Composer

:

Olivier Messiaen

Genre

:

Vocal

Style

:

Vocal Music

Compose Date

:

1945

Average_duration

:

56:45

Movement_count

:

12

Movement ....

Harawi, I/28 is a song cycle composed by Olivier Messiaen in 1945. It premiered in Paris on June 17, 1946, with the composer's wife, Claire Delbos, as the soloist. The work consists of twelve movements, each based on a poem from the Quechua language of Peru. The first movement, "La ville qui dormait, toi," sets the scene with a dreamlike atmosphere and introduces the theme of love. The second movement, "Bonjour toi, colombe verte," is a joyful celebration of love and nature. The third movement, "Montagnes," is a slow and contemplative piece that evokes the grandeur of the Andes mountains. The fourth movement, "Doundou tchil," is a lively and rhythmic dance that features the use of bird calls and percussion. The fifth movement, "L'amour de Piroutcha," is a tender and intimate love song. The sixth movement, "Répétition planétaire," is a complex and dissonant piece that represents the chaos of the universe. The seventh movement, "Adieu," is a mournful farewell that features a haunting melody and a sense of finality. The eighth movement, "Syllables," is a playful and rhythmic piece that uses onomatopoeic sounds to create a sense of joy and energy. The ninth movement, "L'échange," is a dialogue between two lovers that features a call-and-response structure. The tenth movement, "Béatitudes," is a solemn and contemplative piece that reflects on the nature of love and spirituality. The eleventh movement, "Prières," is a prayer for peace and harmony that features a simple and repetitive melody. The final movement, "Dans le noir," is a mysterious and atmospheric piece that brings the cycle to a close. Overall, Harawi, I/28 is a highly expressive and emotional work that showcases Messiaen's unique style and use of exotic influences. The use of bird calls, percussion, and onomatopoeic sounds creates a sense of naturalism and vitality, while the complex harmonies and dissonances reflect the composer's interest in spirituality and mysticism.

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