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Messiaen

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Messiaen

Auteurs : Arnold Whittall

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Music and Letters [ 0027-4224 ] ; 2007-02.

RBID : ISTEX:A25B59DC6BCDECF3C82A71DFE2BCBB18D1D24071
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https://api.istex.fr/document/A25B59DC6BCDECF3C82A71DFE2BCBB18D1D24071/fulltext/pdf

DOI: 10.1093/ml/gcl029

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<body><p>The stark one-word title is immediately striking. Given the book’s tendency to discuss compositions in summary form rather than in great analytical depth, it would scarcely be appropriate to add ‘life and works’ to the title, though the emphasis is not exclusively biographical, and there are some illuminating reproductions of sketch materials, particularly for the opera <italic>Saint François d’Assise</italic>
. ‘A documentary biography’ might have been a less misleading subtitle, though even this could have created expectations of the kind of comprehensive citation of letters, diaries, and other archival materials which it is probably still premature to aspire to in Messiaen’s case. Documentation is extensive, nevertheless, its primary source being the archives currently under the control of Yvonne Loriod-Messiaen.</p>

<p>Just as Messiaen himself was deeply dependent on Loriod for virtually half a century, so Hill and Simeone could have done little or nothing without her active cooperation. It’s tempting to draw analogies with Cosima Wagner as the jealous guardian of the Master’s heritage, fighting to ensure that only the most flattering portrait emerges, and to be sceptical of the authors’ declaration that ‘Mme Loriod-Messiaen has given us every possible assistance, without at any time seeking to guide or influence our work and our conclusions’ (p. vi). Such influence was scarcely needed, given their transparent concern to portray Messaien as hero and genius. Not a ‘critical’ biography, then—unless the decision to end the book (rather abruptly) with the tribute paid by Pierre Boulez the day after Messiaen’s death aims to indicate that a subtext of reservations and criticisms exists beneath the reverential surface. Given Boulez’s remarks elsewhere (e.g. in the <italic>Conversations with Célestin Deliège</italic>
), comments of his quoted by Hill and Simeone on the occasion of Messiaen’s 70th birthday—‘beneath the very real complexities of his intellectual world he has remained simple and capable of wonder—and that alone is enough to win our hearts’ (p. 322)—can be read as ambiguous, even sarcastic.</p>

<p>Given the richness of archival sources, it might still be too soon to attempt a fully balanced assessment of strengths and weaknesses in Messiaen. But the authors cannot be accused of suppressing expressions of doubt, especially those voiced during the years of the <italic>Tristan</italic>
 trilogy (1945–8). They are also willing to give space to such shrewd, detached remarks as Virgil Thomson’s from 1949: ‘what is a little surprising in so scholarly a modernist is the literalness of his religious imagination. But there is no possibility of suspecting insincerity. His pictorial concept of religion, though a rare one among educated men, is too intense to be anything but real. Messiaen is simply a theologian with a taste for the theatrical’ (p. 187). In turn, this seems like an elegant expansion of Roland-Manuel’s neat presentation of the paradox in April 1945: ‘everything which an impressionist sensuality uses to express earthly delights, Olivier Messiaen devotes to the praise of the divine’ (p. 146).</p>

<p>As Thomson adds, ‘I once described this religio-musical style as the determination to produce somewhere in every piece an apotheosis destined at once to open up the heavens and to bring down the house’ (p. 187). Thomson was writing without experience of the tougher profile of Messiaen’s later compositions, but he touches here on a fundamental quality which will be acknowledged by enthusiasts and detractors alike. When Messiaen was a 9-year-old, his mother reported his comment that ‘I prefer things which are frightening’ (p. 11), and this idea of the sublime, as opposed to the (merely) beautiful, does much to give Messiaen’s music its arresting qualities. In 1961, at the time of <italic>Chronochromie</italic>
, Claude Rostand offered a florid description of Messiaen as ‘a man of the Dauphiné: he loves and fears its mountains, which are both so beautiful and so terrible, the Meije massif before which he so often composes, dizzy in front of its sheer cliffs and avalanches of scree, among the raucous and ferocious and shrill cries of mountain birds’ (p. 239). As Hill and Simeone observe, with reference to 1952: ‘a battle was going on between head and heart, between the number theory which had been his obsession, and the call of the wild. The latter had never been far away: even when his music was at its most esoteric, a Dyonisiac [<italic>sic</italic>
] rage was never far below the surface, erupting, for example, in the rampaging codas of the <italic>Île de feu</italic>
 studies’ (p. 199).</p>

<p>Hill and Simeone associate this especially turbulent phase in Messiaen’s work with the slow mental and physical decline of his first wife Claire. As they claim, ‘seeing Claire as the subject of <italic>Harawi</italic>
 explains the work’s mood of almost unbearably passionate lament’ (p. 158), and why this music ‘has a ferocity and desperation not found elsewhere in Messiaen. Even the birdsong seems pursued by demons, at one with the grimly obsessive ostinati and with the disciplined wildness of the dance movements’ (p. 157). Though they admit that serenity is not totally absent from <italic>Harawi</italic>
, their emphasis is intended to counter Antoine Goléa’s argument that ‘the symbolism of a young woman and of springtime would seem to indicate that he was composing a kind of love poem to his young muse, Yvonne Loriod’ (loc. cit.). Yet such forceful expressiveness and elaborate structures as are found in <italic>Harawi</italic>
 cannot simply be the product of personal, emotional unheavals. Their roots surely lie deeper, in those regions of their creator’s persona where aesthetic and form-building sensibilities are located. After all, as the authors claim, in 1949 (well before Claire’s death) Messiaen was able to reveal ‘rude psychological good health’ in the piano work <italic>Cantéyodjayâ</italic>
 (p. 190).</p>

<p>Hill and Simeone also cite a remarkable account by Julien Green of a Messiaen organ improvisation at the Trinité as ‘of monstrous beauty, opening up immense caverns where rivers flow, where piles of precious stones glitter. ... Occasionally I had the impression that hell was opening, suddenly gaping wide. There were cataracts of strange noises which <italic>dazzled</italic>
 the ear’ (p. 185). Even allowing for an element of hyperbolic contrivance here, Messiaen’s undoubted ability to evoke the sublime is vividly evoked, along with the sense in which such feelings cannot be entirely separated from quite different religious impulses and obsessions. That these qualities could disturb is shown in comments by Marcel Delannoy from 1941 after the Paris premiere of the <italic>Quatuor pour la fin du temps</italic>
: ‘with Messiaen there is a fanatical subjectivity, a quasi-Luciferian arrogance in wanting to describe light. What is more he seeks to create in his music the power of a personal miracle and then calmly announces that he has succeeded’ (p. 113).</p>

<p>Such pained reactions serve the useful purpose of reinforcing how different Messiaen’s earlier music seemed from prevailing neoclassical norms, whether in France or elsewhere. Maurice Emmanuel wrote a reference in July 1931 whose truth seems to have remained incontestable throughout Messiaen’s life: this was someone ‘whose compositions . . . are very remarkable and very daring musically speaking, almost all of them inspired by deep religious feelings. This young artist is a complete believer; and, in an environment where faith plays little part, he has commanded admiration and respect through the dignity of his lifestyle and the genuinely Christian warmth of his personality’ (p. 35). Abiding truth of a more specific kind appears in comments from 1937 by the journalist Michel-Léon Hirsch, to the effect that ‘the orchestral writing [in the first of the <italic>Poèmes pour Mi</italic>
] is at once rich and strange, of a knowing naivety: that of a musical Douanier Rousseau’ (p. 71). How far that ascription of a ‘knowing naivety’ can usefully be transferred to Messiaen’s technical theory and practice is a topic too vast to be more than touched on in this text. Yet there is a strong case for arguing that Messiaen’s declaration, as early as 1931, that ‘the most important thing is not to destroy tonality but to enrich it’ (p. 38) was of central significance, not least for the challenges it created when ‘enrichment’ was considered to embrace aspects of post-tonal and even serial practice, and made retreat from such relatively extreme positions inevitable and right.</p>

<p>Messiaen’s extraordinarily heterodox musical responses continued into old age. In 1984 he made notes for a work which included specific associations with Mozart, Chopin, Debussy, Bartók, Honegger, and Boulez (see p. 351); and the declaration with which he ended a previously unpublished pre-performance talk in 1962—‘In the end it is freedom which triumphs in my music’—encapsulates a problem as much as an achievement. That ‘freedom’ often finds expression in the ‘naive’ religious fervency that can make the longer works—the opera above all—a trial for non-believers. Yet Messiaen’s engagement with the post-tonal in music was certainly more far-reaching than that of his near-contemporaries Copland, Shostakovich, and Britten. Of other significant contemporaries, Tippett and Carter stand for very different cultural practices: though Tippett certainly had his own variety of ‘knowing naivety’, and his later concern to be ‘with it’ has proved as problematic for many as Messiaen’s ‘timeless’ Catholicism.</p>

<p>Hill and Simeone gently observe Messiaen’s tendency to accentuate the positive in his diaries and interviews—most obviously, over the matter of how many people actually heard the first performance of the <italic>Quatuor pour la fin du temps</italic>
. Given the authors’ closeness to such sources, it’s fitting that the book should be copiously illustrated with photographs from the archive, usually quite small in format, and touchingly informal. Some very occasional glitches in the text suggest haste in the final stages of production, as when Manuel Rosenthal is named twice in five lines as conductor of the <italic>Turangalîla</italic>
 ballet in 1968 (p. 277). But this is an absorbing and authoritative study of the composer’s life and times, falling on the right side of the line between enthusiasm and hagiography, and a decisive step towards the eventual, definitive life and works. It will leave all future contributors to Messiaen studies substantially in its debt.</p>
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	Serveur d'exploration Debussy
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