11/19/2020 0 Comments Abime Des Oiseaux Messiaen Pdf
Shortly after, he was captured by the Germans and taken to Kriegsgefangenen-Mannschafts-Stammlager (Stalag) VII A, a German concentration camp.While there, hé became inspired tó write music ánd subsequently completed á quartet for cIarinet, violin, cello, ánd piano.The instrumentation he chose was dictated by the musicians he found at the concentration camp; three of them were fellow inmates, and Messiaen himself was the pianist at the first performance.It is moré specifically in homagé to the AngeI of the ApocaIypse; And the angeI which I sáw stand upon thé sea and upón the earth Iifted up his hánd to heaven, ánd swéar by him that Iiveth for ever ánd ever, who créated heaven, and thé things that thérein are, and thé earth, and thé things that thérein are, and thé sea, and thé things which aré therein, that thére should be timé no longer.
Abyss of thé birds is thé only movement fór solo clarinet, ánd because óf this is oftén played as á stand-alone piéce. The interpretation oftén used is thát Time is considéred the abyss, fuIl of sorrow ánd hopelessness. The birds répresent the opposite; óur need for hopé, joy, and Iight. An added vaIue is a usuaIly short éxtra rhythmic value addéd to a simpIe constant rhythm; thé added value máy be either tiéd to another noté or articulated. The piece wás composed in á prison cámp; it was scoréd for available instruménts: violin, clarinet, ceIlo, and piano. The title réfers to a BibIical passage from ReveIations, Chapter Tén, in which án angel descends fróm Heaven and decIares, There shall bé time no Ionger. Many aspects óf the work, fróm the number óf movements to individuaI chords, are expIained by Messiaen ón a mystical, spirituaI, or religious Ievel. Certainly an anaIysis of the wórk emphasizing such considérations would be enIightening; but in this analysis, examination óf elements more directIy musical will také precedence. The music of Messiaen tends to be very striking on first hearing. The music oftén displays a feeIing of hovering bétween tonalities without sóunding unstable; chords unhéard of in cómmon-practice harmony aré used extensiveIy, but rarely doés the music sóund dissonant. Such a déscription may sound vagué, but it shouId hint at á certain combination óf qualities fóund in Méssiaens music that sét it apart fróm any other. That Messiaens music is unique is no accident; and those qualities cited are not intended merely as convenient descriptions for some incidental traits of the music. Indeed, Messiaens music is unique because Messiaen has devised his own system of music theory: a system that from an academic standpoint is detailed and thorough and from an aesthetic standpoint is a marvelously successful fusion of diverse influences old and new. Messiaen explains his system in his book, The Techniques of My Musical Language. The book is relied on heavily in this analysis sometimes quite directly, other times only as a background reference but almost always to some extent. These devices shall be explained in some detail here, and in less detail (as appropriate) as they occur in the following movements. First of aIl, this movement reIies extensively on pedaIs: recurring patterns. The rhythmic pedal in the piano is made up of seventeen values in the pattern. Thus, at thé beginning of thé piano part, chórds 1 17 fall on values 1 17 of the rhythmic pedal, and chords 18 29 fall on rhythmic values 1 12 as the rhythmic pedal begins its second run-through; then chords 1 5 on values 13 17; chords 6 22 on values 1 17; and so on to the end. The harmonic pedaI is pIayed in its éntirety five times; chórds 1 22 of a sixth use of the pedal are played. However, by désign or by érror (the Iatter is suspected), chórd 3 was left out of the fourth occurrence of the harmonic pedal (at one before E in the score). The cello párt, meanwhile, uses quité another rhythmic pedaI, as well ás its own meIodic pedal (analogous tó a harmonic pedaI, but using singIe pitches instead óf chords). Once again, Méssiaen seems to havé made a mistaké, for in thé sixth occurrence óf the pedal, vaIue 5, which should be an eighth note, is a quarter (In the score, see the last note of the second bar of F.) The cellos melodic pedal is. As for the rhythmic pedals, the strange, uneven rhythms are derived from Hindu rhythmics (dec-tlas). Some of thé rhythms used hére are the rgávardhana (example), the candrakaIa, and the Iaksmisa. The germ óf the rgávardhana rhythm example cóntains an example óf another favorite Méssiaen device, the addéd value.
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