MESSIAEN Olivier (1908 - 1992)

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Lot n° 128
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MESSIAEN Olivier (1908 - 1992)
autograph MANUSCRIT with autograph musical examples, Technique de mon langage musical (1944); 1 f. of title and 99 in-4 pages (paginated 1-97 with bis); and 1 f. of title and 47 in-fol. pages of music paper (paginated 1-44 plus 9 bis and ter and 13 bis). Important theoretical text with 382 musical examples, "a remarkable work of self-analysis in which the composer explains his musical vocabulary, explores his origins, provides a list of works (many of which have disappeared) and judges his own compositions" (P. Hill and N. Simeone). Published in 2 volumes (one of text and one of examples) in February 1944 by Alphonse Leduc, the work is dedicated to Guy BERNARD-DELAPIERRE (1907-1979) ; Egyptologist, composer of film music under the name of Guy Bernard, but also agent and impresario, he supported Messiaen during the years of the Occupation, after his return from captivity; it was at his home, rue Visconti, that Messiaen organized private courses of analysis and composition for some of his students. Let us quote the beginning of the Introduction, where Messiaen explains his purpose: "It is always dangerous to talk about oneself. However, several people having either vigorously criticized or praised me - and always to the side and for things I had not done - on the other hand, some students particularly eager for novelty having asked me many questions concerning my musical language - I decided to write this little 'theory'. With a few rare exceptions [...], all the examples quoted here will be taken from my works (past or future!). In the hope that my students will take up the few ideas I am going to develop - either to use them better than I did, or to get something else out of them, or to reject them defiantly if the future proves them unviable - I write my treatise by taking the reader by the hand, searching with him, guiding him gently through the darkness where I hoped, towards a limited light preparatory to that "better" which he may then find. If the reader is equipped with solid studies of harmony, counterpoint and fugue, composition, orchestration, without forgetting rhythmics and acoustics, he will follow me much more easily. If he is called by the "inspiration from above", and if I am found to be - on a very small point - his precursor, my task will be fulfilled and beyond"... In spite of the importance of melodies and vocal works in his production, he will speak little about "prosody and the union of the musical line with the living influences of the spoken word", and will insist especially on less usual forms, "notably the plain-chantetic forms". His musical language is considered "from the triple point of view of rhythm, melody and harmony". He also left out what concerns the instrumentation and the timbre, and will not speak either about the sacred music, while recalling his inspiration "mystically, Christianly, catholically" religious. He ends by thanking his masters Jean and Noël Gallon, Marcel Dupré, Paul Dukas, and those who influenced him: "my mother (the poetess Cécile Sauvage), my wife (Claire Delbos) [who replaced his brother the poet Alain Messiaen]", Shakespeare, Claudel, Reverdy, Eluard, Hello, Debussy, "plainchant, the Hindu rhythm, the mountains of the Dauphiné, and enfi n everything that is stained glass and rainbow", his interpreters, adding the name of the pianist Yvonne Loriod. "And finally, all those who encouraged me to write this work, especially my friend André Jolivet. The work includes an Introduction, then the following 19 chapters: I Charm of the impossibilities and report of the various matters. II Râgavardhana, Hindu rhythm : 1) Amesurated music ; 2) Râgavardhana. III Rhythms with added values: 1) Added value; 2) Use of added value; 3) Rhythmic preparations and falls; 4) Relationship with added notes. IV Increased or decreased rhythms and table of these rhythms: 1) Increased or decreased rhythms; 2) Addition and removal of the dot; 3) Table of some forms of increase or decrease of a rhythm; 4) Inaccurate increases. V Non-retrogradable rhythms: 1) Retrograded rhythms; 2) Non-retrogradable rhythms; 3) Relationship of non-retrogradable rhythms and modes with limited transpositions. VI Polyrhythms and rhythmic pedals: 1) Superposition of rhythms of unequal length; 2) Superposition of a rhythm with its different forms of augmentation and diminution; 3) Superposition of a rhythm with its retrogradation; 4) Rhythmic canons; 5) Canon by addition of the point; 6) Canon of non-retrogradable rhythms; 7) Rhythmic pedal. VII Rhythmic notations: 1) First notation; 2) Second notation; 3) Third notation; 4) Fourth notation; 5) Some measured rhythms. VIII Melody and melodic contours: 1) Intervals; 2) Melodic contours; 3) Popular songs; 4) Plainchant; 5)
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