By Gareth Healey
Regardless of Messiaen's place as one of many maximum technical innovators of the 20th century, his musical language has no longer been comprehensively outlined and investigated. The composer's 1944 theoretical research, The means of My Musical Language, expounds basically its preliminary phases, and whereas his posthumously released Traite de rythme, de couleur, et d'ornithologie includes particular motives of chosen thoughts, more often than not the reader is left to outline those extra accurately via looking at them within the context of Messiaen's analyses of his personal works. Technical methods are however in lots of circumstances the first elements of a piece or circulate. for example, personnages dominate 'Joie du sang des etoiles' from the Turangalila-symphonie, and every now and then, akin to 'L'echange' from the Vingt regards sur l'Enfant-Jesus, the method (asymmetric augmentation) is the one structuring aspect current. Given this reliance on idiosyncratic concepts, transparent comprehension of the track is very unlikely with out a designated wisdom of Messiaen's equipment. Gareth Healey charts their improvement and interconnections, considers their dating with formal buildings, and applies them in subtle and prolonged shape to works for which Messiaen himself left no released research.
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Extra resources for Messiaen's Musical Techniques: The Composer's View and Beyond
35–41 Melody note Chord Top note of chord – Yes/No 1CCR12B (Y) Lacks E treble G# B 1CCR4B CTI10D Y Y G# B F# E F# F# 1CCR12B CTI3C 1CCR2B 1CCR12B CTI9B CTI3B (Y) Added note Y Y Y Y (Y) Added note A B@ 1CCR5B 1CCR10B Y N (Due to descending augmented 4th) B B 1CCR2A 1CCR2B (Y) Added note (Y) F# E A# C# B 1CCR11B 1CCR6A 1CCR6B CTI12D CTI10B (Y) Added note (Y) Added note produces dim. 5th to respect the bird’s song Y Y (Y) Added note B@ B@ 1CCR8A 1CCR8B Y (Y) Repeated note E 1CCR10A Y E E E 1CCR10B 1CCR12B TC1C (Y) Repeated note Y (Y) Doubled note G# A# D 1CCR4B 1CCR4A CTI5D Y Y N ‘the notes are disposed differently’ D# CTI4B (Y) Added note G 1CCR8A N Added note p.
9th century BC) Iliad Tr1/109 Victor Hugo (1802–1885) Les djinns Tr1/178 John Keats (1795–1821) Ode to a Nightingale Tr5i/425 Rudyard Kipling (1865–1936) Second Jungle Book Tr1/293, 322 Maurice Maeterlinck (1862–1949) Arianne et Barbe Bleue La vie des abeilles Tr3/353, 360 Stéphane Mallarmé (1842–98) La vierge, le vivace et le bel aujourd’hui L’après-midi d’un faune Tr1/62, 63 Edgar Allan Poe (1809–1849) Ligeia The Pit and the Pendulum Tr2/312, 331 (continued) 44 Messiaen’s Musical Techniques: The Composer’s View and Beyond Author Work mentioned Location in the Traité Rainer Maria Rilke (1875–1926) Epitaph Duino Elegies Nos.
24 Tr4/137. Tr4/142–57. Messiaen gives numerous examples of masculine and feminine groups 21 22 (with accents, arsis/thesis and anacrusis groups) taken from a range of Mozart’s works. 23 Tr4/161–70. 24 Olivier Messiaen, Les 22 concertos pour piano de Mozart (Paris, 1990). 26 The Traité sheds new light on Messiaen’s knowledge of Hindu music by revealing his acquaintance with aspects of this topic beyond Çârngadeva’s rhythms. Although Messiaen’s familiarity with the Samgîta-Ratnâkara of Çârngadeva is well documented, other sources revealed in the Traité include: • Bharata: Nâtya-Çâstra • Alain Daniélou: L’Inde du Nord • Joanny Grosset: Histoire de la musique de l’Inde Hindu modes had much less impact on Messiaen’s music than Hindu rhythms, but were undoubtedly an area of fascination.