messiaen's rhythmical organisation and classical indian theory of rhythm (i).pdf

Messiaen's Rhythmical Organisation and Classical Indian Theory of Rhythm (I)Author(s): Mirjana ŠimundžaSource: International Review of the Aesthetics and Sociology of Music, Vol. 18, No. 1 (Jun.,1987), pp. 117-144Published by: Croatian Musicological SocietyStable URL: http://www.jstor.org/stable/836909 .

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M. SIMUND2A, MESSIAEN'S RHYTHMICAL ... IRASM 18 (1987) 1, 117-144

MESSIAEN'S RHYTHMICAL ORGANISATION AND CLASSICAL INDIAN THEORY OF RHYTHM (I)

MIRJANA SIMUNDZA

Radio Zagreb, Third Programme, Dezmanova 6, YU 41000 ZAGREB

UDC: 781.62(911) MESSIAEN

Original Scientific Paper Izvorni znanstveni dlanak Received: May 4, 1987

Prispjelo: 4. svibnja 1987. Accepted: May 8, 1987 Prihvadeno: 8. svibnja 1987.

Abstract

Olivier Messiaen is the first Wes- tern composer to investigate Indian rhythmic patterns or tdlas, and to use them consciously in his works. After studying 120 desttdlas which the 13th- -century Indian theorist Sarigadeva presented in the discussion Samgita- ratndkara, Messiaen discovered and developed the general rhythmic princip-

les, applied afterwards in his own works.

In earlier stage of using Indian tdlas (Quatuor pour la fin du Temps) is presented the simple organisation of three desitdlas (rdgavardhana, candra- kald, laksmia), while in the Turaiga- lila symphonic he introduced new methods in the organisation of the same tdlas and superpositioned rhythms.

Olivier Messiaen is the first Western composer to investigate Indian rhythmic patterns or talas and to use them consciously in his work. In conversation.with Claude Samuel he says that he is a rhythmicist and adds that he considers rhythm to be the primary element of music. In his opinion, rhythm exists prior to melody and harmony.1 Messiaen does not hide his inclination towards this particular musical element which induced .him as a student at the conservatory to investigate the 120 de- sItalas the 13th-century Indian theorist Srnigadeva presented in the discussion Samgitaratndkara.2

Messiaen'S rhythmic system developed slower and with more difficul- ty than his modal system. Fascinated by discovering note values in

: Cf. O. Messiaen in C. SAMUEL, Entretiens avec Olivier Messiaen, Paris, 1967, p. 65.

2 See H OESCH, -Der indische Kulturbereich?, Neues Handbuch der.Musik- wissenschaft, vol. 8, ed. C. DAHLHAUS, Laaber, 1984, pp. 245-251; Cf. SAR.GA- DEVA, Samgitaratndkara, Delhi-Varanasi-Patna, 1978.

117



M. SIMUNDZA, MESSIAEN'S RHYTHMICAL . ., IRASM 18 (1987); 1, 117-144

Indian rhythmics, Greek metrics, and Gregorian chords (which had a greater influence on his melodies), he requires that >exactement les valeurs marquees<3 (the precisely denoted values) are heard and read in his music regardless of whether they are written in a marked measure or without measure. Discarding duple and triple time, he wanted a succes- sion of note values which last absolutely in time, independent of measures or bars, that he called >>musique amesuree<4 (immeasurable music).

Messiaen found a list of 120 desitilas in the first volume of Lavignac's Encyclopedie de la Musique printed in 1924. He considers that the desitalas ?representent sans doute le sommet de la creation rythmique hin- doue et humaine.<5 He used them for a long time without knowing the cosmic and religious symbols which every tala has, such as, for example, some talas are connected to Siva, the master of movement, and Parvati or Sakti, his power which materialises as Siva's wife. Later, he obtained translations which enabled him to discover the meaning of the talas and their symbolic use in compositions. Not until the piece >Couleurs de la Cite celeste< in 1963 did he render their meanings more precise and added his own analytical comments.

Messiaen says of this beginning: >J'ai tres longuement etudie les cent-vingt degi-talas qui sont rassembles un peu en desordre par arnga- deva, si longuement que j'ai fini par decouvrir les differentes regles rythmiques qui en decoulent...<<6 The newly discovered principles for creating rhythms, which enriched his own rhythmic system, are:

1. ajout du point (adding a point) 2. valeur ajoutee (added value) 3. accroissement et decroissement d'une valeur sur deux (the in-

crease and decrease of one of two values) 4. augmentation inexacte (inexact augmentation) 5. dissolution et coagulation (dissolution and condensation) 6. importance des nombres premiers (importance of first numbers) 7. chromatisme des durees (chromatism of duration) 8. rythmes non-retrogradables (non-retrograde rhythms) The use of rhythmic rules can be seen in the examples Messiaen

mentions in his book >Technique de mon langage musical<. The best example is the desitala ragavardhana which in its basic form reads

1 t1 1 6 - S . J . 1. When doubled in its basic and retrograde form it reads:

3 Term from 0. MESSIAEN, Technique de mon langage musical, Texte, vol 1, Paris, 1944, p. 6.

4 Term from ibid. 8 Quote from C. SAMUEL, op. cit., p. 81. e C. SAMUEL, op. cit., p. 81.

118



M. SIMUNDZA, MESSIAEN'S RHYTHMICAL..., IRASM 18 (1987), 1, 117-144

I._r" r I f I II

2 3 2 12 12 Messiaen divides it into two more parts, of which one is dissected:

A B I I I

23 2 12 232 4I 4 4 232 444 A series of conclusions can be drawn from this example:

1. By adding a point the metric balance of part A is transformed. The point represents a >valeur ajoutee(< (added value), that is a short value which is added to a rhythm in the form of a point, note or pause:

Ir-rr L I FI I FI I F I I -T I I -1 I

2. If we take the point as an added value to the tala ragavardhana, then part B is an augmentation of part A, a proportional augmentation. Part B is part A twice enlarged:

A B I I I I

_ _ _ __ ?.... tt-a - m 1

222 4 44

Proportional augmentation or diminution are achieved by adding or deducting proportional values: fourths, thirds, points or half values, the classical adding of the same value then double, triple or quadruple values, etc. It is important that in proportional augmentations and di- minishments the relationships within the rhythm remain unchanged:

r- r r r r r - r r r 424 2:1:2

848 2:1:2

1 . . I I r

8 4 8 10 5 2.1:2 2:1:

10 2

3. An augmentation with constant values is also possible if the same new value is added to all the durations:

119

232

A B I .

I I _ I

sT-I*-- r f l r a r*i r r ,,a

i . _ I I I N




' Jf-L '- lIzr l i

4 .2 2 4 5 3 3 5

By consistently applying this process gradual augmentation and diminution can be achieved (by adding and deducting, respectively

,2 J, 3 j etc.):

6 41 I ' 8 91 8 4 8 9 5 9 10 6 10

In this case the relationships of the note value within the rhythm are disturbed. Each new rhythm lives independently, it becomes an independent rhythmic cell which goes beyond the limits of metre.

4. An increase or decrease of one of two values can be seen in the example of the tala simhavikrdita, where a gradual augmentation and diminution of part A takes place, while part B does not change:

A B A B A B A B A B

I II 1' ' i 4I 11 ?@6 6 6 ) 6 (6 (6

The augmentation enlarges only certain values, while others remain unaltered:

r I I A r' I

Such an augmentation can be even very large or very small:

irfI if-l Ir r I I rr r r I Ir r i I I I ,ji I* r r r p i v

5. The, by far, most interesting and most free is the inexact augmentation or diminution, as in the tala ragavardhana where part B is the inexact augmentation of part A:

--rr r r--r r I . r I 1

A

I I

B

r r r I m Amr a1 _f

120

a i I Immm ' a kmm I

a mo I m I




The most varied rhythmic variations are achieved with inexact augmentation, for example:

ITr-r rlr lrr IF r i rf 11

6. The tala ragavardhana is a retrograde rhythm, but it is precisely its part A which is an example of a non-retrograde rhythm:

According to Messiaen this is the most important element he discovered in Indian talas. A non-retrograde rhythm is a group of durations which is read equally from the left or from the right. These are symmetric rhythms. The simplest is the above mentioned example of three values of which the final two are of identical duration while the centre is of free duration. A more complex form is when two groups of durations retrograde one in relation to the other with a common middle value:

A

II

B

>,I1 est extraordinaire de songer que les Hindous ont ete les premiers a signaler et a utiliser rythmiquement et musicalement ce principe de non-retrogradation que l'on rencontre si frequemment autour de nous.<<7 The non-retrograde principle has been long known in architecture, for example in ancient art, in Gothic and Romanesque cathedrals. It is the principle of symmetry, which is also present in the decorative arts, apparent in the frequent inversed figures which frame the central motif of portals. Magical formulas are also built up from words or sentences which can be read from the beginning or the end. In nature too we are surrounded by symmetry: in the construction of the human body, the face, in butterflies' wings, etc. And as a >>dernier symbole: ce moment que je vis, cette pensee qui me traverse, ce mouvement que j'accomplis, ce temps que je frappe: il y a l'ternite avant, l'eternite apres: c'est un rythme non-retrogradable.<<8

7. The rhythmic system also encompasses dissolution or diminution of the rhythm, where one value is replaced by a sequence of low values.

7 C. SAMUEL, op. cit., p. 82. 8 C. SAMUEL, op. cit., p. 83/84.

121




Dissolution and the opposite process or condensation of the rhythm are frequent procedures in the practice of Indian music. Messiaen applied this principle as early as the tala ragavardhana:

There are various possibilities, like for example:

tlUlI 'L- LU1WL LU I I 1

8. Messiaen discovered the importance of the first or primary numbers in Indian and Greek rhythmics. He says: > ... j'etais oriente vers ces recherches, vers les divisions asymetriques, et vers un 'element qui se rencontre dans la metrique grecque et dans les rythmes de l'Inde: les nombres premiers. Quand j'etais enfant, j'aimais deja les nombres premiers, ces nombres qui, par le simple fait qu'ils ne sont pas divisibles en fractions egales, degagent une force occulte (puisque vous savez que la divinite n'est pas divisible...)<<9 In mathematics these numbers are called prime numbers. The symbolic use of the numbers is, however, more significant. By comparative research correspondances and differences of meaning and usage of numbers become apparent within various cultures and civilisations. Being aware of these meanings, Messiaen uses the symbolism of numbers in creating rhythms from, for example, 11, 17, 29, 72, etc., that is uneven note values.

9. Chromatism of duration is often led by primary numbers. The chromatic row of duration which usually goes from a demisemiquaver to a whole note, is manifested in the rhythmic organisation in two ways. The first way is by forming vertical structures of superpositioned durations which can be placed in a chromatic row, proportionally mirroring themselves around the chosen axis of symmetry. The other way of applying the principle of chromatism of duration is for creating an horizon- tal rhythmic model, that is a retrograde or non-retrograde rhythm, most often in the function of a rhythmic pedal.

In conversation with Claude Samuel, Messiaen concludes: >Mon langage rythmique est precisement un melange de tous ces elements: les durees distribuees en nombres irreguliers, l'absence des temps egaux et des mesures symetriques, l'amour des nombres premiers, la presence de rythmes non-retrogradables et l'action des personnages rythmiques. Tout cela est mis en cause dans mon langage rythmique; tout cela y evolue, est melange et superpose.<<10

That is why Messiaen uses rhythmic cannons, rhythmic pedals, superpositioning of rhythms and, so called, >personnages rythmiques< (rhythmic

s C. SAMUEL, op. cit., p. 87. 1!) C. SAMUEL, op. cit., p. 88.

122



M; SIMUNDZA, MESSIAEN'S RHYTHMICAL..., IRASM 18 (1987), 1, 117-144

characters) in his rhythmic organisation. He discovered the principle of rhythmic characters in Igor Stravinsky's Sacre du Printemps. We can find its beginnings in the rhythmic rule of increasing or decreasing one of two values:

"Sacre du Printemps" - Danse sacrale A B A B

e SSSS' SI GSCS' r 11 diminution A, B does not change

The following example is also possible, where part A augments and part B diminishes:

A B A B A B

augmentation A, diminution B

He found confirmation for the threefold treatment of one rhythm in the tala simhavikrdita in which part A first augments then diminishes, while part B does not change (see p. 119).

The principle of rhythmic characters is as if it were an applied principle of non-retrogradation or symmetricality when superpositioning already completed rhythms, that is on a polyrhythmic field. A rhythm or group of rhythms which diminishes and rhythms which augment surround a centre which is changing and whose rhythmic sequence takes place by the repetition of the same. This threefoldness can be symbolically linked not only to number 3, the holy trinity of many religions, but also to the natural life cycle of becoming, lasting and disappearing, of rise, peak and fall, of birth, life and death. Messiaen objectifies this way of experiencing the human, natural and cosmic macrorhythmic occurences in the Indian conception of the world and music, in a triple rhythmic structure which follows three paths. Therefore it is no wonder that he applies it most often to the Indian talas.

The pictorial description of this principle is as follows: >)Imaginons une scene de theatre ofu nous placons trois personnages: le premier agit, il agit meme de fagon brutale en frappant le deuxieme; le deuxieme personnage est ?agi( puisque ses actions sont dominees par celles du premier; enfin le troisieme personnage assiste au conflit et reste inactif. Si nous transposons cette parabole dans le domaine du rythme, nous obtenons trois groupes rythmiques: le premier, dont les durees sont tou- jours croissantes (c'est le personnage attaquant), le deuxieme, dont les

123



M. SIMUNDZA, MESSIAEN'S YTHICAL..., IRASM 18 (1987), 1, 117-144

dur6es deeroissent (c'est le personnage attaqu6), et le trosieme, dont les durles ne changent jamais (c'est le personnage immobile).<t1

1.1 The Use of Indian Rhythmic Models

Messiaen used many desitalas in his compositions. In Table 1 only 25 desitalas are listed which appear at least twice in the whole work.12 The desitalas'3 are listed in alphabetical order and the number they are under in Sarnigadeva's discussion is in brackets. The relative Western values as well as the numerical values are next to the original symbols, and Messiaen's most frequent interpretations of the tala in question are in brackets for easier orientation in the analysis of the composition.

" C. SAMUEL, op. cit., p. 72. 12 Cf. H. HALBREICH, Olivier Messiaen, Paris. 1980, p. 164. 13 The names of the desitalas are pictorical personifications, but unifortunately

they cannot be literally translated in all cases. After becoming names of time structures some have lost their real meaning. The etymological origin can only be esta- blished with the help of reference literature, so the translations below should be taken as information.

- bhagnatala = a broken, split up, divided tala - caccari = the term comes from the name of the first margatala caccaputa

or caccatputa - candrakala = a part of the moon, a twelfth or a sixteenth of the mon's phase,

a half moon the day before or after the new moon - caturmukha = fourfaced, the one with four faces (Siva) - caturthaka = the fourth - catustala = the fourth tala - dhefiki = a type of dance and a rhythmic form (probably comes from the

name of the bird cheiika) - gajajhampa = an elephant's jump - gajalila = elephant's game - laksmiSa = the master of luck, beauty and richness, the name of Vis..u - laya = clinging, covering, destruction, death, rest, place of rest, house,

(tempo) -miSravarna = of mixed colours, of mixed cast - nihafiaka without fear, fearless, carefree, confident - nihiahkalila = a fearless, carefree game (a type of dance) - pratapa9ekhara = a shiny, powerful crown - ragavardhana = cutting colours, cutting off wishes, interrupting passion,

separating the raga - rangapradipaka = lamp in colour, stage lamp - sama = always the same, identical, similar - sarasa = belonging to a lake, an Indian crane, the name of the son of

Vis.u's mythic bird Garuda - sirphavikrama = courage of a lion, as daring as a lion - tritiya = the third - tura;igalila = horses'game, thought game - varnamanthik5 = (maybe) a coloured stick for butter - vasanta = -shiny (season)-, spring

- vijaya victory

124



125 M. SIMUND2A, MESSIAEN'S RHYTHMICAL..., IRASM 18 (i87), 1, 117-144

TABLE. 1

DESTTALA-S

bhagna 1116) OOOIIIC 111223

caccart (15) OOCOO OOO"00 J J JA- 1 i i 15 1 P. 1 J I 1 1i 1 1

ooCoct oOe oo'

candrakala (105)

caturmukha (78)

caturthaka (4)

catust-la (69)

dhAekT (58)

gajajhampa (77)

gajalita (18)

S S S s i

ISIS

110

SOOO

SIS

SOOO

JQA )A i. )) J 1 1I I ? 1 t i 1 12

JJ JJ.J. 4 . 4 6 6

2 4.2 6

2 2 1

221 411 1

JJ J 424

4 1 1 1I

j.hj.

6 2(2223331 )

(212)

(4226)

11 1

2223



.M. SIMUND2A, MESSIAEN'S RHYTHMICAL...., IRASM 18 (1987), 1, 117-144

Iaksmlia (88) OOCIS 1 1J 2. (2 38) 1 1| 2 4 (2 3 4 8)

Iaya (1061 S.ISSSSS000 J.J. JJ.J J.J , J 4 2 6'66 4 6 1 1

mi'ravarna ( 26./2) * oooo'oooocoooo' , , A JJ. ,Js JJ PJ 11 1 1 ii 111 i-

{soosis

nih{aAka (119)

J.J .U J .J 64 1 1424

1SSssI 24 J.J J. J 4 2 44 644 42

ni hafrkalTia (6)

pratipa4ekhara (75)

ra.gavardhana (93)

rahgapradTpaka (24)

sama (53)

sarasa (103)

SSSSI J.J. J J 6 64 4 .2

J. 6 1 12

OO OS

ssISS

IOCOC

IOOOII

6 J. 1 1 1"t6 (2 3 2- 4 4 4)

J J J 1J. 44 246

2 2 12-1

2 1 11 2

126




simhavikrama (8) SSSISSS J J J J.J J. 4 4 264 6

tritTya (3) OOO J JC. 1 1 1~

turafgal7la (33) 0O' 1T ). JhJ^ 1t 1| 1 1

varnamanthika (60) II00100 J1 h J1 J i JI 221211211

vasanta (73) IIISS.S S J J J 22 2 4 I4

vijaya (51). SSS J. J J. 6 66

After the desitalas, Messiaen explored another Indian rhythmic system which he also applied: the South Indian system which consists of 35 suladitalas sorted into 7 families.14

Through analysis we come to the conclusion that Messiaen applies Indian talas in his compositions in three ways:

1. with the use of authentic talas in their unaltered basic form as time cycles which can be repeated,

2. by changing the talas according to the principles he learnt from exploring them,

3. by applying the principles which were the result of exploring other rhythms, inventions of the composer himself or principles adopted from other sources.

In Table 2 there is a full list of the works and movements in which Messiaen uses Indian rhythmic forms.15

14 See P. SAMBAMURTHY, South Indian Music, Vol. II, Madras, 19565, p. 15-24.

15 See H. HALBREICH, op. cit., p. 182-163.

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M. 9IMUNDZA, MESSIAEN'S RHYTHMICAL ..., IRASM 18 (1987), 1, 117-144

Table 2 - List of Works

1. La Nativite du Seigneur (for organ, 1935): 4. movement le Verbe, 6. movement Les Anges, 9. movement Dieu parmi nous.

2. Chants de terre et de ciel (for soprano and piano, 1983): 4. move. Arc-en-ciel d'innocence.

3. Les Corps glorieux (for organ, 1939): 3. move. L'Ange aux Parfums, 7. move. Le Mystere de la Sainte Trinite.

4. Quatuor pour la fin du Temps (for violin, clarinet, cello, and piano, 1941): 1. move. Liturgie de cristal.

5. Visions de l'Amen (for 2 pianos, 1943): 2. move. Amen des etoiles, de la planete a l'anneau, 3. move. Amen de l'agonie de Jesus, 7. move. Amen de la Consommation.

6. Vingt Regards sur VEnfant-Jesus (for piano, 1944): 5. move. Regard du Fils sur le Fils.

7. Harawi (for soprano and piano, 1945). 8. Turangalila-symphonie (for orchestra, 1948): 1. move. Introduction,

4. move. Chant d'amour 2. 9. Cinq Rechant (for twelve mixed voices, 1948).

10. Canteyodjdya (for piano, 1949). 11. Messe de la Pentecote (for organ, 1950): 2. move. Offertoire: les Cho-

ses visibles et invisibles, 3. move. Consecration: Le don de Sagesse. 12. Livre d'Orgue (for organ, 1951): 1. move. Reprises par Interversions,

2. move. Piece en Trio, 5. move. Piece en Trio. 13. Oiseaux exotiques (for piano and small orchestra, 1955). 14. Sept Hai-kai (for piano and small orchestra, 1962): 1. move. Intro-

duction, 7. move. Coda. 15. Couleurs de la Cite celeste (for piano and instrumental ensemble,

1963). 16. Et expecto resurrectionem mortuorum (for orchestra, 1964): 2. move.,

4. move. 17. La Transfiguration de Notre Seigneur Jesus-Christ (for instrumental

soloists, choir and orchestra, 1965-69): I. 6. Candor est lucis aeternae. Meditation.

18. Meditation sur le Mystere de la Sainte Trinite (for organ, 1969): 3. Meditation, 5. Meditation, 8. Meditation.

19. Des Canyons aux Etoiles (for orchestra, 1971-74): 11. move. Omao, Leiothrix, Elepaio, Shama.

Of the mentioned works I chose three compositions for an analysis of the rhythmic organisation. The first is from the earlier stage of using Indian talas, Quatuor pour la fin du Temps. Messiaen wrote a preface for this piece in which he explained his procedures as a composer, which he later presented at greater length in the book Technique de mon langage musical. The organisation of three talas (ragavardhana, candraka-

1.28



M. SIMUND2A, MESSIAEN'S RHYTHMICAL ..., TRASM 18 (1987), 1, 117-144 129

la and laksmiSa) which is present in this composition is characteristic of a number of works from Chant de Terre et de Ciel to Turangalila-Sym- phonie. This is the one which recurs the most frequently in Messiaen's entire opus and appears later, for example in the last work Des Canyons au,: Etoiles.

The second composition is Turahgalila-Symphonie in which he introduces new methods in the organisation of the same talas and superpositioned rhythms. After the symphony >Turafgalilao, each new composition brings many new talas and different forms of their rhythmic organisation, therefore each piece should be analysed separately. I have chosen .>Oiseaux exotiques< in which the rhythmic procedures are very rich and complex. One of the main reasons for the choice of this piece is the fact that in it Messiaen used not only desitalas, but also suladitalas from the South Indian system.

1.2. Analysis of the Rhythmical Organisation

1.2.1. Quatuor pour la fin du Temps (1941) -Le langage musical de l'oeuvre est essentiellement immateriel, spirituel, ca-

tholique. Des modes, r6alisant meelodiquement et harmoniquement une sorte d'ubi- quite tonale, y rapprochent l'auditeur de l'Pternit6 dns l'espace ou infini. Des rythmes sp&ciaux, hors de toute mesure, y contribuent puiAsamment a eloigner le temporel (tout ceci restant essai et ibalbutiement, si l'on songe a la grandeur &cra- sante du sujet!).l16

NMusicien, j'ai travaille le rythme. Le rythme est, par essence, changement et divison. Etudier la changement et la division, c'est dtudier le Temps. Le temps - mesur6, relatif, physiologique, psychologique - se divise de mille manieres, dont la plus immediate pour nous est une perpktuelle conversion de l'avenir en passe. Dans l'6ternit6, ces choses n'existeront plus. Que de probl&mes! Ces problkmes, je les ai poses dans mon -Quatuor pour la fin du Tempsi. Mais, a vrai dire, ils ont orient& toutes mes recherches sonores et rythmiques depuds une cinquantaine d'an- nees . . .7

1. movement. Liturgie de cristal

All four instruments appear in the first movement of the quartet. The violin and clarinet parts characterise the stylised bird song, the so called ?genre oiseau.((18 The other two parts contain rhytmic pedals. In the cello part there is a rhythmically-melodic pedal, and in the piano part a rhythmically-harmonical pedal.

The rhythmically-melodic pedal consists of 15 note values and 5 tonal pitches:

fu i L?i r r',,rji[' :i: t, 16 H. HALBREICH, op. cit., p. 311. 17 Hommage d Olivier Messiaen, Paris, 1978, p. 31. s1 Term from 0. MESSIAEN, op. cit., p. 27.




Messiaen's use of symbols can be symbolically interpreted due to the great importance he gives them. Number 5 has a great importance as it is the sum of the first even number (2) and the first uneven number (3). It represents the union of the heavenly (3) and the terrestial principles (2), that is the female (2) and the male (3) number in India. It is the number of the centre, order and balance, the symbol of man, the mani- festation of the universe and the principle of life.19 Number 5 repeats itself three times in the rhythmically-melodic pedal, and number 3 is the fundamental number in all cultures which expresses the intellectual, spiritual and godly order in the cosmos and in man.20

Fifteen note values represent two non-retrograde rhythms. The first is simple and consists of three values:

J J. J A B A

The second non-retrograde rhythm was created by diminishing or dis- solving the central value of the first one and contains twelve note values (number twelve symbolises the twelvepart character of time and space):

L _ J. t J.n

A B A

The rhythmic pedal of the piano contains 17 note values and join with the cycle of 29 chords. The numbers 17 and 29 are primary numbers. Seventeen values make three desitalas (by adding them one after the other). These are in the sequence: ragavardhana (1 11/2 1 6), candrakala (4 4 4 6 6 6 2) and lak?misa (1 11/2 2 4). They appear most often in Messiaen's opus, and he uses them by grouping them into a sequence with which he creates one large false tala:

4 4 2 3 2, ,2 2 2 3 3 3 1, ,2 3 4 8 ragavardhana candraka[l LaksmTsa

The tala ragavardhana is twice augmented and is in a nonretrograde form with a dissected greatest value. The candrakala is achieved by a double

19 Cf. J. CHEVALIER and A. GHEERBRANT, ed., Rjednik simbola (A dictio- nary of symnbols), Zagreb, 11983, p. 497-500.

20 Cf. ibid., p. 709-712.

130



M. SIMUND2A, MESSIAEN'S RHYTHMICAL ..., IRASM 18 (1987), 1, 117-144 131

proportional diminution, and the lakqml?a by a double proportional augmentation.

Both rhythmic pedals repeat themselves like an ostinato from the beginning to the end of the movement.

1.2.2. TuraigalTla-Symphonie (1948) -Lila signifie littkralement le jeu, mais le jeu dans le sens de l'action divine

sur le cosmos, le jeu de la creation, le jeu de la destruction, de la reconstruction, le jeu de la vie et de la mort. Lila est aussi l'Amour. Turafiga: c'est le temps qui court. comme le cheval au galop, c'est le temps qui s'ecoule, comme le sable du sablier Tulaiiga: c'est le mouvement et le rythme. Turangalila veut donc dire tout a la fois: chant d'amour, hymne a la joie, temps, mouvement, rythme, vie et mort. Turafigalila-Symphonie est un chant d'amour. Turangalila-Symphonie est un hymne a la joie.. C'est encore un vaste contrepoint de rythmes.^2

1. movement. Introduction

The first movement consists of 22 numbers (the numbers are the composer's denotations in the score) and is divided into four sections:

1. [1] -1 E (p. 1-14) Modre, unpeu vif (J=100) 2

2. [1 p. 15) Lent (ad libitum)

3. -[ .(p.i6-32) Moder` .(J=132)

4. J- p - (p. 33-34) Presque lent {1=80)

The first and the third section are rythmically the richest. In the first section many of the rhythmic patterns can be schemati-

cally superpositioned, as shown in Table 3. If we take a quaver value as the axis of symmetry it is apparent that it diminisches progressi-

vely in a 1:1 2: 2: 3: : 5: 6 (J3: : j : scale. It

increases progressively in a 1: 2: 3: 45: ( 6 J : J.: J J J:. )

21 Hommage a Olivier Messiaen, Paris, 1978, p. 51. The Symphony has a Sans- krit title, the composite word -turaigalila*. -Turafiga- stands for wthe ono who goes fast-. that is the horse, thought, mind. It comes from the adjective ?tura- (fast, willing, ready, derived from the root TUR, 6, 4, 3, to be in a. hurry, to pro- gress, to run) and the verb root GAM, 1, to go. The derivation of the word lila- is ambiguous. -Lila- (as a noun of female gender) is a game, entertainment, fun, a children's game, an acitivity with ease.



132 M. SIMUNDZA, MESSIAEN'S RHYTHMICAL ..., IRASM 18 (1987), 1, 117-144

without the proportion of 1: 1 j (1: J3 ) At the bottom of the chromatic

row of duration there are three large values which do not have their corresponding equivalents on the opposite side.

Table 3 - Scheme of Rhythmic Patterns 12 12

5

3

2

1;

1 1

2

3

6

rmrrrn m~i~

3~~~~~ nones

r~ ~~ -

r

10 r

10~~~~~~~~~~~~~~r. 10 10~




The third section is one of Messiaen's most complex rhythmic orga- nisations. It consists of three structures. The most complex of these structures is made up of four rhythmic pedals of which two are rhythmically- -harmonical and the other two are only rhythmic.

The First Structure 1. The first rhythmically-harmonical pedal appears in woodwind

instruments. The chords are played by six instruments: 2 oboes, an En- glish horn, 2 clarinets in B flat and a bass clarinet in B flat.' Fourteen chords join with four durations:

2 3 J + 2 3 4+ 4

This rhythmic model tala lakmisga is increased to twice its basic value (1 1'/, 2 4 to 2 3 4 8). Half of the last duration is audible and half in- audible, that is instead of a note there is a pause.

2. The second rhythmically-harmonical pedal is performed by four string instrument parts: second violins divided and violas divided. Thir- teen chords join with six durations:

J J J _T_ 4 4 4 2 3 -2

The rhythmic pedal is based on the tala ragavardhana in an inversed form (12 2 3 2) which is also twice augmented its basic value (1 11/2 1 6),

B A A B and subsequently part B is disassembled (2 2 2 4 4 4). The pedal runs in a continuous repetition of the time cycle tala ragavardhana without pauses.

The remaining two, purely rhythmic pedals, are performed by percussion.

3. The third rhythmic pedal is performed by the Chinese cymbal (cymbale chinoise). It consists of 21 note values. The chromatic row of duration is achieved by gradually decreasing the values from 17 to 7, and subsequently gradually increasing them from 7 to 17 (the unit is a semiquaver):

133



M. SIMUND2A, MESSIAEN'S RHYTHMICAL..., IRASM 18 (1987), 1, 117-144

cymbale chinoise

BIt^IIJ 17I J IJ I 1

.

,, ,i .- ,,

{^r I FT j I

This is obviously a non-retrograde rhythm whose middle value has 7 durations:

J J d J J1. J J 1J J 17 16 15 14 13 12

J- J J J

0i J J

11 10 9 8 7 8 9 10 8 9 10

J E r)JJ i JJI J.Jd J J J J JJ ri

11 12 13 14 15 16 17

It may be that one of these numbers was chosen by chance, but their symbolic interconnection indicates that Messiaen purposefully used precisely these three numbers in creating one rhythm. Number 21 is a symbol of perfection, maturity (many nations have chosen the 21st year of life as the age of adulthood) and God's wisdom, wisdom has 21 attributes.

134

I

I



M. SIMUNDZA, MESSIAEN'S RHYTHMICAL..., IRASM 18 (1987), 1, 117-144 135

The number 21 is made by trebling number 7 whose complex symbolism (some sevens are symbols of other sevens) is present in almost all cultures and religions. Number 17 (like number 72 which is connected to it) has a great symbolic importance, as it is the result of adding the numbers 9 and 8, through which it is connected to number 7 (8 = 1 + 7, 9 = 7 +2).22

Messiaen has his own interpretation of numbers, for example he says of 7 and 8 that >>Sept est le nombre parfait, la creation de six jours sanc- tifiee par le sabbat divin; le sept de ce repos se prolonge dans l'eternite et devient le huit de la lumiere ind6fectible, de 'inalterable paix.<<23

4. The fourth rhythmic pedal is performed by a small drum (caisse claire). It is the largest and contains 72 note values. It is interesting and indicative that the number 72 appears in the second purely rhythmic pedal, the result of multiplying 9 and 8 which links it with the numbers 7 and 17.

caisse.claire

- 'i lI !1 fUI UTU I I I L I

?- > . -.

-

'l -IL_. I L __

LJ -II ~ L ~ LAU

The rhythmic pedal consists of complex non-retrograde rhythms lay- ered one over the other and they are constructed by developing and increasing the final values or the centre. The overlapping occurs due to the fact that the final value of one rhythm is also the starting value of the following one.

There is a simple non-retrograde rhythm at the very beginning:

2 I i2 t -. 2

2 1112

22 Cf. J. CHEVALIER and A. GHEERBRANT, ed., op. cit., p. 140, 585-590. 23 Hommage d Olivier Messiaen, p. 40.



136 M. SIMUNDZA, MESSIAEN'S RHYTHMICAL..., IRASM 18 (1987), 1, 117-144

A second simple non-retrograde rhythm continues from its final value:

2 3 2. 232

this, in turn, is continued by the first one. All three make the first complex non-retrograde rhythm.

T TI -,J" .1 -J, , ' .m J,

2 1 1 1 2 2 1 1 1 2

Then a crochet as the final value is added ( J )

J i l-I J i J.J J--T J J 4+ 2 1 1 1 23 2 1 1 2+ 4 t T

Continuing the newly formed model with the final value of the preceding one makes a second complex non-retrograde rhythm:

1 J J m J Fm JP J I I () 4 2 1 1 1 2. 2 1 1 1 2 4 2

t t A third complex non-retrograde rhythm continues from this, prior to

this it increases its final value by a semiquaver (J )

i1 J

2 1 2 4 21 1 1 2 i 2 2 1 1 2 4 2 1 2 lT t t ft

Lastly four durations: J are added to each end of the third non-

-retrograde rhythm, and the centre expands from J. to a simple non-

-retrograde rhythm^ J i t.. Overlaying the thus enlarged model

into the final value of the third non-retrograde rhythm results in the fourth complex non-retrograde rhythm:



M. SIMUNDZA, MESSIAEN'S RHYTHMICAL ..., IRASM 18 (1987), 1, 117-144 137

-r <-

'-4

^-) -

C,,

-* C -

V-- -

r .

S I t-




Finally the scheme of the rwythmic pedal composed of four complex non-retrograde rhythms reads as follows:

I1

2 1 1 1 21J 2 1 1 1,1

1 ?4 2 1 1 1 2-] 2 1 1 1

'I!

III 1,

2 4Q(1 2 4

..I t I 211 1 2 [21 1 1 242

J

11 1 21 2 4 2 1

IV

1 2 3 9 312 1 11 242

I I.

1 2 1 1 1 1

IV

I

= the value added to the first complex non-retrograde rhythm to create the second one

= the value added to the first complex non-retrograde rhythm to create the third one

= the values added to the third complex non-retrograde rhythm to create the fourth one

= the central value of the non-retrograde rhythms

= the mutual value - the final value of the first becomes the starting value of the second complex non- -retrograde rhythm, and so on.

Ir t IV

t

t

U

0

138



M. SIMUNDZA, MESSIAEN'S RHYTHMICAL .., IRASM 18 (1987), 1, 117-144

The four superpositioned rhythmic pedals which form the first structure are repeated like an ostinato until the end of number [201. Messiaen does not end by excluding the finished time cycles of rhythmic pedals towards the end of the section, instead he interrupts them violently in the last bar wherever they may be and for as long as is left to the end of the bar. The tala lakmlisa is broken off on 2 3 3 (3 instead of 4), the ragavardhana on the starting value 4 instead of which is 1. The chromatic non-retrograde rhythm ends in a descending sequence from 14 to 10, (10 instead of 13), and the small drum ends on the fourth value of the second complex non-retrograde rhythm 2 4 2 1. This procedure is musically justified, but it does not conform to the Indian practice of rhythm, where the musicians playing jointly must always come together on what is called the sama beat, regardless of the rhythms they might be developing at the time.

The Second Structure

The second structure refers back to the descending melodic rows from the first section of the movement, it is mainly performed by a gamelan. Messiaen imitates the sound of a Balenese instrumental ensemble with the use of keyboards (jeu de timbres or glockenspiel, celesta, vibraphone and piano) with the help of metallophone percussion (cymbals, bells, tam-tam, triangle...). The second structure of this section is performed by the following combination: celesta, jeu de timbres and piano, which are joined by the metallic sound of Ondes Martenot, a triangle and wood block, first violins divided, cellos divided, double basses divided, a piccolo, 2 flutes, 3 bassoons and a tuba. The second rhythmic structure is very simple and reads:

.

A -h 1. M r." P-Po r o . I i

The Third Structure The third structure is a dialogue of harsh chords between brass wind

instruments (4 horns in F, a small trumpet in D, 3 trumpets in C, a cornet in B flat, 3 trombones) and a piano which is periodically joined by maracas. The rhythmic scheme looks like this:

brass wind instr.

12 X L

> __ s ̂ ^hL h-. ^ RmR Fffl i

~p4 ?a?- 7 " p

- ' 7 - s u

piano(+ maracas) .-: 2 - i - J _ . . . . ... ?4

139

I




As the piano has a double role and takes part in both structures (the second and the third), they necessarily alternate one after the other while the first structure of rhythmic pedals lasts continually and ininterrupted.

These three rhythmic structures behave like >>personnages rhytmiques< (rhythmic characters). The third structure in brass wind instruments and piano develops continuously and takes up increasing amounts of time and space (this is, according to Messiaen's description, >>personnage attaquant/ /an attacking character) which is removed from the second structure. The duration of the gamelan sounding second structure gets smaller and smaller and, towards the end, is brought down to virtually one bar (that would be a >>personnage attaque</the attacked character). The first structure of rhythmic pedals does not change its duration, it remains constant from beginning to end (so this would be a >>personnage immobile</the immobile character).24

4. movement. Chant d'Amour 2

The fourth movement is built like a complex form of scherzo with two trios in which various rhythmic patterns and melodic-harmonical elements are superimposed. There are three rhythmic pedals. The movement is divided into nine sections (like Chant d'Amour 1).

The first section is a scherzo. It lasts from 101 to Ill (p. 11-114)24a The instruments introduce the scherzando theme. The rhythm constitutes seven proportions of note values:

1 2 3 4 5 6 7

I T G "G r f6

There are two rhythmic pedals in the percussions. The first is started by piatto sospeso (cymbale suspendue) and a vibraphone. This is a non-retrograde rhythm of 21 note values from the first movement and consists of a chromatic row of duration from 17 to 7 and vice versa:

24 Cf. C. SAMUEL, op. cit., p. 72, already mentioned in this text, p. 122. 41a The numbres and pages refer to the denotations in the score.

140




JJ J JJ J . JJ J 17 16 15 14 13 12

J .hJ J J J J J J} 11 10 9 8 7 8 9 '10

J. JJ J JJ J_J. JJ d_. J J J J

11 12 13 14 15 16 17

A wood block with the second rhythmic pedal of 17 note values comes in the fifth bar. This rhythmic pedal, not to be found in the Introduc- tion, has already appeared in the first movement Quatuor pour la fin du Temps (Liturgie de cristal). It is composed of Messiaen's favourite three talas joined into one big false tala:

J JJ JJ. J J'FJ TTJJ.J' JJ JJ 4 44 23 2 2 22 2333 1 2 34 8

1__!I . 1 I I

ragavardhana candrakala laksmT~a

The talas are altered in the same way as in the first movement of the quartet: the lak?mlsa with a double proportional augmentation, candrakala with a double proportional diminution, while the twice augmented ragavardhana is in an inversion with the divided largest value.

Both rhythmic pedals repeat themselves like an ostinato to the end of the first section. They are abruptly broken off in the last bar: the non- retrograde chromatic row in the growing sequence at 16 16 (16 instead of 17), and the false tala at the last tala lak?mila 2 3 4 4 (4 instead of 8).

The second section has a bridging function, and it lasts from number 121 to 141 (p. 115-123). At the very beginning, the third rhythmic pedal appears performed by a small drum (caisse claire), as if it were continuing from the two discontinued pedals. This is a non-retrograde rhythm of 72 note values from the first movement composed of four complex non-retrograde rhythms:

141




21112 I 32 1 1 1 2 4 2 1 1 1 2 ]2 1 1 1

II

24211 1 2 [2 11 1 2 4 2 1 21 IV

1 1 1 2 1 2 4 2 1 1 23 9 321 1 1 2 4 2

IV

1211112 'Iv .....

' I IV

The third rhythmic pedal also repeats itself like an ostinato and breaks off in the last bar of the second section at the third complex non- -retrograde rhythm with a shorter final value (2 1 2 4 2 1 1 1 2 2, 2 instead of 3).

In the third section the first trio is introduced from 1 5 1 to 1 6 1 (p. 124

-129), and the fourth introduces the second trio (number 17 1, p. 129- 131) without rhythmic pedals.

In the fifth section ( 8 1 - I10 , p. 131-139) the first trio is repeated with superpositioned melodic and harmonic elements from the preceding sections. The false tala commences eleven bars after number 1 8 and ends after seven bars at the beginning of number 9 1 after 12 values:

wood -block

'-e_,..~:=p-fi i'~ _ _ I -m- _ - _ e _1 .4 4 4 2 32., 2 22 3 33

It continues from the 6th to the 8th bar after number 19 1 and into the Ist to 2nd bar of number 110 :

2421

II

142

1.01%

I




wood - block 10

1 ^.1 = i I II 11,1 1 ^ J IU - l '2 3 4 8 4 4 4 23 2 --II, --- I .... - i

to be continued again from the 8th to the 15th bar after number 110 and to break off at the end of the fifth section at the third repetition on the second value of the ragavardhana:

wood- block

2 '22 3 33 123 4 8 4 4 1. I --....---!--_, I L

The sixth section ( 111 -[13 , p. 140-148) brings back the bridge episode. Two rhythmic pedals start up simultaneously: the chromatic non- -retrograde rhythm 17-7-17 is now performed by the small Turkish cymbal (petite cymbale turque) and a complex non-retrograde rhythm composed of four complex non-retrograde rhythms on the small drum (caisse claire). They do not stop at the end of the section, but continue the already started time cycle during the seventh section.

At the beginning of the seventh section (14 14 - 115 , p. 149-159) they are joined by a wood-block with the false tala, so in this section we have the superpositioning of all three rhythmic pedals. The seventh section is the most complex one in the fourth movement due to a synthesis of melodic and harmonic elements from the scherzo, the first and second trio, bird song, theme-statue, etc.

The rhythmic pedals repeat themselves like ostinatos until the last bar in number 115 1. The false tala ends here on the third tala lak?misa 2 3 4 4 (4 instead of 8), the non-retrograde chromatic row in a rising sequence 13 13 (13 instead of 14), and the complex non-retrograde rhythmic pedal stops at the third complex non-retrograde rhythm 2 1 2 4 2 I (1 instead of 2).

The eighth section ( 16 l, p. 160) is a large piano cadence, and the ninth section (I 17 1 - 18 ), p. 161-162) a coda. There is no special rhythmic structure in them.

143



M. SIMUNND2A, MESSIAEN'S RHYTHMICAL..., IRASM 18 (1987), 1, 117-144

Saietak

ORGANIZACIJA RITMA OLIVIERA MESSIAENA I KLASICNA INDIJSKA TEORIJA RITMA

Olivier Messiaen prvi je zapadni skladatelj koji proutava indijske ritmitke uzorke iii t5le i svjesno ih upotrebljava u svojim djel-ima. Stotinu i dvadeset de- Sitdla koje je indijski teoretidar iz 13. st. Sdrhgadeva izlo,io u raspravi -Samgitarat- ndkara,- za Messiaena predstavljaju vrhunac indijskog i ljuds-kog ritmi6kog stvara- nja. U teinji da se u njegovoj glazbi duju i ditaju -exactement les valeurs mar- qui-es- (todno ozna6ene vrijednosti), on n-iie notne vrijednosti koje traju ap6olutno u vremenu. odvojeno od takta iii mjere, tzv. -musique amesur6e.- (nemjerljive glazbe).

Messiaen je u deit&tama otkrio op-e ritrmai-ke principe za stvaranje ritmova. To sui: dodavanje tofke, dodana vrijednost, uvedavanje iii smanjivanje jedne vrijednosti od dvije, netodna augmentacija, postupna augmentacija i d&mi-nucija, va2- nost prvotnih brojeva, kromatizam trajanja i neretrogradni ritmovi. Tome treba pridodati i princip ritmifkih likova koji je pnona?ao u -Sacre du Printemps- Igora Stravinskog i dalje primjenjivao u svojim djelima.

Pored de6ltd1a, Messiaen je kasnije proudavao i karnataki ili ju2no-indijski ritmitki sustav koji se sastoji od 35 suldditdla svrstanih u 7 porodica.

Messiaen indijske tdle primjenjuje na tri nadina: 1) uporabom izvornih tVla u nepromijenjenom osnovnom obliku kao vremenskih ciklusa koji se mogu po- navljati, 2) promjenorm -ta (prema. principim-a koje je izveo iz njihova prouda- vanj2, 3) prirmnenom principa koji s*u proizagli iz ,proucavanja drugih ritmcva. in- vencije samog skladatelja iii su preuzeti iz drugih izvora.

-Kvartet za kraj vremena (-Quatuor pour in fin du Temps-) je skladba iz ranije faze u,porabe indi-jskilh tla. Organizacija -tri 'taie /r&gavairdhana, candra-kaUi i lak?miga/ kakvu nalazimo u toj :skladbi karakteristitna je za vi?e djela od -Chant de Terre et de Ciel"? do -Turafigalla-Symphonie-. Ona je najutestalija u 6itavom Messiaenovu opusu i pojavijuje se i kasnije, primjerice u skladbi .-Des Canyons aux Ptoiles"-. U simfoniji -Turafgalla" -uvudi nove -postupke u organizaciji is-tih tAla i raznih superponirranih. ritmova. Na-kon -Turafigalila Symrphonie" svaka skladba donosi mnoge nove t5le i druktije oblike njihove xritmitke organizacije. te bi stoga sva,ko djelo posebice trebalo analizirati.

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