Listening to Messiaen’s colourful hands

Arjen Berends

Name: Arjen Berends Main subject: Master Theory of Music Supervisor: Dr. Bert Mooiman Title of Research: Listening to Messiaen's colourful hands Subtitle: Analysing harmony and voice leading in the two homorhythmic chorales from Messiaen’s La Transfiguration de Notre Seigneur Jésus-Christ. Research question: How to analyse harmony and voice leading in the two homorhythmic chorales from Messiaen’s La Transfiguration de Notre Seigneur Jésus-Christ? Abstract Olivier Messiaen (1908-1992), one of the most famous French composers of the 20th century, was also known to be a great organist and improviser, as organist of Église de la Sainte-Trinité in Paris for over 60 years. His huge oratorio La Transfiguration de Notre Seigneur Jésus-Christ, composed 1965-1969, includes two entirely homorhythmic movements entitled ‘Choral’. As a listener, I am fascinated by Messiaen's extraordinary approach to harmony. The aim of this research is, therefore, to attempt to understand how best to analyse Messiaen's unique harmonic language. Many approaches to analysing Messiaen’s music are vertically orientated, including his own way of describing his use of harmony. He himself never discussed the horizontal aspects of his music. Because of his coloured hearing synaesthesia (son-couleur), Messiaen's analyses are particularly special in their manner of addressing the colours of certain chords. A colour analysis by Messiaen therefore may give the listener some insight in the way Messiaen might have perceived his music. This research includes videos with the music and paintings of the colour analyses by Messiaen and two other musicians with synaesthesia of one of the chorales, specially made for this research. Considering Messiaen’s own lack of emphasis on horizontal aspects of his music, is it possible to understand Messiaen’s music from a horizontal perspective as well? Since the two chorales are homophonic and homorhythmic, the bass and soprano are the most important voices. These parts can be perceived clearly, but the attention of the listener is also caught by other aspects such as the complexity of the chords. It is difficult to determine the precise voice leading of the inner parts because it is ‘blurred’ by the varied orchestration, but by way of harmonic reductions of the chorales, Messiaen’s horizontal compositional techniques can be clarified. This research includes a harmonisation of a melody by Messiaen in the style of the chorales in La Transfiguration. Biography Arjen Berends teaches music theory and arranging at the conservatories of The Hague and Utrecht. He graduated in music education at the Utrecht Conservatory, where he also studied classical piano with Henk Ekkel and Martyn van den Hoek. At the Royal Conservatoire of The Hague he completed his studies in music theory with Paul Scheepers, Arie Boers, Diderik Wagenaar, and Ineke Kien. He is répétiteur of Toonkunstkoor Amsterdam conducted by Boudewijn Jansen; he has previously worked with choral conductors such as Louis Buskens, Iassen Raykov and Béni Csillag.

Acknowledgments

This research project was part of my master’s studies in Music Theory at the Royal Conservatoire, The Hague. Bert Mooiman was a thoughtful supervisor and helpful in organising my thoughts, during and before the actual start of my research.

Many thanks to my colleagues in the ‘Master Circle’ who made critical remarks on my presentations, and where I frequently presented the progress of my research over the last two years. I much appreciate the motivating and professional way Paul Craenen led these meetings.

On several topics I had the opportunity to contact inspiring experts with whom I spent time in online meetings or phone calls to discuss specific issues related to my research: I enjoyed several sessions with Michiel Schuijer on Forte’s pitch-class set theory; Christopher Neidhöfer was so kind to meet online to discuss his important articles on Messiaen’s harmony and counterpoint; with Daan Manneke I talked about Messiaen’s music, harmony as well as many other Messiaen-related topics.

I’m grateful that Laura van Rhee and Emma Rhebergen took the time to make their own colour analysis of one of the Messiaen chorales; a special thanks to my wife who made beautiful paintings of all these colours.

Since I’m not a native speaker, I was happy to have some support in writing this text in English. Many thanks to Tim Braithwaite for reading, correcting and advising me in language matters. On some specific language issues Anne Hodgkinson helped me; Stephen Taylor was so kind to help me with the translations of the German quotes; Patrick Ploum helped with the transcription and translations from French.

I would like to thank my family and family in law, especially my wife for being supportive during the last two years.

Arjen Berends, May 2022

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