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A Obra para Órgão de Olivier Messiaen (1908-1992). Messe de la Pentecôte (1949-50). Coisas visíveis e invisíveis
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A Messe de la Pentecôte de Olivier Messiaen é uma das obras mais emblemáticas para órgão do compositor francês, resultando, segundo a descrição do próprio, do acumular de improvisações desenvolvidas na Église de la Sainte-Trinité, em Paris. O estudo da origem e significado destas improvisações é importante para obter uma visão do processo criativo do compositor neste período, marcado por intertextualidade e novos processos de composição. Os manuscritos que estiveram na origem da obra foram apenas recentemente disponibilizados pela Biblioteca Nacional Francesa, tendo sido observados para a realização deste estudo. A análise da Messe foi feita segundo um modelo original criado para este estudo considerando diversos elementos de composição, modelo esse elaborado com base na investigação efetuada aos manuscritos do compositor. O modelo de análise de Messiaen foi também utilizado para criação de termos comparativos. Os resultados desta tese apontam para o facto de Messiaen ter utilizado em particular três elementos na criação da Messe: improvisação, citações de obras prévias e centonização. Esta tese demonstra ainda interligações entre estes três elementos. A Messe será apresentada num recital na Igreja de Nossa Senhora do Cabo, em Linda-a-Velha, em que serão salientadas do ponto de vista auditivo as conclusões identificadas na análise. Neste recital serão ainda interpretadas obras de temáticas e registação semelhantes às da Messe, de Nicholas de Grigny e Charles Tournemire.
Olivier Messiaen’s Messe de la Pentecôte is one of the French composer’s most symbolic pieces for organ – one that, according to the composer himself, results from considerable improvisation at Église de la Sainte-Trinité in Paris. Investigating the origin and meaning of these improvisations is important to allow an understanding of the creative process of the composer during this period, a process that embraced intertextuality and new musical composition processes. The manuscripts that were the basis for the Messe were only recently made available by the National Library of France, and were observed under the scope of this study. The analysis of the Messe was conducted with an original model developed purposefully for this investigation, which considered several elements of musical composition; this model was developed as a result of preliminary research into the composer’s manuscripts. The model of analysis by Messiaen was also used here for comparison. The findings in this thesis point to a considerable utilization of three composition elements in the development of the Messe: improvisation, self-quotations and centonization. This thesis also demonstrates connections between these elements. The Messe will be interpreted at a recital at Igreja de Nossa Senhora do Cabo, in Linda-a-Velha, where the conclusions of the analysis will be auditorily highlighted. This recital will also include the interpretation of pieces with a similar theme and registration to that of the Messe, by Nicholas de Grigny and Charles Tournemire.
Olivier Messiaen’s Messe de la Pentecôte is one of the French composer’s most symbolic pieces for organ – one that, according to the composer himself, results from considerable improvisation at Église de la Sainte-Trinité in Paris. Investigating the origin and meaning of these improvisations is important to allow an understanding of the creative process of the composer during this period, a process that embraced intertextuality and new musical composition processes. The manuscripts that were the basis for the Messe were only recently made available by the National Library of France, and were observed under the scope of this study. The analysis of the Messe was conducted with an original model developed purposefully for this investigation, which considered several elements of musical composition; this model was developed as a result of preliminary research into the composer’s manuscripts. The model of analysis by Messiaen was also used here for comparison. The findings in this thesis point to a considerable utilization of three composition elements in the development of the Messe: improvisation, self-quotations and centonization. This thesis also demonstrates connections between these elements. The Messe will be interpreted at a recital at Igreja de Nossa Senhora do Cabo, in Linda-a-Velha, where the conclusions of the analysis will be auditorily highlighted. This recital will also include the interpretation of pieces with a similar theme and registration to that of the Messe, by Nicholas de Grigny and Charles Tournemire.
Descrição
Gravação do Recital final para consulta na Biblioteca Mário Sottomayor Cardia
Palavras-chave
Orgão Igreja Olivier Messiaen Messe de la Pentecôte Música para Órgão Análise Musical Registação Organ Music Musical Analysis Registration