“I give bird songs to those who dwell in cities and have never heard them, make rhythms for those who know only military marches or jazz, and paint colors for those who see none.”
(Composer Oliver Messiaen, 1908-1992)

This February, Radford University musicians join many others around the world in celebrating the late, great composer’s 100th birthday. Arguably one of the most important composers and teachers of the 20th century, Messiaen was an original and prolific composer of great diversity. The two upcoming concerts will feature a variety of his works, performed by some of the university’s best performers.

Of the Radford faculty, clarinetist David Allen and flutist Carla Copeland-Burns will each present solo works by the composer. Also included are performances by mezzo-soprano Clarity James, pianists Nitza Kats, Elizabeth Tomlin, and David Brandon Philips, as well as RU choral and instrumental ensembles, (directed by David Castonguay and Wayne Gallops). David Zuschin and Kathleen Harshberger will narrate the programs.  Perhaps most exemplary will be performances by organist Marilyn Meador. (Messiaen was organist of La Sainte Trinité in Paris from age 22 until his death).

Pianist and Radford professor Lucy Mauro, will be performing two selections from the composer’s Vingt Regards sur l’enfant Jesus (Twenty Gazes on the Infant Jesus). The massive, staple work sheds light on one of the most important aspects of Messiaen’s music: his faith. The devout Catholic always found inspiration in theology, as this and many other works will portray.

Mauro will be joined by vocalist Donald George, Jenice Riebe, and volinist Vladmir Kromin in La Mort du nombre (1930). George, an internationally renowned tenor, describes the rarely performed cantata as “an allegory as found often in the Baroque opera, containing a dialogue between Fear and Hope.” George will also be featured in Trois Mélodies, with text by the composer’s mother, poet Cécile Sauvage. These songs are also from 1930, early in the composer’s career when the influence of other French greats (Claude Debussy, Gabriel Fauré) is quite distinguishable.

Those unfamiliar with his work may find interest in his background. A few, (large) defining moments exist in the composer’s life; being 19 and witnessing his mother’s death, the committing of his first wife who had cerebral atrophy, and his confinement in a prison camp by the Nazis. The latter is where his famous Quatuor pour la fin du temps (“Quartet for the end of time”) premiered. All of these certainly test the composer’s faith, which ultimately prevailed.

Destined to be a composer, Messiaen began study at the Paris Conservatory at age 11. Aside from his love of music and literature, however, he was undoubtedly interested in ornithology, citing birds as some of the greatest musicians. While previous composers had written music to represent the birds, Messiaen transcribed their song. He felt that natural things are not even and regular, as in “grooves” and “beats” commonly found in popular music. The waves of the sea, wind blowing, and yes, birdsong, has a natural feel that ultimately led to Messiaen’s rhythmic goal.

Messiaen’s further exploration of sound is perhaps most significant in his impact as a teacher. This is embodied in many of his former, now famous students, including Pierre Boulez, Karlheinz Stockhausen, Iannis Xenakis, and of course, Tristan Murail, and Gérard Grisey. During this time, young aspiring composers traveled to France to either study with Nadia Boulanger or Messiaen—the two most sought-after, and for good reason.

It is without doubt that Oliver Messiaen was a unique and influential man of music. Some of his contribution to music can be heard on Monday, Feb. 4 and Thursday, Feb. 7, at 8 p.m. The concerts, held in Radford’s Bondurant Auditorium, Preston Hall, display some excellent local talent, with two chances to attend. The simple complexity of this composer’s work is a must-hear.

C.R. Kasprzyk is himself a classically trained composer. He also plays saxophone and teaches music.