【分享】[June 21][二十世纪音乐] 梅西安 -《基督升天》

[Cavendish]

作曲家简介：
（法）梅西安 Clivier Messiaen(1908－1992）

1908 年 12 月 10 日生於法國南部阿維濃，1992 年去世。
自 1931 年起，他就成為三一教堂（Llise de la Trinit^最年輕的正式管風琴師，一直到離開人世。
1936 年任教於巴黎師範音樂院（ole Normale de Musique de Paris），並與 Jolivet, Baudrier, Lesur 等人共組「年輕法國樂會」（La Jeune France），掀起新的作曲運動。
第二次世界大戰時入伍，但卻成了德軍的戰俘。獲釋後，於 1942 年任教於國立巴黎高等音樂院（Conservatoire National Supieur de Musique de Paris），擔任和聲學、樂曲分析、美學課程，他的分析課程獲得年輕音樂家們的尊崇，被譽為哲學、美學、高級作曲班。1966 年開始擔任作曲課程。
他的學生包括 Pierre Boulez、Karlheinz Stockhausen，以及 Iannis Xenakis 等都是當代知名的作曲家。
他的音樂傾向以天、地、人為主，即對上主的崇敬、人間的祝禱、大自然的歌頌，所以音樂對他而言，不僅僅是藝術，還是生命之火，永不熄滅的火。
身为“二战”前后的作曲家，梅西安对宗教题材的巨大热情曾在西方现代文化中带起一股不小的热情。如果纵观梅西安一生的经历，就可以理解梅西安所有的音乐主题——宗教、大自然与爱情——从何而来。出生在笃信天主教家庭的梅西安是一位虔诚的教徒，他从1930年起担任巴黎三一教堂的管风琴师，任职达40年之久。1940年，他被关入纳粹德国的集中营，1942年回国担任巴黎音乐学院的和声教授。
梅西安受象征主义美学影响，又有崇拜耶稣的宗教狂热，许多创作贯穿了神学思想。他讴歌大自然，因为这是造物主恩赐的杰作。他对自然界的反映，最终通过他长期对世界各地的鸟鸣研究和音乐化的再现来达到。其独特的鸟鸣在他的音乐中反复出现，不仅作为他音乐中的一个特征符号——象征大自然，更抒发了某种神秘意味的感恩之情。
梅西安被认为是第一首全面控制的音乐作品的作者。他的音乐技法与配器融合了神秘主义与实验精神，影响了西方现代主义音乐的思潮。我国的著名青年作曲家陈其钢就是梅西安的关门弟子，他可谓学到了梅的真传。


梅西安的主要作品有： 《上帝的诞生》 （1935）管风琴组曲
《对圣婴的凝视》 （1945）钢琴曲
《俳句七首》 （1963）
《三部小神迹剧》 （1945）
《黑色的鸟》
《异国之鸟》 （1955——1956）
《我主耶稣的变形》 （1969）
《五首合唱曲》


Olivier Messiaen -- L'ascension

1st movement
[MEDIA]http://www.u1006.dreamhosters.com/henry/messiaen/05.mp3[/MEDIA]

2nd movement
[MEDIA]http://www.u1006.dreamhosters.com/henry/messiaen/06.mp3[/MEDIA]

3rd movement
[MEDIA]http://www.u1006.dreamhosters.com/henry/messiaen/07.mp3[/MEDIA]

4th movement
[MEDIA]http://www.u1006.dreamhosters.com/henry/messiaen/08.mp3[/MEDIA]

[Cavendish]

Olivier Messiaen (IPA: [mɛsjɑ̃]; December 10, 1908 – April 27, 1992) was a French composer, organist, and ornithologist. He entered the Paris Conservatoire at the age of 11, and numbered Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré among his teachers. He was appointed organist at the church of La Trinité in Paris in 1931, a post he held until his death. On the fall of France in 1940 Messiaen was made a prisoner of war, and while incarcerated he composed his Quatuor pour la fin du temps ("Quartet for the end of time") for the four available instruments, piano, violin, cello, and clarinet. The piece was first performed by Messiaen and fellow prisoners to an audience of inmates and prison guards. Messiaen was appointed professor of harmony soon after his release in 1941, and professor of composition in 1966 at the Paris Conservatoire, positions he held until his retirement in 1978. His many distinguished pupils included Pierre Boulez, Yvonne Loriod (who later became Messiaen's second wife), Karlheinz Stockhausen, Iannis Xenakis and George Benjamin.

Messiaen's music is rhythmically complex (he was interested in rhythms from ancient Greek and from Hindu sources), and is harmonically and melodically based on modes of limited transposition, which were Messiaen's own innovation. Many of his compositions depict what he termed "the marvellous aspects of the faith", drawing on his unshakeable Roman Catholicism. He travelled widely, and he wrote works inspired by such diverse influences as Japanese music, the landscape of Bryce Canyon in Utah, and the life of St. Francis of Assisi. Messiaen experienced a mild form of synaesthesia manifested as a perception of colours when he heard certain harmonies, particularly harmonies built from his modes, and he used combinations of these colours in his compositions. For a short period Messiaen experimented with "total serialism", in which field he is often cited as an innovator. His style absorbed many exotic musical influences such as Indonesian gamelan (tuned percussion often features prominently in his orchestral works), and he also championed the ondes Martenot.

Messiaen found birdsong fascinating; he believed birds to be the greatest musicians and considered himself as much an ornithologist as a composer. He notated birdsongs worldwide, and he incorporated birdsong transcriptions into a majority of his music. His innovative use of colour, his personal conception of the relationship between time and music, his use of birdsong, and his intent to express profound religious ideas, all combine to make it almost impossible to mistake a composition by Messiaen for the work of any other western composer.

[因为所以]

谢谢楼主

[Cavendish]

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