Dear composers, please comment on this post with your thoughts on the third movement, formal
and otherwise. Which of Messiaen's techniques do you think are most applicable to your own work so far?
Also, thanks to those who showed up at the Composer's Forum yesterday, I thought it was very interesting. I don't believe I saw any of you (ahem) at the composer concert last night - attendance at these events is important!
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III Turangalila I
In this movement three themes are stated. One stated in the Clarinet (in a) then moving to brass, and later to the strings. This is probably most solidly structured yet, not to mention concise. Messaien takes great care to imitate his variety of themes (3; 4 if you count the rhythmic theme) in the various instruments which makes this movement very compelling.
0-2 Introductory theme in the clarinet, which very similar to motif in the previous movement. It moves in exact imitation to the Ondes Martinot with interspersed commentary by the vibraphone, blocks and cello.
2-4 This is of very different character, with a brutal theme in the brass and very, to use the words of Simon Rattle, “Gamelan” rhythmic figures in unison in the percussion, most notable is the difference in timbre between the piano and the Celeste. The strings also offer color, with glissandos and tine clusters to add to the pitch content. Glissandi in the ondes martenot also become part of the gamut of sound and add a very striking aesthetic and are in fact what punctuates the transition (or really lack of it) to the next section.
4-6 A theme is moved to the strings with colorations throughout the orchestra. In the piano does a figure strongly resemble the flower theme. [I was a little disappointed in the pianist that although it is marked ff the theme is does not come out enough. No excuses even if it’s Yvonne Loriod].
6-8 This section is a very complex expression of rhythm, using rhythmic modes in the piano and partially in the Celeste with interdispersed themes beginning to be quoted and glissandi for color. The texture builds as clusters and glissandi become more present until …
8-13 Although the texture appears to thin, this section is a statement of the superimposition of themes. Opening theme in clarinet (in bb), the theme that had been in the brass has moved to the strings, while the gamelan rhythms continue in the woodwinds commentary by the percussion, which is especially noticeable because of the variety of instruments and timbres Messaien uses in just this section. The texture continues to grow as the solo instruments come in. The piano have varied rhythms between the two hands, one in unison with the Celeste the other in its own rhythmic world. Glissandi in the ondes add to the drama unfolding. At the entrance of the trills in the strings Messaien has quoted various themes in the instruments about 6 or 7 times and we are now at the climax of the movement made clear by the fff dynamic in the ondes quoting the opening theme, with which by now the listener is fluent.
13 With great surprise Messaien thins out the texture into silence settling back into his original tempo quoting the themes in the oboe and the piano and the opening cello commentary with utmost clarity. The movement ends, as though, just as it began. Is the very meaning of this movement based on this concept?
Movement 3 Analysis
Overall Form
A B A’ C {ABC} coda
This movement is drastically different from the two we have just seen. It is notably slower, and, by contrast, is shorter (measure-wise, rehearsal number-wise). This, however, does not mean it is any less charged or stimulating than the last two movements. In fact, this third movement is brewing with themes and ideas, all stirring and sneaking through each other.
There are three main ideas in this movement. The first is a twisting melody that weaves its way around tritones and through octaves. It is first passed between the Clarinet in A and the Ondes Martenot at the beginning.
The second takes place at [2] and has two integral contrasting parts to it. This first part of the theme is in the low brass and Contrabass – a very long octatonic line aims at splitting its lengths into mostly (if sixteenth note is unit) threes and sixes. This long line supports its counterpart, the octave-jumping Piano and Celeste parts.
A third theme is presented later at [6], in the solo oboe. It is closely related to the first theme, in that displacing octaves melodically expands the line. (In fact, if compressed into one octave, this entire oboe solo could be within the space of a tritone, excluding the last two pitches, which I consider to be transitional material).
Messiaen develops these and compounds them into one large sonic sandwich with the precision of an executive chef.
Beginning to [2] : A
There are four different elements that help create this sound, labeled here into groups (a), (b), (c), and (d).
Group (a)- The Clarinet and Ondes Martenot line. When one finishes, the other immediately picks up. This line is constructed of intervals of tritones, and minor and major seconds, and of major thirds, but it feels much wider, because Messiaen jumps around octaves.
Group (b)- The Bells always enter at the beginning of (a)’s entrance, at a tritone away.
Group (c)- The Vibraphone also hits at a tritone, but has added pitches a minor 2nd above and below it. This may be due to influence of the Gamelan on Messiaen. This group always enters on the second beat of the 3/16 bar or similar bar (in one instance).
Group (d)- A Solo Contrabass enters, pizzicato, at [1]. This line is completely chromatic, but is broken up rhythmically as a reaction to Group (a).
[2] to [4] : B
The Low Brass and Contrabass carry the first part of the second theme, although it is hocketed around the brass. In this B section of 18 bars, the strings and bass line splits the line into two 9-bar phrases.
The Piano and Bell Choir have their own line above that jumps around octaves in 16th notes. There are three 6-bar length phrases in this section.
Meanwhile, the Cello section and Ondes are passing a glissando between the two.
[4] to [6]: A’
Here we have a reworking of the opening Clarinet and Ondes theme in the Strings and Ondes. In addition, there are woodwind falling lines and other additions here. The piano has interjections to match the cymbals (perhaps very slightly reminiscent of the flower theme?). Meanwhile, the second violins and cellos are working through a line reminiscent of the B Contrabass B theme.
[6] to [8]: C
The instrumentation is much lighter here. The piano and celesta are chugging quietly along with the their B idea. The oboe and first violin are passing through a solo, with other voices entering upon occasion to add color. Here, we first see the percussion with the maraca and woodblock duet. At [7], even more thematic ideas are placed inside, with the bells from Group (b) of the first theme entering, and the bass doing its falling chromatic line, which was Group (d) of the beginning.
[8] to [13]: {ABC}
At [8], different thematic ideas begin to compound upon each other. The percussion duet from C is still happening, and the trumpets now hold the clarinet and Ondes theme from the beginning. The strings, meanwhile are doing an elongated version of the octave jumping piano and celesta part from B, while the high woodwinds carry that same theme in time.
At [9], the string line transforms and transitions to give the low strings their theme from B again. The high strings continue their quarter notes after the low strings enter. Meanwhile, the high woodwinds now have the piano and celesta part from C, while the piano and celesta have their part from B, mixed with a slight idea from A.
This continues, with a pullout of the trumpets at [10]. They enter again five measures after the rehearsal number. The strings have now turned to quarter notes. At [11], this all continues to build, the high strings giving way to held out trills instead of eighths. The Ondes gives up its long glisses for a descending line with fragments from the first idea just before [12]. At [12], we have the culmination of our combination of parts, with the trumpet line falling apart, and the level of complexity being at its fullest. He abruptly cuts everyone off, leaving with two 16th notes.
[13] : CODA
Here we return with the atmosphere of C. There are interjections of the piano and Celeste from B, and the falling chromatic Bass Line of C. The Ondes has the smallest little fragment from the beginning. Excellent ending!!
I think I can really learn a lot about thematic ideas and blending them together from Messiaen. This third movement is a great example of that. It is rich and bursting with thematic mixture. Also, from Messiaen, I wish to grab his sense of form. It is extremely well-organized, which is integral to the music.
Overall Form: A-B-A’-C-D-Coda
Section D is a (very cool) Frankensection of the parts of previous sections combined in interesting ways.
Section A: Start – [2]
Beautiful, haunting, lyrical solo melody, rich with tritones, handed around the instrumentation, with one statement elided into the next. There is some variation within the statements, and it follows a pattern: a-a-b-a-b-c. Pizzicato chromatic descent in the bass (which will come back later).
Section B: [2] – [4]
Sudden contrast, no transition. New melody in the lower brass (which will come back) with tritone harmony underneath it in the piano. This melody is slow, and more purposeful. Entire section is loud. Piano/Vib./Timbros/Celesta has a high-energy ostinato repeated 3 times. Cello and onde alternate glisses in opposite directions
Section A’: [4] – [6]
Similar to section A, but texture thickens considerably, repetition of theme from A a little different (a-a-a-a-b).
Statement 1 of theme: two stringed instrument parts present the theme
Statement 2: trumpets and onde
Statement 3: onde and violins
Statement 4: onde and trumpets
Statement 5: two stringed instrument parts again
The piccolo has the chromatic descent, but repeated rapid notes give it more energy (birdlike).
The thicker texture, loud dynamics, different color combinations, and higher energy level keep things moving forward. I think that the color combinations here are particularly effective (combining the instruments in different ways provides new sound, even if the melodic material is basically the same).
Section C: [6]-[8], 12 bars
This section is softer again.
New theme in oboe (which will come back).
This section features retrograded rhythms in the woodwinds. The first three bars of oboe rhythm appears in retrograde in the last three bars of the flute. The second three bars of oboe rhythms appears in retrograde in the clarinet.
Chromatic descent appears in bass line again. Celesta/Vibr./Piano have busy, energetic 16th notes with rhythmic variation.
This section sounds less focused than the others to me. It’s harder to isolate a melody aurally. I think that this “fuzzy” quality makes it more effective when the distinct melodies from A and B come back. The effect has more power.
Section D: [8]-[12]
All the melodies, ostinata, and motives come back in layers and speak all at once. This is the climax of the section.
At [8]: Upper winds continue pattern from C. Cornets and horns bring back melody from A. Strings also take on character from the A section.
At [9]: Add the theme from B in the lower brass. Also add the “keyboard” ostinato from the B section. Also add percussion.
At [10]: Character of the strings changes, increasing in energy.
At [11]: Trills in strings, even higher energy.
At [12]: Entire ensemble ascends. Theme from A drops out.
Coda: [13]
Suddenly quiet. Melody from C reappears in the oboe, along with fragments of the theme from A, chromatic descent in the bass. I love the reappearance of the melody from C here. It just pops. Maybe it brings some closure to that “defocused” feeling in section C.
The melodic content is limited in this piece, but components from the 3 melodies and supporting motives have been permuted and combined in interesting ways with varying timbres.
Some effective techniques:
1) Limiting melodic content with focus on other musical qualities such as rhythm, timbre
2) Block structure of components (slice & dice)
3) Rhythmic variation of similar melodic content
4) Stratified layering, combining known melodic elements simultaneously
5) Timbre variations attained from passing melodies around to different sections and combining instruments in different ways
6) Increase in energy attained by increasingly faster repetitions (eighth notes in the strings to trills, for example)
7) “Defocusing” melodic line, followed by strong focus
8) Big, stark contrasts between sections with no transitions (love this)
Overall structure
A-B-A'-B'-A''-Outro
A section - A melody starting in the clarinet and eventually becoming an Ondes Martenot solo starts the third movement. This section is slow and very lyrical. The melody is developed a little, and eventually dies out.
B section - Another drastically different section follows that shows off Messiaen's block structure technique. There is a constant rhythm in the piano with the brass section present now, which creates the large differences from the A section.
A' section - The beginning melody comes back, this time more forceful and presented by the trumpets which sound like they are muted. The theme is passed back and forth to the strings.
B' section - The piano contains the same figuration as in the B section, although this section is quieter than the original section and it contains string and woodwind solos.
A'' section - The bass drum is new from the last time this theme was present, and the brass make a larger presence this time as well. With glissandos from the Ondes Martenot and the trumpets taking out their mutes, it sounds a lot more urgent and "cluttered" this time around.
The movement ends on what I would call an outro. It stops abruptly after the A'' section and has little instrumental "solos" which slowly fade out into nothingness.
Movement Three:
[Introduction-1]: For lack of a better name, I shall call the original melodic idea the cloud theme. It is first stated by the clarinet and then echoed by the ondes martenot. The theme is then played by the clarinet again (somewhat elongated), back to the ondes martenot, and back to the clarinet again (even more elongated, serving as a lead-in to section 2).
[2-3]: A new melody appears in the low brass. An accompaniment of steady sixteenth note is played by the celesta, vibes, and piano to create a stronger sense of rhythm. The ondes martenot enters with long, descending glissandos.
[4-5]: The cloud theme is played by the first violin and the viola, and then is repeated by the ondes martenot, then back to the violin/viola (etc.). The “low brass melody” from sections 2 & 3 is played by the second and third violins and the cello.
[6-7]: This section features an oboe solo with a piano and celesta sixteenth note accompaniment. Gradually, more voices are added to create a strong lead-in to section 8.
[8]: The cloud theme is passed around between trumpets, in addition to creating a much thicker texture.
[9-12]: The trumpets continue to play the cloud theme, while the low brass melody and piano/celesta ideas from sections 2-3 are also added. The ondes martenot has long ascending and descending slides as well.
[13]: A return of the oboe solo with a lighter texture creates a very mystical mood. Some melodic and rhythmic ideas are reiterated from the beginning (example: the clarinet line four and three measures from the end of the movement).
Movement Three:
[Introduction-1]: For lack of a better name, I shall call the original melodic idea the cloud theme. It is first stated by the clarinet and then echoed by the ondes martenot. The theme is then played by the clarinet again (somewhat elongated), back to the ondes martenot, and back to the clarinet again (even more elongated, serving as a lead-in to section 2).
[2-3]: A new melody appears in the low brass. An accompaniment of steady sixteenth note is played by the celesta, vibes, and piano to create a stronger sense of rhythm. The ondes martenot enters with long, descending glissandos.
[4-5]: The cloud theme is played by the first violin and the viola, and then is repeated by the ondes martenot, then back to the violin/viola (etc.). The “low brass melody” from sections 2 & 3 is played by the second and third violins and the cello.
[6-7]: This section features an oboe solo with a piano and celesta sixteenth note accompaniment. Gradually, more voices are added to create a strong lead-in to section 8.
[8]: The cloud theme is passed around between trumpets, in addition to creating a much thicker texture.
[9-12]: The trumpets continue to play the cloud theme, while the low brass melody and piano/celesta ideas from sections 2-3 are also added. The ondes martenot has long ascending and descending slides as well.
[13]: A return of the oboe solo with a lighter texture creates a very mystical mood. Some melodic and rhythmic ideas are reiterated from the beginning (example: the clarinet line four and three measures from the end of the movement).
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