Messiaen's Turangalila-Symphonie: An Informal Analysis (Mvt. V -- Joie du Sang des Etoiles)

Before even listening this movement, the title "Joie du Sang des Etoiles" ("Joy of the Blood of the Stars") makes it clear as to what kind of music we are about to hear. In volume II of Messiaen's seven-volume Traite de Rythme, de Couleur, et d'Ornithologie, the composer freely admits is excessive and over-indulgent, yet he argues that this is necessary to convey a sense of unbridled joy and enthusiasm.

Structurally, the movement can be divided into three parts and a coda. Part 1 introduces the main theme, part 2 is a rhythmic development of the "Statue Theme", and part 3 is basically a reappearance of part 1. A piano cadenza (based off of the "Statue Theme", of course) links part 3 and a short coda. Part 2 is the most complex and will be divided into four subsections which we will call 2A, 2B, 2C, and 2D.

Blogger hates me and won't show the score right-side up (yes, I tried uploading an upside-down image as well and that didn't work either), but this is the first two pages of part 2A (with my notes). Try right-clicking "view image" to see if it will display properly.

PART 1

The movement opens up immediately with the main theme of the movement, which is to be repeated many times (a music critic I know likes to say "If you hear something you like in this symphony, don't worry -- you'll hear it again!").


At first listen, the melody seems to be a little bit cheesy -- unabashedly tonal in the key of D-flat major, lots of "vulgar" major chords with added 6ths, and an over-the-top orchestration. However, upon closer inspection it becomes clear that the melody is actually a transformation of the "Statue Theme"! By transposing the brutal "Statue Theme" and placing it on a rhythm in 3/16 time, he turns it into a frenetic cosmic dance. The first audio clip below shows how the "Statue Theme" is harmonically transformed (we hear the original theme followed by its transformation). The second clip is as it is heard in the fifth movement. From here on, we will refer to this transformed theme as the "Joyous Theme".

PART 2A (Rehearsal Nos. 14-21)

While part 1 is a lot of fun, part 2 is where things get interesting and where Messiaen uses his arsenal of compositional techniques -- rhythmic characters, retrograde, systematic transposition, non-retrogradable rhythms, and more. Click here for a diagram of the processes in part 2. An audio clip of the beginning of the part is below.


Note: For the diagrams in this section, one minor (thin) grid line is equal to one sixteenth note. Since it is in 3/16 time and there are three minor grid lines per major (thick) grid line, each major grid line represents one measure.

Try and make a few observations on your own before reading any further (part of the fun of this piece is finding new patterns). In particular, what do you notice between the top part (rehearsal numbers 14-21) and the bottom part (rehearsal numbers 25-32)? Look carefully -- paying attention to the violin and ondes-Martinot parts makes it more obvious. Also, can you find any examples of rhythmic characters? Any examples of non-retrogradable rhythms? 

Cells 1, 2, & 3: Brass Groups "A", "B", and "C"

Instruments: 4 French horns, 3 trumpets in C, 3 trombones, Chinese cymbal, suspended cymbal, glockenspiel, celesta

Cells 1, 2, and 3 are the heart of this section. This is a rhythmic development of the "Statue Theme" (the original theme, not the transformed theme demonstrated above) using the idea of rhythmic characters. We notice two things immediately. The most obvious is that the cells sound in the same order each time (i.e. first we have the green block, then the blue block, and then the red block). The other thing that we notice is that on each iteration, Messiaen changes the durations of the green and blue blocks (representing cells 1 and 2, respectively). For instance, follow the green blocks and count the length of the black spaces in each one. On its first appearance we have 4-1-4. Next we have 5-2-5, then 6-3-6, etc. The rhythm is expanded by one sixteenth note on each iteration. If we do the same for the blue blocks, we can see that we start at 8-4-8, then go to 7-3-7, then 6-2-6, etc. The red blocks more or less remain constant.

The collective brass parts (left) juxtaposed with their respective rhythmic diagrams (right). Click on image to enlarge.

Part 2A ends after group B cannot possibly be contracted any more (the smallest duration is one sixteenth note) triggering group C to seemingly panic in the form of a long non-retrogradable rhythm, leading into part 2B.

Cells 4 & 5: Woodwinds, Strings, and Piano

Instruments: Piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, 2nd violins (divisi), violas (divisi), solo piano

Cell 4 is the "Statue Theme" played by a combination of woodwinds and strings. The first two notes are played by piccolo, two flutes,  two oboes, and two clarinets. The following two notes are played by divisi 2nd violins and violas. The last three notes are played by 2 oboes, English horn, 2 clarinets, bass clarinet, and 2 bassoons. On each iteration the set of pitches is transposed down a half-step except for the last two notes, which remain at the same pitches. This is an example of what we will call "systematic transposition".

The "Statue Theme" undergoing systematic transposition in cell 4. Click on image to enlarge.

Cell 5 is the "Statue Theme" played by the solo piano and runs just one sixteenth note behind cell 4 (this can clearly be seen on the diagram -- look at the purple and yellow blocks). On each iteration the set of pitches is transposed up a half-step except for the first two notes, which remain at the same pitches.

The "Statue Theme" undergoing a different systematic transposition in cell 5, lagging one sixteenth note behind cell 4. Click on image to enlarge.

Cells 6 & 7: Solo violin and ondes-Martinot

Instruments: 1st violin solo, ondes-Martinot

In an unusual orchestration decision, Messiaen has a single violinist playing its own line among a densely-scored section. He pairs it with the ondes-Martinot and the two instruments toss a series of trills and glissandos back-and-forth (actually, the violin has discrete notes -- not glissandos -- but they serve the same purpose as the glissandos in the ondes-Martinot).

While there isn't much to discuss here, it does provide a framework for the entire section. Furthermore, it makes it a little bit clearer that parts 2A and 2C are nearly mirror images of each other.

PART 2B (Rehearsal Nos. 21-25)

In part 2B (referred to in the diagram as "first glimpse of main theme") we hear a return of the "Joyous Theme" accompanied by what appears to be chaos in the extreme upper and lower registers of the orchestra.

Cell 1: The Statue Theme

Instruments: Piccolo, 2 flutes, bass clarinet, 3 bassoons, celesta, glockenspiel, solo piano, cellos, basses

The "Statue Theme" is played frenetically in repeated groups of seven 16th-notes at a dynamic of forte (fortissimo for the solo piano). Upon each repetition, the two outermost-notes on each end are transposed down a half-step (leaving the central three notes untransposed). On the sixth repetition, the entire cycle begins again with all of the notes (including the central three notes) transposed up a half-step.

The first six repetitions of the "Statue Theme" in cell 1, showing a systematic transposition. After repeating itself five times, the cycle starts again with all of the notes transposed up a half-step. Click on image to enlarge.

In case you are still having trouble believing that this is actually the same "stone-cold" theme that first appeared in the 1st movement, try listening to this slowed-down audio clip to convince yourself:


The orchestration is particularly clever in that Messiaen uses the upper and lower registral extremes of the orchestra. The use of high instruments (piccolo, flutes, celesta, glockenspiel, right-hand piano) contributes to a "glitter" effect, whereas the use of low instruments (bass clarinet, bassoons, left-hand piano, cellos, basses) gives the heavy feeling of frenetic, joyous stomping.

Cell 2: The Joyous Theme

Instruments: 2 oboes, English horn, 2 clarinets, 4 French horns, 3 trumpets in C, 3 trombones, tuba, ondes-Martinot, violins, violas

Cell 2 re-introduces the main "Joyous Theme" of the 5th movement. Another interesting effect is obtained here. While Messiaen has the accompanying "Statue" theme in group 1 playing forte/fortissimo, he instructs the main theme in group 2 to play piano up until the 17th measure of the section, giving a feeling of order emerging from chaos. This section is particularly interesting because the composer has the original "Statue Theme" playing in cell 1 at the same time that the transformed theme is being played in cell 2.

The return of the "Joyous Theme" in the context of E major. Click on image to enlarge.

Cell 3: The Râgavardhana-Candrakalâ-Lakskmîça Juxtaposition

Instruments: Percussion (triangle, suspended cymbal)

Cell 3 is the most elusive of the three. It contains the triangle and suspended cymbal quietly and repeatedly tapping out the Râgavardhana-Candrakalâ-Lakskmîça juxtaposition.

The Râgavardhana-Candrakalâ-Lakskmîça juxtaposition, notated in the context of 3/16 time. Click on image to enlarge.

PART 2C (Rehearsal Nos. 25-32)

Part 2C is mostly the retrograde (i.e. "reverse") of part 2A, although it is transposed up 1/2-step. However, you refer to the diagram of part 2 it can be seen that Messiaen adds a second layer in the brass section which plays exactly what was played in part 2A. This is going on as the original layer is playing its retrograde.

Parts of the score eight measures before part 2B and eight measures after part 2B, clearly showing that part 2C is the retrograde of part 2A (though it is transposed up 1/2-step). Click on image to enlarge.

The idea of literally retrograding a score is not a new idea that Messiaen invented, even though it fits perfectly into his style of composition. A famous example of this occurs in the central section of Alban Berg's Chamber Concerto for Violin, Piano, and 13 Wind Instruments (1923). In the slow 2nd movement, he puts the ensemble in reverse. Berg even instructed the publisher of the concerto to arrange the pages around this section so that the central axis runs through the center of the page, thus clearly displaying the compositional device!

PART 2D (Rehearsal Nos. 32-38)

This is more or less the same as part 2B except it is in a different key and it is transposed mid-way through. All three of the layers of part 2B are present here. This leads into a transition to part 3.

PART 3

Part 3 is a return of the "Joyous Theme" as it was played in part 1. After being repeated twice, we hear two ecstatic swoops from the ondes-Martinot which leads into a short (yet impressive) impressive piano cadenza. The movement ends with a return of the "Statue Theme" and a massive chord -- D-flat major with an added sixth.


These saccharine indulgences in which Messiaen partakes makes it a little clearer as to why his student Pierre Boulez once called the symphony "brothel music". Of course, one can't help but wonder what kind of brothels Boulez frequented (though I think it is best not to dwell on it, don't you?).

Note: In this movement, all audio recordings either ones that I generated using Finale or from Hannu Lintu's recent (and outstanding) recording of the piece with the Finnish Radio Symphony Orchestra.