The seventh of the Harawi songs is an adieu. It alternates between a melody in the key of E-flat that we’ve already encountered in the second song (Bonjour toi, colombe verte) and bell/gong-like sections for piano alone; if the earlier song was a greeting, this is a goodbye.
In Turangalîla, the sixth movement (Jardin du sommeil d’amour [The garden of love’s sleep]) is marked Très modéré, très tendre; it consists of the long, slow love theme in the ondes and strings which is surrounded by a nimbus of bird song on piano and woodwind.
Olivier Messiaen:
Harawi
VII. Adieu
Turangalîla-symphonie:
Jardin du sommeil d’amour
I. Introduction 0:00:48
II. Chant d’amour 1 0:07:31 ∙
III. Turangalîla 1 0:15:58 ∙
IV. Chant d’amour 2 0:21:30
V. Joie du sang des étoiles 0:32:56
VI. Jardin du sommeil d’amour 0:39:53 ∙
VII. Turangalîla 2 0:52:02
VIII. Développement de l’amour 0:55:45
IX. Turangalîla 3 1:07:25
X. Final 1:12:38 ∙
Vincent d’Indy:
The teacher
Vincent D’Indy (1851-1931) came from aristocratic lineage and was a pupil and friend of César Franck. Dissatisfied with the standard of teaching at the Conservatoire he founded the rival Schola Cantorum de Paris where he taught and eventually became principal. At both the Conservatoire and the Schola Cantorum he had a number of distinguished pupils: Magnard (see below); Roussel; Honegger; Milhaud; unlikely as it may sound, Satie; and, even more unlikely, Cole Porter (he didn’t stay!)
The Franco-Prussian war caused a schism amongst French composers. There were those who wanted to unGermanify (is there such a word?) their music, resulting in the sound worlds of Debussy and Ravel; and then there were the followers of César Franck; who, despite the war, still saw the Germans as presiding over the ‘great tradition’ of music. Broadly, the Schola Cantorum was pro-German.
Jour d’été à la montagne, Op. 61
Aurore (Très modéré)
Jour (Après midi sous les pins) (Très modéré) 8:29
Soir (Très animé et joyeux) 21:06
Albéric Magnard
The pupil
Magnard (1865-1914) wrote four symphonies, the first of which he dedicated to d’Indy. They are all distinguished examples of the Franckist, Gallo-Teutonic tradition:
Symphony No. 4 in c-sharp
I. Modéré – Allegro ( 0:00 )
II. Vif ( 12:12 )
III. Sans lenteur et nuancé ( 17:54 )
IV. Animé ( 31:32 )
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The Art of Listening 