Dear 206 composers,
As we discussed in class on Wednesday, please listen to and study the score of the second movement to Turangalîla; post your formal analysis as a comment here. And as we go through the piece, start thinking about the overall plan - what is the place of this movement in the grand scheme?
And if you still have not posted on the first movement, please do so before Monday.
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This movement uses the same themes and structures over and over, sort of a block structure, or “slice & dice”. Lots of direct repetition and reuse of parts, sometimes permuted and sometimes not.
Overall structure: OpeningSection-A-B-A’-C-D-E-Coda
Section “Start”: Start-[4]: Opening Section to the Movement (introductory)
Section A: [4]-[8]
This section may be broken down further into subsections. It has an a-b-a’-b’ structure.
a: [4]-[5]: “Trumpet theme,” Lively and energetic
b: [5]-[6]: “Ondes theme,” Soft and slow
a’: [6]-[7]: “Trumpet theme”, modified
b’: [7]-[8]: “Ondes theme,” modified
Section B: [8]-[13]
This section is an ostinato with variation. Each subsection separated by ondes slide. Each section is also very similar, but the solo parts vary.
[8]-[9]: Transitional, or introductory to the new section
[9]-[10]: 14 notes of solo (16th notes)
[10]-[11]: 23 notes of solo
[11]-[12]: 14 notes of solo (same as [9] above)
[12]-[13]: 35 notes of solo
Section A’: [13]-[17]
This section is almost identical to A.
Section C: [17]-[27]
This section also breaks down into subsections. It has a c-d-c’-d-c’’-e’-d-e-transition structure.
[17]-[18]: (like [8]) Transitional, or introductory to the new section.
c: [18]-[19]:
d: [19]-[20]:
c’: [20]-[21]: expanded a little
d: [21]-[22]: Just like [19]
c’’:[22]-[23]: expanded a little more
e: [23]-[24]:
d: [24]-[25]: Like [19]
e’: [25]-[26]: Modified e
c’’’: [26]-[27]: Little bit of c, but functions as a transition
Section D: [27]-[33]
This section brings back material from the opening section and from A, and goes into a high-energy chromatic passage. The end of the section is marked by an ondes slide.
[27]-[28]: Material from opening section at [3]
[28]-[29]: Material from a
[29]-[32]: Big, chromatic 16-note passage.
[32]-[33]: Transitional.
Section E:
This section brings back material from section C and goes into a lighter but still high-energy passage of 16th-note leaps.
f: [33]-[34]: New material
d’: [34]-[35]: Like [19]
f’: [35]-[40]: Big expansion of idea at [33]
Coda:
This section brings back previous material from A and ends in a dramatic descent.
[40]-[41]: Similar in character to subsection “b” material, but much louder and greatly expanded.
[41]-[42]: Modified material from “a”
[42]-[43]:
[43]-[44]: Similar in character to [40]
[44]: Descent
It doesn't sound like a love song to me...
Note: Messaien, in his own analysis states that this movement is in “Refrain Form” with two verses and a development. Also it is significant to mention that he goes on to say there is “the alteration of somber nasal timbres…with pizzicatos all mixed with violins’ col legno and with pervasive attacks from piano and bells…”
Intro:
0-2: Similar to, as Messaien calls it, any other “love song”, the movement opens with an intro. The material is reminiscent of what we just heard in the introductory movement. The opening motif is a daunting fortissimo (as it is mostly whenever it appears throughout the movement) in combination with surprising alternating sonorities in the Brass and woodwinds in non-retrogradable rhythms, with harsh sustaining strings underneath culminating to …
3: A fast crescendo-ing tremolos and trill in the snare and bass drum, with progressive entrances in the woodwinds and brass at the unison. This acts as transition and amasses to a giant fortissimo.
Refrain:
4: Initial exposition of the refrain. The expression is reminiscent of Messaien’s description of the sentiment of joy felt throughout the piece, “joy as it may be conceived by someone who has glimpsed at it only in the midst of sadness …” There is the fortissimo motif in the trumpets strings and woodwinds and passes rapidly (tempo marked Tempo passionné, un peu vif) This alternating with an imitation of the material in the piano (based on mode 3 of Messaien’s modes). The overall phrase structure appears to be that of sentence (a a’ b).
5: The second part of the refrain which totally contrasts in “tempo, nuance, and feeling”. Soft and caressing 3 measure theme with strings supporting at the unison at a piano dynamic the solo ondes martino.
6-8: After a swift transitional descent back to the first part of the refrain we go, with slight modification in the duration (likewise goes for the reentrance of theme in ondes martino).
“Verse” (second refrain)
9-13: This “verse” section acts as the ostinato pattern did in the introductory movement which changes in duration with each repetition. It is punctuated by emphatic chords in the piano and glissandi in the ondes martino which mark the ends and beginnings of the sections respectively.
Refrain:
13-17: Return to the refrain and its two parts. The climax within the section of the ondes martino changes slightly each time it is played.
“Verse” (second refrain):
17: The reappearance of the verse this time acts as a transition to new material in the development section.
Development:
19-27: New material out of the development is presented to serve as an alternating idea to the verse (second refrain). Passionate swung homorythmic melodies to contrast the pulsing ostinato under the soloing woodwinds. This continues with slight variation of the sections throughout.
(Refrain:)
27-29: Transition back to the refrain but continues in developmental fashion as Messaien transitions into a more excited aesthetic.
29-33: Melodic material is emulative of opening material in the introduction (Brass and Woodwinds) with a running ostinato in 16th notes. The aesthetic is, if one may say, more diatonically major.
33: More new material inserted in the development to alternate with what has developed from out of the verse (see rehearsal letter 19).
35: A large thematic expansion and intensification to a climactic point emphasized by the dramatic ondes glissando.
36-40: More of 33
Coda:
40-43: The climax of the movement occurs here with the statement of the second of the refrain at a fortisissimo dynamic in unison throughout the accompanying orchestra and the ondes martinet. Just as the piece feels an ending it returns to the thematic material of the first refrain far more dramatic descent lending itself directly into the ostinato of the verse.
43: Material similar that to the “love theme” of the ondes martinet but not quite the same pitches.
44: Dramatic swift scent in 16th notes to close the movement with a resounding bang!
Movement 2- Turangalila Chant d’Amour (Song of Love)
OVERALL FORM
Intro A B A’ C A’’ (D) Coda.
Introduction
Beginning through [3]: Introductory Material. This short introduction is similar to the introductory material heard in the first movement. The texture is exciting because he uses all of the available instruments, but has them enter at unanticipated times. At 3, this texture changes drastically as a drum rolls in and the brass begins to timbrally compound upon itself on a unison pitch.
[4] through [8] : A
In this A Section, we have two different ideas that are spliced together… a quick “Passion theme” that consists of flowing winds with interjecting piano three 16th note-long cells. A breathtaking Ondes Martenot and strings line always immediately follows this. This line really reminds me of the lyrical quality of Messiaen’s Ondes Martenot sextet, “Fete Des Belles Eaux,” particularly rehearsal [11] and especially [18] of that piece].
[4]- a – Here, we are thrown into what I will call a “passion” theme.
[5]- b – Ondes and Strings lyrical line with brass supporting underneath
[6]- a’ – Restatement of Passion, altered slightly. Still powerful yet attractive.
[7]- b’ – Ondes and Strings again, altered slightly. Simply Beautiful!
[8] - A short transition 2 bars in length; its downward piano line will be integrated in later.
[9] through [12] : B
This B section has one basic idea, which consists of 2 cells. The first is a 3 bar string chug-a-long and peculiar falling Ondes part, accompanied by a trilling violin solo. The second is a noodling flute and bassoon line. The first cell stays constant, while the second cell (flute and bassoon) changes. This idea is stated four times.
[9] – The first statement of this idea. Strings and Ondes for 3 bars, 2 bars of Flute and Bassoon.
[10] – Second statement- cell two is four measures long.
[11] – Third statement is same as first.
[12] – Fourth statement- cell 2 has 5 bars, and then 1 measure of transition (similar to the falling idea from the first movement??)
[13] through [17]: A’
A very similar restatement of A.
[13] = [4]
[14] = [5]
[15] = [6]
[16] = [7] Still tender and passionate as ever!
[17] = [8]
[18] through [26] : C
Another Verse here, although made of much different material than the previous verse. Again, there are two different main ideas that are juxtaposed against each other, labeled a and b. Each restatement of the two ideas pulls farther and farther away from the original.
[18]- a – This Berceuse idea is seven bars in length. It has a bar of 2/8, 7/16, 4/8, 7/16, 7/16, 3/8, and 2/4 in that order. This is important, because later on he cuts and pastes ideas from these measures to change this idea.
[19]- b – This is a very short and stormy contrast to the berceuse. Loud, pronounced brass, with an interjection of the Ondes doing a very quick gliss.
[20]- a’ – This time, this idea is 9 bars in length. He places additional bars of 7/16 and 3/8 between the original last two measures of the idea (between the original 3/8 and 2/4).
[21]- b
[22]- a’’, with more pronounced piano.
[23]- a’’’, pronounced piano, with an extension of the first part of this idea.
[24]- b’ More cells of stormy contrast lead to a longer Ondes gliss.
[25]- a ’’’’ Messiaen takes the 3/8 to 2/4 idea from the end of the original idea and places it in front. [26]- transitional. Works with cell groupings of sixteenths and eighths.
[27] through [39] A’’ “Recapitulation” (Includes D)
Similar to the A Material, but with added development and new textural ideas. This section brings back other ideas from the piece. It briefly takes from A, makes its own D, then visits the b section from C, revisits its D and develops that, until it calamitously falls apart in a terrific transition to the very appropriate b section of A
[27] Same introductory material as [3]
[28] Short reprise of Passion theme at [4] (A)
[29] through [32] are similar to the A idea, but in a more developmental fashion, because the melodic idea is hocketed around the orchestra. (D)
[29] Melodic idea split into cells of six eighth notes.
[30] Now up a Major 3rd. Idea still in six eighth note cell.
[31] Transitional idea
[32] Now the six eighth note idea is grouped in six 16th notes!
[33] Transitional idea that breaks up cell even more.
[34] Brings back the contrast to the Berceuse (section b of C), but leads into a transition
[35] Transition to a restatement of the breaking-up D idea.
[36] Breaking-up idea continues through [38] and is sequenced.
[39] Huge Rallentando that leads straight to the Ondes Martenot Theme!!
[40] through [44] : Coda
Here we have a brief revisit to some of the other themes in the movement, Including the Ondes Martenot theme, the Passion theme, the Ondes Gliss theme, and the Breaking apart idea. Wonderful closing achieved through use of this last idea. He re-orders ideas, which makes it even more juxtaposed and fluid.
[40] Beautiful Re-orchestration of the Ondes theme from [5]!!!
[41] Passion theme!
[42] Ondes Gliss from [10]
[43] Final reorchestration and realization of Ondes theme.
[44] Descending 16th notes in style of D.
I can see how Messiaen believes this to be a great Song of Love. It is not the sappy romanticized version of love most of us are used to, but a very powerful and driving love, an almost frightening love. This is because Messiaen is trying to illustrate a Divine Love, full of power and mystery. Very effective!
Movement One:
Introduction (beginning through 1)
Section A: 2-4 (statue theme)
Section B: 4-7 (descent)
*8 acts as an interlude/transition
Section C: 9 (flower theme)
*10-11 acts as a cadenza/transition
Section D: 12-20 (ostinato)
Section B’: 21 (descent + statue theme beneath)
Coda
Movement Two: Analysis
Introduction (beginning through 2)
Section A:
a: 3- build up, gradually adding more voices on a unison pitch
b: 4- passion theme
c: 5- ondes solo
b: 6- passion theme again
c: 7- ondes solo again
d: 8- low register piano transition into next section
Section B:
e: 9- 3 measures of 16th notes in strings, then 2 measures of
flute/bassoon
e’: 10- 3 measures of 16th notes in strings, then 4 measures of
flute/bassoon
e: 11- repeat of 9
e”: 12- repeat of 10 with 2 extra bars at the end
Section A repeated:
b: 13- passion theme restated (same as 4)
c: 14- ondes solo restated (same as 5)
b: 15- passion theme again restated (same as 6)
c: 16- ondes solo again restated (same as 7)
d: 17- low register piano transition restated (same as 8)
Section C:
f: 18- berceur theme
g: 19- 9/16 skipping section
f’: 20- berceur theme again (with 2 extra bars)
g: 21- 9/16 skipping section repeated
f: 22- repeat of berceur theme
f”: 23- repeat of berceur theme again (with 4 added bars)
g’: 24- 9/16 skipping section repeated (with 2 extra bars)
f”’: 25- based off the berceur theme
*g”: 26- 7 measure transition in 3/8, rhythms built off of the
eighth-sixteenth-eighth-sixteenth pattern used in skipping theme
Section A’:
a: 27- intro idea repeated (same as 3)
b: 28- passion theme (same as 4)
Section D acts as a transition:
b': 29-32- elongation of the passion theme
h: 33- transition into 34
*g’: 34- 9/16 skipping section repeated (same as 24)
i: 35-39 TRANSITION
Section A”:
c: 40- ondes solo repeated (with a thicker texture)
b: 41- passion theme repeated
e’: 42- similar to sections 10/12 (acts as a transition)
c’: 43- built off ondes theme (acts as a transition)
Coda: 44- chromatic craziness building to the end!
The second movement of the Turangalila Symphony is heavily built on block structure. Messiaen rarely strays from 4 sections that he has.
The overall structure of the piece is ABCB'C'DBCB'C'DBBDE
A section - This section is loud and sort of shrill and piercing. There are high trumpets and some strings as well. This section starts the piece of with a good bang and attention getter.
B section - There is a sudden drop off after the A section which begins the B section. It drops off and then starts to feel like it's going somewhere and building to something, only it drops off again and there is complete silence for a second or two. This section feels a little frenetic almost and there is a sense of urgency that I get from listening to it.
C section - This Ondes Martenot melody is absolutely gorgeous. I just can't get over how refreshing the timbre of the Ondes is and how exotic it really makes this sound. This section is really well put together and shows off that unique and beautiful sound.
B' Section - This section is pretty much identical to the first appearance of the B material.
C' Section - Just when I thought it couldn't get any better, the C section returns. Only this time, it's slightly modified. What Messiaen does is so effective it sends chills down my back. It sounds only as though the pitch is modified to a different "key" if you will (I lack a score). The result is beautiful!
D section - This section is by far the longest of all the sections so far. It has a steady and driving rhythm which is constantly interjected by other little ideas.
B section - These are the same sequence of sections as presented before the D section.
C section
B' section
C' section
D section - The D section then returns again.
B section - This section starts off like the B section does, and then goes into an extension of one of the B ideas. This could be called a new section in itself, most likely section E, however I will just call it an extension of section B.
B section - Normal B section.
D section- D returns.
Outro - There is a small outro section which ends on a thud to end the movement.
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