 The Clarinet BBoard
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Author: orchestr
Date: 2008-10-04 02:05
In the score for the Abime des oiseaux, the tempo is marked eighth=44 through the first half page, and Messiaen specifically marks the second ppp-fff F# as "Lent eighth=44 env.), so to this effect the whole note should last 8 beats at 44, right? However, in every recording I've heard, they play the note at least twice that long! Of course, I don't take recordings as gospel, but is there a reason for this discrepancy? I feel like the longer note lengths just end up sounding like "look how long of a crescendo I can do" at the expense of the music (I feel it really interrupts the beautiful flow of the piece). Opinions?
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Author: Tilly
Date: 2008-10-04 07:36
The pianist on the recording I have is Yvonne Loriod (Messiaen's wife) with Wolfgang Meyer on clarinet. There is a note stating that it was recorded "in the presence of the composer."
The ppp-fff notes are definitely long: counting 8ths at 44, the first one is about 12 beats, second about 16 beats and the third about 13 beats.
Perhaps it was Messiaen's intention that they be about as long as possible and his markings are based on Akoka's playing. The article on Akoka in the Dec. 2004 issue of The Clarinet mentions that other clarinetists who recorded the quartet under Messiaen's supervision were asked to increase their dynamics in softer sections to compensate for a darker sound that projected less than Akoka's brighter sound. Often when clarinetists perform the Abyss, they begin at an inaudible level then linger at ppp and make the crescendo very gradually. Perhaps Akoka climbed the crescendo more quickly resulting in a shorter note. I don't really know.....just speculation!
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Author: Danny Boy
Date: 2008-10-04 11:34
One of the recordings I have is Jean Pasquier on violin, Andre Vacellier on clarinet, Etienne Pasquier on cello and Messiaen himself on piano. The third movement is like no other performance of it that I have ever heard. The first note is held for the correct (notationally speaking) number of quavers, but the tempo is closer to 60 or 65 than 44. The entire movement passes by in only 5 minutes and 4 seconds (compare that to Paul Meyer's 8:48). There are no variation in dynamic at all until Messiaen's first phrase mark - he certainly doesn't creep in from nothing as Tilly has already said some people tend to - it's a very healthy piano if not more.
Another part of the movement that has always puzzled my slightly is the long A to G trill with the rall and the strange slurs. Vacellier simply does long trill with a gradual rall, and misses out the slurs completely (or rather than tongue at the start of the slurs) - he does however articulate the last A and G of the bar.
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Author: Danny Boy
Date: 2008-10-04 11:39
Sorry I misunderstood what I read - Vacellier's first ppp to fff F sharp lasts for about 8 seconds, which if my maths is right means it's 'correct' if the tempo of around quaver = 60 is being maintained.
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Author: Gobboboy
Date: 2008-10-04 12:45
Turning the page to the Intermede....in the 5th bar of D (28th &29th complete measures) does anyone else keep thinking of the song "save all your kisses for me" by Brotherhood of Man...????? drives me crazy!!
apologies in advance
Ben
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