Messiaen Seminar Syllabus MUSC 1500B, 2016 Prof. Mark Steinbach Oliver Messiaen (1908-1992) is one of the most influential and eclectic musicians of the
20th century, yet he remains a highly enigmatic figure. This seminar explores
Messiaen’s life, theoretical writings, and above all his music. Critical listening and
analysis will focus on Messiaen’s idiosyncratic harmonic and rhythmic language as well
as performance practice issues. We will investigate Messiaen’s use of color, plainsong,
modes of limited transposition, birdsong, serialism, added values, Greek modes, and
Indian ragas via representative works. We will also examine Messiaen’s formation and
his legacy as teacher/composer/performer. The final project is either a
performance/analysis or a theoretical/historical paper.
Prerequisite MUSC 0560. Class size limited to 16. Meets Wed. 3-5:20 in 109.
Required Book:
Peter Hill and Nigel Simeone, Messiaen (2005)
Primary Sources:
Olivier Messiaen: Jornalism 1935-1939, ed. Stephen Broad (2012)
Olivier Messiaen Lecture at Kyoto (1985)
Olivier Messiaen, Technique de mon langage musical (1944)
Olivier Messiaen, Traité de rythme, de couleur, et d’ornithologie (written 1949-1992) (19942002) English translation of vol. 1 (1998) https://shareok.org/handle/11244/5762
Claude Samuel, Conversations with Olivier Messiaen: Music and Color (1986)
Messiaen compositions (on library reserve)
Secondary Sources
Messiaen, Robert Sherlaw Johnson (1975)
The Messiaen Companion, ed. Peter Hill (2008)
Messiaen studies, Robert Sholl, ed. (2007)
Messiaen’s Musical Techniques: the Composer’s view and beyond, ed. Gareth Healey,
ed.(2013)
Olivier Messiaen: Music, Art and Literature, ed. Christopher Dingle and Nigel Simeone
(2007)
For the End of Time: The Story of the Messiaen Quartet, Rebecca Rischin (2003)
Oxford Music Online article on Messiaen:
Visions of Amen: The early Life and Music of Olivier Messiaen, Stephen Schloesser (2014)
Birdsong in the music of Olivier Messiaen, David Kraft (2013)
“The Messiaen Class,” in Finding the Key, Alexander Goehr (1998)
“Zion Park,” in The Rest is Noise, pp. 483-496, Alex Ross (2007)
RILM
Week 1, Jan. 27, Childhood and the Conservatoire: 1908-1929
Reading:
Cécile Sauvage, L’ame en bourgeon. in Music, Art and Literature, pp. 191-245 (Messiaen
describes these poems, written by his mother while she was pregnant with Olivier, as
“the only influence” on his life. He makes other claims at other times….)
Hill and Simeone, pp. 1-24
Oxford Music Online-Grove’s Dictionary of Music article on Messiaen
Messiaen, Technique de mon langage musical: “Harmony, Debussy, Added notes” pp. 47-4
8; 58-61
Listening and analysis:
Debussy, Preludes (Bk. 1): Voiles, La Cathédrale englouitie,
Dupré:, Symphonie-Passion, op. 23 (1924), mvt. 1; Prelude in B Major (19
Dukas, Ariane et Barbe-bleue (1899-1906)
Messiaen, Huit Preludes for piano (1929) Diptyque (1930) Le Banquet céleste (1928), Les
offrandes oubliées (1930)
Week 2, Feb. 3, Messiaen’s musical language: color, timbre, and performance
Reading:
“Zion Park,” in The Rest is Noise, pp. 483-496, Alex Ross (2007)
Technique: “The charm of Impossibilities, Rhythms with added value, Modes of Limited
Transpositions, Plainchant forms” pp. 7-8,13, 16-17, 31-33, 50-53, 58-66
“Of sounds and colors,” Samuel, pp. 61-67
Robert Sherlaw Johnson, Chapter 2 “The Development of Messiaen’s Musical
Language”
Supplementary reading: “Messiaen’s Musical Language: an Introduction,” Anthony
Pople, in Messiaen Companion, pp.15-50
Listening and analysis:
L’Ascension (1933 Orchestra) (1934 Organ)
Meet in Sayles Hall for live performance of Apparition de l’Eglise eternelle and movements
from L’Ascension. Screening and discussion of Paul Festa’s film “Apparition of the
Eternal Church”
Issues of Messiaen reception
(2 page paper due Week 3 comparing recorded performances of Messiaen, Gillian Weir,
Olivier Latry and Jon Gillock + your reception of Apparition de l’Eglise eternelle (1932)
and film)
Week 3, Feb. 10, La Trinité 1930-1934
Reading:
Hill and Simeone, pp. 25-51
“From Technique to Emotion,” Samuel pp. 39-66
Listening and analysis: La Nativité du Seigneur (1935): Le Verbe, Les Mages, Dieu parmi
nous, Les Anges
Poémes pour mi (1936 pf/1937 orch.)
Week 4, Feb. 17, Visions of Eternity/La jeune France (1935-1939)
Reading:
Hill and Simeone, pp. 52-90
“In Quest of Rhythm,” Samuel, pp. 67-84
Technique: “Rhythmic pedals and Polyrhythms,” pp. 18-30.
O Sacrum convivium! (motet pour choeur)(1937)
Les corps glorieux (1939): Force et agilité des corps glorieux, Joie et clarte des corps glorieux;
Stravinsky, Petroushka
Week 5, Feb. 24, The Quartet for the end of time: technique, premiere, legend
Reading:
Hill and Simeone, pp.91-140
“Observations on time in Messiaen’s Traite, Shenton in Music, Art and Literature
Traite, ch. 11, pp. 173-189.
Messiaen’s preface to the score, translated by Rebecca Rischin in For the End of Time, p.
129-134.
Listening and analysis:
Quatuor pour la fin du temps (1941)
Fête de s belles eaux (1937)
Dyptique, part 2 (1930)
Analysis project on mvt. 6 of Quartet
Week 6, March 2, The Tristan Trilogy: 1945-1948
Reading:
Hill and Simeone , pp. 142-175
“Love, Mad Love and the ‘point sublime’: the Surrealist poetics of Messiaen’s Harawi,”
in Scholl, pp. 34-62
Listening and analysis:
Harawi; Turangalîla-symphonie; Debussy, Pelleas et Melisande (1898) libretto from
Maeterlinck’s symbolist play (excerpts);
2nd paper presentations begin
Week 7, March 9, Experiment and renewal: 1949-1952
Reading:
Hill and Simeone, pp. 176-202
“Messiaen’s chords,” Allen Forte in Music, Art and Literature, pp. 91-113
Listening and analysis:
Quatre Etudes de rythme (1949/50): Mode de valeurs et d’intensités; Cantéyodjâya; Livre du
orgue (1951): Les yeux dans les roués
Week 8 Birdsong into music: 1952-1959
Reading:
Hill and Simeone, pp. 203-230
“Birdsong,” in Kyoto Lecture: pp. 12-15
My Birds, Samuel, p. 85-98
“The record of realism in Messiaen’s bird style,” Robert Fallon in Music, Art and
Literature, pp. 115-157.
“The impossible charm of Messiean’s Chronochromie,” Amy Bauer in Messiaen studies, pp.
145-167.
Listening and analysis:
Réveil des oiseaux (1953), Chronochromie (1959/60), Le merle noir for flute and piano
(1951), Catalogue d’oiseaux (1956/57)
Week 9, March 16, “Public controversy, private happiness” 1959-1969
Reading:
Hill and Simeone, pp. 231-283
“Musical analysis according to Messsiaen: critical view of a most original approach,”
Boivin in Music, Art and Literature, pp. 137-157.
Listening and analysis:
Sept haïkaï (1962), Couleurs de la cité céleste (1963), Et exspecto resurrectionem
mortuorum (1964)
Determine topic of Final project with instructor
Week 10, March 23, From the canyons to the stars
Reading:
Hill and Simeone, pp. 284-303
Richard Steinitz in The Messiaen Companion, pp. 460-488
Listening and analysis:
Des canyons aux étoiles (1974)
Week 11, April 6, Saint François, the Opera
Reading:
Hill and Simeone, pp. 304-341
“Saint Francis of Assisi,” Samuel, pp. 207-250
Kyoto Lecture, pp. 19-21
“Olivier Messiaen’s mosaic form up to its apotheosis in St. François,” Stefan Keym in
Messiaen Studies,
Samuel pp. 207-250
Listening and analysis:
DVD of St. François, Acts 1 and 2
Week 12, April 13, Passing the Torch
Reading:
Samuel, pp. 175-190
“Messiaen as Teacher,” Boulez, Benjamin, and Hill in The Messiaen Companion, pp. 266282
Listening: Xenakis, Metastasis; Stockhausen, Gesang der Junglinge; Boulez, Le marteau sans
maitre, Murail
Special guest Prof. Wang Lu (student of Murail) will discuss Messiaen’s legacy
Week 13, April 20, Illuminations of the beyond
Reading:
Hill and Simeone, pp. 342-383
Listening and analysis:
Eclair sur l’au-delà (1987-1992), Pièce pour piano et quator à cordes (1991)
Week 14, April 27, Student Presentations of Final Projects
Final Papers due May 9, 2016
Grading:
1) Students are expected to participate in and/or lead discussions based on weekly
listening, reading and analysis assignments. Regular attendance is expected. 40% of
grade is class participation.
2) Two in-class presentations of a 2-4 page paper using an historical or
theoretical/analytical approach. 1st paper on Apparition (see week four). 2nd paper on
student’s choice in consultation with instructor (due week 7, March 9 ). 20%
3) The final project is either a performance with analysis, which focuses on questions of
interpretation and their resolution through analysis or a theoretical/historical paper,
chosen in consultation with the instructor (8-10 pages) to be presented in class. 40%
4) Students will be encouraged to attend live performances of Messiaen’s music, as
available. If possible we will attend as a class the live performance of Turangalîla
Symphony, Friday March 11 with New York Philharmonic and Quartet for the end of Time,
Sunday March 13 at 2:00pm at the Metropolitan Museum of Art.