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 Loriod-
Messiaen 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
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and by Routledge
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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
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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
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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 ix

List of music examples xii
Notes on the contributors xiv
Acknowledgements xix
Editor’s note xxi
Chronology of Jolivet’s life and works 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 85

LUCIE KAYAS
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 309
Index 315
Figures and tables

Figures
i.1 André Jolivet’s signature. xx
ii.1 Paul Le Flem, Jolivet’s teacher and life-long friend, on holiday
in Brittany in 1932. 3
ii.2 Jolivet (right) with Varèse in Spain, 1933. 4
ii.3 Leaflet for the first concert of La Spirale, 12 December 1935. 5
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. 6
ii.5a Poster for the inaugural concert of Le Groupe Jeune France,
Salle Gaveau, 3 June 1936. 7
ii.5b Programme of the inaugural concert of Le Groupe Jeune
France, 3 June 1936. 8
iii.1 Part I (title page): Jolivet (in a cold studio) during the
recording sessions for his Piano Concerto, Paris 1966. 13
iii.2 Part II (title page): Jolivet in Pompeii, Easter 1957. 105
iii.3 Part III (title page): Jolivet rehearsing Cérémonial in
memoriam Varèse, Geneva, December 1971. 215
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. 31
2.1 Kleenex box fragment on which Jolivet rapidly notated the
opening theme of his Second Cello Concerto. 43
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. 45
2.3 Jolivet, Violin Concerto, second movement. Working
manuscript, ‘particelle’ with time durations. 49
2.4 Jolivet, First Symphony. Preparatory ‘dossier’. 50
2.5 Extract from the ‘particelle’ of Jolivet’s First Symphony
showing his deletions and the inserted reference points in crayon. 52
2.6 Jolivet, Second Symphony. Preparatory ‘Dossier’. 54
4.1 Jolivet with the theatre designer Bernard Daydé (right) during
the Comédie-Française tour to Egypt in March 1950. 87
x  Figures and tables
4.2 Karnatic scale No. 2 showing the semitones. 97
4.3 Karnatic scale No. 26 showing the mapping of the ‘vocalise
septénaire’. 97
4.4 Jolivet’s construction of a 10-note mode based on Karnatic
scale No. 60. 98
5.1 André Jolivet, untitled watercolour (ca. 1925–1927,
13.8 x 17.5 cm). 117
5.2 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. 117
5.3a Jolivet’s Pleyel (manufactured 1905) on which he
composed Mana. 120
5.3b The keyboard and pedals of Jolivet’s Pleyel. 120
5.4 Jolivet’s Mana drawings as on the cover of Costallat’s
published score. 122
5.5 Jolivet’s individual drawings of the Mana objects. 123
5.6 Jolivet’s original designs for the Mana score-cover and title page. 124
5.7 Jolivet’s drawing for Durand’s published score of Trois
complaintes du soldat. 126
6.1 Jolivet in uniform, June 1940, around the time he composed
the Trois complaintes du soldat and received the Croix de guerre. 135
6.2 Poulenc’s personal inscription to Jolivet in the published score
of Dialogues des Carmélites. 146
7.1 Jolivet ‘playing’ an imaginary flute, Dresden 1962. 162
9.1 Jolivet relaxing, Dresden 1962 209
9.2 Jolivet’s pipe collection with a copy of his favourite
recreational reading, a detective novel by San-Antonio. 210
10.1 Rostropovich’s note of thanks to Jolivet for the score of the
Suite en concert. 228
10.2 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. 229
10.3a 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. 231
10.3b Poster for Vera Dulova’s Moscow recital of 18
December 1966 showing Jolivet’s Prélude for harp (third
in the list). 232
10.4 Poster for the French premiere of Tikhon Khrennikov’s Piano
Concerto, Maison de l’ORTF, Paris, 4 November 1966. 235
10.5 Clara Khrennikov’s drawing of her grandson’s foot for Hilda
Jolivet to purchase ‘baby booties’ in Paris. 237
10.6 Programme of the USSR State Symphony Orchestra concert
of 6 January 1967 featuring the premiere of Jolivet’s
 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.) 238
10.7 Rostropovich and Jolivet returning to the platform at the
premiere of Jolivet’s Second Cello Concerto, Moscow, 6
January 1967. 238
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. 239
10.9 Programme for Jolivet’s concert with the Kiev Philharmonic
Orchestra and Valery Kastelsky, Kiev 11 January 1967. 240
10.10 Programme for the French premiere of Jolivet’s Second Cello
Concerto given by Rostropovich and the Orchestre Radio-
Symphonique de Strasbourg under Charles Bruck, Strasbourg
Festival, 15 June 1967. 242
1 2.1 Publicity leaflet for the Conférences Musicales André Jolivet, 1959. 273
12.2 The cover of Jolivet’s Beethoven monograph (Paris, 1955)
designed by the artist Albert Huyot (1872–1968). 275
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. 288
13.2a Jolivet in rehearsal during his 1959 concert tour to Japan. 301
13.2b Jolivet in rehearsal during his 1959 concert tour to Japan. 302

Tables
1.1 Defining Features of the Style incantatoire 18
1.2 Works in the Incantatoire Tradition: Melody, Line, etc. 19
1.3 Works in the Incantatoire Tradition: Texture 20
1.4 Works in the Incantatoire Tradition: Harmony 21
1.5 Works in the Incantatoire Tradition: Duration, Rhythm, Metre 22
1.6 Works in the Incantatoire Tradition: Form and Society 23
4.1 Épithalame: Structural Synopsis 88
4.2 Jolivet’s Adaptations of the Egyptian Text Translated by
Mardrus: Second Movement 88
4.3 Jolivet’s Adaptations of the Egyptian Text Translated by
Mardrus: Third Movement 89
4.4 Jolivet’s Adaptations of Egyptian Text Translated by Mardrus:
Fifth Movement 90
4.5 Symbolism and Pitch Associations Defined by Mardrus for the
‘Vocalise septénaire’ 93
4.6 Jolivet’s Structural Revisions to Épithalame 100
12.1 Jolivet’s Notes on the Craft of Musical Composition 277
12.2 Jolivet’s Notes on the Characteristics of Student and Teacher 281
Music examples

3.1 Harmonic series with fundamental on C 70

3.2 Jolivet, Cinq danses rituelles pour piano, ‘Danse initiatique’
(bars 23–24) 73
3.3a Jolivet, Cinq danses rituelles pour piano, ‘Danse nuptiale’ (bar 5) 74
3.3b Jolivet, Cinq danses rituelles pour piano, ‘Danse nuptiale’ (bar 56) 74
3.4 Jolivet, Cinq danses rituelles pour piano, ‘Danse funéraire’
(bars 20–21) 75
3.5 Jolivet, Cinq danses rituelles pour piano, ‘Danse du rapt’
(bars 25–28) 76
3.6 Jolivet, Cinq danses rituelles pour piano, ‘Danse initiatique’
(bars 5–7, 8–9, 10–11; treble line) 77
3.7 Jolivet, Cinq danses rituelles pour piano, ‘Danse initiatique’
(bars 1–3) 78
3.8 Jolivet, Cinq danses rituelles, ‘Danse du rapt’ (bars 1–9;
reduced score) 81
4.1 Jolivet Épithalame, ‘vocalise septénaire’ IAÉOÔUÊ (fig. 5 of
the score) 94
4.2 Jolivet Épithalame, ‘Ouvrons les Portes de l’Amour’ (fig. 2 of
the score) 94
4.3 Jolivet Épithalame, AIÔOiÉ (fig. 37+5 bars, p. 79 of the score) 95
4.4 Jolivet Épithalame, sopranos 1 and 2 (fig. 79 of the score) 96
4.5 Jolivet Épithalame, ‘Fais un heureux jour’ (fig. 7 of the score) 99
7.1 Jolivet, Cinq incantations ‘Pour que la moisson soit riche
[. . .]’ (opening) 162
7.2 Jolivet, Piano Concerto, Allegro deciso (movt. 1, bars 26–30) 164
7.3a Taïra, Hiérophonie IV, ‘Frémissant’ (opening) 168
7.3b Jolivet, Cinq incantations, ‘Pour que l’enfant qui va naître soit
un fils’ (opening) 168
7.4 Taïra, Hiérophonie IV, ‘Méditatif’ (opening) 169
8.1 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
 Music examples  xiii
accords tournants via selective transposition in Messiaen’s
‘La Grive musicienne’ (bar 63) 175
8.2a Jolivet, Mana, ‘Beaujolais’ (bars 29–33) 176
8.2b Messiaen’s re-use of the ‘Beaujolais’ complex in ‘Le Traquet
stapazin’ (bar 5), Catalogue d’oiseaux 177
8.2c 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 177
8.2d Messiaen’s re-use of the ‘Beaujolais’ complex in ‘Montagnes’
(bars 6-7), Harawi 177
8.2e Messiaen’s re-use of the ‘Beaujolais’ complex in ‘Katchikatchi
les étoiles’ (end of bar 13, piano part only), Harawi 177
8.2f Messiaen’s re-use of the ‘Beaujolais’ complex in Neumes
rythmiques (beginning of bar 9) 178
8.3 Messiaen, Trois Petites Liturgies, ‘Séquence du Verbe,
Cantique Divin’ (bars 21–24) 179
8.4a Rhythmic borrowing from Jolivet’s Cinq danses rituelles in
Messiaen’s Cantéyodjayâ, ‘piccoulanéki’ (bars 178–190) 181
8.4b Jolivet, Cinq danses rituelles, ‘Danse nuptiale’ (bars 1–8) 182
8.4c 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. 417 182
8.4d Jolivet, Cinq danses rituelles, ‘Danse initiatique’ (bars 51–52) 183
8.4e Rythmic borrowing from Jolivet’s Cinq danses rituelles in
Messiaen’s Cinq rechants, II, tenor voice (bars 54–60) 183
8.5a Jolivet, Cinq incantations, ‘Pour que l’enfant qui va naître soit
un fils’ (bar 4) 184
8.5b Messiaen, Cinq rechants (section 1, bars 3–7) 184
8.5c Messiaen, Messe de la Pentecôte, ‘Offertoire’ (Les choses
visibles et invisibles) (bars 50–54) 184
8.6 Rhythmic borrowing from Jolivet’s Cinq incantations in
Messiaen’s Technique de mon langage musical and Messe de
la Pentecôte 185
8.7 Olivier Messiaen, reduction of ‘Turangalîla 1’, rehearsal fig. 6,
from the Traité, vol. II 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 compos-
ers of his generation. His significant orchestral output includes a violin con-
certo 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 Orches-
tra 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 Sinfo-
nietta, 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 com-
missioned 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 musi-
cologie published by the Société Française de Musicologie. His doctoral dis-
sertation 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 compos-
ing with pre-existing musical materials: Le modèle et l’invention: Olivier Mes-
siaen 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 corre-
spondence, Edgard Varèse – André Jolivet: Correspondance 1931–1965 (Con-
trechamps, 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 Fran-
cis Poulenc (Symétrie, 2016). After studying piano and chamber music at the
École Normale de Musique de Paris she studied musicology at the Paris Con-
servatoire (CNSMDP) and gained her doctorate from the Université de Tours.
She was French editor at Deutsche Grammophon in Hamburg before return-
ing 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 insti-
tution 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 Dela-
lande (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 Con-
servatoire, Birmingham City University, where she also leads a three-year
AHRC-funded project entitled ‘Accenting the Classics: Durand’s Édition Clas-
sique (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 Bal-
lets 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 développe-
ment du langage musical d’Olivier Messiaen: Traditions, emprunts, expéri-
ences 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 materi-
als: 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 (Omni-
bus, 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 Water-
man 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 Dutil-
leux 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 co-
written 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 Con-
servatoire 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 Uni-
versity 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-Évaluation-
Formation 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 psy-
chologiques (L’Harmattan, 2006).
Jean-Claire Vançon is a flautist and pianist by training, and completed his doc-
toral 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 Con-
servatoire 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 analy-
sis) 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 sup-
port 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 assis-
tance 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 Rout-
ledge 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 occa-
sions 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, Ste-
phen 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 occa-
sioned 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 Uni-
versity 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 reason-
able 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 fol-
lowing 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 Jol-
ivet (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 Jean-
Claire 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 acknowl-

edgement 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 appro-
priate 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 pro-
gress and development of his creative thinking. Abbreviations follow the prac-
tice of The New Grove Dictionary of Music and Musicians with the additions
listed below:

Association pour la Diffusion de la Pensée Française ADPF

Centre Français d’Humanisme Musical CFHM
École Normale de Musique ENM
Institut des Hautes Études Cinématographiques IDHEC
Institut National Belge de Radiodiffusion INR
Office de Radiodiffusion-Télévision Française (founded 1964) ORTF
Orchestre de la Société des Concerts du Conservatoire OSCC
Radiodiffusion Nationale (founded 1939) RN
Radiodiffusion Française (founded 1945) RDF
Radiodiffusion-Télévision Française (founded 1949) RTF
Société Internationale pour la Musique Contemporaine SIMC
Société Nationale de Musique SNM
Société des Auteurs, Compositeurs et Éditeurs de Musique SACEM
Société des Auteurs et Compositeurs Dramatiques SACD
 Chronology of Jolivet’s life and works  xxiii
1905
Born 8 August, 2 rue Versigny, Montmartre. Youngest child (only son) of Made-
leine 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 Fran-
cisque 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 Can-
torum. (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 bal-
ance (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. Dis-
covers 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 Amé-
riques. Begins studies with Varèse (orchestration and composition). Marries Mar-
tine Barbillon (18 September).

Works: Paroles de Marie à son fils (S, pf: anon 16th century), Sonnet de Ron-
sard (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 Car-
pentier, 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 Bar-
celona). 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 Ber-

nard, 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, Bal-
thus and Georges Ribemont-Dessaignes. Revises his String Quartet.

Works: Danses pour Zizou (pf ), Sidi-Yaya (pf ), Algeria-Tango (pf ), Roman-
tiques (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, Jean-
Yves Daniel-Lesur, Georges Migot and Nestor Lejeune (May). Transcribes Var-
èse’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 Hon-
grois 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 Feb-
ruary). 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 per-
form 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 con-
certs 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 demo-
bilisation order. Awarded the Croix de guerre for meritorious service in action
(28 June). Demobilised (6 August) and returns to occupied Paris. Resumes teach-
ing, 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 bal-
let, scenario Chesnais: vv, chbr orch), Ballet des étoiles (puppet ballet, sce-
nario 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 edi-
tion published by Durand). Collaborates with Honegger on the film score for Boxe
en France (dir. Gasnier-Reymond), and with Daniel-Lesur on Mémoire des mai-
sons 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 Fran-
çais, Nice, 4 March), Messe pour le jour de la paix (Marcelle Bunlet,
Olivier Messiaen, Chapelle des Franciscains, 25 March), La Tentation dern-
ière (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 Com-
positeurs 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: Haupt-
mann 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 publish-
ing 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, Comédie-
Française: 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 Pléi-
ade, 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 Champs-
Élysées 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), Séré-
nade (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), Iph-
igénie 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 Tangle-
wood 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. Jol-
ivet, 22 April), Ondes Martenot Concerto (Ginette Martenot, Vienna Phil-
harmonic Orch cond. Jolivet, 23 April), Hopi Snake Dance (performers
unknown, Tanglewood, 10 August), Hymne à Saint-André (Sabine de But-
ler, 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). Con-
ducts 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, Comé-
die-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 (inci-
dental 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 Compos-
ers’ 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), Trum-
pet Concerto No. 2 (tpt, orch), Les Amants magnifiques (incidental music
after Lully, Comédie-Française: Molière), Prométhée enchaîné (inciden-
tal 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 pub-
lished (Éditions Richard-Masse) and dedicated to his mother’s memory. Receives
the Légion d’honneur (Chevalier). Guignol et Pandore receives its hundredth per-
formance at the Opéra de Paris.

Works: Suite transocéane (orch), L’Amour médecin (incidental music, Comédie-

Française: Molière, unpubd.), Le Veuf (incidental music, Comédie-Fran-
çaise: Carmontelle, unpubd.), Le Soleil se lève à l’est (film score, dir. Pierre
Thévenard, unpubd.).
Premieres: Suite transocéane (Louisville Symphony Orch cond. Robert Whit-
ney, 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 quincente-
nary 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 Sep-
tember), Épithalame (Ensemble Madrigal cond. Marcel Couraud, Venice
xxxiv  Chronology of Jolivet’s life and works
Biennale, 16 September), Sérénade pour deux guitares (Ida Presti, Alexan-
dre 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, Comédie-
Française: Musset), La Réunion des amours (incidental music, Comédie-
Française: 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 Long-
Thibaud Competition.

Works: Symphony No. 2 (orch), Le Guerrier de Rabinal (radiophonic music,

RTF: traditional Inca, unpubd.), L’Eunuque (radiophonic music, RTF: Plau-
tus, 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 (Braun-
schweig 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 tran-
socéane 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 dissolu-
tion 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 Baux-
de-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 Radio-
Télévision Française (ORTF). Becomes Honorary President of the Syndicat
National des Artistes Musicien (Fédération Nationale du Spectacle). Begins Céré-
monial 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 Ros-
tropovich 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 rep-
resenting 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), Con-
troversia (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 gui-
tar, Turibio Santos, Salle Gaveau, 14 April), Patchinko (Geneviève Joy, Jac-
queline Robin 25th anniversary recital, Salle Gaveau, Paris, 17 December).

1971
Retires from the Paris Conservatoire. Sixth visit to Moscow to attend a perfor-
mance 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 vis-
its 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 compos-
ers 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 phi-
losophy 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 misconcep-
tion 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’, ‘con-
certo’ 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 assert-
ing 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 quali-
fying 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 rhyth-
mic organisation and expressions of the incantatory that proved decisive influ-
ences 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 soci-
ety 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 influ-
ence 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 catego-
risation. 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 per-
sonal 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 rep-
resenting for Jolivet not only a period of change and renewal but also one of con-
tinuity 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’ signa-
tures). From left to right: André Jolivet, Yves Baudrier (seated), Olivier Mes-
siaen, 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 neo-
classical, 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 fur-
ther 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 ensem-
bles 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 per-
sonal 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 Jol-
ivet’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, con-
temporaries 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 adap-
tations 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 labora-
tory 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 Jol-
ivet’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 mate-
rial 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 theolo-
gies and his rediscovery of Christianity.
Part Three ‘Activities’ comprises four chapters concerning Jolivet’s wider con-
tribution, which has hitherto received little attention. Christine Jolivet-Erlih con-
siders 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, Chris-
tine 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 activ-
ity 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, Jean-
Claire 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 com-
poser’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.
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