8-Z15: 2CCRA+2 8-16: 2CCRB+

8-17: 2CCRA+2

8-18: ‘Theme of chords’, 1CCRA+1,

2CCRA+2, 2CCRB+2 8-19: 2CCRA+2, 2CCRB+2 8-20: CTI+1, 2CCRA+2 8-22: 1CCRA+1, 2CCRB+2 8-25: Mode 6 8-26: 2CCRA+2 8-27: 2CCRA+2 8-28: Mode 2

Example 8.2 12–1 set at 3/15 in ‘Le chocard des Alpes’ (Reproduced by kind permission of Editions Alphonse Leduc, Paris/United Music Publishers Ltd, England)

Messiaen extends the technique with lengthy figurations (generally ranging from several bars to two or three pages) drawing from the chromatic total in a seemingly random way. Such passages occur extensively, and the result gives the impression of aleatoric pitch selection rather than of the ‘distorted chromaticism’ highlighted above in ‘Le chocard des Alpes’. It is nevertheless interesting that all 12 pitches transpire so regularly, and this contrasts with the more limited selection found in passages utilising Messiaen’s own chords.

Total chromaticism is also used to construct themes and birdsong (there is a clear differentiation between birdsong and other bird-related material such as the flight motif already discussed). A prominent example is the Cantéyodjayâ main theme (1/1) (Example 8.3). All 12 notes are present in this theme but the pitch repetition avoids the possibility of its being a 12-note row. Birdsong regularly utilises the 12-note total and the technique is not limited to a particular species of bird. For example, in ‘Le traquet stapazin’ three different birds use it in within a few pages: the herring gull (7/4), orphean warbler (8/3–4) and the melodious warbler (12/1).

8.2: Total Chromaticism with no Repeats (12-1) (Serialism)

As has already been shown, Messiaen felt affection for the chromatic total and the ways it could be manipulated and combined with other elements of his harmonic language. Its usage in his early period and the works up to and including the Turangalîla-symphonie is imbued with a certain freedom, but during the ‘Experimental period’ (starting in 1949) there surfaces a more strict application of serial thinking. Serialism (despite being a technique not held in the highest regard by Messiaen) appears to be used in Cantéyodjayâ, and 12-note rows feature most prominently between this date and the late 1950s.

Messiaen’s self-analyses refer only sporadically to serial procedures, and the direct influence of the Second Viennese School was minimal. He expressed to Claude Samuel his belief that serialism’s life span was limited, and revealed his lack of enthusiasm for Schoenberg.6 _{Apart from the formation of the concept of}

total serialism, serial thinking and terminology did not rival the importance of other theories in Messiaen’s musical language. Livre d’orgue exploits serial techniques fully, but Messiaen was acutely aware of the dangers of ‘dry rigour’. As is the case with some of the other theories already highlighted, serialism appears to have been more an area of interest (stemming from analytical classes),7 _{rather than a creative}

concept of lasting influence.

The dramatic change in artistic direction evident in the ‘Experimental period’ is underlined by the presence of serial passages in Cantéyodjayâ. At 19/6–10, serialism is utilised in a standard form. The unaltered nature of the technique is remarkable given Messiaen’s aversion to its dryness, and his compulsion to tinker with established theories and rules. This also defines how these five bars differ from the extracts cited in the previous section of this chapter; total chromaticism has now become serialism (Example 8.4).

The technical fluidity of Messiaen’s compositional style at this time is brought sharply into focus when these bars are placed in context: they are preceded by typical harmonies (such as turning chords) and followed by melodic and rhythmic interversions (one of the characteristics of Cantéyodjayâ is its quick-changing mosaic structure).

Twelve-note rows make regular appearances in birdsong-based works. ‘Le chocard des Alpes’ contains a collection of note rows as shown in Example 8.5). The bar can be divided into four parts, as shown in the example, with the upper and lower staves having independent rows.

6 _{Messiaen and Samuel, Music and Color, p. 50.}

Example 8.5 12-note rows at 10/1 in ‘Le chocard des Alpes’ (Reproduced by kind permission of Editions Alphonse Leduc, Paris/United Music Publishers Ltd, England)

8.3: Chromatic Subsets (11–1, 10–1, 9–1)

Sets of 11 and 10 notes are a common feature in various works and were regarded by Messiaen as an incomplete version of the chromatic total (as opposed to a smaller set with added notes); 9-1 is also a recurring resource, but it is less significant than other nine-note sets, which will be discussed below. These sets are often grouped together to create chromatically inflected passages conveying stark non-musical imagery (in a manner akin to total serialism), for example as a representation of harsh features such as cliffs in birdsong works. They surface at same time as total chromaticism in the early 1940s.

8.4: 9-5 and its Eight-Note Subsets (8-5, 8-6, 8-8, 8-9, 8-13, 8-Z15, 8-16, 8-18, 8-Z29)

The usage of pitch-class set labels in Messiaen analysis reveals the importance of a series of chords employed with remarkable frequency in a range of works. As illustrated so far in this chapter, aggregates containing between 12 and 10 notes tend to be chromatic in nature. There are exceptions: the sets 10-5 and 10-6 occur on a number of occasions, but the overwhelming tendency is for these larger harmonic groups to be related to the complete chromatic total (12-1). However, the 9-5 set would appear to be a significant harmonic force in Messiaen’s work as it functions both as a recurring resource and a superset of a wide range of eight-, seven- and six-note sets. The 9-5 set occurs in the early 1940s, and may be observed in the sixth bar of ‘La ville qui dormait, toi’ from Harawi (Messiaen singles out this chord at Tr3/283). It acts here as a ‘chord of D (dominant)’ preceded by an acciaccatura (Example 8.6). The 9-5 set and its subsets pertinent to Messiaen’s work are illustrated in Figure 8.1.

Example 8.6 9-5 set in ‘La ville qui dormait, toi’ (Reproduced by kind permission of Editions Alphonse Leduc, Paris/United Music Publishers Ltd, England)

Figure 8.1 exemplifies the relationship between the 9-5 set and Messiaen’s chords of transposed inversions on the same bass note and chords of contracted resonance. However, the eight-note sets notable by their absence are the three turning chords and certain modes of limited transposition.

All of the eight-note sets listed in the table occur in Messiaen with a varying degree of frequency. Two sets have a great significance when paired together: 8-18 and 8-Z29 form the ‘Theme of chords’ from the Turangalîla-symphonie (Example 8.7 below).

However, none of the remaining sets are identical to any of Messiaen’s own unique chords. These subsets of 9-5 occur regularly at various stages, most prolifically from the 1950s onwards, and there exists a link with Messiaen’s chords if they are regarded as chords of a smaller set with added notes. As Figure 8.1 highlights, all the eight-note sets are chords of transposed inversions on the same bass note or chords of contracted resonance with added note(s). The analyses in the Traité reveal a certain consistency regarding added notes: chords forming part of Messiaen’s language will have one or two supplementary notes, so six-note and

seven-note chords are transformed into one of the eight-note sets listed in the table. Messiaen may on occasion add more than two notes to a chord, but such instances are rare. There is a resultant homogeneity in this harmonic working, and this would suggest that Messiaen’s use of added notes is not as random as may first appear. 8.5: Turning Chords (8-4, 8-5, 8-14)

The turning chords do not belong to the overall 9-5 group and are the only major chordal resource not to do so. Despite each turning chord being a series of eight- note chords (A–C) in their pure theoretical form, on many occasions the central chord (Chord B) has its uppermost note altered so that it shares the same pitch as the other chords. As noted in the previous chapter, this alteration causes a change to a seven-note set, as the altered note now has the same pitch class as the root of the chord. This change normally occurs when the turning chords are presented in their entirety as a series of three chords.

8.6: Chords of Contracted Resonance (7-Z36, 7-Z12, 6-Z19, 6-Z43)

The chords of contracted resonance are unique among Messiaen’s harmonic resources in having two pitch classes of differing size – six and seven notes. When these chords are altered they can range from six to nine notes (if the rule of a maximum of two additions outlined above is adhered to), and this partly contributes to their prominent role in a wide range of Messiaen’s output. Chords of contracted resonance are therefore more fluid than many of their counterparts and offer greater scope for employment within the context of the 9-5 set to which they belong. This mutability renders them harder to locate during the process of analysis, and the application of pitch-class labels assists greatly in revealing the origins of an ostensibly unclassified chord. As illustrated in Figure 8.1, all forms of the chord (7-Z36, 7-Z12, 6-Z19, 6-Z43) are only one step away from the many seven- and eight-note sets which surface with regularity in Messiaen but are unnamed. Example 8.7 8–18 and 8–Z29 (Reproduced by kind permission of Editions

8.7: Chord of transposed inversions on the same bass note (7-20)

The chords of transposed inversions on the same bass note are more problematic to locate in Messiaen’s scores even with the aid of pitch-class set theory, as all four chords of each series are a 7-20 set. Despite the differing make-up of the chords – A, B, C and D – the 7-20 set applies to all. When a 7-20 is identified it is not immediately apparent which specific chord is being used, and there are theoretically 48 possibilities. However, the emphasis placed by this technique on the bass note holds the key to the solution. The bass note must match those in Messiaen’s tables for identification to be correct, and this reveals which transposition is in use. It is consequently a matter of pinpointing which of the four chords is the harmony in question. It is, naturally, simpler to detect this device if it is utilised in its full theoretical form: a series of four chords A–D. However, this manifestation is not especially common after the earlier stages of Messiaen’s career, and the technique starts to become more fragmented.

8.8: Modes of Limited Transposition (8-28, 9-12, 8-9, 8-25)

The modes of limited transposition differ from the other techniques, as if they appear harmonically in a complete form it is the exception rather than the rule; Messiaen generally prefers to select pitches from a mode rather than employ them all simultaneously. It is a notable occasion if a full mode is employed as a single chord, and this impacts on its relationship with pitch-class set labels. Messiaen composes with the modes by selecting notes to construct a passage; whether the mode is completed is seemingly immaterial. This necessitates input on the analyst’s part to assess whether harmonies may be modal or based on one of Messiaen’s chords, and pitch-class set theory assists in confirming identification. A key element in deciding whether a harmony is modal or chordal is context: Messiaen’s chords are employed as single events (which may on occasion be arpeggiated) or complete series, but his modes form the basis of passages and are less likely to function as isolated chords amongst other techniques.

The combination of pitch-class sets with intimate knowledge of Messiaen’s work can produce an analytical approach approximating that of the composer. The imperfections evident in Allen Forte’s reliance on pitch-class set theory demonstrate its inability to be the sole solution to harmonic analysis of Messiaen, and it should not be allowed to obscure more obviously suitable solutions. However, pitch-class labels offer a reliable and manageable route towards identification. An over-enthusiastic application of the complete range of set theory processes leads to interpretations that veer too far from what might confidently be believed to be in the manner of Messiaen. Nevertheless, the theory proves to be of great value as part of the overall process of analysis, as will be demonstrated in Chapter 10.

Form

Messiaen’s analyses of his own works disclose a vast amount of information, and in many cases only the composer himself could have supplied such detail of technical thought-processes and programmatic imagery. However, the analyses do have their limitations, not least in the domain of form. A relatively small number of movements are prefaced by a brief formal outline, but such tables are sporadic and baldly presented. Messiaen had a tendency to concentrate on minutiae, while largely omitting to elaborate on the aspect of larger-scale structure. His reticence to discuss structural features in any depth contrasts sharply with the wealth of information in the Traité on technical and non-musical topics. His comments in an interview with Claude Samuel reveal his lack of interest in the majority of classical forms, and that his originality in this area lay in the connection between the passing of time and form.1 _{Whether the forms Messiaen employs in his birdsong works are}

in actual fact a ‘great innovation’ is a matter for debate, and would need to be assessed after considering his formal structures in detail.

A number of commentators have made reference to form in Messiaen, and Robert Sherlaw Johnson devotes a section of his explanation of Messiaen’s musical language to the topic.2 _{However, his observations are largely based on}

The Technique of My Musical Language and therefore mainly cover Messiaen’s early period. A wide-ranging, detailed overview of structure is not attempted. The greater part of the Messiaen literature (including writings by Sherlaw Johnson, Griffiths and Hill) has understandably concentrated on rhythmic and harmonic features. Any larger formal considerations are usually mentioned in passing, and none of these authors survey form across a range of Messiaen’s works. Anthony Pople’s Cambridge Handbook on the Quatuor pour la fin du temps is exceptional, in that the form of the second movement of this work is considered in detail.3

Although illuminating articles have appeared on certain aspects of Messiaen’s musical language, such as those by Wai-ling Cheong on harmony,4 _{the pioneering}

technical studies of Michèle Reverdy are still the primary source on the topic

1 _{Messiaen and Samuel, Music and Color, pp. 116–17.}

2 _{Robert Sherlaw Johnson, Messiaen (Berkeley, 1975), pp. 22–4.}

3 _{Anthony Pople, Messiaen: Quatour pour la fin du temps (Cambridge, 1998), pp. 28–34.} 4 _{Wai-ling Cheong, ‘Messiaen’s Triadic Colouration Modes as Interversion’, Music}

Analysis, 21/1 (2002): 53–84; ‘Rediscovering Messiaen’s Invented Chords’; ‘Messiaen’s Chord Tables: Ordering the Disordered’, Tempo, 57/226 (2003): 2–10.

of form.5 _{Within the existing Messiaen literature, Reverdy’s monographs still}

offer the most illuminating contrasts with the analytical content of the Traité, and reference will be made to them below.

In order to gain a clearer understanding of form in Messiaen’s work, it may be helpful to survey his analyses of his works as given in the Traité and to propose a hypothetical taxonomy of formal models in a range of his works.

9.1: Messiaen and Structure: Ten Hypothetical Models

A number of the structural outlines for each movement of a work as given in this chapter are provided by Messiaen, either as preliminary headings to each movement of an analysis or in the course of his descriptions. The remainder have been added following an assessment of each movement. Whether or not details of the structure are supplied depends largely on Messiaen’s capriciously varying styles of presentation. For example, his analysis of Visions de l’Amen does not penetrate as deeply into the work as does that of the Turangalîla-symphonie, formal considerations being either far less in-depth or omitted completely. Table 9.1 is a condensation of the structural outlines of the nine works as presented in the Traité. The sources of information fall into the following categories:6

OM1: Messiaen clearly states the form prior to his analysis. OM2: Messiaen gives structural sub-headings within his discussion. GH: Formal details are sparse or missing completely, and have therefore been added by the author.

Table 9.1 Tabulation of the structure of selected Messiaen works Visions de l’Amen

1) Amen de la création ‘Period’ 1, 2, 3 (GH) 2) Amen des étoiles, de la planète à

l’anneau Theme, 1st dev, 2nd dev, 3rd dev, Theme (OM1) 3) Amen de l’agonie de Jésus Strophe, Antistrophe, Epode (OM2)

4) Amen du désir Theme 1, Theme 2, Reprise of theme 1, Reprise of theme 2, Coda (OM2)

5 _{Michèle Reverdy, L’œuvre pour piano d’Olivier Messiaen (Paris, 1978), and}

L’œuvre pour orchestre d’Olivier Messiaen.

6 _{Messiaen’s terminology has been retained in Table 9.1. Neutral labels such as}

5) Amen des anges, des saints, du

chant des oiseaux Part 1, Birdsong, Reprise of part 1, Coda (OM1) 6) Amen du jugement Phrase 1, Phrase 2, Variation of phrase 1

(OM1)

7) Amen de la consommation Period 1, Period 2, Period 1 trans, Period 3, Period 1, Period 2 trans, Transitional, Period 1 reprise, Period 3, New period (GH)

Vingt regards sur l’Enfant-Jésus

1) Regard du Père Theme, Theme reprise, Coda (GH)

2) Regard de l’étoile Intro, Theme, Intro reprise, Variations of theme, Intro reprise, Coda (OM2)

3) L’échange Asymmetric augmentation (OM2)

4) Regard de la Vierge Lullaby, Asymmetric augmentation, Lullaby, Birdsong, Lullaby, Asymmetric augmentation, Lullaby, Birdsong, Coda (GH)

5) Regard du Fils sur le Fils Canon, Birdsong, Canon, Birdsong, Canon, Coda (OM2)

6) Par Lui tout a été fait Exposition, Middle, Exposition retrograde, Fugal stretto, Final section (OM2) 7) Regard de la croix Theme, Coda (GH)

8) Regard des hauteurs Intro, Birdsong, Song of nightingale, Skylarks, Intro, Birdsong, Blackbird, Coda (GH) 9) Regard du temps Theme, Canon, Theme, Canon, Theme, Canon,

Theme, Canon, Theme, Canon, Theme (OM2) 10) Regard de l’esprit de joie Theme, Theme of joy, Asymmetric

augmentation, Hunting Theme, Theme of joy, Theme of God, Theme of joy, Theme, Coda (OM2)

11) Première communion de la

Vierge Theme of God, Quote, Variation of theme of God, Harmonisation of D, Heartbeat, Coda (GH)

12) La parole toute puissante Theme (Periods) (GH)

13) Noël Bell, Xylophone, Bell, Middle, Bell, Xylophone, Bell, Coda (OM2) 14) Regard des anges Strophes 1–5 (OM2)

15) Le baiser de l’Enfant-Jésus Sleep, Garden, Arms, Kiss, Shadow (GH) 16) Regard des prophètes, des

bergers et des mages Intro, Oboe, Middle, Oboe, Intro reprise, Coda (OM2) 17) Regard du silence Intro, Strophe 1, Strophe 2, Coda (OM2) 18) Regard de l’onction terrible Chromatic duration, rocket-like groups,

Chorale, rocket-like groups, Chromatic duration (GH)

19) Je dors, mais mon cœur veille Intro, Kiss, Love, Kiss, Intro, Coda (GH) 20) Regard de l’église d’amour Large development, Large exposition (OM1) Harawi

1) La ville qui dormait, toi Period 1, Period 1, Period 2, Period 2, Period 3 (OM1)

2) Bonjour toi, colombe verte Period 1, Birdsong, Period 1, Birdsong, Period 2, Birdsong, Coda (OM1)

3) Montagnes Strophe 1, Canon, Strophe 2, Canon, Strophe 3 (OM1)

4) Doundou tchil Intro, Refrain, Couplet, Refrain, Intro, Coda (OM1)

5) L’amour de Piroutcha Strophes 1–2 (OM1)

6) Répétition planétaire Cry, Incantation, Cry, Incantation, Theme and variations, Coda (OM1)

7) Adieu Period 1, Bells, Period 1, Bells, Period 2, Bells, Period 1, Bells, Period 3, Period 2, Bells in canon, Period 1, Period 4, Coda (OM1) 8) Syllabes Refrain, Couplet 1, Refrain, Couplet 2, Refrain,

Magic syllable, Magic syllable, Coda (OM1) 9) L’escalier redit, gestes du soleil Strophe 1, Strophe 2, Middle, Strophe 3 (OM1) 10) Amour oiseau d’étoile Strophe 1, Strophe 1, Strophe 2 (OM1) 11) Katchikatchi les étoiles Theme and variations, Incantation, Coda (OM1) 12) Dans le noir Period 1, Canon, Period 1, Canon, Period 2,

Turangalîla-symphonie

1) Introduction Intro, Cadenza, Polyrhythmic gamelan, Intro reprise (GH)

2) Chant d’amour 1 Intro, Refrain, Couplet 1, Refrain, Couplet 2,