Lot n° 54
Estimation :
30000 - 40000
EUR
Result with fees
Result
: 19 500EUR
messiaen Olivier (1908-1992). - Lot 54
messiaen Olivier (1908-1992).
autograph musical manuscript signed "Olivier Messiaen", Livre d'orgue. 7 pieces for organ (1952); 1 title leaf and 61 folio pages in folders.
Complete manuscript of these seven pieces for organ, a true synthesis of Messiaen's musical discoveries.
Following on from his Messe de la Pentecôte, Messiaen continues his exploration of sound fields with the seven pieces of this Livre d'orgue, written in Paris and in the mountains of Dauphiné in 1951-1952. The Livre d'orgue was published in March 1953 by Alphonse Leduc, and premiered by Messiaen the following April 23 in Stuttgart for the inauguration of the organ at the Villa Berg. The Paris premiere in the Trinité church, on March 21, 1955, as part of the Domaine musical concerts, gave rise to an incredible stampede: Pierre Boulez, expecting few people, had wanted to let the public in through a small side door; however, a gigantic crowd crowded around the church, grabbing each other, and Messiaen had a lot of trouble getting in. "All of Messiaen's rhythmic technique is summed up in the seven parts of this book, a magnificent synthesis in which the songs of birds and the other elements of his language enter; in the same way, the essence of his thought is concentrated with such vigor that it touches on an ideal that is always coveted, if not achieved. [...] intensities, timbres and durations have an equal importance to sounds. In each of the seven pieces, Messiaen solves a particular technical problem" (Pierrette Mari). In a language marked by dodecaphonism and the serial spirit, with the rhythmic complexities developed by Messiaen, in particular from Hindu rhythms, the work proves to be a formidable difficulty of execution; it lasts about 45 minutes. The manuscript is beautifully calligraphed in black ink on 16-line American Parchment Brand de Belwin paper. Messiaen has added fingerings in pencil. He carefully noted at the beginning of each piece the registration, very often the date and place of writing, as well as a sacred text in exergue, and the technical problem implemented in the piece. At the end of each piece, he noted (or thereabouts): "copy reread and well / manuscript good to reproduce on engraving". I. Reversals by Interversion. "3 Hindu rhythms: pratâpaçekhara, gajajhampa, sârasa - treated as rhythmic characters: pratâpaçekhara increases by one [triple eighth note] per value at each repetition; gajajhampa starts in exaggerated form, and decreases by one [triple eighth note] per value at each repetition; sârasa does not change. - The same music is then repeated: from the extremes to the center, then from the center to the extremes, then demoted. (1951 - Paris). Moderate (pages 1-6). II. Trio piece. "Now we see in a mirror, in a dark way..." (St. Paul, 1st Epistle to the Corinthians, XIII, 12) (1951 - Paris) (for Holy Trinity Sunday) (varied Hindu rhythms, monetized, and treated in irrational values). Moderate (p. 7-10).
III. The hands of the abyss. "The abyss has raised its cry! the depth has raised its two hands!" (Prophet Habakkuk, III, 10) (for times of penitence) (1951 - Dauphiné mountains, Romanche valley) (reversals on 3 Hindu rhythms: manthikâ 1st, exaggerated form, does not change - manthikâ 2nd and mallatâla each increase by one [triple eighth note] per value, at each repetition). Well moderated (p. 11-18). IV. Birdsongs. "Afternoon of the birds: blackbird, robin, music thrush - and nightingale when night comes... (for Easter time) (1951 - Perrin de Fuligny meadow; St Germain en Laye forest; Gardépée branderaie, Charente)". Moderate (Hindu rhythm miçra varna), then almost lively and fanciful (blackbird), etc. (p. 19-27). V. Trio piece. "From Him, through Him, for Him are all things" (St Paul, Epistle to the Romans, XI, 36) (for Holy Trinity Sunday) (1951 - in front of the glaciers of the Râteau, the Meije and the Tabuchet). "Upper staff : interversions of 3 Hindu rhythms (rangapradîpaka, caccarî, sama). Rangapradîpaka is increased from the start by 2 [triple eighth notes] per value, it loses one [triple eighth note] per value at each repetition. Caccarî is decreased from the beginning by one [sixteenth note] per value, it gains one [sixteenth note] per value at each repetition. Sama never changes. - Then the previous inversions are repeated in retrograde order. Median staff : interversions of 3 Hindu rhythms (laya, bhagna, niççanka). Laya is increased by 7 [sixteenth notes] per value at each repetition. Bhagna never changes. Niççanka is augmented from the start by 2 [sixteenth notes] per value; it loses one [sixteenth note] per value with each repetition. There is no repeat. Pedal part: this is the main melody. Well moderated (p. 28-39). VI. Eyes in the wheels. "And
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