Analisis Abismo

A Semiotic Investigation of Messiaen's 'Abîme des oiseaux'
Author(s): David Morris

Source: Music Analysis , Mar. - Jul., 1989, Vol. 8, No. 1/2 (Mar. - Jul., 1989), pp. 125-
158
Published by: Wiley
Stable URL: https://www.jstor.org/stable/854328
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DAVID MORRIS
A SEMIOTIC INVESTIGATION OF MESSIAEN'S

'ABIME DES OISEAUX'
INTRODUCTION
This analysis, following the example of Jean-Jacques Nattiez, in

study of Varese's Density 21.5,' seeks to find possible poiet
support its initial, 'neutral' findings. It is usually difficult t
evidence, since most composers are either dead or reluctant t
compositional methods. Messiaen's case is different. In 1944 h
two-volume Technique de mon langage musical (The Techniqu
Language),2 in which he laid out his methods with examples f
The book establishes so many associations of intervals, mode
favourite motives that it should be possible to corroborate a neu
semiotic investigation with the composer's own views. We co
evidence to constitute a seriation process,3 in which aspects o
others by Messiaen could be compared to gain an overall per
compositional methods. A complete breakdown of the piece is gi
PART 1 (bs 1-13)
Section A (bs 1-5)

A glance at the opening five bars will reveal that a division may b
in the middle, and that the second half is a varied repeat of the
point of balance is not so obvious; symmetries and pivots c
Segmentation can proceed along various paths. Three are investig
and 3:
I. This version offers a solution as to the point of division, at least in respect of

the opening of each phrase. Units [1] and [4] are identical in pitch order and
rhythm; [2] and [3] are the same, and identical to [5]. Unit [6] would be
rhythmically equivalent to these last three, but for the fact that the final E has
to be included in the last unit; also the initial E is here replaced by an F, to enable
a sequential extension to end the phrase. Rhythmically this segmentation has
MUSIC ANALYSIS 8:1-2, 1989 125

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DAVID MORRIS
Ex. 1
PART 1I
Lent, expressif et triste = 44
II lI
S[13] [14 [ ] ]0] [ 1
f rf 'ART2 I TA
,,,,,,n p,-
[2 II 13] [2O] ? []
B ----
I l Ib
[39] [41]43] [45] [4
, ,,
S [ 6 Ila [ 83]
20 [52b]
[24 ]Q
--[ nt [53
. _ [5 [54]
] [60[55]
[61]2F0[57
[6 3] Ia
~ ~ J' M m
D
Reproduced by permission of Editions Durand S.A., Paris/United Music
126 MUSIC ANALYSIS 8:1-2, 1989

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MESSIAEN'S 'ABIME DES OISEAUX'
Ex. 1 cont
pre..vz flibIc!-lid
[64]
76[[64]
65I [66]
t r ,, [\
A -*B1-- - A
d Modur= = 9
r71[74]'
[71 rll.l751[761i
I -- r7777]
- -, - .---------_ _
fff
A(B (B?~c,
2 8 [111 [ 12 ]
I r
fpf
PA-- F. - - - ItI1
At, I I I .-"1 ,. I 1
,,,,I ffll-
A [851 18 81 t2 (7][X] [891
3 Lent. ... ,1oet tse 4 ff4
p------- -B--B-----
42 osl[)] 1 [921 w 1,5 [94~1 [951cfi
I L --I I
[9(3119 71 _19 [991 [100 [M I]l 11021 []()3]~] [](4]_ _
[1(~i~-r ()7] [1081 11 w)!) I [I lo [1 ] [1121 O
6mm u-i od 1 !4 ? q-0 9 PPP-fS

Modn~rr? 92 D Prc?.Ilpie v?1l 4 1 26 Loll I = oo
[I ri [114 [11 -)] [1 161 1(117] [1181X [1191 [1201
64 L
;!j 1T~ pp (V(110) =;tr

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DAVID MORRIS
much to offer. Melodically, however, what at first

does not take account of the phrasing marks: in
clearly separated from the opening E.
II. Here the identity between [1] and [4] is lost. Rhy
are identical, as are [3] and [6]; the former pair a
Units [4] and [7] are now closer, solving the problem
units begin with a I. We must consider (especiall
own thoughts, later) whether or not these are anac
better off ending a unit, not starting it.
III. The subdivision of [l] into [la] and [Ib] allows u

resolving the original problem of dividing the two s
segmentation I, we are no longer left with an unwi
[6] are equivalent, as are [2] and [5], all four of th
short-long character. The isolation of [lb] (and [4
later, when we consider the end of b. 11, and indee
piece. Further, this division will be affirmed by po
come to Messiaen's own thoughts. These units subdi
tritone, an important interval throughout and o
Messiaen. Problems with this segmentation include
a single note. Nattiez quotes Jean Molino's views on
designation of a single note as a unit, it having no as
use as an identifiable characteristic throughout an a
segmentation is chosen for inclusion in Ex. 1.
Ex. 2
211 [3 [4] [5 6]
[1 [2 [3 [4] 51 7[61 J71
[la] ,[lb] , [3] [4] [51 [61

A od
The fu
piece,
first n
long E
both?

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and recognise the obvious and intended symmetry, a property d

At other crucial places in the piece, too, long Es appear. Is b. 13
middle section of the piece or the end of the first (or, again, bot
at b.13 must be the same as at b.20; but what of b.41? The pitch
introduce new sections, like the two halves of Part 2 and th
above). Are its three occurrences as semibreves related to its th
in the first five bars? Or is this simply a coincidence, base
predilection for prime numbers?5 Since the three semibreve Es
played Lent, the second may act as a reference back to Part 1 and
of Part 3.
Section B (bs 6-10)

This section poses fewer problems than the first. There are
segmentation, and that suggested here offers a logical syntagm
within itself and taken together with the first section (and inde
as a whole). Units [7] and [10] display rhythmic equivalence; [
the falling tritones in [1] and [4], as well as to the ascending trit
[9] both begin on a Cb and end with a rising fourth (augmen
respectively). An alternative way of dividing [8] and [9] would b
the beaming: that is, after the G. We would then lose all of
mentioned, but gain (in the second half of the bar) a rhythmic
encountered in [ib] and [4]; also a rhythmic and melodic figure
in sequence as [93] and [94]. [11] is a bit of a problem. The rising
figure has occurred only once previously, in b.4; it is retained a
rejected segmentation I (cf. Ex. 2), but does not occur in the pre
Section B begins on an E, an octave higher than the first. It im
the E/Bb tritone outlined in Section A, and, indeed, the second h
starts on the Bb .
Section C (bs 11-13)

The third section of Part 1 is tritonally orientated (see Ex. 4
rhythmic identities occur at [12], [19] and [21], with [19] a
identical pitches. The tritone in this group is isolated in units [
[ 18], all of these tritones falling except the last. [ 18] (Bb -E) is a retr
of [12], thus forming a symmetry in this first half of the sect
tritone leads down to ab 1; in [18] it leads up to ab 2, this being th
Part 1. The E/Bb tritone refers back to [7], which in turn was d
and [4]. Bb figures prominently as a cadential pitch towards
second segment (see [23], which also contains this same tritone a
identical to [4]). Here no long E precedes it, adding credence
separate unit at [4] and [ib].
[24], which follows, is identical to [2] and rhythmically equiva
would be expected. By this process [25] should end in a long E; bu
by rests. Could the long E of b.13 be a delayed continuation of t
may, at first, seem plausible (and is the solution adopted in E

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DAVID MORRIS
Ex. 3
1 11
[1] Melody Rhythm Melody
[A]
Rhythm
-A MONO"
[2]
1][2]
[3]
[3]
-L " I -"
[4]
-A"
II- [4]
[5]
^ , [3] '
[61
[6]
[7]
labelled [2
figuration
same associ
idea, or, as
A second p
The rising
followed b
notes, Ab
association
remain as s
approach w
are both fo
single mino
A differe
expose of
Summary o
We have se

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Ex. 3 cont.
III
[1 Melody Rhythm
[21
WII
[31
e-- _ ,, --
AI
[4]
[li
- [6] ,mLj
H ~, - A"I
Part 1, that certain intervallic groups occur several tim

these groups leads to a consideration of the actual pitch cl
does not seem to be a full chromatic in use, and those p
used occur several times. A pitch count of Part 1 looks lik
E 11
Ab 11
G 15
Bb 9
F 9
Cb (=B) 6
Db (= C) 5
D 5
Immediately we s
than others), so t
do not form a tr
is in use. Further

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DAVID MORRIS
Ex. 4
[12]
[191
[15]
123]
forming a tritone: E/B , Ab /D, G/D , F/B. The E/Bb pair occurs twenty times,
far more than any other pair; this confirms that it has an important role to play.
Aspects of formal structuring may also be exposed by this method. Part 1
clearly consists of three sections (A, B, C), which are closely linked motivically
and intervallically. That the ending of the first section ([6]) recurs to end the
whole of Part 1 ([25a]) gives a symmetry to the structure; the two rests and the
pitching of the E an octave higher create anticipation of Part 2. The three
sections increase in pitch range, the upper notes rising from Bb in the first
through E in the second to Ab in the third; the rise in pitch is accompanied by an
increase in dynamic. Finally, each section is in two halves, each starting
similarly: cf. [la]/[lb] and [3]/[4], [7] and [10], [12] and [19]. The second half of
the third section itself has two parts; these have been designated IIa and IIb (to
constitute a half) rather than II and III.
Poietic Evidence to Support the Above Analysis

As I said in the Introduction, Messiaen's own book is a mine of information

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concerning compositional techniques used in this work and in m

before considering these, it is interesting to note what Messiaen
work (Quatuor pour la fin du Temps, written in a prisoner of wa
and about this movement in particular: the inspiration behind a
show in the musical material used. According to his preface
work is dedicated to 'The Angel of Time who announces tha
Time no longer"' (Revelation 10). Several writers have pointe
this statement;6 and Messiaen's idiosyncratic use of 'time' is
The third movement is described thus: 'The abyss is Time, with
lassitude. Birds are the contrary of Time; they represent our de
stars, rainbows and jubilant songs.'7 A final reference in the sc
that 'the middle of Abime . .. should be full of fantasy':8 that is,
advice to the performer as to how the piece should be played.
References to Messiaen's book (abbreviated to OM followe
number) can be dealt with in the form of a list; I have generall
order of the book.
* OM 2 deals with 120 deqitalas collected by Sharngadeva in the thirteenth
century.
this The rhythmic
collection.9 We find it, grouping
of course, ,in, bs
called
2 andcaturthaka, occurs
4, as well as at asother
several No. 4 in
places in the score. It is isolated in Ex. 3/I but becomes rearranged in II and III
(see OM 3 below). More specific examples of deqitalas occur later in the piece.
* OM 3 covers 'added values', that is, the addition of a dot, rest or short note
value to a note. This leads to examples of 'rhythmic preparations and descents',
either of which can be accelerated or prolonged. A semiquaver occurring at the
end of a group is often an accelerated descent. Examples occur in bs 1-2, 2-3, at
the end of b.7 and in all of the tritone figures in b. 11 (the dotted Ab in b. 11 is
an 'elongated rhythmic ascent'); other examples abound. This technique is
covered in the rhythmic groupings found in Ex. 3/II.
* OM 7 concerns rhythmic notations. Messiaen gives us four different types;
this piece falls into the first, where barlines indicate phrases, not metrical
subdivisions (this is why the bars are of different lengths). The relevance to our
analysis is really only to show where larger divisions begin and end.
* OM 8 is most interesting. It deals with favoured intervals and melodic
contours. Three aspects of intervallic usage are singled out:
1) Preference for the tritone (obvious from our analysis);

2) the descending major sixth (occurring in b.7 and bs 8-9; also later in the
piece);
3) 'chromatic formulas', that is, rearrangements of three chromatic notes (this,
again, is more important later in the piece; see for example b.27).
Of the melodic contours given, two occur specifically in this piece:
1) The 'Boris' motive (OM Exs 75 and 76), where a motive from near the

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DAVID MORRIS
opening of Mussorgsky's Boris Godunov (see Ex

tritonal alteration (Ex. 5b). This is the motive tha
piece; it is found as units [la]/[1b], [3]/[4] and [23]
and at the end of the piece (see also bs 25 and 42,
this motive in almost every work of Messi
experimental works of 1949-51. If we were
transformations in all of these works, and fur
transformations of all such motives, it might b
association, to generate a composition in the style
However, this would not help us to understand th
The works in which the 'Boris' motive appears are
and any single meaning would be difficult to iden
Ex. 5
a) b)
2) 'Solveig's
Messiaen's d
of b.11. It
seems to be the inclusion of successive minor thirds and a tritone. The
distortion of the Grieg is almost complete, and causes one to wonder as to the
poietic significance of including such a motive in mid-phrase and without
obvious relevance.
Ex. 6
-" I FA
* OM 11 discusses three
'song-sentence'. Thi
consequent), middle se
(including some rest
discussed above satisfy
Theme - units [1]-[3

Middle section - uni
Final section - units
The later Parts fit this
* OM 16 deals with M

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the summary to Part 1 above, that only eight pitch classes are u
is here explained. Messiaen describes the seven Modes of Limited
he has been using since his earliest works. The three transpositi
are given in Exs 312-14 and are here reproduced as Ex. 7. It is in
that Part 1 is written in Mode 2ii. Aspects of Mode 2, in particu
on the tritone, were observed there prior to knowledge of
(Messiaen believes that a fine ear can detect the augmented four
Ex. 7
Pift L ' n',

A
2iI
21 1 X M
A
harmonic, when any fun

this piece, although in var
with those of other modes
PART 2 (bs 14-29)
Section A (bs 14-17)

The Presque vif starts with
Ex. 9). [26] and [28] are ide
opening semitone in [26] a
outline the tritone, an inte
section. Any other segmen
in [26] - would spoil the sy
fourths have not so far fig
There is further symmet
units are identical (includin
minor third - is another th
trill, here a minim's durati
at b.29 a semibreve trill fo
begin at [32], with the grac
However, in [34] the open
tone (cf. [26], [27] and [2
continues through [35], [36

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DAVID MORRIS
Ex. 8
Mode 2ii (-1).13)
oD0 0 0 0
_+ - 4i@l L9 1 F x9,
r rF
4i i
,,,0,-
2ii , 4i
I ANiw, i
4i
1I a.
A 66aL Ie ? L ' 6 -
2ii .., 2iii I 2i 2 ii 2
ww; p"
.. , _.r " I2
O 2iii 1 2i- 1 I 2iii 9I L
21 "1 7 1 .
Reproduced by permis

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Ex. 8 cont.
2 2ii ' 2i 2 2ii I 2ii 2i2i
Kim op
2iii 2i 2iii 22
:3iv
b, PE
?o.___
~tlfb, a' ro-,
2i 2 ii 036S
2iii 2i
+1 = 91 ol I
2 1 2ii i 2Ii-
I I ,

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DAVID MORRIS
Ex. 9
[27l <---Retrograde
[27].
I ,%g
V 16
[321
[331 ]: 1
[34]
[35]
[36]
[37]f I
[381
This persistent use of the tritone refers back to [15], [16], [17] and [18]; here, as
there, the rhythmic character of short-long is maintained. The original source
for all of these would appear to be the work's opening motive ([la]/[lb]). The
actual pitches of these pairs have occurred before; the B and F of [32] and [33] in
unit [17], and the G and D6 of [35], [36], [37] and [38] in [19] and [21].
Section B (bs 17-20)

The three four-note groups in the middle part of b.17 - units [39] to [43]
inclusive - have an obvious correspondence to the three three-note groups in
b. 14. Whereas in the former case segmentation seemed best left as three-note

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Ex. 10
12451411 1 121
[39]
[39a]
[40]14b
A -Retrograde 4(b] -
[4(0a]xvkr
A [41]
[41a]
.
[42]
2 3
I 131 [44al
[44]
[45] f
[46] JA
[47] - -
[48]
[49] -A-
[50]
A [51al
[51]
[52][52a
groups, her
10, I and II)
will return
units [60],
that conte

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DAVID MORRIS
intervallic cells, with what follows here. Howeve

third, which has equal prominence with the tone
importance in II.
The tone and fourth found in units [39]-[43] (segm
associations with what follows. Dividing the firs
include the unit C-E-A, as in [40b] (III), gives a sy
third/fourth group occurring again at the end o
however, ignores the first note, Bb, which canno
attached to the previous [38]. To regard all four not
exclude unit [40], which recurs in [52] and, as an
times in the piece. Segmentation II has the further
phrasing marks (important to both composer and p
The large group starting on G# towards the end o
problems. The decision to isolate the fourth in sepa
join it to the GG , as in [44a], would give us a unit w
[51a], though this division would spoil [52]. As a
previously in units [17]/[18]: there it provided the
climax of the phrase), and by analogy one could say t
Bb following it. Again [52] would be sacrificed. A
fourth from the following unit agrees with Messiae
separation, as we shall see later. Units [43] and [
fourths. [45] and [48] are equivalent; the second
followed by a minor third, could be associated with
fourth of [51] to become the tritone in [51a] (th
transformation which would, in turn, require [52a]
interpretation would be undesirable (see above). The
a tone, in [48], further enhance the symmetry of [4
[47]-[48]-[49] to [29]-[30]-[31] in this respect is readi
The various possible segmentations of b. 19 have al
final long E (b.20), however, is problematic. Wh
function it parallels bs 13-14, there it occurred as a
[25a] which was, in turn, equivalent to [3] and [6]. H
and makes no meaningful contribution to any un
may only become apparent in larger-scale structuri
Summary of Part 2, Sections A and B

Even before consulting Messiaen, we sense an obv
Presque vif. The music is, of course, much faster an
concentrates more on the upper register of the clarin
undulating patterns, and for the first time we have
repeated notes. If we allow, at our neutral level, the
a bird', then the reason for this change becomes obvious. A thorough
investigation of the complete work reveals similar figurations in other
movements (see, especially, the opening of the first).
Any method employed in making the music sound like a bird would enter the

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world of esthesics (the performer's role) or psychoac

perceive birdsong).'3 However, much may be lear
knowledge. To begin with, the new music acts to break
the preceding long E (b. 13) and so makes a smooth join
The first example of this undulating figuration occurs
rests which isolate the figure and enhance its symmetric
is obviously a feature of Part 2, and is found in the fol
grace-note figures and repeated notes flank a central tr
The remainder of Section A contains alternating notes
reference back to the preceding grace-note figures. Pit
from Part 1, and this section could be thought of as a d
found there. It falls into two halves, with the two sym
II) constituting the first and the segment of tritonal r
A pitch count of this section, and of the following secti
near as revealing as in Part 1. We must turn, later, to M
illumination on this point.
The segmentation of Section B (Ex. 10/II) shows the m
pondences present: this is at the expense of losing the s
found in the three-note groups in b. 14 (Section A, s
hand, it is the similarity between the three-note groups
(Ex. 10/I) that more than anything else enables us to di
(a recurrence of the three-note groups begins Section C
B is a development of the previous section. The opening
enlarged to four-note groups (segment Ia); this is suc
(segment Ib) having intervallic associations with it. The
of symmetry (segment II) which has obvious structural s
in Section A. The final segment (III) balances Ib (no
pitch curves) and makes this a four-part section as oppo
Section A. (Section C, as we shall see, continues these tr
for segmenting Ib and III in different ways will be
Messiaen's own ideas.
Poietic evidence
Many of the aspects covered in the summary to Part 1 apply also to Part 2 (and,
indeed, Part 3); there are, however, some new points.
* OM 9 deals with birdsong. Bars 14-17 are given in OM (Ex. 114) as an

example of birdsong; which birds, however, are not specified. In the preface to
the score, movement I ('Liturgie de cristal') is said to contain 'a blackbird or a
nightingale improvising'. By comparing aspects of birdsong found there with
Part 2 of'Abime des oiseaux', we may be able to start an identification process.
In order to differentiate, a third source, with the names of specific birdsongs, is
necessary. Here problems arise. The main birdsong works date from the 1950s,
and Messiaen himself admits, in several places, that his renditions of birdsong
became more sophisticated over the years. Birdsongs in the Catalogue d'oiseaux

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DAVID MORRIS
(1958) are more precise in rhythmic notation, a

chordally, not just as melodic lines. The chart below
Reveil d'oiseaux (1953) to corroborate any evidenc
'Liturgie de cristal' 'Abime des oiseaux' Characteris
Cl. b.2 bs 15-16 i) Fast descending triplet figure

ii) Two repeated staccato notes a
a higher pitch
Vl. b. 14 iii) Alternating tritone
Vl. bs 5, 7, 9 b.18 iv) Fast three-note figure, with
final note mid-span
Vl. throughout Not present v) Fast repeated notes/chords
End of b. 17 vi) Rising figure at end of phrase
bs 15, 23 and 29 vii) Trilling (fluttertonguing)
Catalogue d'oiseaux
No. 2 ('Le Loriot'), b.15 is a blackbird; this contains iv) and some ii)
No. 6 ('L'Alouette Lulu'), b. 15 is a nightingale; fast iii) occurs
No. 9 ('La Bouscarle'), bs 49, 80 and 82 are blackbirds; much evidence of vi)
Reveil d'oiseaux
Fig. 5 is three blackbirds; however, none of the above characteristics occur
Fig. 8 is a nightingale; fast iii) occurs, also vii)
Fig. 17 is a blackbird; here iv) is definitely present
This would seem to show that blackbirds and nightingales are both present in a
mixture - though b. 18 is almost definitely a blackbird with a reminiscence of the
abyss lurking in the background. Elsewhere in Messiaen's works we find tha
rising and falling arpeggiated figures often represent the red-throat, but here we
have no evidence of their intentional presence at all. Matters are further
complicated by OM Ex. 117 (a quotation from Visions de l'Amen), which shows
improvisation on the blackbird song; none of this seems related to 'Abime'.
Further, Ex. 119 gives the 'Hymn of the sparrows at daybreak', and here severa
intervallic formulas and rhythmic cells, including trills, alternating tritones,
etc., are present. One must conclude from all this that several birds are present
in 'Abime', but that at this point in Messiaen's output (1940-1) they ar
unspecified or the transcriptions insufficiently accurate for identification
purposes.
* OM 11 concerns form. The first two sections of Part 2 appear to be the f
half of Messiaen's 'binary sentence' form; more evidence will be given i
summary to the whole of Part 2.
* OM 14 deals with special chords. This at once opens up a new avenu
approach. The associating of units intervallically is basically a mon
procedure; here we can consider it harmonically. Segment Ib of Secti

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occurs in OM (Ex. 115) as a 'chord of the dominant, with ap

described there as in our Ex. 11. Clearly the first two note
'appoggiaturas' and are thus separated from the main chord; si
two notes are the resolutions of these appoggiaturas, and so be
chord, especially as they are preceded by its root (A). Thi
vindicate our segmentation of units [44] and [46] (see Ex. 10
Segment III of Section B is a mixture of two 'special chord
resonance' (those notes present as overtones over any fund
'chord of fourths'. The chord of resonance is given in Ex. 12. I
theoretically the F# (unit [51]) should be a G, and that the top
of as an appoggiatura. Since the whole group constitutes the
does not help us in segmentation except in dividing it off fro
the long E following. The first of these is obvious, the second p
already discussed. The four notes F# -B-F-Bb are part of the '
usually associated by Messiaen with his fifth Mode of Limit
We shall see below that there are good arguments for placing
Ex. 11
chord of the
dominant
with normal'
appoggiaturas resolutiOn
A -.
Ex. 12
chord of
so I S lI(
A ( I6
Vt

87.223.29.224 on Sun, 20 Dec 2020 23:13:51 UTC
DAVID MORRIS
second Mode, so that the chord of fourths here ma

it adds weight to the division between units [50]
possible [51a] and its association with [44a] (see Ex
* OM 16 and 17 are concerned with modes. Sections
into any one mode, nor into any one transposit
Messiaen gives examples of music that modulates between various
transpositions of a mode, as well as of modulations from one mode to another.
The use of modes here only corroborates segment division within these sections.
Section A, segments I and II are both in Mode 4ii; segment III is in 4i; Section B,
segment Ia is in Mode 2i and 2iii; segment Ib is largely in Mode 7iii; segment II
is in Mode 2ii/2iii/2ii; segment III is in Mode 2i/2ii/2i (this includes the final E).
The large number of modes found is the reason why pitch counts in this section
are of limited use.
The reasons for Messiaen's choices of mode are many and varied. He has
often said that he associates particular modes with particular colours;14 this is
most evident in the Catalogue, but here blackbirds and nightingales offer little
opportunity for colourful displays. Messiaen also admits that Mode 2 is his
favourite, and in OM 16 he sets out a series of chords typical of that mode. Other
modes have typically derived chords also (we saw the 'chord of fourths' earlier
being derived from Mode 5). The consideration of this piece in terms of chordal,
and thus harmonic, areas does not, however, seem obvious from the neutral
segmentation process, though the piece could conceivably strike the listener in
this way.
Section C (bs 21-3)

This section begins with a segment closely resembling that at the start of Section
A. Unit [53] is identical to [26]; [54] has identical intervals to [27] but is
transposed a tone down; and [55] has the rhythmic identity and pitch direction
of [28], only the intervals being changed. As in Section A, again, the second
segment begins with a grace-note figure and two repeated staccato notes ([56];
cf. [29]); this time the intervals are retained, but the whole is transposed down a
fourth. At this stage the reason for such a transposition is not apparent; we must
look to larger-scale structuring for an explanation. Like [29], [56] is followed by
a trill, now a major sixth lower than the repeated notes. The symmetry does not
continue, and the trill leads to another which, with grace notes, forms a whole-
tone descent ([57]). Voice leading brings us nicely to the F starting the next
section.
Section D (b.24)
The disruption of symmetry continues here. There is a mixture of the previous
three-note and four-note groups, giving a total of thirteen semiquavers, still,
however, flanked by rests. Slurring and staccato dots would suggest a division
into two groups of six and seven notes, these segmenting as in Ex. 13. Here [60]
is shown as a retrograde, as previously [27] and [40a] were (cf. Exs 9 and 10/I),
in order to retain intervallic succession and to show the association with the

87.223.29.224 on Sun, 20 Dec 2020 23:13:51 UTC
following sequence. The intervallic grouping - tone, major thi

Ex. 10/I - is, however, most distinctive, and recurs in Part 3.
segments (with an extension on the fifth) could be said to con
sequence (overall shape, numbers of notes and certain inte
make them equivalent). The problem arises when segment
Segment IIb has, of course, occurred before, as units [5
Segmentation there was based on intervallic association
passages; here transpositional associations within the se
different approach.
We see from Ex. 13 that the first four notes, [62], form a un
(in retrograde), transposed down a fourth ([59] and [61] a
fourth apart). Taking the next five notes together as a uni
with the intervallic content of most of what follows. The seq
F-Bb in [63] occurs in [64] a semitone higher and in [66] back
to start again a semitone higher in [67] but is interrupted by t
with its distinctive falling tritone. [69] and [70] recur a semit
and [73], with [71] being equivalent to [68] a semitone higher.
trace a chromatic ascent from C in [66] through D6 in [67], D
[72] to E in [73]. The final interval of descent is a major si
follows two tritones and a fourth; the expansion is not unifor
the process begins with a fifth (unit [63]) . The final unit in th
occurred previously in [12], [19] and [21] (cf. Ex. 4). As in [21]
a rising semitone, which provides voice leading to the init
section.
At this point a reassessment of our segmentation of Section B/ segment Ia (cf.
Ex. 10) might be appropriate. The many small-scale intervallic associations
brought to light by units [39]-[43] seemed more advantageous in segmenting
what followed than did division into three groups of four notes ([39a]-[41a]). We
see now that unit [60] is simply a retrograde transposition of [40a] and that [62]
and [63] (this last without the final B6b) are further transpositions. Here in
Section D the grouping of notes into fours seems expedient; perhaps it is also so
in Section B. From the point of view of larger-scale structuring, however, it
makes no difference. The change of tempo would suggest the start of another
Section, and this is confirmed by the pitch content of the following bars.
Section E (bs 25-9)

By octave displacement of each note, we see that these bars contain the first
seven notes of the piece transposed. Our preferred segmentation there
(Ex. 2/III) would not seem advantageous here. Beaming, phrasing and the
inclusion of quaver rests would suggest Ex. 2/I as a better proposition, dividing
each bar into four notes and three (plus rest). The repeated group of three notes
and the ambiguous long E do not occur here. This version is, of course, a fourth
lower than the opening. We noticed transposition of a fourth in Section C (cf.
[29] and [56], for example); this will be significant in the larger-scale
structuring.

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DAVID MORRIS
After an echo repeat the initial B of this segment

new segment with a meandering descent, eventually
final Part. Units [80] and [81] are identical in pitc
(each note being augmented by a half of its value). [8
Ex. 13
158 "--]6
++1
" IZ:. i t ,I ! , " I
[67]
[71]
+6
[72]
[741

87.223.29.224 on Sun, 20 Dec 2020 23:13:51 UTC
earlier [75] (and of [12], [19] and [21]); here the tritone fall is in
C , and a descending semitone (B-BI ) provides elongation. Note
augmentation
score, of values
we will recognise here:
the rhythm ,4 JAn(ifalternative
of b.27). we havesegmentation
read themight
preface to the
separate off the Bb -A-F# in [81] and [82] as a unit; this semitone/minor third
sequence occurred in unit [8], which was ultimately derived from [ib] (a rising
semitone/minor third can be found joining [21] and [22]). It is possible to think
of the semitone/major third of [82] as an intervallic expansion of this figure, and
indeed of the semitone/tritones of [12], [19], [21] and [75] as further expansions.
The next unit, [83], contains the tritone A/E6 which we had previously left in
[75]; there we expected it to lead to Bb /E. This interval, of course, is about to
recur in the final Part. The collection of notes in [83] plus the Bb of [82] is a
retrograde of [75]-[76] (see Ex. 14):
Ex. 14
rail.
[75/76]831 I *
[82/831
Further, the chromatic run A-Bb -B of [75]/[76] occurs in retrograde as [80]. But
to segment in this manner would make nonsense of the phrasing, not to mention
the change in tempo and the rests (cf. Ex. 13). The trill of [84] is a written-out
rallentando and uses the notes F and G from the second complete unit of Part 3
(itself a reproduction, an octave lower, of unit [2]). Note again the increasing
augmentation of values in this trill, the final three notes of which are half the
values of unit [83].
Summary of Part 2, Sections C, D and E

Section C starts, like Section A, with three-note groups, but a feeling of
development results when the minim trill is replaced by two minims and the
symmetrical nine-, then twelve-note, groups of semiquavers by groups of
thirteen. Harmonically we should detect a change at the start of b.24 (Messiaen
switches mode here as he had done earlier in Part 2). The problem arises: does
b.24 begin a new Section, or simply a new segment of Section C? We found
earlier that ideas from Section A recurred, sometimes in an expanded version, in
Section B. Section C, as we have seen, bears similarities to A, so we should not
be surprised to find a similar process of continuity here. Bar 24 marks the
beginning of this process; it is therefore labelled Section D. Obviously
something new happens at b.25, which must also be regarded as the start of a

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DAVID MORRIS
new section. The sequential passage [62]-[74] contin

by emphasising the voice leading. The triton
containing the segment's highest notes: B/F [64]
Eb /A [75]. The pull towards E/Bb is further enha
[77] and [78]/[79] to F/B. The Eb /A tritone retu
ascent to E/Bb in [86]. The initial notes of each
diminishing series of intervals leading to E:
A [64] > C [66] > D [69] --- Eb [

+3 +2 +1
E does not occur after [75

prepared by the descending
opening at [76]/[77] contain
as an echo, a device which is
a further transformation ta
The structural division of
segments I and II derive f
segment I acts as an extens
b, c, d and e. Section E fall
descent from B to Bb and
written-out rallentando, to
only marked pause in the p
Poietic evidence
* Hindu rhythms. The progressive augmentation of values found in b.27
(units [80 -[82]) is based on two Sharngadeva rhythms: No. 105, candrakald
( ; =.. .not
though ), and No.
named, in 88, lakskmi(a
the preface ( .,
to the j ). with
work These rhythms
reference to theare given,
first
movement. Obviously this kind of association provides some degree of
unification throughout the complete work; however, we also find this sequence
in other works of Messiaen (for example, 'Le Mystere de la Sainte TrinitC' from
Les Corps glorieux of 1939, 'Arc-en-ciel d'innocence' from Chants de terre et de ciel
of 1938, and, as we shall see, 'Dieu parmi nous' from La Nativitg du Seigneur
of 1935Y In the work's preface, these two rhythms are prefixed by a third,
collection),, and
(a retrograde version
it would be most of rdgavardhana,
satisfying to find this in No. 93 inbefore
the score Sharngadeva's
b.27.
We find there, instead, the curious transformation of the work's opening (units
[76]-[79]). However, Messiaen's use of Hindu rhythms often involves a uniform
augmentation or diminution (doubling or halving all values, for example)
or the stating of a larger value in terms of its composite smaller values (four
semiquavers instead of a crotchet, for example). Units [72]-[75] may thus be
viewed in a new light; even the quaver rest is added to complete the rhythm
( f, , ~of sthree
sequence ., ).rhythms
If this pattern
interrupted is accepted
by the as rdgavardhana,
transformed beginning? Is it why is the

87.223.29.f:ffff:ffff:ffff on Thu, 01 Jan 1976 12:34:56 UTC
relevant that the work's highest and lowest notes occur in this
direct repetition in echo is used? As far as the overall structure
concerned, these questions may well prove relevant.
* OM 4. We hear much of Messiaen's use of Christian symbolism
His example of the second rhythm in the sequence (OM Ex. 2
parmi nous', the last movement of La Nativiti. Here the interva
descent of two semitones followed by a minor third - is sim
'Abime'. Are we to assume that the idea of 'God amongst us'
'Abyss of birds'? Or, to generalise further, that in every w
candrakald occurs it contains the same intervallic sequence and
amongst us'?'5
Messiaen discusses these rhythms specifically as examples of augmentation
and diminution of values. As we saw earlier, b.28 occurs in diminished form at
the end of b.29; indeed the whole of b.29 could be thought of as a progressive
augmentation.
* OM 8. In discussing 'chromatic formulas' (see above), Messiaen gives as
examples the four permutations of semitone/tone to be extracted from a three-
note cluster. He does not include a straight chromatic run of three notes. Such
runs do occur in this section, but only locally, at the end of b.24 and the start of
b.27. Our segmentation acknowledges these formulas in the case of b.27 (units
[80] and [81]) but not in the case of b.24, where to include the F in a chromatic
run would spoil the previous pattern of five arpeggios ending with distinctive
falls. The A-Bb -B of bs 24-5 could also be thought of as a run, but to regard these
notes as a unit would go against musical logic.
* OM 10 concerns melodic development. The third technique of development
discussed by Messiaen is that of 'change of register'. He cites Berg's Lyric Suite
as containing examples of this process, an interesting choice of work since it is
known that this was one of the few scores he had with him in Stalag VIIIA,
where he wrote the Quatuor. The example in OM (Exs 127 and 128) comes from
the sixth movement of this work, but as we saw previously bs 25 and 26 are
octave transformations of the opening of 'Abime'. In both instances the rhythm
has been altered, making recognition difficult.
* OM 11. Messiaen's concept of the 'binary sentence' form helps to confirm the
major structuring in Part 2. Section A constitutes the theme, with Section B
acting as first commentary. Section C, which starts like Section A, must be
considered as theme again, and commentary on this would appear to begin in
Section D. Section E (bs 25-30) acts as a coda. If we accept that Part 2 of the
piece is an example of 'binary sentence' form (Messiaen does not actually state
this anywhere), the problem of whether or not b.24 should start a new section is
resolved.
* OM 15. The second technique in a chapter dealing with 'Enlargement of
Foreign Notes' is called the 'passing group'. The example given shows
sequences, moving exactly (interval for interval) in a chromatic manner.
Obviously a total chromatic is necessary when using the technique in this way; it
would not work within the pitch restrictions of any one mode. Hence the

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DAVID MORRIS
chapter title 'foreign notes', that is, notes foreign

incorrect to use this sequence as corroborative evide
b.24. The intervals in the sequence are not repro
follow a particular mode. However, the general p
seen to apply.
0 OM 16. We saw in Sections A and B how Messiaen shifted from Mode 4 to
Mode 2 to start the new section. The reintroduction of Mode 4 at b.21 (see Ex.
8) should itself suggest another new section starting; Mode 4, in turn, shif
back to Mode 2 at b.24. This adds evidence to our previous findings as to th
form. Section C begins, like Section A, in 4ii, but at the point where the pitches
change (unit [54]) it modulates to 4v (where it remains for [55]). [56], which wa
derived from [29], moves back to 4ii. The whole-tone trills must be taken from
Mode li, this being the only place in the score it occurs. The thirteen-note
collection starting at b.24 uses Mode 2iii and 2i, as Section B/ segment Ia ha
done. The sequential passage derives entirely from the three transpositions of
Mode 2. The transformation of the opening occurs in Mode 2iii, which is
equivalent to 2ii a fourth lower, but changes abruptly at b.27. Here, for the only
time in the piece, Mode 3 is used. This is where the candrakald rhythm occurs.
Little has been written on Messiaen's associations of modes with Christian
symbolism. Is the shift to Mode 3iv at this point an aid to rhythmic identifi
cation, or is it associated with the 'God amongst us' idea discussed earlier?
PART 3 (bs 30-44)
Section A (bs 30-4)

These five bars are an exact repetition of the opening of the piece an oct
lower, and are segmented in the same way. Reasons why it occurs here, and wh
it is an octave lower, are covered later.
Section B (bs 35-9)

As in Part 1, Section B begins with a falling tritone. However, it occurs h
([91]) a major sixth lower than previously ([7]). The new tritone is followed b
succession of seven notes, as before ([92]-[93]; cf. [8]-[9]); here, however,
have an extension ([94]) in which the last four notes are repeated a minor thi
higher. Because of the sequential nature of this repetition it would seem best
segment as in [92]-[94], not as in [8]-[9]. The second half of this section begin
with a rhythmic imitation of its opening ([95]/[91]; cf. [10]/[7]), but now pitch
and resulting intervals have been adjusted. [10], of course, began on the Bb o
which [7] ended, creating a feeling of continuity, and [10] itself consisted of
tone descent. Here [95] begins on a B, an augmented sixth higher than the Db
on which [91] ends. The leap to B is not merely a result of the sequential figu
which has the effect of raising pitch levels by a minor third; this would resul
[95] starting on Fb . We must also note that [95] now contains a major third, n
a tone as previously. However, in [96] Messiaen returns to the lower major-si
transposition begun at [91].The extension and intervallic alterations have acte

87.223.29.224 on Sun, 20 Dec 2020 23:13:51 UTC
as an interpolation, without effecting the overall direct
Section C (bs 40-1)

The major-sixth transposition is now left behind, an
Part 1 with the three-note unit [97], now a tone higher
are again altered: the opening semitone of [12] is repl
interval, as before, is a tritone; but the tone drop from
a minor third. This brings us, at [98], to the same pi
Further alterations ensue, though [98]-[99] is melodi
[14]. A series of descending tritones follows, a minor thi
Again the sequence is extended, the three tritones of Par
four ([100]-[103]). The second half of the section balance
fulfilling the same function as [19]. However, the clima
third higher than before, and to get there from the lo
tritone rise of [18] has to be expanded. [104] now consist
a fourth, and joins to [105] by a further leap of a fourt
[19]).
The expanded first half (segment I) is balanced by an expanded second half
(segments IIa and IIb). Whereas [19] was an exact transposition of [12], [105]
differs markedly from [97]. Further, [19] was repeated in terms of pitch at [21],
which included the final note of the descent. Unit [105] repeats, transposed, as
A-G-EK, and the descent continues for a further two notes. Example 15/I
superimposes the passage from Part 1 upon the present passage. Apart from the
Ex. 15
I[ [20] 211] [1221
r 1 5] 1061] [1071 [108] [109]

b
[ 5]v t1 [1061 [107] [o1] 1()9] [11()1
.A" 9] ,. ; 1[ k] I27 1[22al

III
IV ARiT
[105] [106] [107] 09]
IP d

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DAVID MORRIS
additional group, [106], there are obvious equiva

Some intervals have changed, in particular the trito
appear here as diminished fourth and minor sixth
exact pitch reproduction at [21] was an important f
nearest we come to this in the present passage is th
isolate this group would result in a division such as
intervallically identical, with [106] having rhythmic
vallic order occurs in inversion as [110]. [109] would
[108] is awkward; not only does an isolated minor si
these passages, but we are joining together the last
first of the next (according to Messiaen's phrasing).
The ending of a phrase in the middle of b.21 was l
had the hierarchically more important identity of
we could rearrange [19]-[22] to correspond more clo
(see IIb). If we include the Db in [107] we spoil th
III), and if, as a result, we include the D in [105] (see
strange segmentation containing no worthwhile
arises: should a segmentation worked out in one
dictate the same segmentation in another part? If a
would seem most appropriate in Part 1, IIa in Par
[106] and [107]; [112] corresponds to [25a]-[25b]. H
leads down to the final long E of the piece. This is t
second, it will be recalled, was also approached ch
below (the Eb -E of [52a]-[52b]). By a nice use of oct
pitch level is used here for the E; this, in turn, leap
E beginning b.42, so bridging the pitch-span gap. (A
also bridges another kind of gap.)
Section D (bs 42-4)

Bar 42 and its echo repeat, 43, are interesting. Obvi
of b.25 is involved; in fact each interval is inve
movement reversed, thus:
b.25 major third, major seventh, minor third, up; tr

minor seventh, down
b.42 minor sixth, minor ninth, major sixth, tritone,
major ninth, up
The process of double inversion brings us full cir

first seven notes of the piece. The only place where
is not reversed is where the two halves meet. The t
and so does the tritone Bb -E in b.42. Possible reason
summary. Segmentation must correspond to bs 25 a
The long flourish at the start of b.44 is the retrog
and [64]-[65] in b.24. We saw earlier how thes

87.223.29.224 on Sun, 20 Dec 2020 23:13:51 UTC
differently according to their positions within the flow of th

another division is offered. [117] is maintained as the retro
[52a], but looking ahead to the final three notes A-Ab -G w
figure which is best left intact. This leaves us the central four n
as a separate unit. An examination of this figure, now in retro
inversional association between the opening three notes of[117]
is a chromatic group having correspondences with [112], [8
and [75]-[76]. The piece ends with [120], reminding us finall
other 'Boris' motive derivations.
Summary of Part 3
Structurally much of what is to be said here must be viewed in relation to
Part 1, though there does appear to be some sort of coda towards the end of the
piece. Part 3 begins with an exact repetition of the start of Part 1. We can
confidently call this Section A and segment it as previously. The question of its
octave transposition will be considered in the general discussion of structure
which follows. Section B also poses few problems, being clearly related to its
counterpart in Part 1. It includes a sequential extension within the first segment
and various adjustments of pitch levels; the overall transposition of a lower
major sixth is discussed below. Section C, similarly, bears a close resemblance to
the third section in Part 1. The extensions and alterations to pitch levels have
already been discussed; segmentation can be based on the earlier section. The
semibreve E at b.41 has already been examined in terms of local structuring; its
larger-scale implications are discussed below. We must note here, however, that
although this E follows the preceding F# and F as a chromatic unit, the voice
leading is not entirely fulfilled until the low E beginning [114]. This, of course,
anticipates the final E of the piece, which is an octave lower than the E in b. 1.
Here we find the main reason for the change of direction in the inversion of b.25
as it appears at [113]-[114]. An exact inversion would have been possible on a Bb
clarinet, with the final note being the G an octave higher than that in [114]: this
very high note could hardly have been played pianissimo, but I doubt that such a
consideration occurred to Messiaen. More likely is the importance of the high E
at the beginning of [113]. This is the highest note in the section, gaining
significance from the long E that immediately precedes it and looking forward to
the final note of the piece. Aspects of tessitura are discussed below.
One further point of interest. It was noted that the F# and F of [112] led to the
E of [114]. There is a case, however, for regarding the final E (in [120]) as the
goal of this run; if this is accepted, the rest of Section D might be considered as
an interruption, with the chromatics of [119] taking over from those of [112].
The general movement towards the final low E would seem to be the main
reason for the retrograding of b. 19 here; in the earlier passage the melodic
contour led to the E two octaves above this final note.
Poietic Evidence
* OM 16. Messiaen returns to Mode 2 for most of Part 3 (see Ex. 8). Such

87.223.29.224 on Sun, 20 Dec 2020 23:13:51 UTC
DAVID MORRIS
changes as occur are in transpositions of the mod

alterations made to earlier passages (cf. b.40 and
b.25 in b.42 now uses 2ii, which began the piece a
than the 2iii of b.25 itself. The use of the earlier harmonic field here enhances
the feeling of recapitulation, even though the pitches are altered; for example,
the whole passage at bs 35-40 is in the same field as bs 6-10.
* OM 11. Part 3 would seem to fall into the same formal category as Part 1, that
is, 'song-sentence' form. Units [85]-[87] and [88]-[90] now constitute the
antecedent and consequent of the theme, with [91]-[96] providing the middle
phrase. According to the system adopted in Part 1, [97]-[112] should form the
final section, with Section D acting as a coda. There are problems here. None of
the three forms discussed by Messiaen includes a coda; however, the examples
he gives all adhere to the written structuring so freely as to allow quite a wide
margin for adaptation. The only four-part form discussed is the 'binary
sentence', as discovered in Part 2 of this piece. The relation between the first
and third parts of that form makes its use here highly unlikely (Sections A and C
do not seem to be closely related as themes). As in other parts of the piece, major
divisions are obvious, and distorting Messiaen's own named forms to fit the bill
is of limited merit.
CONCLUSION
We have now built up a hierarchical structuring of 'Abime des ois

smallest unit to the three main parts. But what have we actually
result of this, and how has the poietic evidence assisted us? We st
idea that Messiaen's expose of compositional techniques migh
certain findings in our essentially neutral analysis. Occasionally, h
the way, we have actually found the reverse happening. W
summarise the ways in which the poietic evidence did help and con
which it did not.
1) Was it useful in ascertaining the structural divisions?

i) On the small scale the recognition of deqitalas (OM 2) on the rhythmic
level, and of passing groups or sequences (OM 15) on the melodic, did
indeed help in deciding certain segmentations. The recognition of
'melodic contours' (OM 8) also helped in this.
ii) Messiaen's use of 'Rhythmic Notation No. 1' (OM 7) was useful in
indicating that the barlines were there to indicate 'periods'. The exact
meaning of 'period', however, is not clear. It seems to stretch from one
or two notes to a whole section (b.24, for example). Only large-scale
division was corroborated by this method.
iii) Again, the chapter on form (OM 11) was of limited use, since only three
forms are discussed, and those cannot fit every piece of music. OM 12, a
chapter not referred to above, covers fugue, sonata and plainchant
forms, but none of these seemed applicable to this piece. Nevertheless

87.223.29.224 on Sun, 20 Dec 2020 23:13:51 UTC
the three parts of the music did loosely fit certain of Mess
particular, the division of Sections C and D in Part 2 was
comments. What they did not help with was the det
associations which might have been at work on the lar
example, the relationship between Parts 1 and 3. We were
hierarchic structuring, to arrive at an overall form of A-
within that to indicate references between certain par
sections which, in turn, suggested various develo
recapitulatory functions. Other remarks from OM w
confirming these findings.
2) Were harmonic/melodic considerations useful?

i) Modes of Limited Transposition. The whole area of thes
was most useful, both on the large and on the small scale.
the major divisions of the work into parts, and the divisio
into sections, were all concomitant with a change of m
construction of smaller segments was determined by modal
considerations. The pitch count in Part 1 confirmed the use there of
Mode 2; but similar counts in other areas would have endorsed these
findings. 'Special chords' (OM 14) within particular modes were also of
use where they occurred. An extension of these ideas would be to try to
discern a tonal system at work in the piece, and to establish the relation
of such a system to the form.
ii) The role of transposition. Apart from sequences and immediate
repetitions, the main areas of transposition occur in Part 2, where the
lowering by a fourth is often in evidence, and in Part 3 (octave and lower
major-sixth transpositions). In functional harmony the lowering by a
fourth would bring us into the dominant key. An effect approaching this
is discernible in Section C of Part 2, where the music begins as
previously ([53] = [26]) but ends up a fourth lower ([56]). Section E
([76]-[77]), as we have seen, restates the opening of the piece a fourth
lower (with octave displacement). This underlines the importance of its
return at the original pitch in Part 3 ([113]-[114]). In fact the return has
already been made at the start of Part 3. Why is this an octave lower? The
clarinet is capable of playing four Es: e, e1, e2 and e3. If we chart the main
occurrences of E throughout, we get the following:
bs 1-5 6 12 13 20 24 30-4 41 42-3 44

ex x
e I x x
The first five bars and

SSemibreve Es

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DAVID MORRIS
A gradual wedge shape opens up, with the

occurring in the last fourteen bars of the piece.
the opening sections of Parts 1 and 3 respect
additional stabilising factor in its three appeara
The reason for the major-sixth transposition in
so apparent. In Part 1, unit [11 ], at the end of t
contained the lowest note. For the same prin
note would have to be low D or Eb , since low E
and at the end. Eb , and indeed the progression
possible in Mode 2ii, and Messiaen wishes to ret
Part 1. Hence the start of Section B a major
corresponding passage in Part 1.
iii) The role of repetition. This is most appa
reproduction of Part 1 in Part 3, though repeti
covered in OM. On the smaller scale we have the
intervals, often involving the same pitches, a
interval groups. The tritone is much in evidenc
Bb pair occurs only in Parts 1 and 3; there t
found six and seven times respectively (a count
two notes). It is too simple to assume that they
because the modes used there allow it. Altho
transpositions of Mode 4 used in Part 2 do no
Mode 2ii is to be found there; and the E/Bb pai
also to be found there. Naturally its occurrence
which E is a pitch centre. It is also part of t
pervades the piece.
The two octave-displaced versions of this moti
to their respective parts: b.25 and b.42. Bef
functions in these places, we must ask wh
immediately aware of the transformations. Will
sense if we cannot hear their derivations? The f
is a fourth lower than the original version, and
technique is new in this piece; also, we have
motive for quite some time. When it comes bac
instantly connect it with its first occurrence, but h
close to the original and uses the original
anticipates the final unit of the piece. A momen
us of the inversional association between thes
the relation between the first and the opening o
Various other aspects of the music may assist in ou

For example, the overall pitch range is closely assoc
of E discussed above. It must be remembered that t
and that certain registers on this instrument exhibit
The opening section lies more or less in the so-cal

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often described as a pale area, and obviously suits the desole nature o
opening (also marked expressif et triste). The range gradually opens out du
the remainder of Part 1, though no great heights or depths are reached
recurring semibreve Es are in mid-clarino register. This is characterist
bright, and best capable of producing the ppp-ffff crescendo demanded.16 P
begins in the upper clarino and high ranges, but by Section B arpeggios acr
two or three registers begin. By Section D we are down in the chalum
register, though the sequence of sweeping arpeggios again travels through
or three areas. The coda, Section E, contains the clarinet's lowest note
approaches its highest. This, together with the change of tempo at this poi
produces the arresting effect necessary if we are to recognise the 'Boris' mo
A gradual descent through the ranges to the lowest chalumeau leads to
repeat of the opening (Part 3). The chalumeau is usually considered a d
tone colour than the 'throat' register, but Messiaen retains the same expres
marks as the opening. Voice leading at the end of Section C was discussed in
summary to Part 3; here we can see the effect timbrally. A gradual de
through the chalumeau is interrupted by the long E, mid-clarino, before the
wide-spanning octave-displacement bars initiate a descent through all
registers back to the bottom of the chalumeau.
The final topic I wish to discuss is one which, unfortunately, has been of l
use to us. This is the function and use of symbolism. That Messiaen asso
particular modes and even particular transpositions of modes with colours
mentioned above. In works like the Catalogue d'oiseaux this is undoubted
major importance. The associations of colour in the birdsong passages
'Abime' are much harder to follow. The application of Christian symbolism
certain of Messiaen's deqitalas has also been mentioned, but once again,
from our tentative suggestion concerning 'God amongst us', the ro
Christian symbolism in this piece is far from clear. Finally, is there
significance to Messiaen's use of the 'Boris' motive or the Grieg extract? Th
one of the most difficult questions to answer. As suggested earlier, the only
through this problem would seem to be to follow Nattiez's advice and analy
large number of Messiaen pieces in which these motives occur, trying to m
sense of their presence. This could well take a long time.
NOTES
1. "'Densit6 21.5" de Varese: essai d'analyse s6miologique', Monogra

s6miologie et d'analyses musicales, No. 2 (University of Montre
translated as 'Varese's "Density 21.5": A Study in Semiological Analysi
Analysis, Vol. 1, No. 3 (October 1982).
2. Technique de mon langage musical (Paris: Leduc, 1944), translated by
Satterfield as The Technique of My Musical Language (Paris: Leduc, 1956).
3. See Jean-Jacques Nattiez, 'The Concepts of Plot and Seriation Process
Analysis', Music Analysis, Vol. 4, Nos 1-2 (March-July 1985).

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DAVID MORRIS
4. Jean Molino, 'Fait musical et s6miologie de la mus

(1975), quoted in Nattiez, 'Varese's "Density 21.5"',
5. See The Technique of My Musical Language, p. 14.
6. See, for example, Robert Sherlaw Johnson, Messiae
Roger Nichols, Messiaen (London: OUP, 1975), p.29
Messiaen and the Music of Time (London: Faber, 1985),
7. My translation.
8. My translation.
9. Messiaen's source for this was Encyclopedie de la
conservatoire, ed. Albert Lavignac and Lionel de la
1913-31).
10. See Nattiez, 'Is a Descriptive Semiotics of Music Possible?', Language Sciences,
No. 23 (1972).
11. See The Technique of My Musical Language, p.47.
12. Mode 2 is of course the octatonic mode, which has received much attention in
recent years: writers such as George Perle, Richard Taruskin and Pieter van den
Toorn have gone so far as to describe it as a musical lingua franca of the early
twentieth century.
13. The article by Trevor Hold, 'Messiaen's Birds', Music and Letters, Vol. 52, No. 2
(April 1971), deals with this topic in some detail.
14. For a wide-ranging discussion of this aspect of Messiaen's music, see Jonathan W.
Bernard, 'Messiaen's Synaesthesia: The Correspondence between Color and
Sound Structure in His Music', Music Perception, Vol. 4, No. 1 (Fall 1986). See also
Griffiths, 'Catalogue de couleurs: Notes on Messiaen's Tone Colours on His 70th
Birthday', Musical Times, Vol. 119 (December 1978); Olivier Messiaen and the
Music of Time, Chapter 2.
15. On Messiaen's symbolic use of Hindu rhythms, see Sherlaw Johnson, Messiaen,
Chapter 5; also Gwilym Beechey, 'Christian Symbolism in Messiaen's Music',
Musical Opinion, Vol. 104, No. 1242 (April 1981).
16. A comparison of different performances of this work will reveal the different rates
of crescendo that various performers achieve, as well as the dynamic range covered
and the change in audible overtones present as the crescendo proceeds.

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Analisis Abismo

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A Semiotic Investigation of Messiaen's 'Abîme des oiseaux'

Author(s): David Morris

Stable URL: https://www.jstor.org/stable/854328

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A SEMIOTIC INVESTIGATION OF MESSIAEN'S

This analysis, following the example of Jean-Jacques Nattiez, in

PART 1 (bs 1-13)

Section A (bs 1-5)

I. This version offers a solution as to the point of division, at least in respect of

MUSIC ANALYSIS 8:1-2, 1989 125

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Reproduced by permission of Editions Durand S.A., Paris/United Music

126 MUSIC ANALYSIS 8:1-2, 1989

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much to offer. Melodically, however, what at first

III. The subdivision of [l] into [la] and [Ib] allows u

[1 [2 [3 [4] 51 7[61 J71

[la] ,[lb] , [3] [4] [51 [61

128 MUSIC ANALYSIS 8:1-2, 1989

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and recognise the obvious and intended symmetry, a property d

Section B (bs 6-10)

Section C (bs 11-13)

MUSIC ANALYSIS 8:1-2, 1989 129

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130 MUSIC ANALYSIS 8:1-2, 1989

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Part 1, that certain intervallic groups occur several tim

MUSIC ANALYSIS 8:1-2, 1989 131

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Poietic Evidence to Support the Above Analysis

132 MUSIC ANALYSIS 8:1-2, 1989

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concerning compositional techniques used in this work and in m

* OM 2 deals with 120 deqitalas collected by Sharngadeva in the thirteenth

1) Preference for the tritone (obvious from our analysis);

Of the melodic contours given, two occur specifically in this piece:

MUSIC ANALYSIS 8:1-2, 1989 133

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opening of Mussorgsky's Boris Godunov (see Ex

Theme - units [1]-[3

The later Parts fit this

134 MUSIC ANALYSIS 8:1-2, 1989

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Pift L ' n',

harmonic, when any fun

PART 2 (bs 14-29)

Section A (bs 14-17)

MUSIC ANALYSIS 8:1-2, 1989 135

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O 2iii 1 2i- 1 I 2iii 9I L

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2 2ii ' 2i 2 2ii I 2ii 2i2i

~tlfb, a' ro-,

MUSIC ANALYSIS 8:1-2, 1989 137

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Section B (bs 17-20)