| Turangalîla-Symphonie | |
| Subtitle: | for piano, ondes martenot, and orchestra |
| Composer: | Olivier Messiaen |
| Other Name: | Turangalîla |
| Catalogue: | Simeone: I/29 |
| Period: | 20th-century music |
| Genre: | Symphony |
| Client: | Serge Koussevitsky |
| Based On: | Tristan and Iseult |
| Composed: | 17 July 1946 – 29 November 1948 (rev. 1990) |
| Dedication: | In memoriam Natalie Koussevitsky (manuscript; published copy bears no dedication) |
| Publisher: | Durand |
| Duration: | about 80 minutes |
| Movements: | Ten |
| Scoring: | Large orchestra, Ondes Martenot, and piano |
| Premiere Date: | 2 December 1949 |
| Premiere Conductor: | Leonard Bernstein |
| Premiere Location: | Boston |
| Premiere Performers: | Boston Symphony Orchestra Yvonne Loriod (piano) Ginette Martenot (ondes Martenot) |
The Turangalîla-Symphonie is the only symphony by Olivier Messiaen (1908–1992). It was written for an orchestra of large forces from 1946 to 1948 on a commission by Serge Koussevitzky for the Boston Symphony Orchestra. Along with the Quatuor pour la fin du temps, the symphony is one of the composer's most notable works.
Leonard Bernstein conducted the premiere in Boston on 2 December 1949, followed by the New York premiere on 10 December.[1] The December 1949 performances included an intermission after the fifth movement; it was the only work on the program. The commission did not specify the duration, orchestral requirements or style of the piece, leaving the decisions to the composer.[2] Koussevitzky was scheduled to conduct the premiere, but fell ill, and the task fell to Bernstein,[3] who never conducted the work again.[4] Yvonne Loriod, who later became Messiaen's second wife, was the piano soloist, and Ginette Martenot played the ondes Martenot for the first and several subsequent performances.
From 1953 on, Yvonne's sister Jeanne Loriod was the ondes Martenot player in many performances and recordings.[5]
While most of Messiaen's compositions are religious in inspiration, at the time of writing the symphony the composer was fascinated by the myth of Tristan and Isolde, and the Turangalîla Symphony forms the central work in his trilogy of compositions concerned with the themes of romantic love and death; the other pieces are Harawi for piano with soprano and Cinq rechants for unaccompanied trios of soprani, alti, tenors, and basses.[6] It is considered one of the greatest musical compositions of the 20th century; being described by its commissioner as 'the most important piece of classical music ever written since Igor Stravinsky's The Rite of Spring
Although the concept of a rhythmic scale corresponding to the chromatic scale of pitches occurs in Messiaen's work as early as 1944, in the Vingt regards sur l'enfant-Jésus (a work Messiaen quotes in the fourth movement), the arrangement of such durations into a fixed series occurs for the first time in the opening episode of the movement "Turangalîla 2" in this work, and is an important historical step toward the concept of integral serialism.[7]
The title of the work, and those of its movements, were a late addition to the project, chosen after Messiaen made a list of the work's movements. He described the name in his letters from 1947 to 1948.[8] He derived the title from two Sanskrit words, and , which he explained thus:[9]
"Lîla" literally means play – but play in the sense of the divine action upon the cosmos, the play of creation, destruction, reconstruction, the play of life and death. "Lila" is also love. "Turanga": this is the time that runs, like a galloping horse; this is time that flows, like sand in an hourglass. "Turanga" is movement and rhythm. "Turangalîla" therefore means all at once love song, hymn to joy, time, movement, rhythm, life and death.
Messiaen described the joy of Turangalîla as "superhuman, overflowing, blinding, unlimited".[9] He revised the work's orchestration in 1990.[5]
The piece is scored for a large orchestra with a particularly large percussion section:
Solo piano
1 piccolo
2 flutes
2 oboes
2 clarinets
4 horns
3 trumpets
1 cornet
3 trombones
1 tuba
Percussion (12 percussionists[5])
Keyed or mallet glockenspiels
Cymbals (crash and three types of suspended)
Provençal tabor
32 violins
14 violas
12 cellos
10 double bassesThe demanding piano part includes several solo cadenzas.
In writing about the work, Messiaen identified four cyclic themes that reappear throughout; there are other themes specific to each movement.[9] In the score the themes are numbered, but in later writings he gave them names to make them easier to identify, without intending the names to have any other, literary meaning.
| Introduced by trombones and tuba, this is the statue theme. According to Messiaen, it has the oppressive, terrible brutality of ancient Mexican monuments, and has always evoked dread. It is played in a slow tempo, pesante. |
| This is the flower theme. It is introduced by two clarinets. |
| This theme, the most important of all, is the love theme. It appears in many different guises, from hushed strings in movement 6, to a full orchestral treatment in the climax of the finale. |
| A simple chain of chords, used to produce opposing chords on the piano and crossing counterpoints in the orchestra. |
The work is in ten movements, linked by the common themes identified above, and other musical ideas:
The composer's initial plan was for a symphony in the conventional four movements, which eventually became numbers 1, 4, 6, and 10. Next, he added the three Turangalîla movements, which he originally called tâlas, a reference to the use of rhythm in Indian classical music. Finally, the 2nd, 5th, and 8th movements were inserted.[10] Early on, Messiaen authorized separate performance of movements 3, 4, and 5, as Three tâlas (not to be confused with the original use of the term for the three Turangalîla movements), but later came to disapprove of the performance of extracts.
No recording was made of the world premiere, and Bernstein himself did not return to the work in either concert performance or in the recording studio, but a recording exists of part of the rehearsals for the premiere in Boston, featuring the fifth and sixth movements.
It was released in 2013 as part of a set of previously unissued Bernstein recordings (Music and Arts WHRA-6048).
| Conductor | Orchestra | Piano | Ondes martenot | Label | Catalog | data-sort-type="date" | Released ! | Format | Notes | |||
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| data-sort-value="Désormière" | data-sort-value="Loriod" | data-sort-value="Martenot" | 1950 | Live recording on 25 July 1950, of the European premiere at the Aix-en-Provence Festival | ||||||||
| data-sort-value="Rosbaud" | data-sort-value="Loriod" | Yvonne Loriod | data-sort-value="Martenot" | Ginette Martenot | WER 6401-2 | 1992 | Recorded 23/24 December, 1951 | |||||
| data-sort-value="Leroux" | Orchestre National de la RTF | data-sort-value="Loriod" | Yvonne Loriod | data-sort-value="Loriod" | Vega/Accord |
| 1962 |
| Recording supervised by Messiaen in 1961. Released in France | |||
| data-sort-value="Fournet" | data-sort-value="Loriod" | Yvonne Loriod | data-sort-value="Loriod" | Jeanne Loriod | Q Disc | 1967 | Live | |||||
| data-sort-value="Ozawa" | data-sort-value="Loriod" | Yvonne Loriod | data-sort-value="Loriod" | Jeanne Loriod | [11] | 1967 | ||||||
| data-sort-value="Previn" | data-sort-value="Béroff" | data-sort-value="Loriod" | Jeanne Loriod | SLS 5117 | 1977 | Double LP | ||||||
| data-sort-value="Defroment" | data-sort-value="Loriod" | Yvonne Loriod | data-sort-value="Loriod" | Jeanne Loriod | 1982 | Live | ||||||
| data-sort-value="Salonen" | data-sort-value="Crossley" | data-sort-value="Murail" |
| data-sort-value="1985" |
|
| ||||||
| data-sort-value="Rattle" | data-sort-value="Donohoe" | data-sort-value="Murail" | Tristan Murail | EMI |
| 1986 |
| |||||
| data-sort-value="Chung" | data-sort-value="Loriod" | Yvonne Loriod | data-sort-value="Loriod" | Jeanne Loriod | 0289 431 7812 9 | 1990 | CD | First recording of the revised version, supervised by Messiaen. | ||||
| data-sort-value="Chailly" | data-sort-value="Thibaudet" | data-sort-value="Harada" | Takashi Harada |
| data-sort-value="1993" |
|
| |||||
| data-sort-value="Janowski" | data-sort-value="Muraro" | data-sort-value="Hartmann-Claverie" | Valérie Hartmann-Claverie | RCA | 09026 61520 2 | 1992 | ||||||
| data-sort-value="Tortelier" | data-sort-value="Shelley" | data-sort-value="Hartmann-Claverie" | Valérie Hartmann-Claverie | CHAN9678 | 1998 | CD | ||||||
| data-sort-value="Wit" | data-sort-value="Weigel" | data-sort-value="Bloch" | 8.554478-9 | data-sort-value="1998-12-01" | December 1998 | CD | ||||||
| data-sort-value="Vonk" | Saint Louis Symphony Orchestra | data-sort-value="Ohlsson" | data-sort-value="Laurendeau" | Jean Laurendeau | 1999 | Live | ||||||
| data-sort-value="Nagano" | data-sort-value="Aimard" | data-sort-value="Kim" | Dominique Kim | 8573-82043-2 | 2001 | CD | Live recording in March 2000 in Berlin | |||||
| data-sort-value="Iimori" | data-sort-value="Fujii" | Kazuoki Fujii | data-sort-value="Harada" | Takashi Harada | 2001 | |||||||
| data-sort-value="Numajiri" | data-sort-value="Nodaira" | Ichiro Nodaira | data-sort-value="Harada" | Takashi Harada | Exton | 2002 | Live | |||||
| data-sort-value="Fischer" | data-sort-value="Muraro" | Roger Muraro | data-sort-value="Tchamkerten" | Jacques Tchamkerten | 2006 | Live | ||||||
| data-sort-value="Iwaki" | data-sort-value="Kimura" | Kaori Kimura | data-sort-value="Harada" | Takashi Harada | 4812873 | 2007 | CD | Live recording in 1985. Re-released 2007. | ||||
| data-sort-value="Cambreling" | SWR Sinfonieorchester Baden-Baden und Freiburg | data-sort-value="Muraro" | Roger Muraro | data-sort-value="Hartmann-Claverie" | Valérie Hartmann-Claverie | 93.225 | 2008 | CD | ||||
| data-sort-value="Mena" | data-sort-value="Osborne" | data-sort-value="Millar" | Cynthia Millar | A67816 | 2012 | CD | ||||||
| data-sort-value="Lintu" | data-sort-value="Hewitt" | data-sort-value="Hartmann-Claverie" | Valérie Hartmann-Claverie | ODE12515 | 2014 | CD | ||||||
| data-sort-value="Sado" | data-sort-value="Muraro" | Roger Muraro | data-sort-value="Hartmann-Claverie" | Valérie Hartmann-Claverie | TON2005 | 2018 | CD | |||||
| data-sort-value="Gimeno" | data-sort-value="Hamelin" | data-sort-value="Forget" | Nathalie Forget | HMM905336 | 2024 | CD | Live |