If imitation is the sincerest form of flattery, then composers must really have a thing about birds. For centuries, composers have imitated bird song. Vivaldi’s “Goldfinch” concerto for flute is one of the best-known examples from the 18th century, and there are a flock of other examples.

On today’s date in 1953, at the Donaueschingen Music Festival in Germany, one of the most famous 20th century examples of “music for the birds” had its premiere performance. This was a piece by the French composer Olivier Messiaen for piano and orchestra, entitled “Le Réveil des Oiseaux,” or “The Awakening of the Birds.”

The musical themes for this work were all based on Messiaen’s precise notation of the songs of 38 different French birds. The piece’s structure progresses from midnight to midday, with the birds’ actual “awakening” occurring precisely at 4 a.m. at the first light of a spring day.

Messiaen’s interest in bird songs and nature was as deep as his religious faith. As he put it:  “I give bird songs to those who dwell in cities and have never heard them, make rhythms for those who know only military marches or jazz, and paint colors for those who see none."

Antonio Vivaldi (1678 - 1741) — Flute Concerto, R. 428 (Goldfinch) (Patrick Gallois, flute; Orpheus Orchestra) DG 437 839

Olivier Messiaen (1908 – 1992) — Le Reveil des oiseaux (Pierre-Laurent Aimard, piano; Cleveland Orchestra; Pierre Boulez, cond.) DG 453 478