Vox Humana (The American Organist) -

M. Jackson Osborn

For those who are members of the AGO, there is a fine, very fine, interview with the Messiaen scholar, Hans Ola Ericsson, on the current 'issue' of Vox Humana, the on-line companion to 'The American Organist'. As a student of Messiaen's who has recorded the complete works and is a widely respected Messiaen scholar, he brings an interesting perspective to Messiaen's work. He shares personal experiences of Messiaen, and relates how he played all of Messiaen's bird calls for a society of ornithologists, who correctly identified each of the various bird-calls that Messiaen had used in his compositions. Too, there is interesting detail about Messiaen's oeuvre in general.

It is a shame that the level of scholarship found on Vox Humana is but infrequently encountered within the pages of 'The American Organist' itself.

Perhaps some of our forum members would care to relate their own experiences with this brilliant-if-controversial composer, whom some have dubbed the XXth century Bach.

CharlesW

My only experience with him is hearing some dreadful pieces played by student organists - not very advanced, but younger students. Perhaps I should listen to some recordings by first-rate organists.

In all my years, I had not heard of that publication. Looking into it. You are correct about the American Organist.

XXth century Bach: I hope there will never be another Bach to inflict on poor organ students.

francis

Not a Bach by any stretch

CharlesW

One was quite enough. LOL.

I am really not familiar with Messiaen, but am a big fan of his teacher Dupre.

M. Jackson Osborn

Yes, well while I have heard him referred to as 'the Bach of the XXth century', I cannot, though I like most of his music, accept him as a Bach. His music, unlike Bach's, blazes new trails and has little of moorings in what he inherited. There are no sacred works on a cantus firmus, no masses, no hymn- or chant-based works. In short, there are not the encyclopoedic dimensions, the catholic breadth, of Bach's oeuvre. Finally, Bach would never have stooped to have written anything for the ondes martinot. He didn't even like the pianos that he encountered.

Carol

MJO, thank you for using "oeuvre"! I thought no one would use it today, and I like it woven into my conversation at least once/day! LOL, sorry for the levity, but I really appreciate the vocabulary and urbanity of those who frequent this forum!

I learned a new word today! My 91 year old mother called me an AMANUENSIS today and I had to look it up to find out whether or not to be insulted. I am thankful that she considers me such a person. Run to those dictionaries or Google away, friends!

M. Jackson Osborn

Pretty sharp! your 91-year-old mother!
AMANUENSIS indeed!

CHGiffen

I am really not familiar with Messiaen, but am a big fan of his teacher Dupre.

I have found Messiaen's music interesting and often appealing. He was a real trail-blazer. And I, too, have been a big fan of Dupre; moreover, I purchased my (used) Steinway piano with the advice and consultation of a student of Dupre's and her husband. She was a brilliant musician, equally adept at the organ, harpsichord, and piano.

Carol

I must confess that I was not a fan of the organ until fairly recently. My nephew is an organist and in the beginning I thought some of the pieces sounded like someone leaning on the manuals with both of their forearms. I have acquired a taste for more esoteric pieces over time and have heard some Messiaen that I have enjoyed, if I recall correctly. Are they more "atmospheric" than lyrical?

M. Jackson Osborn

There is lyricism there (in places), but it is well disguised.
'Atmosphere' they definitely have!

CHGiffen

Messiaen;s monumental four-movement "L'Ascension" ...

Original for orchestra (Frankfurt Symphony Orchestra, Hugh Wolff, conductor):
https://www.youtube.com/watch?v=uiYhHupPPFg

Transcription/arrangement for solo organ (Olivier Latry, organist, played from memory):
https://www.youtube.com/watch?v=L1Qxixombe0

1. Majesté du Christ demandant sa gloire à son Père ("The majesty of Christ demanding its glory of the Father")

2. Alleluias sereins d’une âme qui désire le ciel ("Serene alleluias of a soul that longs for heaven")

3 (orchestral version). Alleluia sur la trompette, alleluia sur la cymbale ("Alleluia on the trumpet, alleluia on the cymbal")
3 (organ version). Transports de joie d'une âme devant la gloire du Christ qui est la sienne ("Outbursts of joy from a soul before the glory of Christ which is its own glory")

4. Prière du Christ montant vers son Père ("Prayer of Christ ascending towards his Father")

Note that Messiaen transcribed movements 1, 2, and 4 for organ but composed a different movement 3 for the organ version. The "Transports de joie..." is splendid.

Addition: Here is a performance of the orchestra version with a scrolling orchestral score, for those who might wish to follow the score:
https://www.youtube.com/watch?v=sXxHBSazWmE

Richard Mix

Sometimes I feel like Musica Sacra is mission territory.

Messiaen has indeed written numerous chant based works (even including a cantus firmus treatment of Puer Natus) and an (organ) Messe de la Pentecôte. If he only produced a single a cappella gem a little blame lies with the 'Mother of the Arts': let's remember also that it was the secular town council of Leipzig that was responsible for Bach's cantata cycles. Bach, for his part, never wrote an opera on St. Francis or a Symphony on the scale of Éclairs sur l'au-delà.

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