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Kraft, David (2000) Birdsong in the music of . PhD thesis, Middlesex University. [Thesis]

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Chal2ter VITI: Catalogue d'Oiseaux

Catalogued'Oiseaux (1956-1958)

The year 1958brings the epic work for solo ,Catalogue d'Oiseaux, the complete

performanceof which lastsjust underthree hours. This seminalwork comprisesthirteen

pieces,set in sevenvolumes, forming a symmetrical(arch-shaped) design':

Book I I Le Chocarddes Alpes (alpinechough) H Le Loriot (goldenoriole) IH Le Merle Bleu (blue rock thrush)

Book 2 IV Le TraquetStapazin (black-eared wheatear)

Book 3 V La ChouetteHulotte (tawny owl) VI L'Alouette Lulu (wood lark)

Book 4 VU La Rousserolle Effarvatte (reed warbler)

Book 5 VHI L'Alouette Calandrelle(short-toed lark) IX La Bouscarle(Cetti's warbler)

Book 6 X Le Merle de Roche(rock thrush)

Book 7 M La Buse Variable (buzzard) XH Le Traquet Rieur (black wheatear) XIII Le Courlis Cendr6 (curlew) 221

Thecentral, pivotal Book 4 is devotedto thelongest piece which depicts the songsof the

reedwarbler and its surroundingdomain. Indeed, Books 2 and6 alsoportray but one

principalbird and its immediateenvirorunent. The palindromicstructure of the books is thus: 3-1-2-1-2-1-3.In terms of the numberof piecesin eachbook, the structureis palindromic;indeed, throughout his music,Messiaen was fascinatedwith mirrored

arrangements- nonretrogradable rhythms, for example.

Eachpiece depicts a principalbird, surroundinghabitat and songstersfrom a specific regionof France.A verbaldescription is includedas a prefaceto everypiece, while a descriptionof the principalbird's enviromnent,and the other birds associatedwith it, is

alsogiven. However,the manyartistic reconstructionsof habitatare not the only non- birdsongmaterial to be utilised throughoutthe work. Messiaenincludes frequent sound- colour associationsand elaborateprogrammatic descriptions wWch are all written into the score;in addition,many of his previouscompositional procedures, such as the earlier modesof limited transpositionand the experimentalquasi-serial techniques, are also employed.Catalogue d'Oiseaux is a compendiumof numeroustechniques, materials and birdsong.In his dissertation,Shu-Wen Sun divides these aspects into three chronological

categories.The Mowing categorisationis derivedfrom both Philips" and Sun's

approaches: 222

(1) 'Technique'Mateda]2 a) modesof limited transposition b) Greekand I-Endu rhythmý c) characteristicharmonies from early period d) useof TurangalUamotives

(2) 'ExperimentalPeriod' Material

dynamice(as in Mode de Valeurs. a) quasi-serialtreatment: modes of pitch, rhythm and .) b) twelve-tonemodes (appearing in any sequenceor p.;,mutation)

(3) Birdsong a) varied species(77 different songsters) b) using full gamut of complexsonorities available on the pianoforte c) hybrid, polyphonicand manyone-voice-dominant textures

(4) Innovations a) use of chordal-complexes(not belongingto Messiaen'smodes) b) attemptsto depict bird habitats,animals, human perceptions c) experimentaluse of pedalmarkings d) hybridtextures using both inferior and superior resonance effects e) homorhythm.and homophony(one voice or part dominant) f) quasi-glissandoeffects g) polyphonyon piano 223

It is importantto understandthat Johnson'sclassifications and insight remain authoritative and comprehensivesources for the studyof CataloguedDiseaux, an issueto which he devotesan entire chapter.However, it is, as before,imperative to build on thesepast discovcries.

Further,Johnson has subdivided Messiaen's use of rhythm and pitch in non-birdsong materialinto five groups:these features are accommodatedwithin the abovenew catego6sation.

It is essentialto includethe use of 'invented'Greek and Hindu rhythms, although often theyare hard to detect.Additionally, the abovecategorisation (an adaptation of Sun's) mentionsthe traditionalMessiaenic harmonies. In manypieces, Messiaen employs traditionaltriadic chordsalong with one or two addedchromatic inflections. The opening two chordsof Te Loriot', for example,are F# major (with an addedminor Vh) andE major. Similarly,the hybrid openingtextures of VAlouette Calandrelle'are set up by F# major chordsand followed by two-voiced homophonic(lower voice dominant)cries from the short-toedlark. Messiaencleverly juxtaposes non-birdsong material with birdsong.

The 'modal' chordalcomplexes of 'la nuit', at the beginningand end of L'Alouette Lulu are interspersedwith the insistentlyrepeated calls of the wood lark, the principalbird. A superimpositionof non-birdsongon birdsongis not found in Catalogue,but polyphonic counterpointsbetween birds are numerous.Non-birdsong and birdsong material remain 224 distinctfrom one another in rhythm,dynamic, pitch and intervallic content, texturally and with the varyinguse of tempi.

It is not only Messiaen'ssubdivision of the work into books that givesit a graspable symmetryand form: eachindividual piece is carefullyorganised by the composer.The form of most piecesincludes either a refrain,which alternateswith other material,or a palindromicstructure. In manycases, the form is dictatedby the unfolding of night and day: onceagain, Messiaen disregards traditional formal organisation.Often, like a painter, the composer'ssynaesthetic imagery manifests itself in the symbolismof coloursand the changein the time of day. Owing to the fact that birds often sing at four o'clock in the morning,it is inevitablethat Messiaenfrequently depicts night time.

'As to the form, thereis nothingleft of the traditional.Excepting a reminderof the Greek triad (Strophe,Antistrophe, Epode) with interpolatedcouplets, in the "Chocard desAlpes!, and exceptingthe singingphrase harmonised by colouredchords of mode3 which unfolds slowly as the river, in the'Sascarie,....15

Where an entireday is depicted,the form is more easilydeterrnined: Ta Rousserolle

Effarvatte', for example,depicts, in a Circadianfashion akin to Reveil des Oiseaur, a periodof twenty-sevenhours from midnightto threea. m. the nextday, in a pieceof half anhour. However, every piece has its own distinctform, urunistakably defined by different blocksof material.These blocks of material,which range in lengthfrom onebar to several 225 pages,are programmatic in thatthey portray highly specific subjects -a naturalhabitat, a birdsongor songs,an animalor a subjectiveimpression of nature.

Harmonyis extremelyuseful in seekingto representthe timbre of a bird vocalisation.

Harmonyalso can createa numberof different 'illusions'.- For example,the tawny owl's cry (in Ta ChouetteHulotte') not only hasmeticulously marked chordal complexities and a suddendiminuendo normally using 'resonancecontractee'-type chords, but alsogives, as describedby PeterEll (1995), an illusion of a glissandowith the minor third C-A and accompanyingchromaticismý. Other quasi-glissandoeffects are createdby fluid runs. In

'RousserolleEffarvatte' (reedwarbler), tlis principalbird is depicted,on one occasion,by a rapid group of slurredhemidemisemiquavers which interchangewhite andblack notes.

Of course,both listener and performer must imagine the speedbeing three or four timesas quick: as the composeradvises, the glissandois like that of a harp lei VIII/I - 'La

RousseroHeEffarvatte', p331.

There are several occurrences of non-birdsong material that are influenced by the

'experimentalperiod'. The openingof Ta ChouetteHulotte' embodiesan integration(or

'mode') of pitch, duration and dynamics:in other words, eachnote is allocateda specific dynamicand duration.The A naturalabove middle C is given the duration one demisen-dquaver,and eachnote, progressivelydown to the bottom A natural on the piano, is given a durationone demisemiquaverlonger than its predecessor- that is to say,the last note hasa durationequivalent to forty-nine demisemiquavers.The dynamics,too, are 226 arrangedin a palindromiccontinuum: the A naturalis givena ff marking,D# is givenppp, while the next A naturaldown is onceagain ff. This is shownbelow:

A (ffl) Gg (ff) G (0 Fg F (p) E (pp) DM(ppp) D (pp) Chl(p) C (Mf)

Bb (ff) A (fff)

Messiaenexcludes the marking'mp' fromthe Estin orderto formulatethe seven gradationsof dynamiclevel: 1) ppp, 2) pp 3) p 4) mf 5) f 6) ff 7) ff

Johnsonhas also codifiedbirdsong into four specificcategoriee. The reasonfor tMs is, first, to createappropriate tabular forms that displaythe group structure,showing the differenttypes of texture, timbre, tonalitiesand bird-group relationshipsand, secondly,the overallformal structuredisplaying the associationbetween birds and their natural envirorunent.

Each of the thirteenpieces is innovativein its own way this chapterinvestigates

Catalogued'Oiseaux and its forward-loolcingbirdsong treatment. 227

Thefirst piece,Te Chocarddes Alpes', is set,as is Ta BuseVariable' (no. 11), in the mountainsof Dauphiny.The form revolvesaround three substantialsections that represent three distinct mountainousscenes. Messiaen defines these divisions, as in the ensuing orchestralwork Chrotiochromie,as 'strophe, 'antistrophe',and 'epode'. They are separatedby 'verses'that depict the criesand flights of the principalbird, as well as the often raucousand ferociousrumblings of the raven,together with materialrepresenting copiousother flights of birds. A plan of this tripartite form is displayedbelow:

Strophe The ascenttoward the Meidje glacier: 'grim and massive'

Verse (1) Cries of choughsand raven

(2) Flights of birds

(i) alpine choughcrossing the abyss

(fi) majesticflight of goldeneagles

(iii) 'sparkfing' flight of choughs

(iv) motionlessmysterious ascent

(v) acrobaticflights of choughs;above chasm

Antistrophe The fallen logs aroundthe warren of Saint Christophe:enormous

and powerful -

Verse (1) Cries of choughs

(2) Flight of birds 228

(i) alpinechough surveys the landscapewhile skimming over abyss

(ii) majesticflight of goldeneagle

(iii) motionlessand mysterious ascent

(iv) flight of choughs

(v) two choughsin the sky

(vi) acrobaticflight of choughsabove chasm

Epode Mysticalstone circle of Bonne-Pierre:'gigantic and supernatural'

Thereis no feelingof line or development.Long silencesbreak up blocks of music:each short sectionillustrates either a bird vocalisationor a flight-scene,and there is no superimpositionof the two. The alpinechough's calls are greatly enrichedwith colourful inventedharmonies: its first cries,in verse1, contain(1) threeperfect fifths with elaborate harmony,and (2) ascendingand descendingsernitones in both paralleland contrary motion, thus creatinga quasi-glissandoeffect in an anapaesticrhythm [ex VIII/2 - 'Le

Chocard desAlpes', p2, s3, W& p2, A, bl]. With the exceptionof the alternator(p8), the 'briffiantTsparkling', equallyemphasised two-part homophonic'vol deschocards"

(p9) and the polyphonic'vol acrobatiquedes chocards au dessusde I'abime' (p 10), each note of the alpinechough is depictedwith an inventedhannony. A particularlypoignant effect is producedin the secondverse (p6) as the alpine chough'surveys the landscape while skinming over the abyss".His 'tragic' criesare createdby a stilted bacchiusmetre, usedfor the first time. 229

The secondpiece, 'Le Loriot', is set in the earlYhours of the morningin the district of

Charente.The openingof the piecesuggests the first tentativebird calls of the morning.

Eachbar is separatedfrom the next: the music,in addition,has a calm serenitywhich is set up by the openingpair of dominantseventh chords, where eachvoice movesup a whole note in parallel.The following 'gilded'9call of the principalbird, the goldenoriole, employshigh resonances,forrning a hybrid texture: its superiorresonance is built from hornorhythmicderniserniquavers with the left handdon-ýinant [ex VIEU31.Incidentally, this call is basedaround Messiaen's mode 2, preA'ominantlyin E major.Each emergenceof the principalbird is written in the samehomorhythmic (one part dominant)style, with or without the precedingchords. The only exceptionto this is found in the 'Lent' section which representsthe 'memory of gold' andthe 'rainbow in the sky' (b 115) fez VIII/4 - p9, s5, bl-21, wherethree stavesare used: the top two establisha chordaleffect with the secondpart beingdominant; however, the basspart (stave3) addsblock chords reminiscentof the third movementfrom Cinq Rechants.The two openingchords of the whole pieceare later extendedto form chordalmodulations, interspersed between fluttering complexcounterpoints from two gardenwarblers and eventually,at the 'Lent' sectionof bar 100, concludingwith a richly resonantE major chord, representingthe full sunof rnidday.

A beautifulquasi-glissando, effect is producedby the robin's rapidly descending serniquaversin a 'tendre, conflant' (tender', 'confiding') two-voiced homophonictexture: the right handuses black notesand the left haswhite [ex VIII/5a - p2, barl3l. The 230

'incantatory'song of the songthrush also employs this effectin anascending order in its later,comparatively vigorous appearance; although, white and black notes are not exclusivelyconfined to one hand fez VIH/5b - bar 123].

Thereare threebrisk, assertivepolyphonic duets between two loquaciousgarden warblers, wherethe first is consistentlygiven the Wghernotes. The secondduet blurs this contrast, wMe the third, althoughstill predominantlykeeping the top part in a higher range, overlapsto a still greaterextent while addingoccasional accents. 'O A 'crossedhands' techniqueis often requiredin this more substantialthird counterpointsection: additionally, more referencenotes and repetitions of rhythmicmotives are incorporatedin both parts

[ei VII1V6- p61.

Te Loriot' is saturatedwith precisepedal markings producing often expressivenuances or uniquetimbral qualities,where the tone colour is dramaticallychanged: often, two or three simultaneousgroups of notesmay carry a distinctivedampened sound, while others are left sustained.In the score,the blackbird'ssong, for instance,includes the indications

4sanssourd. Twithout mute' (left pedal),'avec 2" p6dTwith left pedal' and 'p6d III sempreTcontinuous[use of] middlepedal'. The specificuse of soft and middlepedals producesclarity of the upper pitches:each note is deliveredwith the desired'sparkling',

'muffled' or 'muted' effects.In the sectionswhich involve strict harmonicmodulation, at barl 00 for example,a right pedalmarldng is scrupulouslygiven to eachchord, creatingan addedresonance and fuH soundthroughout. Birds' vocalisations,enviromnents and flights are significantlycoloured by thesetechnical instructions, such as (1) 'sourd.' (muted,left 231 pedal),(2) 'sanssourd. ' (without mute, left pedal),(3) 'ped.' (right pedal),(4) 'ped. sempre'(continuous fight pedal),(5) '+ ped.III' (plusnUdle 'sostenuto'pedal), (6) cavec2 nd p6d. ' (with the 'soft' pedal),(7) 'mettre tr6s peu de pedale'(use very little right pedal).These markings add anotherdimension to the sonoritiesproduced by tlýs versatile instrument.

The pieceends with the openingcall of the goldenoriole, but in this instancewithout the resonanceeffects created by a precedingchord.

Set in the Roussillondistrict on the southerncoast, the third piece,Te Merle Bleu', presentsthe seeminglygentle blue seain a numberof contrastingmoods, including terrifying wavesand 'rough' cliffs, interspersedwith (for example)the high-pitched, stridentcalls of swifts. The manydepictions of birdsongare often quite sharplyset against

4mood'sections which'are somewhat ambiguously characterised - 'the resonanceof rock faces', 'luminous,iridescent, blue halo'. At the sametime, Messiaenestablishes links betweensections - effectivelyconnecting landscape, human perception and birdsong- by his frequenttreatment of superiorand inferior resonances.Thus the intrinsic quality of a particularbird's vocalisationis enhanced.For "ample, the lower accentedBb in the bass

(bar 2) reverberatesa huge 'boom of the surf and suddenlyhomogenises with the bigh- pitchedcries of the swifts. Theseswifts are alwaysrepresented in the top rangeof the piano'sregister and in chordalstyle: most occurrencesinclude various tritones and major

7'h/diminishedoctave intervals [ex VIW7 - pi]. 232

Water is representedin severalguises. Its secondappearance (bars 18-19)is written in equallyemphasised two-voiced homophony:liquidity is suggestedby the demisemiquavers,and a muffled quality by its low bassregister. The effect of water dropletsis then createdby gracenotes, and quickly followed by a descendingbass flourish

[ex VIIII/Sa - bars 18-22]. A further appearanceof water is entitled 'clapotis de

Feau'Plappingof water': in four short bars,the form is thus:

droplets VIH/8b b55-581 ascendingflourish - droplet - descendingflourish - lei -

Thesebars are immediatelyfollowed by a sectionentitled 'la mer bleue', depictingthe horizonof 'the bluesea': based on Messiaen'smode 2, theseexquisitely harmonious episodes,according to the composer,complement the satintexture andpurple-blue, slate and blue-blackshades of the blue rock thrush's plumage[ex VIR/8c - p5, b59-63]. These sensitiveand contemplativeharmonies present an unusualstillness before, and after, other more tumultuousversions of the seathat dominatethe rest of the non-birdsongmaterial in this piece.For example,the waves(bars 68-70) are representedby flourishesin the bass and short rapid cellsof chords[ex VIH/9a, b]. A later versionof the wavesdisplays a low

A naturaltrill which rumblesin the distanceto pianissimo[ex VIR/9c]. A further example of a very deepbass resonance can be locatedbefore the last appearanceof 'the blue sea', where a thunderingffff dynamicis left to die away. This dramaticforcefulness is pre- emptedby a pulsating,chordal representation of waves,where strildrig invented harmonies, like tam-tams, are Mowed by obtrusive inferior resonancesonorities, while 233 the immediatelypreceding forte chordsrepresent the 'hugeresonances of rockfaces'

(p22).

The specificsubject of the piece,of course,is the blue rock thrush: Messiaen'sdepiction of water is directly relatedto this bird's environment- he saysin his introductionto Te

Merle Bleu' that 'its songblends with the soundof the waves'. The bird's distinctive characteris, like the swifts', representedhomorhythmically, with the exceptionthat grace notesare occasionallyincluded. Its uniquenessbecomes immediately apparent when the bassresonance sets up two-, or sometimesthree- or four-voicedchordal effects. At bar 84

(p7), the blue rock thrush'ssong is built aroundthe perfectfourth: eachsemiquaver patternis interspersedwith either one or two quaverchords [b841. In this particular example,two ionicminor metres are employed (UU-). Thepedal marking creates some extraordinaryresonances with the accompanyingbass chords. Indeed, the blue rock thrush'svocalisations are, in the entiremovement, often complementedby basssonorities, representingthe echogiven off by rock facesoverlooking the blue sea,and saturatedwith the perfectfourth interval,giving both a naturalopenness to the overalltimbre and a feeling of quarW harmony.In addition,the sonorous'halo' is achievedby rapid derniserniquavers,forming the ensuingbell-like resonancein the blue rock thrush's vocalisation- 4, cretic, 2 (bars3 1-36). In Ws way, radiant,iridescent timbres are typically produced,most of whichare associated with the colourblue.

The importanceof the blue rock thrush is, arguably,matched by the emphasisplaced on

blue but water - with, for example,whole sectionsdevoted to 'the sea' - the supporting 234 r6les playedby the herring gull and the theckla,larks shouldnot be overlooked.Whereas the blue rock thrushsings alone, the pair of 'chirruping' thecklalarks enableMessiaen to write contrapuntally.The motion of thesesections is continuous:if one part hasa long durationor trill, the other maintainsmomcntum through rapid groupsof notes.Short, repeatedcells occur regularlyin this 'wild dance, as PeterIEII describesit, wherethe

'Balineseinspiration mirrors the pentatonicflavour of the first solo."'

Throughout the piece, each birdsong or non-birdsong feature appearsin blocks, and each of thesefeatures appears more than once.These discret. -., repeated motives enable the listenerto recognisethe componentsof the piece,thus enhancingthe senseof formal structure.The musicconcludes with the 'memoryof the blue rock thrush', the final F# minor chord hinting at an A major tonality.

Te Traquet Stapazin',a substantialpiece, is also set in the Roussillonregion of the

Mediterraneancoast near the Spanishborder. However, herethe sceneis taken from the mainlandside, depicting terraced vineyards, cork-tree forests and mountains.The form is achievedthrough a cireadiantime-scale representing the period from sunriseto sunset.

The pieceopens with four widely-spacedchords, followed by a bottom E natural,then a chord and a superiorresonance in the form of an iamb. The sombreharmonies - bird representingterraced vineyards - are interspersedwith short barsof various vocalisations,including the black-earedwheatear, spectacled warbler and Ortolan bunting.

The form of the piecemay be dividedinto severalsections which are definedby verses representingthe sunin different positions.These sonorously majestic sequences 235 incorporateboth superiorand inferior resonanceeffects. Each verse is arrangedin four staves;the first two areinterrupted by shortsnatches of birdsong,and all arefollowed by longer passagesmade up of severalbird vocalisations.The table below setsout

Messiaen'scharacterisations of eachverse.

Verse I 'the red and gold disc of the sun leavesthe seaand climbsinto the sky'

(p8) other markings- majestic,resonant, colourfW - resonateall notes

Verse 2 FULL SUN

(P12) 'the goldendisc of the sunJimbs higherinto the sky - luminousband on

the sea'

other markings- asbefore

Verse 3 'surroundedby a deepred andgold, the sun goesdown behindthe

(P22) mountain'

other markings- asbefore'2

All theseverses are built upon resonanceeffects and displaya rangeof beautifulcolours, in the static harmony.The bird calls,especially in the caseof the black-earedwheatear, introducevariety in colourationand a more rapid tempo to this sectionmarked 'Lent', with its grandtexture [pl2l.

The first sectionintroduces the songsand callsof all the birds to be heardin the piece.

Thesebird vocalisationsare brief and are eitherbroken up by interpretationsof landscape, suchas the 'terracedvines', or appearconcurrently, as in the sectionwhere the ravenis 236 depicted'on the rocks of the cliff'[p1j. Both the spectacledwarbler and the goldfinch are written mostly in a single-linetexture: it is for that reasonthat they are accompaniedby a chordin the left hand.By contrast,the 'proud and abrupt' homophonicderniserniquavers of the black-earedwheatear and the 'cruel' and 'barking' repeatedhomorhythmic cries of the herringgull are sufficientlycolourful without harmonicsupport. Sharp chords with accentedgrace notes and short flurries of descendingchords in parallelsuggest a sniggering,almost persecutory manner in the herringgull. Its short refrainsare often in an anapaesticrhythm (p3). In addition,the raven(p3 and p6) is depictedin a 'raucous' homorhythmictexture in four or five parts [ex VIIDVIO- p3 ]. A later versionof its call

(p6) employsa numberof recognisablepatterns, as follows:

Raven'sHomorhZhmic Song(p6) bar characteristic I epitrite II 2 iamb 3 double-iamb 4 harmonicostinato 5 iamb 6 3 chordal-complexes 7 cretic 8 2 'stabs' 9 5 chordal-complexes 10 bacchius 11 tribach+ bacchius

Of a different characteragain are the simpleaccompanying chords that give the spectacled warblerits 'tender[ness]'.This particularsong, which is often colouredwith E major and an addedC#, is given a notablepron-dnence at this stage:later, other songsachieve equal or greatersignificance. 237

Although 'cadenza'may seeman inappropriateterm for a sectionof this music,since the whole of the Catalogued'Oiseaux is written for piano solo, certainlonger than average vocalisationsperhaps justify the description,As in the traditional concertocadenza certain motivesappear in variousguises, so in thesepassages many earlier melodic and rhythmic feat4res,are now virtuosicallyreviewed and developed.These solos give the impressionof the piano cadenzasfound in Riveil des Oiseauxor OiscauxExotiques. The first example- the rock bunting,p14 - usesthematic material taken from its earlier appearanceafter the first verselex VHV1 I-p 101;B naturalis the referencenote commonto both cadenzaand source.Equally, continualdemiserniquavers are typically brokenup by gracenotes and semiquaverG#s in both instances.The demisemiquaversare mostly divided into groupsof threesand fives.The groupsof threesare usuallY tribachic cefls;however, many porrectus flexus melodicshapes are found. The melodicshape B-E-B-G# is written with a group of three followed by a singlenote, but groups of five also presentthis shapewith two additionalB naturalsat the beginning,or as part of a cell. With the exceptionof the occasionalC# andBb, the entire solo is basedaround the porrectusflexus, B-E-B-G#. It is, however,the lavishsolo from the thecklalark that canbe likened most to a cadenza.

Completedwith nine crotchetrests and runningfor a comparativelylonger length,this spectacularsolo is mostlyhomophonic; again the top B naturalis a commonreference point. Passagesof homophonicderniserniquavers dominate the solo: they are dividedby five bassflourishes of one bar in lengthýseven two-part falling effectsand a two-voiced triU. This sectionfinishes with a two-voiced homophonicalternator in a crescendoand ensuinghigh-pitched 'chirp" [ex VIII/12 - ppl7-191. At p2l a counterpointbetween two 238 goldfinchesbegins: their songsare related in character,as both birds alternate melody with high-pitchedtrills. The B naturalis not the only tonal/pitch referencepoint to be made.E major, andthe notesin its triad, appearfrequently, especially after the multicoloured sunset(red, orangeand violet) is repeated'above the mountain', as the spectacledwarbler is presentedwith an accompanyingE major 6 chord. Interestingly,the Turangalilamotives representingthe seaand the colour chordsof sunsetare also included:they are the first subsidiarythemes from the sixth movementof this symphony,'Jardin du Sommeil d'Amour'. The piececoncludes with the memoryof a bird; on this occasionthe spectacled warbler's songis reviewed,at a tenth of its original speedand once againaccompanied by an E major chordwith an addedsixth [ex VIOV13- p27, s5, bl-21.

Book Threeconsists of two shortpieces both of whichdescribe aspects associated with night-time.The first, 'La ChouetteHulotte/'Tawny Owl' (5), alternatessections representingthe night, with its quasi-serialcontinuum, and calls of variousowls in the

Oregevalwood in the Isere.Here, manydisturbing images are createdwith descriptions suchas 'vague et terrifiant'Phazyand terrifying' or '6trange,inquietant'Pstrange worrying', and at the end of the piece even 'un cri d'enfant assassine'Pthecry of a murderedchHd'.

The 'night' episodesare more substantialthan the sporadiccalls from the owls. In these quasi-serialsections, segregated jerks of soundappear out of the texture from the notes with fortissimomarkings, while certainmoments are more busy than others.The essential

ABAB form of the pieceis as Mows: 239

A- The Night organised pitches, dynamics and durations

B- Calls of Owls (i) long-cared owl

(ii) little owl

(iii) tawny owl

A- The Night organýisedpitches, dynamics and durations

B- Calls of Owls (i) long-eared owl

(ii) little owl

(Hi) tawny owl

Each of the 'owl' sectionsbegins with 'very dry andpercussive' low C naturals'like a solemndrum'. Every owl is given a limited time - usuallyone bar - to presentits calls.The music of the long-earedowl may be dividedinto severalparts. Short flourishesoften concludewith a top B natural with accompanyingpitch or chord; we also find accented forte chordsfbHowed by softer ones,forming a quasi-resolution.In the secondB section, the long-earedowl appearstwice. The first involvestwo anapaestsfollowed by falling calls,while the secondemploys two new devices-a combinationof epitrite IH with trochaiccell, and a double-iambin echo [seeTableEU1]. The form of the second appearance(p7) is as follows: anapaest+1, trochee,3 iambs,double-iamb in echo. 240

In addition,the chordspredominantly incorporate the notes C naturaland A natural[see p3j. This is importantto bearin mind, as the tawny owl more regularlyand emphatically employsa similarfalling motive wherethe C naturaland A naturalare usedonce again.

The first appearancedoes not presentthe lavishlychromatic harmonies of later versions.

However,the third occurrenceof the tawny owl's call (p8) includes

'retentissant'/'resounding'homorhythmic demisemiquaver chordal complexes before two clusterchords which alsoinclude the dominantfalling pitchesC to A [ex VIM141. This denselyclustered homorhythmic texture (one voice dominant)represents the dramatic changein timbre from 'screeching'to 'hollow', as Petei Ell suggests".The little owl includesa final 'yelped' call and 'mewed' white/blackascending glissando effect. Various harmonisations,of this C-A caHcontinue throughout the movement:other subjective

included, 'lugubre douloureux'/'dismal harrowing',in suggestions0 are also suchas et and order to help the performerto achievethe correct timbre.

The secondpiece in this coupletrepresenting night is T'Alouette Lulu'/"The Wood

Lark'(6). An impressionof a calm night is instantlyproduced by four chordsending with

Bb major, and leadingonto a superiorresonance created by the principalbird's 'poetic,

Hquid,unreal' repetitivehomophonic call, featuringrelentless accented iambic groups.

Eachbar of chordsportraying the calm night is followed by a motive using one, two or three notesand repeatedmany times. The wood lark providesdecoration to the simple underlyingchords, a devicedeployed by Messiaenin very earlypieces. 241

The form maybe simplifiedas follows:

Night chordsand wood lark decoration

NightingaleInterlude

bars 1-15

bars 15-24

A bars 24-26

B bars 26-39

A bars 3941

B bars 41-42

A bars 4244

B bars 4449

A bars 49-end

The form usestwo contrastingtextures. The first, entitled 'poetic, liquid, unreal', comprisessimple chordal progressions with ensuinghybrid texture setup by the wood lark, and the secondis the often 'sparklingand caustic' vocalisationsproduced by a nightingale.The hannonicostinato part of the nightingale'ssong is alsointroduced by the composeras havinga sonority 'like a harpsichordmixed with a gong'. Its phrasescan be subdividedinto four categoriesas follows [ex VIM15]:, 242

(1) 'Sparkling,caustic': randomchords built up from 4ths, 5ths and 2nds jp3, s4, bI I

(2) Two-part alternator jp3, s3, b3l

(3) gracenotes and abruptchords [p3, s4, bI]

(4) 'Like a harpsichordn-dxed vvith a gong': homorhythrnicrepeated bass chords [p3, s4, b2l

Later the nightingalehas a rich chordalalternator. In the sameway, the two-note iambs and 'deux en deux' repetitionsof the woodlark are later given additionalhannonisation

[see b32 and b43].

The repeatedchords are also found in I (above)on severaloccasions. The final

&mysterious'repeated calls of the wood lark 'mergeinto the silence',as if the musicis fading into the distance- reminiscentof Keats' nightingale,whose 'plaintive anthem fades'.

'La RousserolleEffarvatte' ('The ReedWarbler') is the seventhpiece of the cycle.Set in the Solognejust south of OrMans,it is the longestpiece, and is centralto the whole of

Catalogued'Oisemnc. In a pieceof aboutthirty minutes' duration,Messiaen represents the reedwarbler, its habitat,and other speciesfrom midnight to 3 a.m. the following morning-a period of twenty-sevenhours. 243

Typically,musicologists have analysed Messiaen's formal structuresusing terminology suchas 'strophes, 'refrains', 'introductions' and "codas':these subdivisions are often very helpfulto the analyst.However, on this occasion,as Messiaenhas so meticulouslymarked the timesof day at variousmoments in the score,it is perhapsmore revealingto present 14. the materialin direct relation to the circadiantime-scale -In addition,in his preface

Messiaendivides the pieceinto timesof day, dravAngattention to key featuresof the music.A senseof timelessnessis onceagain created: not only doesthe tempo continually fluctuate,but also certainperiods of time are given unequallengths in the score.For

is example,the grasshopperwarbler's trill - which endsup 'like a buzzingof insects'- sufficientto representnoon and the 'chirruping lassitudeof natureunder the sun"s. After a one bar rest, the reedwarbler resumesat five o"clock in the afternoon.In contrast,the period from 5 p.m. to 6 p.m. incorporateslonger sectionsof birdsongand non-birdsong material,and runs for severalminutes (p 18-34).

The 'mysterious''music of the ponds' that opensthe pieceis followed directly by a

'chorus of frogs'. This chorusperfectly enhances the notion of a dampenvirorunent, ready for the first appearanceof the principalbird, the reedwarbler. This bird is given two main solos:the first is found at this early stage(pp4-8), where manyof the characteristicsof the later 'cadenza',and indeedthe counterpointedsongs of two reedwarblers, are first intimated[ex VIW16]. All three sectionsdisplay virtuosic and rapid musicthat is unparalleledin the Catalogued'Oiseaux. Both solo passagesare markedwith a note for the performer- 'avec volubilit6, et une grandediversitd d'attaques - les notespiqu6es: s6cheset rebondissantesTwithassertiveness, and a fuU rangeof attacks- the gracenotes 244

[to be played]dryly and percussively'.This cadentialsolo includesnumerous interruption callswhich separaterepeated homorhythmic or homophoniccalls based on two or three notes.Incessant ionic minors,anapaests and iambsare incorporatedduring the first solo, while the later 'cadenza'is not so clearcut. Most impressiveis a particularphrase of the reedwarbler which, 'like a harp's glissando',occurs in its own right and is accompanied by trillings of a secondreed warbler.

Messiaengives precise indications of the ambienceof the environment- that is to say,the programmaticmood of the music.The phrase,'Solemnity of the Night', appearsat three in the morning(p9) and at n-ddnightthe following day (p,42). In both instances,the music employsexactly the samesonoritieS16 : extremely quick clusterchords that, 'like a clashof cymbals",alternate white and black notesare followed by a loud bottom A naturaland two superimposedresonance effects. The first is like 'metallic vibrations' - the pianissimo Th in bass,'like major C-B - while the secondis a loud minor 7"' interval the trombones'.

'Sunrise[s]' and 'Sunset(s]' appearfrom time to time in variousguises, displaying exuberantcolour associations.These associations are listed in order below: 243

Sundsesand Sunsetsin Ta RousserolleEffarvatte-'

Page Description/ Location Tirne[Period

Characteristics

Sunrise1- pink and mauve waterlily pond 6 a.m.

orange

roseand mauve(dreamy)

12 Sunrise2- densechromatic 6-8 a.m.

chords

12 Sunrise3- densechromatic 6-8 a.m.

chordsand clusterascension"

13 Sunrise4- mauve+ gilded 6-8 a.m.

14 Sunrise5- mauve+ gilded's 6-8 a.m.

15 Sunrise6- chordal ascension 6-8 a.m.

38-39 Sunset1- red andviolet Iris pond 9 P.M.

orange,red violet

descendingchromatic chords

+ violet and gilded (dreamy)

40 Sunset2- red and violet Iris pond 9 P.M. -

descendingchromatic chords Midnight

(dreamy)

40 Sunset3- all lower in range Iris pond 9 P.M. - 246

Midnight

Sunset 'the 41 4- red disk of the Iris pond 9 P.M. -

sunmeets its own reflection Midnight

and sinksinto the water'

chromaticdescending cluster

chords(extended version)

Interestingly,Messiaen includes two short sectionsenti, led "memoryof sunset'which both

take on a dark violet colouration.The specifiedsonorities all affect the timbresof the

birdsong.These striking passagesalso help divide the musicalform of the piece,which is

shownbelow.

Page Nos. Features

1-3 "music of ponds' (midnight), frogs

4-8 reed warbler's I st grand solo (3 a.m. )

9-11 4solemnityof the night' (3 a.m. ), noises in the marsh etc., frog

11-15 sunrises(6 a.m. ), blackbird, red-backed shrike, redstart

15-18 yellow irises (8 a.m. ), pheasant,reed bunting, green woodpecker, starling,

great tit, white wagtail

18 grasshopper warbler's extended trill - noon

18-34 reed warbler (5 p. m.), sedgewarbler, purple foxglove, great reed warbler, 247

black-headedgull, coot,two reedwarblers in counterpoint

34-37 yellowirises (6 p.m. ), grasshopperwarbler, coot, skylark, frogs,water

rail

3842 sunseton iris pond(9 p.m. ), bittern,'the red diskof the sunmeets its own

reflectionand sinks into thewater'. nightingale, memory of sunset

42-45 (midnight)- solemnityof thenight, nightingale, bittem, noises in the

marshes,frog, memory(of night)

46-51 reedwarbler's 2 nd grand solo (3 a.m. ), frogs,music of ponds,bittern

Book 5 beginswith the piece, 'L"Alouette Calandrelle'(no. 8), which is set in the Crau

wildernessof Provence.The form of the pieceis in three sections,with a coda:

SectionI

Introductory chords,short-toed lark, chorusof cicadas,kestrel, quail, short-toedlark

Section 2

Short-toedlark + crestedlark counterpoint,short-toed lark

Section3

chorusof cicadas,kestrel, quail, short-toedlark, introductory chords

ICoda

quail, sky lark, quail, introductory chords,short-toed lark 248

Messiaenbegins with someinformation about the settingof the piece.Above two introductorychords, the latter beingF4, he writes, 'warmth and solitudeof the Crau desert'.The 'Lent' tempo indication,the 'bright' and rapid interruptionsby the short-toed lark andthe reststhat divide eachphrase of musicimmediately create a senseof sparsity.

The composerchooses several birds that are representedby static homorhythmicchords, while the inventedchords that are assignedare repeatedseveral times in their short sections.The birds representedin this way are:

(1) chorusof cicadas

(2) kestrel

quail

If the first inventedchord in a chosensection is labefled'a' andthe secondV, thenthe fbHowingrepetitions are to be found:

(1) chorus of cicadas [pl, s3, b2l abbb,abbb, abbb [ei V1W17a]

(2) kestrel [pl, s4, b2l aaaaaaabaaaaabbc [ex VI1V17b]

(3) quafl in cretic rhythm lp2, sl, b1l aaa,aaa [ei VIII/17c]

Both 'paraUelcontour homorhythmic"and 'mixed contour homorhythmic"textures are incorporatedin the short-toedlark's songs:- 249

parallelcontour homorhythmicchords jp2, s4, b21 mixed contourhomorhythmic chords lp2, s2, b2l

The rest of the principal's songis derivedfrom its one-voiceddominant homophonic sotirpeat bar 2. Eachtwo-part chord is closelyrelated to the original call at bar I compoundminor 2ndsare frequentlyused [seep2, s2, bIj. The B natural/Abcell is repeatedtoward the end of the phrase.This passageof the short-toedlark is dividedinto the following textures:

i) homophony(one voice dominant)

H) mixed-contourhomorhythmic chords iii) homophony(independent contours - repeatedpattern) vi) paraHelhomorhythmic chords v) minim vi) two-voiced polyphony(conversation with crestedlark)

(ex VIR/181

The piecereaches its apogeewith the homophonicsong of the sky lark, marked'jubilation vih6mente'Penergetic,joy'. This loud and declamatorysong is continuouslyhomophonic throughout;the demisen-ýquaversare divided by singlequavers, serniquavers or the rhythm, derniserniquaver- quaver in a descendinginterval. This solo is a forerunnerof the later VAlouette desChamps' in PetitesEsquisses d'Oiseaur. 250

This rather simplebut effectivepiece is followed by the more formally complex'La

Bouscarle'('Cetti's warbler'). Set in closeproximity to the river Charente,it is inevitable that water playsa supportingr6le to the manyrepresentations of birds and indeedanimals.

Two sectionsare devotedto the reflection on the water from the willows and poplar trees, while four versesof musicare entitledsimply, 'la rivi6re'. Theseverses, with their calm sonoritiesbased on mode3, act as accompanyingpassages to birdsong(p4) and as a passagein their own right. Bird vocalisationsand soundsof other animalsare incorporated in this realisation:from the 'pique, pointu, tr6s secTcutting, pointed,very dry' squealsof the moorhen,the 'joyeux et clair'/joyous and bright' sonoritiesof the blackbird,to the

'fl6che bleue-verte'/'blue-greenarrow' of the kingfisher'sflight.

Timbre playsan importantr6le in 'La Bouscarle'.At this stagein Messiaen'swriting, the ma. ority of birdsoncysand other animals'noises also have at leastone indicationof either the spirit in which they shouldbe played,or their generalarticulation. In fact, most of the birds' songsare distinguishedby different annotations.A full list of theseas they appearin this pieceis shownbelow:

(1) Cetti's warbler abrupt and violent9

(2) moorhen cutting, pointed, sharp

(3) kingfisher dry (abrupt)

(4) blackbird a) joyous and bright 251

b) abruptand violent

(5) robin liquid,intimate, confiding

(6) corncrake scraping,to-and-fro noise of saw

(7) songthrush, a) like a chantedspell, active, triumphant

b) pearl-like,liquid, snatched

(8) wren

(9) chaffinch

(10) blackcap a) brightand gentle, joyous refrain, authoritative b) dazzling

(II)hoopoe stifled,monotonous

(12) nightingale a) caustic,colouration of a harpsichordand gong

b) incisive,abrupt, sparkEng

(13) sandmartin

(14) yeflowwagtail

The kingfishernot only hasits own bird vocalisationmarked in the score,but alsohis rapid flight of courtshipis depictedwith its 'glittering of a blue and greenjewel'. Both the chordalnuptial flight and the ascendingchordal 'blue-green arrow' featuresare related quite closelyto mode3, and complementthe sonorities,reflections and coloursof the river. The river recallsthe falling fourths and modalquality of the 'love theme' from the

TurangalilaSymphony. 252

Te Merle de Roche' (X) is set amongstthe rock shapesin the stonecircle of Mour&zein

the H6rault.The piecetakes an arch form. The introduction establishesthe scene,which is

one of immenseprofundity and mysteriousness.The 'black and profound' musicfound in

the earliestbars comprises two quiet low chordsin the bass,shortly followed by a cluster

chord in the treble clef they representthe night in its moonlit state,'the hugehand of

stone,raised as a magicalsign'. The maleeagle owl follows on in solemn'ululation, and the femaleresponds with a very 'dry' successionof low muffled anapaesticrepetitions.

The next sectionsdisplay the jackdaws at daybreak(feauring a variety of bacchius,

epitrite II andvarious other metres)and vocalisations from the black redstart,which are interspersedwith representationsof the stegosaurusand diplodocus,set in stone.The centralsection which representsmidday, takes the following form: rock thrushstrophe (10 a.m. ) - permutationseries - rock thrush strophe(5 p.m. ). The permutationsseries takes thirty-two chromaticdurations - reminiscentof 'Soixante-QuatreDuries' from Livre d'Orgue (1951). This sectionrepresents a 'cort6gede fantOmesde pierre,transportant une femmemorteTprocession of stoneghosts, transporting a deadwoman', the black redstartand various rock formationswhich suggestdinosaurs. In addition,the rock thrush is idcalised('idialisfl, displayingthe orange/bluccolours in its song,and, indeed,in its plumage.The stonedinosaurs, however, are representedby huge intervallicleaps, superior and inferior resonances,rapid changesof tempi and,once again,a permutationseries. It is interestingthat a non-birdsongsection can incorporateas manychanges of texture,rhythm and melodyas a sophisticatedpiece of birdsong.The end of dusk - the last section-

echoesthe sonoritiesof the introduction:the maleand femaleeagles are heard,while the 253 denselyscored cluster chords that representthe colossalhand of stoneconclude the piece in solemnthoughtfulness.

As hasbeen seen in Ta RousserolleEffarvatte' (VII), the grasshopperwarbler's trill representsmidday; in the sameway, birds in this piece mark the time of day. The j ackdaws

(p2) representdaybreak, while night-timeis suggestedby the maleand femaleeagle owls.

This is the first time that Messiaenhas differentiated the vocalisationsof maleand female: the male eagleowl hasa descendingchordal cry and a two-part glissando,but the female hasrepeated anapaestic rhythms and, towaids the end of the piece,an additionalrepeated successionof low basscalls - anapaest,iamb, two anapaests,iarnb [ex VIH/191. As

Johnsonpoints out, most impressively,Messiaen incorporates long silenceswhich divide passagesin the rock thrush's songsand are regularlyused in betweenthe cries of the male eagleowl. The silencesand sparsewriting createan atmosphereof expectation.

Interestingly,there are whole barswhere the composerspecifically requests no use of pedal.In a sectionthat depictsstone dinosaurs, short fortissimo accenteddurations are written, producinga stabbing,scathing effect. Onceagain, sparseness and anticipationare exemplifiedby two solitary serniquaverswith rests either side of them [p2l].

Ta Buse Variable' (M) is set at one end of Lake Laff-reyin Dauphin6,at the foot of the

'bare mountain'of the Grand Serre.The form is thus: 254

Introduction- first section- refrain- secondsection - refrain- third section- refrain- shortfourth section - coda

Eachof the sectionsis divided by a passagefrom the mistle thrush:open major and minor chordsaccompany the iambicrhythm in two parts [ex V111/201.This music is given the instruction:'strong, bright, nostalgic,bronzed colouration' (p5). The basschords alternate

C major with E flat minor, but it is the abovetwo-part figurationsin the right handthat providethe dissonance.Of most notablesignificance is the composer'semployment of openparallel Ms. Throughoutthis section,the third of the chord is in the top part of the left hand,while parallelfifths are found in the bottom two voices.In addition, parallel fifths can be found in the right hand.Furthermore, Messiaen groups similar intervallic relationshipstogether parallelsixths are incorporated,while major thirds are often o followed by minor thirds? [previous ex VIR/20 - p5, s3,b2]. Thesecharacteristically resoundingparallel fifths are alsoheard in someof the other bird vocalisations.The buzzard,for instance,includes three perfect Sthsin succession.In a later appearance,its

&mewingcry' is held togetherby openfifths in the right hand,and augmentedand perfect has fifths fourths in the left [ex VIII/21 - p12, s4, bl-31. The yellowharnmeralso parallel in its brief callsmarked 'fresh, naive'. However,it is not just parallelfifths that are prominent:of equalnote is the employmentof minor thirds followed by major thirds, as also is the use of parallelsixths and perfectfourths. The carrioncrow's song,for instance, is madeup of repeatedfalling climacuscells, written in thirds in the right hand,while an arpeggio-typefiguration appearsin the left [ex VIH/22 - p8, A, b2l. 255

Both introductionand coda comprisea) callsand cries of the buzzard,and b) its flight

'... in [and] in landscape'.Messiaen indicates which glides circles- ...takes the meticulously the italicised"24P instructionfor eachslow quaverbeat: this serenetwo-part passageis very widely spacedand uses a seriesof twelve-noteinterversions. This sectionis contrastedby the 'optimistic andtriumphant' song of the chaffinchthat declaresa homorhythn* call. Dramaticcontrasts are not uncommondevices used by the composer: the listenercannot help but recogniseexactly when (for example)a new bird vocalisation or descriptionof landscapebegins. A striking exampleis the interchangebetween the fresh openfifth callsof the yellowbarnmerand the sweet,high-pitched alternators of the goldfinch,whose dulcet tones are 'like smallbells", and havethe 'timbre of a glockenspiel'.

The only bird vocaUsationthat seemsto developinto a song- as opposedto the other short and discretesections - is that of the whitethroat,whose longer than averagepassage

(pl4-15) is animatedby its continuousdemiserniquavers with only occasionalrests. The piececoncludes, as it began,with the buzzard,followed by a representationof its flight; however,in this later versionit ascendsinto the air.21

'Le TraquetRieur' ('The Black Wheatear'- MI) is in severalways relatedto both 'Le

Traquet Stapazin'(IV) and Te Merle Bleu' (III). All three piecesare set in the Roussillon district. Te Merle Bleu' representsthe blue sea(in severalguises), its terrifying wavesand the resonancesof the rock faces;'Le Traquet Stapazin'views the scenefrom the mainland 256 side,depicting terraced vineyards, cork tree forestsand mountains.Te Traquet Rieur' is set nearPort-Vendres and also depictsrock facesand the blue sea.In addition,the piece sharesmany of the bird vocalisationsof its predecessors.

Here, the seais representedin three differentways. The first, entitled 'joie de la mer bleueTjoy of the blue sea' appearson four occasions(ppl, 6,12 and 19 of the score), dividing the threestrophes that presentvarious bird vocalisations.Each resonant appearanceis exactlythe same- eachsection begins with a resoundinglow basscluster chord, an A major chord in secondinversion, an ascendingbroken chord using only the root and fifth of the samechord, and is followed by a 'dazzling' fortissimogroup of chords.Additionally, all the strophesresume after a long pause.In Te Merle Bleu', A major is often referredto, particularlywhen accompanyingthe blue rock thrush.The openinglow basscluster chord, representingthe 'joy of the blue sea, is reminiscentof the

'boom of the surf, alsoin Te Merle Dieu'.

The 'coup de vent sur la merTgust of wind on the sea' is presentedby two-part homophony.the passagebegins in the bassand risesto the top of the piano'sregister, in a gradualcrescendo, and all in staccato(p 17). The 'poudroiementargent6 du soleil sur la merTsilvery dust hazeof the sun on the sea'is alsowritten in sen-ýiquavers,but this sectioncontains occasional four-part colour chords.Both of thesesections appear only once in the piece- in the last strophe. 257

The simpleform of the pieceis shownbelow:

Joy of the blue sea PI

StropheI pl-6

Joy of the blue sea p6

Strophe2 p6-12

Joy of the blue sea P12

Strophe3 p12-19

Joy of the blue sea P19

Apart from the three distinct appearancesof the sea,Messiaen also depictsvocallisations fromthe black-eared wheatear, swifts, herring gull, blackwheatear, blue rock thrushand spectacledwarbler. It is important,first, to differentiatebetween the black-earedwheatear

(principalbird of IV) andthe black wheatear(XII). The blue rock thrush,herring gull and swifts areused in Te Merle Bleu', while the black-earedwheatear, spectacled warbler and herring gull are employedin Te TraquetStapazin' - in fact, all the afore-mentionedbirds are found in this later piece.The swifts - only found in numbersand in the Catalogue d'Oiseaz,-x - are on both occasionsgiven the instruction,'strident': in Te Merle Bleu' they

are portrayedby three or four groupsof falling colour chords,whereas in Te Traquet

Rieur'. clusterchords are used,and a subsequentdirection, 'piercing', is included.Both

examplesare written in altissirniand are often presentedin falling two-chord phrases.The

blue rock thrush('Rieur' and 'Merle Bleu') andthe spectacledwarbler ('Rieur' and 258

'Stapazin')are representedwith a static chordalaccompaniment. The blue rock thrush, however,in Te Merle Bleu' also includesfrantic homorhythmiccalls. The spectacled warbleris usuallygiven the instruction,'with assertiveness',and in Te Traquet Stapazin', the directions'ensoleiII6, avec volubilitU'sunny, vAth assertiveness'and 'gaiTcheerful' are included.The herringgull, commonto all three works, is consistentlygiven short abruptcries. In Te TraquetRieur', its 'aboiementhurl6/'howling bark[s]' are reminiscent of thosefound in Te Merle Bleu': continuousrepeated cluster chords are always precededby a grace-notechord. Te Merle Bleu' also includes'ferocious' short rhythmic patternswhich portray a sniggering,almost persecutory manner. Te Traquet Stapazin' also presentsthe herringgull in flight. Onceagain, its vocalisationsare short andbrief; however,short quasi-glissandiare 'barked', precededby 'cruel' abrupt semiquavers,and a pattem of 'ricanementpercute, tr&s see'Psniggeringly percussive, very dry' staccato chords,written in the bassclef This givesthe listeneran idea of the rangeof its calls.

Te TraquetRieur' alsoincorporates these ubiquitous serniquaver cluster chords which are inunediatelypreceded by gracenotes in this 'dazzling' principalbird's song.In addition, the black wheatearis given a chordalaccompaniment, where frantic parallelfourths, in den-ýiserniquavers,dominate the right band.This principalbird is alsodensely scored with seven-partinvented chords which are no lesscolourful than thoseof the blue rock thrush's often affectionate,even languid sonorities [ex VIU/23a, b]. Just as before,in Te Merle

Bleu', it was surroundedby the modalinterludes of the rich blue sea,so herethe blue rock thrush againis accompaniedby theselush, often triadic harmonies.Indeed, there are frequentappearances of A major chords,accompanying the birdsongin the blue rock 259 thrush sections,and in thoseof the spectacledwarbler lex VIIU241. The pieceends, as it began,with the 'joy of the blue sea' involving both superiorand inferior resonanceeffects.

Set on the barrenisland of Ushantin the Finist&reregion of Brittany, Te Courlis Cendrd

('The Curlew' - XIII) is the final pieceof the CataloguedDiscaux. Messiaenuses so manybirdsongs in sucha short spaceof time and in sucha free fashionthat it would be confusingto try to establisha definiteform. Certainfeatures may, however,be distinguished:for example,the texture that representsthe soundsof wavesreturns from time to time in the piece,each appearance b.; ing conciseexcept for the additionalbass flourishesand rumblingostinato demisemiquavers which occur on page 13. Likewise,in the middleof the piecethere is a sectiondevoted to water, which beginsas a twelve-note

passageand graduallyleads into anothersection of notablelength which includesthe

programmaticinstruction, 'the night andthe fog spreadslittle by little'. Its thick chords,

which are intendedto be playedheavily and with, as Messiaenputs it, 'high hands',

continuouslydescend as darknessand fog createa generallyindistinct environment.A

fortissimoalarm is then given off from the lighthousein the form of a hugebass cluster

chord and inferior resonance.Further notablefeatures include the two subsequentalarms

which appearbetween this point and the end,interspersed with various caHsfrom the

herring gull, sandwichtem, little ringed plover, black-headedgull, little tem and redshank.

The ascendingchromatic quasi-glissandi of the curlew return: they are all identicaland

playedseventeen times. The piececoncludes with the 'bruit du ressacPnoiseof the surf

which, in a blaring reverberation,interchanges black-note ascending runs andwhite-note

clusters,all low in the bass. 260

The vocalisationsof the curlew are portrayedin three separateways. First, singleE flat and E minor chordsin the bassaccompany 'fluted' and 'sorrowful' colour chordshigh in the treble clef The secondversion is characterisedby chromaticruns and 'wild, passionate'trills, while the third includesthe 'tragic and desolate'repeated quasi-Slissandi effects.22 AD minor chord underlies this latter category, and is found in the curlew's final appearanceat the end of the work [ex VlflV25a, b, cl. 1

Apart from theselonger than averagesections, many short calls from variousbirds are soundedthroughout the piece.Messiaen employs mostly birds that are associatedwith the shore,often referredto as 'seabirds'.A list of the birds usedin Te Courlis CendW is providedbelow:

(Tuted 24 'wild 'tragic desolate') curlew , sorrowful'; and passionate';glissandi - and sandwichtem ('piercing') black-headedgull (cruel, [with] wicked pleasure) little ringed plover redshank('gentle andfluted') herring gull (occasionallywith the marking 'resonant,like homs') commonguH ('strident') guillemot oystercatcher tumstone 261

The abruptcalls of thesebirds are all extremelyrepetitive. For instance,one particular passageof the oystercatcherinvolves many separate parts, all of which comprisevery few noteswhich are repeated[ex VIIIV261.As is.common, each bar presentsa separate motivic idea,shown below: bI- interruptioncall b2 -5 tribachiccells + high accentedpitch W-7 iambs W-5 tribachiccefls b5 -4 iambs b6 -9 iambs V-3 tribachiccells + high accentedpitch b8 - trillings in clusters b9 - two-part homophony b 10 - trillings bII- scandicus(2-pt) b 12 -2 chords(Eb, D, E) b13 - scandicus(2-pt) b14 -3 chords(as 12) b 15 - scandicus(2-pt) b 16 -5 chords(as 12) b17 - two-part alternator bI8 - high-pitchedchord b19 -5 iambs

The shoreis perfectlycaptured by theseyelled, brief calls from the seabirds.

The Catalogued'Oiseaux has rightly beengiven particular emphasis,largely because so manytimbres have been created on this instrument,and so manypossibilities intimated for other instrumentsand combinations.In later works, the orchestrais to be usedwith the sameprecision. Indeed, Messiaen must havehad ideasof orchestration,as he includes instructionsin the Cataloguesuch as 'like a glockenspiel'(goldfinch, Te Traquet 262

Stapazin',p2), 'like a solemndrum' (Ta ChouetteHulotte, p6) and superimposesa multiplicityof similes:'like a clashof cymbals','like a tam-tam, 'like metallicvibrations' and 'like trombones'(Ta RousserolleEffarvatte, p42). Messiaen'sprogrammatic descriptionsalso give an impressionof the timbrethat is to be achieved.Timbre, at this stageof Messiaen'sdevelopment, has become of paramountimportance: it is for this reason,perhaps, that Messiaebdecided to exploreonce againbird vocalisationsin relation to orchestralmusic. 263

Notesto ChapterVill Both the numberof books and piecesin this work are prime numbers,reaffirming the composer'sparadoxical affiliation with asymmetricality/symmetricality. ' Material explainedin Messiaen'streatise, Technique de mon LangageMusical (Pads, Leduc,1944) - in other words, early procedures. 3 Although, in this work, only adaptationsfrom the originalsare used. 4 Articulation is excludeddue to the difficultiesthis would inflict on the performer. 5 Takenfrom the programmenotes accompanying 's recording,Erato: STU 70595-8. 6 SeeMessiaen Companion, ed. P. 1Ell (London, Faber, 1995),p327. 7 SeeRobert SherlawJohnson, LfelýiaM (London, Dent, 1976,revised 1989), pp 134- 135. 8 The goldeneagle is neverportrayed in song:only its flight is represented,carried as it is by the currentsof the air. 'A literal translationof the word 'doW (aswritten, by Messiaen,in the score)is 'gilded': it seemsthat the dominantpart, the left hand,is coveredwith gold reflectionsof the right hand.Gold appearslater in the work, seebar 115. 10These accents, especially those in the left hand,make it difficult for the listenerto differentiatebetween the first and secondgarden warbler. " MessiaenCompanion op. cit., p 334. 12These are translations taken from Messiaen'sannotations in the score. 11Messiaen Cp-=-ar-9= op. cit., p327. 14See Preface to the score. " SeeMessiaen's own footnote in the score. 16The musicis identicalexcept for the fact that the earlierversion repeats the first two barsafter the chordalsection, labelled 'tr6s lent. 17Technique de mon LangageMusical, op. cit., musicalversion, nos. 366A (p56) and 333 (p52). " Although not indicatedby Messiaen. '9 Thesecharacteristics are direct translationsfrom the score. ' The oppositeis also found, i.e. minor third/major third. In addition,Messiaen plays with inversions,mostly minor Oh/major3"', perfecte/perfect 5h relationships. 21In the first version,it descends. 22These trills are written a fifth apartgiving a very open quality. 23At the beginningof the work a sin-dlarlyspread bass chord is usedin E flat and E major. 24It is interestingthat Messiaenfrequently uses, as an indicationof timbre, the direction 'fluted': this term is employedby manyornithologists when describingthe characterof a bird's vocalisation. 264

Chanter IX: Use or Birdsom! in Selected Works 1960-1987

Chronochronýe(1960)

Heinrich Str6belcommissioned , and it was first performedat the

DonauescWngenFestival, Germany in October 1960.Chronochromie is an extremely complexwork for orchestrain which the piano- found in Rivell des Oiseaur and Oiseaux

Exotiques- is replacedby tunedpercussion. The title, translatedas 'The Colour of Time, suggeststhat birdsongis of lessintegral importance thar, in the inunediatelypreceding works, yet, in fact, Messiaenbrings together birds from suchdiverse countries as France,

Sweden,Japan and Mexico. It is apparent,however, that a balancehas been struck betweenbirdsong and other sourcesof musicalcomposition. The prevailingmoclus operandiof the secondand fourth movements(Strophe I& H) is basedon three superimposedpermutations, where thirty-two chromaticdurations are employed:each of the threepermutations is colouredin entirelydistinct ways.' Although the word 'time' is usedin the title, the work seemsto be timelesswith its almostimmeasurable freedom, producedby a multitude of superimposedrhythmic complexities.Typically, the bar fines- tp6de especiallyin the caseof the - are predominantlyused for co-ordinationby the conductorof the instrumentalists.Each permutation is assignedto a different metal percussioninstrument, and hasa separateintensity, timbre and pitch. Moreover, the harmoniesof the stringsproduce elaborate cascades of colours,while the whole registerof eachinstrument is explored'.He mentionsspecific colour combinationssuch as 'milky- 263 whitesonorous complex embellished with orangeand hemmed with gold' or 'palegrey

with greenand violet reflectione'.

Chronochromieinvolves many technical procedures, such as the interversionsystem,

alongsidewhat Messiaendescribes as 'natural material': both featurestake on equal

emphasisin the work. The pieceis divided into sevenmovements as follows:

Introduction

H StropheI

Ul AntistroPheI

IV StropheH

v AntistroPhe11

VI tpOde

VIE[ Coda

Takenfrom ancientGreek poetry, the triad (Strophe- Antistrophe- Epode) is extended

by the doublingof the first two movements,and by its framing- notably,the introduction

andthe coda.As in Greekpoetry, the stropheand antistropheare similarin format,

although,according to Messiaen,the musicinvolves different counterpoint,other rhythms

and colour chords?In the two strophes,three superimposedversions of three lines of

permutationson thirty-two note-valuesunderpin the movements.In Strophe1, Messiaen

superimposespermutations 1,2 and 3, andin the secondstrophe, permutations 22,23 and

24 are employed. The note-values are 'coloured', in order that the listener may recognise 266 thesepatterns. There are threeways in which this is done.The first is the 'minting' technique(Le Monnayage)where the long durationsare variedby the constantuse of subdivisions,effectively a commondenominator, in this casethe derniserniquaver(32" note) which is usedin the counterpointedbirdsong. The 'unfolding of durations' is given to the metallicpercussion instruments: the upper 'unfolding' is playedby three gongs,the central'unfolding' by the set of bells,and the lower unfoldingby a Chinesecymbal, susPendedcymbal and tam-tam.Secondly, timbre is vaned constantlythrough the colour chordsand elaborateinstrumentation. The third techniqueis namedby Messiaenas gstrainsof chords'. The attacksof the metallicpercussion instruments are doubled, underlinedand prolongedby chordson twenty-two solo strings.The strophesuse the permutationseries throughout the movement,as a cantusfirmus.

The antistrophes,are both closelyrelated in structureand also employthree permutations of the durationalseries. However, the antistrophesuse only part of the permutationseries at the endsof the movements.The antistrophesconcentrate on the songsof the song thrushand skylark,played on variousinstrumental combinations lex DUIa, b].

The introductionmakes use of bird vocalisationsfrom the osprey(Sweden), Paradise and

Narcissusflycatchers (Japan), grey thrush(Japan), Japanese bush warbler (Japan)and the acute,fortissimo calls of the white-tailedeagle. Interversions are employed,and there are two sectionsrepresenting the rocks and mountaintorrents. The rocks are inspiredby fortissimo'jagged' twelve-notechords played by the whole orchestra,while the mountain torrents are portrayedby flourishesof quintupletdemiseýniquavers in the violas anda 267

'vaporousconfusion' of trills on the secondviolins. The Narcissusflycatcher's short passageis writtenfor the xylophoneand marimba: both instruments play concurrently in a high-pitchedfashion, producing a porrectuscoloured by the woodwind, and are involved in an ascendingglissando lei DU2 - p221.The codauses most of the sametextures as its earliercounterpart, although the songsof a few additional-birds are included,notably the little.cuckoo (Japan),the blue flycatcher(Japan) and the white-eye(Japan) [ex VU3]. The work concludeswith the denselyorchestrated accented chords of the white-tailedeagle

[ei IX/4].

tp8de The sixth movement- the - causedan outcry at its first performance:reminiscent of the dawn chorusin NMI des Oiseaza,this movementinvolves eighteen solo stringsin an

into almostcontinuous four-minute outpouring of birdsong.The movementis divided two

sectionsas fbUows:

Section I ppI55-178

Section 111 pp178-204

The first sectionassigns one solo instrumentto eachbird's song,while any changesin the

secondsection are shownhere in bold: 268

Instrument V Section 2rkdSection

I' violin I l' blackbird I' blackbird

nd nd I' violin 2 2 blackbird 2 blackbird

I' violin 3 Ydblackbird Ydblackbird

I' violin 4 4hblackbird 40'blackbird

I' violin 5 yellowhammer yellowhammer

I' violin 6 1Agoldfinch linnet

nd 2 violin I chiffchaff chiffchaff

2 nd violin 2 2ndgoldfinch Ist gardenwarbler

2nd violin 3 whitethroat whitethroat

ad 2d violin 4 lesserwhitethroat 2 gardenwarbler + lesserwhitethroat

Vdviolin 5 1" chaffinch [continueswithout break]

2 ndviolin 6 2dchaffinch [continueswithout break] viola 2 5h blackbird 5h blackbird viola 3 Ohblackbird 6h blackbird viola 4 greenfinch greenfinch ceUo I I't golden oriole I Stgolden oriole viola I nightingale nightingale cello 2 2nd golden oriole 20dgolden oriole

At the beginningof the secondsection (p 178)the songsof the linnet (I't violin 6), first gardenwarbler (2" violin 2) and secondgarden warbler (2ndviolin 4) are heard,while the 269 representationsof the two chaffinchescontinue vAthout a break.The most dominant voice at this stageis that of the linnet,marked fortissimo: it is accompaniedby theother birds'

songs,which remainwithin the dynamicrange p-pp [ex DUS]. The characterof its first bar

is striking, consistingof three rising anapaestsinterrupted by a simplespondee.

The first section,therefore, assigns one solo stringedinstrument to one bird's song,

occurringin staggeredentries: each instrument plays this song until the half-waypoint. At

the openingof this secondsection most of the birds are silent: the linnet andgarden

warbler are heardfor the first time, while the chaffinchescontinue as before.Gradually,

blackbirds,a whitethroatand nightingaleadd to the texture; with the exceptionof the

Unnetand garden warblers, all instrumentsare portrayingtheir original bird vocalisations.

The only other changein the movementis that, nearthe close,the secondviolin 4 returns

to the lesserwhitethroat.

In sucha complexmovement that consistsof perpetualvariation creatingan improvisatory

qualityPit is difficult to graspthe unifying characteristics.Certain features, however, are

persistentlyrepeated in the samepart. The first and secondcello parts (I" and 2dgolden

orioles) are generallylower in rangethan the other songs;in addition,triplet semiquavers,

falling,intervals in slursand glissandieffects predominate. The call of the yellowhammer

by (1' violin 5) involvesthe sameiambic ostinato pattern - gracenote E naturalfollowed

an A naturalin semiquavers- throughoutthe movementlei DU61.Similarly, the chifthaff

(2'dviolin 1) is very repetitivewith its continuousgrace note 'chirpS,4 lei IX/7], while the

nightingale's(I" viola) idiosyncraticquintuplet and sextuplet'machine-gun' 270 denýisenýiquaversand scandicuscells also achieveaudible coherence lex LX/8]. For the listener,the score'scomplexity is heightenedby the overlappingof rangeand by the similarityof timbre: solo stringedinstruments are usedthroughout. Perhaps Messiaen is suggestingthat it is difficult to decipherso manybird vocalisationssimultaneously when listeningto a dawnchorus in. the field. With sucha limited variety of timbre,Messiaen is forced to employvaried rhythmic and pitch featuresin order to highlight important texturesand parts of phrases.The composer'svaried use of dynamicsachieves this to someextent; however, many phrasesare undoubtedlyconcealed due to the fact that they are overshadowedby pitchesin the sametessitura., or sýmplybecause the humanbrain is unableto deciphersuch complex polyphony.

The r6le of the instrumentsthat Messiaenchose for Chronochromievaries dramaticaUy throughout.The clarinetsare given the agile solosof the two marshwarblers [ex DU9 -

Strophe 1, p39] and add to the colourationof the songthrush in a contrastingchordal fashion[previous ex DUIb]. The violins are alsogiven varying tasks,from the interruptioncalls echoing the ospreylei IX/jo - p2l] to a complexharmony involving a superimpositionof interversionslei DUI I- p39], from clustertrills lei DU12 -p 181to tp6de. the agile recapitulationof blackbirds,yellowhammers, goldfinches in the This notion of 'The Colour of Time' - using colour chordsto accentuateor underlinebird importancein future vocalisations- is to becomeof paramount orchestralworks.

Moreover,instruments are intendedto perform a variety of tasks,providing accompaniment,a dominantmelodic he, or evenproducing special effects to enhance 271 birdsong.As in Messiaen'suse of thepiano, the rangeand capabilities of eachinstrument are fully utilised.

SeptHaTkaT (1962)

As a direct result of a tour to Japanwith Yvonne Loriod, Messiaenhad noted down

Japanesebirdsongs new to his repertoireand hadbeen influenced by their habitat,as well as by the Noh theatreand the 'Gagaku' Japanesecourt music.The use of variousmetallic percussioninstruments, xylophone and marimbaadds to the senseof the Orient: impressionistically,in this piece,the Japanesebirds seemto co-existin a suitablesetting.

The choiceof instrumentationis minimaland, compared to the traditional symphony orchestra,heavily dominated by wind andpercussion instruments. Catalogue d'Oiseaux hasbeen shown to be written in a block-like fashion- that is to say,bars or sectionsof musicrepresent an environmentalfeature, animal(s) or bird vocalisation,and there is very little developmentor superimpositionof two or more different features.Sept Halkar, more effectivelythan in Chronochromie,combines many different musicalfeatures including birdsong,dqIi-tilas, rhythms,colourations, permutations el aL However, the orchestrais dividedinto separateblocks in both the layout and the scoring:within eachgroup, the instrumentsare given similarrhythmic features or, often in the caseof the eight violins, are

scoredhomorhythmically. There are, of course,solo lines given to the piano', xylophone

and marimba:the piano is ableto play hugechords on its own, while the marimbaand xylophoneoccasionally combine in two-part homophony. 272

The groupsare as follows:

Group I- piccolo, , 2 ,cor Group 2- , trombone

anglais, in Eb, 2 in Bb,

bass clarinet, 2

Group 3-8 vioHns Group 4- xylophone, marimba (soloists)

Group 5- piano (soloist) Group 6- cencerros, bells, crotales,

triangle, (and often in one line only)

cymbals, 2 gongs, Chinese cymbal, 2 tam-

tams (C. G. C.T).

In the first movement,'Introduction, the piano playsa tila labelled'rythme droit' and the woodwind playsa retrogradeversion of the sametila. The percussionhas the 'rhythms of the three shakti' (colouredby the brass),the marimbaand xylophoneplay anothertila,

migra.varna, which graduallymerges into simhavikrarna,and eight violins play a melodic

line simultaneously.In this case,uncharacteristically in Messiaen'smusic, the melodyis

subservientto the rhythn-dcstructures. This must be what Messiaendescribes as 'true

heterophony'.The coda,too, is a continuationof the superimpositionof rhythmic

sequences-and melodic line in the eight violins. 273

These'block-like' formationsare usedthroughout the work with a few single-voiced polyphonictextures as exceptions.There are, however,two movementsthat involve birdsongas material.The first exampleis the third movement,'Yamanaka-Cadenza'

(pp2745). The form is an ABABAB structure,thus:

Bird.Chorus I ...... pp27-30 PianoCadenza I (Narcissusflycatcher) ...... pp30-32 Bird Chorus2 ...... pp32-35 PianoCadenza 2 (grey-headedbunting, Japanese Skylark) ....pp35-37 Bird Chorus3 ...... pp3743 PianoCadenza 3 (grey thrush)...... pp43-45

At the opening,the woodwind representsthe birdsongsin full chorus.The black-faced bunting,Japanese yeUow bunting, grey thrush,Japanese white-eye, Indian tree pipit and the Narcissusflycatcher (whose song is given dominancebeingforte) are portrayed, shortly followed by the paradiseflycatcher and blue flycatcher[ex LX/13]. In the first bar, the Narcissusflycatcher repeats the samechoriambic ceU three times (-UU-), while both grey thrush and alpineaccentor have anapaestic rhphms (UU-), being, in a sense,mere extensionsof the choriamb.Messiaen chooses to presentthe importantNarcissus flycatcher'ssong with dfferent instruments,singly or in combinations.In fact, during the courseof this movement,it is givento the first and secondclarinets in Bb (pp27,29), flute

(p29), clarinetin Eb, secondoboe (p34), Marimba(p. 37) and hasthe piano (p30-32) developits characteristicin its first cadenzalei DU14a, b, c, d, el. In the choruses,the 274

Narcissusflycatcher's song involves numerous ascending dcmiserniquavcr runsý and short repeatedcalls - oneof whichuses three of the exactpitches found in the scandicusmotive of the ubiquitousJapanese bush warbler's call (F#-D-Ab)7lei IX/15a, b] Indeed,its immediatelypreceding motivic cells also employthe sametriplet rhythm. The Narcissus flycatcherin its cadenzaof page30-31 involvesmany repeated homophonic patterns, high-pitchedalternators and isolatedcolour-chords. Some of the repeatedpatterns use colour chords,especially at bar 14 of the cadenza,where an accentedchord of a serniquaverin durationis Mowed by a rapid group of three chordsalternating white and black notes.Perhaps this bar may be describedas an accentedchord followed by a chordal anapaest;but, as eachbar employsthis formula, it maybe justifiable to labelit a choriamb.

Indeed,bar 6 is a choriambwith an extra chord at the beginning,as is bar 20 an extended paeonIV, beingderived from bar 17. Therefore,the cadenzamay be categorisedas foHows:

bar metre other features texture 1-3 choriamb descendingcefls homorhythmic/2-Pt 4 rest rest rest 5 spondee widely-spread chords 2 chords 6-7 extended choriamb homorhythmic 8-9 3/16 repeated 5-note cell 2-pt 10-12 extended choriamb homorhythmic/2-Pt 13 anapaest homorhythmic 14-15 choriamb as 13 homorhythmic 16 3/16 1 chord 17-18 paeon IV descendingflourishes 2-pt chords 19 descendingflourishes 2-pt chords (taken from b 17 & 18) 20-21 extendedpaeon IV ascendingflourish 2-pt chords 22 rest rest rest 23 3/8 3 chords 275

24-26 iamb, tribach, spondee 2, porrectus, 2 2/3-pt homophonic/ homorhythmic 27 flourish 'scattered' 28 spondee 2 chords 29-30 extended choriamb homorhythmic 31 rest rest rest 32 4/16 homorhythmic (6-pt) 33 ascending2-pt flourishes 2-pt chords 34 rising alternator 2-pt chords 35 6/32 2 chords (2-pt) 36 2/4 1 chord (4-pt) 37 rest rest rest (Note:when more recognisable melodic and rh)lhmic featuresare used, in relationto plainchantand prosody,motivic classification tables are now more succinct).

The Narcissus'representation in the xylophoneoften recallsthe soundsof the nightingale, with its 'machine-gun'effects on repeatedF naturalsextuplet demiserniquavers. Sinilarly, the grey thrush's descendingharmonic calls are reminiscentof thoseof the principalbird in Ta ChouetteHulotte' (CataloguedOlseaux no. V).

The bird chorusesare underpinned by a rhythmiccontinuum on the metalpercussion - four independentWas using irrational values- and a call from the Japanesebush warbler which, interrmttently,is portrayedby a long durationin crescendo,followed by a rapid scandicus.All versionsbegin on a differentpitch, but they all havethis melodicshape and identicalrhythm - the tritone is presentonce again. Played on the trumpet, this call is given notableprominence. In addition,the first andsecond bird chorusesuse almostall the same birds; althoughthe birds' actualsongs are varied constantly,the superimpositionis the same.The third bird chorus(pp37-42) introduces the Japaneserobin, red-flankedblue-tail, crown willow warbler,hawk cuckoo, Japanesegrosbeak and stonechat. 276

The secondmovement that involvesbirdsong is numbersix, 'Les Oiseauxde Karuizawa'.

This movementalso includestwo piano cadenzasand featuresharmonic ostinato and rhythmiccontinuums in the samevein asbefore (Indian tree Pipit song)and the 'tr6s dansle dans rythme- percut6sec grave,aigre et criard Vaigu' sonoritiesof the great reed warbler lex DU16a, b, cl. Notable similaritiesare to be found betweenthe '6- yoshikiri'/Japanesegreat reedwarbler's cadenzafound herewith its Frenchcounterpart,

'RousserolleTurddide', found in the seventhmovement of CataloguedDiseaux [ex

DU16c, d] Here, the openingiambic rhythms in the bas3and the two colour chordsin the treble are almostidentical in sonority and shapeto thosefound in Catalogued'Oiseaux.

The two-part alternator(in bar 10 of the 2d cadenza)is similarto the alternatorof the

Frenchgreat reed warbler which is giventhe marking 'thrashed,clanking'NW6, bruit de ferraille'. The fortissimo spreadchords in an iambicmetre (bars 11-13)are also found in

'La RousserolleEffarvatte', althoughharmonised differently (pplOS-109).

Again, the Uguisu (Japanesebush warbler) is featuredthroughout this movementin

is variousguises. Although manyof the birds usedin movementthree alsoappear here, it the Japanesebush warbler's rhythmic shape- long duration followed by an liclatant' fact both scandicusg- that relatesthe two piecesso closely,as well as the that they incorporatea pianocadenza. The Japanesebush warbler is usuallyrepresented by group I

(woodwind section)with a trumpet lex IX/171. At other times, its appearancesinclude the singletrumpet, oboes and (p I 11). Furthermore,towards the end of the piece,the

Japanesebush warbler is pre-figuredby flourishesfrom the woodwind sectionin a 277 climacticcrescendo, joining the flute, first , trumpet and trombonein a subsequent pianissimotrill. At figure 27, this makesway for a chordal tripleted alternato?which is graduallyslowed by the use of augmentingrests, concluding the movement.

The metallicpercussion section adds to the sonoritiesmade by the solo lines and the

'blocks' of instruments.These unique superimpositions provide inexhaustiblepossibilities for further timbres,accentuating the beautyof the exotic birds' vocalisations,especially vviththe xylophone,marimba and metallicpercussion ensemble. All the textures

enumeratedby Shu-Sunare employedin thi-,work which is basedon suchan unusual

combinationof instruments.

Couleursde la Cit8 Celeste(1963)

Heinrich Str6belrequested Messiaen to write a work for threetrombones and three

xylophones.The composeraccepted the task, while includingseveral other instrumentsin

order to producea variety of timbre, andto support this unusualensemble. Messiaen

immediatelysaw the possibilitiesin the trombonesfor an apocalypticsonority. " Added to

the brassinstrumentation is a basstrombone, three ,trumpet in D, and two horns

in F. The threexylophones became xylophone, xylorimba and marimba,while it was

thought that three clarinetswould accentuatethe subtletiesof the aforementionedtuned

percussioninstruments. The pianois also employed,often with a percussivequality to

matchthe xylophone-trio.Bells, cencerros,four gongsand two tam-tamscombine with 278 thesesonorities and - althoughthe piecewas written only one year after SeptHmkd - oflen produceGamelan effects lex DU18 - p491.

Messiaentakes five quotationsfrom the Book of Revelation:

1 'a rainbowsurrounding the throne' (IV, 3)

2 'and the sevenangels had seventrumpets' (VIII, 6)

'to the star was given the key to the botton-desspit' (IX, 1)

4 'the fight of the Holy City was Ekea jasper stone,clear as crystal' (=, 11)

5 'the foundationsof the wall of the City were garnishedwith all mannerof precious stones:jasper, sapphire, chalcedony, emerald... ' (=, 19,20)

Someof the colours,are noted in the scorein relationto certainharmonies. In additionto the programmaticnature and the sourceof inspirationof the work, Messiaencites four plainchants,and includes them in the music.In fact, the most frequentlyemployed plainchant,'alleluia of the eighth Sundayafter Pentecost'(mode six), is usedon two occasionsin almostGregorian style. The following is a Estof the four afleluias:

I eighth Sundayafter Pentecost- MagnusDominus

2 fourth Sundayafter Easter- ChristusResurgens

3 CorpusChristi (Holy Sacrament)- Caro Mea,

4 feastfor the dedicationof the church- Aborabo 279

The first alleluialisted aboveis the most frequentlyused here, and for brevity, it is to be referred as Alleluia (8h P).

The list ofjewels found in the last quotation.from scripturestresses the importancegiven to colour associations,symbolically those of CelestialJerusalem (Paradise). Indeed, the first.quotation mentions the rainbow: Messiaenhas often saidthat it is the ornissionof a tone in a full compendiumof sernitonesthat producescolour.

As in previousworks, Messiaenalso uses Greek and Shamgadcva(sp) rhythms,which form a rhythmiqstructure in the work, and pennutationof intermsions. The central sectionof the work, from figure 42, first combinesinterversions, dqli-tlilas rhythmsand other 'groups' of material.It is thesecombinations of timbresand rhythmsthat createand intensifythe contrastsand transformationsof sonority.The Sharngadevaand Greek rhytlu-asare dramaticallyopposed to the simpledurations deployed in the colour chords and plainchants.

The form of the work is sectional.The three main sectionsare precededby an introduction and followed by a coda.The introduction(pp 1 -5) introducesbird vocalisations,a short piano cadenzaand the first statementof the alleluia(8" P). The first section(pp 6-2 1) displaysbirdsong, symmetrical arrangements of colour-chords,an alleluia(8h P), two quotationsdepicting 'the star that hasthe key to the bottomlesspit' and 'Eke a flashof lightningthat illuminatesthe sky', anotherpiano cadenza(this time from the meadowlark), a refrain andthe first phraseof the CorpusChristi alleluia.The middle section(p2148) 280 displaysraucous 'cries' from the barc-throatcdbcllbird, and flourishesfrom the red- breastedtoucan. The alleluia for the fourthSunday in Easteris heardfor the first time and a rhythmictila is superimposedupon permutations13,14 and 15. The third section

(pp48-60)presents the alleluia(8h P) in varioustransformations. It is first found (1) as an introductionto the section,(2) with tila (producingGamelan effects in the instrumentation),(3) superimposedwith the alleluiafor the dedication,(4) with

Sharngadevamotives, and (5) as a slow 'ecstatic' version,harmonised with colour-chords and fragmentsof tila on the piano.The coda (p6l-73) hasfurther strophesof birdsong.A piano cadenzarepresenting the stripe-backedwren opensthis section,followed by a frenzy of polyphonysuperimposed on tila andalleluia (S'h P). The rest of the coda consistsof a piano cadenza;representation of the chasm;reft-ain; reappearance of the symbolismof the abyss;flashes of lightning; and a concludingCorpus Christi alleluiain solemnity.

As in Oise= Exotiques,here Messiaen combines birdsongs from manyparts of the world

(New Zealand,Argentina, Brazil, Venezuela,Canada) which would not be heardtogether in the wild. Birdsongis includedhere for, asMessiaen put it, its 'intrinsic beautyand as a symbolof heavenlyjoy': for the composer,his CelestialJerusalem (or Paradise)would embracebirdsong.

The birdsongis generallygiven to the clarinets,piano andxylophone-trio. In the

Introduction,for example,the parsonbird (New Zealand)is representedby sharp, accentedchords on the three clarinets,by falling cluster chordson the piano, and by a combinationof clarinets,piano and xylophone-trio.Before figure 2, the rising call is 281 colouredby clusterchords on the piano.The form of the parsonbird's opening vocalisationis as follows: bar melodic shape/ metre instruments other features high-pitchedchirp 3/16 3 cl 2 falling clusters double-iamb pno, 3 porrectusflexus paeonIV 3 cl 4 scandicus bacchius xyl-trio 5 porrectusflexus, paeonIV, iamb xyl-trio, 3 cl & pno interruptioncall

However,the xylophone-trioalso colours, the clarinets' timbre in the vocalisationsof the greatkiskadee and, in the caseof the yellowhead,they interactwith the piano [cx DU19aq b- p2, rig4 & p3, rig5j. The metallicpercussion and xylophone-triooften manufacture

Gamelansonorities, reminiscent of SeptHa&aT. At thebeginning of thethird section, wherethe alleluia(8 th P) is superimposedon various Shamgadevarhythms, the cencerros andtubular bells produceJapanese qualities due to the fact that the piano simultaneously plays 'stained-glass'effects and high-pitchedcluster-chords. These sonorities are regularly in the backgroundhelping to producecolours such as greenemerald and violet amethyst

(p 15), and interactingwith the more regularwestern instruments.

Certainbird vocalisationsare given full supportby the orchestra.The bare-throated bellbirdfrom Brazil is givenchordal 'arrach6, cri6'/'snatched,, cried' iambiccalls at the beginningof, and periodicallyin, the secondsection. These calls are playedby one,two or tbree clarinetsaccompanied by a trumpet in D, trumpetsin Bb, horns,trombones, piano 232 and all the tunedpercussion. Although no crescendois marked,the secondchord in each

&cry'is given emphasisby beinghigher in pitch and accented.It is importantto note that the first clusterchord in the pianouses only white keys,while the secondemploys only black keys" [ex IX/20].

Five brief cadenzasare found at variousstages in the work; as in previouspieces, the pianois the designatedinstrument. The five piano cadenzasare listed bclow:

(1) p2 fig 3 stripe-backzdwren

(2) p19 fig 31 Westernmeadowlark

(3) p6l. fig 80 stripe-backedwren

(4) p66 fig 86 Mexicantropical mockingbird

(5) p72 fig 97 Westernmeadowlark

In the first cadenza,the stripe-backedwren (1) is portrayed(at figure 3) using several motivic ideas- eachfeature designated a bar to itself - and with the indication 'sans battue'/'without pulse'. Two-part homophonyis employed,together with the aforementionedscandicus cell (anapaest:demisemiquaver - derniserniquaver - serniquaver12) while. additionally,quick flourishesof clusterchords produce a vivacious, colourful song lei LX/211.This bird is also portrayedin the third cadenza(figures 80-81) at the begirýg of the coda,page 61. Here, all the samefeatures are deployed;however, deeplycoloured chords are included.The Westernmeadowlark of Canadaalso hastwo 283 smallcadenzas: (2), at figures31-32 towardsthe end of section 1, and (5) at figures97-98 beforethe finalCorpus Christi alleluia which completes the work. Thesecond of these cadenzas(p72) usesthe samewidely-spaced, four-part chordsand similar flourishesas the first (p 19), which - given the indication 'muffled' - comprisesjust three features,as follows:

a) two widely-spacedchords b) single-fineflourish c) anapaest(chordal)

The form of this cadenzais a permutationof the abovefeatures, thus:

1) a-b [rest]

c-a-b [rest]

a-c (extended) -b [Test]

[ex IX/22 - p19]

The other cadenza(4) is a representationof the Mexicantropical mockingbirdat figures

86-87, after the frenziedpolyphony of birdsongsuperimposed upon tila and alleluia(S'h

P). Here, like manyrepetitive examples found in the piano cadenzasof OiseaurExotiques, the Mexicantropical mockingbirdrepeats the samecolour-chord two or evenfour times, while the last phraseis a deeplyenriched colour-chord alternator lei LX/231. 284

The precedingpolyphonic 'tour de force' representsthe long-billcdwren (I' clarinet), southisland green kaka (2d clarinet),yellow-rumped cacique (3d clarinet),rufous-bellicd thrush (piano),various tila and the alleluia(S'h P) superimposedon one another.Later, more birdsongsare introduced:some are replacements,but othersare additions,most notablythe three-partversion of the takahe'ssong played on xylophone,xylorimba and marimba,and the rufous oven bird, which is given incessanttriplet den-dsemiquavers,and also employsthe xylophone-trio- creatingfurther Gamelaneffects.

In this work, Messiaenhas said that the form 'dependsentirely on colours'. Although it is

is useful to breakthe work up into sections(introduction - three sections- coda), it the array of coloursin Messiaen's'Celestial City' that perhapscreates the greatestimaginative impacton the listener.The specificinspiration of the piece- the Book of Revelation- givesthe work a mysticaland visionarydimension, containing as it doesdazzling apocalypticapprehensions of colour, birdsongand plainchant.

Et Exspecto Resurrectionem Mortuorum (1964)

Messiaenoriginally intended this work to be performedin a vast open space- perhapsa large churchor Cathedral,or evenin the openair or amongstmountains. The simplicity of the piece- both the first sectionof MovementI and the last sectionof MovementV involve very simpledurational values indeed - presentsa strengthenedmonumental power.

The piano and stringsare left out completely;instead, the orchestrationconsists of 285

eighteenwind instruments,a sixteen-strongbrass section - includingsix homs and a bass

saxhornin Bb - and an impressivepercussion section.

The work is divided into five movements,each of which is precededby a quotationfrom the Bible. Thereis very little use of birdsong.In fact, only two birds arc mentionedin the score.The first is the AmazonianUlrapura (or musicianwren) which appearstwice in the

third movemententitled, Vheure vient o6 les morts entendrontla voix du fils de

DieuTthe time comeswhen the deadwill hearthe voice of the Son of God' (St JohnV,

25). TI-dsparticular species is saidto be heardin the hour of death,and symboliseshere an

innervoice of Christ wAing the deadfrom their rest, announcingthe irrunincnt

resurrection.The movementis divided into two halves,each of which employsthree

elements:

I uirupura outbursts

2 tubular bells - two setsof four notes(the secondbeing a pennutationof the first) frenzy, 3 Tutti - brief, rapid -a tumultuous overlappingwith the pp-ffff trill of gongsand

tam-tam(s)

The AmazonianUirapura's caU is expressedthrough brief bursts of sound-a raucous

successionof chords,short note valuesand quasi-glissandiin crescendolei DU24 - p32]. 286

The calandralark 13 appears in the fourth movementwhich is headed,'lls ressusciteront, glorieux,avec un nomnouveau - dansle concertjoyeux des itoiles et lesacclamations de fils du ciel... /'They will rise againin glory, with a new name,and join the blissful concert of the starsand the acclamationsof the Sonof Heaven...' As is evidentin thetitle, the calandralark was chosenmainly, as Messiaenrelates, for its chirruping,joyful qualities: this birdsongalso symbolises'celestial joy and one of the four qualitiesof the glorious souls,the "gift of agilit3e"14 [ex IX/251.

Movementfour is divided into six sections:each section is prefacedby threetam-tams playingthree 'long' seýnibreves,falling in thirds - representingthe Trinity, needlessto say.

Thefinal linking group of threenotes, however, is joined by six gongs:two-by-two, their

staggeredentries are also in minor and major thirds. The various vocalisationsof the

calandralark are representedin two of the six sections.The simpleform of the movement

is asfoHows:

tam-tams 1) Easter Introit

tam-tams 2) Calandra lark

tam-tams 3) Easter Introit

tam-tams 4) Calandra lark

tam-tams5) Easter Introit (with 'theme of the first piece', and tila)

tarn-tams(with six gongs)6) forceful successionof semibreves- whole orchestra 287

The songof the calandralark contributesa rhythmic vitality to an otherwisestatic set of chords.As its song symbolisesthe 'gift of agility', Messiaenwrites a numberof barsof varyinglength, all in a rapid tempo.With occasionalexceptions, each bar is given a separatetime-signature. At the tempo marking,'Un peu vif' (serniquaver- 200), the first few bars of its first appearancepresent a serniquaverchord, anapaesticchordal flourish, double-iamb,two loud serniquaverchords, a high-pitchedshriek and a chordalalternator all in the spaceof a coupleof seconds[previous ex IX/25 - p48, sl,, b1l. Messiaen cleverlyand regularlydivides high-pitched shrieks with harmonicalternators, as seenin the previousmusical example. In addition,the secondappearance of the calandralark's song beginswith two setsof three chordsmaking up a cell: eachchord hasseveral notes played by most of the woodwind section.It hasnow becomecommonplace that a representation its of a bird's songmay need- in order to portray fully the colourationof song-a number is of instrumentsall playingdifferent pitches.The dynamicsong of the calandralark broughtto life by the colour-chordcomplexities and the perpetualfluctuation of pulseat it is sucha rapid speed.As Messiaenbecomes more interestedin colour associations, inevitablethat his birdsongsare presentedin a more highly developedtimbral fashion.

M6ditationssur le Myst6re de la SainteTrinit6 (1969)

TheMiditations is the first major work for organ sinceLivre d'Orgue (1951). Here,

Messiaenincorporates features commonly associated with his uniquestyle: birdsong, religioussymbolism, plainchant, the modesof limited transposition,Hindu and Greek rhythms,water drops, addednote valuesand colour combinations.However, a new 288 compositionalidea is deployedin the Meditations- 'le langagecommunicableTthe communicablelanguage'. Although Messiaen has admitted that it wasa game,each note, beginningon the A abovemiddle C, is assigneda letter's, while the remainingletters (I-Z) are allocatedpitches both in fixed registersand with fixed durations.A musicalfeature is assignedto essentialverbs, and to Latin casesgiven before nouns.In addition,the Trinity is given melodicand rhythmicfeatures. These complicated rules makeit possiblefor

Messiaento spell out passagesfrom SaintThomas Aquinas, albeit without adverbs, indefiniteor definitearticles, pronouns or prepositions.

The work is dividedinto nine movements,each movement eulogising an attribute of the threeparts of the Trinity. Meditation I is dedicatedto 'God the Father' and involvesa substantialpassage which employsthe 'communicablelanguage' outlining a portion of

SaintThomas Aquinas' 'SummaTheologica'. The secondMeditation is devotedto holiness,opening with a plainchantin octaves,'Alleluia de la D6dicace'- 'Dieu est

Saint'/'God is Holy'. The form is divided into two equalparts, both of which use the same sectionsof materialin the sameorder, endingin a coda.The form is shownbelow:

Part 1 Pairt 2 a) Plainchant and passagerepresenting the a) Plainchant and passagerepresenting the holiness of Christ holiness of Christ b) wren b)wren c) coloured chords c) coloured chords d) blackbird d) blackbird e) chaffinch e) chaffinch f) garden warbler cadenza Ogarden warbler cadenza g) blackcap g) blackcap Coda Plainchan't yellowharnmer 289

The plaincbantis written in octavesand in five phrases,the last concludingwith repeated

staccatoA naturals.Both the passagesrepresenting Christ's holiness('Gloria de la

Messe') andthe sectionI haveentitled 'Colour chords' (en trio) involve manychords that

aretriadic, yet enclosing(for example)major 6ths, 9ths and 7ths -a devicedescribed in

'Techniquede mon LangageMusical' whenreferring to very early works. The last chord

in the first 'PresqueLent' sectionis simplyA major in first inversion.Messiacn's

resolutionsare in the form of chordalcomplexes, foHowed by a colour chord.Here (p16,

s4, W), the top line (G natural-Fnatural) is statedand twice repeatedbefore the final

chord of the passage:this simplemelodic cell is richly harmonised.It is interestingthat the

composer,in manycases, has resorted to earlier 'style oiseau'.The blackcap,for instance,

is representedby a single-linetexture accompaniedby an A major chord with an added

sixth (1' inversion)lex M26]. If melodicand rhythmic characteristicsare combinedthen

its phrase(p19) maybe characterisedas follows: iamb - porrectusflexus (paeonIV) - iamb. birdsongis found in porrectus- group of 5- anapaest- Similardecorative early

piecessuch as the sixth movementof the TurangafflaSymphony, 'Jardin du Sommeil

d'amour' or evenin the Vingt Regardssur PEnfantJisus. Indeed,the gardenwarbler's

cadenzais alsoin a singleline texture in continuousdemiserrAquavers, occasionally broken form is based up by a singleserniquaver beat or rest [ex DU271.As in earlierworks, the The uponjuxtaposed birdsong rather than the superimpositionof manybird vocalisations. including wren, however,involves - in a very short time - severaldifferent textures a two-

part alternator,jagged two- and three-partphrases (anapaest, bacchius), a two-part trill,

two-part homophonyand three sharpchords (homorhythmic) [ex U081. The more

innovativesong of the blackbirdis dividedinto two distinct textures.The first is a single- 290 line texture and the secondinvolves a homorhythmicmotive, a chordaltrill and a two-part flourishwhich consists, most notably in its secondappearance, of two chords,the first higherthan the other, resultingin a 'twit-too' vocal shape.This falling shapeis found on manyocpsions throughoutthe work [ex DU29 - p221.

The third, brief meditationrefers to a text by SaintThomas Aquinas, and is the only movementto makeuse of the 'communicablelanguage'. The right handpart, here,states the text, while, in Indian rhythms,the other two stavesaccompany it: the pedalpart, like the top line, is monophonicand showssimilar intervallic leaps,but the middleline is in two-parts continuously.

The fourth meditationis particularlyimportant as it expressesthe definition of God - God he as 'I AM'. Messiaencites the passagein Exoduswhere Moses asksto seeYahweh, but replies,'You cannotsee me, for it would kill you, but I shall passbefore you and cry out my name".According to scripture,something passed before shouting,'I am, I am', and this is duly notedin the scoreat the climaxon full organ. In discussionswith Claude

Samuel,the composerexplains that in order to createtrepidation, he decidedto employ

&strange'bird vocalisations,including the criesof the black woodpecker.Here, most of the birds' vocalisationstake a prominentr6le; most imaginativeis the composer'sinstruction for bizarrecombinations of registrations- often blends of clarionand mixture. In addition, at the work's first perfonnancein Washington,the organthere createdquite a sensation, asMessiaen related a few yearslater in a platform discussion: 291

'An the fourthmovement of the"Miditatione' wherethe black woodpecker expresseshis fear,I wasable to makefull useof the so-called"trompettes en chamade",the trumpetspointing directly at the audience,which created a tremendousstir amongthe listeners.16 [See ex IW30]

The treatmentof bird vocalisationin the fourth meditationis mostly through short calls.

The 'grand solo' of the songthrush is built up of short, snatchedrhythmic motives, and includesa quasi-SEssandoeffect, marked'Eke silk tearing', and ascendingstaccato colour chordsmarked 'like drops of water' [ex IK/31a, b]. The brash,densely clustered sonorities of the black woodpeckercan only be describedas 'cries', while againthe short iambic cells of the ring ouzel may resemble'too-wit' [ex DU321.The repetitivehomorhythmic texture of Tengmalm'sowl is heardearly on and, after the stirring climax at the endof the movement,a hugesilence descends, followed by the owl's reappearanceon solo bourdon

[ex IX/33a, b]. From ffITto pppp, Messiaensuccinctly symbolises how smallmankind is comparedto the 'dazzling light of holiness'.

The fifth meditationdescribes three divine attributeswith precisemusical themes. The first 17, is 'God is Infinite', which is givento the 16' low in its register- reminiscentof the pedalpart in 'Dieu Parn-ýNous" (La NativiM). The secondis 'God the Everlasting, wMchis treatedlike flashesof colour,while the third, 'God Unchanging"is serenely scoredon 161 and 8' foundationstops in the third mode of limited transposition.Another passagedescribes the Holy Spirit in an excitingtoccata on manuals.Messiaen also describesthe Father,differentiating between the 'Father Omnipotent'and 'Our Father'. 292

Finally, a simplebut paramountsentiment is struck -'God is Love'. The piececoncludes with the innocentrepeated Dbs of the yellowharnmer:vvith such simplicity, the composer projectscherished 'divine love". It is this sweet,naYve song that completesmeditations 11,

V, VIII and IX (at the end of the work - ex EK/34).As W. H. Hudsonwrites of this bird, it 'sings in he his the sultriestweather ... silenc[ing] other voices so will utter monotonous chanton the gloorniestday'18.

Meditation VI is dedicatedto the Son - 'In the Word was Life, and Life was light'. The movementis entirelybased on plainchantthemes. Interestingly, there are similaritiesto birdsonghere: there are manyrepeated pitches in the 'Offertoire', while the 'Graduel' - on both occasions- is accompaniedby a singlechord, while diminishedand perfect fifths are written above,in a style similarto that of the blue rock thrush's songfrom Catalogue dDiseaux".

The seventhmeditation is dedicatedto the Holy Spirit. Here, words in the 'communicable language'are taken againfrom SaintThomas Aquinas' 'SummaTheologica': 'The Father

andthe Sonlove throughthe Holy Spirit-themselvesand us'. Leitmotifs are used repeatedlythroughout the movement,representing Father, Son, Holy Spirit and the verb

'to love'. The birdsongis limited to a commonbulbul in the top stave,which decoratesthe

leitmotifs and phrasesin the 'communicablelanguage. The songlabelled 'oiseau de

in introduction heardby Messiaen Pers6polis'- appearingboth the and coda- was at

Persepolisin modem-dayIran: he was unableto get a glimpseof it in order to identify the

species.It hasnow beenidentified as somekind of bulbul. Its songis highly repetitive,and 293 is written mostly in two-part homophony.The two-part chordsat the beginningof its song form incessantpaeon IV rhythrniccells. The penultimate phrase in its first appearanceuses a sequencein which eachrising cell (two notes)is followed by the sameinterval or - in the caseof the left hand-a similarinterval: each cell gradually descends. As demiserniquawrs areused, this phrasehas a glissandoquality lex DU351.

The eighthmeditation portrays one last attribute: 'God is One'. The openingplainsong,

'Alleluia de ]a Toussaint',is indeeddirect in its closeresemblance to the original chant.

The simplicityof this singlehe givesthe piecea feelingof archaicpurity recallingsimilar monodyin . At the close,a rising passagein diminuendogradually addsnotes to eachchord, until the final sernibreve(in the penultimatephrase) which consistsof two pedalnotes and a nine-partchord. This gradual ascending passage symbolisessimplicity in its use of white notesonly. In addition,the naive,repeated serniquaversof the yellowharnmercomplete tWs meditation.

The final, ninth meditationarises from the precedingpiece in its symbolicaffirmation of the power of God, and reshapesprevious musical elements from the whole work, especiallyfrom the secondmovement. One hearsthe opening'Theme of God' in octaves and on manuals,a transformationfrom the original appearanceon pedalsonly at the start of the fifth meditation;the gardenwarbler's animatedcadenzas in Meditation H are recalledin an identicalstyle. This final meditationis a climacticdisplay of virtuosic toccatas,rapid encirclingderniserniquavers and colourful flourishesinterspersed with 294 equallylively birdsongand alleluiasin a tumultuousglorification of the 'Themeof God'.

The yellowhammer'spWntive serniquaversconclude the entire work.

Although Messiaenhere only usesone keyboardinstrument, and muchof the birdsongis written in a somewhatarchaic fashion, the specifiedcombinations of registrationsproduce extraordinaryresults, especially when complexcolour chordsare used.However, the composerhere has employed birdsong as a major structural elementin manyof the meditations.The reappearancesand transformations of themesand birdsongcreate a

developmentaland cyclic natureto his music.Additionally, the emergenceof a striking theme,leitmotif or birdsonginstantaneously begins a new sectionfor both the listenerand

the analyst.Messiaen's use of varying smallrhythms and melodiccells is a usefulsignpost

for decipheringbirdsong, especially when there are repetitivegroups of criesor calls.The

listeneris also ableto hearthe differentqualities of bird vocalisationsdue to the

registrationand range of eachindividual songster. This group of meditationsis is recommendedto be performedas an entirewhole, but eachpiece, although often brief,

self-sufficient.

La Fauvettedes Jardins (1970)

in manyways, the piano pieceLa Fauvetledes Jar&ns returnsto the musicalworld of the

Catalogued'Oiseaux. Like severalpieces in Ws earlier cycle, it is programmatic,outlining

the courseof night and day, beginningjust before4 am and finishingat about II prn.

Messiaenillustrates these changes by expressingthe changesof light (andthe colourful 295 reflectionson the water) with diurnal andnocturnal bird vocalisations.As in Ta Buse

Variable',the composer'ssource of inspirationis LakeLaffrey, specifically the endof the lake, overlookinghis beloved 1930"shouse in the Alps, at the foot of the 'bald' mountain of the GrandSerre. In order to show the location, the colours,trees, lake and birdsongin their full glory, the composerchooses the period from the end of Juneto the beginningof

July.

Although there are severalsimilarities to the Catalogue,this extensivework, lasting approximatelyforty minutes?,uses to a greaterextent the modesof limited transposition, chordsof 'transposedinversions"and chords of 'contractedresonance'. In addition,

Messiaenpresents several long improvisatorysolos of the gardenwarbler, showingits

21 dexterity fluid in ClaudeSamuel - that he great and virtuosity: conversationwith , It seems was very proud of the work.

The form of the work is governed by the use of colour chords which portray the changes of fight and the depictionof the landscape.Messiaen divides the pieceinto severalsections

dawn, indication - 4am, 5am, afternoon,evening, night - althoughthere is little of these subdivisionsin the score.The work beginsbefore 4 am with three themes:night, undulationsof water and the barren-facedmountain of the Grand Seffe.The next section is heraldedby the homorhythmic,cretic rhythm of the quail and is followed by abrupt nourishesof the nightingale[ex IX/36a, bl. The representationsof distanttrees and nightingaleare interspersedwith the three previousthemes and a sumptuousfiguration 296 involvinga sustainedchord and high-pitched thirds portraying the aldertrees at theffinge of the great lake.

Dawn is presentedby extremelycalm colour chordsdisplaying the pink lake at dawn(p4).

This is the first of six colour-chordinterludes using chordsof transposedinversions. There arethree phraseshere: the third is the shortest(four bars),while the first two (six bars each)are exactlythe same,except that the secondis transposeddown a tone lei ICK/371.

It is interestingto note that the first colour chord in the first phraseis exactly the sameas thefirst chordin the pianoaccompaniment in Titurgie de Cristal'from the Quatuorpour la Fin du Temps,while the third chord is exactlythe sarneas the fifth chord in this same sequence.The resolutionof this first phraseinvolves two crotchet chords,the first beingC majorin its first inversionand the secondbeing Eb majorwith an addedsixth. The period between4 amand 5 am,presents the gardenwarbler in four fleetingsolos, Hdden amongst the ashtrees, willows andbushes surrounding the lake. There are also various

restatementsof the chromaticopening night' themeamongst abrupt high-pitchedclusters,

'victorious' alternatorsof the nightingaleand twinkling sonoritiesof the wren. In the brisk

solosof the gardenwarbler, continualdernisen-dquavers are employed.There are,

however,occasional pauses that richly harmonisetwo falling pitchesin a quasi-cadence

lex IX/381. Thesequasi-cadences are similar in natureto the tawny owl's calls in the

Catalogued'Oiseaux (no. 5) or its appearancelater in thiswork. In the Catalogue

dDiseaux,explained earlier in this chapter,the monotonousfalling third C-A is richly

harmonised,creating a 'hollow', 'hooting' timbre. Thesetwo pitchesare againrichly

harmonisednear the closeof thiswork; however,in thefirst two solosof the garden 297 warbler,the two-note cells B-F (p8), G-C#(pIO) andE-Bb (pl 1) areused. These are all tritones.Towards 5 am(p12), the sunrises and one almost smells the wild mint andthe greengrass as the blackbird sings briskly, interrupted by the repeatedharmonic ostinato of the greenwoodpecker who eruptswith. laughter, similar strophes by the chaffinchwith chordalalternators and 'jubilant, ecstaticphrases of the skylark, whosepronýnent shrill note is the B natural [ex IX/39a, b, c]. The gardenwarbler hasa new, long inventivesolo

(pp14-18)overlapping right and left handswith great effect, exploringthe high registerof the piano.

Later in the morning,a stonn threatensto break out abovethe lake, now stripedwith bandsof greenand violet. Onceagain, there are three phrasesin the interlude,only here thethird is greatlyextended. The third becomesmore and more emphatic, leading into an extendedversion of the GrandSerre theme. The chaffinches sing, exchanging harmonic ostinatosand alternatorswith swift, chuckledendings [ex IX/40]. At this point there follows the greatreed warbler whosegnashing, 'grated' voice interchangeshigh-pitched callswith low, 'dry' rhythms[ex LX/41 J.

The sun returns,,however, with the 'coul6, doW/'slurred, gilded' passingcalls of the goldenoriole, enrichedwith harmonics.The main part of the day (pp21-41)is saturated with long solosby the gardenwarbler interrupted by occasionalbrutal 'croaks' from the carrion crow, short, snatchedcries from the goldenoriole and harsh,'dry' alarmsfrom the red-backedshrike. Also in this section,the black kite (p25) is depictedby repeatedcalls ccommeun hennissement'('like a whinny'), andthe flight of the swallowsis also 298 represented(p33); but it is the flight of theblack kite that heraldsthe nU-aftemoonIci

IX/42 a, b, c, d]. This section(pp4447) is a developmentof its earliercalls: its flight is portrayedby the ascendingand descendingpatterns in the pitches,contrary motion dissonancesand, in a passagemarked 'm8me mouvemene, serniquavers begin at the bottom of the piano andgradually ascend to the top, suggestingthe black kite's encircling spiralsin the sky. Onceat the top, the chordalcomplexes overlap vAth one anotherfor severalbars, representing the orbits growing narrowerand narrowerwith the twisting of its tail.

As the black kite descendsand hits the water, Messiaenintroduces a short colour-chord. interludedescribing the 'cahn, ecstatic'lake. This time, now in the nO afternoon,the lake takeson everyshade of blue- peacock,azure and sapphire. The finaltwo chordsin the sequence,however, both rest on A major with an added6h in I' inversion,coloured by the singlerepeated note of the yellowhammerwith its harmonicsý2.In the hot sun,we hear a prolongedplagal cadence where, at first, the goldfinch complementsaD major 6 chord lex IX/431 (M with two-part homophony,fbUowed by A major with the repeatedpitches of the yeHowhammer.Messiaen also uses five superiorresonances on colour chordsin a short section,illustrating the blue sky and the gilt-green of the mountain.

As night falls the abrupthomorhythmic ostinato cries of the greenwoodpecker continue, fbHowedby a contrastingA major added6 th chord (I' inv.) with flute-Ekestrophes of the blackcap,marked 'lumineux, sans hite'. The nightingaleannounces sunset (p52) with two colour-chords,an ascending anapaest and a harmonisedscandicus followed by harmonic 299 ostinato;the chord(E-Bb-Eb) is built froma tritone,perfect fourth and diminished octave, all intervalsfeatured regularly throughout the colour-chordinterludes lei IX/44]. Sunset is alsoportrayed by four denselyharmonised chords vvith fermatas: in their 'ecstatic contemplation',they present the red,orange and violet tingesof the sunat thistime. The night darkensas its winding quavertheme is reinstated,followed by the 'hooting' calls of the tawny owl - rerniniscentof its appearancein Catalogued'Oiscaux lei IX/451.

Messiaer;also represents the lakein themoonlight by anothercolour-chord interlude, concludingwith four bars of settlingmusic. The first three bars comprisetwo chordsin each.The first is a majorchord in first inversionand the secondis a minorchord in first inversion:F-F minor, D-D minor andA-A minor. The fourth bar, however,displays quiet superiorresonances. The black silhouettesof the alder treesare depictedwith a final statementof the Grand Serre,concluding the piece.

Most impressiveare the long solosof the gardenwarbler. Theseare enrichedwith colours, the handsoverlap, and the full rangeof the pianois utilised. In addition,a great flu ty is achievedby continualmotion. The changesin tempo in the samesong or call seemto bring alive manyvocalisations. The nightingale'sgradual diminution of duration in a 'lent' tempo marldng(p8) is suddenlyinterrupted by 'vif' clusters.In the gardenwarbler's long solos,too, are pausesproduced by (1) rich harmonisationsof two notes(as described earlier),(2) rests,and (3) chordswhich are left to resonate.Resonance effects are usedin this work to the fuH.The expression'laissez r6sonner' is oflen written into the score,and it is with the ensuingtexture that theunique harmonics are produced from the resonance.

In fact,even when this expressionhas not beenindicated, many chords (invented or 300 triadic)accompany or immediatelyprecede elaborate bird vocalisations,thereby creating fascinatingresonance effects.

Messiaenalso includes several interludes that representthe lake,in 'renversements transpos6s'colour-chords. The birdsonghere is linked perfectlyto the time of day. The other non-birdsongmaterial provides the settingfor the landscape,thereby working in parallelwith thebirdsong. Messiaen has mentioned how pleasedhe was by the piece, being a developmentftom the Cataloguein its use of 'renversementstranspos6s', cresonancecontractde', and displayingfluidity in the gardenwarbler's virtuosic and lengthysolos. However, the composerhints at earliercompositional elements. The Grand

Serretheme and the cretic rhythmsemploy the addednote value,triadic chordsare used frequentlyfor anoften calming effect, while modes two andthree (p48) are deployed in manychords and occasionaUy in two- or three-parthomophony, or evenin monody.

I Des Canyonsaux Etoiles (1971-1974)

Des Canyonsa=boiles was commissionedby the patrOnessMss Alice Tully andwas premieredat the Alice Tully Hall m New York. The work consistsof twelve pieces,thus: 301

No. of Movement Title Translation Focus Part 1 'Le D6sert' 'The Desert' desert 1 2 'Les Orioles' 'The Orioles' birdsongs/calls(1)

3 'Ce qui cst tcrit sur 'What is Written in stars(1) les Ifttoiles' the Stars' 4 'Le Cossyphe 'White-browed birdsongs/calls(2)

d'Heuglin' robin' 5 'Cedar Breakset le 'Cedar Breaksand CedarBreaks Don de Crainte' the Gift of Awe' Part 2 'Appel'Interstellaire' 'IntersteHarCall' stars(2) 6

7 'Bryce Canyonet les 'Bryce Canyonand Bryce Canyon RochersRouge- the Red-Orange Orange' Rocks'

Part 3 'Les Ressuscitdset 'The Resurrected stars(3) 8 le Chant de Petoile and the Song of the Aldibaran' Star, Aldebaran" 9 'Le Moqueur 'Northern birdsong/calls(3) Polygotte' Mockingbird' 10 'La Grive desBois' 'Wood Thrush' 11 'Omao, Leiothrix, 'Hawaiian Thrush, birdsong(4) Elepaio, Shama' Leiothfix23,Elepaio, Shama'

12 'Zion Park et la Cit6 'Zion Park and the Zion Park/Paradise C61este' CelestialCity' 302

Employinga diminishedorchestra (at leasthalf the sizeof that usedin his symphony),

Messiaenstill managesto producemonumental and grandiose sonorities. Woodwind and brassare complementedby glockenspiel,xylorimba, tubular bells, songs,various cymbals, templeand wood blocks, crotales,a smallstring section(six violins, threeviolas, three cellosand a doublebass), solo piano and hom. Further, he usestwo unusualinstruments for the first time. The first is the 'ioliphone', a wind machine,representing the soundsof the air. The second,the 'gdophone'or sandmachine, portrays the soundsof the earth.

Moreover, threedifferent chimesmade from wood, glassor shell play a specificrole in the piece,producing dramatic effects, as doesthe thundersheet (tOle). The manyunique orchestralcombinations that can be producedfrom suchinstruments give limitlessvariety; however,Messiaen, over and above,includes copious extended techniques. The cellos (for example)are asked to scrapetheir bowsbehind and alongside the bridge, representing the bluegrouse in movementfive; in this samemovement the red-shaftedflicker is portrayed by indeterminatepitches on the violins andviolas marked'arp6ge 14 cordes,entre chevaletet cordier'. In addition, the trumpetuses various mutesand playswith mouth pieceonly, while the crotales,unusually, are occasionallyplayed with a bow. Many harmonicsare employedon the strings,in combinationwith double-stopping.At the end of the eighthmovement (for instance)septuplet demisemiquaver harmonics are deployed in 24 found in the the thrushin glissandi , and similar effectsare song of wood movement

ten. Another exampleis the westernmeadow lark's songwhich is occasionallynotated

without harmonics,although they are sometimesimplied. Messiaenrelates: 303

'Its songis incredible,very limpid, with manyharmonics. Each note carries five or six harmonics;it is one of the greatestsongbirds of the United States."25

There are manybirds representedin Des Cwityolisauxboiles that do not appearin any

other work. This is partly coincidence;nevertheless, there are certainbirds that are only

found in the three placesthat the composercites for his inspiration.Messiaen transcribed birdsongfrom three specificplaces in Utah. The first placeis the desertedand wild 'Bryce

Canyons',where, apart from the birdsong,the huge red/orangeand evenviolet-tinged

rock formationswere of particularfascination to the composer.Here, the Westerntanager

is portrayedby three notesthat, in the wild, may be describedonomatopoeically as 'tiot,

tiot, tiot'. In contrast,the blue grousehas a deepvoice, 'wuh, wuh, wuh', while the Clark

nutcrackerhas a horriblyharsh voice. The second location, 'Cedar Breaks', is not asvast

as Bryce Canyon,but evenso it is like, as Messiaenadvises, a huge 'amphitheatre'with

'spires anddungeons'. Messiaen has saidthat the most beautifulbirdsongs are to be found

in the third setting,'Zion Park', which symbolisesParadise. For instance,the

aforementionedWestern meadowlark with its manyharmonics, the virtuoso piano solosof

the cassisfinch, andthe grey vireo with its 'co mo co mol sonoritiesaH appear here.

Birdsongis usedextensively in this work, yet its prominenceis sharedequally by three

other significantfeatures. In conversationwith ClaudeSamuel, the composerdescribes the

work as 'astronornical',displaying the vastnessof the depthsfrom the canyonsto the

stars;4geological', being a homageespecially to the immenserocks of BryceCanyon; and

'theological', beingassociated with praiseand contemplationand devotingitself to the 304

CelestialJerusalem (Paradise). Equally, it is an 'ornithological' work, bringing together birds from all over the world. There are fifty-nine birdsongsgathered from North America, manyfrom Africa, birds from Japan,Australia and the HawaiianIslands, the Chinese thrush andred-billed mesia, (leiothrix) from China,the shamafrom India and the magpie robin from Madagascar.

As shownin the abovetable, eachmovement is mainly preoccupiedwith one of the four issues:geological, astrological, theological or omithological.There are five movements dominatedby birdsong.

'Les Orioles'/The Orioles' (movementtwo) describes,as is implicit in the title, many vocalisationsof theseparticular species. Many orioles are representedhere: notably,the orchardand Baltimore orioles (piano solos), Scott's andbullock's orioles (xylorimba)and the hooded/Lichtenstein'sorioles (mainly on woodwind), while the olive-backedthrush is alsofound. The movementopens with a piano solo representingthe orchardoriole.

Messiaenhas stressed that there is a differencebetween the Americanorioles' songsand the European'Golden Oriole', Le Loriot, a bird found in manyof his piecesincluding

Rived desOiseaux, Chronochromie, Catalogue'dViseaux - where it is the title of the

later Fawette desJtzr&? Nevertheless,it is in secondpiece - and in the zs. evident the piano interludesof 'Les Orioles' that there are manycharacteristics similar to thosefound in Te

Loriot' in the earlier Catalogued'Oiseaux. Most notableare the two slow chromatically colouredchords which sink in resolution,creating a calmingeffect: the secondphrase ends has with a sumptuousresolution to aG major chord with an addedsixth. Messiaen said 305 that the goldenoriole's songcreates a powerful senseofjoy, emanatingfrom its

It iS predominantuse of the major key, althoughit is usuallyrepresented in E major26. importantto note, however,that colour chordsare usedregularly in a contrastingfashion where a chord risesto a higher one, usuallywith an accent- in this casethe effect of an often harsh,dramatic 'call' is created.In this movement,the structureinvolves an interchangebetween piano interludes,other lusciousmodal harmonies(tutti), special glissandoeffects and harmonicsin strings- most of which depict birdsong.The - aforementionedluscious modal harmonies are harmonicallyren-dniscent of the sixth

of the Turwigalila Symphon)ý 7 ('Jardin du Sommeild'Amour'). Featuresof movement . the musiccorrespond to an earlierMessiaen style, notably in the shapesand lengthsof manyphrases, the addednote valuesand the modal quality of the harmoniesenriched with clustersthat resolveinto triadicchords with addedsixths or ninths.In theseorchestral sectionsthe birdsongis useddecoratively - againin a 'Jardin du Sommeil...' style - and playedby the xylorimbarather than, as in most other instances,on the piano. The movementdisplays the wide variety of the orioles' songsand calls in terms of rhythm and their multi-colouredsonorities.

Te Cossyphed'Heugfin'/The White-BrowedRobin' (4) is a piano solo which represents this south-eastAfrican's birdsong.'This solo movementdoes not comeas a shockto the listeneras Messiaenhas built up a numberof specialeffects that symbolise,and often soundlike, variousinstruments in the orchestra.Here no mentionis madeof orchestral instruments,but the growUng'ostinatochords in the bassproduce timpani 'effects,while the elaborateharmonies are representational of an orchestraltutti. Te Moqueur 306

Polygotte'/'TheMocking bird' (9) is more than doublethe length of the earlierpiano solo.

This later pianosolo is an advanceupon the earlier CataloguedOlseaux-influenced movement.Messiaen employs copious interesting cffects: notably, altematingclusters on white andblack keys,long quasi-glissandoeffects representing the superblyrebird, harmonicostinato, and cluster-chords played with the palm of one's handand evenwith both arms.Near the opening,trills are heard;in joyous fashion,this setsup the piecefor elaboratebut fragmentedchordal alternators and repeatedrhythmic cells.The piecehas lesscontinuity than one would expect,possibly resulting from his use of manyextended techniqueswhile at the sametime contrastingrhythn-dc and melodicmotives. However, the mockingbirdis in fact a 'counterfeit bird' - one which imitatesothers - and this quality is achievedby perpetualvariation. Although the pieceappears fragmented, it displaysthe full gamut of 'style oiseau'effects possible on a singlepiano. Many changesof tempo are specified.In comparisonwith movementfour, where only the white-browedrobin is depicted,six different speciesare hererepresented: variety is found in the northern mockingbird's song,colour chordsin the goldenwhistler, manyfeatures of the superb lyrebird" and,in a short concludingsection lasting one page,*the Australianmagpie,

PrinceAlbert lyrebird and grey shrikethrush are first introduced.The movement concludeswith a superblycolourful superiorresonance.

'La Grive desBois'PThe Wood Thrush' (10) is presentedby the whole orchestra.The most prominentmotivic featureis an invertedarpeggio used in two differentways throughoutthe movement.The first versionis slow and solemn,played on the flute, horn,

one bell and ioliphone, while the secondis quick, involving rapid den-dsemiquaverson 307 flute, glockenspieland xylorimba, ascending chromatic harmonics on upper strings,and often concludingwith ioliphone and crotalesthat linger beautifullyafter the other instrumentshave finished. The movementsymbolises 'man deformedby himselr - man who hasmade himself wicked will eventuallybe magnificentagain after resurrection.The serenemusic of the hom representsthe magnificentman, while the 'deformed' musicis characterisedby light-hearted,vivacious themes. These rapid sections- with harmonics andlingering high-pitched resonances on crotales- are exciting and very colourful, tinged with glittering silver, althoughMessiaen has not labelledit as such.Due to the triadic natureof the main theme,many simple chords are employedthroughout this magical movementand, towards the end of the piece,slow and immensechords are playedby the whole orchestrain the style of the first movementof L 'Ascension.

This is contrastedwith the eleventhmovement, 'Omao, Leiothrix, Elepaio, Shama'-a

difficult piecewhich perpetuallychanges tempo and beat. The four birds in the title are

employedwith other birds from the United Statesand Hawaii. The omaoand elepaioare

from the Hawaiian Islands, the leiothrix (or red-billed mesia) is from China, and the shama

in Chronochromie La Trawfiguralion de Notre SeigneurJ&us-Christ is - prominent and -

from India. The structureinvolves four verseswith refrain, a long piano solo (omao) and

recapitulation.The brillianceof the birdsong,played on marrycombinations of

instruments,is enrichedby the dynamismof varying speedsand metre.There is a

heterophonicsuperimposition of songsfrom the desertwarbler, Idbital&9, little green

bulbul, spottedmoýning warbler anddark-backed weaver, all accompaniedby harmonics

in the strings.The kibitaki's songis found in the clarinets,while the desertwarbler is 308 representedby onepiccolo. Later on in themovement the blue jay is depictedin two contrastingmanners. The first is a short piano solo employingfour descendingchordal flourishes,while the seconduses the whole orchestra.Sirnilarly, the Affican bou-bou shrike is portrayedin violent ff chordsin the brass(ff-pp). The musicbuilds up to a climax leadinginto the last movement,'Zion Park et la Cite C61este',which symbolisesParadise.

This final movementbegins with a chordaltexture playedon woodwind and brass,again alludingto the first movementof LAscetision: by this stagethis featurehas almost becomecyclic in this work. Messiaen'sstyle at this point displayssome of his early conventionalcharacteristics in its harmonies,especially in the use of major keys: the music often hints at A major, principallywith the constantuse of modethree. Additionally, the vespersparrow and Lazuli bunting are representedearly in the movementas decoration, on the glockenspieland xylorimba. It is this occasionalsimplicity herethat once again createsgrandeur and a senseof finality in Paradise:the close,resolving into an A major chord on solo strings(ft), flutes and brassfading away,is almostinaudible. The birdsong is colourful, innovativeand forward looking, andyet more birdsongsare being introduced into te aviary.

SaintFrangois d'Assise (1975-84)

In 1975,Olivier Messiaenwas invited by Rolf Liebemwm to write a work for the Paris

Opira. Messiaenfinally agreedto this requestand began composing an extensiveopera, which was to take him three yearsto write and a further three to orchestrate.This opera, 309

or rmusicalspectacle' as Messiaen prefers, consists of eighttableaux (scenes) divided into

three acts,thus:

Act 1 1st Tableau 'La Croix' 'The Cross'

-Tableau 'Les Laudes' 'Lauds'

Tableau 'Le Basierau 'The Leper Kiss'

Upriux? '

Act 2 7 ýTableau VAnge, Voyageur' 'The Journeying

Angel'

5"' Tableau VAnge, Musicien' 'The Musical Angel'

7 ýTableau 'Le PrEcheaux 'The Sermonto the

Oiseaux' Birds'

7Tableau, Act 3 'Les Stigmates' 'The Stigmata'

8"; Tableau 'La Mort et la 'Death and New

Nouvelle Vie' Life'

Messiaen'sdescription of this work as a 'musical spectacle'is indeedapt, as features

often associatedwith traditionalopera are not found here:there is no overture, nor ariasin

the conventionalsense, but, more importantly,rather than unfoldingdramatic narrative,

Messiaenhas chosen to presenta seriesof 'mysteries'or significant'pictures. The opera

might in fact be seenas a latter-dayoratorio - Messiaenat first contemplatedwriting a

passion,but thought himselfnot worthy of the task. For the composer,however, St

Franciswas a manwho had the closestaffinity wiih Christ. In his life, he enduredpoverty,

and adheredstrictly to the vows of humility and chastity-,he evensuffered from the 310 agonisingaffliction of stigmata.Needless to say,Messiaen deeply admired the asceticSt

Francis,reading copious books on the subjectand taking especialinspiration from St

Francis' 'Canticleof Creatures',the Tioretti' and 'Considerationsof the Stigmata'(both by anonymousFranciscans), and from Holy Scripture.There is also the obviouspoint that that St. Francis'traditional associationwith animalsand especiallybirds would be likely to makea powerful appealto the composer.The operatraces Francis' spiritual development and surveyshis inner toils: as the composeradvises, 'the progressof gracein the soul of a

Saint".

Messiaenmade a specialtrip to New Caledoniain order to broadenthe geographical

spreadof his birdsongrepresentations. The songsof the gerygone(fan-tailed flyeater) and

philemon(New Caledonianfriarbird), for exaxnple,are only found in this opera,and he

usesthe largestorchestra and chorusin any of his works. Interestingly,at its first

performance,Messiaen was deniedsuch, huge forces for logistical reasons:the orchestra

could not be accommodatedon the stage.This new depth of instnmnentationenhances

certainbirdsongs; indeed, unusual combinations are employedand, in addition,the ondes

martenotreturns to Messiaen'smusic. There are three ondes:the first is positionedon the

left handside of the stage,the secondon the right, andthe third centredin front of the

conductor.The ondeshas almost infinite possibilitiesof timbre, attack and dpun-ýics,and

the composeruses this flexibilty to the fiffl, quite unlike the slow solo lines deployedin the

TurmigafflaS)7nphony. These special effects are often usedwhen colouring other blocks

of sound,while its low registeris ableto generatefrightening sonorities. 311

The orchestrais as follows:

7 flutes (3 fl., 3 picc., I alto) 3 oboes I cor anglais 7 clarinets (3 Bb, 2 Eb, I bass, I contrabass) 3 bassoons(I double bassoon) 7 horns 5 trumpets (4 Bb, I D) 4 trombones 3 tuba large percussion ensemble 3 ondes large strings section g6ophone and doliphone

Throughoutthe eight scenes,Messiaen presents several cyclic themeswhich symbolisethe emergenceof a specificcharacter or dramaticsentiment. Five themesare associatedwith

St. Francis:there is a principlemelodic theme on violins (1); a clusterfollowed by a chord on the trombones,demonstrating solemnity (2); an energetic'decision theme' often involving descendingdouble octave leaps (3); a 'theme ofjoy' on xylophone,woodwind and D trumpet (4); and (5) the songof the ubiquitousblackcap, (or capinera).Further, every other characteris identifiedby a theme(and periodically birdsong), which alters accordingto the dramaticor theatricalsetting. The sevenmain charactersare: St. Francis, the angel,the leper,and the four friars Leo, Masseo,the dissidentElias and the Saint's dearestcompanion, Bernardo.

Birdsongplays an important. r6le in the dramaticstructure of eachscene. The angel is by representedby sevenflutes, shriekson the oboe and clarinet high in their registers,and 312 harmonics,while the gerygone(fan-tailed flyeater), with its staccatoarticulation alternatingbetween piccolo and glockenspielwith xylophone,heralds the imminentarrival of this specialcharacter. The leper is portrayedby a 'dochmaicrhythm' (iambicand cretic

long, long) incorporatingintrusive - short, long, short, complexrhythms with cluster chordsthat exemplifythe character'sexasperated resentment of his ghastlycondition.

Whenthe leperis cured,however, this themeis transformedand re-orchestratedinto a

'danceofjoy' with tubularbells, while the blue rock thrushis reproducedon the xylophone-triowith accents,trills on stringsand cymbals.Brother Leo hashis own song for a themeusing, as he does,the words 'I amafraid on the road..., takenfrom

Ecclesiastes;while Brother Masseois intimatedby simplemelodic phrases supported by chordsof 'transposedinversions'. The eldestcharacter, Brother Bernardo,also hasa melodictheme on hornsand strings, and the songof the philemon(New Caledonian friarbird) on woodwind often accompanieshis appearances.In contrast,Brother Elias is portrayedby harshglissandos on the stringsand trombones,the gloomy sonoritiesof the notou'Oand the erratic, disturbedrhythms of the reed warbler. Thesediffering musical featuressymbolise Elias" modusvivendi, with his love of moneyand luxury.

The first act is concernedwith St. Francis' initial understandingof spiritualperfection. The

in homophony, songof the skylark opensthe operaon the xylophone-trio three-part This Ballinese is heard accompaniedby bells and suspendedcymbal. sonority throughout in first the work. There are, in fact, severalsongs of the skylark the scene.Its second in lavi. harmonies.The fourth appearanceis multi-layeredon woodwind sh third and is first), fifth is interspersed from versionsare Balimese (as the while the with statements 313 brother Leo and Wgh-pitchedscreeches from the little owl. The sixth variant is a multi- layeredpolyphonic section. The Balinese-triobegins this sectionand actsas a musical core: in staggeredentries, the woodwind sectionfollows in superimpositionwith many colour chords.The woodwind occasionallystop, leavingthe xylophone-trio,on its own.

This excitingpassage ('un peu vif, sen-ýquaver= 200) precedesthe conclusionof this first scene.

The secondscene is announcedby two setsof bells and complexcolour-chords. Here,

Messiaendepicts life in the monastery.St Francisdesires saintliness, and praysto God askingto meeta leper in order to love the personand overridehis disgust.After a series of hannonicsand pizzicatoeffects, the blackbird'ssong is heardin short, repeatedcalls.

Theblackbird also employs flourishes on woodwindtutti, asdoes the blackcap, but it is the songof the gardenwarbler that is of notableproninence. Using the xylophone-trio, manycompound intervals are employed,and most phrasesbegin with repeatedpitches, recallingthe skylark's songin the first scene.

The third scenedescribes the 'leper Idss'. Thi- sceneopens with brief, disjointedcalls of the Ural mountainowl. Messiaenintimates the 'horror of leprosy' with a contrabassand ondesmartenot low in their registers.The leper is painfully unreconciledto his predicament,and it is the brasssection that helpsto displaythis emotion.However, when the leper is curedthe musicis transformed.There is a long silence,followed by simple white-noteharmonics. He then shouts,'Nfiraclel' Both menare fifled with joy, the blue rock thrushis representedon the xylophone-trioand accompaniedby multi-layered 314 stringedtrills on aC majorchord with an addedsixth, and (for example)repeated pitches are employedin jubilant passages.It is a doublemiracle: the leper is curedand Francis becomesa Saint.The motive of the blue rock thrush,often in the dochmaicthythm

(iambic+ cretic), is written in the third transpositionof mode2, and is addedto the theme ofjoy playedby the trombone,high woodwind and xylophones.As the leper's dance concludeswith trills on the strings,the blue rock thrush is depictedby cluster chordson the xylophone-trio.

Act Two also consistsof three scenes.The first scenerepresents the travelling angel,and openswith a musicalintroduction presenting the themesof the charactersinvolved here, specifically,Brother Bernardowith the philemon'ssong, Leo's song,Masseo's theme and featuresassociated with Brother Elias (string glissandi,notou and the assiduousrhythms of the reedwarbler). The gerygone(fan-tailed flycatcher) announces the entranceof the angeland concludesthe scenein mockery.Scene five presentsthe angelplaying the viol to

for St. Francis,and the music- his first insight to the CelestialCity - provestoo much the

Saint,who promptly faints. Set in La Verna, this sceneemploys unique sonoritiesin the birdsong.The soft themeof the gerygone,for instance,is heardon two occasions.Its treatmentis semi-aleatoric:the birdsongis given a sign from the conductor and is played thereaftefad libitum. Jagged,high-pitched phrases are playedon the glockenspiel, accompaniedethereally by femalevoices on an A major 6 chord (p58). The falcon's cries are producedby a homorhythmictexture on the woodwind andbrass in continuous semiquavers,pre-empting a provocativesection later in the scenecomprising several superimposedblocks of homorhythm(p79-85). It is commonfor Messiaento use 315 orchestralblocks in isolation;but herethe sonorities of the strings(gerygone), piccolos

(two ostirops and Maka), secondoboe and smallclarinet (blackcap) and flutes (garden warbler) are superimposedupon eachother. Another exquisiteeffect is found in the gerygone'ssong which is accompaniedby 'viol' glissandoson stringsusing a combination of hamonics and resonanceeffects.

The sixth sceneof the opera,'The Sermonto the Birds', is the most importantwith regard to its deploymentof birdsong;it is alsothe longest,lasting approximately forty-five minutes.It is dividedinto sevenparts beginning with anintroduction.

This introductionbegins with the skylark's solo on the xylophone-trio;there follows a superimpositionof birdsongin staggeredentries and mostly in hors tempo:mistle thrush

(soloclarinet), blackcap (third ondes,and first piccolo),blackbird (first flute), songthrush

(first ondes),uguisu (temple blocks, cello, doublebass pizzicato, secondondes) and later, the chaffinch(three violins, r6co-r6coand trumpets)are playedtogether. St. Francisand

Brother Masseoenter in part 1 wherethe songsof variousEuropean birds are introduced by the Saint.An array of uniqueeffects and musicalcharacteristics is disýlayedby each bird, especiallythe turtle dove.This bird's songis representedby frequentflutter-tonguing on the flutesand clarinet, and by ondesglissandos played on the ribbonand a tremolando effect on its fingerboard.The xylophone,flute, clarinetand stringedpercussion identify the wren, while the robin hasa quiet, delicatemelody with descendingscales and more glissandi.The capinera(blackcap of Assisi)here is alwaysentrusted to the whole woodwind sectionwith a suspendedcymbal. After the 'decisiontheme' and 'joy theme' 316

(associatedwith St. Francis)are stated and developed upon, birds from NewCaledonia are presented.St. Francis,after tastingthe blood of the dragon,is ableto understandand interactwith the birds. Part 3 is a concertof birdsongcontaining four gardenwarblers, a chaffinch,birds from Morocco and Sweden(piccolo, flute, oboe), mistlethrush, cuckoo

(trumpet andhorns) and wood pigeon,while part 4 returnsto the two aforementioned themesof St. Francis.He then stepsforward to deliver his Sermon.The Saintadvises the birdsabout the manygifts theyhave received from God- theirplumage, wings and migration.The birds are silent; only the blackcapinterrupts sporadically.St. Francisasks thebirds to thankGod, and he thenblesses them. When Francis has finished, there is an enormousupheaval as a high-spiritedsecond concert erupts with the skylark'sxylophone- trio texture, followed in turn by a gardenwarbler and a secondskylark, this time in woodwindchords. The birds disappear in part7 asBrother Masseo approaches St. Francis andadvises him not to forgetthe goodexample that the birds have given him.

Interestingly,we hearmore songs,most notablyfrom the goldenoriole on woodwind with delicatecluster chord glissandoson strings,and a counterpointplayed on two ondes representingthe blackcapand blackbird.Still more effectsare being introducedto 'style oiseau'.

'The Sermonto the Birds' is a developmentfrom the tp6de in Chronochromie.Greater freedomis producedby severalsolo instrumentsand orchestralblocks being in hors tempo31 and by constantchanges of metreinvolving bars with the dernisen-ýquaveras a tpOde commondenominator, 3-2-3/32 (for example).Additionally, the only usedsolo strings.Here, in a polyphonicfashion, the whole orchestrais brought into play. 317

The third act is the shortest,comprising two brief scenes.Scene 7, 'Les Stigmata',begins at night. The movementas a whole representsthe asceticSaint and his horrible condition of Stigmata.Birdsong is usedsymbolically. The owl's ffighteningcries, other chordal clustersand the descendingmotion of the woodwind createan eerieeffect. Later, the black and grey colours of the modeof timbre, durationand intensityproduces more feelingsof anguish.Later, soft E major chordsaccompany the chordalsongs of Christ while ascendingchords represent the path to Eternity. Sceneeight, 'Death and New Life', beginswith an introduction to the themesof St. Francis.All the brothersare present watchinghim dying on the ground. St Francissays his farewellsto time, space,Mount La

Verna, his dearbrothers, the city of Assisiand, lastly, to the kestreland blackcap. The

Saint singsthe last stanzasfrom the Canticlesof the Sun, and the gerygonereappears on the xylophoneand glockenspielannouncing the arrival of the angel.The bells toll as he dies.Enormous climactic sonoritiesare producedby complexchords in the orchestrain crescendo,and graduaUythey ascend,becoming more frantic. The spot-light on the stage becomesincreasingly bright, almostblinding, and the chorusconcludes with the words,

'from sorrow, from weakness,and from shame,he brings to Ue power, glory andjoy'.

Livre du SaintSacrement (1984)

The organ is reinstatedas an importantinstrument for the composerin this mysticalcycle devotedto the blessedsacrament, comprising eighteen movements and lasting

The first four approximatelytwo hours.The entirework hasa theologicalscheme. meditationsare acts of devotionbefore the invisible Christ in theblessed sacrament; 318 meditationsfive to elevendescribe specific, enigmatic events in Christ'slife (Christ's mysteries),while the final sevenmeditations (12-18) are prayers for the present, concerningtransubstantiatior? ' and the Holy Communion.

Here, new birds emergefrom the Holy Land in 'Le Dieu Cach6'(meditation three) and, with the exceptionof the nightingaleand the melodiouswarbler, all the other birds in the work as a whole are new, gatheredfrom the Middle East. In 'Le Dieu Cache'the

Tristram's grackleand the Olivaceouswarbler's songsare positionedbetween simple plainchantmonody and slow chordaltextures. The strophesof the Tristram's grackleare effectivelyindistinguishable on both its appearances.Its songis treatedeither chordallyor in two parts,centring on E major. In fact, the first two chordsof its first two calls (p 15) (p15, b8) are E major in secondinversion. Additionally, the ensuingtwo-part texture containsthe following harmoniccells: G4 - E, E-B, C# - G4 and D# -A#, most pitches being in the triad or at leastin the scaleof E major, while in the left hand,one of the subsequentchords is a completeE major triad [ex 11X/46- p15]. Although the whole tone here, E its cell G# - A# is found manyreferences are madeto major andthe notesof scale, its begins evenin the bird's final appearancein meditationfifteen. The secondof songs in and endswith this samechord. The two appearancesof the Tristram's grackle

Meditation III may be categorisedas follows:

bacchius, (W) V Song: cretic (b 1) - cretic (b2) - paeonIV, iamb, paeonIV (W) - cretic 2ndSong: cretic (bl) - cretic (b2) - iamb,anapaest, 3 flourishes,cretic (W)

The Olivaceouswarbler, however,is written in two-part staccatoserniquavers and derniserniquavers,throughout. The handsare often more than an octaveapart, producing 319 mostly compoundminor and major 3rds, and compoundminor and major 2nds [ex M/471.

The pieceis firmly establishedin E major. In addition to the Tristram's grackle's tonality, the first 'chordal' sectionends in the dominant(B major), the secondin E major (with a

th is major 6 ), and the final chord in the third, brief chordal section - concluding the piece -

major.

In the sixth movement,Ta Manneet la Pain de Vie', theselarge intervalsin two parts recur in two sectionsdevoted to the desertlark [ex LX/481.These curious vocalisations arebased, with the exceptionof occasionalflourishes, upon two features- the iamband the anapaest.The most frequentlyrecurring of thesefeatures is the iamb. Retrogradation is frequent,and major 7h andaugmented octave (or minor 9h) intervalsare used constantly.Throughout this movement, birdsong is heardalongside symbolic aspects of the desert,including a chordaltrill representingthe wind (p43), reminiscentof the grasshopper'strill in 'La RousserolleEffarvatte', Catalogued'Oisea= [ex IX/491. The mourningwheatear, also in two parts,uses smaller intervals and a two-part descending flourish (p38).

The two common birdsongs not taken from the Mddle East have contrasting roles. The nightingalein movementeight (Institution de I'Eucharistie')merely supplies decoration with its isolatedB naturals,major 7h alternatorand trill. In contrast,the melodious warbler hastwo extensivesolos in the thirteenthmovement, 'Les Deux Murailles d'eau'.

The previousimnbic ceU is harmonisedat the openingof its song('too-wit"). ThereMow three further features:two-part homophony,a variation on the openingbar using 320 alternativecolour or clusterchords, and repeated chords in a harmonicostinato similar in style to the kestrelof T'Alouette Calandrelle'(Catalogue d'Oiscaux) lei LX/50a, b- p96-971.The secondof its solos,or indeedcadenzas (pl0l), deployseven tighter cluster- chords [ex IX/511. Thesesolos, with the songof the clamorousreed warbler, are in virtuoso style, as are the cascadesof contrarymotion arpeggiosin the sectionmarked,

'Les vaguesdress6es'Pthe parted waves', and other passagesportraying the water divided in the Red Seaand the presenceof Christ in the broken Host. The birdsonghere is so integratedthat one is often unableto distinguishone song from another.

Of notableimportance is the fifteenth movement,Ta Joie de la Grice', which consists entirelyof theenthusiastic strophes of threedifferent birds - the yellow-ventedbulbul,

Tristram's grackle and the white-throated robin. The simple block form of the piece involvessix sectionsand a coda.Each sectionpresents a songfrom eachof the birds, in the order given above.The first sectiontreats these songs briefly, while eachsuccessive sectiongradually increases the length of the songs.In addition, the yellow-ventedbulbul's songis alwaysthe shortest,followed by the grackleand white-throatedrobin, whosefinal songruns for three-and-a-halfpages. This processof graduaUyextending the songsand phrasesof birds is the basicpremise behind the structurefor Uti Vitrail et des Oiseaux

(1986): in'Manyworks Messiaendevelops short rhythmic and melodic cells as the pieces progress.Both the yeUowvented bulbul, and the Tristram's grackle arein two part homophony,and often soundrather fragmentary.The yeUow-ventedbulbul's song(for example)is broken up by numerousrests: evenin its final, more elaboratestate in section 321

six,the number of notesbefore each rest is, at themost, ten. The yellow-vented bulbul

variesits metrethroughout, as shownbelow:

Yellow-VentedBulbul Songsin Ta Joie de la Gr5ce' (restsare markedwith a-' sign)

V Song (p l 19) epitrite 11 nd 2 Song ( pl20) ionic minor - paeon IV (porrectus flexus) P Song ( p122) epitrite II - iamb, paeon IV (porrectus flexus) Wh ionic Song ( pl23) epitrite III - minor, flourish - cretic 5 Song ( pl25) epitrite bacchius, paeon IV - cretic _F bacchius, ionic Song (pl28) paeon IV - minor, triple-iamb - epitrite III, flourish - IV bacchius, paeon - single note - paeon IV (porrectus flexus) - tribach + cretic - single note - iamb

The phrasesof eachbird alsobecome gradually longer: by the sixth section,the Tristram's

gracklehas many longer passages,including one (p 129, s3) that containstwo complex

flourishesin an elaborate,drawn-out phrase lei IX/52a]. The iamb, cretic and paeonIV

metresare presentthroughout these sections [ex LX/52b]. The songof the white-throated

robin is recognisablyelaborate, containing repeated chords in fourths (hinting at quartal

harmony),the paeonIV and iambicrhythms, short four-note ceUsin two-part sequences,

someof which usewhite notesin one handand black in the other, and manyother

flourishes.

The codareintroduces the cretic rhythmsof the Tristram's grackle followed by a two-note

cell of the white-throatedrobin, graduallydescending and leadinginto a two-part

alternator,a featurealready seen in the fourth and sixth sectionof this piece.The

meditationdisplays the regularfeature of statinga bird's songas a sourceand then

graduallydeveloping it, lengtheningthe phraýes,creating a fully-fledgedversion towards

the end of the movement. 322

The last movement- the triumphant,ecstatic eighteenth - spellsout 'La Joie' in the communicablelanguage. Toccatas, tumultuous ostinato sequencesand flourishes eventuallylead into chromaticascending scales and abrupt clustcr-chords.In the work, the birdsongseems to haveprovided a structurefor eachpiece, giving - with the unn-dstakable Messiaen timbres- clearpoints of reference.Where colour-chords have not beenincluded, hasrelied on characteristicallyunusual combinations of organ registrationto produce theseunique timbres. 323

PetitesEsquisses d'Oiseaux (1985)

In this short pianowork Messiaenallows the songsof four Europeanbirds to be heardin isolation.Here Messiaenexcludes almost all other compositionalmaterial: the birdsongis left on its own, only periodicallypunctuated by colour-complexesof the renversements transposdsor resonancecontractde-type. Moreover, this deceptivelysimple group of piecescomprises six portraits of birds' songsunaccompanied by the usualindications of surroundingspecies or habitat,and lackingthe Greek or f1indurhythms or other features associatedwith the Catalogued'Oiseaux. The six piecesare as follows:

I 'The Robin'

2 'The blackbird'

3 'The robin'

4 'The song thrush'

5 'The robin'

6 'The skylark'

As is immediatelyevident, the songsof the robin are displayedin piecesI, IH and V, divided by musicalportraits of the blackbird(II), songthrush (IV) and skylark (VI). Each of the threepieces dedicated to the robin employsthe samemusical features. In fact, all the birdsongportraits are written in block form - that is to say,juxtaposed - where one musicaltexture is given a coupleof bars,followed by another,and so on. 324

The threerobin piecesconsist of a numberof different phrases.The robin, itself, is often written in two-part homophony,in 'vif' or 'mod6r6' demisemýiquavers.This birdsongis also representedby three-parthomophony in a slow tempo marked'un peu lent'. A most prominentcharacteristic is-the composer's technique of isolatingwhite notesfrom black.

The uniquequality of the quasi-glissandosthat so often accompanythe robin's strophesin other works is producedhere on the pianoin manysections marked 'vif. At this rapid speed,the effect is just like a glissando:black andwhite notesare assignedto a specific group of notes,while eachhand alternates between these groups of black andwhite notes'3. Messiaen describes flis motiveas a 'cascadeof pearls'or as'little dropsof water',harking back to its appearancein Te Loriod' from the Catalogued'Oiseaux-3ý

The first glissandoof Te RougeGorge' (I), for ex=ple, is written with black notesin the right hand- in groupsof five - andwhite notesin the left lex IK/53]. Many instancesof this segregationcan be found in the Catalogued'Oiseaux. In addition, occasionalbursts of birdsongare accompaniedby white-notecluster chords [ex DU54 - p4, s5, b2l. Like that of Ta ChouetteHulotte' in Catalogued'Oiseaux, there are manyexamples of a simpletwo-note melodywlich is deeplycoloured. Here the two notesGA and R occur sporadicallyin the piecesdedicated to the robin, lavishlyharmonised and in a quasi-

deviceis resolution[ex IX/55 - p4, s4, b 11.As seenin La Fauvettedes Jardins, this called cresonancecontract6e'. Three colour chordsare alsoused throughout the three robin piecesto punctuatethe birdsong.These three. colour chords.- the third being the most b infrequent- are written in severaldifferent transpositions. Johnson labels each one a, and c and assignsthem a number1-13.1 refersto the lowest root C# below middle C, and 13 325 is its 13'htransposition, C# immediatelyabove middle C. Thefight handshows similar shapesto the colour-chordsin La Fauvetteand manyother pieces- three-partchords involving tritones,perfect fourths and fifths. Thesechords of 'renversementstranspos6s' are distinctly slow, in simplequavers and in groupsof one to six, and provide the pieces with a senseof structureand produce exciting resonanceeffects with the ensuinghigh- pitchedbirdsong.

Te Merle Noir'/'The Blackbird' (II) hasonly three separatefeatures: colour chordswith addedtime values,the songitself, andwidely-spaced chords producing resonance effects

[ex DU56a, b, c). Messiaenbegins the piecewith colour complexesin a chordaltexture.

The first two phrasesare related,the secondrepeating the first two chordsand concluding with two new chords,followed by a triadic harmonicresolution (b4). Each of these sectionsin the piececoncludes with a resolutionof this kind. On this first occasion,only white notesare employedin the chord. In the last colour chordalsection, a simpleC major with an addedsixth is used.Interestingly, the addedtime valueis employedhere, recalling an early style of the composer.These sections are alwaysfollowed by rapid demisemiquaversin two-parts, representingtle song:indeed, the notesfrom the resolutionare left to resonatehere, just as so often in the robin's pieces.The blackbird's demisemiquaverphrases are brief, involving manyflourishes and concludingwith short scandicusor iambiccells. The third featurebegins with a clusterchord using extremely low pitches,followed by a six-part chord in which the top three notes standout. In each occurrence,the immediatelypreceding music has been left to resonate,and, therefore,an inferior resonanceeffect is createdby the basscluster and a superiorresonance produced 326 by the six-partchord. The form of '' maybe divided into four verses,all comprisingthe threeabove-mentioned components in the sameorder.

The fourth piece,'La Grive Musicienne'/'TheSong Thrush, is a fine exampleof repetitivejuxtaposition of musicalfeatures. Messiaen exploits the songthrush's characteristicshort cells and repeatsthem once,twice or eventhree times.Again, thereis no development,nor are technicalprocedures employed, only the composer's transcriptionsare appliedto createthe structure.With the use of densechords, followed by additionalfeatures, many unique resonances are achieved.However, a new tempo markingis not givento eachcharacteristic feature. Amongst various repeatedcells are ascendingtwo-part quasi-glissandos(W), homorhythmicostinatos (b62), a repeated motive involving an ascendingflourish to an A major chord (b27-29), a two-part alternator(b3 5), andthree isolatedcolour chords(b 18) lex DU57a, b, c, d, el. The rest of the movementuses two or three repetitionsof varying rhythmic features- iamb, cretic, epitrite III, bacchius,paeon IV or anapaest.

VAlouette desChamps'PThe Skylark' (VI) is the most lively and vivaciouspiece of the work. Again, it is built upon manyostinatos; in this case,numerous short cellsare repeated&equently, often four or five times.The most commonfeature is a group of three demisemiquaversin two-parts,in a Iýigh-pitcheddescending arpeggio: examples are found at bars 10,18,47,59,66 and 78, most of which are preceded by a chord in the middle rangeof the piano [ex IYJ581.Indeed, the other high-pitchedtwo-part homophonyfound hereis alsopre-figured by a similar chord or occursas a continuationof the 327 aforementioneddescending arpeggio. These rather solemnchords punctuate the rapid, virtuosic two-part writing, as do the colour chordsin harmonicostinato (bars 20,50,9 1-

92 and 103).The last three soundingcolour chordsin harmonicostinato (bar 103) are followed by a turbulentgroup of clustersthat bring the work to an enthusiasticend.

Graduallydescending, this faster sequenceinvolves, at first, chordaland singlenote alternatorsin the right handand singleperfect fourth/tritone alternatorsin the left. A

sequencebegins in whichthe alternatorsgradually descend chord-by-chord and pitch-by-

pitch [ex IX/591. Two 'vif, abrupt calls concludethe work in the bass.

Un Vitrail et desOiseaux (1986)

'Les Oiseauxsont plus importantsque les tempi, et les couleursplus importantesque les oiseaux35

The prominencewhich Messiaengives to colour in this pieceis immediatelyevident. The

work usesseveral of the composer"sfavourite combinationsof instrumentsto producean

array of colourful effects:in manyways it shows,in its simplicity,the influenceof earlier

works. The simpleblock form presentsfive different textures,of which two are closely

related.The introductionrepresents the nightingalewith the xylophone-trioaccompanied

sporadicallyby metalpercussion, a texture alsofound throughoutthe operaand in

Couleursde la Citi Cileste [ex M601. Accompaniedby the woodwind section,the 'tr6s -

lent' trumpettheme is written in 2/8 and 3/16, using only quaversand a semiquaver

is added-notevalue, completing the phrasewith two tied crotchets.As the rhythm very 328 simple,and it is only the serniquaverthat shifts the quaverbeat, the rhythmirresistibly recallsearlier Messiaen, notably the openingof Tanse de la Fureur,pour les Sept

Trompettes'from the Qualziorpour la Fitt du Tempslex LX/61]. As PaulGriffiths points

OUt36'the musicis not only a chorale,but also a song.The trumpet andbells themeis richly colouredby the whole of the woodwind section,similar to the 'Corpus Christi

Alleluia' of Couleurs.All threeappearances conclude with the tritone ostinatocell, G to

C#, in a quaver-serniquaverrhythm. The song of the chaffinchis also representedon the xylophone-trioand is answeredby the songof the blackcap.In short bursts,its songis richly harmonisedwith colour-chordson tutti woodwind and trills on a triangle [ex

IX/621. Eachnote is given a separatecolour-chord, displaying la luminositi of the bird's timbre. Its phrasesgradually lengthen on eachoccurrence and the songitself increasesin duration.Indeed, with the exceptionof the chaffinch'ssong, aU the sectionsextend; however,the music doesnot developin any traditional way, but insteadthe samemotivic characteristicsare simplyrepeated and elongated.

All three polyphonicsections begin and end with the gardenwarbler on the piano. After the pianohas played two initial colour chordsand begunto portray the gardenwarbler's rapid demiserniquavers,other birds Mow in staggeredentries on the flute and clarinet.

Eachinstrument is givena downbeat and thereafter plays in hors lempo.In fact,these sectionsmay be referred.to as 'chamber'versions of the continuous'free time' heterophonyfound in the 'Sermonto the Birds', the sixth sceneof Messiaen'sopera.

Threebirdsongs are presentedin the first polyphonic'section,five in the secondand seven in the third. It is interestingthat suchvivid colours;are hereemployed, yet only common 329 birds are represented:perhaps Messiaen has decided that eventhe commonbirds of

Europehave complex timbres.

Althoughthe title, 'A Stained-GlassWindow and SomeBirds', seemsto give the birds an almostperipheral r8le, in fact the pieceis dominatedby birdsong,as Messiaenseems to be evokingthe progressiveextension of a given bird's song as the day unfolds,using the samerhythmic and melodicfeatures throughout. In the caseof the polyphonicsections,

Messiaen through intensification birdsong suggests staggered0 entries the gradual of asthe morningpasses, or as birds land on a tree. The composer uncagesthe birds in hors tempo, so that they are more free to interactwith one another,although maintaining the characteristicsof their songs.However, Messiaen, in contrastto the 'tp8de', usesonly flutes, clarinetsand a piano ratherthan solo strings;each instrument is designatedto one bird's song.In the final polyphonicsection Messiaen encapsulates three gardenwarblers on threeinstruments - piano,third flute and first clarinet.The third flute hasmany descendingruns similarto the quasi-descendingglissandos of the robin on the third clarinet;however, each solo line managesto maintainits intrinsic qualities.The robin's glissandos(for example)spring out of the texture as they descendto the lowest pitches usedin thesesections [ex IX/63].

The form of the pieceis shownbelow: 330

INTRODUCTION Nightingale on xylophone-trio and metal percussion STROPHEI a) theme on trumpets b) chaffinch on xylophone-trio c) blackcap on woodwind Hors d) Tempo Polyphony - garden warbler (pno), blackbird (I fl), subalpine warbler (I' cl) STROPHE2 a) b) c) [extended] d) Hors Tempo Polyphony - garden warbler (pno), blackbird (I" fl), blackcap (2 ndfl), subalpinewarbler (ld cl), robin (2d cl) STROPHE3 a) [extended] b) c) [extended] d) Hors Tempo Polyphony - garden warbler (pno), blackbird (Id fl), blackcap (2d fl), garden warbler (Yd fl), garden warbler (I" cl), subalpine warbler (2d cl), robin (3d cl)

CODA i) nightingale on xylophone-trio ii) 4 phrases:- 1-3 = trumpet themes in succession,4= colour-chords, + mode I

La VdIe d'En Haut (1987)

At the beginningof the work, Messiaencites two quotationsfrom Scripture:

'Recherchezles chosesd'en-haut, M oCise trouve le ChristTSeek those thingswhich are

above,where Christ sitteth [on the right handof God]' [SaintPaul, Epistle to the

Colossians,Chapter 3, v. I]

and, 331

' Et je vis la Cit6 Sainte,qui descendaitdu ciel, d'aupr6sde DieuTAnd I saw the Holy

City, comingdown from God out of Heaven'[Revelation, Chapter 2 1, v.2].

Both quotationsreveal the composer'sintention to createa vision of the CelestialCity. In

Couleursde la CW Celeste,there are five quotationsfrom the Book of Revelations,one of which focuseson seventrumpets. Here, in the sameway, the composermentions the melodyof the trumpetswhen referringto the secondchorale, thus achievingagain an apocalypticquality.

In this simplework in block form, written for orchestraand piano solo, Messiaen representstwo main aspectsof the new fife. The huge,monumental crotchet chordson the woodwind andbrass portray the glory of Paradisein what might be calleda 'monumental chorale',while the three separatetextures of birdsongsymbolise the joy of the resurrected.

There are two choralesin the work. The first choraleis the aforementioned'monumental chorale' (1), written in simplecrotchets in denselyorchestrated, grandiose tutti chords.

The secondchorale (2) employsmany changes of time-signaturein order to accommodate the frequentuse of addednote values(sixteenth): it is also accompaniedby the glockenspieland piano that togetherplay a high-pitchedfive- or six-part homorhythmic texture, reminiscent,in style, of the pianopart in the 'presquelent' sectionof the second movementof the quartet(Vocalise, pour I'Ange qui Annoncela Fin du Temps'). 332

The structureof the work may be dividedinto two sections,succeeded by a central birdsongsection and a coda.The first two sectionsare exactlythe same,each comprising three components:chorales I and 2, followed by the songof the melodiouswarbler. This songis givento the ubiquitousxylophone-trio texture in continuousthree-part homorhythm.Its repetitivesong, using short rhythmiccells, employsthe same orchestrationas the short vocalisationsof the chaffinchin the immediatelypreceding work, Un Vitrail et desOiseaux, although the melodiouswarbler's songis more

rhythmicallydynamic. Bars of 23 2/32 and 3 2/32 are interspersedwith simplerepeated

notes(in harmonicinflection) in barsof 4/16 and 2/16, creatingan exciting senseof

freedom.Its songopens in the sameway as previousversions by Messiaenlex DU64]. In

Riveil des Oiseaux(p 11), its secondphrase begins with a similar rising, 'd6sagreable'

This iambic pattern - iambiccells, the first a gracenote andthe secondaccented. rising cell

of the melodiouswarbler is againfound in the thirteenthmovement of Livre du Saint

Sacrement(pp96 and 101).In the fifth volume,part I of 'Traitd de Rythme,de Couleur,

et d'Ornithologie' (p577),Messiaen explains that its songis often built up of severalparts:

the first is a 'prelude', displayingthe aforementionediambic cells,while the secondis a

stropheoften beginningwith paeonIV followed by extensionsof this cell. Further,the

melodiouswarbler imitatesthe reedwarbler - with its repeatedpitches at a slowertempo - Its 'grande is andthe skylarkwith rapid virtuosic flourisheslei DU65a, b]. coda' sirrdlarly Here, virtuosic andat a more rapid tempo thanthe other musicalmaterial. the melodious b 1-2), has warbler hasa similar 'prelude' and repeatedpitches (p4, s2, and the added has colourations,being played by the xylophone-trio.Its songcertainly the excitementof 333 the skylark's;yet, althoughits secondappearance is extended,there does not appearto be a comparablyvirtuosic ending.

After the first two sections,comprising the threeaforementioned components, there is a centralsection which alternatesthe songsof two birds, the blackcapand gardenwarbler.

Eachbirdsong is heardfive times.The blackcapis orchestratedin almost.exactly the same way as its appearancein Un Vitrail, but, in contrast,its rhythmicgroupings are at first more sporadic.However, its songand phrases gradually lengthen until the fifth version

(pp22-23)where one phraseencompasses nine notes. The blackcap,frequently used in the operain a similarfashion, introduces the gardenwarbler, just as it doesin Un VhraiL

The gardenwarbler's songis long and 'chattering' in style,broken up by densecolour chordsoften in five or six parts -a techniquefound in manyrepresentations of this bird's song.These are indeed shorter versions of the cadenzasfound in La Fauvettedes Jardins.

However,unlike the examplein the pianopart of Un Vitrail, herethe 'chattering' passagesare mostly in two parts.Each song is graduallyextended, up to and includingthe fifth version.

Thecoda consists of the first, 'monumentalchorale', followed by anextended version of the second,'accompanied' chorale. 334

The structureof the work is as follows:

Section 1 a) chorale I ('monumental,)

b) chorale2

c) songof the melodiouswarbler

Section 2 a) choraleI ('monumental)

b) chorale2 (extended)

c) longerversion

Birdsong Section [Five alternatingpassages]

i) blackcap(woodwind)

fi) gardenwarbler (piano)

Coda a) chorale I ('monumental')

b) chorale2 (extended) 335

Notes to ChapterIX Although rarely notedin the score,often a note-valuemay resemblean exactcolour association. 2 ClaudeSamuel, Olivier Messiaen:Music and Color: Conversationswith ClaudeSamuel, transE. ThomasGlasow, (Portland, Oregon, Amadeus Press, 1986), p 136. 3 ClaudeSamuel, op. cit., p132-3. 4 Almost identicalto its representationin CataloguedDiseaux. tp6de' The informationhere refers to the piecein general.The - beinga movementthat comprisesi only solo finesin 'free' polyphony- is an exception. 6 Notably in the P and 6h bars of the secondchorus. 7 This melodicshape is a particularfeature of the whole work and, indeed,of Messiaen's dstyleoiseau' throughout his career. 8 The Narcissusflycatcher includes a similarharmonised choriambic motive marked'gai, color6' (p75, b2), althoughnot in a scandicusshape. 9 Comprisingmostly falling and rising minor 3rds and major 2ndsin groups of twos and threes. " Although the original quotationfrom Revelation,VIII, 6 statestrumpets - seesecond fisted quotation. 11 The only exceptionto this rule is the first call of figure 49 - the oppositeapplies. 12Also in augmentationor diminution. 13It is.important not to confuse'alouette calandre'('calandra lark) with 'alouette calandrelle'(short-toed lark'). 14Claude Samuel, op. cit., p141. " The Germanmusical system is applied,where Bb =D and B natural= H. 16Taken from a Platform Discussionon June 11,1972 in the Bach Hall of St. John's Church,during the secondDiasseldorf Messiaen Festival - cited by A. R6131erin her book, Contributionsto the SpiritualWorld of Olivier Messiae (Duisburg,Giles and Francke, compiled 1986). 17Used regularlyby Messiaen. 18Taken from W. H. Hudson'sbook Birds andM cited in A WanderingVoice by Michael Waterhouse(London, Bellow Publishing,1996), p49. 19See 'Le Merle Bleu' (p6) from CataloguedDiseaux. 20Peter Hill's performancelasts just over thirty-two minutes. 21Claude Samuel, op. cit., p153. As seenthroughout the 'Meditations'. Also known as the red-billedmesia - seeChronochromie. 24Of course,the inclusionof stringsmakes it possibleto havereal glissandoeffects. 25Cited by H. Watts in her article 'Canyons,Colours and Birds', Tempo 128, (1979), p6. 26Olivier Messiaen,Trait6 de Rylhme, de Couleur.et-d'Ornithologie. Vol 5, part I (Paris, Leduc, 1999),p448. " In fact, accordingto Oliver Knussen,and rightly so, 'The Resurrectedand the Songof the Star, Aldebaran'is a 'paraphrase'of this samemovement in the Turangaffla Sýmphony.See Tempo 116,March 1976,pp3 94 1, in Ids review ofDes C=yoiLs aux Etoiles. 336

28Employs many features similar to the northernmockingbird. 29Narcissus flycatcher. 3' A type of pigeon. 31Near the beginningof the scene,strict tempo andhors tempo divide the orchestrainto two parts.The woodwind, strings,bells and xylophone-trioare conducted,while the three ondes,D trumpet,hom-trio, rattles,glockenspiel and vibraphoneplay at their own speed. 32In fact, Movement)UI is entitled 'La Transsubstantiation'. 33A few exceptionsare found in the glissandoswhere black and white notesare not set apart,but only occasionalsingle pitches are found in an aliengroup. 34See Lrgit6, op. cit., p 147. 35Taken from Messiaen'spreface to the score. 36Messiaen Companion, ed. PeterHifl, (London, Faber, 1995),p513.

%A 337

Conclusion

This thesishas surveyed the evolving treatmentof birdsongthroughout Messiaen's career, discussinghis works chronologically,and focusingon the following issues:

(1) Selectionof Species(2) Instrumentation(3) Timbre (4) SpecialEffects (5) Texture (6)

Rhythmand Melody (7) Authenticity

Thereis a progressivedevelopment in Messiaen'streatment of birdsong,traceable from

L'Ascension(1937) through to his last works. The following chartsindicate significant featuresof this development:the compositionsare divided into severalstages as described in the thesis.

A- Si2niricant Early Works

Date Piece Innovations in Representation and Treatment of Birdsong 1933 LAscension * frequent trills and repeated rhythmic cells in m,.,vement H 1935 La Nativit6 du Seigneur rhythmic freedom of 'Dieu Parmi Nous' repeated 'iambic feet' in 'Les Anges' 1936 Po6mes Pour M fluttering/chattering effects on the piano high-pitched 'chirps' and 'interruption calls' cluster chords regular use of high-pitched sonorities 1941 Quatuor Pour la Fin du phrases 'comme un oiseau' & 'oiseau' used for Temps first time blackbird and nightingale in 'Liturgie de Cristal' f machine-gun' effects (nightingale) r scandicus' melodic cells (nightingale)' tritone alternator regular use of grace notes movement entitled 'AbIme des Oiseaux' rhythmic freedom (including added-note 338

1943 Visions de L'Amen implied sonorities of bells and birdsong many cluster chords bird-like 'interruption calls', also in succession loquacious demisemiquaver patterns 1944 Vingt Regards sur decorative and soloistic r6les of bird style I'Enfant-Msus sonorities of larks specified short sections devoted to 'le merle et tous les oiseaux' 1945 * use of two synchronous key signatures (Eb major with atonal birdsong) * varied use of articulation 1946-8 Turangalila Symphony * piano depiction of birdsong intensified by orchestral accompaniment * 'cretic' rhythms * regular use of reference points in 'style oiseau' * piano cadenzawith many bird style characteristics

B- The Experimental Period

Date Piece Innovations in Representation and Treatment of Birdsong 1950 Messede la Pentec6te * juxtaposition of bird style with 'droplets of water' * superimpositionof bird style on 'drops of water' * organregistration creating new timbres * specifiedand unspecifiedbirdsong 1951 Livre d'Orgue * birdsongcentre of attentionin 4' movement * conversationsof monophonicbirdsong * first birdsongcadenzas * birdsongdistinguished by timbre/registrationsas well as melodic/rhythmiccharacteristics * 'continuousmotivic islandsý' * superimpositionof rhythmic interversionof chromaticdurations on birdsongin 'Soixante-Quatre Dur6es' * birdsongmostly specified 1951 Le Merle Noir * songof the blackbird is the nucleusfor musical inspiration - * flute representsbirdsong 339

C- Riveil des Oiseaux and Oiseaux Exotigues

Date Piece Innovations in Representation and Treatment of Birdsong 1953 R6veil des Oiseaux * all birdsong now specified * only piece to make exclusive use of birdsong * use of 'circadian' time-scale * first employment of onomatopoeic instructions * several birdsongs depicted from all over France * harmonies used to colour songs and calls * harmonic ostinato * heterophonic polyphony of birdsongs * birdsong portrayed by whole orchestra 1956 * unpitchcd and pitched percussion used * Greek and 11indu rhythms used in conjunction with birdsong * homophony on piano * homorhythm. on piano *colour-chords on piano * rapid changes of tempo * long polyphonic sections (tutti of birdsong) * quasi-gEssando effects on piano *C crossed hands' and overlapping on piano

D- Catalo2ue d'Oiseaux

Date Piece Innovations in Representation and Treatment of Birdsong 1956-8 Catalogued'Oiseaux * portraits of birdsong * depictingsurrounding species, habitat and natural features * specificcolour associations * meticulouspedal markings * homophony(one voice dominant) * homorhythm(one voice or handdominant) * 'hybrid' texture2 'superior' and 'inferior' resonanceeffects complexcolour chordsused in many songs flights of birds portrayed overlappingof hands subjectiveresponses to soundqualities added to score - counterpoints/polyphonies solos/'cadenzas'of one species'songs __J 340

E- Selected Works from the Period 1960-1987

Date Piece Innovations in Representationand Treatment of Birdsong 1960 Chronochromie * birdsong from Sweden, France, Japan & Mexico tp8de' * - 18 solo strings in continuous polyphonic birdsong tutti * harmonies and harmonics on strings producing cascades' of colours * colour associations added to score * equal emphasis on (1) interversions (2) birdsong * pizz. in strings * juxtaposed orchestral groups or blocks * metallic percussion 1962 Sept HaYkaf * Oriental sonorities from xylophone, marimba and various metallic percussion instruments many Japanese birdsongs solo lines given to marimba, piano and xylophone specific positions given to whole orchestral ensemble * six orchestral groups * bird choruses underpinned by rhythmic continuum 1963 Couleursde la Citd * xylophone-trio Cdleste * piano haspercussive r6le * somebirdsongs supported by whole orchestra * equalimportance given to colour, birdsongand plainchant 1964 Et Exspecto *specificuse of brasssection (excluding strings and Resurrectionem piano) evenwhen depictingbirdsong Mortuorum * complexcolour associationsmore importantto the composer(shown in the calandralark's songs)

1969 M6ditationssur le evenmore innovativeorgan registrations Mystýre de la Sainte use of Messiaen's'communicable language' to off- Trinitd set birdsong 1970 La Fauvettedes Jardins * particular,extensive focus on the gardenwarbler's songs *improvisatoryqualities of the song * 'renversementtransposis' & 'resonance contractee'colour chords 1971-4 Des Canyonsaux ttoiles * first use of 'wind' and 'sand' machinesto accentuatebirdsong timbre * use of chimesmade from shell,glass and wood * crotales 341

* extendedtechniques (including cellos scraping bows and manymutes used) 1975- SaintFranqois d'Assise * dramaticuse of birdsong,cyclically or symbolically 83 * first use of 'hors tempo', in 'The Sermonto the Birds' * ondesmartenot used experimentally 1984 Livre du Saint * revertsto mostlyjuxtaposed material Sacrement * gradualdevelopment of birdsongcharacteristics throughoutmovement 1985 PetitcsEsquisses *4 miniatureportraits of birds' songsin isolation d'Oiscaux * only occasionaltriadic or colour chordsused to breakup phrases 1986 Un Vitrail et des * birdsongphrases gradually develop throughout Oiseaux piece * polyphonicsections gradually increase in depthand durationas the pieceprogresses

1987 La Ville d'En Haut * early 'monumental'style in brasscontrasted with maturebirdsong depictions

TablesA-E tracethe appearanceof new ideasin the composer'sevolving treatment of birdsong,extending the boundariesof his own compositionalstyle in this as in other respects.

Style oiseauis an essentialconstituent in his heterogeneousmusical language influenced by often unrelatedmusical, spiritual and physicalissues. Messiaen begins by building on

techniquesemployed by pastcomposers ( as describedin 'Techniquede mon Langage

Musical')in orderthat a newcompositional language be defined.11is own musical

languageis then enrichedthroughout his careerby the introduction of additional

techniques.For example,in the ExperimentalPeriod (1949-195 1) interversionsare

introduced,while in the Mý&tafions (1969) he employsthe communicablelanguage. 342

Birdsong,however, remains important to Messiaenthroughout his life and its significance is strengthenedin severalways.

in earlyworks, birdsongtakes on a decorativerole. 'Fluttering' or 'chattering', high- pitched sonorities,trills, interruptioncalls, alternators and tritones are featuresthat appear regularlyin the early works describedin Chapter5 (Table A), but are also commonin all of Messiaen'smusic; yet, thesecharacteristics are hallmarksof early style oiseau.as well as manylater, more sophisticatedrenditions of birdsong.The namesof speciesare occasionallyfound in the earlyperiod (TableA), but it is not until Riveil desOisemix

(Table Q that the namesof birds are indicatedin the scorein every instance.In the

ExperimentalPeriod (TableB), Messiaenbegins to investigatethe possibilitiesof timbre using innovativeorgan registrations in both Messede la Pentecdte(1950) andLivre d'Orgue (1951): with few exceptions,bird stylerepresentations up to this point havebeen limited to the piano.In NMI des Oiseauxand OiseauxExotiques the pianois againthe main instrumentfor birdsongportrayal, but other instrumentsin the orchestrabegin to depict namedbirdsong.

Messiaenfocuses on the pianousing extendedtechniques, contrasting textures and the full rangeof theinstrument in Catalogued'Oiseaux (Table D). Here,using only one instrument,the composeris ableto concentrateon the intrinsicmelodic and rhythmic characteristicsof eachbird's song,the interactionof manyspecies' songs and the representationof the surroundinghabitat. 343

Timbre becomesof major concernin the works from 1960until the end of his life (Table

E): Messiaenattempts to simulatethe characteristicqualities of birdsongusing invented chordsand combinationsof instruments.Ilis searchfor timbre producesinnumerable inventedcolour chordsand innovativecombinations of instruments.In Chronochromie

(TableE), birdsongfrom Sweden,France, Japan and Mexico are portrayedamongst harmoniesof harmonics,pizzicato, and metallicpercussion. Later, the metallicpercussion sectionbecomes a commonfeature of Messiaen'smusic, and Gamelaneffects are also employed.In Des Canyonsaux Etoiles (1971-1974),still more extendedtechniques are usedfrom the cellosscraping their bows to the trumpetsusing only the mouth piece; additionally,sand and wind machinesare employed.These extended techniques and unusualinstruments produce extraordinary results and extend his timbralpalette. In the opera,St FrangoisdAssise (1975-1983),Messiaen uses the 'hors tempo"technique, as in the later Un Vitrail et des Oiseaux(1986), where instrumentalists are given a sign to start by the conductor,and continueplaying, independent from the rest of the orchestra.This almostaleatoric effect createsstill greaterfreedom.

It is in this relentlesssearch for rhythmicand melodicprecision and a lifetime's investigationinto timbrethat hasbrought about a wide-rangingexploration of birdsong and their incorporationin innovativeCompositions, exemplifying a developmentin his creativeresponses drawn from the soundsof nature.The following sectionsdealwith sevenmain aspects -of Messiaen"s style,drawing conclusions arising from the preceding tablesand the analysescontained in the earlierchapters. 344

(1) Selectionof Species

WhenMessiaen first beganincorporating birdsong into his works, its function was predominantlydecorative, and the terms 'oiseau' and 'commeun oiseau'were used impressionistically.Although the nightingaleand blackbird are mentionedin the prefaceto the Qualuorpour la Fin du Temps,it is not until Vingi Regardssur IEnfanf-Jgmis that speciesare specified.Gradually, the function of birdsongbecomes more prominent:for example,in a sectionof the 'Communion'from Messede la Pentecdle(195 0), thereis a counterpointsolely between bird style and dropletsof water, while Le Merle Noir (1951), a piecefor flute and piano, is dedicatedentirely to the songsof the blackbird.

A developmentin Messiaen'suse of birdsongcan readily be seensimply by noting t4e steadyincrease in the numberand variety of speciesemployed. Indeed, NMI des Oiseaux

(1953) representsthirty-eight birds from France,and OiscauxExotiques (1956) portrays birdsongfrom severaldiverse countries. As Messiaen'stranscriptions accumulate, so the numberof speciesused increases, providing the composerwith an endlesssupply of musicalinspiration.

(2) Instrumentatio

The piano is an extremelyimportant instrument in Messiaensworks: one can seein Table

A abovethat the pianois presentin most of the early pieces.In theseearly works, it is the 345 pianothat producesthe 'style oiseau'characteristics, labelled or otherwise.Trevor Hold hasqueried this choiceof instrumentfor manyreasons related to authenticity- notably, that it cannotcrescendo through a sustainednote, play intervalssmaller than a semitone, or producea true glissando,all of which are integral componentsto manybirds' songsin the wild. Yet, throughoutMessiaen' oeuvre, the piano is rarely excludedin a composition: in Riveil desOiseaux and OiseauxExotiques it almostplays a concertanter8le, and it is calledupon in isolationin manyworks for solo piano. Malcolm Troup claimsthat the piano - with its immenserange, 'brittle' and 'chameleon'-likein nature- was capableof both 'ersatz 'twittering birdsong" producing gamelan'effects and .

However,in the 'experimentalperiod' (seeTable B) the organ representsbirdsong, using colourful, innovativeregistration both to accentuateand differentiatebetween different sonorities.By the time of NMI des oiseazx, Messiaenuses the whole availablerange of the orchestrato depictbirdsong. The uniquetimbres of eachmusical instrument create collagesof colour, and distinguishesspecies' unique songs.As more typesof texture are introducedin later pieces,so thesedifferentiations become more apparent.

(3) Timbre

An increasingpreoccupationwith timbre is a centralcharacteristic of Messiaen'sevolving. compositionalstyle. Johnson states that, 346

'the concernfor timbre is the main developmentto be found in his birdsongfrom 1953to 1958.'s

However,the composerfound that timbre was the most difficult aspectof birdsongto reproduce,or evensimulate. He states:

'each note is providedwith a chord, not a traditional chord but a complex destinedto the timbre for bird of sounds give of that note... a piece comprisingone or two thousandnotes, there are one or two thousand invented It is for imagination6 chords. an enormoustask the .

Certainly,Messiaen's sense of synaesthesia,and his love of colours,helped him to producea wealth of chordal-complexeswhich increasethe intensityof the original7, simulatingthe timbre of the songin the wild.

Needlessto say,it is not simplythe chordal-complexesthat evoke an approximationof birdsong.According to Messiaen,the tonesof the birds are,

'so extraordinarythat no musicalinstrument can reproducethem. One needscombinations of instruments,and still more combinationsor complexesof pitches's(see Table E).

Messiaenhas admitted that his treatmentof timbre developedover time.

'As I grew older, I drew increasinglynear to timbre - my last works, such boiles, asDes Cwiyonsaux containfar more tone-colour effectsthan my earlierworks'9 347

From quite early on, Messiaenexplores and extendsthe fiill capabilitiesof instruments with regardto rangeof pitch, decorativedevices such as trills, and 'interruption calls' (see

TableA). This wealth of specialeffects and sonoritiesis developedeven further through

Wsexplorations of birdsong.

(4) Special Effects

The composeroften usesthe full pitch rangeof the instrumentshe employsin order to produceextraordinary sound qualities. Copious trills and 'interruption calls', amongst various other effects,were part of Messiaen'svocabulary from quite early on. Of course,

Messiaencreates and utilises many other specialeffects to generatea rich compositional palette.

For example,typical Easternsonorities are introducedin SeptHa&af (1962) along with

Japanesebirdsong coUected during a recenttour to Japan.Here, the composercombines a solo piano part with xylophone,marimba, violins, woodwind, trumpet, tromboneand numerousmetallic percussion instruments. It is this metallicpercussion ensemble that producesfascinating 'gamelan' effects, especially with the xylophoneand marimba.Later, in Saint FrangoisdAssise (1975-83),and in Un Irarail el des Oiseaux(1986), the xylophone-trio(consisting of xylophone,xylorimba and marimba)becomes a favourite

instrumcntalcombination. 348

In Des Canyonsaux Efoiles (19714) the composeruses two unusualinstruments for the first time: the wind machineand the sandmachine. Climes (madefrom wood, shelland glass)are alsoused, and a thunder sheet(t6le), producesdramatic effects and enrichesthe birdsong.Additionally, extended techniques are found in the cello parts,where they are requiredto scrapetheir bows behindand alongsidethe bridge. Various mutesare employed,and double-stopped harmonics in harmonieswith glissandoeffects are played by the strings.

(5) Texture

Messiaen'schoice of texture is a further dimensionof his compositionaldevelopment.

Throughoutthis thesis,I haveused seven principal types of texture in order to categorise birdsong:

(1) monophonic (2) two-voiced homophonic (3) two-voiced homophonic(one voice dominant) (4) homorhythmic (5) homorhythrnic(one voice, handor part don-dnant) (6) hybrid texture (with 'superior' or 'inferior' resonanceeffects) (7) polyphonic

Thesecategories have been adapted from Sun'sresearcheslo, originally intendedfor

facilitate*further analysesof the Catalogued'Oiseaux (seeTable D), in order to research

with regardto orchestralworks. As shownin the-tables, originally, Messiaen'streatment birdsong Increasingly, (and of 'style oiseau'and specified was monophonic. monophony 349 octavewriting) were replacedby two-voice homophony,homorhythm and polyphony.In

Catalogued'Oiseaux, the first use of (1) two-part homophonywith one voice dominant and (2) chordaltexture with one voice or part dominant,is found. Later, in Des Caityon.v aux boiles (1971-4)and St Fraiiýois dAssise (1975-83), specialeffects and more elaboratecascades of colours are employedin the orchestra,producing an evenwider rangeof textural effects.More intensepolyphony is generatedin later works: the first polyphonic'outpouring' of birdsongis locatedin the 'dawn chorus' sectionof Reveil des

Oiseaux(1953). Of course,the 'tpode' from Chronochromie(1960) featureseighteen solo stringsin an almostcontinuous outpouring of polyphonicbirdsong, while in Saint

FranCoisdAssise (1975-83)and Un Vitrail et des Oiseaza(1986), hors tempois employed,producing a freer interactionof simultaneouslinear movement.

(6) Rh3qhmand Melody

'The birds providedhim with exactlythe justification he neededfor almost unlimitedrepetition, whether of individual pitches,of melodicfigures or of sections'[Malcolm Troupf'.

This endlesssupply of rhythmic and melodicvariation is difficult to categorise.However, the underlyingcharacteristics of the birdsongsin the main works havebeen revealed in the

fmotivic classification' tables. Messiaen developed a characteristicstyle for eachbird's

songor call, employingnot only instrumentsthat most clearlyrecreate the sonoritybut

also differentiatingthem with respectto phraselength, by varying speedsand textures,or by rhythmic or melodicfeatures. Given the repetitivenature of birdsong,it hasbeen

necessaryto introducenew terminologyto analysis.The 'alternator' and the 'interruption 350 call' are examplesof this. It hasalso beenuseful to simplify birdsonginto its basicmotivic components:for instance,the blue rock thrush(present in the CataloguedOlseaux and in the opera)often basesits phrasesaround permutations of a pentatonicmode - F#, E, C#,

B and A., althoughmany phrases in the thýirdtableau of the operafeature complicated

'dochmiac' rhythmsand other chromaticpitches.

The 'motivic classification'tables in the main part of the thesisare usedin conjunction 12) with the termstaken from prosody(and ideas from Marcel Dupr6's treatise and the

adaptationsfrom plainchant.Use of prosodyhas made it possibleto trace patternsof

rhythm and accentin birdsong,while, shapes of melodiesare often relatedto adaptations

13 Additionally, in that is tonal, 'reference' 'anchor' of plainsong . music rarely or points

havebeen cited in order to locatea 'pivotal' centrein an otherwiseatonal or modal song.

(7) Authenticijy and its Importance

Many ornithologistshave criticised Messiaen's work, his choiceof instrumentationand his

inexactitude.Nevertheless, few ornithologistsare ableto write or perform music at a

professionallevel, and the two disciplinesrarely meet.As Paul Griffiths advises,

'.. he Wessiaen]is far more conscientiousan ornithologistthan any earlier musician,and far moremusical an observerthan any other ornithologist". '

Although Messiaenoriginally tried to copy exactlythe soundsof birdsong,he was later to

admit that, 351

'involuntarily, I inject my reproductionsof the sonf, s with somethingof my mannerand methodof listening' '.

In addition,birds generallysing at sucha high registerthat Messiaenhad to transposethe songsdown at leastfour octavesin order for them to be playedby westerninstruments: it is this octavedisplacement and slowing down of the original songsthat may causethem to be unrecognisable.

An analogywith paintersand paintingsis appositeto Messiaen's'birdsong, compositions.

His representationsare not so much exactreproductions ('photographs'), as musical

interpretationsof birdsong('paintings'). This analogymaybe extendedwhen describing the natureof his pieces.Messiaen's works fall naturallyinto two categories.The thirteen

piecesof the Catalogued'Oiseaux (1956-8)- portrayingin eachpiece a bird's song,

habitatand other surroundingspecies - maybe describedas 'portrait[s]' as mayLa

Fauvettedes Jardins (1970) andPetitesEsquisses des Oiseaux(1985). Indeed,Nveil des

Oiseauxmay be describedas a 'portrait of the dawn chorus', deschbingthe periodfrom

midnightto noon the next day in an unspecifiedforest of France.The secondcategory from maybe categorisedas 'collage', wherebird vocalisationsare taken all over the world OiseauxF-rofiques andthere is no senseof a particularnatural setting being described.

(1956), Chronochromie(1960) andthe 'Sermonto the Birds' from the opera(1975-8.3)

ftamework are examplesof this. However,there are also miniature'portraits" within the Rgveil des Oiseaux(195 3) in SeptHalkar of manypieces - in the piano cadenzasof or 352

(1962), for example.Messiaen himself has differentiated between the two types,stating that the first is 'truthful' ('portrait') and the secondis 'unfaithful' ('collage').

Neither methodis more importantthan the other, and howevercomplex the birdsong,

Messiaen'sintention was to respondcreatively rather than to imitate. As Johnsonadvises,

'He is concernedwith a humanworld containingbirdsong, rather than a "bird world" in its own right."'

It is apparentthat birdsongfeatures in the majority of Messiaen'scompositions; indeed, in

works suchas Catalogued'Oiseaux, La Fauvettedes Jardhis and NMI des Oiscaux,it is

the principalfeature. Birdsong also playsan integral role in the composer'sspiritual world:

as Tanneguyde Qu6netainadvises,

'If one had to try and put in a nutshell the main features which characterise his vision of the world, one would probably isolate four governing themes: religious meditation, the sublimation of love, escapefrom the confines of time, and an intimate 17v communion with nature.

One cannotunderestimate the significanceof birdsongfor Messiaen.It was a central

featureof Wseclectic musical language w1dch, inspired by compositionalexploration and

the naturaland spiritual world, couldnot existwithout one further essential component,

andit is importantto explorethe relationshipbetween these factors. Messiaenwas

fundamentallya RomanCatholic. His unrelentingloyalty and devotion to playingthe

organ at La Trinit6 andthe title or subjectmatter to manyof his works illustrate this. Even

in works that, on the surface,do not indicatea theologicalcontext, there are many 353 featuresthat play a symbolicr8le. Thesefeatures are the hallmarksof Messiaen'smusic.

The trinity, for example,occurs symbolically throughout the composer'soeuvre. The

MMIations (1969) are dedicatedto the mysteryof the Holy Spirit as the title indicates: there are phrasesthat represent'the Three are One', the 'Son' and the 'Holy Spirit', while the communicablelanguage incorporates phrases denoting the three persons.In addition, the trinity appearssymbolically in manyother works. Petiles F-squissesd'Olseaux (1985) usesthree bird's songs,Les OffrwzdesOuhliges (1930) hasthree movements,the fifteenth movementof Livre A Saint Sacrement(1984) juxtaposes three birds' songs,there are three strophesin Vilrail et des Oiseaux(1986), the xylophone-triois ubiquitousand the gpersonagesrythmiques' system superimposes three rhythmic continuums,amongst others.

In the prefaceto the scoreof Vingi Regardssur I'E?ifwlt Jjsus (1944), Messiaenstates that 'Regarddu Fils sur le Fils" has 'three sonorities,three modes,three rhythms,three strandsof musicsuperimposed on eachother. Significanceis also given to prime numbers.Number five is the numberof the Indian god 'Shiva', while numberseven is the

'perfect number"and, for the composer,it signifiesthe day of rest. Christiansymbolism is revealedin all his works to a greateror lesserextent.

The Greekand Hindu rhythms,,with their animetricbeat, may symbolisespiritual freedom alongwith the added-notevalues and the non-retrogradablerhythms, especially when playedat a slow tempowhere there is evenless rikelihood of detectingpulse: the

,timelessness' of the slowertempos and irregularbar lengthsindicate the 'end of time' and

'eternal life'. Furthermore,the Greekand I-Endu rhythms may signify Christianhope and triumph over deathas seenin the secondmovement of Et ExzpectoResurrectionem 354

Morluonim(I Awaitthe Resurrectiott of theDead, taken from the Creed)where the metallicpercussion section, using the Simhavikramatila, symbolisesthe power of the

'lion' while accompanyinga tritonal trumpettheme representing the risenChrist.

Plainsongalso plays an important r6le. The plainsongmay illustratea certaintext, as in the elaboratedversion of 'Salve Regina' in Les Corp.v Glorieur, or may suggest,as in the

Midilations, whereplainchant is simpleand unchanged, the simplicity of faith.

It is significantthat Messiaenhas analysed his own birdsongtranscriptions using terminologyderived from prosodyand plainchant.For the composer,the birds are symbolsof preciselywhat he wishesto attain on earth. Messiaen'ssearch for new compositionalprocedures takes him further away from the sovereignliberty and improvisatorysounds of nature:when returningto birdsong,he freeshimself from the constraintsof his pre-conceivedmusical limitations. Messiaen has admitted, in conversationwith Antoine Gol6a,that the bird is the symbolfor freedom.He continues,

'We wak he flies. We makewar, he sings's'.

Ms obsessionwith everlastinglife, an issueprevalent throughout his music,indicates that

he felt completefteedorn could only be possiblein heaven.

There are a numberof paradoxesthat are implicit in Messiaen'smusical and spiritual is faith, but for philosophies.Many devout Christiansadmit that*doubt a necessarypart of

Messiaenthere are manyother contradictions.The deliberateintention of his use of 355 carefullynotated birdsong - rhythmsand melodies and the interactionof birds' songsset in

stone- is the antithesisof freedom,just as rhythm is to anunetricality,time is to timelessnessand human love is to divinelove. Birdsongis, therefore,proof of the existenceof God. By seekingto evokespiritual ecstasy through the languageof the birds

Messiaenupholds a profoundtheosophy, hoping to comprehendthe truth. Perhapsthe

composeris taking the adviceof St. John'sGospel where it is written, 'The truth will

makeyou free' (John,8 v32). Messiaen'sbirds are icons: they symbolisenature's voice or

evenGod's voice. Their soundsperhaps give Messiaenthe desirefor eternallife or a

previewof everlastingperfection.

It is curiousthat consideringMessiaen's profound Catholic faith, few piecesare intended

for liturgical use:it appears,however, that his eclecticmeans of expression- the copious

symbols,techniques, inspirations and the birdsong- indicateshis pantheism.God is all

aroundus, Giventhe chance,the composerwould chosethe naturalworld over the man-

madeworld: for Messiaen,the soundsof natureare the 'real' soundsand the musicof the

Easternand Western traditions are pre-conceivedor even 'unreal'.

'For me, the only real music has always ... 19" existed in the sounds of nature. 156

Notes tG-Conclusion The frequently used scandicusmelodic shape. 2 This phraseis coinedby Paul Griffiths in his book, Olivier Nfessiaenand the Music o Time, (London, Faber, 1985), 147. 3 Terminologytaken from Shu-WenSun in his dissertation,'Birdsong and Pitch-ClassSets in Messiaen's"L'Alouette Calandrelle"',(University of Oregon, 1995),p35. ' Malcolm Troup in The MessiaenCompanion, ed. Peter10, (London, Faberand Faber, 1995),p393. 5 R. S. Johnson,Messiae (London,Dent, 1976,R/1989), 18. , pl 6 ClaudeSamuel, Olivier Messiaen:Music and Color. ConversationsVAth Claude Samue-1, (Portland,Oregon, Amadeus Press, 1986), pp94-5. " In this instance,the 'original' is the version - seenthroughout Trait6 de Rzhme. de Couleur, et d'Ornitholoizie'- which is not yet orchestrated,given dynamics,an instrument or any harmonicinflection. 8 Takenfrom the Public DiscussionDecember 7 1968,during the first Dilsseldorf MessiaenFestival cited in A. R68ler, Contributionsto the-SpiritualWorld of Olivic Messiaen(Duisburg, Giles and Francke,1986), p32. 9 R66ler, op. cit., p108. 10Shu-Wen Sun, op. cit., pp33-36. "Malcolm Troup in The MessiaenCompanio op. cit., p397. 12Marcel Duprd, 'Trait6 d'Improvisation',vol. 2 Cours Completd'Improvisation i I'Orgue (Paris,Leduc, 1926). ` SeeMusical Examplesin table form - EUI and H/2. 14Paul Griffiths, op. cit., p168. 15Claude Samuel, op. cit., p94. 16Johnson, op. cit., p 131. 17Tanneguy de Qu6netain,'Messiaen: Poet of Nature', Music and Musicians xi/9, (May 1963),p 10. 18Antoine Gol6a'sbook, Recontresavec Olivier Messiaen(Paris, Julliard, 1960),p 19. 19Ibid., p223 357

M uslcal-Exstmvlc3=Cb ar) ter I

1/1 ('Techniquede addednote value mon LangageMusical', ex. 1-9) I 13 Strawinsky A4 13 2A 113 A 13 A in A Ll A 73 Satre die Prislemps, ; P: 4 11- ,, H ol !4i of .... 4,91... /)&"so Societe. fimmiza - -

3 13 46 rg5-9, ý ýý -- rigaverdAana , r- f- - M' F- -35 6

++

1/2decorative birdsong ('Jardin du Sommeild'Amour'. birangall1aSymphony)

astfft

TOW. temator)

I hoso

0.46

solov"s

Div.

lkms lost I* offee" post I*$ *or4o* 1 w1broteIA$ soft;.

4 358

11 Musical Examples -Chanter - Table 11/1Use or Prosody in Messiaen'sRhythmic Analysis

(1) lamb (U-) ffraiti', p439) .....

(2) Double-lamb (U-U-) ffraiti', p555) M_F5 V;-- (3) Double-lambin echo (U-U-) ffraiW, p429)

p (4) Trochee (-U) ffraitk', p66) A i_ý7\__ýP__`7N

(cretic) (-U-) ffraiti', Ij (5) Amphimaccr p305) _A

(6) Dactyl Wu) ffraiti', p85)

(7) Anapaest. (M) ('Trait6', p 118)

(8) Bacchius (Traitt', p536) ýLýt

(9) Contra-bacchius (__U) ("Taitil, p66)

(10) Ephrite I ffraiti', p536) I-H-OF F MR % --. 4-M rII

(11) Epitrite H (-U--) ffratti', p 133)

(12) Epitrite III ffraiti', p212) 359

(13) Paeon IV (UUU-) (Traiti', p 121) go

I (14) Choriamb ('Traiti', pI 11)

(15) Spondee ('Traiti', p239)

(16) Ionic Minor (UU--) ('Trait6', p326) 15-0- (17) Tribach (UUU) ffraiW, p85) 9w I

I I

Table 11/2use or Plainch2nt in Messiaen's Melodic Analysis

(1) ClimacusResupinus (Traiti', p78)

4w

(2) Poff ectusFlexus ('Trait6', p77)

(3) Torculus Resupinus ('Traiti, p84) ý! K ý1 h010

('TraiW, IS8) ýw (4) Porrectus p 11 ft ý 0'. 061

(5) Torculus ("Traiti', p193 & 194) 360

(6) Scandicus ('Traiti', p193 & 194) OL L

(7) Climhcus ('Traiti', p 193& 195)

11/3 song of the nightingale ('La Rousserolle Effarvatte', Catalogue d'Olseaux) lanapacst), r [iamb)-1 Rossignol >. ve, (ýz i2o) 0, peu, vir I too) tim.

-ij- ...... - jj* (6rusjue el incisil) p 6 I t--- -wr V,! ý= 1 11 "- 9rI ra jua ., -i "= ", Ru4 IIRr. r. 9, t; ;

iambs) r-U!, alternator] Locut (oh. 100) vir (P2 132) loinfaiA, luxaire ler. M AD A..

/* PIT IT it (mordant, comme sut xylopAone) PIP FF 6i" 1FiFiF-i-fI. - 0.1 V. y ýr -ryy + F-ý- Fmý-- It-U. (san-t ) r-[double-iamb) I vid. [altemator) I Un reu vir

kp

r-[anapacst]-i

S

lz.ww

Orst-que et incifill) MY F-H 361

Musical Examples - Chapter IH

a) perfect chord b) chord on the dominant seventhc) on the chord of the ninth AA

d) resonances,perceiving an F# A P

(taken from ex. 183-186, 'Technique de mon Langage Musical)

I --l r-I 111/2tritone theme ('Technique', 215) ex. lp %0.1 I-I 1 -[--I _I Vý 1, q '0. -

111/3 colour chords from Qualuor pour la Fin A Temps('Techh. iqbe', ex. 222) Presque lentg ImPalpable, IoI nt at n f= `r7- f=l annonce 14fist d6 viola" ...... 0) pp got tf p ý 0 vlalonceM im pp sourdins ...... AL 1 49F f l n'

ppp plallo Lb t".. S- EýýEE " Iq . Ap. b. 0 - ka Pm-Mý. wl. 40

Van

I-. -7--ý ---I- JL . --7=-L vllt

ol lidi: aI

pno

I LPN VT Ft 41 ýw V ýlv %I 362 111/4modes of limitedtransposition

(Whole-tons Scajej

Mode Iami

(Octatodic Scalal A Mods

mcwe 3

Mods 4

Mode 3

Mod* 6

Mods 7

III/Stxtract from 'Paysage' (IloiniesportrMi)

r--, Plal . me d* ch a Sri os it d# roiLdri fig.

111/6theme from 'Boris Godunov'('Technique', ex. 75 & 76) AA

111/7 a) opening of Stravinsky's 'The Rite of Spring' Lon.to- J. so hmpo rubato Clartnrtto 1 in La

Clarinetto ______In SIasoo ______I 1 -. --

Fagotte 1 LrEc F--rr, 1- J- I rrrrrrr JL-. j I . 0114P.. tc Corno 2 in F& -, -Iý, II& it I extract from P44 a 363 feZ; Ls týtýt&t -. .0 .0 .6- M. - IfEuv -. - "I, - 34 L- 6 I- W4 : -- #--s .. 14-4 -0 - .- t " i I. kkL :E-- . lit tff II =

w4 .4

41- E -j

.1 -t-- 5 I AL I- #7 A --- i l Hfi . . --. - --- IF - I T-j I J, 1

1, 'k 1, i, % .. 1- - -ý _4 --% a- 01

U. m 00- F P I # 11 ;a ZF- I. Ix "

P-P Ll I Tý -, *, ' W .

-

. JE IIp - _ 4 -

I

14 1

1. -'A

4--g -

kol

VY sly *190 Pat ales Piet LA -rise

ill Psi-4r ý pi poll p . ar o -

O. B. -b is a subsctof a) I 11/8Iliodified plainsone.with added note values ('SubtilitE cles.Corp. % Uofieux') a 364 113ten 11 mod-firi--1 0. corset

argue

d Fo-s7. -I c ---eI-

I tA2

IPO,-

-4) AB AB A 13 AU AB 1 11119'simliavikridita' simhotipilrUile ff P- -tF!. P'' 14 gil

111/10diminution and augmentation ('Technique', ex.24)

TABLEAU DE QUELQUES FORMES DAUGMENTATION OU DIMINUTION DIUN RYTHME 24 24 7ABIE or sovr FORMS OP AVGV.CVrA TION TABRUZ VINIOSA rORMrNDtJt MRO)OSSSAUNG OR DIMINUTION OP A RNYT11M ODZR RATTIMIS Augmentation I Vergr5secrun.- Diminution Ver/i/cificrutig ajOut du quart des u) retralt du einquikme 1 -m 11111F- F. F ij 11111F- M1 F- p valcurs des valeurst if intlieýt '''' addifinve a/ a. quarter of (Ae'vaimes: wilAdretrat tÜ Hinzurigung eines Viertels der Werte - Wegnahm@ eines Fünftels der Wertet

b) retralt du qu&rt d:: ajo,ut du tiers des ii-H P 'a eu rs :m-IgF. valearal IF, A, iAc 41mest addition of a fAird of ivitUrnival of a rf; r of HinzoNgung eines Drittitle der Werte: Weg-na.hms sines Vicrtels der Worts i

ajoulý do A' 0111t3 e) retrait da pointt tou ajout ]a Mottle F1 FR. F. Couretralt du tiert des k. des valeurs) r va eure t addition of the datr(or addition ofAalf Me value-0 tei(AdfeirdRiof the dot:for HitizurUgungdes Punktes-(oder Hinzurigung der Will'te derWertet) WejMahmedes Punkteas toder Wegnahme eines Drittel@ der Werte) d) diminution augmentation classiquet *1 deplagilque la 1mi IOU ajout des valeurl k 111 F4 FR (00 retrall, Thoftlij f! r FIE des valeurei riles-Memel) 4 eta qsic atteverntatio"Ar addition of Me Valve& to fAcat"Ncs) claatie diminutiont (er tuitAdremal ofAaff ihe vimlue.vj KILssische Vergriisterungi Wer H intufUgung der Werte so alch Xiastische Verkleintrung-loderW*gn&hme derHilfttderWerte)

do double des ý dee ;, des ajolut r-- FL FR 40 retralt 3 0 111 - 1- 11&1, P11_Aý;, P. E14. - val eu rt tM ,,,, eurs Je, addition of (trice (AC Values: tritA dro wa 9 of (wo-tA iriär of výIsev. - HinzuNgunir des Doppelten der Worte: Wegnahmt von zwei Dritteln der Wertet

du des f) des ?V4 des ajout triple retralt F- P. iW valturs : ,v&It urs -I . addWoo of tArce (imes Me VaIM2 wi(Adrawal of w1figurugung des Dreffacheft dorwerte. Wepahms van drel Ylortoln der Wortst

du des retralt des 44 des 1 -m -m sjo,ut quadruple t F. F. M- g) F- m--m F.- 'a Ou ro gHri11 mAdition fif jbw r times Me WinsvNgunK den Vierfachan VaTwe.,der Werte:.I WI-g,nabm* vonwier Fünfteln der Wtrtel

*****. 365

Musical ExamvIes - Chamer IV

IV/1 subjectivenotation (taken from Hold's article,'The Notationof Birdsong')

W rý r- r- 'the roller' (or 'shake') as in the can3ry,

(W for tones-with a ctrong'mingling' or non-musicalsounds-

for sounds essentially mn-musical

in drumrr6ng IW2 pressure-levelgraph from a melogram,wing-beat noise tEe display of the ruffed grouse

de Id 40-

30-

20L 10

2 L-J 6.5 %44t Cos al WWIUva 91 Secs

s's... 366

Musical Examoles- Chnpter V

including (LAscension) V/1 early style oiseau', trills bn po-m looJeouple El 63) Lont. Loni. t4vewr pf"Poloolk Pee POU ri%vwrfP2 III

th T-- FI

rurA I 2 Clar

Lew. r 1! VV

Pit

Alf. %

V/2 two chaffinches(Rived des Oiseaux) Mt Pinion )---- or $11.11% -- (I IA .0 40 k. I!

air

V/3 'fluttering' on the piano (Vtpouvante", Poýmespour Mi)

V/4 melodyinfluenced by the 'Bofis Godunov" theme,gradually accelerating ('Ta Voix', PoýnzespourMi)

1------X 14------9 #OL ------die W-f- m be A2-. .--A 0,Li; k. ?tf. ke- le d'.i* fa i e- a

0 J-9-2 rt7n I V/5 resemblinga high 'chirp' ('Les Deux Guerriers',Poemespolij. "i) sound 367

V/6 high-pitched acciaccaturas ('Joie et Clarti des Corps Glorieux')

V/7 flute-like timbre ('Les Bergers', La Nativiij de Seig7je, ) 11. b Men rnod4t, 4 ad lib. G bnurdon b IG P Sallujon.0 --lop V, f01111 Ifja Piz

a a' V/8 'Magnificat, alleluiatic praise in bird style' ('Dieu Parmi Nous', La Nativite)

tr

(; I legato t. FF'F lop Fi11111i1111iF1"F111 - F- IIII ! I. ?w.- IQ I -

V19 heterophonicbirdsong ('Liturgie de Cristal', Qiiaiiiot-poiii- la Ein de 7knil). 7) scandicus scandicus

I Von

clal

VC114 V/10 movement three, 'Abime des Otseaux tQuaiuoi-) 368 III.. Ablme des oiseaux

B. Godunovtheme ansWeringphrase B. G. theme answcringphrase 1 -1 -1 (Jý44 ) 1 Lent, expreself et triste vokv. claricette on Si ý F (dischij

i T" B.G. thcma

(4121 ) answeringphrasc 0: 10mm IRV. Presque f, ol,

Sc i

jpie " x(mooloillif. 'w ý, -=: ) -; foommof an vioeow, trio loirv aft mmeet, crest. Inallo 2 altemator altcmator 1xvi , <-

4 3

scandicus scandicus SPressez sL =1 ZI WO 10 ii -p

2 Lent (ýL- 44 r-3,1 jzt2a I tim) Pre qua vix tay.) son's pressor. 17--1,1 groself ot puissant L -pz tit MI 4 @rose.W&MO

r- 4 ----1

crese. Modleri (X-92 eav Rall. F 0 rr f1

" (OCAO)

Rall.

- -V 'r- %I, :2; :2V =I'-'; 231-; 7119:011-4 - (V/10 answeringphrase B.G. 369 continued) theme answeringphrase

Lent, expreseiret triste (444 guy.)

99ýýl

E-1 -

A

fL

jDpp

: 2.. 'P Sent Prteser, A pr *OvIrtivullse"t

Iw Y)f A . hl ir6 ) od 92 sov. Pres It ; ý41 ue vlf 0 ýI A Lent ) 0, - lp, .0. il k. 6tootev. X, lz 1 1- ff 'N

I I. ý fl-f- n4)bu. t*. vino4wri. uos Pou vir 1ý1, -

Von 1- I! i-rP 10 JO

ClAr. 9=0

3. b. D.- f o r4 velle -

(9 Robuste, modir6, un peu vif (J=66 env.) bratel st e -d 41.03

ff ffv $fff -dP- ta. - . i= R= sans -I-

------8- V/12 bird-like calls (2nd movement of Misionsde LAmen)

a) b) V/I 3 repeated calls (2"d movement or vi.vioiis) 370

. - *.

V/ 14 repeated cluster calls (2"d movement of Vkvinns)

V/IS rapid demiserniquaverfiguration (40'movementof Visions) I Trýs lent, arnour(-0ý72) 8 avec ------F14t, ------.

Ic Iris unix elfave

L Pp%

ICS Id 0 -ZAA -' -. -I . 06 r I.- . 121FIt': %T -t": Trhs Ient, avec amour(#=72) to -5 A -0.6.0,00- IE

L= PPP ppp ppp F= Qý;_ ,-; \1 'Z\ NN , =6 = IV

t

i1c V/16 beginningora whitethroat's song (Chronochtuntie) 1 371 I IF It 4- Td %. I

V/17 gracenotes in 'style oiseau' (5th movementof Ilisions) 81 ------4.4. 3------P?

ppfen toLltaant risonner) in

wf ttl. r Pi! ý4.

p . ,4 - 0 ri - Mf-====- p

--ar 7nf exir-esstf

V/ 18elaborate, rhythmically complex monody (Regard du Fils sur le Fils') I scandic"rscandicu ý ------j ------1------1 I te99 11 Eý- wt t bi hf h. iw , --

iamb iamb

dim. double-iamb-, 1-double-iamb-I di >_ b4L ------rs_Tný_ý ------419 9 Fi NF -4------01F

iamb 1,.

r iamb'I scandicus., ------4-. Aý ;L'. i!A "Rz >I. lm 9:i ool ,0o .4ý MA'F; p- p jamb

l33L at 14 %peed. pige V/19 David I findley's tiansuiption ora nightingale's song,

372 Lis

f JjW-* --- .- ýj

A-A' -f

9 ItAr r 0! f7y bbkb 16 b

vi

L-J

ILIIi-P. 23

111 r Ll. t ff ( ç I r -ti

1.01

0,

Am

7 Eý 0,3EI r

r---- r -1-T--" ,, %OA, kv Ti rfi- r r(ro'lli wr r rr

pr00 r

I-

-II jr" f -L-P pr JAS k .6 R-5F==!, R V/20 early songsof larks ('Regard des Hauteurs') 373 a ------ýi (Valcutitt) 40.1-L ý. 46. ^. JL. A it -. .ý-

f 7v

ionicminor L ionicminor-J Ljonic minor-J % r. pacon PaconIV------!a ------m------

------v 11 ý... h.... kAL L... - ... ---;

slacc. sempre

K

6T LionieminorJ Liordcminor-J pacmIV-J

L-double-i=b-J

8 I ------*------ilowt rl, ý10- >------I; h. EýýJý LiIi IIAAAAAA 6L 6L . It-I A AL JL AL JL 41L A 4L

p stacc. Piilf crcsc.

Alf, V/21 'blackbird and all the birds' ('Regard desI fautcurs') 374 Mod6rtI (ý=116) 8 ------Trbs vif A Me el =4 fnerl b,,ý- 4- tousle$ ) A OL I-ý P- Ip- oieseau, 1 -19 wi i 1-1 -- I.. IL

4L t -OL

(bfoulN de p6dale. )

r sponde&l r s=dicus,

7-3

A -PI O'Lrkr',;

dr. Aý

at rscandicul rPolTc"usi r=dicus, r iamb, ;tAý 2

- 4' 0,

21

b.

0. ýe--

V/22 a) interruption valls ('Regard de I'Esprit de Joie')

Presque vir (k160)

nAt

A PIA NO f staccato Wl.N't'olent) , L ý

I-0-40-04- Am--L-*. ýf-- 40-4 a- 0 al- --m------I --* b) interruption calls CRegard de I'Esprit de joie') 373 18dimacus ccllsl

: bib)

I V i__' 'V k. -'

de Joic") V/13 interruption calls and quasi-glissando ('Regard de VEsprit Pressez N Jý tP`4 11 . L. .N ,NI

------

24

xf

V/24 loquacious ostinato hemid emi semi quavers ('Premiirc Communion de la Vierge')

Un peu. plus lent (ý=40)

4

------O-i- .0"4

II I .) " -4 ______.1j

____ V/25 'commeun xylophone'('Noel, ) 376

blodýrý, un peu vir (ý=i261 feomme un a A Xylophone) 0ý lip. I?

'1=

P p

V/26 nightingale's song on the xylophone (Clirmodiromie) f- aftcmator---,

X3 III

Winc W27 'style ('Regard des Anges') mouvemwit spirited oiseau'and syncopatedrhythms (comma un olseau) i. ft ------it- A .u

4. Z- - - (extendedclinmus ccllsj

spondee-I jamb ('chirp') - double-iamb., r- r 4 ý=ftl ------,

iamb ('chirp'

------b) interruption V/28 a) high-pitched Ifills (Te Baiser de I'Enfant-lisus) cails (Le Baiser') 377 8 'deuxcn deux'

7

. t..ý -Iý RL! 17,

PIP

V/29 grace note triplets in a complex bar ('Regard des Prophites... ')

k1 h-L : -I-

I- v8a

4, ', 1 : ý. 84 b! -7- * ------

V/30 'machine-gun' effects, here in white-note chords ('Regard de I'Onction Terrible')

4=-.; I-dtf- I-"& 8 ------; ýý ------t I ------I Ov- WOL I. I. I dP- _d9_ _OOL OdL SOL

crc.,;c. I I'mollo

V/M a) vivacious'style oiseau'and interruption call ('Regardde I'Eglise d'Arnour') %Il 1111)11VL Pressez §ý

Cresc. M. I RRAM. P kr- kr-k" f-,

535 ý Vokrz, b) black note diatonicinterruption calls ('Regard de VEglised'Amour; )

*j . -T, ). Trýs lejit(A40)

-I- fi -41ý '0* 10 .0. ap-

Pbassa V/32 staccato'style oiseau'above an Eb brokenchord 378 ('Bonjour Toi, ColombeVerte', Harawi) u. p#it, vir

IorUCminor u. pet, %-ir ...... P:t. E-U

I Cumme file Oistall) A

1 ......

Ilp J) I

ni v ( Da. Tqb

......

:f'- W- Hrr 'L 1 .. I- I- -0

L- ionicminor I iamý('chirp') ==;ýE= Eýý ff f

doublc-iamb- iamb iamb r I ------......

0 f "If -f ;1-07 ff p

Iýtl Ta V/33 as V/32 with additionalflourishes 379 ths pett vif

Uii Ia ...... peto vir ......

- 12.1

-V -*I...... 4......

L r=.

L ionie rninor-J

......

j*IC ------1...... 42 0- fit

if

...... iambs Tff -3

...... iotuc minor

L P4 ...... 11H SýAldm

......

......

rf 'Doundou Tchil' %1/34extract r, orn the refrain of (Ilat-cm i) 380

......

4-T IP

A-' ...... climacusresupinus

doms D"1111 dopos doms 411141 141111. idicus ...... Fs= ...... IA12

. ,ti'T ...... V/35 'glass-like'ostinato flourish (Toundou Tchil', Harawi)

two alla ------...... rv 40

I.: A& MA I.

I 61b. . us, pets vir

I v p7W -V -0- Dutits dou

tho Pell %.Ir

H: F.

bas-111 .hf ...... 1,1136repeated rhythmic cells ('Escalier Redit, Gestesdu Soleil'. Harawi) 381 Vir. joyetox 4-t PARM101111f: AfK rIIA NTI 1ý

Ile Pnr le P111".

Vir.. 14tyrsox 4-1. pn-vpvloemý- 29. T-Tný , A-H H C-"*-ýH h ý&- aHý&. ..u -0ý Lý . IT

Mf PIANO Inallo

Tell.

V/37 decorative birdsong over F# major+ 6"' (Amoure Oiseau d'ttoile", Harawi)

I'v4-441114' If-lit. nvee 4-linrivir f-I P POPP-.. (WANT

01 ...... Pren-igiiP. levit. siver elinrivir ri. psir I

-A : A - =47 it& _: - P PI) r"Mme Un 01VIIII PIANO

loquacious (Thant d'Arnour 2', Turairgallia V/38 opening of solo Syml)hony).,in a polyphonic texture, piano part (At do piage io@bets Josef tI (Is a %folio 600.6t pigs CAP1404)Sale altemata-, I." es ----F cesee fl. so X d A 'r 3- I* IjklI. Itta to' Sm

7 PaA; -\ 7r to Moft II 382 V/39 'style oiseau' on piano (Thant dAmnur 2% bwaitgalfla), in a polyphonic texture, piano pam only r- akmator-1 flop 02.1%1.01 40110.906 Ples top. 4-61- A*, $ . 4.0 P....Mas 96610veii 2fL. I, r, r- j41 -- P. resee so #keß% poegb f /I -=-== vmm llnb

WSW -: Nt-"EL- ties@

111.80 poffcctus

rises

ries.

tatkilu

rise*

IN. G..

f NI/40dccorativc birdsong('Jardin du Sommeild'Amour", hatingulila) 383

IP & dp a0v X.;:2 to PIANO SOLO Ila P.4.1. j

4, werwe". Wo4s. 0; 1131161peta- m III AII PAaI 0ND9 WARTINOT SOLO

0 forrv"If (if PISA III; P06.041m)

Tr; o modift. trio teadre on) I*! %VIOLONS

p

Aa

VI 0 LOWS ip 6q re 10if Div. :m

ALTOS Div. I lvýes) - "r - -

JPesprWooff

VIOLOWCULIS

P gsprovelf

V/41 the 'serene song' ('Jardin', Turangalila)

Piles

'palindromic' V/42 a) common rhythmic cell b) cell extended,forming a pattern c) "chirp'

IC6 WUT' .L

FIAING SOLO

sl ; --4 r--- - T-14

('Jardin...', Turangalila) 384 17143I)illl() catIciun ("I'urangalila 2',

us pts vir (ý, k i3o 81&. t. -a... ý-Ij!III 16 F. I II, A" lio. '-V-' kA Wn' *. 1;. 1ý -I i". ?imam WMENIMMIN ý. rIANO W S"o -

spondee repeatediambs 19, 1ý shIg li i

plas.. Sol* Ir -law 741- %&x L.! ý bb Lb 1-c. 1 _j

Pleae, 5.114

AAA I

"Its -F i-- ESýý I,,, = .-iHP

ilmd 2a 20

repeatediambs vir Un III) 110126 Feu VIOR vir ... e...... I

rillime Sale

4.... ChAriler VI - NI Imic PLLAit milt d'eau' and 'oisejiu' features('Offertoife'. Alexie de la %,I/I -staccatogoutte 385

I (2 altenatoriJ rt- itambe *I wais cilesto Post flats 4, plegols 1.3" a- "Urdes 81 redo Mto 4 'k-010

VIS pe; lent (Steresto &WO dimtor) lit- It . 1.0

A i, W53

& Al pop ! ýý ý, _ 12altcmators)

Pos.

MAIN p bttýý dL

tstaccole deem) Poe lovIle b; ul LL - L AL -* ,. -.. 1. -

MAN , -, g> 10. 'JE9ti

A. $, A 9ý! u U ______kc 1 lalti--Tnator]-- u

A Pro

WAR

rtl I V 1/2 a) bird style. colour chords, minor T4 cell resembling the cuckoo 386

(iijed ý)3 14od 4i rqi PL: Hautbois Ia136

MAN .ýj W-- Ij

31 posta -h RI 1 ý- m toambe ot volz eiltete MAN. urdon Pid- soubaebes 111 ppd

Leut

'o.. 0) 1- MAMI dim.

mA

p b) pp nightingale's song

A39 JA .1 Pal: W flGis 4, I---- SIX. Poo. piccolo 1, pfi-f 3'? 1

3 rtOrculus resupinus 2 R: flate 4, OYMWO 0-. bourdon 8

A --. &- F- r- -xZ1i-4 mg lt. -'- IM k0w-. r- mm11Li-ä5, - l' i 1: ly -m -- . wr.; aczar-m a - -= »F=:, V'ii''. lir 9 ', f- dr. p

4/alternator

MAN R. toutdon 16 el oclavic 21 Poo: fjýjs HIU. boutdoia8

(Tommunion', Messe) I)itd blackbird N11/3two parts - representationsordroplets of water and si)-le.song of thc i (Tornmunion", Xfe-vse) 387

Mudiri, 11bremeeit ja Tempo osn - POS. 08.1 't ML OL a rall.

I 90ow- ý0- 40. 'do. qO- P qO6. Rzf VA -4 -f Oco ruhlo Jq- 1ý 0-- 100 1 ))Is ý9? )10 iI Rpm- A I, 2 siltaccato(goulles deau)

%IA

-. -k.

AN .4I

05-

8

N%m

"Pew'

PZ§ flats 4 souls Tempo 12 Tiv- rall. a y, meple)

L-ýO, dF6 p YOCO %- A-4 ýj h .I Xpow's

'3 3tt J Pp

scandicus rall. -1 re4leez Poro P-

?4'IM.

a0 (VI/3 continued) 388

1. n6 presseit poop,

%1%4 .

I%J I,povp 2P 14.!b wm pow,

4 19

(ý ro pre"qez beaueoup

a M. 4

.MAV. 6 90 a ==ý ý RE! w PI 01, -, v-1901k-6: =ý

tj J, T

(flits a TOPO Poo - 4) 7-a it 4 a43129-I- poco rall. a (bourdon 8) -1

. 06 14A It. ýfi q Y -, -or 'a

b VIA chorus of larks ('Sortie, Mes-se), top stave only a a% vir (CAceur des Clouelles crctic-., r-crctic-, GpRgtý . A ? Fý) I 4-4ý 011/10d-p Iý -: 0 CA

fir d/anapac-s-t

d/anapaest --C, f+d

3 crcticrh>Ihms - q r- r-

13 II r- eg (N11/4continued) 389

is 19

A P_P,; [1M .M-M ;, gv. P r=Pýtotp I Rýt 1.1 Mýon - -4-Mitio! 72-1 AMPACS 1D rsNnd"-, kr=Qr= IOLI. A PL OW

2 climacusccUs

lop

A* r=

V1/5 blackbird's cadenza (Thants d'Oiseaux', Liwe d*Ot-pte), monophonic as written Paconrv, paeon CU315- i Presq%se vir (mqk noir) A Poe. o ýoLý. .I-00-ia -, 0HP- sp 1 01- OP 0i L4 !-!. 3ý- A F- . 1,0 IFin -G -- ýtý NAM. P-n=2 043 =;; a, torculusýcsupmus di=CUsrpinus dunacusýsupinus dur=na rosuPMUS CrItc /0 _'3 A. t leo -4 t, 1-2. 3F F___11ff j rý O., ý -. - __ ý NA01. -4- -, - - ; ==== a2 243 dM=SrPmus 41rT6 paconIV.

40N. -

33

AM. V climacusr=uplnus climacusc u mus 13

t 1 2ý t

1 4 Im 1313 SZ-S Fi C:2 31 *3 *S (VIJ5 continued) CIUTQ%:us rcsupuIU3 390 credc-I Crctic., to 19 7.0

--ýQ ----w 0- a3 33 21 -ILtorculu5u esupinus chmacusrpsupinus climacusresupinus

b r-. PI 311 211. Ot" t- 1) NuA 0 Eli

3 scandicus porrcctus p0mcclus 132 14 climacusresupinus 0. A- It ý It ! i 'a 6- 4 I. ..! 1 11. A-4, . or--- r= -ý ------v- ti w F;:o FIý31 -t t) r3 itz, , k:4 , Q;::::d rt it j 21. -S0 scandicus 3 chinacusrcsUpInus 33 AA t Nt. t tEýý, 101-1= Ldouble-iamb-J 3 4 climacusresuPulus ctlis- 3 torculus resupinw,. cl=acu resupinus ------ý, I t

t .. 3 orculusrcsupmus , V116 d'Oiseaux, Liv? d'Orgue) robin's cadenza (Thants -e

3-1 vir Vu peu leut 0: f late 4S II M. dr. 3 MANUEL=, A3t3 - SGUISI Q- r- L

MAN. AP Ito# IqrOM PiDALE,

- Ib' /¶

I. - q -

%Ikv

17

14A4

I- - I't lc

IIAI

OL 1 I

%'I/? nightingale's cadenza (Thants d'Oiseaux'. Livi ed Vigite) 391 12 Inuchine-gun c5octs] Tre*j, nL0_#1er; r, tend e 4 r OL #L-

!f PPP

ji A OL VA,q 4 If f iý )1P PP PP 0 Ir

0- .0 :ý! = ! ZCI! -0-i g--1 :tx INIs low lrlu= Cý== f tEý ýý PPP PP f 11,1* 2 spondecs L -f MN -Zo . VP PMTW ts

t4 21. Pon It %

alp 0-2 anapaests--J torculusrcsupinqs (machine-Sunefl7ects)

P qi:: ý PPP 3

VI/8 calls of the great tit a) repeated b) sharprepeated COS of the greatspotted woodpecker aaapaests .2

%AN. MAN. (ir; s see, Comm# &II. Vivert 0111

LP

rill.

P a, "- .41.44 12 .,, k c) tritone alternatorof the nightingale 21

('Soixante-Quatre Duriesý, Uvre Xftue)

r[t). N'1/9ext i act of comitei pointcd birdsoilF, CSOi-""IC-()u-ItI e I)UI 63'. 1-i"Ie d'Orpio) 392

(111pripýI-0-Owl F F4:.:. 114101#It# #1 t; Ip Rosspr) A (3 UF , '! 7a- mr- 11

T Po A pn. 3 214 it. L #; J, Id 0) -1.;- mj- 04 --Z lrý U, ýa *I io- -- .ý In : IA ýa11 Lý 0- -0 -A -L -- a- -U .---

A-gato sempre AU

S=dicus VI/ 10 1' flute cadenza (Le Merle JVoir) 3 U.Dom vit.swee to"161616 FLU? v m. --.

od

pp PIANO ......

Tr......

145 r-.T-,. IF

ff ff -iamb

ff f i=b iamb

plop

VI/I II motivicisland. effect in continuousserniquavers (Le Merle Noir) 31ý 3y 31

k

dr. tr tr f6i

tj f A

f N'1/12 A' section, 2"d flute cadenza (Le Merle Noir) shortalternator scan(Lcus 393

VJn pow wit. aw*e ftatakele

r -p- fw iI:,, ýit: W LZ=--Mj bfod4r4; ---"1 --- AT .. I trochee1%

pp ...... vvr--i in I.. -0. .N. ----

pacon 49 ), A rI r-:: ILA -LC11

iambs--, k dicus '2 scandicuscells f tv ff if rI spondee cretic cmendedciinucul

PP -f ff -f ff -'CffýOlpp

4 iambst 394

Muý; Cal Examples - Ch: lDlcr V11

Nrl III Týjvno monophony (Riveil des Oiseatir)

EM us trot ve ! rv pru virth . mi R) Us FrV lost(), is I A

bow

V11/2 two-voiced homophony in the piano: olive-backed thrush (Oiseaux Exatiques)

kfl; kýj %flj IAr 49 P.

PiAno L. _.# S ola

I-V ý7='-::O r== i j; RFlzj-F pA li 10-4Tq0 riý T4.1 Ta Jý Tl*.% Tel I

VI 1/3 two-voiced homophony- one voice dominant ('L'Alouette Calandrelle', Catalogue dDiseaux)

Alouette Calandrelle Ull reu Vir (.h. log) 2L- -P- -to- L-Pý . -. i -1 in tt4-.

4L 4L I 24 zr,- ----ZZZEý IaI ZEý9ý I,'/* (el" ir) VI 1/4 a) shamain homorhythmictexture on the piano b) shamaon woodwindand trumpet:homorhythmic

AL Xf- j ...... Cl a P.%asse si I 17' . Solo 1131se"

ff

2 cor'l fit r-F

I Trio. c) white-crestedlaughing thrush: homorhythmic 395

30 t. Cars ril F4 buppe blýodl #life

I to -d. I- to 41

1 Trp. =IM . p) --.a --. Q . .4. Finliques) (Oi.eeatiý L.:. 14anapaestsl -

dominant VIl/.,, homorhythm: one voice or stave ('Le Courlis Cendrd, Cotalogue) -song or the redshank Chevalier Gambette ht 331en inodiri (. 92) 16 ...... p797

gig r I P4 pPP Pp p )IP (doux el INIO

A p It III

01ý3 p p 11P ov (Oiseaux V11/6 resonance effectsthybrid texture: American wood thrush aroliqlIes) [includcshannonised fl"us (C;ri, e deslois, d'Amiriqut) porre= shaMI loisse: Isagmrareat Trv-. 4 madero (to or rithets, ribrer) I- -A 0-- 4 %. 100) ...... I r piano ' e, iJille L Soln "' I) "' fIi)- I I '1 .ir- '; EEB I'flassie: fEE3 L" " I (if I sse* 41 othrer)1k TA ToýFff) Tl

4 ......

fiano i' rf 0 ýýe 9:::: lK22E2ýý g r Slo ý --- ., I 41 Ta Z%

4$.

r ii ion in VI 1/7 a) carf ciam. chordal texture,onomatopoeia b) scrin 396 (J'iv Tris Tf;. 100) Trýs Mai; rý 14) firij 9 004) sit tj so) .0 $ "ir(j a %ei bi. W. bi. be; '74 6, too$ . M-Ll-'L ...... ýbl-LL" .. ' - -=,, == II he*$ 0-t "Sir* else

c) cry of nuthatch A. M. W. (I. DOI

P.... Sew ý oe booood 13ionic minor mares] d) greenrinch and blue tit c) 'pi-pe-rri-re' causorthe songthrush t:, U" v if JP Trrs r -P. Ver ,, 0"

pp pr 9 CIN

M.. Aftff. 6'. 00. ". 86, 0- .! r 3ýW-7-. m -. -; IF II I- 21 't-'-se ji- UJI t4lvý qJ 741 al Yt pr -i0* -1 (Riveil) r

VI 1/8 calls from chiffchaff, little owl, wood lark; robin"s song(Riveil) short J-- 'deuxen dcuxi . r- a 0 *44*4-11-r; 1,") Us IDesswit Alestue sale

PýOllI M,

rws) (POWVsafe I lot. lip was gorge p Sol$- A "_

Cb. u. tI. eq.. Ö,

10 1.11 Wt

6 scandicuscells- ,%, 11/9 %%-Iiitcthroat's Song (Nivil) 397

Ills@* Sole

...... I ......

Plag. 9.10

...... P. 0- ý- If .1 11P r -- --A. 66666,W

kNOMWE66 flip, PU it IV V11/10 robin's cadenza (Riveil) PO ectus iamb.

Af

(rapid#. d9vs Sale p move rl teafseal) A

Rouge-prge 6" Cu=CUS

Pismo %ale

F -1--i AV

Piece Solo

or double-iamb climacus

P, Soloamo

iamb I Ay

figs. t. "lo VII/I I rich clusterchords on the violins(Riveio 398

ties :09 -Wý; ffmliý, -

VII/12 chordsbuilt on perfectand augmentedfourths a) violinsdivisi & violas I tj Sim -Vol- 2L I .. r'T 'I -V I Pill'k IP !

b) golden oriole ...... '416Voss v00v Piswommommal - 6mmmJ I! (Rivelb Alias

PIP ...... r ......

=1 4-- - r-ýL07-I V11/13blackbird's . --. plaso ...... cadenza(Riveio Ir

0 // Ia...... , ... -1 rot jr I 6 $ .I- ...... % ...... S. I ...... It I .. rk 1, UL 147i InvjRIg%L%p-. t. - Sole ......

xr .10 VE6d 112--oo, r-m--1 %;a .1... 4.4, 9 !ý...... Z/ AV j ...... 04, -1;rAý In-va %$.I a. In, It 01. t. I

0 ......

1.,L...... 10foo, kft. Et, Iv%It ...... 'EkO EITEE VIP Irk& ý to -ý -11!

pie.. r...... SOO ...... NA h4 TýýMj JF

4ili I ...... It ...... 44...... 1EI I

). W-ý-Mq...... ww'. Pi me. a..... :Fm=ý! r ...... C...... It. .* g54- m 0*-ý . 191. . %! -M ...... , M. ,= -L- 4141 IRV t ýS S 1% ...... fA ...... 2 1. dactyl ;ý, - -T- i 2ýfkfj vo i p- ....L-...... pliv ...... iC4 -5-Z7m-12- "u.h-Ir ý' 11114 orchestral plan of Oisetwx 1--rofiques 399

r, n #-'% :5. -A

nX, 0 4A to n

n 2 r_%A :4 4A "I

n n 04 lot 4A n ýL

n v * I 0

n

t 4A Wl n tr 0 2

::r ýl

:3 :Z: 00 Cl. n Cb t iý

aq

:3

low * 0% 0 E'roliques) red-billcd nicsia (Oiscaux 400

harmoniclaltamtor- t I r-tjllsw 91 (mainsts liciou) 611 Air.d. deffors j Vif (ý. -144) sit 22 2 Piano -`Z Solo Mf ==ý. -P

I&31 it

Lndo(wended clunscus)

&P-1) ks...... I- 41I : -_: t= - ý-P-= t-Ilil; 7- 40 - Fi: no ff S IQ

harmaiieostinato

;L L6 42 ...... loý-, Fll *-A -*#Pl LI-pip * tj Piano rp. .I Solo pp Jr

-V It Tel hannonisedscaMicus

ir (ý--t4o

Ak I! t. c-:flo, p"N'I's Piano Solow

lrýs errs V %. - ý. .II., I -.ism .0 see r4 Mv-ýý anapacsL,"_7 Aisilast,presser i/-a A pr IF L Piano Solo A , Ra=- EEEEýý -

14), .%i Ta

t -VIIJ15 continued) 401

I"- If vi I,.,, ...... 'r T- Ip I. Ado',# fý 110' V ee523EEýit , ý- C. , 'F«-. OF- Pianu Solo sec FK . ., 0, -1-

It lop, FF9. - -- iw qvv

Mothril at chime) 2scandicuscells 3 Wnbs A" Ir (41:

Fisno Ii*1t .. i,.,, r"1v . I1. Sol" I i' ) I1 1(1,1. e s. 'pl,. taj

______L fres1 fres FZ= _____ ýx r--ý W. ---w. sll! &rc. suýý Sit iamblr -7 7-: 1 Ti, Z!..4 vir(i)-ow d. dessirs (malvall) (ihs r' t. d 112) 03. .11r KZ Piano F %. Solo si .0 %0--4 294K ,1- w `ý I Y. W./ V- - ýl - --Tl- tris -j rr, Ire see

(Grive des bois. d'Amirique) hanwWsed ectusAC\US zt ,Ztý (ý-100)1 ...... %,, IP- I, r- %i...... A-a: . 0ý -0. . 00. ^ '. l -Ik=. -- i r r- tý ý------Pisno Sol" colesIlii %.. 0

prý=rzn- x# =-''4 jý, 0=Zxt; 0- ,- Pg w O= I (Isisse., lig 41 EE3 p(lattle: -v: vibrer) voirer) 61 8 TO% Ta rilpfri ý= harmonis6d porrectus fl; 7-2 h3mumisedporroctm Ila= 1. 4 1 pire rail. 0 MPO 41 I S. - --Is.. 24 ......

I'- F eror- p pr- ý---4 1ý p- Pian ff ý SolC,

IEEE! t--==4 Ta T, 2,1 4 ýz 92 11 I31r( ...... s

ýt 07 1 6-%. at 10.1 Lp li- oA . 0.1 -sk& -6A IPA- -WA mom 1.6. , 0 10 Ekl?U L 15 -W7; F-T--I :Y.. -. -411 --ý-, -_- W Qtzý ---. Q -1 - -3 --V V,ýý

kf"Up 1.10 & lop lop, F I- Af T- ZVI- ý 144 4zj '-4z, 'Y -. JA. I T"a 6A -45 chordal tnbachic ulls I

VI 1/16 cardinal of Virginia (Oiseaux &otiques) 402 (Csiale3i-rougt, do Virgisiol , rj. ým v tr m6 tieptmr Pitt posswe (UL'v ý= de'roffle @##I Lt; r. re mine 64 fee 1'ratot ...... -......

%A ,ýL L ON A. a AL A F-P piAll" --Mir t--==4 F,=- F--=* 1 Till j 40

1,13n0'(

Mind) Solo

I 1 Es 01 %li ----7 .

9- 2--j FV F- ...... -

- piano __ff PIr Solo -p

1...... 33 -... 47-A- %jiýiA

...... Solo ......

......

PI&IIII ý Sol"

'A 0-s IIA. --I introductory flowish in 1/17 prairie chicken. including woodwind (OiseaurExotiques); 403

(M lent (ý= 38) Tf- if-t2 4 -?f f tlýe Fl.

I Fi.

t Btb

Pko Cl3r, miý

P! f 2 Clar. Sombre so ý

Clar. bassi si i

I R&siof

1F).

1 Otb.

Pte clir. mi b

si

1 Bablon

(only woodwindensemble shown here) 11/ 8 from the 4th piano cadenza (Oiscaur Erouques) extract 404

Uli ptbil vi t Vitbritlant mitgleniegt de Dollteelt ei Robeliel ,* Voheau-Chät # 1 ...... ,4 ýh 12 48 ..

Mýa Mano . Soloo cistao-C tat 02 moqvtlf dt Is Carallat

I 1

k cl

Piano Solo

(01.4t. At as)

...... *1 ......

A 'fl 1' 1 OL 09 Ot

Piano ...... Solo Ile^ II

k44- -0 ý - -I -V- dessirs) 11' ka- .fE .

I ...... 2" ***, ***"*, *", il, Z. S op Piano Solo 4ý-W-4 - 1W- --- m - - k§9- IV #--, I =_- =_ -1 ,I ,*- i. -- - ý.

...... 13 -IN %lon Ile In--

Piano jr Soln

...... 11, ...... 511fAA -ý-7 .I%a81 AL

Piano 21. Solo 0i

; ". ;"- IL, NW. q4wýp - 40' vI as&IZ3 2- DW týý3,0 0 51 2 U. IT 0, J?*Ir fill . 96 VI 1/19 final I Ile 1 Oli 'Tthrush (concludes cties (if -it' Ome,w% I it

405 r 9 3.3w 3. 'Aw 2, At Af ub ý: jA I! Lt ff AA - : -;:1

Ir V. IB. 6," "' "" 0' --- -- 1 ?-r"

1 Stb

11 Clar vp ol o ok 'o Ok 10 t v. t ip IP. . *II*II 10op 60A- &Ell Clar ei b . Ilk-

'J- Z.. U. Z. - Z. ý- ý- wo lp ':p tl&r hasse gr,b .

4L ee Fe

i- ;...... 2.. t .6 1- 3..... 3- 3- V-- 30 30- 30 io i. " -a. 'I- sp 3w J. -

:. -3. ý- 2- 3ý 3.3.2. 0-4--ý-- L% lip 3w a. 3w b. * _.. .--. L ft. b. b. Trr 1 --

14.: ý ......

Glork =t.

...... 't ý- ?. 'r X%10 ......

3r U. 00 00 MW AW dbO 00 0; 2 0. AW dW 04 69LAA . . As &A SO dW MA &A

p14nn Solo

4 0 ýp ýo 'p .07 ý - -4 .a :.: .0 .0V .0z o -4 -4- ...... A Trl t. )

w -t. 1

EEI (31.. se ei

` 7 MT

Taitutam

V- It f4of, roptle #Peg fil I'd$? proloof 10 dobste offro, 'roast. jostill'a -)

o0so** 406

Musical Exanivies - Charitcr VIII

%II 11/1a glissandolike a harp (Ta RousscrolleEffarvatte'. Condogue dDiscour)

Rousserolle Effarvatte var (ý'. 144)

(comme mit -liss4nde dr Aarpr)

VI 11/2cries of the alpine chough ('Le Chocarddes Alpes', Catalogue)

Chocard des Alpes

-Iý kKý t-2 @-ýhP .

A

4 -= j -. -- ýiiw

c 4 IT& 4ý %lh. lV4,4, (un CAocard traverseit It [3 anapaests) pricipice en criont) (cri tragilse dams 14 solitude) (Jes cAocards) Modiri (ýzI32) rN

tý-ý

;: - if if jr-

1 * * 's&. i.

VI 11/3hybrid textureof the goldenoriole ('Le Loriot', Catalogue)

t, ent (LO) Men Inottir-i (ý=100) 44

catme iq/. sourd bo?n.t sourd p 'S. .

TI 11&86 it - ...... I* lie doopes, k-olouI fill I CI)few t"Ita I if mo t golden otinle CI xI tu it if', i sit. I 407 j, ent (P: 56) "1 to. 3 OL

dr d. otee d til. Lo r in

oil

Y dog

%II 1115%a) glissando of the robin ('LeLoriot, Catologue) b)glissando or the song thrush ('Le Loriot', ratafogue) Rouge-gorge (ý-. vir 144) 1% Un peu vif a18 . AVa lot L

(,, #or r

)) (tendre, 11, 6tem Vf#404"*) . con1jant) . (". tf. 001ca,11,1141re . __ ---E-=aIrL-II-. 3 4P. IAb. SaII ICIN IV41 IAX

V Fauvette des jardins VIII/6 two-part polyphony in two garden warbler's songs(Te Loriot', raialogue) 23 %I, L ý81! 4_r___kr= P -110 %ýIýIý r=F_ / (mettre tres polmae yo-Ale) ijL bAL

2 Fauvette des jardins

I S $

-=1=

___ \

-1 7-1 - -1 31 I II- I I I

I I 2I

A Lz q5- p:

I% NA1117 sttident calls of swifts CLe Merle 131cu', 408 Martinets noirs (strident) . 161t .....

_

off ==- iff :: --- mf

VII1118 representations of water a) water with a 'muffled' quality

vii (ý 2 152) Weam)

b) 'lapping of water'

blue -* ý. c) 'the sea; , rr; tent Dn -46 (doux. Aarmoniram ricomirmy 141V)

O-CLeMerle Dieu', Catalopit

...... (.04INce colocli)

0 Vo VI 1119depictions of waves 409 a) continuousdesccnding flourish

Tres vir (ý-. 140) Oex vt?,rvps)

-Z%7 VA 40

A

dim AF T -6 k,*-:1% vvý icb.1 , b) with harmonies

Vlf (ý=144) f

k==ýý y OFý-- p VP pp ýýg 9=. rw; -I \11:-r, ý4Lý; c) 'rumbling' trill in the bass Or delsirs) rl-- 5

L5-E . 0.91 I\w-p0-; qv- Ar

I (Nd sempre)

%L--O-- 6-0-11(dr. pill) (Te Merle Bleu', Catalogue)

......

.e Vill/10 raucous calls of the raven ('Le Traquet Stapazin', Otiologi, e) 410 Grand Corbeau U1, peu vif (ý r 112)

VIII/I 1 source of the rock bunting's strophes ('Le Traquet Stapazin', Catalogue)

Bruant iou v ir (ý* trw 4rL -l '-' (h II rb 4 A P. *) .t ^"

lotJ 4t 49- 4-0. -g Fý % 'p,r-- an r- t- rt r- ,ý r-

(sans pýd.)

V de 4e"- I * 1_

4ýt-r- gg -- k. 1.41,0-4 t- 1 -1Z. dr CI. 'Ohil-IXTO V111112conchmion o1*11le lbeckki laik's 'cadenza' c Tfacluct I

411 49......

Pý 17: F__ý.: 4L (Pid sempre) -Nf- vRe ......

vo rlz; -=z t

Ila (Ped xplnpre) -if

I P1 v

ýý a-==. - 1, ir --=,.,p ,r

(Pid. sompre)

2 12 1.1 I* L- M4 ..

(rid. srmpre)

AI

Ip cre3c.

(rid . so-flipre)

ýA

f -tr 7:f' (Pid sempre) NIIII/13 memory (if tile spectacledwarbler (concluding 'Le 'I failuct Ntapalln-. ( -jjjajj)gjJe)

lent* (-N:, 42) nxtr; vnevnent 412 1--n- LIr1 -____

- ii - I W11OS V- 00; - p _d3_-,ý. I N1111/14'resounding' calls of the tawny owl, falling motive C-A richly harmonised ('La Chouette liulotte', Catalogue)

Chouette Hurotte

...... ý, i * ar -- p t stir f ,; -Ok -ý& O! 11--dkf- 44; - ---- t- I

p j rp., F) off

fly, , I&

V111115 contrasting song of the nightingale (L'Alouette Lulu', Catalogue)

Rossignol 11 vif (ý = 162) C -I

11' JI, --r

v -w -w "W -W Ir -v -Ir -W -Tr (sant ped ) hamonic ostinato

a Un peu vir 1ý - 114)

-Aý- Aft Air--

(comme p ma chrecin m; lo; do- gamr)

d6 U72 ebý 17.W -X.* vif (ý= ist) 'Un peu wir no)

-. - l---___------_. _------... ". I, 11*(bridant, mordant) . I-. 777

Pa 4N F P'd-) %b, * N-111/16two-patt polyphony two iced warblers Cl. a Itntoo-vitille I flat%atic'. Catalogue)

413

vI I. 14 .1 16 ...... IAItvI IIII Iý :1L', ýo tj 4.0 ... = 40

.p 2! S!,6 Effarvatte ...... ,It .01 (, d. dessars) *. 41

ýF-z :

L%

tiff

t W-1 OF

. -«.: == l* Ull ri crest. lýg- Crrxe. 9P I (1',; jot/* (f, -vempri-) trese,

plus vif (ý=170) ...... -, II -* -!. - -, -, - -. 4- 14 1

.1m

IE

dim fill I'PP = = I VIIIIII/17homorhythinic calls 414 a) chorus or cicadas b) kestrel s- abbc abbb (etc VU Wa-mr Weseqatri) :0 211-4:0-lue vif (ýz 113) -Lit* 'L... = OR=Zo -Ow= f

NEVE pw=)W-:Jf. = V r-r-r-r

...... c) quail. 2 creticrh)ijuns a b

long ('L'Alouette Calsndrelle'.Catalogue)

(sons prd., avec sourdinr)

(VAlouctic Calandtelle,Catalogue) VI 11/18two-voice homophony: short-toed lark Un (ý= too) I)CU Vif vir (At isc)

(4ýc108) lUn licu vif -VIA(l. ist) ...... A--k

...... d- dessals

...... O-h r-: ,. W4 i- rrz q-0.4 1.4 -.;qo* 6ýa\ ITAI %ZL i

vir (ý = 160) Ull reu vllr 4 (ý--ION) 33 4 16 ...... 4skI 4AL f- b.140. I1 Is, 0- -t- ýt&, tý - 11 -1 411

(Art.d. de-tsous) lb lqf ......

to vIlvig eagleowl maleand remale('Le Nierle de Rocho'. ( *titdd##gut-)

Orand Due 40 (ulmlementpra re du m4le) us, peu )eilt (är 84) - --1-11 a Men (ýä18) Z. b-. .- enodird

01 1

. 0.. 1-1

(le mile) Us& Irou lent (ýa so) Un peu vif (ýc- 138) .aI ýýfL I. 0

ii' . elf

......

Ua femelle: percussion ilouffie) (ý= Un Peu vif, 13 8)

FP Orib 4fee) r

...... 6 pid. ) (avec sourdine) VM/20 bronzedtwo-note cells from the mistle thrush ('La BuseVariable', Catalogue)

as

ff(fOrl,

4 'o. %*& IT& VIII/21 cries of the buzzard Cl. a Buse Variil, W. I 'awhoxi,e)

13use variable lite it lot's 416 ...... 11 ......

. =. = -Z .. zV... g I; fly- 11 EEO IK to

(CH mingli)

VI 11/22'wild and fierce caw[s]' or the carrion crow ('La Buse Variable', Catalogue) Corneille noire h 'Vit (ý-2144) r, (. SO n L it - --2-

ww

r .10' ==,. - ----A

AI 'z-, ZU a 9.4

* *L a, A VIIU23 a) seven-voiccdhomorhythm: black whcatear Traquet rieur Modiv; (ý --Ise)

III

=: =- off .1 17

la 4.9 b)I 'affectionates sononties: blue rock thrush Nlcrle bleu . lin peu levit 100)

7: ý

ý Aý 3 ;

(Te Traquet Rjeur', Catalogue) V111/24 blue 10Ck thrush accompanied by A majot ('Le Traquet Rieur', Catalogue dUscaux) Merle bieu 417 (ýx Us$Peu lent too) II

i %7: 0 xlý

1L

Vill/25 a) high-pitched, nuted' chords over Eb minor eta Courlis cendri

m n, i i 120) 6

/r

(fl; lq/, tr,. Irlift. )

b) 'wild and passionate'trills

lrl-ý114 vir

jj*j.! Ml.,". '. do-sx.mx) AlAWile .

F- =! - 1=1 17=-r=

c) repeatedascending two-voiced quasi-glissandos Courlis cendr6 S...... men annilýre 2 Ot-2 03 ý7 ý'ý 10PI) 40 _6ý

dim, OL 7=41FA Tr I

oo/' (tr, 7,,,Ptquc ef dAtoli, d4jrv le snWaral d'#t4 glissinds)

-I "-__-

(Te CourlisCendri, Catalogue) Cl Courlis Ccndri', 'citahopte) VI 11/26oysictcalchet -c ( Iluitrier pit, 418 S Vol JI$-%I%it (ý. Itn) 0ý

7 iambs U- 6 I- >> or /a /10; /,; ý /,;; eel- de d,0 so ... -zoo tj wo 06

. ýý I-

Otto,

4 iambs 9 iambs

=-- ! Z:;: o- 0-0v»1L:;. .M

LçL

_____

______pý ). * .fII. k'a ý.a -I -ir

trilitngs ...... clustcr

qio ar

Lscandicus (21XýJ LwAndicus(2-p(O (%II 11/26 continued) F scandicus(2-pt 410 ......

sop nit1. Itb. prd 'I .

15 iambs: 2-pt I

-A 0,11 1 -14 ol & -- ;--0 V-

Jdi

7=IP

S....

9

.Ile 420

Nitisical Exameles - Chnnter UX

IX/I a) -songof the skylark accompanied by trilled cluster chords on strings ('Antistrophe 1', Chronochromie)

...... I ...... V #L A- JIL OL__ 10L

...... 1 ,a- 4. 17, Ar

ok

46 p

Cvw%hPu4p L 333 P" 23 22 32 3ý32 32 ý o- I. 7 (loss rial ) - 2 Lie

prp

A 4 -5. #====I Rý=w . 'ý§ - -*.

P3 4 Alto% (Sol$ Tiols)

2322 32 132 32 (saltsriels)

ppr

ppp+*(setfitt) 0IMS-11hornorhythmic 1))song (if tile 50119 on %%m1d%%Md ('Antistrophe Ill. ( -hrmtochromie) 421 h- till pou %-If(. IGO) 3 Fl

III h ff

Jr

------C4

jr 41T 2-2'3 J32 ff ClAr ff -j-/ 1-10 2 -----0 10-

QI 7-t A- ---Vl EF-ýý-- Clbogst. Jr -4 vai I-- J7, iA -4x:; Ir Its. .1no? % jr OWN Iý ff.- - ZRp" ýaWa"=

lX/2 of the narcissusflycatcher (Introduction, Clironochrande) glissandos porrectus, POFTCCUS I Kibitail 6 ... .. J", b4,6 %I @act* (Gobo- I ,--. A onotichos Narcillo. du Jspoft) r- - !! iIII.

MArimbs U'- -4 ______cinch" ______- c ti jj) 3 r. nng-t - - ______vp L 4 f% IX/3 iti(in three Japanesebirds- while-eve. PICN-thrush and litilc superillIPOS. of cuckoo (Toda', Clit-Onochromic) 422 :Nlodo: rtý (J 14v110) a...... T4 it ...... 0i F- . ."g it Ill. rl .

t=

MI T

t A Fl

AL r A 2 Zosttrops luctUll (Japon'

r! - clar

2 Cial

771

......

Cloth

...... (petit coucou do Japan) ...... A- ...... A X% In. l sý =Aft IF Mir I

Nt rl inba IN14 densely accented chords- white-tailed eagle (concluditil; ( 423

lelit (A-. 72) ...... V- I ...... '07ý

...... 1A

2 CI Iii I- t. .t-.: ..

-. M-o It lp -6

Tt is

Tt ti it mni 4 Cols

TAA 00 . W4..p $4 ýj 14...... q9 -.

......

X3 I.,

; EFEE:j -= --

cls'eh. -% is F M. - -. --- -0 PC=-- III- . Rr ...... ý FF-= f- ý-- Z7 ; lp C-t -c 'T H7 W S-11 1: =9,6 -T......

=r I,!. %.. Y% i6l pT ;z -- 1%-- - --6. -- e. Lvý-d '07. . . - I ---4 -- -r-o*I. #

Sr, IL

...... * ...... 0...... (IX/4 continued)

424

a ......

I. $. I'l

Z, k1

VI

C

Clot

Cl. bA%b,

A SIP

V'- Tri,

:1 Trp.

4 Cors

:1 Trhu

Tob*

Glock

X.% Io.

N(.i ri inh o

Ch. rho-to

ligs

T

It.. %of

0

ýlv so,

V045 1%4&

lot i "r-j F ft ýw L- r

SI 41- *a aA-4 110 to III&, Gaft ol (I all I wq

'A IX/S bcginnimz,of the secondsection of the 'hp6dc' himet dominant (Chrollocill-Olme) - Ff---- ...... I 7F anapac-, ,F4 ýý, 425 FF--. 3, 2. I-. f %..a ---i ',; 1 I .1 ý r- i;. i V.

Ito %,,,a f 1'.! Fauvette des jardims a ...... ,,. to, 0. OM -0 19P 21 %,.:* I -A

: 21 Favvette des jardiis

p or -p 0- --

04 1 r- tee ýO_A &I -a- ýR- I-L *af. 0. ot li %.1.4 191i91.. ------. =;P-, -

wwý -. 4 %-,It fj

LX/6 ostinatopattern of the yellowharnmer('tp6de', Chronochromie) ......

IX17 continual'chirps' of the chiffchaff('tp6de, Chi-mochronzie)

Ii iI-i- A I- .?...... ki ...... 1114 It I LI -- 24 V! @ 1 -0 -I -e

IX/8 'machine-gun'derniserniquavers of the nightingale('tp6de, Chrotiochronae)

1':r Alto

IX/9 two marshwarblers on clarinets(Strophe 1', Chrowchromie)

r'lAr. ý14 I IX110ospicy('InlrodLictioil', ('Iii-oitoclironýie) 6 426

S.. Trý, m mod4rg (ý: 144) It % .. 42 rjw_- P11.6fl.

2 Fl. owdd-*IýI) S! Fl.

A 2 H16.

C. SMAI

m, clar. 30 2 Clar.

Cl. basse

At.

no! s

30

PLt Trp.

8 Trp. Ell V

4 Core fpý-, ý: EEa

Ij

3 Trbon.

Tubs, tA 17 2; W - Clncbp% Eff

ChIn. 'r A. - ý3-M. T.-T. - Ne 611 . Or

vcLlbi je! 0 p l t dIv. art* to en 3 r

2e, vv! - div. A arto to I pe 3

area

All#%$ al. -&? to it Z:.

artf, 3jý

f vrýlvs orts

. rRol P * 19 CiD Do i 611cla. 10i petite$ notes Ww"g. IX/I I superimpositionof interversionson violins ('Strophc 1'. ClIfollochromic) 427 48 A ...... , (evil101hralo)...... AVM '.0 ;q orp opp IrpVuhs s1f -f 0 -:S

AOR =-- W ;r V 7 6 64 F , pp so. 2V V986 ) -e pr

pr pp .0 iattrPmrsion 2 -Ir POP pr

Allme ' (*old morl pr pr DrArdlo) . r tlki; I 7 .-. 4 - 110, IgRI - wpgr' pr (won weirsw , pr interwarsion3 If ;V

IX/12 trilled clusterchords on violins (Introduction' C11rotiocliromie) s

Irce- t 34 L., If it., -%

6 vcýfls soll

6 2(1 VIU.11 coll IX/13 birdsong polyphony ('Yanianaka-Cadenza", Selit HaAa)) 428

gjll peu vIf ýzlit

P'r FUITR --a......

1ý1 IlAt'TBOI-q

2" HAUTBOIS

rOll ANGLAIS

pil- CLARINETTE

11.1tCLARINETTE

- CLARINETTE

CLARINETTE BASSE

1,:r HASSON

V' BASSON

TROMPETTE

...... , --f -. , il XYLOPHONE ---, Icgý 1

IMB A .VAR

......

C EX CER.RO S

CROTALES

CLOCHES

C. 0 C. T. IIX/114various ponrayals orthe narcissusflycatcher's song in 429 a) two clarinets Bb J3chcwiambs) 93116 Ao It! Clar 1ýý I- :E- -- CI. ARINr?, Tlt -, v. QIn b) flute - i 11it& S. 4ý40...... I-, glor... ýt 71 ...... A rip - ýýro -11: rt. I mý 1-1 : 1-1

c) clarinet in Eb andsecond oboe

'.. .. W-- -. - -if ý--, / Mr

13choriambsl d) marimba ......

d Msrlmhs dr dr

e) I" pianocadenza [3 choriambs) I ff) uln reu Tif (T-7111 SIVS:Jim) - IN 10, LP

?&[no

FT exicndedchoriamb ---I (ýv 1 I r-emcnded thofiamb., blodJr4 (ýz 100) vir 144) - I

Piano

3 cmendedchonambs ko

t- 10=2 -, iýý

Rif ? Ian@

Nc3z Itrr-- Im m ---- I . , Olumullin (IX/14 e) continued) unapacm ll ...... 430 VA is"it ff fir L ego f RT 2 paconIV cells rrýa vir (J'it too)ky I- III r, 1\ It , OIL- . 41

Flame

_ _ __ b -t -it_ T41

blodgre* : 7b d

At

& ýp-aeon 2 extende IV reolque cells

/kit

Name --m- p

'- iTA, iamb por, spondec Irrv; II (Arill4st)om vir 1?4) 114; 2ý rq; - k! .8 , --? - .IL! -6 -a

flat's

A ...... I Z7 2a 2 cxtcndedchoriambs - 7A io it 1"11'u171-4- rZ40 vir its) ......

c::= f _c:r_- ro"Al -le I W/ v of 2ý

Extrgmt UnpeuvlN-8160) Trýe vir too) vif 100) 17 Vy8m3n3ka-Cadcnza, 4 It's I flem fe . -j - Sept f lla)ko)) Tian* Hgý -1 ---Ir- NZý- -&I. v It , =Z-- .I -S flycatcher JX/15, a) regularcell of the narcissus b) ubitiminw; donnnant f b),thmic cen or the usuisu 431

Deal&* I. 04f, . ------1- ('Yamanaka-Cadenza',Sept Hathal)

IX/16 a) harmonic ostinato,of the Indian tree pipit

P ? lose

TA

b) rhythmic continuumin the I" piano cadenza

UA ull Pell vir (ý# I -10. .9 Jf

a- -,

(poor (poop p Pi &Fka qoL

II T*, ýttj 4 PIZ -0Vf. I ;t 1( TA ? Al 2A

- - . iI=--  if if F p / c=f ==- ri site I I' -q '-. p . 4 ______- ______=i 4- 24 c) bcginning ofgtcat teed warbler's cadenza

ut, (ý. pet, vir 124) 432

F201 04 Acrt"It 111*c4"148 It Alf'40t, $offr ro telari doss 11,10ro)

A. AL L ;ýI I IMF -n ýA

hane PV -V ý!g- VP wvv *

a spe a tr rr --0--

f I- I( ______I Li yrFF *p it ...... i-

der

IIIIIT1 )I ____ I I 4- I ' Nano 'c _ if if I r: _I l I I_ f F_ 1 ______Wt 70 L4 tie 2A

d) comparison with the European great reed warbler I'deuxen dem(') Rousserolle TurdoYde 112) (ailre. lourd) ::? b AL --- 0ý0 1ý k :.,

oil 1 7 JN -1= ý-W , : týY7 kF (sanx pid %v

(a. b, c- 'Les Oiseauxde Karuizawa', SeptHatkaj) (d = 'La RousserolleEffarvatte', ( dialogue) & IXII 7 uguisu's call on woodwind trumpet MeS Oiseaux de Karuiz, 2wa', Sept liakkat) harmoruiedsý: ujtcui harmonisett z7

* iý: ...... 11 1r 12 4 tp t- ý. 433 b-. K" FLOTF

I FLOTE

1-:r 11AUTROIS

20 IlAtITBnIS

COR ANGLAIR

llýl CI. An[NETTF

RO' CLARI. 4RTTF

-.1p CLARINETTF

CLAIIINFTTF HASSE

Itr BARRON

2P BASSON r. == PP uguiso V7 i TRomrETTE

ffetlobfill

IX/I 8 idiomaticgamelan sonorities (Couleurs de la OM Cilesle)

" Illell ...... 1110(1ý1-6 -AL JIL 4L .

liana .9

Tfb Vý 2.11 Ta

4IL .- ýg- -OL tp- Cene

AlItluis du8,. ' d1m. apris Ptateci IX/19 a) gicat kiskadee,coloured by xylophohe-trio 434 biilma M. T-Iýi peuvir (ý -- 12 6)k ?I A (hfirel ý- = I. . Clar.

OL Clar.

v Clar. )L 9- 41 . $ I 'C v

Piano opf,

Ta 41, ......

A) 10.

...... v ...... xylorlm

Mar. i -Fi 223 322 2, ,-2 8 ný-n rF2 32 32 Cene. )A ...... _A ......

loche% )ti b) yellowhead 1. 3 117rz.

1 . 2%%P ri3no

je ......

%b'rim. f

_____ p r 33322 Ui cr rn-f-%l32 Zý, inýI -F ...... tfit: m (C'nillefir.,

3! IX/20 Brazilian bare-throatedbellbird (Coulcurs) 435 is cit 1,4-ti --ir (w,.- i2so

I( la 06. ff 0

3b 1.)rrv. 4e I I., ') - i. T, p IL

2. or_,. 0r, ý - - 0 . .: Tri, ---

I E: Zii -- gi

Trhn 0 LF Mq

ri.,,. ` fff I Ta

it ......

...... Is ......

X% Inrim jr

I-= Sla r. -_-- -

Cenc 4L

Cluebri.

Gonrs __ - 4ý'-ý'7 t-

IX/21 I" piano cadenza:stripe-backed wTen (Couleun) S=dicus vir (ý -, ic o) (3-ams&Ifflle) S '-Is-"\ 4! Trogl6dyte'b&*rri%11 . -. 3.11.1 -go- Itf

riano nf

fq-- -I-- .A pv 7 IF 3 T"a s Tel Ttl s=dicus--l

d. des3 1wsI L

rianv k. .4p. 2

IL

T414 IX/22 I' brief cadenza wcstem meadowlark (Cmileurs)

436

F-4-11 7%imit'i-4 (J)z Trh (san-f ýaf/mo-

S to u roe Ile ...... II--ýI r'--,! "%"I,!-

a no

8 law TA am H

zlle .4e 'Nlodýr4 104) iso)

8...... A JL 3ý- I-- ,, ý ---. A-----4W L

Piano

Vzý Tt, 4r . 'Nlmlýt*( 1) vs, pou vir (ý. w) vir (I,., Ito)

...... dr IrAsmjr

Piano

9 zi 9 T(Ih la, IN, Mexican (Coulew-s) % IX/23 piano caden7R tropical mockingbird 437

-.%i ., tý-r4 (ý =Io a) 1110diri 'YS411S h4five) II 21 14 44 Maqueur du venesufla !. ! ...... -...... AL 7L

f f f -f PP Pv ), P

PI A

Ta Tel

N, If 10 1) 111cii siiod4ri (ýxvi) ...... tt

Plan. - Pf

2 3

JX/24 outbursts:Amazonian uirapura (Ef ExspectoResun-ectionem Xfoi-tuonim)

). N1r. d: r,; (ý : 17e a...... Z: ......

......

F1 1.2 62 p 3" rI Jj,

Into I..-.

:1, lilts ip 5i f F-=-. A ME=ý w -. = -"I t- I' alog]

r k*' ( IAr

clar, 1.2

1* Mir . Pit'

Cl 1.3"t

--I JX/25 brisk song of the calandralark (EI &specto) 43?..

JAi2 2 P" Ft.

...... Ft. 1.2

:iý Ft.

11:1 Htb.

Hth. 2,3

C. asiAl. * z ý =n fr 1-- - Pie Clsr- -T --o

Clar. 1,2

3? Clar.

I. basal

1%,at$ Rmr--.-:

V. 6,2,3 P .1

oif-p ......

2 PýI' Fl.

m, rt.

2 . 3 ri. 2, a

Itr Rtb,

Htb. 2,3

C. angl. 4 1 V

jlýv clar.

Clar. C, l PIP

Cl basse .

Bcýsf 1,2 tc== Pir W2 - Wft 3? B^.9

IX126 simple song of the blackcap (2'dMovement ofMiditations sur le MyWre de la Sainte 7MWi) IC31en mod4r4 5-- 42 4! 1.4 I-V-I ! ýx A 'P' 4Aý. ý u 2 G: 'T- "137 -01-

(Fauvette i tite nalrep IX/27 garden %%8rblv'%cadenza Wj 'Meditation') jardinS ) i Faw%pný del if" p, %&Wit 439 d d.... I. s a 41ýII#, V- 112%&3 Poo I

A% I qr jw E-i" ,I 31

1-1 3 P-4 L 2 L! wo, M-3 fta0, E-E! _j - -3 via 33

MA

33

MAM

AI Al L1L! L WAS 'd

43 Wipaills 143a46 sý P 1h3 bA If-

AL : rý=: il =; " rý I, Wei P. F m. go-: I -

13a 3

kA A 2331 5. r ý -11-4ý -P P--4 I AL -4 AN=:

333 US- f-ana est-I JX/28 varied songof the wren (2"a'Meditation') I

AM

.5

a

MAN. 2nd the blackbird's song (2"d Weditalion') IX/29 pontayal of climacusrcsupinus r0inuk;. W. r %: %Ul)tllu dicO (merie no1r) f-double-iamb,"! cretic smdicus 440 Mod-; >, ri; 14ý,,90111 4ý -1-1 0: 31d 0 A OIL b,. MAN il PI 4! . Ný MMr A13 Z. climacusresupinus

MAN

bS double-iamb 3 iambs F 3 IIIý: ; ep.. 91h ;L OL on i- Ii r_ k, iItI V. FA .. I;: _4114 4AN - Ii, ad-

black JX/30 startling cries of the woodpecker (0 'Meditation')

vir 6 Imsee)ýebýL 5 PLtý 4 10,7 .4 # it Un lent I 4ý reu 0

MAN Pos ff E55ý R: M0 SF,

ff- pp TPP) (PP) (en .

? ED pp

IX/31 a) 'like silk tearing' and other 'snatched, rhythmic Motives of the song thrush

Modere Un ]POU vir

MAN

3Kodiri Modiri vir 7a ýr ". IT I: k it 4, L- L I I - t'i i I I . q Pol

mA 66 LEI

(commo de la nie dicAtree) b) 'like drops orwater': song thrush 441 2 ionicfillnur nictres Yrf odi ri 164 I un vou -it

4 IdA .,

(comiffie aes a taiti gottries ('4h 'Meditation')

IX/32 ring ouzel's calls (4h 'Meditation')/3 iambs

Irris mmodirg (Merle i iolastft-n)

MAN

ipi

IX/33 a) homorhythmictexture: Tengmalm's owl ('4')"Meditation')

(Chauetto do Tonemalm) (bovrdon 16, bourdan 8, I laien madiri I stuls

W I- - -1 Z- -I w- ;,- _- " lp ir 1" -I Z- -I ; -- Z- Z. 'L Z- Z. MAN. a Mf t :1 00 FR nq INK 6==ximxw k:=: =

b) sametexture on solo bourdon (concludesthe 4h 'Meditation')

Men vaod4ro;

fl6te harm., o. MAN bourdon 8, bourdoc 16-

(Chouette do Tenrmalm)

(bnurdon 16, bourdon 8, seuls)

5d JX/34 simple pitches of the yellowhammer (concluding 5"' Weditation')

Blen v=cdZrj 442 Igambe, YOU cilcste) R:

ppp MAN , ( Tý

(bourdon 8) p (Bruant jaunt) ==r-- ? ED.

de ('7h 'Meditation') I X/35 song of the so-called'oiseau Persipolis 2 IV (olseau io PersiRSUls-L-2paeon IV cells-, r- pacon cells

MA

iambs wyno r-3 iamb r--l >. .

bdA

r-double-iamb--l iwpb

wAN

I x. rdl: S,u sv

JX/36 a) cretic rhythm:quail

caille un re a. v 160) .

(ptd b) abrupt flourishes and repeated chords: nightingale 443 vir 41's 1601 Un you vii ým I 126

F- ýb I 2ý=ý2LqE! T

tit

TIOSSIgnol

(La Eazivettedes Jardins)

UU37 pink lake at dawn (La Fauvelte)

Tr*'R I-Ormt. (ý-- 861 K -_7 --- ýý N A. V- %ý 4 den I#- mo1 PP

Im Mtb. "XLb6 'TA MX (le Jac rose i Paurore)

JAIQ- A&Q . 664A. -&a -U& ta, la TA I& IX/38 extract from an early solo of the gardenwarbler (In Fativetie) 444 ......

...... z......

49

Ir fv Eta

31 liz&

1t

-4 '- ===- - L --- -

IX/39 a) homorhythmiceruptions of laughter:green woodpecker

fj. Dien Inod4ri ld;! 1001 out bAý -IS. d. AL 4-- -AL JL JL

-A-4-

ar

ff tý; ::.. Irl ý 0-

40 3#F -Aý -di. -do. -do. '*' "101 W- -W ýt I :MC, V #V' Ir "r or -30' V- -W -e -V IR It 6 . 0.1 -dP- 91 >. Z1. >. Z1. : F. :; - Z. dý&

homorhythmicquartai harmonies! chaffinch ridson h. IfAIII) pro mass Modiri 'Un- pow , 'VI. (. 1110) - -

ýV- -0. IV, I.;. --1 --6 c) 'jubilant' cries or the skylark Alovelti des ebamps 445 Un POU vIf Ih. 1441

0 dM6

r 1,r

IIIIS-- (p.. ' s. p., ) (LaFauveite)

IX/40 'harmonic alternator':chaffinch (La Fautwile)

I X/41 'acidulated' voice: great reed warbler (La Fauvelle)

RousserolleTurdol d 41 4.10011c, "I". ; 2% v. medir.; -e IOL AL I A

ff mf rvec) 1p. 6-1 -Iý; ý. A -

11% 11 5: i M: t 5ýý91 0 tO 0 3 : ", I- VV C) V, 1:7 V7 -W IT& VrV, .I ap >>, 1- a.. o0-- 0 -10-- 0- I. - ri """1 '1 ______

3 I I-- : J- -u ---c ---- 1; 7 `ý4 -4 ýý cm- gpx--

PP me "0r W, Z:-_- 3= . ff (trot) f "-, Itt sr ST 'pl; I ar -, ýý .1. cr dm IX/42 a) bmial croaks carrion dt%" crow ülarins red-backedslirike ris, grifche Peorcheut (atotpm4, ) 446 Cor ne iIIe 6t 1261 %10440'i to 116) 16 r, W- f 4 6 t» ý. -'. .e 9=: = =d. Eý- ]Z

F= r = =- l* ; W. ZU -e. -4, - zz:;, w= Z .77 0. 1 u I. IT& 0- ip c) repeatedcalls of the black kite: 'like a whinny' Milan noir ý Tin pow wit 4ý- 1001

d) flight of the blackkite (opening) de Milax DOI 1ý. 132) $$S Mod4ri, un pen 'wit 4II I_ 16 .1. i It.. L A\t . "f "t! a

JA

Ia- ýý ;-, %1,11 I IAI fa, in# a )0181) (La Bouvette)

IX/43 goldfinch's song over D major with an added 6h (1-a Fauvette)

* iýb rd neret.,, a on kr4, t. I! t A

vie ptu %it1P., 1261 *iýý-! -A -t, IX14+Aigntingaleannouncing sunset (La I auveite) ff-. A::: C--ff I

hartnonic ostinato vif (ý. 140)

==== : k=ý- &ý-- iý C7

Ii- 1 $ IX/45 tawny (Ia Fauvelle) 'hooting' calls or the owl 447 1ý0 -rr; - I. M (J'; 461 pindpre; Iýs 120) -Irri: I*nt 44, 1 0. ý0- .

AL JL AL

terriff; r ý6houette(Clair at Aj) (floor of forr#/fast$ Hulotte

IX/46 Tristram's grackle (Movement Three, Livre du Soho Socremem) cretic I 't Song / Ein Geds i; Mawda Met %14", Un peu V11 ritiorneau de 1 rsvtm I lft fl Is actic r PREO

If 161AK Pot

910 b1p, iam paconIV pucon

ILI MAN

bacchius cretic---l

m

f ý. ý "d

I IX/47 Olivaceouswarbler (Movement Three, LA. -rc dit SaintSacremem) Un peu Of %. I W ! 4:!: ! E

Mks.

ipii-

L: W Lan3pacst-J Lt=b. J pacon peconIV

IT % 2ý'ý 11 -* IL 1p 9,!

MA

L J T I T mpest. iarhb ionic minor iunb

!! 4p % . : . U:t "; 5; 1 03 ý, -

Lextcnded Louble-ijurtJ ionic L minorJ rwon iV-J IX/48 osong orthe descit laik (Niovemcnt Six, Livre 448

It matud 2Ns. ocumvsn 2.3" 1 In. tout souls I

bladirt. lent Ammomanp du ciserl (desort judot. un pvu dg pwmj 4, is ()ýs, wul,, w)

MAN

1 "L. I

MAN

A.%,

MAN

MAN

I cynbide 3 ramp "%it =zia- I MAN C bowden 16. menu* A 11 kwm 6. boutdon

IX/49'%vindof thedesert' (Movement Six, Lirre du sailitSocremetit) Lent

A it

MAN Poo

I %:.' I %:w Ea I 'ýOE!

! FF. lX/SO a) I' solo of the nicludious warbler - opening iambic celis Un pew vif IHYP0131SpolySIOVIC, 449 I

MAN

-1

b) harmonic ostinato in the melodious warbler's song

MAN

(NlovementThiriten. Livre du Samt Sacrement) - 1007-1 ZO

IXISI tighter cluster chords in the secondsolo (Movement Thir-teen',bvre duSainl &crement)

I IX/52 a) elaborate,long phraseof the Tristram's grackle I10

b) cretic rýyt6s in this song

4 kg '7iý

(MovementFifleen, Vire dit SaitiMicremelpt) 450 Tif ,. - 164 1 dep.... ------1. !f, -

a; 1U-, i. 0 *

IX/54 white-note chord accompaniment('Le Rouge Gorge', Peliles Esquisses)

6 M04iri (, ell dOL

IX/55 rich harmonisationof two-pitch cell (Te Rouge Gorge', Pelites Dquizes)

Lent I 1h" 54 1

P. - 1

16

Ia.

VU56 three main features of Te Merle Noir': a) colour chords with added note values ijmpeuient 80) 11 r-, -7 JL 04 . -r. 0 I

0 Till. . Ta- .. U. ich. Ta. T". ITÜ- lub. . em.

[Resolution]

Too. itwir Ille song >lodird. tJ - lir, peu vi 9 451 lU

> 3r-- he 4

c) widely-spaced chords producing resonanceeffect3

moaiTi 11 - Be, II

('Le hictle Noir'. Iletites Ktquisic,t) 8b ------t",

IX/57 features of the song thrush a) ascending two-part quasi-glissandi b) hamonic ostinato

vi r 16n

i NJIE0,

c) repeatedmotive around A major

4

6 TA d) two-pah alicrnator 452

TAb -:, -

e) three isolatedcolour chords

bindiri 1ý- @0l ------6 .d_; _

('La CilriveMusicienne', Pelites rý.iqiiis. ic. e) %we .9- l1b. .. rb.

IX/58 regular motivic ostinato: skylark (VAlouette desChamps'. Ilefites F-squIxtes)

...... :......

lZ (1 -1t

yp IX/59 turbulent chisicis skylark -

1 453 T Irip vif (I . 144)

(I-Wouette des Champs'. Pelites Kvquix.ves)

%b - --qm- .

I

I

Vif(v

Un peu )out (j4124)

JX/60 nightingaleon xylophone-tdoand kylonmbs

percussion M. nmas

((/n I-7trailel des

Oiseaux) 111.0

IN C-0 IV C... b I. T. IX/61 'trumpet theme' (Un Varail et des Oiseaux) 454

-IV*. ý.. A-- . Ll .; 2

"_. I

-4

TIRE

- . -

Ar .. l.

.0 ._

-a

N I-

"-

a, - r-71 455

IX/62 I song of the blackcap (IM Vilrail et des Oiseaux)

iewcelt, I # Itle noire Dien mod&r& uý- 352)

. u. 1.fwý %--- %; 1ý_-0--L- %r- V. notes .

6. 6. L nulf

Eýfr_: 9_ ri en s., f

IL'- Lý* L Illb MI

CA

IpAt

P" clar I

Clat

031

Basso"

23 3 2 T2 16 16

11I. rj P? ME LEJ

4 IX/63 extract of biidsong polyphony, including quasi-glissandosof the robin (1by Vitrail et des Oiseaux) 456

P Flisse

r, Clannetie

(lannellf

c3anntstg

Piano

IX/64 'prelude'of themelodious warbler's song (La VilledFx HaIII)

Prcsiýi

III C." -P P warbler IX/65 a) rcpcated pitches- melodious 457 Iýj :0

t: i zzI.; z LL

4 p 16 16 ., IIIC"w -F mp

b) rapid flourishes:melodious warbler

.1, ---- I '-t' '1; ......

'Worn. " f

332 T2

IU4*Y. SMW III& den Haiti) 438

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Disco2r.it)hv

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