The Mesquite Dunes in Death Valley at sunset. I featured this image in my recent music video celebrating Death Valley – a “painting with music.” Please check it out if you haven’t already.
An unfinished apartment building in California City.
Mineral-processing plant along Searles Lake (dry) in Searles Valley, California, just south of the town of Trona and southwest of Death Valley.
The modernist pavilion at the center of California City’s central park. California City was one of the strangest towns I have visited.
A beautiful sunset in the Panamint Valley after a flash flood. The Panamint Valley is another deep valley just to the west of its more famous neighbor, Death Valley, in California. This watery desert sunset was also the subject of a recent CatSynth TV with original synthesizer soundtrack.
A perfectly framed road in the hills of Death Valley National Park.
At the end of January, I had the opportunity to experience a unique performance at Berkeley’s Zellerbach Hall by the St. Louis Symphony of Olivier Messiaen’s Des Canyons aux étoiles… (From the Canyons to the Stars). The Symphony was led by David Robertson, a noted interpreter of Messiaen’s music, and the performance featured synchronized visuals by artist Deborah O’Grady.
[ Bryce Canyon National Park photographed by Deborah O’Grady. Courtesy of Cal Performances]
Des Canyons aux étoiles… was the product of a commission by Alice Tully (of Alice Tully Hall) in the early 1970s for the US Bicentennial. Messiaen was inspired by the images of the canyons of southern Utah, including Bryce and Zion, and spent several weeks there along with his wife, the pianist Yvonne Loriod, in 1972. He was quite taken with the visual landscape as well as the soundscape, particularly the sounds of the birds. He was able to write down and interpret the bird songs as pitches of the Western tonal system, and these melodies appear throughout the piece as a unifying element. The visual landscape is less literally interpreted, though one can hear the deep tones of resonant wind through narrow openings in canyon, and the more abstract sense of awe at the open landscapes. There is also a sense of anxiety, particularly in the first few movements, that comes from Messiaen’s distinctive harmonies.
[Photo by Dilip Vishwanat, courtesy of Cal Performances]
In addition to the full symphony, this piece features solos for piano and horn. In the original premier in 1974, the pianist was in fact Yvonne Loriod, who wore a dress featuring the color palette of Bryce Canyon. (I would love to see a photo of this!) For this performance in Berkeley, the solo pianist was Peter Henderson and the horn soloist was Roger Kaza. The piece also features a larger than usual percussion section, including features on xylorimba and glockenspiel, and a really cool wind machine that was unfortunately hard to see from our seats. But the real visuals were on screen in Debrah O’Grady’s photographs. While not on a click track or any forced tempo, they were clearly timed musically to elements on the piece, with a mixture of gradual fades and sharper transitions. The photos and stage were bathed in a continuously changing set of monochromatic lights, which added to the visuals of the performance.
[Moonrise at Zion National Park photographed by Deborah O’Grady.]
To make the visuals for this piece, O’Grady retraced Messiaen’s 1972 trip, visiting Bryce, Zion and Cedar Breaks National Monument in April of 2014 and 2015. She noted that the parks have become much more crowded in April than they were back in 1972, which made her experience quite different. As such, the interactions of humans with the environment, both positive and negative, became part of her interpretation of the work. Nonetheless, the photos remained squarely focused on the natural landscape.
The American desert southwest is perhaps my favorite natural landscape, and one I enjoy visiting whenever I get a chance to (regular readers of this site have encountered my photographs). So the combining of that landscape with Messiaen’s influential musical style was a particularly special experience. I remained quite enrapt throughout the entire 90 minute performance, which did not have an intermission. And afterwards, I find myself both inspired to do more music and to get back out to the desert.