Although many classical
music enthusiasts find Jolivet's thoroughly
dissonant music difficult to listen
to, the composer was dedicated to humanistic
ideals and presenting an alternative
to what he considered the lack of serious
artistry inherent in neo-classicism.
Along with Olivier Messiaen, Yves Baudrier
and Daniel-Lesur, he formed the group
"Jeune France" in 1936 to instil spirituality
into the then current musical establishment.
The group didn't last very long, but
the non-conformist Jolivet never abandoned
his goals and continued striving to
write music that he felt was uplifting
and germane to the human condition.
The two composers who
most influenced Jolivet were Paul Le
Flem and Edgar Varèse. Jolivet
studied with both gentlemen, Le Flem
introducing him to the entire range
of musical styles and Varèse
teaching him rhythm and acoustics. From
this reviewer's perspective, Jolivet's
music has strong connections with the
music of Varèse and Bartók
as well as the mystical elements of
Scriabin's late piano works.
Before moving onto
the Centaur program, I'd like to comment
on the issue of dissonance in regard
to Jolivet's piano sonatas. Though it
might not sound this way initially,
the music has most of the features found
in a typical tonal composition: introductions,
identifiable themes, thematic development
and variation, development sections,
codas and appealing rhythms. What we
won't find is our traditional sense
of lyricism. However, once we get beyond
that limiting boundary, Jolivet's music
becomes clear as to texture, architecture,
progression and coherence. Only at this
point of clarity can the music be reasonably
judged and appreciated.
Jolivet composed his
three-movement Piano Sonata No. 1 in
1945 at a time when he was using more
traditional forms than he had in earlier
decades. The 1st Movement "Allegro"
has a wonderful introduction based on
two figures: the first, stern and decisive,
is a six-note figure from the lower
voices, the second a four-note figure
that ascends in total disarray. With
just these two figures, Jolivet ushers
in a huge range of emotional content
that he continues to mine throughout
the movement. Once past the introduction,
the first theme emerges in heroic and
intense washes of sound over a bedrock
of bass lines. The second theme is imbued
with polyphonic mystery as it wanders
through the sky trying to find a home.
Both themes are expanded upon in the
development section, and the coda finds
Jolivet at peak energy and resolve.
The 2nd Movement is
marked "Molto lento" and is similar
to the 1st Movement's second theme in
terms of tempo, mystery and confusion.
This is thoroughly intoxicating music
full of subtle surprises. The 3rd Movement
has a Largo introduction followed by
a first theme of rebellious and stern
proportion and a hyper-active second
theme that actually carries a trace
of upbeat spirits. Particularly rewarding
Jolivet’s accomplished incorporation
of jazz and Latino rhythms into the
body of the movement.
Like the Sonata No.
1, the 2nd Sonata has a three-movement
form, powerful rhythms, and the mystery
of wandering motifs. Its 1st Movement
is in sonata-allegro form and has two
themes. The first theme is energetic
and highly demonstrative, while the
second has an improvised veneer with
irresistible and subtle dialogue. In
the development section the dialogue
becomes increasingly severe and the
coda concludes the movement in a hostile
frame of mind.
In the 2nd Movement,
serialism rears its head as musical
fragments are expanded through the twelve
notes of the chromatic scale, first
in the bass and then in the treble.
As the movement concludes, notes quietly
vaporize into the thin air. The final
movement is a five-part rondo blending
severity with playfulness in a jazz-infused
environment.
The Cinq Danses rituelles
for piano, later arranged for orchestra
by Jolivet, was first performed in 1942
by the French pianist Lucette Descaves.
Jolivet wrote the following about the
meaning of the work:
"The Ritual Dances
refer particularly to so-called
primitive cultures in which the
human spirit has been preserved
in all its innocence. The titles
correspond to the principal stages
in social and religious life ...
of all humanity. These are, in fact,
dances of birth and puberty, of
war and manhood, of love and marriage,
of death and resurrection."
Jolivet, in going back
to the roots of humankind, offers a
sound-world of mystical proportion with
little material that lends itself to
dancing. The Initiation Dance opens
the work with three themes, the Hero's
Dance makes a powerful and militaristic
statement, the Wedding Dance presents
a macabre element through variation
techniques and the Dance of Abduction
is a short two minute piece full of
foreboding and repetitive figures. The
final movement, the Funeral Dance, is
a slow procession expressing grief and
eventual resolution; as the dance concludes,
a series of drum-beats from the bass
conveys the finality of life on earth.
The Canadian pianist
Philip Adamson displays an expert affinity
with Jolivet's humanistic and mystical
sound-world. He also fully captures
the strong and driving rhythmic patterns,
making it viable for listeners to understand
the dissonant musical canvas. Sound
quality is superb with a crisp soundstage
and exceptional resonance. The booklet
notes are in English and French, providing
ample information and insight concerning
Jolivet's musical life and the programmed
works.
In conclusion, this
excellent production offers a clear
picture of Jolivet's piano music and
should make converts of those willing
to extend themselves beyond traditional
lyricism and enter the strongly dissonant
sound-world of 20th century French music.
Don Satz
Philip Adamson, piano 