André Jolivet: music, art and literature
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| Other Authors: | |
|---|---|
| Format: | Musical Score Book |
| Language: | English |
| Published: |
London ; New York
Routledge, Taylor & Francis Group
2019
|
| Series: | Music and literature
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| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Physical Description: | xxxix, 329 Seiten Illustrationen, Notenbeispiele |
| ISBN: | 9781472442956 |
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MARC
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Record in the Search Index
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| adam_text | Contents
List of figures and tables ix
List of music examples xii
Notes on the contributors xiv
Acknowledgements xix
Editor’s note xxi
Chronology of Jolivet’s life and works xxii
CAROLINE RAE
Introduction: Jolivet in context 1
CAROLINE RAE
PARTI
Style and process 13
1 Jolivet and the style incantatoire: aspects of a hybrid tradition 15
JULIAN ANDERSON
2 Inside the composer’s workshop: Jolivet’s manuscripts at
the Bibliothèque nationale de France 41
CATHERINE MASSIP
3 Jolivet’s early music theory and its practice in the Cinq
danses rituelles (1939) 68
DEBORAH MAWER
4 Épithalame (1953): a case study for voices 85
LUCIE KAYAS
viii Contents
PART II
Influences 105
5 Jolivet and the visual arts: interactions and influences 107
CAROLINE RAE
6 An exploration of Jolivet’s vocal works 132
CHRISTINE JOLIVET-ERLIH AND CATHERINE MASSIP
7 The anxiety of exoticism: André Jolivet’s relationship with
non-Western musics 159
CAROLINE POTTER
8 Jolivet revisited: Messiaen’s borrowings from the works of
the 1930s 173
YVES BALMER, THOMAS LACÔTE AND CHRISTOPHER BRENT MURRAY
9 Sourcing Jolivet’s compositional aesthetic: literary
influences and his library 194
CAROLINE RAE
PART III
Activities 215
10 Jolivet and the USSR 217
CHRISTINE JOLIVET-ERLIH
11 Jolivet as critic: a mirror of music during the Occupation 252
NIGEL SIMEONE
12 Jolivet as teacher: programme, method and philosophy 268
PASCAL TERRIEN
13 Jolivet and the function of performance 286
JEAN-CLAIRE VANÇON
Bibliography 309
Index 315
Figures and tables
Figures
L1 André Jolivet’s signature. xx
11.1 Paul Le Flem, Jolivet’s teacher and life-long friend, on holiday
in Brittany in 1932. 3
11.2 Jolivet (right) with Varèse in Spain, 1933. 4
11.3 Leaflet for the first concert of La Spirale, 12 December 1935. 5
11.4 Le Groupe Jeune France: publicity photograph (with the
composers’ signatures). From left to right: André Jolivet, Yves
Baudrier (seated), Olivier Messiaen, Jean-Yves Daniel-Lesur. 6
ii.5a Poster for the inaugural concert of Le Groupe Jeune France,
Salle Gaveau, 3 June 1936. 7
ii. 5b Programme of the inaugural concert of Le Groupe Jeune
France, 3 June 1936. 8
iii. 1 Part I (title page): Jolivet (in a cold studio) during the
recording sessions for his Piano Concerto, Paris 1966. 13
111.2 Part II (title page): Jolivet in Pompeii, Easter 1957. 105
111.3 Part III (title page): Jolivet rehearsing Cérémonial in
memoriam Varese, Geneva, December 1971. 215
1.1 Jolivet at the ancient Mayan city of Uxmal during his visit to
Mexico in August 1964 for the premiere of his Third Symphony. 31
2.1 Kleenex box fragment on which Jolivet rapidly notated the
opening theme of his Second Cello Concerto. 43
2.2 Extract from the manuscript of Jolivet’s Piano Concerto
showing his drawing of a pair of glasses (bar 4) and deletion
of his original title Équatoriales. 45
2.3 Jolivet, Violin Concerto, second movement. Working
manuscript, ‘particelle’ with time durations. 49
2.4 Jolivet, First Symphony. Preparatory ‘dossier’. 50
2.5 Extract from the ‘particelle’ of Jolivet’s First Symphony
showing his deletions and the inserted reference points in crayon. 52
2.6 Jolivet, Second Symphony. Preparatory ‘Dossier’. 54
4.1 Jolivet with the theatre designer Bernard Day dé (right) during
the Comédie-Française tour to Egypt in March 1950. 87
x Figures and tables
4.2 Kamatic scale No. 2 showing the semitones. 97
4.3 Kamatic scale No. 26 showing the mapping of the vocalise
septénaire’. 97
4.4 Jolivet’s construction of a 10-note mode based on Kamatic
scale No. 60. 98
5.1 André Jolivet, untitled watercolour (ca. 1925-1927,
13.8 x 17.5 cm). 117
5.2 The two brass lions Jolivet kept on his composing desk
together with copies of the Guide des œuvres (2006) showing
one of the composer’s self-portraits ca. 1927. 117
5.3a Jolivet’s Pleyel (manufactured 1905) on which he
composed Mana. 120
5.3b The keyboard and pedals of Jolivet’s Pleyel. 120
5.4 Jolivet’s Mana drawings as on the cover of Costallat’s
published score. 122
5.5 Jolivet’s individual drawings of the Mana objects. 123
5.6 Jolivet’s original designs for the Mana score-cover and title page. 124
5.7 Jolivet’s drawing for Durand’s published score of Trois
complaintes du soldat. 126
6.1 Jolivet in uniform, June 1940, around the time he composed
the Trois complaintes du soldat and received the Croix de guerre. 135
6.2 Poulenc’s personal inscription to Jolivet in the published score
of Dialogues des Carmélites. 146
7.1 Jolivet ‘playing’ an imaginary flute, Dresden 1962. 162
9.1 Jolivet relaxing, Dresden 1962 209
9.2 Jolivet’s pipe collection with a copy of his favourite
recreational reading, a detective novel by San-Antonio. 210
10.1 Rostropovich’s note of thanks to Jolivet for the score of the
Suite en concert. 228
10.2 Jolivet in front of his concert poster for the Moscow Radio
Symphony Orchestra concert, April 1966. His name, in
Russian, appears in large capital letters at his back. From left
to right: Alexandre Korneyev, Hilda Jolivet, Vera Dulova and
André Jolivet. 229
10.3a Vera Dulova’s concert programme for the Third National
Convention of the American Harp Society (June 1966)
featuring the premiere of Jolivet’s Prélude for harp. 231
10.3b Poster for Vera Dulova’s Moscow recital of 18
December 1966 showing Jolivet’s Prélude for harp (third
in the list). 232
10.4 Poster for the French premiere of Tikhon Khrennikov’s Piano
Concerto, Maison de l’ORTF, Paris, 4 November 1966. 235
10.5 Clara Khrennikov’s drawing of her grandson’s foot for Hilda
Jolivet to purchase ‘baby booties’ in Paris. 237
10.6 Programme of the USSR State Symphony Orchestra concert
of 6 January 1967 featuring the premiere of Jolivet’s
Figures and tables xi
Second Cello Concerto by Rostropovich, with the composer
conducting. (Jolivet’s concerto follows the Haydn with the
Dvofâk after the interval.) 238
10.7 Rostropovich and Jolivet returning to the platform at the
premiere of Jolivet’s Second Cello Concerto, Moscow, 6
January 1967. 238
10.8 From left to right: Jolivet, Rostropovich and Khrennikov in
the green room after the premiere of Jolivet’s Second Cello
Concerto Moscow, 6 January 1967. 239
10.9 Programme for Jolivet’s concert with the Kiev Philharmonic
Orchestra and Valery Kastelsky, Kiev 11 January 1967. 240
10.10 Programme for the French premiere of Jolivet’s Second Cello
Concerto given by Rostropovich and the Orchestre Radio-
Symphonique de Strasbourg under Charles Bruck, Strasbourg
Festival, 15 June 1967. 242
12.1 Publicity leaflet for the Conférences Musicales André Jolivet, 1959. 273
12.2 The cover of Jolivet’s Beethoven monograph (Paris, 1955)
designed by the artist Albert Huyot (1872-1968). 275
13.1 Jolivet rehearsing the choir and orchestra of the RTF for
the premiere of La Vérité de Jeanne at the quincentenary
celebrations of Joan of Arc in Domrémy, May 1956. 288
13.2a Jolivet in rehearsal during his 1959 concert tour to Japan. 301
13.2b Jolivet in rehearsal during his 1959 concert tour to Japan. 302
Tables
1.1 Defining Features of the Style incantatoire 18
1.2 Works in the Incantatoire Tradition: Melody, Line, etc. 19
1.3 Works in the Incantatoire Tradition: Texture 20
1.4 Works in the Incantatoire Tradition: Harmony 21
1.5 Works in the Incantatoire Tradition: Duration, Rhythm, Metre 22
1.6 Works in the Incantatoire Tradition: Form and Society 23
4.1 Épithalame: Structural Synopsis 88
4.2 Jolivet’s Adaptations of the Egyptian Text Translated by
Mardrus: Second Movement 88
4.3 Jolivet’s Adaptations of the Egyptian Text Translated by
Mardrus: Third Movement 89
4.4 Jolivet’s Adaptations of Egyptian Text Translated by Mardrus:
Fifth Movement 90
4.5 Symbolism and Pitch Associations Defined by Mardrus for the
‘Vocalise septénaire’ 93
4.6 Jolivet’s Structural Revisions to Épithalame 100
12.1 Jolivet’s Notes on the Craft of Musical Composition 277
12.2 Jolivet’s Notes on the Characteristics of Student and Teacher 281
Music examples
3. Î Harmonic series with fundamental on C 70
3.2 Jolivet, Cinq danses rituelles pour piano, ‘Danse initiatique’
(bars 23-24) 73
3.3 a Jolivet, Cinq danses rituelles pour piano, ‘Danse nuptiale’ (bar 5) 74
3.3b Jolivet, Cinq danses rituelles pour piano, ‘Danse nuptiale’ (bar 56) 74
3.4 Jolivet, Cinq danses rituelles pour piano, ‘Danse funéraire’
(bars 20-21) 75
3.5 Jolivet, Cinq danses rituelles pour piano, ‘Danse du rapt’
(bars 25-28) 76
3.6 Jolivet, Cinq danses rituelles pour piano, ‘Danse initiatique’
(bars 5-7, 8-9, 10-11 ; treble line) 77
3.7 Jolivet, Cinq danses rituelles pour piano, ‘Danse initiatique’
(bars 1-3) 78
3.8 Jolivet, Cinq danses rituelles, ‘Danse du rapt’ (bars 1-9;
reduced score) 81
4.1 Jolivet Épithalame, ‘vocalise septénaire’ IAÉOÔUÊ (fig. 5 of
the score) 94
4.2 Jolivet Épithalame, ‘Ouvrons les Portes de l’Amour’ (fig. 2 of
the score) 94
4.3 Jolivet Épithalame, AIÔOiÉ (fig. 37+5 bars, p. 79 of the score) 95
4.4 Jolivet Épithalame, sopranos 1 and 2 (fig. 79 of the score) 96
4.5 Jolivet Épithalame, ‘Fais un heureux jour’ (fig. 7 of the score) 99
7.1 Jolivet, Cinq incantations ‘Pour que la moisson soit riche
[...]’ (opening) 162
7.2 Jolivet, Piano Concerto, Allegro deciso (movt. 1, bars 26-30) 164
7.3a Taira, Hiérophante IV, ‘Frémissant’ (opening) 168
7.3b Jolivet, Cinq incantations, ‘Pour que l’enfant qui va naître soit
un fils’ (opening) 168
7.4 Taïra, HiérophonieIV, ‘Méditatif’ (opening) 169
8.1 From left to right: the three-chord formula derived from
Jolivet’s Cinq danses rituelles, ‘Danse nuptiale’ (bars 3—6);
the alteration of the ‘Danse nuptiale’ harmonies to create the
accords tournants; transformation of chords 1 and 3 of the
xiii
175
176
177
177
177
177
178
179
181
182
182
183
183
184
184
184
185
187
Music examples
accords tournants via selective transposition in Messiaen’s
‘La Grive musicienne’ (bar 63)
Jolivet, Mana, ‘Beaujolais’ (bars 29-33)
Messiaen’s re-use of the ‘Beaujolais’ complex in ‘Le Traquet
stapazin’ (bar 5), Catalogue dyoiseaux
Messiaen’s re-use of the ‘Beaujolais’ complex in ‘Amen des
Anges, des Saints, du chant des oiseaux’ (bar 133, piano II),
Visions de l Amen
Messiaen’s re-use of the ‘Beaujolais’ complex in ‘Montagnes’
(bars 6-7), Harawi
Messiaen’s re-use of the ‘Beaujolais’ complex in ‘Katchikatchi
les étoiles’ (end of bar 13, piano part only), Harawi
Messiaen’s re-use of the ‘Beaujolais’ complex in Neumes
rythmiques (beginning of bar 9)
Messiaen, Trois Petites Liturgies, ‘Séquence du Verbe,
Cantique Divin’ (bars 21-24)
Rhythmic borrowing from Jolivet’s Cinq danses rituelles in
Messiaen’s Cantéyodjayâ, ‘piccoulanéki’ (bars 178-190)
Jolivet, Cinq danses rituelles, ‘Danse nuptiale’ (bars 1—8)
The ‘rhythmic theme and a series of four variations’ from
Jolivet’s Cinq danses rituelles, ‘Danse initiatique’ (bars 51—56)
as presented in Messiaen’s Traité, tome II, p. 417
Jolivet, Cinq danses rituelles, ‘Danse initiatique’ (bars 51-52)
Rythmic borrowing from Jolivet’s Cinq danses rituelles in
Messiaen’s Cinq rechants, II, tenor voice (bars 54—60)
Jolivet, Cinq incantations, ‘Pour que l’enfant qui va naître soit
un fils’ (bar 4)
Messiaen, Cinq rechants (section 1, bars 3-7)
Messiaen, Messe de la Pentecôte, ‘Offertoire’ (Les choses
visibles et invisibles) (bars 50-54)
Rhythmic borrowing from Jolivet’s Cinq incantations in
Messiaen’s Technique de mon langage musical and Messe de
la Pentecôte
Olivier Messiaen, reduction of‘Turangalîla 1’, rehearsal fig. 6,
from the Traité, vol. II
|
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| spelling | André Jolivet music, art and literature edited by Caroline Rae London ; New York Routledge, Taylor & Francis Group 2019 xxxix, 329 Seiten Illustrationen, Notenbeispiele txt rdacontent ntm rdacontent n rdamedia nc rdacarrier Music and literature Jolivet, André 1905-1974 (DE-588)118776312 gnd rswk-swf Jolivet, André / 1905-1974 / Criticism and interpretation Jolivet, André / 1905-1974 Music / 20th century / History and criticism Composers / France Composers Music France 1900-1999 Criticism, interpretation, etc Jolivet, André 1905-1974 (DE-588)118776312 p DE-604 Rae, Caroline (DE-588)1047136244 edt Erscheint auch als Online-Ausgabe, eBook 978-0-4294-2925-5 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030764440&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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