Olivier Messiaen - Et Exspecto Resurrectionem Mortuorum 3/3

Et exspecto resurrectionem mortuorum, for wind orchestra and metallic percussion (1964)

1. Des profondeurs de l'abime, je crie vers toi, Seigneur: Écoute ma voix!
2. Le Christ, ressuscité des morts, ne meurt plus; la mort n'a plus sur lui l'empire
3. L'heure vient où les morts entendront la voix du Fils de Dieu...
4. Ils ressusciteront, glorieux, avec un nom nouveau - dans le concert joyeux des étoiles et les acclamations des fils du ciel
5. Et j'entendis la voix d'une foule immense...

Royal Concertgebouw Orchestra
Bernard Haitink

Messiaen's Et expecto resurrectionem mortuorum (I Await the Resurrection of the Dead) is for an instrumental ensemble of 18 woodwinds, 16 brass, and a metallic percussion ensemble. The work was commissioned by André Malraux, the French Minister of Cultural Affairs. At Malraux's request, Et expecto received a private premiere in the Sainte-Chapelle in Paris before the public premiere in front of General de Gaulle in the Chartres Cathedral. The stained glass lining both cathedrals created a fitting aura in which to witness the work, although Messiaen also envisioned it being performed outdoors at the foot of mountain ranges, which he hoped would enhance the music's monumental, timeless, and natural imagery. Although Messiaen acknowledged the existence of death and suffering — himself a prisoner of war in Silesia — he refused Malraux's request to write a requiem commemorating the outbreak of the two World Wars and those who died. Instead, he wrote Et expecto to emphasize his belief in the Resurrection. In contrast to Chronochromie (1960), Messiaen's previous large-scale work which imagines a natural world of birds, mountains and motionless time, Et expecto looks ahead to a world that is to come.

The piece unfolds from five large, block-like sections, each relating to quotations from the Catholic Scriptures. The first begins with a monophonic prayer theme emerging from the lowest depths of the orchestra. The second section revolves around three motives: a six note, "lightning flash" — the first four notes of which are related by retrograde to the prayer theme — which is transformed into vertical chords, questions and answers heard in the woodwind duets, and a chorale led by the trumpets. The third section is also a three part structure. Here Messiaen used two bird songs, including the Amazonian uirapuru — traditionally heard at the moment of death — to symbolize Christ's inner voice waking the dead from their sleep; signaling an impending resurrection. The virtuosic singing of the calandra lark symbolizes celestial joy and the gift of agility. The bird songs are heard in the full ensemble of woodwinds, the ringing of the tubular bells, and then as massive orchestral chords. In the fourth section, the crashing of tam tams, heard in recurring cells of three strokes, represents the moment of resurrection as bells ring, trumpets chant, and the lark sounds from the woodwinds. In the final section, prayer melodies from the first section and a long sequence of colorful chords form the closing chorale. [Allmusic.com]

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Music

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• messiaen
• haitink
• concertgebouw

[athb4hu]

I heard this played many years ago in York minster. Thanks for this, great piece.