Steven Osbornein RecitalSaturday 23 August, 7.30pmVerbrugghen HallSydney Conservatorium of Music

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Program

STEVEN OSBORNE piano

MESSIAENVingt regards sur l’Enfant-Jésus

I. RegardduPère

II. Regarddel’étoile

III. L’échange

IV. RegarddelaVierge

V. RegardduFilssurleFils

VI. ParLuitoutaétéfait

VII. RegarddelaCroix

VIII. Regarddeshauteurs

IX. RegardduTemps

X. Regarddel’Espritdejoie

XI. PremièrecommuniondelaVierge

XII. Laparoletoutepuissante

XIII. Noël

XIV. RegarddesAnges

XV. Lebaiserdel’Enfant-Jésus

XVI. Regarddesprophètes,desbergersetdesMages

XVII. Regarddusilence

XVIII.Regarddel’Onctionterrible

XIX. Jedors,maismoncœurveille

XX. Regarddel’Eglised’amour

Pre-concert talk by Francis Merson

This concert will last approximately two hours.

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Olivier Messiaen(b. Avignon 1908 — d. Paris 1992)

The astonishing sequence of works composed by Messiaen in the 1940s (that would culminate in the premiere of the Turangalîla-Symphonie in 1949), began with the Quartet for the End of Time, created in a prisoner-of-war camp where it received its first performance in January 1941. Repatriated shortly afterwards, Messiaen started teaching at the Paris Conservatoire, later giving private classes at which the most advanced contemporary scores were discussed. Among his first students was a brilliant 17-year-old pianist, Yvonne Loriod, who was to become the leading exponent of his music. Loriod recalled her first impression

About the Musicof Messiaen whom she remembered reading at the piano Debussy’s Prélude à l’après-midi d’un faune faultlessly from the full score – ‘We were absolutely captivated; the whole class adored him straight away.’

The first work Messiaen composed for Loriod was the two-piano Visions de l’Amen, first performed by Loriod and Messiaen in May 1943. Loriod took the first piano part, which contains all the virtuoso embellishments, birdsongs and chiming bells. Subsequent works again centred on her playing: first the Trois petites liturgies de la Présence Divine with its important concertante piano part, then the Vingt regards sur l’Enfant-Jésus, composed rapidly between March and September 1944.

The initial spur to composition was a request for twelve short piano pieces (‘Douze regards’) to accompany a radio presentation by Maurice Toesca of poems on the Nativity. But by the end of the summer this modest commission had grown into Messiaen’s most ambitious work to date, an epic tribute to the inspiring influence of Loriod, whose unquenchable pianism liberated Messiaen’s imagination (as he many times testified) from practical limitations.

Messiaen described some of the factors that govern the work’s architecture. The order of the movements, as Messiaen explains, is partly a matter of numerological significance. ‘The Regard de la Croix bears the number 7 (a perfect number) because the sufferings of Christ on the Cross restored the order that was disturbed by sin, and the Angels are confirmed in grace in no. 14 (two times seven). The Regard du Temps bears the number 9 [representing] the nine months of maternity common to all children, and the Regard de l’Onction terrible has the number 18 (two times nine) – here

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divinity is poured out over the humanity of Christ in one person who is the Son of God. The two pieces which speak of Creation … are no. 6 (because six is the number of [days of ] Creation) and no. 12 (two times six).’

Musically, the feature of Messiaen’s scheme most apparent is the recurrence of the principal cyclic theme, the ‘theme of God’. This is heard at the outset and thereafter in every fifth piece, the regards concerned with the Divinity. Together with important appearances in nos. 6 and 11, the spacing of the repetitions suggests a ground plan with pieces grouped in fives. The design of the first section (up to no. 5) is especially clear, since the fifth piece is an exact paraphrase of the opening Regard du Père, and thus seals the predominantly reflective tone of the work to this point.

Another aspect of the scheme is that the outer movements of each group of five are the longest: so, in the second quarter (nos. 6 to 10), three short pieces of the type Messiaen classifies as ‘immaterial or symbolic’ are framed by outpourings of storming virtuosity. In the second half, although the pieces are still grouped in fives, the symmetries are less clear-cut. Instead, the music is dominated by great slow movements (nos. 11, 15 and 19), each of which refer back to the ‘theme of God’, their final goal being the ecstatic transformation of the theme at the end of no. 20.

Nos. 1–5. The opening Regard du Père (Gaze of the Father) sets the time-scale for the work in its spacious, majestic presentation of the ‘theme of God’. In Regard de l’étoile (Gaze of the Star) the ‘theme of the star and the cross’ is heard, after an opening flourish which represents the ‘shock of grace’. In L’échange (The Exchange), ‘God makes himself man that he may make us gods’; the music is strictly organised in two-bar units, with material representing the Divinity remaining

unchanged, while humankind is represented by fragments that alter shape (like a snake uncoiling), in a process Messiaen called ‘asymmetrical enlargement’. Nos. 4 and 5 are both slow movements: the Regard de la Vierge (Gaze of the Virgin) an image of musical purity and tenderness, the Regard du Fils sur le Fils (Gaze of the Son upon the Son) a contemplation of the ‘theme of God’, repeated exactly as in no. 1 but transposed to a more luminous register and overlaid with rhythmic canons and birdsong.

No. 6, Par Lui tout a été fait (By Him was everything made), is a fugue whose subject is constantly transformed. In its second section octaves in the bass repeat a fragment of the subject, asymmetrically enlarged. After a brief caesura, in which very short or long durations are juxtaposed (representing the micro-and macrocosm) the fugue resumes in exact retrograde, a passage of fiendish difficulty for the pianist. After a brief pause the subject undergoes a series of stretti which culminate in the ‘theme of God’ – ‘the face of God behind the flame and the flood’ – answered by the ‘theme of Love’. In the coda, Messiaen depicts all Creation taking up the ‘theme of God’ and singing it in canon.

Nos. 7–9. The Regard de la Croix (Gaze of the Cross) returns to the theme from no. 2, enriched by sighing figures which suggest Christ’s agonised journey with the cross. In Regard des hauteurs (Gaze of the Heights), the heights are symbolised by birds, notably the skylark. The enigmatic, mysterious Regard du Temps (Gaze of Time) concludes this interlude.

No. 10. Regard de l’Esprit de joie (Gaze of the Spirit of joy): ‘An oriental dance in the extreme bass register; a first development section based on the theme of Joy; an asymmetrical expansion; a kind of hunting song in three variations; a second development based on the

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Further reading and listeningThe first major study of Olivier Messiaen after the composer’s death was The Messiaen Companion (edited by Peter Hill), with contributions from Pierre Boulez, George Benjamin, and Yvonne Loriod (Faber).

Peter Hill along with Nigel Simeone authored a well-researched and approachable 2005 biography simply titled Messiaen (Yale University Press).

Olivier Messiaen presented his approach to composition in a treatise titled Technique of My Musical Language (Alphonse Leduc).

In addition to Steven Osborne’s superlative recordings for the Hyperion label, several other recordings of the Vingt Regards are worth a listen:

PIERRE-LAURENT AIMARD (Teldec 26868) YVONNE LORIOD (Erato 91705) PETER HILL (Regis 2055)

theme of Joy and the theme of God; a return of the oriental dance; a coda on the theme of Joy.’

Nos. 11–14. The Première communion de la Vierge (First communion of the Virgin) returns to the ‘theme of God’, transposed in key and sonority, and garlanded with idealised birdsong. The joyful central section is a Magnificat, towards the end of which low repeated notes represent the heartbeats of the unborn Christ-child. The next three pieces are the engine room of the second half: La parole toute puissante (The Omnipotent Word), a monody encircled by grace notes and bass percussions; Noël, in which peals of bells frame a central section of exquisite calm; and the Regard des Anges (Gaze of the Angels), in which the music’s ferocity (with the Angels routed by torrents of birdsong) was inspired by the ‘angel with the trumpet’ in Michelangelo’s Last Judgement.

No. 15. In Le baiser de l’Enfant-Jésus (Kiss of the Infant Jesus) the ‘theme of God’ resumes as a lullaby. A brief cadenza ushers in a further transformation, followed by a build-up over a dominant pedal (C-sharp) inspired by a picture of Saint Thérèse de Lisieux, arms outstretched to embrace the Christ-child. The ecstatic culmination combined the themes of Joy and Love, dissolving in a coda of Chopin-like finesse.

Nos. 16–18. The Regard des prophètes, des bergers et des Mages (Gaze of the prophets, shepherds and Magi) is a riotous, percussive movement. In the Regard du silence (Gaze of Silence) the image of the title is represented by rainbow colours ending in a coda of alternating chords, which mingle ‘like precious stones’. The Regard de l’Onction terrible (Gaze of the Terrible Unction) evokes the coronation of Christ, as ‘the fearful Majesty selects the body of Jesus’.

Nos. 19 and 20. The prelude to the conclusion is music of stillness and contemplation, Je dors, mais mon cœur veille (I sleep, but my heart keeps vigil), in which the ‘theme of God’ dissolves in pure triadic harmonies. In the Regard de l’Eglise d’amour (Gaze of the Church of Love) we hear first a turbulent development, with statements of the ‘theme of God’ interspersed with asymmetrical enlargements of mounting complexity. Finally a plateau is reached, a huge dominant pedal (C-sharp again) overlaid by all the work’s harmonic ideas compressed into peals of bells. From this flows the final transformation: ‘Here are bells, glory, and the kiss of love – all our passion as we embrace the invisible.’

PROGRAM NOTE BY PETER HILL

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Steven Osborne

Select DiscographyMESSIAEN: Vingt regards sur l’Enfant-Jésus Hyperion Records CDA67351/2

MESSIAEN: Visions de l’Amen Hyperion Records CDA67366

MUSSORGSKY: Pictures from an Exhibition Hyperion Records CDA67896

STRAVINSKY: Complete Works for Piano and Orchestra Hyperion Records CDA67870

RAVEL: The Complete Solo Piano Music Hyperion Records CDA66731/2

RACHMANINOV: Preludes Hyperion Records CDA67700

BRITTEN: Complete Works for Piano and Orchestra Hyperion Records CDA67625

TIPPETT: Complete Music for Piano Hyperion Records CDA67461/2

Steven Osborne’s standing as one of the great pianists of his generation was publicly affirmed in 2013 with two major awards: the Royal Philharmonic Society Instrumentalist of the Year and his second Gramophone Award, this time in the Instrumental category for his recording of Mussorgsky’s Pictures at an Exhibition and solo works by Prokofiev. Previous awards include a 2009 Gramophone Award for his recording of Britten’s works for piano and orchestra, as well as first prize at both the Naumburg International Competition (New York) and Clara Haskil Competition.

Concerto performances take Steven Osborne to orchestras all over the world including recent visits to the Yomiuri Nippon Symphony, Deutsches Sinfonie-Orchester Berlin, Vienna Symphony, Salzburg Mozarteum, Oslo Philharmonic, Finnish Radio Symphony, Danish National Radio, Royal Flemish Philharmonic, RTVE Madrid, Sydney Symphony Orchestra, Australian Chamber Orchestra, Oregon Symphony and the Dallas Symphony Orchestra. With these orchestras he has enjoyed collaborations with conductors including Christoph von Dohnányi, Alan Gilbert, Vladimir Ashkenazy, Ludovic Morlot, Juanjo Mena, Leif Segerstam, Andrew Litton, Ingo Metzmacher, Vladimir Jurowski and Jukka-Pekka Saraste.

In the UK he works regularly with the major orchestras, especially with the London Philharmonic, City of Birmingham Symphony, BBC Symphony and BBC Philharmonic Orchestras. He is currently performing the complete cycle of Beethoven Piano Concertos with the BBC Scottish Symphony partnered with Andrew Manze. He has made eleven appearances at the Proms, most recently in August 2012 when he performed the Grieg Piano Concerto with the BBC Philharmonic Orchestra under John Storgårds.

Steven Osborne’s recitals of carefully crafted programs are publicly and critically acclaimed without exception. His 2013 tour of Messiaen’s complete Vingt regards sur l’Enfant-Jésus was heralded and the London performance at the South Bank resulted in a spontaneous standing ovation. He has performed in many of the world’s prestigious venues including the Konzerthaus Vienna, Amsterdam Concertgebouw, de Doelen Rotterdam, Philharmonie Berlin, Palais des Beaux Arts Brussels, De Singel, Suntory Hall Tokyo, Kennedy Center Washington, Carnegie Hall and Wigmore Hall. His regular chamber music partners include Alban Gerhardt, Paul Lewis, Dietrich Henschel and Alina Ibragimova.

Born in Scotland in 1971, Steven Osborne studied with Richard Beauchamp at St Mary’s Music School in Edinburgh and Renna Kellaway at the Royal Northern College of Music in Manchester.

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20 (plus) Questions with Steven OsborneCompiled by Albert Imperato

Steven Osborne’s interpretations of Vingt regards have been critically celebrated, with journalists citing the ‘extraordinary musical experience’ of his performances, as well as his ‘technical mastery’ and ‘consummate command of the work’s architecture’. Having studied Vingt regards with Yvonne Loriod (Messiaen’s wife), Steven’s insights into and perspectives on this seminal 20th century masterwork are exceptional. Beyond superlatives of our soloist, the ACO wanted to present Osborne in another light, so we enlisted writer, classical music promoter, and Messiaen enthusiast, Albert Imperato to engage Steven with his ‘20 Questions’ treatment.

A few works of classical music that you adore:Beethoven Pastoral SymphonyBeethoven Piano Sonata, Op.111Tippett String Quartet No.5Sibelius Symphony No.7Brahms Piano Trio No.1Schubert WinterreiseMessiaen Vingt regards

Classical music recordings that you treasure:Handel Messiah: John Eliot Gardiner/Monteverdi Choir (Philips)Beethoven The Nine Symphonies: Sir Charles Mackerras/Royal Liverpool Philharmonic Orchestra (Classics for Pleasure)Sibelius Symphonies: Paavo Berglund/Chamber Orchestra of Europe (Finlandia)

Favourite non-classical musicians and/or recordings:Joni Mitchell HejiraKeith Jarrett Vienna ConcertJohn McLaughlin Trio Live at the Royal Festival HallOscar PetersonMiles DavisBill Evans

Music that makes you cry — any genre:Sibelius Symphony No.7Rachmaninov Prelude, Op.23 No.4Beethoven Piano Sonata, Op.111Sarah McLachlan Angel

Definitely underrated work(s) or composer(s):Michael Tippett, specifically his Piano Concerto, String Quartet No.5 (the last movement is just heaven), and his opera King Priam

Possibly overrated work(s) or composer(s):Bruch Violin Concerto – I just find much of it obvious and a bit tedious, although the slow movement theme is very beautiful.

Live music performance(s) you attended — any genre — that you’ll never forget:Evgeny Svetlanov conducting Rachmaninov’s Second Symphony with the Philharmonia Orchestra

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Lars Vogt playing Beethoven Piano Sonata, Op.111Maria-João Pires playing Schumann’s Piano Concerto

A few relatively recent films you love:MagnoliaAmerican BeautySearching for Sugar ManUpThe King’s Speech

A few films you consider classics:Brief EncounterSorry, I don’t watch that many old films.The Abominable Dr Phibes is not a classic.

A book (or two) that is important to you (and why):For Your Own Good by Alice Miller – a striking examination of the effects on children and society of ‘seemingly moral’ child-rearing

Thing(s) about yourself that you’re most proud of:Seeking to be honest with myself; trying to get to the heart of things

Thing(s) about yourself that you’re embarrassed by:I can be terrible at remembering names and faces. Once I rehearsed the Poulenc Sextet for an entire morning, then introduced myself to the clarinettist at lunchtime.

Three things you can’t live without:MusicFoodWife

'When I want to get away from it all I…'…have a long bath

'People are surprised to find out that I…'

…can burp very loudly

'My favourite cities are…'…Rome, New York, Edinburgh

'I have a secret crush on…'Sorry, I really don’t! I had a crush on Sandra Bullock for a while in my 20s; that’s about the best I can do...

'My most obvious guilty pleasure is…'…crap TV

'I’d really love to meet — or to have met…'…Peter Brook, to talk about the ideas in The Empty Space.

'I never understood why…'…people can be so resistant to consider an alternate viewpoint.

BONUS QUESTION:

Question you wish someone would ask you (and the answer to that question): Q: Should I watch Breaking Bad?A: Yes.

Based in New York City, Albert Imperato is co-founder of 21C Media Group. His writings about classical music have appeared in the Huffington Post, Gramophone magazine online and Playbill Arts online, among others.

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