Creation: 30 October 1963, concert at the Domaine Musical dedicated to the memory of Roger Désormière, Théâtre de l’Odéon, Paris, by Yvonne Loriod (piano), Domaine Musical ensemble, conducted by Pierre Boulez.
Dedicated To Yvonne Loriod, Pierre Boulez, Madame Fumi Yamaguchi, conductor Seiji Ozawa, composers Yoritsuné Matsudaïra, Sadao Bekku, and Mitsuaki Hayama, ornithologist Hoshino, landscapes, music, and all the birds of Japan.
Effectif: Soloist: 1 piano2 flutes, 2 oboes, 1 English horn, 3 clarinets, 1 bass clarinet, 2 bassoons, 1 trumpet, 1 trombone, 1 marimba, 1 xylophone, 1 set of cencerros, 1 set of rattlesnakes, 1 triangle, 18 bells, 2 Turkish cymbals, 2 gongs, 1 Chinese cymbal, 2 tam-tams, 8 violins.
Titles of parts
- Introduction
- Nara Park and stone lanterns
- Yamanaka-Cadenza
- Gagaku
- Miyajima and the torii in the sea
- Birds of Karuizawa
- Coda
Genesis of the work
This work was written in 1962 following a trip to Japan. It does not include a poem: the title Haïkaï only indicates that the seven pieces are short, like the Japanese poems of the same name.
Analysis of the seven pieces
I. Introduction
By the cencerros, bells, trumpet, trombone and metal percussion: rhythms from India dedicated to the three Shakti. The piano and woodwinds make a retrograde rhythmic canon. Xylophone and marimba make a metabole, from tâla simhavikrama (lion strength) to tâla miçra-varna (mixture of colours). The violins play a melodic phrase, of which only the first stanza is heard (the second stanza being reserved for the seventh piece).
II. Nara Park and stone lanterns
Japan. Nara region. Four Buddhist temples. A Park. Deer and hinds roam freely there.
III. Yamanaka-Cadenza
The birds singing in this play were heard in the forest near Lake Yamanaka, at the foot of Mount Fuji.
IV. Gagaku
Gagaku (Gagakou) is the noble music of 7th century Japan. It is still practised at the imperial court.
V. Miyajima and the torii in the sea
Perhaps the most beautiful landscape in Japan. An island, a mountain covered with dark green Japanese pines and maples (red in autumn). A Shinto temple, white and red. In the blue sea, opening onto the invisible (i.e. the real temple), a large red portico or TORII.
VI. Birds of Karuizawa
The birds singing in this room were heard around Karuizawa, in a landscape of mountains and Japanese pines. Some of them were noted in the forest, near a gorge and a small stream, not far from the Asama volcano.
a) Uguisu (Ougouhisse), Japanese bushwhacker. Uguisu is entrusted to the trumpet and the woods.
b) Hototoguisu (Hototogouhisse), small grey headed cuckoo. Entrusted to the trombone, bassoons and bass clarinet.
c) Kibitaki, Narcissus flycatcher. Kibitaki is played by the four clarinets and also by xylophone and marimba.
d) Oruri (O-louli), Japanese blue flycatchers.
e) Aoji (Aôdji), Japanese masked bunting.
f) San kô chô (Sane-koo-tchio), Japanese Paradise flycatcher. San kô chô is played by xylophone and marimba.
g) Kuro tsugumi (Koûleu-tsougoumi), Japanese blackbird. Varied song, different from the European blackbird.
h) Mejiro (Medjile) zosterops from Japan. The first piano cadenza uses: Binzui (Binetzoui): Hodgson’s Pipit. The second cadenza: O-yoshikiri (O-iochikiri: Eastern Turdoid Rousserolle.
VII. Coda
By the cencerros, bells, trumpet, trombone and metal percussion: a continuation of the Indian rhythms dedicated to the three Shakti. The piano and woodwinds take up the retrograde rhythmic canon of the first piece, applying the harmonies of the straight durations to the retrograde durations and vice versa. Xylophone and marimba make a retrograde metabole, from tâla miçra-varna (mixture of colours) to tâla simhavikrama (lion’s strength). On the violins: continuation of the melodic phrase of the first piece, the second stanza of which can be heard.
Olivier Messiaen.