Trois Petites Liturgies de la présence divine

Composition and premiere#

The Trois Petites Liturgies were commissioned by Denise Tual, daughter of Henri Piazza, for the Concerts de la Pléiade in Paris and composed during World War II, between 15 November 1943, and 15 March 1944. Messiaen originally conceived the piece as a work for two pianos, as he had achieved success in that format previously with Visions de l’Amen. The two primary points of contention were “the quality and relevance of Messiaen’s commentaries” and the use of “unusual sounds” for expressing religious themes. Claude Rostand responded particularly vehemently at the premiere, describing the work as a “work of tinsel, false magnificence and pseudo-mysticism, this work with dirty nails and clammy hands, with bloated complexion and unhealthy flab, replete with noxious matter, looking about anxiously like an angel wearing lipstick.” In spite of this, critical opinion now judges the work to be one of Messiaen’s most accomplished yet undemanding, still rooted in tonality but foreshadowing his later experiments with birdsong, Hindu rhythms and plainchant. It remains a major work of the composer.

Movements#

The work is composed of three movements: ::A-B-A (ternary form). Approximately 10 minutes long. ::Strophic form with variations, refrains, and couplets alternating continuously. Approximately 6 minutes long. ::A-B-A-B (binary form). Approximately 20 minutes long. The piece lasts approximately 36 minutes.

Soloists#

• piano
• onde Martenot

Keyboard#

The celesta sounds one octave above what is notated in the score. * celesta

Choir#

During both subsequent revisions of the work, the composer doubled the required vocal forces to strengthen the sound. *36 female voices in unison (1952 version: 18 female voices; 1944 version: 9 female voices) Of sopranos, and some mezzo-sopranos and contraltos.

Percussion battery#

The vibraphone is notated in its natural pitch in the score. The cantata requires four percussionists, playing: *vibraphone *pair of maracas *suspended Chinese cymbal, medium register *tam-tam, deep register

Strings#

To support the newly-doubled size of the choir, Messiaen doubled the string section during his 1990 revision. Originally, every string instrument (for a total of sixteen) had the potential to play alone as a single part, and does so on multiple occasions in the two earlier versions. The doubling therefore changed the former individuations to duetting single parts between two players. * 8 first violins (1944 and 1952 version: 4 first violins) * 8 second violins (1944 and 1952 version: 4 second violins) * 6 violas (1944 and 1952 version: 3 violas) * 6 cellos (1944 and 1952 version: 3 cellos) * 4 contrabasses (1944 and 1952 version: 2 contrabasses) A total of thirty-two musicians (and a conductor) are called for in the original version. In 1950, fifty musicians are called for. The final 1990 version calls for a grand total of seventy-five musicians, who may be led by a conductor and choirmaster.

External links#

• Trois petites liturgies de la présence divine, with synchronised score of the 1990 revision, played by Myung-whun Chung conducting the Orchestre philharmonique de Radio France and Maîtrise de Radio France; Roger Muraro (piano) and Valerie Hartmann-Claverie (onde Martenot)