Content provided in partnership with
Cathedral organist displays skill with Messiaen works
Deseret News (Salt Lake City), May 6, 2008 by Edward Reichel Deseret News
"OLIVIER MESSIAEN AND THE LANGUAGE OF MYSTICAL LOVE," Douglas O'Neill, organ, Madeleine Festival, Sunday
As one of the most significant composers of the 20th century, Olivier Messiaen holds a special place among his contemporaries. Unlike most other composers of the second half of the previous century, Messiaen was both a visionary and a traditionalist.
Messiaen was a visionary because he expanded the parameters of what were considered the norms in terms of harmonic language, structure and expression.
- Most Popular Articles in News
- The Ten Best Laptop bags
- Tata plans cheapest-ever car for Indian market
- GLOBALIZATION AND THE DEVELOPMENT OF UNDERDEVELOPMENT OF THE THIRD WORLD
- Corn is good for you; Corn is not only a tasty treat, but also a cereal that ...
- THE 50 BEST STYLISH HANDBAGS TO CARRY
- More »
But at the same time, Messiaen was remarkably traditional. That manifested itself dramatically in the impact his religious beliefs and spirituality had on his music. Messiaen never tired of expressing the joy and wonder he saw in creation, nor his awe of God and man's relation to the divine. In this, Messiaen shared a strong kinship with J.S. Bach, who also created some of his greatest works glorifying God.
This year would have been the 100th anniversary of Messiaen's birth. Salt Lake City has seen its share of concerts honoring his music during the past year, and the Cathedral of the Madeleine is also taking part in the celebration.
Sunday, cathedral organist Douglas O'Neill performed two works that display Messiaen's profound spirituality and reflection on his Roman Catholic faith. They were preceded by a brief discussion by cathedral music director Gregory Glenn.
"L'Ascension: Quatre Meditations Symphoniques" ("Ascension Day: Four Symphonic Meditations") and "Les corps glorieux: Sept visions breves de la vie des ressuscites" ("Bodies of Glory: Seven Brief Visions of the Life of the Resurrected") are both fairly early works, written in the 1930s when Messiaen was in his late 20s. And both show an amazing depth of emotions that is remarkable given the composer's young age, yet expected for anyone who knows his music to any degree.
This is incredibly profound music. Both works have a luminous vibrancy that is compelling and irresistible and almost hypnotic in its impact. Both multimovement works revolve around a central virtuosic movement that puts each in perspective and ties everything wonderfully together.
Of the two, "Les corps glorieux" is the more compelling mainly because of the mystical shroud the work casts over the audience, giving it an otherworldly hue. And the depth and variety of expression found in this work is quite simply stunning.
O'Neill captured the drama of "Les corps glorieux" marvelously, as well as the reflective, deeply lyrical character of "L'Ascension." O'Neill is a remarkable organist who put his musicality and virtuosity on display Sunday night. Both works demand much of the performer, and he played them with ease while exhibiting his immense artistry to the fullest. O'Neill is obviously at home with 20th century music and specifically with Messiaen. This was organ playing of the highest caliber.
E-mail: ereichel@desnews.com
Copyright C 2008 Deseret News Publishing Co.
Provided by ProQuest Information and Learning Company. All rights Reserved.
