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Durham E-Theses Durham E-Theses Olivier Messiaen: The Reluctant Avant-gardist - a Historical, Contextual and Analytical Study of the Quatre études de rythme and the Livre d'orgue MCNULTY, PAUL,FRANCIS How to cite: MCNULTY, PAUL,FRANCIS (2014) Olivier Messiaen: The Reluctant Avant-gardist - a Historical, Contextual and Analytical Study of the Quatre études de rythme and the Livre d'orgue , Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/10783/ Use policy This work is licensed under a Creative Commons Public Domain Dedication 1.0 (CC0) Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Olivier Messiaen: The Reluctant Avant-gardist A Historical, Contextual and Analytical Study of the Quatre études de rythme and the Livre d’orgue Paul Francis McNulty PhD Department of Music Durham University 2014 ABSTRACT Messiaen’s highly influential Quatre études de rythme and Livre d’orgue are regarded as seminal works in the development of Total Serialism. Frequently labelled as ‘experimental’, the works appear to represent a radical shift in Messiaen’s compositional aesthetics. Drawing on Messiaen’s analyses in the Traité de rythme, this thesis assesses the Quatre études and Livre d’orgue as a response to the resurgence of interest in serialism that happened after World War II. The analyses discuss and assess Messiaen’s new techniques but will also show that some of these have antecedents in practices developed by Messiaen earlier in the 1940s. Therefore, despite their apparent abstraction or asceticism, on one level the works can be seen as a logical development of Messiaen’s compositional language. Because of the explosive impact of Mode de valeurs et d’intensités, it is important to place the études and Livre d’orgue in the context of the development of Occidental music in the twentieth century, and in the context of Messiaen’s quintessential style as it was by the mid 1940s. The first half of the thesis, therefore, discusses issues surrounding the development of musical language and style in the twentieth century, Messiaen’s quintessential language, the renaissance of the Second Viennese School, and the pressures exerted by the emerging new generation of composers. These are all integral to understanding the composition of Messiaen’s experimental works, and an awareness of the people and events that shaped Messiaen’s life during this period also sheds light on ‘why’ Messiaen composed the études and Livre d’orgue. In order to determine what did or did not influence Messiaen, the thesis draws on theories of influence developed in art and literature, before highlighting experiences (positive and negative) that were influential in shaping the future direction of Messiaen’s musical language and, by implication, the future of twentieth-century music. 2 TABLE OF CONTENTS List of Music Examples 6 List of Figures 10 Statement of Copyright 12 Notes to the Text 12 Acknowledgements 13 Chapter 1: À la recherche de la Lingua Franca 14 1.1 Introduction 14 1.2 Overview of Thesis 17 1.3 À la recherche de la Lingua Franca 23 1.4 Cultural, Political and Musical Developments in the 1940s 35 1.5 Messiaen: ‘The Traditional Modernist’ 42 Chapter 2: Theories of Influence and Messiaen in the 1940s 49 2.1 Introduction 49 2.2 Influence 52 2.2.1 The Problem of Content 56 2.2.2 The Anxiety of Influence 60 2.2.3 The Problem of Style 63 2.2.4 Causation 66 2.3 Messiaen in the 1940s 67 2.3.1 1940–1945 68 2.3.2 1945–1949 71 2.4 Conclusion 82 Chapter 3: Three Influential Personalities 83 3.1 Introduction 83 3.2 Pierre Boulez 83 3.3 René Leibowitz 91 3.4 John Cage 104 3 3.5 Concluding Comments 108 Chapter 4: Characteristics of Messiaen’s Language 110 4.1 Introduction 110 4.2 Quatuor pour la fin du Temps: Automatism 110 4.3 The Modes of Limited Transposition and Serialism 116 4.4 Messiaen’s ‘Chromatic’ Rhythm 122 4.5 Messiaen on ‘Serialism’ 129 4.6 Concluding Comments 136 Chapter 5: Quatre études de rythme: Composition, Reception, and 138 Precursor (Cantéyodjayâ) 5.1 Introduction 138 5.2 Composition and Reception 139 5.3 Cantéyodjayâ 145 Chapter 6: Quatre études: Mode de valeurs et d’intensités 156 6.1 Mode de valeurs et d’intensités 156 6.2 Messiaen’s Analysis in the Traité 161 6.3 Rhythmic Considerations 163 6.4 Timbre in Mode de valeurs 164 6.5 Detailed Pitch Analysis 167 6.5.1 Motivic Consideration 195 6.6 Concluding Comments 202 Chapter 7: Quatre études: Île de feu 1 & 2, Neumes rythmiques 203 7.1 Introduction 203 7.2 Île de feu 1 & 2 203 7.2.1 Permutation/Interversion Theory 206 7.2.2 Interversions in Île de feu 2 213 7.2.2.1 Note-mapping and Interversions 216 7.2.3 Other 12-tone Writing in Île de feu 2 221 7.2.3.1 Analysis of 12-tone Rows in Section 10 224 4 7.2.4 Concluding Remarks on Île de feu 1 & 2 227 7.3 Neumes rythmiques 229 7.3.1 Neumes rythmiques: Concluding Comments 237 Chapter 8: Livre d’orgue [I, VI, II & V] 239 8.1 Introduction 240 8.2 ‘Reprises par Interversion’ 240 8.2.1 Timbre 246 8.3 ‘Les Yeux dans les Roues’ 249 8.3.1 Pedals’ Material 249 8.3.2 Manuals’ Material 251 8.3.3 Analysis 253 8.3.4 Messiaen’s Analysis 261 8.4 ‘Pièce en Trio’ (I) (no. 2) 262 8.5 ‘Pièce en Trio’ (II) (no. 5) 269 Chapter 9: Livre d’orgue [III, IV & VII] 277 9.1 Introduction 277 9.2 ‘Les Mains d l’Abîme’ 277 9.3 ‘Chants d’Oiseaux’ 283 9.4 ‘Soixante-Quatre Durées’ 290 9.4.1 Rhythm and Pitch 292 9.5 Concluding Comments 299 Chapter 10: Conclusions 302 10.1 ‘Darmstadt 1949’: Why Messiaen? 302 10.2 Mode de valeurs et d’intensités: Evolution or Revolution? 303 10.3 Refining the Technique 307 10.4 Radicalising the Future Through the Past 310 10.5 Final Comments 314 Bibliography 316 5 LIST OF MUSIC EXAMPLES Ex. 1.1 Harawi: ‘Adieu’, bb. 1–4 45 Ex. 1.2 Harawi: ‘Adieu’, Final Bar 46 Ex. 2.1 Mozart: Die Zauberflöte, Overture, 53 Ex. 2.2 Clementi: Sonata in B-flat Op. 47 No. 1, mvt. 1, bb. 1–4 54 Ex. 2.3A Haydn: ‘Oxford’ Symphony, mvt. 1 59 Ex. 2.3B Mozart: Piano Concerto in C K503, mvt. 1 60 Ex. 2.3C Beethoven: Symphony No. 5, mvt. 1 60 Ex. 3.1 ‘Les Anges’: Ametrical Rhythm 100 Ex. 4.1A ‘Liturgie de Cristal’: Chords 1–6 113 Ex. 4.1B ‘Liturgie de Cristal’: Missing Chord 113 Ex. 4.2 Mode 7 117 Ex. 4.3 Mode 2 117 Ex. 4.4 Webern: Symphony Op.21, 12-tone Row 118 Ex. 4.5 Comparison of Mode 2 with a Webern 12-tone Row 119 Ex. 4.6 ‘Regard de l’Onction terrible’, bb. 1–5: Chromatic Rhythm 124 Ex. 4.7 ‘Turangalîla II’: Percussion Sextet 126 Ex. 4.8A Râgavardhana 127 Ex. 4.8B Râgavardhana with Pitch Material of Violin 2 127 Ex. 4.9 Five-quaver Ostinato 128 Ex. 4.10 Decelerating Motif in Woodwind 128 Ex. 4.11 Chromatic Rhythm in Chinese Cymbal 128 Ex. 4.12 Augmentation of Non-retrogradable Rhythm (Snare Drum) 129 Ex. 4.13 Webern: Variationen, Op.27, mvt. 2, bb. 1–4 133 Ex. 4.14 Schoenberg: Klavierstücke Op.33a, Opening 134 Ex. 5.1 Cantéyodjayâ: Divisions Arranged According to Duration 147 Ex. 5.2 Cantéyodjayâ: Opening of ‘Modéré’ Section 148 Ex. 5.3 Cantéyodjayâ: End of ‘Modéré’ Section 150 6 Ex. 5.4 Cantéyodjayâ: Wrong Note/Duration? 152 Ex. 5.5 Cantéyodjayâ: Pitch Class Analysis of the Divisions 154 Ex. 6.1 Mode de valeurs et d’intensités: Three Divisions 156 Ex. 6.2 Mode de valeurs: Opening 160 Ex. 6.3 Total Occurrences of Each Pitch Class 168 Ex. 6.4 Mode de valeurs: Cumulative Pitch Content 170 Ex. 6.5 Mode de valeurs: bb. 1–5, 12-tone Analysis 174 Ex. 6.6 Mode de valeurs: bb. 52–57, 12-tone Unfolding 175 Ex. 6.7 Mode de valeurs: bb. 52–57, Pitch Analysis 176 Ex. 6.8 Mode de valeurs: bb. 1–18, 12-tone Unfolding 177 Ex. 6.9 Mode de valeurs: bb. 1–18, Unfolding of the Divisions 181 Ex. 6.10 Mode de valeurs: bb. 24–32, End of First ‘Section’ 183 Ex. 6.11 Mode de valeurs: bb. 20–28, Permutations in Divisions 1 184 and 2 Ex. 6.12 Mode de valeurs: bb. 29–48, 185 Ex. 6.13 Mode de valeurs: bb. 61–78, Line 3 Permutation 186 Ex. 6.14 Mode de valeurs: bb. 81–98 188 Ex. 6.15 Mode de valeurs: bb. 103–107, Normal Unfolding of 189 Division 1 Ex. 6.16 Mode de valeurs: Hypothetical Opening 193 Ex. 6.17 Mode de valeurs: Division 1, Notes 1–4 195 Ex. 6.18 Mode de valeurs: Division 2, Notes 2–3, 4–5, 6–8 197 Ex. 6.19 Mode de valeurs: Division 3, Notes 4–5 201 Ex. 7.1A Île de feu 1: Theme 205 Ex. 7.1B Île de feu 2: Theme 205 Ex. 7.2 Île de feu 2: 12-tone row with all Possible Fan Interversions 209 Ex.
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