Messiaen---from Vingt Regards sur L'Enfant-Jesus

Olivier Messiaen--(1908-1992)

The "Twenty Adorations of the Infant Jesus", composed in 1944, form a meditation on the Nativity of Christ. Although Messiaen has said that the best subjects for musical settings are theological ones, the best known and most controversial aspect of his style is his study of bird song, and its profound influence on his compositions. Nevertheless, according to Pierre Boulez, "what is interesting for the musician is the way he uses his fundamental idea to make a musical work out of it." Whatever the differences may be between his style and that of Villa-Lobos, they share a complex texture made of many diverse elements. In the 1920's Messiaen heard Villa-Lobos' music in Paris, and was influenced by his daring use of piano sonority, for which both composers were also indebted to Debussy.

Four musical themes recur throughout the "Vingt Regards", representing God, mystical love, "the Star and the Cross," and universal harmony (the "Theme of Chords"). In the "Regard du Pere" ("Adoration of the Father"), it is as if Time has stopped and Eternity itself is put to music, imbuing the work with a magical quality. About the "Regard de l' Esprit de Joie" ("Adoration of the Spirit of Joy"), Messiaen has written:

"The fact that God is happy has always impressed me - and that this unceasing ineffable joy also inhabited the soul of Christ. A joy which, for me, is a rapture, an ecstasy in the craziest sense of the term."

After an introductory oriental dance, the Theme of Joy is developed for the first time. Then we hear three variations on a victorious air de chasse, or hunting song. In the second development, the Theme of Joy combines with the Theme of God, heard in the previous movement on this disc. The oriental dance reappears, in unison in the extreme treble and bass. A coda on the Theme of Joy concludes the work.

Sonia Rubinsky