Libro Jolivet

André Jolivet

This first book in English on the French composer André Jolivet (1905–1974) investigates his music, life and influence. A  pupil of Varèse and colleague of Messiaen in La Jeune France, Jolivet is a major figure in French music of the twentieth century. His music combines innovative language with spirituality, summarised in his self-declared axiom to ‘restore music’s ancient original meaning when it was the magic and incantatory expression of the sacred in human communities’. The book’s contextual introduction is followed by contributions, edited by Caroline Rae, from leading international scholars, including the composer’s daughter Christine Jolivet-Erlih. These assess Jolivet’s output and activities from the 1920s through to his last works, exploring creative process, aesthetic, his relationship with the exotic and influences from literature. They also examine, for the first time, the significance of Jolivet’s involvement with the visual arts and his activities as conductor, teacher and critic. A chronology of Jolivet’s life and works with details of first performances provides valuable overview and reference. This fascinating and comprehensive volume is an indispensable source for research into French music and culture of the twentieth century. Caroline Rae is a Reader in Music at Cardiff University and pianist. She has published widely on twentieth-century French music as well as on the musical writings of Alejo Carpentier, and is author of The Music of Maurice Ohana (Ashgate, 2000), editor of the revised and expanded edition of Robert Sherlaw Johnson’s Messiaen (Omnibus, 2008) and contributing co-editor of Dutilleux at 95 (Contemporary Music Review, 2010). She was Series Advisor to the Philharmonia Orchestra’s landmark festival City of Light: Paris 1900–1950 and has been a programming consultant to the BBC National Orchestra of Wales, projects including BBC Discovering Dutilleux Festival, Jolivet Composer Portrait and Paul Sacher Perspectives season. She is a frequent broadcaster on BBC Radio 3. As a pianist, she was a pupil of Dame Fanny Waterman and Yvonne LoriodMessiaen and remains active as a performer. She was made a Chevalier de l’Ordre des Arts et des Lettres for her services to French music in 2018.

This volume of essays on André Jolivet restores the reputation of a composer overshadowed by his slightly younger contemporary Olivier Messiaen  – undeservedly, because, as the authors show, it was Messiaen who was greatly indebted to Jolivet. The authors  – headed by the book’s editor Caroline Rae  – illuminate not only the currents and cross-currents in Jolivet’s music but also set these in the context of his work as a conductor, writer, teacher, critic and accomplished painter. Beautifully written and illustrated, the book is an indispensable companion to one of the most strikingly original figures of French twentieth-century music. – Peter Hill, Emeritus Professor of Music, University of Sheffield

André Jolivet: Music, Art and Literature is  the first book in English devoted to this significant composer and brings together internationally leading figures who use new archival sources to argue convincingly for Jolivet’s originality and independence. – Barbara L. Kelly, Professor of Musicology and Director of Research, Royal Northern College of Music

André Jolivet

Music, Art and Literature Edited by Caroline Rae

First published 2019 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 711 Third Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2019 selection and editorial matter, Caroline Rae; individual chapters, the contributors The right of Caroline Rae to be identified as the author of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data Names: Rae, Caroline. Title: André Jolivet : music, art and literature / edited by Caroline Rae. Description: Abingdon, Oxon ; New York, NY : Routledge, 2019. | Includes bibliographical references and index. Identifiers: LCCN 2018031361 | ISBN 9781472442956 (hardback) | ISBN 9780429429255 (ebook) Subjects: LCSH: Jolivet, André, 1905–1974—Criticism and interpretation. | Music—20th century—History and criticism. | Composers—France. Classification: LCC ML410.J69 A75 2019 | DDC 780.92—dc23 LC record available at https://lccn.loc.gov/2018031361 ISBN: 978-1-4724-4295-6 (hbk) ISBN: 978-0-429-42925-5 (ebk) Typeset in Times New Roman by Apex CoVantage, LLC Bach musicological font developed by © Yo Tomita

Frontispiece:André Jolivet relaxing at the French Ambassador’s residence in New Delhi, 1970. (Photo: Christine Jolivet-Erlih private archives.)

Contents

List of figures and tables List of music examples Notes on the contributors Acknowledgements Editor’s note Chronology of Jolivet’s life and works

ix xii xiv xix xxi xxii

CAROLINE RAE



Introduction: Jolivet in context

1

CAROLINE RAE

PART I

Style and process

13

  1 Jolivet and the style incantatoire: aspects of a hybrid tradition

15

JULIAN ANDERSON

  2 Inside the composer’s workshop: Jolivet’s manuscripts at the Bibliothèque nationale de France

41

CATHERINE MASSIP

  3 Jolivet’s early music theory and its practice in the Cinq danses rituelles (1939)

68

DEBORAH MAWER

 4 Épithalame (1953): a case study for voices LUCIE KAYAS

85

viii  Contents PART II

Influences

105

  5 Jolivet and the visual arts: interactions and influences

107

CAROLINE RAE

  6 An exploration of Jolivet’s vocal works

132

CHRISTINE JOLIVET-ERLIH AND CATHERINE MASSIP

  7 The anxiety of exoticism: André Jolivet’s relationship with non-Western musics

159

CAROLINE POTTER

  8 Jolivet revisited: Messiaen’s borrowings from the works of the 1930s

173

YVES BALMER, THOMAS LACÔTE AND CHRISTOPHER BRENT MURRAY

  9 Sourcing Jolivet’s compositional aesthetic: literary influences and his library

194

CAROLINE RAE

PART III

Activities

215

10 Jolivet and the USSR

217

CHRISTINE JOLIVET-ERLIH

11 Jolivet as critic: a mirror of music during the Occupation

252

NIGEL SIMEONE

12 Jolivet as teacher: programme, method and philosophy

268

PASCAL TERRIEN

13 Jolivet and the function of performance

286

JEAN-CLAIRE VANÇON

Bibliography Index

309 315

Figures and tables

Figures i.1 ii.1

André Jolivet’s signature. Paul Le Flem, Jolivet’s teacher and life-long friend, on holiday in Brittany in 1932. ii.2 Jolivet (right) with Varèse in Spain, 1933. ii.3 Leaflet for the first concert of La Spirale, 12 December 1935. ii.4 Le Groupe Jeune France: publicity photograph (with the composers’ signatures). From left to right: André Jolivet, Yves Baudrier (seated), Olivier Messiaen, Jean-Yves Daniel-Lesur. ii.5a Poster for the inaugural concert of Le Groupe Jeune France, Salle Gaveau, 3 June 1936. ii.5b Programme of the inaugural concert of Le Groupe Jeune France, 3 June 1936. iii.1 Part I (title page): Jolivet (in a cold studio) during the recording sessions for his Piano Concerto, Paris 1966. iii.2 Part II (title page): Jolivet in Pompeii, Easter 1957. iii.3 Part III (title page): Jolivet rehearsing Cérémonial in memoriam Varèse, Geneva, December 1971. 1.1 Jolivet at the ancient Mayan city of Uxmal during his visit to Mexico in August 1964 for the premiere of his Third Symphony. 2.1 Kleenex box fragment on which Jolivet rapidly notated the opening theme of his Second Cello Concerto. 2.2 Extract from the manuscript of Jolivet’s Piano Concerto showing his drawing of a pair of glasses (bar 4) and deletion of his original title Équatoriales. 2.3 Jolivet, Violin Concerto, second movement. Working manuscript, ‘particelle’ with time durations. 2.4 Jolivet, First Symphony. Preparatory ‘dossier’. 2.5 Extract from the ‘particelle’ of Jolivet’s First Symphony showing his deletions and the inserted reference points in crayon. 2.6 Jolivet, Second Symphony. Preparatory ‘Dossier’. 4.1 Jolivet with the theatre designer Bernard Daydé (right) during the Comédie-Française tour to Egypt in March 1950.

xx 3 4 5 6 7 8 13 105 215 31 43 45 49 50 52 54 87

x  Figures and tables 4.2 4.3 4.4 5.1 5.2 5.3a 5.3b 5.4 5.5 5.6 5.7 6.1 6.2 7.1 9.1 9.2 10.1 10.2

10.3a 10.3b 10.4 10.5 10.6

Karnatic scale No. 2 showing the semitones. Karnatic scale No. 26 showing the mapping of the ‘vocalise septénaire’. Jolivet’s construction of a 10-note mode based on Karnatic scale No. 60. André Jolivet, untitled watercolour (ca. 1925–1927, 13.8 x 17.5 cm). The two brass lions Jolivet kept on his composing desk together with copies of the Guide des œuvres (2006) showing one of the composer’s self-portraits ca. 1927. Jolivet’s Pleyel (manufactured 1905) on which he composed Mana. The keyboard and pedals of Jolivet’s Pleyel. Jolivet’s Mana drawings as on the cover of Costallat’s published score. Jolivet’s individual drawings of the Mana objects. Jolivet’s original designs for the Mana score-cover and title page. Jolivet’s drawing for Durand’s published score of Trois complaintes du soldat. Jolivet in uniform, June 1940, around the time he composed the Trois complaintes du soldat and received the Croix de guerre. Poulenc’s personal inscription to Jolivet in the published score of Dialogues des Carmélites. Jolivet ‘playing’ an imaginary flute, Dresden 1962. Jolivet relaxing, Dresden 1962 Jolivet’s pipe collection with a copy of his favourite recreational reading, a detective novel by San-Antonio. Rostropovich’s note of thanks to Jolivet for the score of the Suite en concert. Jolivet in front of his concert poster for the Moscow Radio Symphony Orchestra concert, April 1966. His name, in Russian, appears in large capital letters at his back. From left to right: Alexandre Korneyev, Hilda Jolivet, Vera Dulova and André Jolivet. Vera Dulova’s concert programme for the Third National Convention of the American Harp Society (June 1966) featuring the premiere of Jolivet’s Prélude for harp. Poster for Vera Dulova’s Moscow recital of 18 December 1966 showing Jolivet’s Prélude for harp (third in the list). Poster for the French premiere of Tikhon Khrennikov’s Piano Concerto, Maison de l’ORTF, Paris, 4 November 1966. Clara Khrennikov’s drawing of her grandson’s foot for Hilda Jolivet to purchase ‘baby booties’ in Paris. Programme of the USSR State Symphony Orchestra concert of 6 January 1967 featuring the premiere of Jolivet’s

97 97 98 117 117 120 120 122 123 124 126 135 146 162 209 210 228

229 231 232 235 237

Figures and tables  xi Second Cello Concerto by Rostropovich, with the composer conducting. (Jolivet’s concerto follows the Haydn with the Dvořák after the interval.) 10.7 Rostropovich and Jolivet returning to the platform at the premiere of Jolivet’s Second Cello Concerto, Moscow, 6 January 1967. 10.8 From left to right: Jolivet, Rostropovich and Khrennikov in the green room after the premiere of Jolivet’s Second Cello Concerto Moscow, 6 January 1967. 10.9 Programme for Jolivet’s concert with the Kiev Philharmonic Orchestra and Valery Kastelsky, Kiev 11 January 1967. 10.10 Programme for the French premiere of Jolivet’s Second Cello Concerto given by Rostropovich and the Orchestre RadioSymphonique de Strasbourg under Charles Bruck, Strasbourg Festival, 15 June 1967. 1 2.1 Publicity leaflet for the Conférences Musicales André Jolivet, 1959. 12.2 The cover of Jolivet’s Beethoven monograph (Paris, 1955) designed by the artist Albert Huyot (1872–1968). 13.1 Jolivet rehearsing the choir and orchestra of the RTF for the premiere of La Vérité de Jeanne at the quincentenary celebrations of Joan of Arc in Domrémy, May 1956. 13.2a Jolivet in rehearsal during his 1959 concert tour to Japan. 13.2b Jolivet in rehearsal during his 1959 concert tour to Japan.

238 238 239 240

242 273 275 288 301 302

Tables 1.1 1.2 1.3 1.4 1.5 1.6 4.1 4.2 4.3 4.4 4.5 4.6 12.1 12.2

Defining Features of the Style incantatoire Works in the Incantatoire Tradition: Melody, Line, etc. Works in the Incantatoire Tradition: Texture Works in the Incantatoire Tradition: Harmony Works in the Incantatoire Tradition: Duration, Rhythm, Metre Works in the Incantatoire Tradition: Form and Society Épithalame: Structural Synopsis Jolivet’s Adaptations of the Egyptian Text Translated by Mardrus: Second Movement Jolivet’s Adaptations of the Egyptian Text Translated by Mardrus: Third Movement Jolivet’s Adaptations of Egyptian Text Translated by Mardrus: Fifth Movement Symbolism and Pitch Associations Defined by Mardrus for the ‘Vocalise septénaire’ Jolivet’s Structural Revisions to Épithalame Jolivet’s Notes on the Craft of Musical Composition Jolivet’s Notes on the Characteristics of Student and Teacher

18 19 20 21 22 23 88 88 89 90 93 100 277 281

Music examples

3.1 3.2 3.3a 3.3b 3.4 3.5 3.6 3.7 3.8 4.1 4.2 4.3 4.4 4.5 7.1 7.2 7.3a 7.3b 7.4 8.1

Harmonic series with fundamental on C Jolivet, Cinq danses rituelles pour piano, ‘Danse initiatique’ (bars 23–24) Jolivet, Cinq danses rituelles pour piano, ‘Danse nuptiale’ (bar 5) Jolivet, Cinq danses rituelles pour piano, ‘Danse nuptiale’ (bar 56) Jolivet, Cinq danses rituelles pour piano, ‘Danse funéraire’ (bars 20–21) Jolivet, Cinq danses rituelles pour piano, ‘Danse du rapt’ (bars 25–28) Jolivet, Cinq danses rituelles pour piano, ‘Danse initiatique’ (bars 5–7, 8–9, 10–11; treble line) Jolivet, Cinq danses rituelles pour piano, ‘Danse initiatique’ (bars 1–3) Jolivet, Cinq danses rituelles, ‘Danse du rapt’ (bars 1–9; reduced score) Jolivet Épithalame, ‘vocalise septénaire’ IAÉOÔUÊ (fig. 5 of the score) Jolivet Épithalame, ‘Ouvrons les Portes de l’Amour’ (fig. 2 of the score) Jolivet Épithalame, AIÔOiÉ (fig. 37+5 bars, p. 79 of the score) Jolivet Épithalame, sopranos 1 and 2 (fig. 79 of the score) Jolivet Épithalame, ‘Fais un heureux jour’ (fig. 7 of the score) Jolivet, Cinq incantations ‘Pour que la moisson soit riche [. . .]’ (opening) Jolivet, Piano Concerto, Allegro deciso (movt. 1, bars 26–30) Taïra, Hiérophonie IV, ‘Frémissant’ (opening) Jolivet, Cinq incantations, ‘Pour que l’enfant qui va naître soit un fils’ (opening) Taïra, Hiérophonie IV, ‘Méditatif’ (opening) From left to right: the three-chord formula derived from Jolivet’s Cinq danses rituelles, ‘Danse nuptiale’ (bars 3–6); the alteration of the ‘Danse nuptiale’ harmonies to create the accords tournants; transformation of chords 1 and 3 of the

70 73 74 74 75 76 77 78 81 94 94 95 96 99 162 164 168 168 169

Music examples  xiii

8.2a 8.2b 8.2c 8.2d 8.2e 8.2f 8.3 8.4a 8.4b 8.4c 8.4d 8.4e 8.5a 8.5b 8.5c 8.6 8.7

accords tournants via selective transposition in Messiaen’s ‘La Grive musicienne’ (bar 63) Jolivet, Mana, ‘Beaujolais’ (bars 29–33) Messiaen’s re-use of the ‘Beaujolais’ complex in ‘Le Traquet stapazin’ (bar 5), Catalogue d’oiseaux Messiaen’s re-use of the ‘Beaujolais’ complex in ‘Amen des Anges, des Saints, du chant des oiseaux’ (bar 133, piano II), Visions de l’Amen Messiaen’s re-use of the ‘Beaujolais’ complex in ‘Montagnes’ (bars 6-7), Harawi Messiaen’s re-use of the ‘Beaujolais’ complex in ‘Katchikatchi les étoiles’ (end of bar 13, piano part only), Harawi Messiaen’s re-use of the ‘Beaujolais’ complex in Neumes rythmiques (beginning of bar 9) Messiaen, Trois Petites Liturgies, ‘Séquence du Verbe, Cantique Divin’ (bars 21–24) Rhythmic borrowing from Jolivet’s Cinq danses rituelles in Messiaen’s Cantéyodjayâ, ‘piccoulanéki’ (bars 178–190) Jolivet, Cinq danses rituelles, ‘Danse nuptiale’ (bars 1–8) The ‘rhythmic theme and a series of four variations’ from Jolivet’s Cinq danses rituelles, ‘Danse initiatique’ (bars 51–56) as presented in Messiaen’s Traité, tome II, p. 417 Jolivet, Cinq danses rituelles, ‘Danse initiatique’ (bars 51–52) Rythmic borrowing from Jolivet’s Cinq danses rituelles in Messiaen’s Cinq rechants, II, tenor voice (bars 54–60) Jolivet, Cinq incantations, ‘Pour que l’enfant qui va naître soit un fils’ (bar 4) Messiaen, Cinq rechants (section 1, bars 3–7) Messiaen, Messe de la Pentecôte, ‘Offertoire’ (Les choses visibles et invisibles) (bars 50–54) Rhythmic borrowing from Jolivet’s Cinq incantations in Messiaen’s Technique de mon langage musical and Messe de la Pentecôte Olivier Messiaen, reduction of ‘Turangalîla 1’, rehearsal fig. 6, from the Traité, vol. II

175 176 177 177 177 177 178 179 181 182 182 183 183 184 184 184 185 187

Notes on the contributors

Julian Anderson is Professor of Composition and Composer in Residence at the Guildhall School of Music and Drama and among the most esteemed composers of his generation. His significant orchestral output includes a violin concerto for Carolin Widmann, In lieblicher Bläue (2015), premiered with the London Philharmonic Orchestra under Vladimir Jurowski, and Incantesimi (2016), commissioned by the Berlin Philharmonic, Boston Symphony Orchestra and Royal Philharmonic Society and premiered under Sir Simon Rattle. His BBC Proms premieres include The Imaginary Museum (2017), a piano concerto for Steven Osborne with the BBC Scottish Symphony Orchestra, and the oratorio Heaven is Shy of Earth (2006, rev. 2009), which was premiered by the BBC Symphony Orchestra and Chorus under Sir Andrew Davis. Strong relationships with Birmingham Contemporary Music Group, London Sinfonietta, and Asko-Schönberg Ensemble have resulted in many commissions, his ensemble works including Khorovod (1994), The Comedy of Change (2009) and Van Gogh Blue (2015). Sensation (2015–2016) for solo piano was commissioned by the Aldeburgh Festival and premiered by Pierre-Laurent Aimard. Alleluia for  choir and orchestra was commissioned to open the refurbished Southbank Centre in London in 2007, and his opera, Thebans (2014), based on the Sophocles Oedipus trilogy, was co-premiered at English National Opera and in Bonn. Yves Balmer is a professeur agrégé of music, maître de conférences at the École Normale Supérieure in Lyon, and a professor of musical analysis at the Paris Conservatoire (CNSMDP). He is also Editor in Chief of the Revue de musicologie published by the Société Française de Musicologie. His doctoral dissertation Edifier son œuvre: Genèse, médiation, diffusion de l’œuvre d’Olivier Messiaen was based on a number of new sources including the Loriod-Messiaen archives at the Bibliothèque nationale de France where he was an associate researcher from 2004 to 2006. He has published numerous book chapters and articles on Messiaen and is co-author, with Christopher Brent Murray and Thomas Lacôte, of a comprehensive study of Messiaen’s technique of composing with pre-existing musical materials: Le modèle et l’invention: Olivier Messiaen et la technique de l’emprunt (Symétrie, 2017). Currently working on a

Notes on the contributors  xv further monograph re-examining Messiaen’s studies and teachings at the Paris Conservatoire, he was also the co-author with Emmanuel Reibel of Michèle Reverdy, Compositrice intranquille (Vrin, 2013). Christine Jolivet-Erlih is in charge of the Association des Amis d’André Jolivet and curator of her father’s private archives. Editor of the Varèse-Jolivet correspondence, Edgard Varèse – André Jolivet: Correspondance 1931–1965 (Contrechamps, 2002) and Jolivet’s complete writings, André Jolivet: Écrits, 2 vols. (Delatour, 2006), she was also a contributor to Portrait(s) d’André Jolivet, ed. Lucie Kayas (BnF, 2005) and joint editor, with Lucie Kayas, of André Jolivet: Catalogue des oeuvres (Association des Amis d’André Jolivet. 1999). Curator of the Jolivet Centenary in France in 2005, she has discussed the work of the composer in interviews for The Musical Times (2006), Radio France, BBC Radio 3 and recorded a film interview with Caroline Rae for the Philharmonia Orchestra’s City of Light: Paris 1900–1950 festival. Lucie Kayas works in parallel as an author and editor, and translated Peter Hill and Nigel Simeone’s seminal monograph Messiaen into French (Fayard, 2008). Her books include a major biography, André Jolivet (Fayard, 2005) as well as two edited volumes on the composer (Actes Sud, 1994; BnF 2005) and an annotated edition of the unpublished broadcasts of Francis Poulenc À bâtons rompus (Actes Sud, 1999) which was commended by the jury of the Prix des Muses at Musicora. As part of her doctoral thesis on Jolivet (Tours, 2007), she compiled a catalogue of the composer’s complete works. With Hervé Lacombe, she is co-editor of Du langage au style: singularités de Francis Poulenc (Symétrie, 2016). After studying piano and chamber music at the École Normale de Musique de Paris she studied musicology at the Paris Conservatoire (CNSMDP) and gained her doctorate from the Université de Tours. She was French editor at Deutsche Grammophon in Hamburg before returning to Paris to work at Avant-Scène Opéra and the festivals of Radio France and Montpellier. After working at the education department of the Théâtre du Châtelet where she developed initiatives to introduce opera to new audiences, she now teaches Musical Culture at the Paris Conservatoire. Thomas Lacôte enjoys a prominent position within the young generation of French organists. Following his appointment as organist of Bourges Cathedral at the age of twenty, he became one of three titulaires of the main organ at the Église de la Trinité in Paris in 2011. He has given recitals in many European countries. Trained at the Paris Conservatoire, he now teaches at the same institution as professeur associé of analysis and harmony, and as an assistant to Michaël Lévinas. He is also a composer and has received commissions from Radio-France and Musique Nouvelle en Liberté. A monographic recording of his organ music and improvisations played at La Trinité was released in 2013 by Hortus. In 2012, he was awarded the Del Duca music prize from the French Académie des Beaux-Arts. Alongside studies on the organ repertoire of the twentieth century, he is the co-author with Yves Balmer and Christopher Brent

xvi  Notes on the contributors Murray of a comprehensive study of Messiaen’s technique of composing with pre-existing musical materials: Le modèle et l’invention: Olivier Messiaen et la technique de l’emprunt (Symétrie, 2017). Catherine Massip was for many years Director of the Département de la Musique at the Bibliothèque nationale de France, and Director of Studies at the École Pratique des Hautes Études in Paris. The author of monographs on Michel Lambert (Société Française de Musicologie, 1999) and Michel-Richard Delalande (Papillon, 2005), much of her research has focused on the history of music manuscripts and musical collections relating to French music of the seventeenth and eighteenth centuries. She has also curated major exhibitions relating to the musical collections of the Bibliothèque nationale de France, including those on Don Juan (1991) and Hector Berlioz, la voix du romantisme (2003). Her publications on French music from the seventeenth to the twentieth centuries are extensive, and include the monographs André Jolivet: l’homme de théâtre (BnF, 1994) and Portrait(s) d’Olivier Messiaen (BnF, 1996). Deborah Mawer is Research Professor of Music at the Royal Birmingham Conservatoire, Birmingham City University, where she also leads a three-year AHRC-funded project entitled ‘Accenting the Classics: Durand’s Édition Classique (c. 1915–1925) as a French Prism on the Musical Past’. She previously held chairs at Lancaster University and the University of Huddersfield. Her books include Darius Milhaud: Modality and Structure in Music of the 1920s (Ashgate, 1997), The Cambridge Companion to Ravel (CUP, 2000), The Ballets of Maurice Ravel: Creation and Interpretation (Ashgate, 2006), Ravel Studies (CUP, 2010), French Music and Jazz in Conversation: From Debussy to Brubeck (CUP, 2014) and recently a sixth volume, Historical Interplay in French Music and Culture, 1860–1960 (Routledge, 2018). Articles and reviews on varied topics including jazz and dance have appeared in the Journal of the Royal Musical Association, Twentieth-Century Music, Music & Letters, Opera Quarterly, Music Theory Online and the British Journal of Music Education, as well as in essay collections on French music. Christopher Brent Murray completed his doctoral dissertation Le développement du langage musical d’Olivier Messiaen: Traditions, emprunts, expériences at the Université-Lumière Lyon 2 in 2010. From 2011 to 2016 he was a postdoctoral research fellow at the Université Libre de Bruxelles, where he continues to teach in the musicology department as a maître de conférences. He organised the first conference on musical life in Belgium during the Second World War and co-edited the proceedings, Musical Life in Belgium during the Second World War (special issue of the Revue belge de musicologie, 2015). With Yves Balmer and Thomas Lacôte, he is the co-author of a comprehensive study of Messiaen’s technique of composing with pre-existing musical materials: Le modèle et l’invention: Olivier Messiaen et la technique de l’emprunt (Symétrie, 2017).

Notes on the contributors  xvii Caroline Potter is a Visiting Fellow of the Institute of Modern Languages Research (School of Advanced Study, University of London) and has published widely on French music since Debussy. A graduate in both French and music, her work situates music in broad cultural, artistic and social contexts. She is often invited to give talks for major orchestras in the UK and for organizations such as the Gergiev Festival (Rotterdam) and the Philharmonie de Paris, and she has participated in several programmes for the BBC and other national broadcasters. Caroline was Series Advisor to the Philharmonia Orchestra’s City of Light: Paris 1900–1950 season and worked with the orchestra’s digital team on resources available at www.philharmonia.co.uk/paris. Her most recent book, Erik Satie: a Parisian composer and his world (Boydell Press, 2016) was named Classical Music Book of the Year by The Sunday Times. Caroline Rae is a Reader in Music at Cardiff University and has published widely on French music since Debussy as well as on the musical writings of Alejo Carpentier. In addition to her many journal articles and book chapters, she is the author of The Music of Maurice Ohana (Ashgate, 2000), editor of the expanded and revised edition of Robert Sherlaw Johnson’s Messiaen (Omnibus, 2008) and contributing co-editor of Dutilleux at 95 (Contemporary Music Review, 2010). Also a pianist, she remains active as a performer and gave the UK premiere of Jolivet’s Hopi Snake Dance with her piano duo partner Iwan Llewelyn-Jones in Cardiff in December 2014. A pupil of Dame Fanny Waterman from childhood, she later studied with Yvonne Loriod-Messiaen in Paris, and at the Hochschule für Musik und Theater in Hanover. She has broadcast on many aspects of French music for BBC Radio 3, and gives talks for major UK orchestras and at the BBC Proms. As a programming consultant to the BBC National Orchestra of Wales, her projects include the BBC Discovering Dutilleux Festival, André Jolivet Composer Portrait and Paul Sacher Perspectives season. She was Series Advisor to the Philharmonia Orchestra’s City of Light: Paris 1900–1950 festival, and authored many of the materials available online at www.philharmonia.co.uk/paris. She was made a Chevalier de l’Ordre des Arts et des Lettres in 2018. Nigel Simeone taught at the universities of Nottingham, Bangor and Sheffield before becoming a freelance writer in 2010. His research interests include a wide range of twentieth-century musical subjects. He has written and cowritten books on Messiaen, Janáček, Music in Paris, Leonard Bernstein and Charles Mackerras. He is currently working on The Janáček Compendium, an encyclopedia of the composer and his works, to be published in 2018. He has given guest lectures at the Royal Opera House, the Wigmore Hall, the Conservatoire in Namur, Belgium and at the Festival Messiaen au Pays de la Meije in the French Alps, and led study days at the Royal Festival Hall on Janáček’s Jenůfa and Messiaen’s Turangalîla-Symphonie. He appears regularly on the BBC Radio 4 series Tales from the Stave. Nigel also teaches music part-time at English Martyrs’ Catholic School, Leicester.

xviii  Notes on the contributors Pascal Terrien is Professor of music and co-director of research and international cooperation at the École Supérieur du Professorat et de l’Éducation at the University of Aix-Marseille. With his research focussing on musical cognition through extensive work in musicology and music pedagogy, he has shed new light on the mechanism of the construction of knowledge and skills in music. He runs the interdisciplinary research programme ‘Geste Créative et l’Activité Formative’ at the research laboratory Apprentissage-Didactique-ÉvaluationFormation in Aix-Marseille, and is an associated-researcher at l’Observatoire Interdiscipilinaire de Création et de Recherche en Musique in Canada. He has been a visiting professor at the University of Keele, the ­Academy of Music Minsk, and at the universities of Calgary, Laval and Ottawa. His books include: La métamorphose de l’émotion musicale: entre expériences et savoirs (L’Harmattan, 2016), Réflexions didactiques sur l’enseignement musical (Delatour, 2015), A History of the Saxophone through the Methods Published in France: 1843–1942 (Delatour, 2015), Musique et Vidéo (L’Harmattan, 2010), and L’Écoute musicale au collège, fondements anthropologiques et psychologiques (L’Harmattan, 2006). Jean-Claire Vançon is a flautist and pianist by training, and completed his doctoral thesis on the reception of Jean-Philippe Rameau in France from 1764 to 1865. A professeur agrégé, he received three premiers prix at the Paris Conservatoire where he was also an assistant to Michaël Levinas. He has taught at the Paris Conservatoire, Université de Paris-Sorbonne and the Université de Paris-Sud where he was also co-director of the Centre de Formation des Musiciens Intervenant. Currently artistic advisor to Ariam Ile-de-France, he has been on the editorial committee of Analyse musicale and the advisory board of the Centre de Documentation de la Musique Contemporaine (CDMC). The author of a monograph on André Jolivet (Bleu-nuit, 2007), his current research focuses on the history of musical practice (interpretation, pedagogy and analysis) in France during the nineteenth and twentieth centuries. He is regularly invited to speak at festivals, conferences and on French Radio.

Acknowledgements

My sincere gratitude must first be expressed to Christine Jolivet-Erlih, daughter of the composer, for her commitment to this volume from its inception. Together with her late husband, the violinist Devy Erlih, Madame Jolivet-Erlih’s support and encouragement has been immeasurable. In addition to contributing her own original research, Madame Jolivet-Erlih has been exceptionally generous in making documents available from her private archives (AAJ) and in sharing information about her father during our many conversations, public and private, over the years we have been working together on this and other related projects. I  am grateful for her authorisation to reproduce photographs from her private collection as well as extracts from her father’s manuscripts at the Bibliothèque nationale de France. I also thank Catherine Massip, the former Director of the Département de la Musique at the Bibliothèque nationale de France for her assistance in obtaining these reproductions and for sharing her extensive knowledge of ­Jolivet’s manuscripts. My deepest thanks are extended to the authors of the individual chapters in this collection, first and foremost, for their contributions but also for their patience and understanding during the preparation of this volume, which was longer than expected. Much practical help was provided by Christine Jolivet-Erlih, Catherine Massip, Deborah Mawer, Lucie Kayas and Nigel Simeone. My sincere gratitude is extended to Heidi Bishop, Senior Editor at Routledge, without whose support this book would not have come to fruition. I also thank Annie Vaughan at Routledge for always responding helpfully to my many queries. I am grateful to Cardiff University School of Music for granting me a sabbatical semester and for funding numerous research trips to Paris. A debt of gratitude is also owed to Roy Howat who kindly let me borrow his Paris flat on more occasions than I can possibly remember. Further thanks are due to the ever-attentive staff at the Bibliothèque nationale de France, Médiathèque Musical Mahler, Cardiff University Music Library and Bodleian Library. I am indebted to many colleagues for their willingness to read various sections of the volume and for providing assistance as well as sage advice on a range of issues. I  particularly thank Peter Hill, Barbara Kelly, Michael Robinson, Marina Frolova-Walker, Stephen Walsh, Yo Tomita, James Whitely, Peter McMullin, Edward Campbell and Esteban Buch. I  am deeply grateful to Robert Whittaker and Gareth Churchill for preparing the music examples, and Peter Whittaker for his assistance with

xx  Acknowledgements preparing the photographs. My thanks and appreciation are also extended to my very dear friend and former teacher of French, Roger Waterhouse, for his valuable help with some of the translations. The research for this volume stimulated a number of related Jolivet projects. The first was a Cardiff University Study Day in collaboration with the BBC National Orchestra of Wales for BBC Radio 3’s ‘André Jolivet Composer Portrait’ in December 2011 (broadcast January 2012). I am grateful to Tim Thorne, former Senior Producer at the BBC National Orchestra of Wales, for his support in this collaboration, and that of the conductor Pascal Rophé, not least because it occasioned the first UK performances for many years of three major works by Jolivet: the Third Symphony, Second Cello Concerto (with soloist Marc Coppey) and Bassoon Concerto (with soloist Jarosław Augustyniak). The second was part of a much larger project, the Philharmonia Orchestra’s City of Light: Paris 1900–1950 festival for which I had the privilege of being Series Advisor, and which included features on Jolivet’s music: a filmed interview with Christine Jolivet-Erlih (see www.philharmonia.co.uk/paris/films); the UK premiere of Hopi Snake Dance for two pianos with Iwan Llewelyn-Jones and myself (Cardiff University Concert Hall, 9 December 2014); and my paper on Jolivet’s works of the war years for one of the City of Light Explore Days. The third project was with the Cardiff University Symphony Orchestra under conductor Mark Eager who made the first UK recording of Jolivet’s Poèmes intimes (orchestral version) with baritone Jeremy Huw Williams for Prima Facia records (PFNSCD005, 2016). I gratefully acknowledge the Bibliothèque nationale de France for granting permission to reproduce extracts from Jolivet’s manuscript material, and the Médiathèque Musicale Mahler for providing the photograph of Paul Le Flem. Finally, an immense debt of gratitude is owed to my husband Peter Whittaker and sons Robert and Charles whose patience and forbearance well beyond any reasonable expectations enabled this book to be completed. Caroline Rae Machen, August 2018.

Figure i.1  André Jolivet’s signature. (Source: Christine Jolivet-Erlih private archives.)

Editor’s note

In preparing this collection for publication, the editor has been guided by the following principles: • • •

•

Language: the original French for all quotations has been provided in the end notes. The Russian sources in Chapter 10 were translated into French by the author, these translations being given in the end notes. The two-volume collection of Jolivet’s writings and interviews edited by Christine Jolivet-Erlih (Sampzon: Delatour, 2006) is referenced in the end notes as Écrits, followed by the relevant volume and page numbers. Other frequently cited Jolivet texts are given in short form in the end notes with the full reference in the bibliography: Hilda Jolivet, Avec . . . André Jolivet (Paris: Flammarion, 1978); Christine Jolivet-Erlih ed., Edgard Varèse, André Jolivet, Correspondance 1931–1965 (Geneva: Contrechamps, 2002); Lucie Kayas ed., Portrait(s) d’André Jolivet (Paris: Bibliothèque nationale de France, 2005; Lucie Kayas, André Jolivet (Paris: Fayard, 2005) and JeanClaire Vançon, André Jolivet (Paris: Bleu nuit, 2007). Commonly used abbreviations: AAJ (Archives André Jolivet) BnF (Bibliothèque nationale de France) MMM (Médiathèque Musicale Mahler, Paris)

Chronology of Jolivet’s life and works Caroline Rae

This chronology is compiled from various sources, but special acknowledgement should be made of the chronologies by Christine Jolivet-Erlih in Portrait(s) d’André Jolivet (2005) ed. Lucie Kayas, and on the pages of the Association des Amis d’André Jolivet (www.jolivet.asso.fr), which not only draw on the composer’s archives and diaries, but are also informed by her personal knowledge of her father’s life. Additionally, Catherine Massip and Christine Jolivet-Erlih have provided details relating to the composer’s vocal works from the manuscripts held at the Bibliothèque nationale de France. The chronology is organised with the main events of Jolivet’s life under the appropriate year (or groups of years), with significant premieres and works listed beneath. Premieres are in Paris unless otherwise stated. Works are given by their date of completion. All works are published unless otherwise indicated. Some of Jolivet’s writings and lectures have been included to show the progress and development of his creative thinking. Abbreviations follow the practice of The New Grove Dictionary of Music and Musicians with the additions listed below: Association pour la Diffusion de la Pensée Française Centre Français d’Humanisme Musical École Normale de Musique Institut des Hautes Études Cinématographiques Institut National Belge de Radiodiffusion Office de Radiodiffusion-Télévision Française (founded 1964) Orchestre de la Société des Concerts du Conservatoire Radiodiffusion Nationale (founded 1939) Radiodiffusion Française (founded 1945) Radiodiffusion-Télévision Française (founded 1949) Société Internationale pour la Musique Contemporaine Société Nationale de Musique Société des Auteurs, Compositeurs et Éditeurs de Musique Société des Auteurs et Compositeurs Dramatiques

ADPF CFHM ENM IDHEC INR ORTF OSCC RN RDF RTF SIMC SNM SACEM SACD

Chronology of Jolivet’s life and works  xxiii

1905 Born 8 August, 2 rue Versigny, Montmartre. Youngest child (only son) of Madeleine Jolivet née Pérault (1874–1936), who loved music and playing the piano, and Victor-Ernest Jolivet (1869–1954), an accountant by profession and painter by vocation who studied with the Montmartre-based artist Félix Ziem. Baptised at Notre-Dame de Clignancourt (8 April 1906).

1909–1916 Introduced to the piano by his mother. Begins lessons in piano and solfège with Henriette Casadesus (third wife of Francis Casadesus). His teacher at primary school (rue Sainte-Isaure) is the father of the writer and founder of the French Unanimism movement, Jules Romains. Sketched by the Montmartre artist Francisque Poulbot. Begins musical studies with abbé Aimé Théophile Théodas, choirmaster at Notre-Dame de Clignancourt (1914).

1917–1918 Attends a performance at the Comédie-Française for the first time (1917) and declares his ambition to become a sociétaire. Constructs a model theatre with actors and staging made from cardboard. Writes short plays and poems, and sets them to music. Experiments briefly with the clarinet before starting to learn the cello. Enters senior school, École supérieure Colbert, where his maternal uncle teaches maths (October 1918). Begins Romance barbare, his first serious composition.

1919–1920 Begins studies in painting with the Cubist artist Georges Valmier (1919), who introduces Jolivet to Paul Le Flem, professor of counterpoint at the Schola Cantorum. (Valmier sings in Le Flem’s choir, Les Chanteurs de Saint-Gervais, and at Notre-Dame de Clignancourt.) Begins cello lessons with Louis Feuillard (1920). Decides he wants to be a composer. Works: Romance barbare (pf ).

1921–1923 Enters the École Normale d’Instituteurs d’Auteuil (teacher training). Continues to write and study music privately. Regularly attends the Concerts Pasdeloup. Works: Parfums de lettres brûlées (v, pf: Jolivet, unpubd.), La lampe se balance (v, pf: Jolivet, unpubd.), Les Amours de la girafe et de l’éléphant (2 vn, vc, pf, unpubd.).

xxiv  Chronology of Jolivet’s life and works

1924–1925 Completes his studies at the École Normale d’Instituteurs. Begins military service in the French cavalry (Colmar and Mulhouse). Works: Deuxième Lied (v, pf: anon, unpubl), Deux poèmes d’Alfred Jarry (v, pf: Jarry, unpubd.), Trois poèmes de Cocteau (v, pf: Cocteau, unpubd.), Sainte Perpétue (v, inst ens, unpubd.), Sarabande sur le nom d’Éric [sic] Satie (pf, 1925).

1927 Demobilised (3 May). Accepts his first school teaching post (St Denis). Renews contact with Georges Valmier and begins musical studies with Paul Le Flem. Discovers the music of Béla Bartók, Alban Berg and Arnold Schoenberg. Hears Igor Stravinsky’s The Rite of Spring, Florent Schmitt’s La Tragédie de Salomé and Schoenberg’s Pierrot lunaire (Salle Pleyel). Meets the violinist Martine Barbillon (later his first wife). Works: Tango (pf ), Cinq airs militaires (v, pf: Jolivet, unpubd.), Deux Paroles de Paul-Jean Toulet (v, pf: Toulet, unpubd.), Deux poèmes de Pierre Reverdy (v, pf: Reverdy, unpubd.).

1928 First public performance of Jolivet’s music (probably Chewing-gum) at the Studio des Ursulines in a concert organised by the Dada-affiliated group Discontinuité. Begins compiling his personal catalogue of works. Hears Bartók’s Romanian Dances (orch). Works: Chewing-gum (bar, pf: Sernet), Faux Rayon (v, pf: Reverdy), Pic-nic (pf ); Deux poésies de Francis Jammes (Mez, pf/chbr orch: Jammes), Je ne suis séparé de vous . . . (v, pf: Jammes, unpubd.).

1929 Hears Bartók and Joseph Szigeti at the Salle du Conservatoire (13 March). Le Flem introduces Jolivet to Edgard Varèse (May). Attends Paris premiere of Amériques. Begins studies with Varèse (orchestration and composition). Marries Martine Barbillon (18 September). Works: Paroles de Marie à son fils (S, pf: anon 16th century), Sonnet de Ronsard (3 S).

Chronology of Jolivet’s life and works  xxv

1930 Meets regularly with Varèse while continuing his studies with Le Flem. Birth of his daughter Françoise-Martine (20 May). Works: Trois temps (pf), Deux mouvements (pf), Suite pour trio à cordes (vn, va, vc), Air pour bercer (vn, pf), Grave et gigue (vn, pf), La Mule de Lord Bolingbroke (v, pf: Jacob), Trois rondels (Mez, pf: Villon), Trois prières de l’homme (S, fl, cl, vc: Jolivet).

1931 Works published by Sénart and Leduc. Attends rehearsals of Varèse’s Intégrales (cond. Slonimsky, June). Visits the Exposition Coloniale with Varèse (July). Works: String Quartet (2 vn, va, vc), Violin Sonata (vn, pf ), Six études pour piano (pf ), Suite (va, pf, unfinished; projected Viola Concertino), Quatre mélodies sur des poésies anciennes (S/Mez, pf/chbr orch: Villon), Prière de treize hommes dans la mine (bar/Mez, pf: Hubermont). Premieres: Trois temps (Mireille Monard, SNM, 14 March), Violin Sonata (Martine Barbillon-Jolivet, Jeanne Leleu, Concerts du Montparnasse, 19 November).

1932 Applies for membership of SACEM. Frequents Montparnasse and meets many of Varèse’s circle (incl. Rafael Alberti, Antonin Artaud, Alexander Calder, Alejo Carpentier, Maurice Freed, Le Corbusier, Fernand Léger, Jacques Lipchitz, Georges Ribemont-Dessaignes, Joseph Stella, Heitor Villa-Lobos). Martine Barbillon files for divorce (20 October and gains custody of their daughter). Meets Hilda Guigue (later his second wife). Works: Trois croquis (pf ), Choral et fugato (pf 4-hands, arr orch), Aubade (vn, pf ). Premieres: Paroles de Marie à son fils and Quatre mélodies sur des poésies anciennes (Elsa Ruhlmann, Jeanne Leleu, Salle Chopin, 29 February), Suite pour trio à cordes (Martine Barbillon-Jolivet, Denyse Thoret, Jacqueline Mendès-Guasco, Salle Chopin, 29 February).

1933 Meets Olivier Messiaen, Pierre-Octave Ferroud, Georges Migot, Jean Rivier, Albert Roussel and Florent Schmitt. His music is performed at the ‘Tuesdays’ of La Revue musicale. First visit to Algeria and Morocco (August) to meet Hilda

xxvi  Chronology of Jolivet’s life and works Guighui’s family. Hears the North African flute. Visits Spain with Varèse and meets Pedro Sanjuan, Rafael Alberti, Joaquín Torres-García (in Madrid and Barcelona). Varèse returns to the USA and gives Jolivet the objects that later inspired Mana. Jolivet marries Hilda Guighui (26 September). Premieres: Deux poésies de Francis Jammes (Marie Péchenart, Robert Bernard, Salle Debussy, 2 December).

1934 Joins SACEM. Second visit to North Africa (29 March-8 April). Meets Maurice Martenot (17 July). Regular meetings with Antonin Artaud, René Allendy, Balthus and Georges Ribemont-Dessaignes. Revises his String Quartet. Works: Danses pour Zizou (pf ), Sidi-Yaya (pf ), Algeria-Tango (pf ), Romantiques (v, pf: Boudry, Ribemont-Dessaignes, Huidobro). Premieres: String Quartet (Quatuor Huot, SNM, 24 March).

1935 Completes Mana (28 January). Co-founder of La Spirale with Messiaen, JeanYves Daniel-Lesur, Georges Migot and Nestor Lejeune (May). Transcribes Varèse’s Octandre for piano 4-hands. Writes an organ work for Messiaen (Prélude apocalyptique). Jolivet’s music is broadcast on Radio Coloniale, Radio-PTT, RN and Radio-Paris. Birth of his son Pierre-Alain (15 May). Works: Mana (pf ), Prélude apocalyptique (org), Andante (str orch), Chant d’oppression (va, pf ), Trois poèmes pour ondes Martenot et piano (ondes Mart., pf ), El viejo camello (pf ), Madia (pf ), Fom Bom Bo (pf ), Chant des regrets (bar, pf: Recolin). Premieres: Trois poèmes pour ondes Martenot (Maurice Martenot, RN, 6 May), Mana (Nadine Desouches, La Spirale, Schola Cantorum, 12 December).

1936 Lectures on musical aesthetics (‘Esprit mystique et philosophique – Conférence Gil-Marchex’, ENM 20 February). Meets Arthur Honegger and Darius Milhaud. Founds La Jeune France with Yves Baudrier, Messiaen and Daniel-Lesur. Meets Hélène de Callias; their discussions inform her monograph Magie sonore (Paris, 1938). Elected a member of the Bureau International de Musique with Milhaud and Honegger. Attends the first Congrès National de la Musique. Quatuor Hongrois perform Jolivet’s String Quartet in Budapest and Paris (August). Works: Cinq incantations (fl), Danse incantatoire (orch), Soir (wind band), Défilé (wind band).

Chronology of Jolivet’s life and works  xxvii Premieres: Danse incantatoire (Orch Symphonique de Paris cond. Roger Désormière, Jeune France, Salle Gaveau, 3 June).

1937 Gives talks at the Sorbonne (‘Genèse d’un renouveau musical’, 14 January) and on Radio-Paris (‘L’Expression lyrique du machinisme dans la musique’, 20 February). Publishes his first article (‘La musique d’aujourd’hui et ses tâches’, L’Art musical populaire). Works: Incantation “pour que l’image devienne symbole” (alto fl/vn/ondes Mart.), Poèmes pour l’enfant (v, inst ens/str qt, pf: Jolivet), Chants d’hier et de demain (bar, male vv, pf/orch: Marat, Robespierre, Jaurès), Le Jeu du camp fou (v, pf: Vaillant-Couturier), Trois chants des hommes (bar, orch: Boudry). Premières: Romantiques (Claire Croiza, Madeleine d’Aleman, Salle Cortot, SNM, 20 March), Trois chants des hommes (Dominique Modesti, Jacques Bastard, OSCC cond. Roger Désormière, Jeune France, Salle Gaveau, 4 June).

1938 Collaborates with Daniel-Lesur on L’Infante et le monstre, commissioned by Les Ballets de La Jeunesse. Sunday evening meetings with Messiaen, Daniel-Lesur and Baudrier at the Restaurant Soleil d’Or, Place de la Trinité. Trio Pasquier perform the Suite pour trio à cordes (RN, 24 November). Works: Cosmogonie (pf/orch), Ouverture en rondeau (4 ondes Mart., 2 pf, perc/ str orch/ chbr orch), L’Infante et le monstre (ballet: 4 ondes Mart, pf, perc). Premieres: Poèmes pour l’enfant (Claire Croiza, ENM orch cond. Roger Désormière, Jeune France, ENM, 12 May), Trois chants des hommes (Dominique Modesti, Jacques Bastard, OSCC cond. Roger Désormière, Jeune France, Salle Gaveau, 4 June), Cinq incantations (Jan Merry, SNM, 7 May), Poèmes pour l’enfant (str qt, pf version, Claire Croiza, Quatuor Plazonch, Nadine Desouches, Jeune France (19 December).

1939 Publishes ‘Plaid pour le vif’ (La Nouvelle Saison). Organises three private concerts for Les Amis de la Jeune France. Mobilised at Fontainebleau (26 August). Joins 101 Artillery Regiment (18 November). Wife and son relocate temporarily to Malesherbes (where Hilda takes a teaching position). Works: Cinq danses rituelles (pf/orch), Trois poèmes chantés (S, pf: Bruyr).

xxviii  Chronology of Jolivet’s life and works

1940 Sees active service in Haute-Vienne and fights at the Battle of the Pont de Gien (June). Writes the texts for Trois complaintes du soldat while awaiting his demobilisation order. Awarded the Croix de guerre for meritorious service in action (28 June). Demobilised (6 August) and returns to occupied Paris. Resumes teaching, and the writing of his diary (September). Birth of his daughter Christine (3 December). Works: Les Trois complaintes du soldat (bar, pf; arr orch: Jolivet), Messe pour le jour de la paix (S, org/str, tambourin [Provençal drum]), Symphonie de danses (orch), Les Quatre vérités (ballet, scenario Lenormand: inst ens), Le Cercle enchanté (ballet, scenario Vermorel: orch).

1941 Meets Henri Ghéon. Lectures on Hector Berlioz and La Jeune France in a series entitled ‘La Musique contemporaine et ses affinités’ (Théâtre des Mathurins, 25 February). Contributes to a collaborative project on Joan of Arc for French Radio. Receives commissions for incidental music and film scores. Works: Petite suite (fl, va, hp), La Tentation dernière (cant, 2 nar, S, Mez, C, vv SATB, orch: Vermorel, unpubl), La Pêche miraculeuse (puppet ballet, scenario Chesnais: vv, chbr orch), Ballet des étoiles (puppet ballet, scenario Chesnais: chbr orch), Aimer sans savoir qui (incidental music: Lope de Vega). Premieres: Les Quatre vérités (ballet choreg. Madika, Salle Pleyel, 15 March), La Tentation dernière (RN, 14 May).

1942 A grant from ADPF enables him to cease school teaching and focus exclusively on music. Starts work on his opera Dolorès ou le miracle de la femme laide (libretto: Henri Ghéon). Orchestrates Les Trois complaintes du soldat (deluxe edition published by Durand). Collaborates with Honegger on the film score for Boxe en France (dir. Gasnier-Reymond), and with Daniel-Lesur on Mémoire des maisons mortes (dir. Jules Chéret). Commissioned to write sight-reading pieces for the Paris Conservatoire. Désormière makes the first recordings of Jolivet’s music (La Pêche miraculeuse, Ballet des étoiles). Starts his Missa brevis (v, org), later reworked as the Cinq préludes (org). Discovers the writings of Pierre Teilhard de Chardin. Works: Le Mystère de la Visitation (incidental music, Salon de l’Art Sacré: Ghéon), Suite liturgique (T/S, ob/eng hn, vc, hp), Missa brevis (v, org, unpubd.).

Chronology of Jolivet’s life and works  xxix Premieres: Cosmogonie (orchestral version; Orchestre Symphonique Français, Nice, 4 March), Messe pour le jour de la paix (Marcelle Bunlet, Olivier Messiaen, Chapelle des Franciscains, 25 March), La Tentation dernière (OSCC cond. Charles Munch, Salle du Conservatoire, 18 April), Cinq danses rituelles (Lucette Descaves, ENM, 15 June), Suite liturgique (ENM, 18 November).

1943 Conducts at the Comédie-Française for the first time (Iphigénie à Delphes and Honegger’s incidental music for Claudel’s Le Soulier de satin, at Honegger’s request). Begins his Beethoven monograph. Co-founds the Groupement des Compositeurs de Paris. Collaborates with Serge Lifar (Guignol et Pandore). Birth of his son Merri (16 December). Works: Pastorales de Noël (fl/vn, bn/va/vc, hp), Suite delphique (fl, ob, cl, 2 hn, tpt, trbn, ondes Mart., hp, timp, perc), Trois chansons de ménestrels (v, pf/chbr orch: De Beer), Guignol et Pandore (ballet, scenario and choreg. Lifar: orch, arr pf ), Nocturne (vc, pf ), Poèmes intimes (bar, pf/orch: Émié), Cinq préludes (org), La Queste de Lancelot (radiophonic music, RN: De Beer), Iphigénie à Delphes (incidental music, Comédie-Française: Hauptmann trans. Colombier), La Parole est d’argent (film score, dir. Pierre Thévenard, unpubd.). Premieres: Trois complaintes du soldat (Pierre Bernac, OSCC cond. Charles Munch, Salle du Conservatoire, 28 February), Pastorales de Noël (Trio Lauteman, RN, 24 December).

1944 Lectures at the IDHEC (January-May). Three festivals of his music in Paris (21, 22 January, 9 May). Begins a cantata based on texts by Ghéon (Cantate du fléau de Dieu et de la Cité de la paix) but later abandons the project. Begins publishing with Durand and Costallat. Commissioned to write test pieces for the Paris Conservatoire. Works: Dolorès ou le miracle de la femme laide (opera buffa: soloists, chorus, orch: Ghéon), Étude sur des modes antiques (pf), Chant de Linos (fl, pf; arr. fl, vn, va, vc, hp), Le Malade imaginaire (incidental music, ComédieFrançaise: Molière). Premieres: La Queste de Lancelot (Odette Ricquier, Jeannette Peretti, Pierre Bernac, Orch Radio-Symphonique de Paris cond. Félix Raugel, RN, 21 January), Trois chansons de Ménestrels (extracts: Georges Cathelat, Irène Aïtoff, Salle des Agriculteurs, 21 January), Poèmes intimes (Pierre Bernac, OSCC cond. André Cluytens, Salle du Conservatoire, Concerts de la Pléiade, 4 April). Guignol et Pandore (scenario, choreography: Lifar, Opéra de

xxx  Chronology of Jolivet’s life and works Paris, 29 April), Cinq danses rituelles (Société des Concerts aux ChampsÉlysées orch cond. André Cluytens, Paris, 5 December), Chant de Linos (qnt version, Jeune France, Paris, 19 December), Les Ultra-sons (film score, dir. Pierre Thévenard unpubl).

1945 Appointed Director of Music at the Comédie-Française (1 January) and conducts productions on tours in England (July) and Belgium (December). Receives Pierre Boulez and other Messiaen students at his home for an analysis class on Cinq danses rituelles (9 February). Publishes ‘Assez de Stravinsky’ (Noir et blanc). Dedicates his First Piano Sonata to Bartók’s memory. Works: Piano Sonata No. 1 (pf ), Sérénade (ob, pf/wind qnt), Deux pièces d’Henri Duvernois (incidental music: Duvernois). Premieres: Trois chansons de Ménestrels (complete: Renée Dyonis, Marcelle Soulage, Groupe Instrumental Féminin, Salle Debussy, 10 February), Sérénade (ob, wind qnt, qnt Orch National de RTF, 7 November).

1946 Publishes ‘Le Réveil des muses’ (La Revue musicale) and ‘André Jolivet et la magie expérimentale’ (Contrepoints), reaffirming his compositional raison d’être as the desire ‘to restore music’s ancient, original meaning when it was the magic and incantatory expression of the sacred in human communities’. Tours with the Comédie-Française to Belgium. Works: Psyché (orch), Britannicus (incidental music, Comédie-Française: Racine), Fanfares pour Britannicus (4 tpt, 4 hn, t trbn, tba, timp, perc), Iphigénie en Aulide (incidental music Comédie-Française: Racine), Le Livre de Christophe Colomb (radiophonic music, RDF: Claudel), La Lueur qui s’éteint (film score, dir. Pierre Thévenard, unpubd.).

1947 Conducts the broadcast premiere of his opera Dolorès. Works: Ondes Martenot Concerto (ondes Mart., orch), Hymne à Saint-André (S, org: Latin liturgy), Cinq interludes (org), Petite suite (2 vn, va, vc, db, pf, perc), Horace (incidental music, Roman Theatre at Fourvière: Corneille), Chant de l’avenir (v, pf: Migennes), Antergan (film score, dir. Léo Joannon, unpubl). Premieres: Piano Sonata No. 1 (Yvette Grimaud, SNM, Paris 31 January), Le Livre de Christophe Colomb (Orch Symphonique de la RDF, cond. unknown, Paris, 1 February), Psyché (Orch de l’INR cond. Franz André, INR, Brussels, 5 March). Dolorès ou le miracle de la femme laide, Orch Symphonique de la RDF cond. Jolivet, RDF, 4 May).

Chronology of Jolivet’s life and works  xxxi

1948 Joins the Fédération Nationale du Spectacle. Visits Vienna to conduct the premiere of the Ondes Martenot Concerto. Conducts the Comédie-Française in London. Becomes Vice-President of the Semaines Musicales de Royaumont. Co-founder Comité National de la Musique. Inspired by postcards of indigenous Americans sent by Varèse (in 1930s) for Hopi Snake Dance. Milhaud organises the Tanglewood premiere of Hopi Snake Dance (he is the dedicatee). Works: Trumpet Concertino (tpt, str orch, pf), Hopi Snake Dance (2 pf), La Flûte du boeuf (incidental music: Audiberti), Ho! Flibustiers (T, Bar, B: Mauclère after songs of buccaneers), Le Spitzberg (film score, dir. unknown), Sim (music for cartoons after [H]. Breuil, unpubd.), Le Champignon qui tue (film score, dir. Pierre Thévenard, unpubd.). Premieres: Suite delphique (Vienna Philharmonic Orch members cond. Jolivet, 22 April), Ondes Martenot Concerto (Ginette Martenot, Vienna Philharmonic Orch cond. Jolivet, 23 April), Hopi Snake Dance (performers unknown, Tanglewood, 10 August), Hymne à Saint-André (Sabine de Butler, Chapelle des Dominicains, 28 November).

1949 Festival Jolivet (ENM, 22 March). Begins publishing with Heugel. Commissioned by RTF to write a piano concerto, initially entitled Equatoriales. Publishes ‘On demande des compositeurs? Non, on les étrangle!’ (Paroles et Musique). Writes scores for cinema advertising (dir. André Sarrut) for Agence Comète. Works: Flute Concerto No. 1 (fl, str orch), Danse roumaine (pf), Hélène et Faust (radiophonic music, RTF: Goethe-Arnoux), Les Précieuses ridicules (incidental music, Comédie-Française: Molière). Premieres: Poèmes intimes (pf version, Pierre Bernac, Francis Poulenc, ENM, 22 March).

1950 Tours with the Comédie-Française to Belgium (January) and Egypt (March). Conducts the premieres of his Flute Concerto and Trumpet Concertino. Paris premiere of the Ondes Martenot Concerto (5 February). Conducts the Spanish premiere of Milhaud’s Création du monde in Barcelona (May). Composes the Piano Concerto in Carnac (Brittany), initially entitled Équatoriales. Works: Piano Concerto (pf, orch), L’Inconnue (ballet, scenario Vaillat, choreg. Lifar: female vv, orch, unpubd.). Premieres: Flute Concerto No. 1 (Jean-Pierre Rampal, Soc. de Concerts Oubradous cond. Jolivet, 19 February), L’inconnue (Opéra de Paris, cond. Louis Fourestier, 19 April), Trumpet Concertino (Arthur Haneuse, Orch du

xxxii  Chronology of Jolivet’s life and works Club d’Essai de la RTF cond. Jolivet, Abbaye de Royaumont, Royaumont Festival, 10 June), Ho! Flibustiers (ens. Les Compagnons du Large, Salle Adyar, 18 November).

1951 Awarded the Grand Prix de la Ville de Paris for the Piano Concerto. Conducts the premiere of his Piano Concerto and works by Henri Dutilleux, Honegger and Jacques Ibert at the Comédie-Française. Works: Jardins d’hiver (v, pf: Lefilleul), Trois poèmes galants (bar, pf/ orch: Mellin de Saint-Gelais, Colin-Bucher, Le Moyne), Berceuse dans un hamac (pf), Chansons naïves (pf), Antigone (incidental music, Comédie-Française: Sophocles), Le Bourgeois gentilhomme (incidental music after Lully, Comédie-Française: Molière), Le vrai coupable (film score, dir. Pierre Thévenard, unpubd.). Premieres: Trois poèmes galants (Pierre Bernac, Francis Poulenc, RTF, 29 April), Piano Concerto (Lucette Descaves, Orch Radio-Symphonique de Strasbourg cond. Jolivet, Strasbourg Festival, 19 June).

1952 Works: Harp Concerto (hp, chbr orch), Air de bravoure (tpt/crt, pf). Premieres: Harp Concerto (Lily Laskine, SWR Symphony orch cond. Hans Rosbaud, Donaueschingen Festival, 12 October).

1953 Makes his first commercial recording (Ducretet-Thomson) conducting the Piano Concerto, Trumpet Concertino and Andante pour cordes (awarded the Grand Prix du Disque, 1954). Works: Épithalame (12 vv SATB: Jolivet), Symphony No. 1 (orch), Cabrioles (fl, pf), Chant pour les piroguiers de l’Orénoque (ob, pf), Fantaisie-Caprice (fl, pf), Fantaisie-Impromptu (a sax, pf), Les Caprices de Marianne (incidental music, Comédie-Française: Musset).

1954 Receives the Prix du Président de la République and his first Grand Prix du disque. Visits USSR with the Comédie-Française and is received at the Soviet Composers’ Union. Publishes ‘Le dodécaphonisme’ (Le Conservatoire). Varèse visits Paris for the premiere of Déserts and meets with Jolivet (October–December). Piano Concerto and Ondes Martenot Concerto performed in the USA. Awarded

Chronology of Jolivet’s life and works  xxxiii the Grand Prix des Compositeurs at the Festival International de la Musique Contemporaine. Works: Méditation (cl, pf), Bassoon Concerto (bn, str orch, hp, pf), Trumpet Concerto No. 2 (tpt, orch), Les Amants magnifiques (incidental music after Lully, Comédie-Française: Molière), Prométhée enchaîné (incidental music, Comédie-Française: Aeschylus, De Beer), Fantasio (incidental music, Comédie-Française: Musset), Vingt minutes sous les mers (film score, dir. Pierre Thévenard, unpubd.), Les aventures d’une mouche bleue (film score, dir. Pierre Thévenard, unpubd.). Premieres: Symphony No. 1 (Festival Orchestra cond. Charles Munch, SIMC Haifa, 30 May), Bassoon Concerto (Maurice Allard, Orch National de la RTF, cond. Jolivet, Bibliothèque Mazarine, 30 November).

1955 Conducts the Orchestre Lamoureux for the first time. Beethoven monograph published (Éditions Richard-Masse) and dedicated to his mother’s memory. Receives the Légion d’honneur (Chevalier). Guignol et Pandore receives its hundredth performance at the Opéra de Paris. Works: Suite transocéane (orch), L’Amour médecin (incidental music, ComédieFrançaise: Molière, unpubd.), Le Veuf (incidental music, Comédie-Française: Carmontelle, unpubd.), Le Soleil se lève à l’est (film score, dir. Pierre Thévenard, unpubd.). Premieres: Suite transocéane (Louisville Symphony Orch cond. Robert Whitney, Louisville USA, 24 September).

1956 Attempts to secure permanent contracts for the Comédie-Française orchestra. Meets Mstislav Rostropovich. Completes and conducts La Vérité de Jeanne, his oratorio based on 15th-century texts rehabilitating Joan of Arc for the quincentenary celebrations at Domrémy-la-Pucelle. Symphony No. 1 performed at the First Warsaw Autumn Festival (Orch National de l’ORTF cond. Jean Martinon.) Works: La Vérité de Jeanne (oratorio: S, Mez, C, T, Bar, B, chorus, orch: 15th-century texts), Trois interludes de la Vérité de Jeanne (orch), Sérénade pour deux guitares (2 gui), Coriolan (incidental music, Comédie-Française: Shakespeare), France Romane (film score, dir. Édouard Logereau, unpubd.). Premieres: La Vérité de Jeanne (chorus and orch de l’RTF cond. Jolivet, Joan of Arc Festival, Domrémy, 20 May), Trumpet Concerto No. 2 (Raymond Tournesac, Orch Casino de Vichy cond. Louis de Froment, Vichy, 5 September), Épithalame (Ensemble Madrigal cond. Marcel Couraud, Venice

xxxiv  Chronology of Jolivet’s life and works Biennale, 16 September), Sérénade pour deux guitares (Ida Presti, Alexandre Lagoya, Paris, 12 November).

1957 Appointed to RTF programming council. Founding member of the Comité National de la Musique. Works: Piano Sonata No. 2 (pf), Suite française (orch), Rhapsodie à sept (2 vn, va, vc, db, pf, perc), Il ne faut jurer rien (incidental music, ComédieFrançaise: Musset), La Réunion des amours (incidental music, ComédieFrançaise: Marivaux)

1958 ‘Affaire Boulez’ following a public polemic against Jolivet in a programme of the Domaine Musical (March). Attends the Exposition Universelle in Brussels and hears Varèse’s Poème électronique. Awarded the Grand Prix du Président de la République. Piano Concerto choreographed by Georges Skibine and receives the Grand Prix de la Critique Lyrique et Chorégraphique. Conducts Concerto in Rome (November). Works: Percussion Concerto (perc, orch/pf), Flute Sonata (fl, pf). Premieres: Concerto (ballet choreog. Skibine, Opéra-Comique, 28 February).

1959 Leaves the Comédie-Française. Appointed technical advisor to André Malraux at the French Ministry of Culture. Founds the CFHM in Aix-en-Provence (initially the Conférences André Jolivet). First tour to Japan and USA. Conducts Berg, Anton Webern and Cinq danses rituelles (12 November). Jury member LongThibaud Competition. Works: Symphony No. 2 (orch), Le Guerrier de Rabinal (radiophonic music, RTF: traditional Inca, unpubd.), L’Eunuque (radiophonic music, RTF: Plautus, unpubd.). Premieres: Symphonie de danses (US premiere, Cleveland Orchestra, cond. George Szell, 8 January), Piano Sonata No. 2 (Yvonne Loriod, Paris, 16 January), Percussion Concerto (Georges van Gught, orch de l’INR cond. Franz André, Brussels, 17 February), Flute Sonata (Jean-Pierre Rampal, Robert Veyron-Lacroix, Washington DC, 7 March); Paris premiere, 22 April), Symphony No. 2 (Norddeutscher Rundfunk Orchestra cond. Hans Schmidt-Isserstedt, Berlin Festival, 3 October), Rhapsodie à sept (Braunschweig Theatre orch cond. Heins Zeebe, Braunschweig Festival, 23 November).

Chronology of Jolivet’s life and works  xxxv

1960 Records twelve interviews with Antoine Goléa for French Radio (RTF, 1960). Elected to the Honorary Committee of the Société Philharmonique de Paris. Works: Adagio pour cordes (str orch), Antigone (incidental music, Théâtre National Populaire: Sophocles). Premieres: Dolorès ou le miracle de la femme laide (staged version, Opéra de Lyon cond. Zoltán Peskó, 8 April).

1961 Starts teaching at the Paris Conservatoire. Awarded the Grand Prix de la Musique Française (SACEM). Works: Sonatine (fl, cl), Les Amants magnifiques (orch), Symphonie pour cordes (str orch).

1962 Elected President of the Association des Concerts Lamoureux (to 1968). Ceases to advise Malraux. Jury member for the Prix de Rome. Begins a series of works for solo instruments (1962–1970). Works: Cello Concerto No. 1 (vc, orch), Finale (vc, pf: arr. Cello Concerto No. 1, 3rd movt.), Messe Uxor tua (2 S, Bar, T, B, fl, ob/eng hn, bsn, trbn; 2 S, T, B, org; chorus SATB, org), Hymne à l’univers (org). Premieres: Symphonie pour cordes (Orch National cond. Manuel Rosenthal, RTF, 9 January). Sonatine (Jacques Castagner, André Boutard, ENM SNM, 14 March), Messe Uxor tua (Église Saint-Séverin for wedding of Pierre-Alain Jolivet, Ens Polyphonique de l’ORTF, cond. Charles Ravier, 6 June), Cello Concerto No. 1 (André Navarra, Orch National de France cond. Dimitris Chorafas, 20 November).

1963 Last CFHM summer school in Aix-en-Provence. First visit to Israel. Suite transocéane choreographed as a ballet for the Opéra de Marseille (Joseph Lasini, Pierre Roumet). Commissioned by the Mexican government to write his Third Symphony. Works: Danse caraïbe (pf), Deux études de concert (gui), Alla rustica (fl, hp), Sonatine (ob, bn), Madrigal (S, A, T, B, pic, f/vn, eng hn/vn, va, bsn/vc; str orch). Premieres: Madrigal (Ensemble Polyphonique de l’ORTF cond. Charles Ravier, Mont Saint-Michel Festival, 6 July).

xxxvi  Chronology of Jolivet’s life and works

1964 Organises a demonstration at the Place de l’Opéra protesting against the dissolution of regional radio orchestras. Visits Varèse in New York (July) en route to Mexico (conducting the premiere of his Symphony No. 3 and works by Roussel and Dutilleux, August). Cinq incantations choreographed as a ballet, Incantations (Ballets Modernes de Paris, choreog. Françoise and Dominique Depuy, Les Bauxde-Provence Festival, July, and Sintra, Portugal, September). Jolivet Festival at the Salle Cortot (20 November). Works: Symphony No. 3 (orch), Ariadne (ballet, scenario Pierre-Alain Jolivet: orch). Premieres: Danses rituelles (ballet choreog. Skibine, Stadttheater Lübeck, 9 February), Alla Rustica (Jacques Castagner, Elizabeth Fontan-Binoche, Barcelona, 18 May), Sonatine (ob, bn, Robert Casier, Gérard Faisandier, Festival Jolivet, Paris, 20 November), Symphony No. 3 (Mexico Festival Orchestra cond. Jolivet, Mexico Festival, 7 August; Antal Doráti conducts the French premiere, Théâtre des Champs-Élysées, 1 December).

1965 Awarded the Grand Prix de la Musique Française (SACD) and Prix de la RadioTélévision Française (ORTF). Becomes Honorary President of the Syndicat National des Artistes Musicien (Fédération Nationale du Spectacle). Begins Cérémonial in homage to Varèse (died 6 November). Works: Prélude (hp), Suite en concert (Flute Concerto No. 2, fl, 4 perc), Le Cœur de la matière (cantata: S, Mez, T, Bar, B, chorus, orch: Teilhard de Chardin), Suite rhapsodique (vn), Suite en concert (vc). Premieres: Ariadne (Harkness Ballet, choreog. Ailey, Opéra Comique cond. Jolivet, 12 March), Le Cœur de la matière premiered (Orch Phil de l’ORTF cond. Charles Bruck, 9 April). Suite Rhapsodique (Hyman Bress, private concert, Ambassade du Canada, Paris, 28 September).

1966 Appointed Professor of Composition at the Paris Conservatoire. Second visit to USSR. Conducts the Moscow Radio Symphony Orchestra. Meets Witold Lutosławski in Warsaw. Organises performances of Tikhon Khrennikov’s music in Paris. Works: Cello Concerto No. 2 (vc, str orch), Douze inventions pour douze instruments (fl, ob, cl, bn, hn, tpt, trbn, 2 vn, va, vc, db). Premieres: Suite en concert (vc, Reine Flachot, Madrid, 18 January), Suite rhapsodique (Devy Erlih, Paris, 9 February), Suite en concert (fl, perc,

Chronology of Jolivet’s life and works  xxxvii Jean-Pierre Rampal, Orch Nat de l’ORTF cond. Daniel Chabrun, ORTF, 23 February), Prélude (Vera Dulova, Los Angeles, 23 June).

1967 Third visit to USSR to conduct the premiere of Cello Concerto No. 2 with Rostropovich and other works with the Kiev Philharmonic Orchestra. Visits Beirut (invitation of Jeunesses Musicales du Liban). Second visit to Israel. Conducts the Piano Concerto at the Prague Festival (24 May). Meets Andrés Segovia. Works: Ascèses (cl), Cinq églogues (va). Premieres: Cello Concerto No. 2 (Mstislav Rostropovich, Moscow State Symphony Orch. cond. Jolivet, Moscow Conservatoire, 6 January; French premiere, Rostropovich, Strasbourg Festival Orch cond. Charles Bruck, Strasbourg, 15 June), Douze inventions pour douze instruments (Ensemble Ars Nova cond. Diego Masson, Paris 23 January).

1968 Conducts in Romania (February). Takes part in national demonstrations representing the Fédération Nationale du Spectacle-CGT (13 May). Leads a trade union delegation to André Malraux. Visits Vienna for a French Music Festival and to see Beethoven’s tomb (April). Fourth visit to USSR (December). Works: Cérémonial – hommage à Varèse (6 perc), Arioso Barocco (tpt, org), Controversia (ob, hp). Premieres: Cinq églogues (Serge Collot, SNM, Salle Cortot, 24 April), Controversia (Heinz and Ursula Holliger, Düsseldorf, 5 November).

1969 Attends Jeune France Festival (Semaine Musicale Contemporaine, Lyon, July). Begins work on Tombeau de Robert de Visée at the request of Andrés Segovia but he is later unable to give the premiere (premiere by Rafaël Andia in 1981). Works: Mandala (org). Premieres: Ascèses (Guy Deplus, Salle Cortot SNM, 23 April), Mandala (Jean Guillou, Bordeaux 8 June), Cérémonial (Les Percussions de Strasbourg, Mexico Festival, July; Lucerne Festival, 6 September).

1970 Becomes Vice-President of the Comité National de la Musique. Attends premiere of Daniel-Lesur’s Andrea del Sarto (Opéra de Rouen, 11 January). Takes part in a

xxxviii  Chronology of Jolivet’s life and works series radio broadcasts (ORTF) celebrating Beethoven’s bicentenary (February). Second tour to Japan (September–October). Fifth visit to the USSR. Works: Patchinko (2 pf), Songe à nouveau rêvé (S, orch: Goléa), Tombeau de Robert de Visée (gui). Premieres: . . . comme un Prélude (first of the Deux études de concert for guitar, Turibio Santos, Salle Gaveau, 14 April), Patchinko (Geneviève Joy, Jacqueline Robin 25th anniversary recital, Salle Gaveau, Paris, 17 December).

1971 Retires from the Paris Conservatoire. Sixth visit to Moscow to attend a performance of his First Symphony at the USSR French Music Week (October). Works: Heptade (tpt, perc). Premieres: Songe à nouveau rêvé (Colette Herzog, Orch Phil de l’ORTF cond. Marius Constant, Théâtre de la Ville, 30 April).

1972 Commissioned by the Opéra de Paris (Rolf Lieberman) for a second opera, Bogomilé ou le lieutenant perdu (libretto: Marcel Schneider). Further private visits to the USSR. Attends the premiere of Dmitri Shostakovich’s Symphony No. 15 (January). Conducts concerts in Bulgaria. Visits Alexander Calder in Saché (Loire) for repairs to one of the Mana sculptures (August). Receives Grand Prix National de la Musique from French Ministry of Culture. Works: Violin Concerto (vn, orch), Pipeaubec (rec, perc), Une minute trente (rec/fl). Premieres: Heptade (Francis Hardy, Francis Dupin, Théâtre de la Ville, 25 May).

1973 Receives the Ordre National du Mérite et des Lettres (Commandeur). Visits Turkey to give a lecture tour. Works: La Flèche du temps (12 solo str), Yin-Yang (11 solo str). Premieres: Violin Concerto (Luben Yordanoff, Orch de Paris cond. Zdeněk Mácal, Théâtre des Champs-Élysées, February), La Flèche du temps (Bern Radio Studio Ensemble cond. Théo Hug, Bern, 12 November).

1974 Last visit to Moscow to attend the Soviet Composers’ Union Congress (April). Performances of the Trumpet Concertos (Prague, May). Dies suddenly at his

Chronology of Jolivet’s life and works  xxxix home, 59 rue de Varenne (20 December), leaving Bogomilé unfinished (extracts, orch. Michel Philippot premiered posthumously; Opéra de Paris cond. Zoltán Peskó, 5 March  1982). Le Flem holds vigil at Jolivet’s bedside throughout the night of Jolivet’s death. Rostropovich among those who attended Jolivet’s funeral (playing Bach) at the Basilique de Sainte-Clotilde, Paris. Interred in Montmartre cemetery. (Hilda Jolivet dies 1996.) Premieres: Yin-Yang (Ensemble instrumental cond. Jean-Pierre Wallez, Metz, 8 October).

1975 Orchestral National de France mounts a ‘concert homage à Jolivet’ comprising the Cinq danses rituelles, Violin Concerto (soloist Devy Erlih) and Symphony No. 3, cond. Marius Constant (April).

Introduction Jolivet in context Caroline Rae

André Jolivet (1905–1974) has long been recognised among the leading composers of the twentieth century. Internationally celebrated, performed and recorded during his lifetime, he achieved a position of pre-eminence in French music, contributing to every major instrumental and vocal form both in the theatre and the concert hall, as well as composing for the leading soloists, orchestras and ensembles of his day. In addition to his published works, Jolivet’s legacy includes recordings of his music with himself as conductor, as well as a substantial body of writings that shed valuable light on his aesthetic positioning and musical philosophy while revealing much about his influence as both teacher and composer. Yet, he has received less attention in the scholarly literature than the significance of his music and the scope of his influence deserves. This collection of essays by French as well as British and American scholars is the first book on the composer in English, and aims to begin rectifying this omission through exploring the key issues of Jolivet’s musical style and process, influences and activities to provide a foundation stone for any future studies that may follow. Despite widespread international recognition and the entry of many of his works into the repertoire, Jolivet is perhaps the least understood of his contemporaries and a figure about whom there has been more to discover. That much of his music and wider contribution has often been overlooked is largely due to the misconception that following his radical innovations of the interwar years he subsequently retreated into retrogressive traditionalism. The musical content of his works of the war years and beyond, however, demonstrates otherwise. This study aims to overturn this misleading view which has been propagated through a number of contributory factors: through his continued use of titles such as ‘symphony’, ‘concerto’ and ‘sonata’, unfashionable in France during the decades following World War Two; through his perceived connection with the French establishment as a result of his positions as Director of Music at the Comédie-Française, advisor to André Malraux at the French Ministry of Culture and presence on various French orchestral committees; and, perhaps most crucially, through his exclusion from the Concerts du Domaine Musical, a factor that consequently resulted in his almost complete absence from BBC programming during the era of Sir William Glock. Yet, Jolivet was anything but a traditionalist. Over more than forty years of his composing career, Jolivet’s music from the 1930s up to and including his

2  Caroline Rae last works bears witness to a continuity of aesthetic and stylistic evolution that reveals a pioneer of innovative modes of expression who was unafraid of asserting his independence from contemporary trends in the pursuit of his own striking originality. Above all, Jolivet remained faithful to his humanist thinking and the deeply rooted spirituality from which it evolved. Fuelled by his immersion in the writings of Henri Bergson, these ideals not only influenced the development of his musical aesthetic but also the philosophies of his teaching academy founded at Aix-en-Provence in 1959, the Centre Français d’Humanisme Musical. Born in Montmartre and primarily resident in Paris throughout his lifetime, Jolivet established himself as a composer during the early 1930s. A product of neither the Paris Conservatoire nor the Schola Cantorum, his unconventional musical training and contact with those in the visual arts and literature fostered unusually independent thinking from the time he embarked on the quest for his own creative identity. Although he began a career in school teaching after qualifying as a teacher of literature at the École Normale d’Instituteurs d’Auteuil, he continued his musical studies but was equally drawn to the visual arts. Hesitating between the vocations of painter and composer throughout the 1920s, decisive encounters with three individuals who became both mentors and friends opened the way towards his true creative path. Through his studies in painting with the Montmartre-based Cubist artist Georges Valmier, Jolivet met the composer Paul Le Flem, director of the Chanteurs de Saint Gervais, who provided him with intensive training on the fundamentals of musical composition. In 1929, Le Flem introduced Jolivet to the composer who was to have the most decisive influence on his subsequent musical development, Edgard Varèse (see Figures ii.1 and ii.2). The only pupil of Varèse in Europe, Jolivet not only absorbed vital lessons about texture, soundmass and the acoustic treatment of instruments but also became one of the first to assimilate compositional ideas from Schoenberg, and to some extent Berg, well before the supposed ‘discovery’ of the Second Viennese School in Paris of the post-war years. It was also Jolivet who, in the late 1940s, introduced the music of Varèse to Boulez. Establishing himself at the forefront of musical innovation during the interwar years, Jolivet developed a language combining the austerity of atonality and total chromaticism with elements of modality while forging new processes of rhythmic organisation and expressions of the incantatory that proved decisive influences on both Messiaen and Boulez. The new idiom, emerging even in Jolivet’s early works such as Trois temps (1930) for piano, the String Trio (1930) and String Quartet (first version, 1931), impressed Messiaen to such an extent that, in 1933, he sought to meet his fellow composer and assisted him in organising performances of his music. Discovering a shared interest in spiritual concerns that cemented their friendship, Jolivet and Messiaen joined with Daniel-Lesur to found the avant-garde chamber music society La Spirale in 1935. It was at the inaugural concert of this new music society that the piano work Mana (1935) was premiered (Figure ii.3). The following year, the group was joined by Yves Baudrier with whom they founded La Jeune France (Figure ii.4), a concert society mounting a greater breadth of contemporary music, including orchestral, that

Introduction 3

Figure ii.1 Paul Le Flem, Jolivet’s teacher and life-long friend, on holiday in Brittany in 1932. (Reproduced with the permission of the Médiathèque Musicale Mahler.)

aimed to promote spiritual and human values in an increasingly mechanical and impersonal world. Their first concert on 3 June 1936 (Figures ii.5a and ii.5b) was conducted by Roger Désormière and included the premiere of Jolivet’s Danse incantatoire (1936). Yet despite the pioneering discoveries of Mana, which were developed further in the Cinq improvisations (1936) for solo flute, Danse incantatoire and Cinq danses rituelles (1939), Jolivet has since been overshadowed by his friend and

4  Caroline Rae

Figure ii.2  Jolivet (right) with Varèse in Spain, 1933. (Christine Jolivet-Erlih private archives).

colleague Messiaen, and until recently, the depth and extent of Jolivet’s influence has remained unrecognised. Nuancing his position in relation to Messiaen, this study investigates the impact of Jolivet’s musical techniques while revealing points of aesthetic and stylistic convergence between the two composers that have hitherto been overlooked, not least Jolivet’s commitment to Christian as well as more ancient theologies. Like many twentieth-century French composers, Jolivet resists simple categorisation. After the 1930s his compositional style began to diversify and the first of

Introduction  5

Figure ii.3  Leaflet for the first concert of La Spirale, 12 December 1935. (Christine Jolivet-Erlih private archives. The document is now preserved at the BnF.)

several new phases began with the stylistic reorientation that followed his active war service in 1940. Profoundly moved by his experiences of war, he began to write in a more tonally based musical language, as in Les Trois complaintes du soldat (1940), with the consciously humanist objective of making his very personal and deeply spiritual statements more accessible. Jolivet’s stylistic change was also marked by a move towards more religiously inspired composition, including the Messe pour le jour de la paix (1940) and the Suite liturgique (1942) that includes the setting of texts from the Catholic liturgy. Yet, the supposed rift with his earlier compositional thinking has been exaggerated, the war years representing for Jolivet not only a period of change and renewal but also one of continuity and evolution that was fuelled by his friendship with the Catholic writer Henri Ghéon and discovery of the writings of the theological philosopher Pierre Teilhard de Chardin. While a grant from the Association pour la Diffusion de la Pensée Française in 1942 enabled Jolivet to focus exclusively on music and end his career in school teaching, his domestic responsibilities required a more stable income than composition alone could provide, even with his growing number of

Figure ii.4 Le Groupe Jeune France: publicity photograph (with the composers’ signatures). From left to right: André Jolivet, Yves Baudrier (seated), Olivier Messiaen, Jean-Yves Daniel-Lesur. (Photo: Christine Jolivet-Erlih private archives.)

Figure ii.5a Poster for the inaugural concert of Le Groupe Jeune France, Salle Gaveau, 3 June 1936. (Christine Jolivet-Erlih private archives.)

Figure ii.5b  Programme of the inaugural concert of Le Groupe Jeune France, 3 June 1936. (Christine Jolivet-Erlih private archives.)

Introduction  9 commissions for incidental music (stage, radio and film), as well as test pieces for the Paris Conservatoire. It is largely for this reason that Jolivet took the post of Director of Music at the Comédie-Française in 1945, an appointment he held for fourteen years and which defined the moment he officially embarked on his conducting career. Following the orchestral premiere of his Cinq danses rituelles in 1944, the post-war years witnessed Jolivet’s aim to reconnect with his compositional style of the 1930s. This objective was underlined by the assertions of his 1946 article ‘André Jolivet ou la magie expérimentale’ in which he declared his compositional raison d’être as the desire ‘to restore music’s ancient, original meaning when it was the magic and incantatory expression of the sacred in human communities’ and was dramatically revealed in the Ondes Martenot Concerto completed the following year. Premiered in Vienna in 1948 by Ginette Martenot and the Vienna Philharmonic Orchestra with Jolivet conducting, the Ondes Martenot Concerto is not only stylistically rooted in the atonal austerity of his pre-war years, but also looks forwards to Jolivet’s later works through opening a new compositional path leading to his long series of concertos for various instruments, an extended project that occupied him almost to the end of his life. While some of these works explore issues of virtuosity within a light-hearted divertissement style that is clearly neoclassical, many others, such as the Piano Concerto (1950), Percussion Concerto (1958), Second Cello Concerto (1966) and Violin Concerto (1972), reveal Jolivet at his most intense and experimental. Yet Jolivet’s First Piano Sonata of 1945 can equally be seen as a compositional watershed, as it was in this work that he began to look towards Bartók whose music he discovered during the interwar years and whom he had heard perform in Paris. Bartók was also an important influence on both Messiaen and Honegger, as well as on Jolivet’s younger contemporaries Dutilleux and Maurice Ohana. Other interests that developed during the war years include his deep admiration of the music of Beethoven (already evident in his writings of the late 1930s), which resulted in his monograph on the composer of 1955, and, almost paradoxically, his quest to assert a distinctive sense of Frenchness. This became a distinctive thread of his music following his first work on the subject of Joan of Arc, La Tentation dernière (1941), and was explored through much of his incidental music for the Comédie-Française, particularly his scores for Molière and Racine, emerging further in concert works of the 1950s and beyond, not least his oratorio La Vérité de Jeanne written for the Joan of Arc quincentenary year. The diversification of Jolivet’s musical style dates from the war years when a series of different strands of compositional thinking began to emerge. These embraced innovative experimentation, particularly with large percussion ensembles and rhythm, sound masses and the expressions of the incantatory, as much as investigations of lyricism and the adaptation of conventional forms with different kinds of extended tonality. Jolivet’s three Symphonies (1953, 1959 and 1964) bear witness to his multifaceted approach, although the lyrical eloquence of the Second Cello Concerto (1966) reveals the beginnings of a new stylistic refinement that extends to the end of his life, while his predilection for intense expressivity

10  Caroline Rae culminates in the song cycle Songe à nouveau rêvé (1971) and Violin Concerto (1972). Each stylistic strand evolved in tandem, each being tempered by Jolivet’s humanist thinking and preoccupation with diverse esoteric inspirational sources, making his periodisation best understood in terms of an outward projecting and expanding spiral. It was this evocative image, favoured as much by Varèse as by Jolivet, that stimulated Jolivet’s choice of name for his first compositional group of 1935, La Spirale. The thirteen chapters of this volume are organised into three parts reflecting the three main areas of investigation: ‘Style and Process’, ‘Influences’ and ‘Activities’. In seeking to provide a reassessment not only of Jolivet’s music and placing but also to raise awareness of his wider contribution, the essays present new research drawing extensively on the composer’s writings, diaries, correspondence and personal catalogue of works, as well as material preserved in the private archives of the composer’s daughter Christine Jolivet-Erlih and at the Bibliothèque nationale de France. While inevitably there is some crossover between chapters and the three main areas of investigation, this serves to enhance the exploration of Jolivet’s contribution from a range of perspectives. A Chronology of Jolivet’s life and works, including details of first performances, provides a point of reference for the main text, as much of this information is unknown or unavailable outside France. Part One ‘Style and Process’ comprises four chapters that progress from an overview of Jolivet’s compositional style in relation to his predecessors, contemporaries and successors to an investigation of his compositional theory via an examination of his creative process as revealed through his manuscripts and case studies on key individual works. Contextualising much of Jolivet’s output, Julian Anderson’s opening chapter brings a composer’s insights to bear on the exploration of his newly defined concept of the style incantatoire, the incantatory tendency that characterised much of French music from Debussy onwards. He examines the significance of Jolivet’s contact with the poet Antonin Artaud as well as with Varèse, and presents a new assessment of Jolivet’s influence not only on Messiaen and Boulez but also on later French composers, while suggesting parallels in the works of Sir Harrison Birtwistle and others. He argues that Jolivet represents a vital thread in the development of French music from Varèse towards the foundation of Musique spectrale. Catherine Massip draws on her extensive knowledge of Jolivet’s manuscripts at the Bibliothèque nationale de France to provide a window on the composer’s working methods and their relationship with his creative process. The chapter reproduces hitherto unpublished extracts from the composer’s manuscripts and concludes with a complete listing of the Jolivet manuscripts now preserved at the Bibliothèque nationale de France, published here for the first time. Deborah Mawer surveys the main concepts proposed in Jolivet’s theoretical writings from his first mature period of the 1930s, chiefly focussing on his article ‘André Jolivet, ou la magie expérimentale’, before examining his theories in action through an analytic discussion of the original piano version of Cinq danses rituelles (1939). Part One concludes with a discussion of Jolivet’s work for unaccompanied voices

Introduction  11 Épithalame (1953) to provide an insight into aspects of the composer’s later musical style and compositional processes. Lucie Kayas reveals the unique poetic and musical character of this work for which Jolivet composed both the text and music, and unravels the esoteric ancient Egyptian sources on which the work is based, while examining the composer’s use of onomatopoeic phonemes and adaptations of Asian Karnatic scales. The five chapters comprising Part Two consider the issue of ‘Influences’ in both directions, ‘from’ as well as ‘on’ the composer. Caroline Rae explores ­Jolivet’s involvement with, and practice in, the visual arts, and considers the significance of his contact with the Cubist painters Georges Valmier and Albert Gleizes. Through discussing Jolivet’s early paintings and drawings, including those for Mana (1935) and Les Trois complaintes du soldat (1940), she demonstrates how the illustrative dimension of the composer’s work represented a creative laboratory that functioned in sympathy with the development of his musical thinking. Christine Jolivet-Erlih, the composer’s daughter, and Catherine Massip present a jointly authored chapter investigating the composer’s little-known body of songs, operas and other works for voice, which span the full breadth of Jolivet’s creative life. In addition to discussing Jolivet’s choice of poetic texts and the writers with whom he collaborated, they also consider the composer’s own poetry. Drawing extensively on documents from Jolivet’s private archive, they contextualise Jolivet’s unpublished and unfinished works, which have hitherto not been subject to scrutiny. The chapter concludes with the texts of Jolivet’s own poems for his unpublished vocal works, which are reproduced here for the first time. In the third chapter of Part Two, Caroline Potter investigates the crucial role of non-European music in Jolivet’s musical style. Discussing the influence of both Claude Debussy and Varèse as well as the significance of his visit to the Paris Exposition Coloniale in 1931, she draws parallels with Messiaen and Boulez while also demonstrating the impact of Jolivet’s music on his pupil Yoshihisa Taïra. Focussing on Jolivet’s influence, the jointly authored chapter by Yves Balmer, Thomas Lacôte and Christopher Brent Murray presents new research on Messiaen’s borrowings from Jolivet. Tracing the reworking of harmonic, melodic and rhythmic elements from Jolivet’s works of the 1930s, notably Mana, the Cinq incantations and Cinq danses rituelles, they show how Jolivet’s original material provided the basis for many of Messiaen’s technical procedures in his works of the 1940s and beyond. Caroline Rae’s second chapter, which concludes Part Two, sources Jolivet’s compositional aesthetic through investigating his literary influences. Examining the significance of his reading of a range of esoteric and philosophical texts from his private library, now preserved at the Médiathèque Musicale Mahler, she considers the influence of the French philosophical tradition on the composer, as well as his interests in non-Western cultures, ancient theologies and his rediscovery of Christianity. Part Three ‘Activities’ comprises four chapters concerning Jolivet’s wider contribution, which has hitherto received little attention. Christine Jolivet-Erlih considers Jolivet’s many visits to the Soviet Union and his interactions with Soviet composers and performers, which took place over a period of more than fifteen

12  Caroline Rae years during the height of the Cold War. Writing from the perspective of one who knew Jolivet personally and who lived the experiences she recounts, Christine Jolivet-Erlih draws extensively on her private archives, as well as those in Moscow, her new research contextualising and documenting the reception of her father’s music and the many performances he conducted in Soviet Russia, including the Moscow premiere of his Second Cello Concerto with Rostropovich in 1967. Nigel Simeone investigates Jolivet’s activities as a critic, focussing on the composer’s writings and radio broadcasts during the period of the German Occupation of Paris within the wider context of the contemporary musical press. Explaining Jolivet’s position as a trenchant defender of new music and a loyal supporter of friends and colleagues, he also investigates the composer’s views about wider issues and shows how Jolivet’s articles and transcripts of his radio broadcasts for L’Actualité musicale offer valuable insights into the musical activity of Occupied Paris. Pascal Terrien discusses Jolivet’s activities as a teacher through considering the composer’s methods and teaching philosophy, as well as course programmes and the commentaries of participating students. He assesses Jolivet’s innovations at the Centre Français d’Humanisme Musical, founded at Aix-en-Provence in 1959, as well as his classes at the Paris Conservatoire where Jolivet was appointed Professor of Composition the same year as Messiaen. In the final chapter, JeanClaire Vançon explains Jolivet’s activities as a conductor, his involvement with performers and his influential positions on various orchestral committees. Tracing Jolivet’s activities with various French musicians’ unions, he assesses the composer’s role as an advocate for permanent contracts and fair pay for musicians while exploring his relationship with the act of performance to consider the ways it defined his approach to music and the profession of being a composer. Shedding new light on Jolivet’s music and aesthetics, stylistic development, placing and influence, this volume as a whole assesses of the breadth of Jolivet’s contribution to acknowledge his position as a major figure at the centre of twentieth-century French music.

References Anderson, Julian , Messiaen and the Notion of Influence, Tempo, vol. 63 no. 247 (January, 2009) pp. 217. Aubigny, Benot , LEnsemble vocal a cappella de 1945 nos jours (Paris: Champion, 1998). Balmer, Yves , Lacte, Thomas and Brent Murray, Christopher , Le Modle et linvention: Olivier Messiaen et la technique de lemprunt (Lyon: Symtrie, 2017). Barraud, Henry , Pour comprendre les musiques daujourdhui (Paris: Seuil, 1968) pp. 159162. Beaufils, Marcel , Le Concerto pour piano dAndr Jolivet, La Musique contemporaine, nos. 23 (1952) pp. 116118. Beaufils, Marcel , LActualit musicale: Concerto pour piano de Jolivet, Synthses, nos. 7273 (MayJune, 1952) pp. 449453. Beck, Georges , Deuxime Symphonie dAndr Jolivet, Le Guide du concert, vol. XLII no. 289 (18 November, 1960) pp. 300301. Bellman, Jonathan , The Exotic in Western Music (Boston: Northeastern University Press, 1998). Berghmans, Jos , Andr Jolivet, Guide musical, no. 657 (February, 1975) pp. 47. Bergson, Henri , Les Deux sources de la morale et de la religion (Paris: Flix Alcan, 1933). Bernard-Delapierre, Guy , Les danses rituelles dAndr Jolivet, Confluences, nouvelle srie no. 1 (JanuaryFebruary, 1945) pp. 9395. Blassel, Sylvain , Andr Jolivet, Bulletin de LAssociation internationale des harpistes et amis de la harpe, anne 43 (AutumnWinter, 2005). 310 Bondi, Natalija , Cetverke-40 [Jeune France at 40], Sovetskaya Musyka, vol. 12 (December, 1976) pp. 128130. Broad, Stephen , Olivier Messiaen: Journalism 19351939 (Farnham: Ashgate, 2012). Brothier, Jean-Jacques , La Jeune France: Yves Baudrier, Andr Jolivet, Daniel-Lesur, Olivier Messiaen (Paris: Les Amis de la Jeune France, 1954). Cadieu, Martine , Une conversation avec Andr Jolivet, Les Nouvelles Littraires, no. 1742 (19 January, 1961) pp. 19, and A Conversation with Andr Jolivet, Tempo, no. 59 (1961) pp. 24. Callias, Hlne de , Magie sonore (Paris: Librairie Vga, 1938). Chassain [-Dolliou], Laetitia , Les artisans dun humanisme musical au Conservatoire de Marcel Beaufils Andr Jolivet, in Philippe Blay and Raphalle Legrand eds., Sillages Musicologiques: Hommages Yves Grard (Paris: Paris Conservatoire CNSMDP, 1997) pp. 247256. Chassain [-Dolliou], Laetitia , Andr Jolivet: la force de lintuition (diss. Paris Conservatoire CNSMDP, 1999). Chassain [-Dolliou], Laetitia , ed., Andr Jolivet, les objets de Mana, Cahiers du Muse de la Musique no. 3 (Paris: Cit de la Musique, 2003). Chimnes, Myriam ed., Francis Poulenc Correspondance 19101963 (Paris: Fayard, 1998). Chimnes, Myriam ed., La Vie musicale sous Vichy (Paris: ditions Complexe, 2001). Chimnes, Myriam and Simon, Yannick eds., La Musique Paris sous loccupation (Paris: Fayard, 2013). Curoy, Andr , Manifeste et concert des Jeune France, Beaux-Arts (5 June, 1936) n.p. Combarieu, Jules , La Musique et la magie: tude sur les origines populaires de lart musical, son influence et sa fonction dans les socits (Geneva: Minkoff, 1972. Reprint of Paris, 1909). Conrad, Bridget , The Sources of Jolivets Musical Language and his Relationships with Varse and Messiaen (PhD. diss. City University of New York, Ann Arbor, MI, UMI, 1994). Curinga, Luisa , Affinch il raccolto que nascer dai solchi tracciati dal contadino sia ricco da Cinq incantations per flauto solo di Andr Jolivet, Musica Domani, anno XXXIX no. 151 (June, 2009) pp. 3637. Curinga, Luisa , Hector Berlioz da La Jeune France (1830) al gruppo Jeune France (1936): un caso di appropriazione, in Tiziana Affortunato ed., Musicologia come prestato, scritti in memoria di Emilia Zanetti (Rome: Istituto Italiano per la Storia della Musica, 2011) pp. 119135. Curinga, Luisa , Andr Jolivet e lumanesimo musicale nella cultura francese del Novecento (Rome: Edicampus, 2013). Demarquez, Suzanne , Premier concert du groupe Jeune France, La Revue musicale, no. 167 (JulyAugust, 1936) pp. 4950. Demarquez, Suzanne , Andr Jolivet (Paris: Ventadour, 1958). Derzkaja, Tatjana , Hudoznik-gumanist [A humanist artist], Sovetskaya Muzyka, vol. 12 [USSR] (December, 1976) pp. 114120. Dingle, Christopher and Simeone, Nigel eds., Olivier Messiaen: Music, Art and Literature (Aldershot: Ashgate, 2007). Duchesneau, Michel , LAvant-garde musicale et ses socits Paris de 1871 1939 (Sprimont: Mardaga, 1997).

Duchesneau, Michel , Musique, art et religion dans lentre-deux-guerres (Paris: Symtrie, 2009). Everett, Yayoi Uno and Lau, Frederick eds., Locating East Asia in Western Art Music (Middletown, CT: Wesleyan University Press, 2004). 311 Fulcher, Jane , The Composer as Intellectual: Music and Ideology in France 19141940 (Oxford: Oxford University Press, 2005). Gaucher, Pierre , Andr Jolivet entre atonalit perue et modalit constitutive, in Michel Fischer and Danile Pistone eds., Polytonalit Polymodalit: histoire et actualit (Paris: Presses de lUniversit de Paris-Sorbonne, 2005) pp. 183194. Gavoty, Bernard and Daniel-Lesur , Pour ou contre la musique moderne? (Paris: Flammarion, 1957) pp. 168178. Gavoty, Bernard and Daniel-Lesur , Andr Jolivet, in Le Courrier musical de France (Paris: Association pour la Diffusion et la pense franaise, premier trimestre, 1975) pp. 46. Ghyka, Matila C. , Essai sur le rythme (Paris: Nouvelle Revue Franaise, 1938). Godwin, Joscelyn , Music and the Occult: French Musical Philosophies, 17501950 (Rochester, NY: University of Rochester Press, 1995). Goldbeck, Frederick , Andr Jolivet: Mana, La Revue musicale, no. 162 (January, 1936) pp. 5455. Goldbeck, Frederick , The Strange Case of Andr Jolivet, Musical Quarterly, no. 35 (November, 1949) pp. 479481. Gola, Antoine , Un jeune matre de la musique contemporaine: Andr Jolivet, Images musicales (1949) p. 4. Gola, Antoine , Esthtique de la musique contemporaine (Paris: Presses Universitaires de France, 1954) pp. 152158. Gola, Antoine , Die zwei Welten Andr Jolivets, Neue Zeitschrift fr Musik, no. 126 (1965) pp. 412415. Gola, Antoine , La Musique: de la nuit des temps aux aurores nouvelles, vol. 2 (Paris: Leduc, 1977) pp. 704737. Gola, Antoine , Vingt ans de musique contemporaine 19401960, vol. 1 (Paris and Geneva: Slatkine, 1981) pp. 2532; 191197. Gut, Serge , Le groupe Jeune France: Yves Baudrier, Daniel-Lesur, Andr Jolivet, Olivier Messiaen (Paris: Honor Champion, 1977). Hamer, Laura , On the Conductors Podium: Jane Evrard and the Orchestre Fminin de Paris, The Musical Times, vol. 152 no. 1916 (Autumn, 2011) pp. 81100. Hirsbrunner, Theo , Le retour de la magie dans la musique: la constellation Varse-JolivetMessiaen, Dissonance/Dissonanz (February, 2003) pp. 49. Hirsbrunner, Theo , Varse and La Jeune France, in Felix Meyer and Heidy Zimmermann eds., Edgard Varse: Composer, Sound Sculptor, Visionary (Woodbridge: Boydell and Brewer, 2006) pp. 202210. Hirsbrunner, Theo , Die Musik in Frankreich im 20. Jahrhunderts (Laaber: Laaber, 1995). Hondr, Emmanuel ed., Guide des uvres dAndr Jolivet (Paris: Association des Amis dAndr Jolivet, 2006). Jaubourg, Odile and Rigogne, Anne-Hlne , Andr Jolivet (19051974): un musicien humaniste (Amiens: Bibliothque Municipale, 1995). Jean-Christophe [sic] , LArt de lincantation, Scherzo, no. 20 (February, 1973) pp. 3638. Jolivet, Hilda , Varse (Paris: Hachette-Littrature, 1973). Jolivet, Hilda , Avec Andr Jolivet (Paris: Flammarion, 1978). Jolivet-Erlih, Christine ed., Edgard Varse, Andr Jolivet, Correspondance 19311965 (Geneva: Contrechamps, 2002). Jolivet-Erlih, Christine ed., Andr Jolivet crits, 2 vols. (Sampzon: Delatour, 2006). Jolivet-Erlih, Christine and Kayas, Lucie eds., Andr Jolivet: Catalogue des uvres (Paris: Association des Amis dAndr Jolivet, April, 1999). 312 Kayas, Lucie , Catalogue raisonn de luvre dAndr Jolivet (Paris: Socit franaise de musicologies, 2019). Kayas, Lucie , ed., Portrait(s) dAndr Jolivet (Paris: Bibliothque Nationale de France, 2005). Kayas, Lucie , Andr Jolivet (Paris: Fayard, 2005). Kayas, Lucie , Andr Jolivet (19051974): regards croiss sur luvre et sur la vie, 2 vols. [Including a Catalogue raisonn] (diss. Universit de Tours, 2007). Kayas, Lucie , Daniel-Lesur et Andr Jolivet: une amiti au-del des lignes de dmarcation, in Ccile Auzolle ed., Regards sur Daniel-Lesur: compositeur et humaniste (19082002) (Paris: Presses de lUniversit Paris-Sorbonne, 2009) pp. 165184. Kayas, Lucie and Chassain [-Dolliou], Laetitia eds., Andr Jolivet Portraits (Arles: Actes Sud, 1994).

Kelly, Barbara L. ed., French Music, Culture, and National Identity, 18701939 (Rochester, NY: University of Rochester Press, 2008). Kelly, Barbara L. ed., Music and Ultra-Modernism in France: A Fragile Consensus, 19131939 (Woodbridge: Boydell Press, 2013). Kemler, Katherine , Is There Magic in Jolivets Music?, The Music Review, vol. 44 no. 2 (May, 1983) pp. 121135. Knecht, Franois and Barbier, Jean-Jol , Vingt ans aprs, Monde nouveau, no. 94 (November, 1955) pp. 181186. Le Flem, Paul , Andr Jolivet, Musica, no. 69 (December, 1959) pp. 2224. Lyon, Raymond , Deux heures passionnantes avec Andr Jolivet, Le Guide du concert et du disque, no. 95 (December, 1955) pp. 411413. Lyon, Raymond , Le Centre Franais dHumanisme Musical dAix-en-Provence, Le Guide du concert et du disque, no. 42/298 (10 January, 1961) pp. 579581. Machabey, Armand , Portraits de 30 compositeurs franais modernes (Paris: Richard-Masse, 1949). Mche, Franois-Bernard , Music, Myth and Nature or the Dolphins of Orion, trans. Susan Delaney (Chur: Harwood Academic Publishers, 1992). Mari, Pierrette , Andr Jolivet: Deuxime Concerto pour trompette, Lducation musicale, Supplment au no. 302 (November, 1983) pp. 2933. Martin, John and McNerney, Kathleen , Carpentier and Jolivet: Magic Music in Los pasos perdidos, Hispanic Review, vol. 52 no. 4 (Autumn, 1984) pp. 491498. Massip, Catherine , Andr Jolivet, homme de thtre (Paris: Bibliothque nationale de France, 1994) [Exposition Andr Jolivet BnF, November, 1994, January, 1995]. Matore, Daniel , Le Modernisme musical franais la veille de la second guerre mondiale, La Revue internationale de musique franaise, no. 18 (November, 1985) pp. 6978. Mawer, Deborah , Dancing on the Edge of the Volcano: French Music in the 1930s, in Richard Langham Smith and Caroline Potter eds., French Music Since Berlioz (Aldershot: Ashgate, 2006) pp. 249280. Mawer, Deborah , Jolivets Search for a New French Voice: Spiritual Otherness in Mana (1935), in Barbara L. Kelly ed., French Music, Culture, and National Identity, 18701939 (Rochester, NY: University of Rochester Press, 2008) pp. 172193. Mawer, Deborah , Jolivets Rameau: Theory, Practice and Temporal Interplay, in Deborah Mawer ed., Historical Interplay in French Music and Culture, 18601960 (London and New York: Routledge, 2018) pp. 176197. Messiaen, Olivier , Introduction au Mana dAndr Jolivet, in Mana (Paris: Costallat, 1946; Jobert, 2000) n.p. 313 Michel, Grard , Andr Jolivet: Essai sur un systme desthtique musical, La Revue musicale, no. 204 (January, 1947) pp. 826. Michel, Grard , La Vrit dAndr Jolivet, La Revue musicale, no. 237 (1957) pp. 2529. Migot, Georges , Essais pour une esthtique gnrale (Paris: Figuire, 1941). Milhaud, Darius , Polytonalit et atonalit, La Revue musicale, vol. 4 (February, 1923) pp. 1944. Moindrot, Grard , Spiritualit et sotrisme chez Andr Jolivet: de lincantation la pense de Teilhard de Chardin (diss. 2 vols., cole Pratique des Hautes tudes, Paris, 1997). Moindrot, Grard , Approches symboliques de la musique dAndr Jolivet (Paris: LHarmattan, 1999). Moreux, Serge , Psych dAndr Jolivet, Psych, no. 8 (June, 1947) pp. 759763. Moreux, Serge , Un nouveau Bla Bartk, La Revue franaise de musique, no. 36 (1943) n.p. Murray, Christopher Brent , Le Dveloppement du langage musical dOlivier Messiaen: traditions, emprunts, expriences (diss. Universit Lumire Lyon, 2010). Myers, Rollo , Modern French Music: its Evolution and Cultural Background from 1900 to the Present Day (Oxford: Basil Blackwell, 1971). Ouellette, Fernand , Edgard Varse, trans. Derek Coltman (London: Calder & Boyars, 1968). Pris, Alain Andr Jolivet: son Douzime Concerto, Scherzo, no. 20 (February, 1973) pp. 3539 [on the Violin Concerto]. Petit, Pierre ed., Images musicales: Jolivet, Milhaud, Honegger, Casadesus, Satie (Paris: Socit dHistoire et dArchologie Le Vieux Montmartre, 1995). Pozzo di Borgo, Anne-Marie , Andr Jolivet. Mana, LEducation musicale, no. 347 (April, 1988) pp. 46. Rae, Caroline , Myth and Mysticism in Jolivet: Musical Magic Realism?, Cahiers rmois de musicologie, vol. 2 (December, 2004) pp. 139171. Rae, Caroline , Andr Jolivet, in Les Enregistrements Erato [booklet] (Warner Classics UK, no. 2564 61320-2, 2004).

Rae, Caroline , Jolivet on Jolivet: An Interview with the Composers Daughter, The Musical Times, vol. 147 no. 1894 (Spring, 2006) pp. 522. Rae, Caroline , The Musical Collaborations of Alejo Carpentier: Afrocubanism and the Quest for Spiritual Renewal, Bulletin of Spanish Studies, vol. 84 no. 7 (November, 2007) pp. 905929. Rae, Caroline , In Havana and Paris: The Musical Activities of Alejo Carpentier, Music and Letters, vol. 89 no. 3 (August, 2008) pp. 373395. Rae, Caroline , Debussyist, Modernist, Exoticist: Marius-Franois Gaillard Rediscovered, The Musical Times, vol. 152 no. 1916 (Autumn, 2011) pp. 5980. Rae, Caroline , A Portrait of the Composer Andr Jolivet [Film interview with Christine JolivetErlih, Philharmonia Orchestra, City of Light: Paris 19001950 (May, 2014)] (www.philharmonia.co.uk/paris). Rae, Caroline , From a Foreign Correspondent: The Parisian Chronicles of Alejo Carpentier, in Barbara L. Kelly and Christopher Moore eds., Music Criticism in France in the Interwar Period, 19181939 (Woodbridge: Boydell Press, 2018) pp. 193217. Reinach, Thodore , La Musique grecque (Paris: Payot, 1926). Ribemont-Dessaignes, Georges , Dj Jadis ou du mouvement Dada Lespace abstrait (Paris: Julliard, 1958). Rostand, Claude , Premires auditions Strasbourg, La Table ronde, no. 42 (August, 1951) pp. 171173. Rostand, Claude , Le Concerto de Jolivet adoucit les murs, La Table ronde, no. 49 (January 1952) pp. 162164. 314 Rostand, Claude , La Musique franaise contemporaine (Paris: Presses Universitaires de France, 1952). Roy, Jean , Prsences contemporaines: musique franaise (Paris: Nouvelle ditions Debresse, 1962) pp. 321341. Sacre, Guy , Andr Jolivet, in La Musique de piano; Dictionnaire des compositeurs et des uvres, vol. 2 (Paris: Laffont, 1998) pp. 15211531. Samuel, Claude , Premire audition de la 2e Symphonie de Jolivet, La Vie musicale et thtrale (November, 1959) p. 58. Samuel, Claude , Panorama de lart musical contemporain (Paris: Gallimard, 1962) pp. 313319; 392394. Samuel, Claude , Permanences dOlivier Messiaen: Dialogues et commentaires (Arles: Acts Sud, 1999). Schiffer, Brigitte , Andr Jolivet (19051974), Tempo, no. 112 (March, 1975) pp. 1316. Simeone, Nigel , Messiaen and the concerts de la pliade: a kind of clandestine revenge against the Occupation, Music and Letters, vol. 81 no. 4 (November, 2000) pp. 551584. Simeone, Nigel , La Spirale et la Jeune France: Group Identities, The Musical Times, vol. 143 no. 1880 (Autumn, 2005) pp. 1036. Simeone, Nigel , Making Music in Occupied Paris, The Musical Times, vol. 147 no. 1894 (Spring 2006) pp. 2350. Simon, Yannick , Composer sous Vichy (Lyon: Symtrie, 2009). Simon, Yannick , Music and the Vichy Regime Through Jeune Frances Three Joan-of-Arc Productions (1941), in Esteban Buch , Igor Contreras Zubillaga and Manuel Deniz Silva eds., Composing for the State: Music in Twentieth-Century Dictatorships (Abingdon: Routledge, 2016) pp. 1631. Sprout, Leslie , Music for a New Era: Composers and National Identity in France (diss. University of California at Berkeley, 2000). Sprout, Leslie , Messiaen, Jolivet and the Soldier: Composers of Wartime France, Musical Quarterly, vol. 87 no. 2 (2004) pp. 259304. Steinegger, Catherine , La Musique la Comdie-Franaise de 1921 1964 (Sprimont: Mardaga, 2005). Terrien, Pascal , Jolivet lenseignant, un passeur au XXe sicle, in Pascal Terrien ed., Musique franaise, esthtique et identit en mutation, 18921992 (Sampzon: Delatour, 2012) pp. 351366. Terrien, Pascal , Rflexions didactiques sur lenseignement musical (Sampzon: Delatour, 2015). Terrien, Pascal , La Mtamorphose de lmotion musicale: entre expriences et savoirs. Rflexions didactiques en musicologie (Paris: LHarmattan, 2016). Vanon, Jean-Claire , Jolivet modal: une analyse du Chant de Linos, Traversires, no. 84 (July, 2005) pp. 3949. Vanon, Jean-Claire , Andr Jolivet (Paris: Bleu Nuit, 2007). Vivier, Odile , Varse (Paris: Solfges/Seuil, 1973). Zodiaque Cahiers de lAtelier du Cur-Meurtry, 7e anne no. 33, [special issue] Hommage Andr Jolivet (April, 1957).

Zodiaque Cahiers de lAtelier du Cur-Meurtry, 29e anne no. 119, [special issue] Hommage Andr Jolivet (January, 1979). Zubillaga-Pow, Jun Jolivets Beethoven: Supplementarity, Topicality and Alterity, in Deborah Mawer ed., Historical Interplay in French Music and Culture, 18601960 (London and New York: Routledge, 2018) pp. 198213.