Colour association Theme
Bars 1-14 : Mode 31; orange, gold, milky white
Bars 15-20: Mode 21; violet blue
Bars 21-28: Mode 31; orange, gold, milky white
Colour association 5th Variation
Bars 165-177: Mode 31; orange, gold, milky white
Bars 178–179: Mode 34; orange, red, a bit of blue
Bars 180–185: Mode 62; brown, russet, orange, violet
Bars 186–192: Mode 31; orange, gold milky white
Bar 193 (beat 3 and 4): Mode 33; blue, green
Bar 194 (beat 3 and 4): either Mode 33; orange, gold, milky white or Mode 32; gray, mauve, a bit of gold
Bar 195 (beat 3 and 4): either Mode 33; blue, green or Mode 34; orange, red, a bit of blue
Bar 196: Mode 32; gray, mauve, a bit of gold
Bar 197 (beat 3 and 4): Mode 33; blue, green
Bar 198: Mode 34; orange, red, a bit of blue
Bar 199 (beat 1 and 2): Mode 31; orange, gold, milky white (beat 3 and 4): Mode 33; blue, green
Bar 200 (beat 1 and 2): Mode 31; orange, gold, milky white (beat 3 and 4): Mode 33; blue, green
Bar 201: Mode 32; gray, mauve, a bit of gold
Bars 202–203: Mode 31; orange, gold, milky white
Notes for the Performer
After investigating this aspect of Messiaen’s Theme et Variations I definitely encourage everyone to pursue this analysis and find reasoning for choosing one mode over another. It is usually hard to know exactly if a note outside of the pitch collection of the current mode is just a passing note or an introduction to a new one. It does make a difference since the importance and expressiveness shall be different. After sorting out the layout and modes I would advise to write on the score the colours that Messiaen suggests and if possible, make an image out of them. I could come up with clouds during dawn or sunset and flowers mostly. This awareness helped me a lot with the piece, it lead to a different way of listening and comprehending it.
THEME
Messiaen presents this very example in his treatise in his chapter on “Song, Binary, Ternary Sentences". The theme is divided into 3 sections: (bar numbers) 1-14, 15-20, 21-28. The initial seven measures present an antecedent phrase followed by a consequent in the subsequent seven measures. This structure is repeated from measures 8 to 14, maintaining the same pattern.
In the tradition of the First Viennese School, periods (comprising antecedent and consequent phrases) typically consist of even numbers, such as 4+4 or 8+8. However, Messiaen diverges from this convention by dividing the period into odd numbers, adding a distinctive element to his compositional technique while drawing inspiration from the Classical period. ⁂ (We know Messiaen was fascinated by non-retrogradable rhythms, and patterns from Hindu and ancient Greek music. There are also discussions on the relationships between prime numbers and elemental music in his works). ⁂
Repetition serves to stabilize the modes; although departing from classical tonalities, Messiaen employs repetition to establish a sense of stability within the phrases. The initial fourteen bars are composed in Mode 31.
The importance of the different roles of the 2 instruments is evident in the next section where the left hand of the piano takes over the melody and it’s marked forte (bar 45). The Modes in these 6 bars are Mode 21 and Mode 31.
In the last section of this 1st Variation the pedal of cluster chords reappears on the right hand of the piano (only an octave higher this time, and with the left hand playing 4 voice chords). This last part is in Mode 31 .
Colour association 1st Variation
Bars 29-42: Mode 31-33: orange, gold, milky white
Bars 43-48: Mode 21 (31): violet blue
Bars 49-58: Mode 31: orange, gold, milky white
As the composition progresses into the final section (bars 186-203), it initiates within the tonal framework of Mode 31. Here, Messiaen opts to strip away octave doublings and lightens the piano's texture. Particularly striking is the sustained whole-note pedal tone in the left hand, which descends in a pattern mirroring the reverse order of Mode 31's note collection (E, D, C, B, Bb, Ab, G). This descending progression culminates with a sustained B, the concluding note of Mode 31, thus underscoring a sense of closure and resolution.
However, moments of ambiguity surface in bars 194, 195, and 200, where the third beat aligns with potential transpositions in Mode 3. For instance, bar 29 commences in Mode 33, branching into either Mode 31 or Mode 32 by the third beat. Such instances of uncertainty add layers of complexity to the composition, inviting varied interpretations. Throughout the piece, Messiaen demonstrates a masterful command of modes of limited transposition, punctuated by fleeting deviations such as passing tones.
The subsequent section represents the climax of the piece, characterized by the highest dynamic level and a reduction in rhythmic complexity. The notes correspond to the Mode 21 collection, with the exception of the B note in the violin part at measure 20, which could be interpreted as a neighboring tone bridging A and A#.
Messiaen repeats almost the exact same notes to establish the new mode (bars 15-16, 17,18) and then returns to Mode 31 in bar 21 (last section). Notice how Modes 31 and 21 share 6 notes allowing a very smooth transition.
4th Variation
In the penultimate variation Messiaen carries on with the rhythmic tension in the piano part by repeating duple (right hand) versus triplets (left hand). The violin initially is aligned with the right hand of the piano (duple rhythm) but then from bar 141 takes on the triplets. We can divide this variation into these sections: bars 115-140, 141-147, 148-157, and 158-165. In a similar way to the previous variations Messiaen introduces the antecedent (117-126) followed by the consequent (127-140). Repetition is of great importance so that the listener is acquainted with the cluster of chords and the symmetrical rhythmic values. Ultimately, we could consider that the first 2 measures of this variation serve as an introduction. In this variation, Messiaen alternates simple and compound bars.
Colour association 4th Variation
Except for the addition of C#, F and A, we can say that this variation is written in Mode 31: orange; gold, milky white.
5th Variation
We could divide the final variation into the following sections: bars 166-179, 180-185, and 186-203. In this variation we hear the theme again only it is an octave higher in the violin and the piano carries a completely different material consisting of double 4-voice chords with octave doublings. In the opening section (bars 166-179), the composition predominantly adheres to the note collection of Mode 31, deviating slightly in bars 178–179 where there's a subtle shift to what could be identified as Mode 34. This alteration sets the groundwork for the subsequent section, which Messiaen crafts in Mode 62. Transitioning to the middle segment (bars 180-185), the violin part ascends by a semitone relative to the main theme, introducing a heightened sense of tension and variation. Notably, bars 183 and 185 introduce A# as a passing note, momentarily diverging from the established pitch collection.
1st Variation
We can divide the 1st variation in a similar way as we did with the theme in 3 sections: bars 29-42, 43-48, and 49-58. Precisely in the same style the first section consists of an antecedent and a consequent. Both are introduced originally by the piano, which later (in bar 36) passes the exact thematic material to the violin.
As seen in the previous chapter the cluster of chords that repeats through bars 36-42 (on the higher staff of the piano) creates a “pedal group”. It is an element of layered texture. As explained in his treatise, Messiaen in this way enables independency in the different voices. We can even notice that the use of dynamics indicates the same: the melody is in forte, whereas the pedal of cluster chords in pianissimo and the rhythmic ostinato in the left-hand alternates between p and pp. The first section is primarily in Mode 31 with some elements of Mode 33 (G#, bar 40).
2nd Variation
In the 2nd Variation the structure is a bit different, since now we are dealing with 4 sections as opposed to 3. We shall divide it accordingly: bars 59-64, 65-70, 71-79, and 80-83.
Messiaen refers to this variation in his Treatise showcasing two elements of fugal writing: the episode and the stretto. […] Without constraining ourselves to making regular fugues, we shall keep the most essential parts of them: the episode and the stretto. The episode is a progression of harmony, concealed by entrances in canonic imitation being produced at symmetrical intervals, generally from fifth to fifth. In his words:
The harmonic progression, symmetrical entrances from fifth to fifth upon the head of the subject elongated by a coda in the piano. In the violin, descent upon the head of the countersubject.
He also uses bars 71-73 as an example of stretto in triple canon octave, at one note’s distance. From letter A we see the Mode 33:
In this variation, Messiaen uses a lot of Mode 7 in various transpositions, for which he doesn’t provide a colour correspondence. As discussed earlier, according to scholars, Mode 7 has too many notes to evoke vivid colors; or perhaps it has an effect to him of “stained-glass window” chords, in which all hues of the rainbow are present at once, in sharp delineation from one another.
To compensate for the lack of colour Messiaen enhances the rhythmic element with the continuous triplets passed on from the violin to the piano and vice versa.
Colour association 2nd Variation
Bars 59-64: transpositions of Mode 7; (no colour association)
Bars 65-70: transpositions of Mode 7
Bars 71-79: transpositions of Mode 3; orange, gold, milky white
Bars 80-83: transpositions of Mode 3; orange, gold, milky white
3rd Variation
Messiaen generates tension here, a climax compared to what we heard with mixed meters and aggressive dynamic markings. We can divide this variation in the following sections: bars 85-96, 97-100, 101-109, and 110-114. Analyzing in terms of modes of limited transposition is challenging throughout the piece since it is not always clear when Messiaen uses appoggiaturas, passing notes, enharmonic progressions or when a new mode is introduced. In the case of the 3rd variation, we have to deal with polymodality (polytonality within the context of modes). The violin and piano do not share the same mode anymore.
Colour association 3rd Variation
Violin:
Bars 85-96 : Mode 31; orange, gold, milky white
Bars 97-100: Mode 74; (no colour association)
Bars 101-114: Mode 31; orange, gold, milky white
Piano:
Bars 85-93 : transpositions of Mode 7; (no colour association)
Bars 95-97 : Mode 31; orange, gold, milky white
Bars 103-114: transpositions of Mode 7
BACKGROUND
For the purpose of this thesis, the following section delves into an analysis of Messiaen’s Thème et Variations for Violin and Piano, specifically exploring the correlation between the modes of limited transposition and their associated colours, as recounted by Messiaen himself. Ideally, this study will lay the groundwork for further investigation into the unique chords that characterized Messiaen's early compositions. My analysis seeks to approach the piece from a fresh perspective, offering insights for music appreciation, highlighting nuances for attentive listeners, and proposing avenues for aspiring performers to transcend mere technical proficiency and attain a deeper musical expression.
