Birdsongs
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Birds - Messiaen on
birds
Birds are perhaps the earth’s original musicians. As such, their songs
have long been employed by composers. Examples abound in the Western tradition,
and can be found in works by Couperin, Beethoven, Wagner, and Stravinsky,
to name a few. Despite this, Messiaen’s use of birdcall is exceptional
both for its rigor and its importance to his music. The Quatuor is
one of the early manifestations of this importance. The opening material
for the clarinet and violin is marked, “like a bird,” and the
third movement, for solo clarinet, is titled, “Abime des oiseaux,”
or “Abyss of the birds.” In addition to the composer’s
commentary below, it is perhaps important for the Quatuor to remember the
importance of birds in prison literature. It is the birds alone who can
pass freely over the walls of the prison.
| The following are examples of Messiaen’s
use of birdcalls in the Quatuor from the clarinet and violin
parts. These excerpts are based on two birdsongs, those of the blackbird
and the nightingale. |
| 1. |
From Liturgy of Crystal, opening measures.
Marked, “like a bird.” |
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| 2. |
From Abyss of the Birds, first Presque vif. Marked,
“sunny, like a bird, very free in movement.” |
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| 3. |
From Abyss of the birds, second Presque vif. |
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| 4. |
From Liturgy of Crystal, opening measures. Marked,
“like a bird.” |
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| 5. |
From Liturgy of Crystal, fourth measure of rehearsal
E. |
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