissongissimilar

to“Épouvante.”The“gémissons”(“groans”)

appearinstraightsixteenth-notegestures.Messiaen

elevatedtheagonywithtworepetitionsthataredoubledintherighthandofthepiano.

m.14“unie”

(“united”)The“motif”leadstoanextension

oftheoriginalvocalise,describingtwowavesbecoming

one.

m.13Therighthandofthepianorepeatsthe“motif”twice,

servingasconnectivematerial.

m.28“lumière”(“light”)

The“motif”isrepeatedtwiceinthevocalise,drawingattentiontothe“light”thatreferstotheHoly

Spirit.

m.16-20Arhythmicallydiminishedvariationofthe“motif”issounded,imitatingthefirstimageofthebeloved,smiling,hidden“entrelebléetlesoleil”(“betweenthecornandsun”).

m.29-30Messiaentransfersthe“motif”totherighthandofthepiano,

whereitisrepeatedthreetimes.Thisservesastransitionalmaterialtothenewsection.

m.20-21Therighthandofthepianobeginsthe“motif”aneighth-

noteaheadofthevoice,creatingaslightoverlapbeforequickly

returningtounisonfor“lamainsurlesyeux”

(“herhandoverhereyes”).

m.42-43“étoile”(“star”)

The“motif”servesasafinalcelebrationofGod’sgiftsbeforeleadingintothejoyous“Alleluia”

finale.

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Rhythm RhythmicfluidityisfoundthroughoutMessiaen’scompositions.Whenaskedabout

rhythminthedocumentaryTheMusicofFaith,Messiaenexplained,“Ihavealwaysavoided

usingaregularbeatbecauseanevenrhythmisartificial.Equaldurationsbelongtoa

militarymarch,whichisanartificialthing.”29Hedefendedhiscommentsbyexplainingthat

thingsinnature,likethebranchesoftreesandtherollingwavesareirregular,therefore

makingregularityunnatural,un-human.Messiaen’srhythmsstemfromaninterestin

Hindurhythmsthatarerelatedtothedeçi-tâlas(rhythmicformulae)foundinancient

Sanskrittreatises.30Messiaen’searliestincorporationoftheserhythmsintohismusic

occurredin1935withLaNativitéduSeigneur.31FromthestudyofHindurhythms,

Messiaendevelopedfourrhythmicconceptsforhismusicalstyle:augmentation,

diminution,non-retrogradablerhythms,andaddedvalues.Whilethesearenotuniqueto

Messiaen,theyarecharacteristicofhispersonalstyle,andcanbefoundinPoèmes.Whena

rhythmisdoubled,itiscalledanexactaugmentation(seeMusicalExample2),whichcanbe

foundintheopeningof“Épouvant”(seeMusicalExample3).Non-retrograderhythms,

accordingtoMessiaen,are“anabsolutelyclosedrhythm[that]worksthesameforwards

andbackwards.”32ThesearepresentthroughoutPoèmes,buthavetheirgreatestimpact

29OlivierMessiaen,“OlivierMessiaen:TheMusicofFaith”(FilmsOnDemand,1984),accessed13January2016,fod.infobase.com/PortalPlaylists.aspx?wID=104680&xtid=10323. 30PaulGriffiths,"OlivierMessiaen."OxfordMusicOnline,accessed5January2016,http://www.oxfordmusiconline.com.www2.lib.ku.edu/subscriber/article/grove/music/18497. 31Ibid. 32StephanieLynnAston,"JourneysofExpression:AnExaminationofFourTwentiethandTwenty-FirstCenturyVocalWorks."(DMAdissertation,UniversityofCalifornia,SanDiego,2011),18,accessed31January2016,http://search.proquest.com/docview/875564302?accountid=14556.

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whenpairedwithaninterestingmusicalidea.Addedvaluesareoftenincorporatedfor

affectortoaccommodatethenaturalflowoftheFrenchlanguage.Forexample,Messiaen

usesaddednotestosuspendthelistenerintimeandpostponethenextline,eitherthrough

extendinganotevalueoraddinganunexpectedrest.Messiaenrefersto“Lamaison”(“The

House”)inhisTechniquetodemonstratehisuseofaddednotes(seeMusicalExample4).

Notethatthefirsttwomeasuresincludefourquarter-notes,whilethethirdmeasure

includesfourdottedquarter-notes.Theeighth-noteremainsconstantthroughout,making

thetransitionsmooth.

MusicalExample2:ExactaugmentationasfoundinMessiaen’sTheTechniqueofMyMusicalLanguage(1944).

MusicalExample3:ExactaugmentationinMeasure1ofOlivierMessiaen’s“Épouvant”

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MusicalExample4:AddedNotesin“Lamaison”asfoundinMessiaen’sTheTechniqueofMyMusicalLanguage(1944).

THECYCLE“Actiondegrâces”

Thefirstsongofthecycleappropriatelyservesasaprayerofthanksgiving,

musicallyaswellaspoetically.Whenstudyingthescore,itquicklybecomesclearthat

Messiaendoesnotincludetimesignatures.Instead,measuresareoftenvariedinthe

numberofbeatsinordertosuitthepoetryandthemusicalimageryhewantedtocreate.

Aurally,theserhythmicvarietiescanbesubtle,especiallyMessiaen’suseofrhythmic

palindrome,ornon-retrogradablerhythm.Theopeningmeasure,whichisrepeatedtwice

more,beginswithapalindromeinthepiano.Wheneachnoteisdividedintosixteenth

notes,theytotal8/4-2-1/2/2/2/2-2-3/8.Uponfirstglance,thesedonotappeartobea

mirrorimage,howeverwhencombiningtheboldednumbers,theybecome8/7/2/2/2/7/8

(seeMusicalExample5).

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MusicalExample5:Polymodality,RhythmicCanon,andRhythmicPalindromeinMeasure1ofOlivierMessiaen’s“Actiondegrâces”

Therhythmicpalindromeissetasacanoninthepiano,thelefthandfollowingone

fullbeatbehindtheright.ThisisalsoanintroductionoftwoofMessiaen’sfavoritemodes.

Mode32soundsintherighthandwhile21soundsinthelefthand,creatingapolymodal

texture.Thismixtureofmodescanbeinterpretedasamusicalsymbolfortheunionof

ManandGod.Inchoosingtobeginwiththecanonandthesemodes,Messiaenhascreated

amusicalvisionofGod,somewhatdistantatfirst,leadingMan.Witheachnewchordthe

twogrownearer,leadingintoaclusterchordsettomode61.Thismodeislessfrequently

used;however,itscolorblendcreatesabrightnessandearthinessthatseemsappropriate

forthefollowingopeningvocalline,“Lecieletl’eauquisuitlesvariationsdesnuages…”

(“Theskyandthewaterthatfollowthevariationsoftheclouds…”).Messiaenwrotethe

vocallineusingachantwiththetonalcenterofF#.Incorporatingchantstrengthensthe

religiousundertonesthroughoutthecycle.

Thecompletionofthefirststatementincludesavocalmelismaonthe“Borismotif.”

Thepianofollowswitharepeatofopeningmusicandanextensionontheopeningcluster

chord—likethe“Borismotif”thesetoobecomemoreelaboratewitheachrestatement.

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Withthefirstrepeatoftheopeningmaterial,thetonalcenterofthechantrisestoA-flat,

nowintroducingthebeloved,“Etunoeilprèsdemonoeil…etdeuxpiedsderrièremes

pieds”(“Andaneyeneartomyeye…andtwofeetbehindmyfeet”),whofollowsthe

protagonist’slead.Whenthepoetrydescribesthetwoaswavesunited,the“Borismotif”

returnstohighlightthetext.Asthepianorepeatsitspunctuation,itbecomesmore

complex.Thetonalcenteroftheplainchantisagaintransposed,thistimeuptoC.Theline

continuesasexpectedwitha“Borismotif”attheendofthephrasetoemphasize“lumière”

(“light”).Followingclosebehind,therighthandofthepianoincludesthe“Borismotif”for

thefirsttime,whichactsasatransitionintotheBsection.

Bythistime,theprotagonisthaslistedanumberof“Thanksgivings,”includingthe

beautyofnatureanditstransformativequalities,thebelovedwhoisalovingcompanion

andfollowsthepathtoGod,andthegraceandloveofGodthroughtheresurrection.TheB

sectionistherealizationofthegreatestgiftGodhasgiven:himself.Musically,Messiaen

createsthismomentofaweandgratitudewithaPresquelent(almostslow)anddescending

tritonesthatsoundalmoststaticintheirdescent.Thevocallinealsoincludesatritoneon

thewords“toutcela”(“allthat[Godhasgiventome]”)toemphasizeGod’sgifts.Thetonal

centerofthissectionisDwitheachlineoftextgainingmoreenergyfromtherising

chromatic,scalarpassages.Theinterweavingofthevocalandpianolinestothispointhave

beenimportanttotheunderstandingofMessiaen’smessage.Thisiswhyhischoicetouse

silenceinthepianowiththementionoftheEucharistonthewords“Painplusdoux”

(“breadmoresweet”)issospecial.Describingthisgiftasbeingsweeterthanthefreshness

ofthestars,Messiaenwroteanascendingscale,whichleadsintoanextensionofthe“Boris

motif”asafinalcelebrationofGod’ssacrifices.TheBsection,withtheexceptionofthe

17

openingtritones,soundsC#dominantthroughout.Thismakessense,asthemusical

introductionofthe“Alleluia”celebrationisclearlywrittenasF#—thisisoneoftwo

occasionswhereMessiaenhasincludedakeysignature.Thepoemendswithseven

repetitionsofthisword.Johnsoncomparesthistoajubilus,whichisamelismatic

extensionofthefinal“a”ofanAlleluiasungbetweentheEpistleandGospeloftheRoman

Mass.33Thenumbersevenisimportant,asitrepresentsphysicalandspiritual

completenessandperfection,andisreferencedthroughouttheBible.34

“Paysage” “Paysage”(“Landscape”)isashortsongthatstillmanagestoconveymanythings.

Theopeninglinecomparesalakeasa“grosbijoubleu”(“bigbluejewel”)andisrepeated

threetimesatthebeginning,middle,andendofthesong.Thevoiceechoesthetritone

heardintherighthandofthepiano.Thelefthandsupportswithasecond-inversionV7

chordinmode22.Thecombinationofcolorandthedescendinggestureimitatethegentle

splashofjewel-toned,bluewater.Thisvividimageryisdisruptedbythefallingchromatic

lineintherighthandofthepiano,followedbyanabruptandbriefmomentofsilence.

Thesefallinglinesaremademoresubstantialinthattheyarewritteninfirstinversion,

creatingmoreweighttothemusical“tumble”ofchords.Theyanticipatethe

acknowledgementofstrugglethatresultsfromlivinginasecularworld.Inthissong

particularly,Messiaenreliesheavilyonthe“Borismotif.”Inmeasure4thevocalline

33Johnson,56 34“MeaningofNumbersintheBible,”TheBibleStudySiteaccessed31January2016.http://www.biblestudy.org/bibleref/meaning-of-numbers-in-bible/introduction.html.

18

returnswitharecitationcenteringonA-natural.The“Borismotif”soundsintherighthand

ofthepianoinmeasures5-8atotalofsixtimes,withthefinalrepetitionleftincomplete,

andinsteadinterruptedbythetritoneheardintheopeningmeasureofthesong.Attention

isdrawntotheword“hésitent”(“hesitate”)inmeasure8withthenumberofsixteenth-

notebeatsincreasingto23—thisisthelongestmeasureofthesong.Itcreatesamusical

interpretationoftheprotagonist’s“Mespiedsquihésitentdanslapoussière”(“feetthat

hesitateinthedust”)on“Laroutepleinedechagrinsetdefondrières”(“roadfullofgrief

andhollows.”)Followingthefirstrepetitionofthe“bigbluejewel,”thebelovedisformally

introduced,“verteetbleuecommelepaysage!”(“greenandbluelikealandscape”).Thisis

anotherexampleofwhythe“Borismotif”hassuchanimpactinthesong.Untilthispoint,

thepianohasbeenacrucialpartofthestory.Here,however,thepianolinesaresustained,

subtlymovingfrommode23to32inmeasures14-15tosimplysupportthechantabove.

Messiaenhighlightedthetext,“Entrelebléetlesoleiljevoissonvisage:Ellesourit”

(“betweenthesunandcornIseeherface:shesmiles”)bycomposingthelinetobesung

onlyonA-natural.Inaddition,the“Borismotif”oravariationofitsoundsinthepianopart

20timesoutofthe24measuresofthesong.Messiaenwrotethe“Borismotif”intothe

vocallineatthePluslentwiththeline“lamainsurlesyeux”(“herhandoverhereyes”).

Eventhoughthereisafinalrepetitionofthe“bigbluelake,”itsoundsincomplete,ending

withanunresolveddescendingscalarpassageinthepianoline.Perhapsthiswas

Messiaen’swayofmaintainingthemysteryofthebeloved.Itisalsoworthnotingthat

“Paysage”isoneofafewexamplesfromthiscyclethatemployssurrealisminthepoetry.

Asanartisticmovementthathadsomeimpactonmusicasearlyasthe1920’s,Bruhn

describesitas“radicalimageryorexamplesofalienatedobjects.”

19

“Lamaison” Messiaen’sclosestexampleofatypicalFrenchmélodiecomesintheformof“La

maison,”whichwasinspiredbythetimehespentathissummerhomeinPetichet.35“La

maison”or“TheHouse”servesasametaphorinthispoem.Justas“Cettemaisonnous

allonslaquitter”(“Thishousewewillleave…”)thecouplemusteventuallyleavethehouse,

theywillsoonalsoleave“noscorps”(“theirbodies”).Messiaencreatesmusicalparallelism

tocomplementthepoetry,placingemphasisonthelines“Iseeitinyoureyes”and“Isee

theminyoureyes,”referringtothehouseandtheirbodiesrespectively.Whilethe

protagonistshowsnohintsofsadness,hewitnessesthesadnessintheeyesofhisbeloved.

Messiaenincorporateschantintotheinterludeabovesustainedchordsfrommode33inthe

piano.Thiscontrastfromthelyricalopeningbringsfurtherattentiontothemessage,when

theprotagonistcomfortsthebelovedwithpromisesoftheirresurrectionasaresultoftheir

devotiontoGod:“Toutescesimagesdedouleurquis’imprimentdanstonoeil…Tonoeilne

lesretrouveraplus:QuandnouscontempleronslaVérité”(“Alloftheseimagesofpainthat

imprintinyoureye:YoureyewillnomorefindthemwhenwecontemplatetheTruth”).

Theywillleavetheirsecularbodiesfortransfiguredbodiesintheireternalrestingplace.

Theseimagesofpainandthegiftofeternalrestingreferencethescripturereadings2

Corinthians5:2and5:4.36Thefinalsixmeasuresof“Lamaison”offeranumberof

interestingelements.First,Messiaenhascreatedrhythmicsymmetrythatspansfrom

measures10-15:8/12/11/23(11+12)/8.Thisrhythmicsymmetryservesasavisual

reminderofthehopefulnessforeternallife.Griffith’sdrawsattentiontomeasure11, 35“Gallery,”OlivierMessiaen.Accessed12January2016,http://www.oliviermessiaen.org/messiaengall.htm 36“Wegroan,longingtobeclothedwithourheavenlydwelling”and“Forwhileweareinthetent,wegroanandareburdened.”

20

whichincludesallofthenotesnecessarytocreatemode21,stressingthatthisisunusual

forMessiaen.37Thatbeingsaid,the12-noteaggregateemphasizestheword“Vérité”

(“Truth”),whichisclearlyoneofthemostimportantwordsofthepoem.Inadditionto

thesemusicalsymbols,Messiaenendsthepiecewithapentatonicchordthatfollowsa

symmetricalline,perhapsrepresentingeternity(seeMusicalExample6).

MusicalExample6:Rhythmicsymmetry,Mode21,and“Eternity”PalindromeinMeasures10-15ofOlivierMessiaen’s“Lamaison”

37PaulGriffiths,OlivierMessiaenandtheMusicofTime(London:Faber,1985),79.

21

“Épouvante” Thecycletakesadramaticturnwith“Épouvante,”whichtranslatesto“terror.”The

poemiswrittenusingtheconditionaltense,whichclarifiesthatthisisawarningofwhat

couldcomeratherthanwhatisinevitable.Thesongbeginswithagonizingmoansthat

descendintothefierydepthsofhellviaoctavechromaticscalesaperfectfourthandan

augmentedfourthapart,supportedbyaCmajorchordandaclusterofnotes.Themoans

areaccompaniedbyathickertexturethanprevioussongsandsoundsmostlyinthebass

clef,symbolizinghell.Thesingerisplacedinavulnerablepartoftherange,withatonal

centeronmiddleC,recitingthewarningsofwhatmaycomewhenonefocusestheir

attentiontoomuchinearthlypleasures.Thepianoincludesplummeting,percussivelines

thatincreaseinvolumeandintensitywitheachrepetition(seeMusicalExample7).This

warningisstrengthenedthroughthesurrealisminsertedthroughoutthepoem,including,

“Deslambeauxsanglantstesuivraientdanslesténèbrescommeunevomissure

triangulaire”(“Bloodyshredsthatwouldfollowyouinthedarknessasatriangular

vomit”).Whiletheseimagesmayseemunusual,theintentbehindthemisclear.Messiaen

includesawhole-tonescaleinthevocalline,whichisdoubled—thoughdifficulttohear—in

thepianopart.Thisisamusicalculminationofthefearandanguishtheprotagonist

envisionsmayresultifhedoesnotfollowGod,andleadstothehighB-flat.Thetormenting

visionsoffirearemusicallyrepresentedbymode22,whichissupposedtorepresentGod’s

love.Thisinsertioncannotbebyaccident,andislikelyMessiaen’swayofremindingthe

listenerthatGodispresentevenintimesofstruggle.Imagesofdarknessanddespairmake

wayformoretroubledmoans,whichMessiaentransformsintoapolymodal“Borismotif”

withmode22returningtothevocallineand34inthepiano.Inadditiontothe

22

polymodalityinmeasures40-41,Messiaenincreasedtherhythmiccomplexityofthe

moans,withmeasuresof16and42sixteenth-notebeatsrespectively.Notonlydohis

musicalchoicescreateanextensionofsuffering,theyaddtothechallengesforthe

performer.Theclimaxisreachedtwomeasureslaterwiththeprotagonist’sdescending

outcriesatfortississimo,whichseemtobeinvain.Messiaenwrotetwodescendingtritone

moansfortheprotagonist,beforeheisdefeatedinafinalchromaticgroan,followedbya

percussivefallinthepiano.AlthoughMessiaennevercomesoutandmentions“hell,”one

couldconcludethatthispoemdescribeshisownpersonalvisionofhellthroughthe

potentiallossofhisbelovedandhisrelationshipwithGod.

MusicalExample7:PlummetingLinesPairedwithSurrealistPoetryinMeasures13-18ofOlivierMessiaen’s“Épouvante”

23

“L’épouse” Astheheartofthecycleandarguablythemostbeautifulofthesongs,“L’épouse”

(TheWife)offersahopefulmessagethroughpoetryandsymbolicreferencestotheHoly

Trinity.Thefocusofthepoemliesinthecovenantofmarriageandthesacramentof

husbandandwifetoGod.“L’épouse”describesboththesecular“wife”andthebrideof

Christ,specificallytheChurch.Inthistext,MessiaendrawsfromMatthewandEphesiansto

strengthenthismessage.38Whiletheothersongshavebeenfromthepointofviewofthe

protagonist,onecouldarguethatthispoemistoldfromtheviewoftheHolySpirit.Bruhn

arguesthatitisunclearwhetherornottheprotagonistisspeakingdirectlytohisbeloved,

orifheisdirectingthewordstowardhimselfforassurance.39

38ThesescripturereadingsunderlineloveandobediencesharedbetweenManandWife.ThroughChrist’ssacrifice,thesethingsaremadepossible.MessiaenandMatthewdrawparallelsbetweentheWifeasanextensionoftheHusbandandtheChurchasanextensionofChrist. “ThereforewhatGodhasjoinedtogether,letnotmanseparate.”(Matthew19:6,NewCenturyVersion) “Wives,yieldtoyourhusbands,asyoudototheLord,becausethehusbandistheheadofthewife,asChrististheheadofthechurch.AndheistheSaviorofthebody,whichisthechurch.AsthechurchyieldstoChrist,soyouwivesshouldyieldtoyourhusbandsineverything.Husbands,loveyourwivesasChristlovedthechurchandgavehimselfforittomakeitbelongtoGod.Christusedthewordtomakethechurchcleanbywashingitwithwater.Hediedsothathecouldgivethechurchtohimselflikeabrideinallherbeauty.Hediedsothatthechurchcouldbepureandwithoutfault,withnoevilorsinoranyotherwrongthinginit.Inthesameway,husbandsshouldlovetheirwivesastheylovetheirownbodies.Themanwholoveshiswifeloveshimself.Nooneeverhateshisownbody,butfeedsandtakescareofit.AndthatiswhatChristdoesforthechurch,becausewearepartsofhisbody.TheScripturesays,“Soamanwillleavehisfatherandmotherandbeunitedwithhiswife,andthetwowillbecomeonebody.”Thatsecretisveryimportant—IamtalkingaboutChristandthechurch.Buteachoneofyoumustlovehiswifeasheloveshimself,andawifemustrespectherhusband.”(Ephesians5:22-33,NewCenturyVersion) 39Bruhn,Messiaen’sExplorationofLoveandDeath,85

24

TheevidenceofsymbolismrelatedtotheHolyTrinityissubstantial.Messiaen

composedthesonginthirteenmeasures.ThisnumberissymbolicthroughouttheBible,

withnegativeandpositiveconnotations.ConsideringthecontextofMessiaen’spoetry,his

useofthenumberthirteenlikelymakesreferencetogreatblessingandpromise,aswellas

tonewlife.Thepoemincludesthreepeople:thehusband,thewife,andChrist.The

composerdividesthesongintothreesectionswiththreerefrainsof“Vaoùl’Espritte

mène”(“Gowherethespiritleadsyou”),eachgrowingindynamiclevel.Messiaenusedall

threetranspositionsofmode2throughoutthesong,themodeknownbythispointforits

associationwithGodandhislove.Thenumberofsixteenthnotesineachmeasureis

divisiblebythree,withtheexceptionofthepenultimatemeasure.Thismeasureisa

repetitionofthepreviousmeasure,howeverithastwoadditionalbeats,totaling29.

Messiaenelongatestheline,“Commel’Egliseestleprolongement…”(“Asthechurchisthe

extension…”)toemphasizefromwhomthechurchextends—Christ.

“Tavoix” “Tavoix”(“Yourvoice”)depictsanimageofheavenandthepromiseofeternal

happiness.Otherthanthe“Alleluia”vocaliseof“Action,”itistheonlysongthatincludesa

keysignature,whichisinF#major(justlikethe“Alleluia”).Theprotagonistimagineshis

belovedsingingpraisestotheFather,andthroughthesepraises,sheismademore

beautifulandangelic:anincorporealangel,abirdofspring.Thepianistpresentsa

polyrhythmicostinato,thoughtheirregularityinsomemeasuresmuddiesthepattern.This

songfollowsaclearABA’formwiththeBsectionrevertingtopolymodality.Althoughthe

firstfivemeasuresofeachAsectioncanbesubdividedintothirteenbeatsofsixteenth

25

notes,theremainderofthesongisrhythmicallycomplex,inthattherhythmsdonotfollow

aclearpattern,makingthecountingofthissongespeciallychallenging.Followingthefinal

statementoftheA’section,thepianisthasaone-measurecadenza,totalingninety-nine

sixteenth-notebeats.Therhythmsarereminiscentofthe“Borismotif”andtheir

asymmetryimitatesthesongofabird.ThoughMessiaendidnotbeginhis“BirdSong”

perioduntilthe1950’s,hisfascinationwithbirdsandtheirtuneswasevidentbeginningin

hismid-teens.Therefore,whilethismaynotberepresentativeofaspecificbird,the

asymmetricalwritingandthesextupletsdoubledattheoctavebeyondtheAabovethestaff

providetheimpressionofbirdsong.Thevocallinefollowingthisreads,“Youwouldsing,”

whichdirectlycorrespondstothe“BirdofSpring”mentioneddirectlybeforethe“bird

song”occurs,makingthisalikelyinterpretation.

Like“Épouvante,”thepoetryof“Tavoix”makesuseoftheconditionaltense,though

notasawarning.DescribedbyBruhnas“spirituallycomplementary,”“Épouvante,”pairs

nicelywith“Tavoix,”astheyprovidedrasticallydifferentpoeticandemotionalresponses.

Thetwopoemscreatevividparallels:imagesoflightanddark,heavenandhell.Anew

awakeningcalmsshrieksoffearandsuffering.Despairisreplacedwithhope.40

“Lesdeuxguerriers” “Lesdeuxguerriers”describeshusbandandwifeas“twowarriors”unitedand

marchingtheirwaytowardthegatesofheaven.Themessagehereisunlike“Lamaison”

andfunctionsasawarning,suggestingthatwithoutaction,nothingisgrantedorgiven.As

husbandandwife,thewarriorsmustfighttheirwaytogetherintotheHolyCity.Though 40Bruhn,Messiaen’sExplorationsofLoveandDeath,83-84.

26

theseareMessiaen’swords,againheborrowsfromaBiblepassage,Ephesians6:10-17.41

Like“Épouvante,”thevocallineof“Lesdeuxguerriers”exploresthelowerrangeofthe

sopranovoice.Thesesectionsareunaccompanied,perhapsbecauseMessiaenwasaware

thatthenoteswouldbedifficulttoproject.

Thesongisbrokenintothreeclearsections,ABA’andmakesuseoftranspositions

inmodes2,3,and4.Similartothepoeticsymmetryfoundin“Lamaison,”thissonghas

poeticsymmetryworthnoting.Itbegins,“Dedeuxnousvoiciun…”(“Beholdustwoin

one…”)referringtoHusbandandWife,nowunitedandinsearchfortheHolyLand.Inthe

measurepriortothereturnofA’thepoemreads,“Jesuistesdeuxenfants,monDieu!(“I

amyourtwochildren,myGod…”),makingreferenceagaintothisunityofthetwopeople

andtheirconnectiontohim.Musically,themelodiccontourofthismeasureisreminiscent

ofthe“Va”sectionof“L’épouse,”whichcouldimplythatatransitionintherelationshiphas

occurred—possiblytheHusbandandWifehavestrengthenedtheirbondwithoneanother

andGod(seeMusicalExamples8aand8b).Messiaenincludeswordpaintinginthepiano

partofmeasure24withgracenotegesturesthatimitatethe“Lancezversleciellesflèches

dudévouementd’aurore”(“arrowslaunchingintothesky…”)beforeshiftingtomode21

41“FinallybestrongintheLordandinhisgreatpower.PutonthefullarmorofGodsothatyoucanfightagainstthedevil’seviltricks.Ourfightisnotagainstpeopleonearthbutagainsttherulersandauthoritiesandthepowersofthisworld’sdarkness,againstthespiritualpowersofevilintheheavenlyworld.ThatiswhyyouneedtoputonGod’sarmor.Thenonthedayofevilyouwillbeabletostandstrong.Andwhenyouhavefinishedthewholefight,youwillstillbestanding.Sostandstrong,withthebeltoftruthtiedaroundyourwaistandtheprotectionofrightlivingonyourchest.OnyourfeetweartheGoodNewsofpeacetohelpyoustandstrong.AndalsousetheshieldoffaithwithwhichyoucanstopalltheburningarrowsoftheEvilOne.AcceptGod’ssalvationasyourhelmet,andtaketheswordoftheSpirit,whichisthewordofGod.”(Ephesians6:10-17,NewCenturyVersion)

27

(God’slove)toanticipatethefinalline,“VousparviendrezauxportesdelaVille”(“Youwill

arriveatthegatesofthecity”).

MusicalExample8a:Measures17-18ofOlivierMessiaen’s“Lesdeuxguerriers”

MusicalExample8b:Measure1ofOlivierMessiaen’s“L’épouse”

“Lecollier” Intheentirecycle,“Lecollier”(“TheNecklace”)istheonlysongthatinsinuates

romanticintimacy,andlike“Paysage,”makesnodirectreferencetoGod.Musically,thisis

representedwiththeomissionofmode21.Messiaencomposedapatternoffourchords

usingmode31intherighthandofthepianotoimitatethecircularpatternofthenecklace

(seeMusicalExample9).ThispatternbeginsandendsonaCminortriad,givingitaclear

beginningandending.Inaddition,thelefthandofthepianoisinmode22,resultingina

polymodalcolorthatseemstorepresentthecolorsoftherainbowandtheexoticismofthe

28

“necklace”itself.Thepoetryshiftsbetweennature,“Printempsenchaîné…”and“Paysage

courbe…”(“Captivespring”and“Curvedlandscape”)andthe“necklace.”Through

surrealistpoetry,hedescribesthistreasurednecklaceasa“Petitsoutienvivant…Collierde

renouveau”(“Tinylivingcushion…necklaceofrenewal”).Itbecomesclearthatthebeloved

supportstheprotagonist,particularlyintimesofstrife.Thisisoneoftheonlyexamplesin

thispoemofMessiaen’sreferencetohumanlove.Hebringsattentiontothis“necklace”

throughthemusic,specificallyinmeasures19-23.Here,Messiaen’ssettingof“Collier

d’Orient,collierchoisi…”(“necklaceoftheOrient,necklacechosen…”)borrowsfromthe

followingmodes:Mixolydian,Aeolian,Ionian,andLydian.42Thesemodesaresounded

consecutivelybymeansofstackedchordsintheleftandrighthandofthepiano.The

patternisrepeatedfivetimes.ThisistheonlyplaceMessiaenincorporatedthesemodes,

strengtheningtheargumentthathewantedtobringattentiontohowspecialandexoticthe

necklacewas(seeMusicalExample10).InthefinalstatementofA’thereareafewthings

worthmentioning.First,Messiaen’suseofsilence;afterthefinal“Ahmoncollier”(“Ah,my

necklace…”)themusicstops,beforerevealingthatthe“necklace”isasymbolfor“Tesdeux

brasautourdemoncou,cematin”(“Yourtwoarmsaroundmyneckthismorning”).This

silenceheightenstheimportanceofthismoment.Toimitatetheshapeofthebeloved’s

arms,Messiaenendedthesongwithareturnoftheopeningcircularpatternof“Lecollier”

(“thenecklace”).Like“Paysage,”thissongendssoundingunresolved,whichmakesthe

anticipationofthefinalsongthatmuchstronger.

42YunLee,"SymmetryandSymbolicLanguageinOlivierMessiaen's"PoèmespourMi":AMusicalReflectiononDivineandConjugalLove"(doctoraldissertation,BostonUniversity,2009),135,accessed13January2016,http://search.proquest.com/docview/304850662?accountid=14556.

29

MusicalExample9:Circularpatternof“theNecklace”inMeasures1-3ofOlivierMessiaen’s“Lecollier”

MusicalExample10:“Exotic”useofMedievalModesinMeasures20-23ofOlivierMessiaen’s“Lecollier”

“Prièreexaucée” Thefinalpoem,“Prièreexaucée”(‘PrayerAnswered’)isanappropriateconclusion

toMessiaen’scycle.TheformisAA’Bandcreatesabalancewiththereturntoprayerand

reflectionfoundintheopeningsong“Actiondegrâces.”Theprotagonistiswearyand

pleading,askingforGodto“Ebranlezlasolitairelavieillemontagnededouleur”(“shake

thelonelyoldmountainofpain”)andforhealingofthesoul.Thevocallineisachantthat

centersonA.ThepianobeginswithacombinationofAmajor,whichtiesitto“Action,”and

C#major.HereagainMessiaenreferencestheEucharistasitwasintheopeningsong,and

anextendedmelismaissungontheword“âme”(“soul”).BeggingforGod’sgrace,the

30

poemtransformsasitenterstheTrèsvifattheBsection—musicallytheprayerhasbeen

answered.Messiaencreatesonomatopoeicgesturesinthevocallinefor“Frappe,tape,

choquepourtonroi[Dieu]!”(“strike,beat,ringforyourking[God])(seeMusicalExample

11).Thisrepetitionincreasestheexcitementuntilitreachestheclimaxwiththe“gloireet

deresurrection”(“gloryandtheresurrection”).Here,thesingerhasafinalcelebratory

melismaontheword“joy”withwhatbeginasthesamerhythms,butendwiththenotes

elongatedinanticipationofthefinalrealizationthat“Lajoieestrevenue”(“joyhas

returned”).

MusicalExample11:UseofOnomatopoeiainMeasure20ofOlivierMessiaen’s“Prièreexaucée”

CONCLUSION ItisclearthatPoèmespourMi,thoughearlyinhismusicaloutput,containsmany

earlyillustrationsofMessiaen’smostimportantmusicalandliterarydevices:theinfluence

ofspirituality,numericalsymbols,modalvocabulary,musicalcolors,andthe“Boris

motif.”Onthewhole,PoèmespourMi,representsayoungcomposer’seffortstoassemble

anddevelopadistinctcompositionallanguage.Itdeservestoberegardedasasignificant

31

andprototypicalvocalworkofOlivierMessiaen’scompleteoutputandanhistorically

significantlandmarkinthecomposer’smaturation.InstudyingPoèmes,onecangaina

betterunderstandingofwhatMessiaenconsideredimportantinacomposition,andthen

determinethemostidealwaytoperformhisworks.

32

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DiscographyMessiaen,Olivier.Messiaen:PoèmespourMi/SeptHaikai/LeRéveildesoiseaux. ConductedbyPierreBoulez.RecordedwiththeClevelandOrchestra,November11, 1997.DeutscheGrammophonB000VAAB7Q,1997.CD.Messiaen,Olivier.Messiaen:PoèmespourMi.RecordedwithGweneth-AnnJeffersand StephenDePledge.ChampsHillRecordsB004YP3U2C,2011.CD.Messiaen,Olivier.Messiaen:Harawi/PoèmespourMi(I).RecordedwithJacqueline DelmanandLuciaNegro.BISB002PRMBYY,1987.CD.Messiaen,Olivier.Messiaen:PoèmespourMi/Chantsdeterreetdeciel.RecordedwithJane ManningandDavidMason.UnicornB000001PCD,1997.CD.

Messiaen,Olivier.PoèmespourMi.RecordedwithOlivierMessiaenandLiseArseguest. EverestRecordsSDBR3269,S-39050,1968.LP.Nordskog,LivElise.PourMi:SongsbyOlivierMessiaenandClaireDelbos.Recordedwith SigneBakke.LAWOClassicsLWC1051,2014.CDPhillips,Susanna.Paysages:Debussy/Fauré/Messiaen.RecordedwithMyraHuang. BridgeRecords,Inc.B005OUDYJU,2011.CD.Upshaw,Dawn.VoicesofLight:MusicofMessiaen,Debussy,GolijovandFauré.Recorded withGilbertKalish.