Quatre tudes de rythme

2.1 Ile de feu I

The title refers to Papua New Guinea, and the thematic
material of this movement has all the violence of the
magic rites of this country (Messiaen 1994). The piece
consists of ve sections, in alternating pairs of musical
ideas. The rst part of each section is a melodic theme
with accompaniment, the second is a departure which
Messiaen calls a trait (episode). The rst section consists of a thematic statement and trait. The rst half of
the next three develop the initial theme. The fth and nal section introduces a new, longer theme in two periods
which are immediately repeated before the etude is conBaining redancers, Papua New Guinea
cluded by a nal trait amounting to a short coda (Barash
2002,
1819).
Quatre tudes de rythme (Four Rhythm Studies) is a set
of four piano compositions by Olivier Messiaen, written
in 1949 and 1950. A performance of them lasts between
15 and 20 minutes.

2.2 Mode de valeurs et d'intensits

History
This movement is the most-discussed of the four, as the
rst work by a European composer to apply numerical
organisation to pitch, duration, dynamics, and mode of
attack (timbre) (Toop 1974, 142). Because the treatment
of the parameters is modal and not serial (that is, the elements are treated simply as a scale, without any implications for how they are to be ordered), there is no question
of the material determining the works form (Toop 1974,
148). According to the composers own description, there
are separate modes composed of 36 pitches, 24 durations,
12 attacks, and 7 dynamics. The duration scale is separated into three overlapping scales, called tempi by the
composer, which correspond to the high, middle, and low
registers of the piano, and occur in simultaneous superimposition. The rst tempo uses 12 chromatic durations
applied to the semidemiquaver, the second does the same
with the semiquaver unit quaver, and the third with the
quaver (Sherlaw Johnson 1989, 105).

The four pieces which the composer collectively termed

tudes de rythme are not a cycle like Messiaens earlier Vingt regards sur l'enfant-Jsus (1944) or Visions
de lAmen (1943). Messiaen composed Neumes rythmiques and Mode de valeurs et dintensits in 1949
(the latter at Darmstadt) and added the other two tudes in
the following year, when he was at Tanglewood (Sherlaw
Johnson 1989, 104; Toop 1974, 142). The four movements were premiered on 6 November 1950 in Tunis (at
that time under the French protectorate of Tunisia) by the
composer himself, who shortly afterward made the rst
recording of the tudes. The French premiere was given
in Toulouse on 7 June 1951 by Yvonne Loriod (Anon.
n.d.).

Analysis

The durations, intensities and attacks operate on the

same plane as the pitches; the combination of modes reveals colors of durations and intensity; each pitch of the
same name has a dierent duration, attack and intensity
for each register in which it appears; the inuence of register upon the quantitative, phonetic, and dynamic sounscape, and the division into three temporal regions imbues the passage with the spirit of the sounds that traverse
them, creating the potential for new variations of colors
(Messiaen 1994).

The work consists of four movements

1. Ile de feu I (Fire Island I)
2. Mode de valeurs et d'intensits (Mode of Durations and Intensities)
3. Neumes rythmiques (Rhythmic Neumes)
4. Ile de feu II (Fire Island II)
1

2.3

4 DISCOGRAPHY

Neumes rythmiques

The rst of the four to be composed, this tude alternates

two separate sets of refrains with longer strophes given
over to the rhythmic neumes of the title. The rst set of
refrains is marked rythme en ligne triple: 1 5, 6 10,
11 15, which means there are three durations, short,
medium, and long, which are progressively expanded,
upon each repetition, by the addition of a semiquaver
unit.
The second set of refrains is marked Nombre premier en rythme non rtrogradable (A prime number
in non-retrogradable rhythm) and, like the rst set of
refrains with which they alternate, are expanded upon
repetitionin this case by a series of progressively larger
prime numbers: 41, 43, 47, and 53 semiquavers.
The strophes which occur between the refrains are
marked neumes rythmiques, avec rsonances et intensits xes (rhythmic neumes, with xed resonances and
intensities). From his studies of the neumatic notation
symbols of plainchant, Messiaen had formed the idea
of exploring the rhythms corresponding to them. In
an interplay of transposition, the neumatic symbol as
an indication of a sinuous melodic entity is now applied to a rhythmic motive. Each rhythmic neume is assigned a xed dynamic and resonances of shimmering
colours, more or less bright or somber, always contrasting (Messiaen 1994).
The collage-like rhythmic structure grows from the
iambic rhythm found at the beginning of the rst strophe. As in the refrains, there is a process of augmentation upon repetition, in which new duration units are
added in order to form more complex rhythmic cells.
The pitches grow out of the major seventh and the tritone found at the beginning of the rst strophe and in its
third bar, respectively. Five basic dynamic-envelope patterns are applied to dierent groups, while at the same
time the melodic motives constantly re-emerge in dierent rhythms (Sherlaw Johnson 1989, 104105).

2.4

Ile de feu II

Although Messiaens programme note for this tude says

that it is, like the rst tude, also dedicated to Papua or
New Guinea, his posthumously published analysis emphatically states that it refers only to the former, not the
latter (Messiaen 1996, 165). "[T]he principal theme, ferocious and violent, has the same character as the themes
of the rst tude; the variations on this theme alternate
with permutations, successively permuted according to
the same process and superimposed two by two; the piece
closes with a cross-handed perpetual motion in the depths
of the keyboard (Messiaen 1994).
The opening strophe from le de feu I is modied to become the cyclic theme of this tude. As in the other
pieces, this alternates with episodes, in this case based on

a mode of twelve durations, twelve sounds, four attacks

and ve intensities (Sherlaw Johnson 1989, 108). The
rhythmic focus in this piece concerns a symmetrical permutation scheme for a duration scale initially given in descending order of durations. The elements are reordered
according to a wedge-shaped process, which Messiaen
elsewhere called permutation in the form of an open
fan. The rst permutation produces an new ordering
which Messiaen called Interversion I. The same permutation scheme applied to this rst interversion produces
Interversion II, and so on (Sherlaw Johnson 1989, 109):
A peculiarity is that the successive applications of this
permutation do not yield the twelve permutations which
might be expected. This is because the values 10 and 5
map into each other under this operationwhich can be
seen by scanning down columns 3 and 8 in the table. Consequently, the original order returns once the remaining
ten values have circulated. This unexpected restriction
has been cited as an example of what Messiaen called the
charm of impossibilities (Sherlaw Johnson 1989, 109).
Messiaen later applied such permutation schemes in
works of larger scale, such as the orchestral work
Chronochromie, completed in 1960 (Bauer 2008, 149
50).

3 Reception
The second of the tudes, Mode de valeurs et
d'intensits, overshadows all the others for having become the model for composers interested in the serialisation of musical parameters other than pitch. Initially, this inuence occurred through works composed
in 1950 and 1951 by two of Messiaens pupils, Karel
Goeyvaerts and Michel Fano. Messiaens composition
and one of the works inspired by it, Goeyvaertss Sonata
for Two Pianos, impressed Karlheinz Stockhausen at
the Darmstdter Ferienkurse in 1951, prompting him to
compose Kreuzspielhis rst acknowledged work (Toop
1974, 14243). Pierre Boulez, after a period of estrangement from Messiaen caused by what Boulez viewed as
the excessively sensual Turangalla-Symphonie, belatedly
discovered the Mode de valeurs in 1951 and composed
his Structures, Book I as a gesture of conciliation to his
former teacher, transforming the twelve triplum elements of the Modes rst division into ordered series and
composed Structures 1a in a single night (Gather 2003,
7879, 8182).

4 Discography
Olivier Messiaen: Quatre tudes de rythme. Olivier
Messiaen, piano. Sound Recording 2 discs, 78rpm,
30 cm. Columbia LFX 998/9 (CLX 2843; CLX
2844; CLX 2845; CLX 2846) [France]: Columbia,
1951. Presumably the same recording reissued in:

3
Les rarissimes de Olivier Messiaen. CD 1:
Trois petites liturgies de la prsence divine; Les
orandes oublies; Vingt regards sur l'enfant
Jsus; Trois prludes; CD 2: Visions de l'amen
pour deux pianos; Quatre tudes de rythme.
Olivier Messiaen and Yvonne Loriod, piano;
Jeanne Loriod, ondes Martenot; Ensemble
Vocal Marcel Couraud; Orchestre de Chambre Andr Girard; Orchestre de l'Association
des Concerts Piern; Marcel Couraud and
Roger Dsormire, conds. Recorded: Paris,
Thtre Apollo und Studio Albert, between
1942 and 1954. Audio restoration by EMI
Music France. Compact disc, 2 sound discs:
monaural, 12 cm. EMI Classics 0946 385275
2 7. [France]: EMI Music France, 2007.
Premier festival de l'art d'avant-garde. Anton Webern: Cinq mlodies, op. 4; Variations pour piano,
opus 27; Trois chants, op. 23; Olivier Messiaen:
Quatre tudes de rythmes; Pierre Boulez: Etude II
(Etude sur sept sons); Jean Barraqu: Etude. Ethel
Semser, soprano; Paul Jacobs, piano. Musique sur
bande. LP recording, 1 disc, 33rpm, 30 cm. Barclay
89005. [N.p.]: Barclay Records, 1959.
Olivier Messiaen: Huit prludes; Quatre tudes de
rythme. Yvonne Loriod, piano. LP recording, 1
disc, 33rpm, stereo, 30 cm. Erato STU 70433.
Paris: ditions Costallat, 1968. Reissued as part of:
Messiaen: Petites esquisses d'oiseaux, Huit
Prludes; Quatre tudes de rythme. Yvonne
Loriod, piano. Erato 2292-45505-2/5 ECD
71589 (+). Previously released in 1968 (2nd
3rd works) and in 1988; Yvonne Loriod, piano./ Recorded at the Eglise Notre-Dame du
Liban, Paris, October 1987 (1st work) and
January 1968 (2nd and 3rd works). Compact
disc, 1 sound disc: digital; 12 cm. [Paris]: Erato, n.d.
Olivier Messiaen: Vingt regards sur l'Enfant
Jsus; Petites esquisses d'oiseaux; Huit
prludes; Quatre tudes de rythme. Yvonne
Loriod, piano.
Recorded at the Eglise
Notre-Dame du Liban, Paris, October 1973
(CD 1 & CD 2); October 1987 & October
1968 (CD 3). Compact disc, 3 sound discs:
analog/digital, stereo, 12 cm. Series: Piano
franais. Erato 4509-96222-2. France: Erato,
1987.
Piano Etudes by Bartk, Busoni, Messiaen, Stravinsky. Olivier Messiaen: Quatre etudes de rythme;
Bla Bartk: Studies for Piano, op. 18; Ferruccio Benvenuto Busoni: Klavierbung (selections);
Igor Fedorovich Stravinsky, Etudes for Piano, no.
7. Paul Jacobs, piano. LP recording, 1 disc: stereophonic. Nonesuch H-71334. Nonesuch Records,

1976. Reissued as part of The Legendary Busoni

Recordings & Works by Bach, Bartk, Brahms, Messiaen, Stravinsky. Paul Jacobs, piano. Compact disc,
2 sound discs: digital, stereo, 12 cm. Arbiter 124.
New York: Arbiter, 2000.
Olivier Messiaen: Cantyodjay; Neumes rythmiques; "le de feu I and II. Robert Sherlaw Johnson: Piano Sonata No. 1; Seven Short Pieces. Robert
Sherlaw Johnson, piano. LP recording, sound disc:
analog, 33rpm, stereo. Argo ZRG 694. London:
Argo, 1972.
Olivier Messiaen: Prludes & tudes. Michel
Bro, piano. LP recording, 1 disc, 33rpm, 30 cm.
La voix de son matre 2 C 06916229. France: Path
Marconi, 1978.
Iannis Xenakis: Evryali 1973; Herma: 1962; Olivier
Messiaen: Quatre etudes de rythme. Yuji Takahashi,
piano. Recorded at Arakawa Public Hall, Tokyo
2122 May 1976. Compact disc, 1 sound disc: digital, stereo. ; 4 3/4 in. Denon 33CO-1052. [Japan]:
Denon, 1986.
Csar Franck: Prlude, choral et fugue; Olivier
Messiaen: Quatre tudes de rythme; Edvard Grieg:
Sonata in E Minor, op. 7; Sergei Rachmaninov:
Variations on a Theme by Arcangelo Corelli, op.
42. Shura Cherkassky, piano. Compact disc,
sound disc, digital, stereo, 12 cm. Nimbus Records
NI5090. Monmouth: Nimbus records Ltd., 1988.
The Piano Music of Olivier Messiaen. Prludes;
Quatre tudes de rythme; Cantyodjay . Peter
Hill, piano. Previously released on analog discs in
1985 (1st work) and 1986 (remainder). Recorded
in Rosslyn Hill Unitarian Chapel, 2122 February 1984 and 2526 September 1985. Compact
disc, 1 sound disc: digital, stereo, 12 cm. London:
Unicorn-Kanchana, 1989. Also packaged as part of
Messiaen Edition vol. 1: Organ Works; Piano Works;
Songs. Willem Tanke; Peter Hill, piano; Ingrid
Kappelle; Hkon Austb, piano. Compact disc, 17
sound discs: digital, stereo, 12 cm. Brilliant Classics
8949/117. [Leeuwarden, The Netherlands]: Brilliant Classics, 2008.
Messiaen: Petites esquisses doiseaux; Cantyodjay;
Quatre eetudes de rhythme; Pice pour le tombeau
de Paul Dukas. Gloria Cheng, piano. Recorded
2021 December 1993 at SUNY Purchase Recital
Hall. Compact disc recording: digital, stereo, 12
cm. Koch International Classics 3-7267-2 H1. Port
Washington, NY: Koch International L. P., 1994.
tudes pour piano, vol. 1: Strawinsky, Bartk, Messiaen, Ligeti. Igor Strawinsky: Quatre tudes op.
7; Bla Bartk: Studies, op. 18; Olivier Messiaen:
Quatre tudes de rythme. Gyrgy Ligeti: Etudes
pour piano, premier livre et deuxime livre. Erika

5
Haase, piano. Recorded Frankfurt am Main, Festeburgkirche, 1997. Compact disc, sound disc: digital, stereo, 12 cm. Tacet 53. [Germany]: Tacet,
1997.
Olivier Messiaen: Piano Music. Hkon Austb, piano. Vol. 3; Prludes [18]; Four rhythmic studies
[Quatre tudes de rythme]; Cantyodjay.; Vol. 4;
Les orandes oublies; Fantaisie burlesque; Pice
pour le tombeau de Paul Dukas; Rondeau; Prlude
(1964); La fauvette des jardins. Compact disc, 4
sound discs Vol. 1 . [S.l.]: HNH International,
1999 Angela Hewitt Plays Olivier Messiaen. Prludes
(selections): La colombe; Chant d'extase dans un
paysage triste; Le nombre lger; Instants dfunts;
Les sons impalpables du rve; Cloches d'angoisse et
larmes d'adieu; Plainte calme; Un reet dans le vent
...; Quatre tudes de rythme (selections): le de feu
1; le de feu 2; Vingt regards sur l'enfant Jsus (selections): Regard de la Vierge; Le baiser de l'EnfantJsus; Regard de l'esprit de joie. Angela Hewitt, piano. Recorded in the Reitstadel, Neumarkt in der
Oberpfalz, Germany, 2123 January 1998. Compact disc; 1 sound disc: digital, stereo, 12 cm. Hyperion CDA67054. London: Hyperion, 1998.
Composizioni per pianoforte. Maurice Ravel: Le
tombeau de Couperin; Claude Debussy: Cinq preludes; Jeux d'eau; Olivier Messiaen: Quatre tudes
de rythme. Luca Trabucco, pianist. Twentieth Century French Piano Music. Compact disc, 1 sound
disc: stereo, digital, 12 cm. Sony PH 99504. [Austria]: Sony, 1999.
Olivier Messiaen: Visions de l'amen; Quatre tudes
de rythme; Cantyodjay. Paul S. Kim, piano;
Matthew Kim, 2nd piano (in 1st and 2nd [sic]
works). Compact disc. Recorded Armonk, New
York August 2002, (1st work); New York City,
September 2002 (remaining works). Compact disc
1 sound disc: digital; 12 cm. Centaur Records CRC
2668. [Baton Rouge, La.]: Centaur Records, 2003.
Olivier Messiaen: Prludes; Quatre tudes de
rythme ; Cantyodjay. Martin Zehn, piano.
Recorded in Cologne (Klaus-von-Bismarck-Saal).
Compact disc 1 sound disc: digital, stereo, 12 cm.
Arte Nova 82876 57833 2; [Europe] : BMG ;
[France] : distrib. BMG, 2004
Hommage Messiaen. Pierre-Laurent Aimard, piano. Compact disc, sound disc: digital, stereo, 12
cm. Deutsche Grammophon 477 7452 GH. Contents: Prludes pour piano (selection): La bouscarle"; Catalogue d'oiseaux (selection): L'alouette
Lulu"; Quatre tudes de rythme (selections): Ile de
feu 1 et 2. Hamburg: Deutsche Grammophon,
2008.

REFERENCES

Olivier Messiaen, 19081992. The Anniversary Edition, vol. 7. Visions de l'amen; Quatre tudes de rythme; Cantyodjay. In the 1st work: Alexandre
Rabinovitch, Martha Argerich, pianos; 2nd work:
Michel Bro, piano ; 3rd work: John Ogdon, piano. 1 sound disc: digital, 12 cm. EMI Classics
2174732. 2008
Complete edition. Olivier Messiaen; Roger Muraro;
Olivier Latry. Compact disc 32 sound discs: digital; 12 cm. Deutsche Grammophon (set) 480 1333;
Deutsche Grammophon 480 1365-480 1334. CD
2: Petites esquisses d'oiseaux; Quatre tudes de rythme; Cantyodjay; Rondeau; Fantasie burlesque;
Prlude pour piano; Pice pour le tombeau de Paul
Dukas. Roger Muraro, piano. Germany: Deutsche
Grammophon, 2008.

5 References
Anon. n.d. " Olivier Messiaen (1908-1992): Quatre tudes de rythme (1949-1950), pour piano".
Brahms.ircam.fr (accessed 27 October 2012).
Barash, Amari Pepper. 2002. Cadential Gestures
in Post-tonal Music: The Constitution of Cadences
in Messiaens 'le de feu I' and Boulez' Premire
sonate, First Movement. DMA thesis. New York:
City University of New York, Graduate Center.
Bauer, Amy. 2008. The Impossible Charm of
Messiaens Chronochromie". In Messiaen Studies,
edited by Robert Sholl, 14567. Cambridge Composer Studies. Cambridge and New York: Cambridge University Press, 2008. ISBN 978-0-52183981-5.
Covington, Kate R. 1980. Visual Perception vs.
Aural Perception: A Look at 'Mode de valeurs et
d'intensits". Indiana Theory Review 3, no. 2:4
11.
Gather, John-Philipp. 2003. The Origins of Synthetic Timbre Serialism and the Parisian Conuence, 19491952. PhD diss. Bualo: State University of New York at Bualo.
Hufschmidt, Wolfgang. 1981. Musik aus Zahlen.
Prinzipien der musikalischen Formgestaltung in der
seriellen Kompositionspraxis. In Reexionen ber
Musik heute: Texte und Analysen, edited by Wilfried
Gruhn, 2457. Mainz: Schott Musik International.
Kmper, Dietrich. 2004. Olivier Messiaen und
die musikalische Avantgarde der fnfziger Jahre:
Zur Rezeption der Etde 'Mode de valeurs et
d'intensits". In Kompositorische Stationen des 20.
Jahrhunderts: Debussy, Webern, Messiaen, Boulez,
Cage, Ligeti, Stockhausen, Hller, Bayle, edited by

5
Christoph von Blumrder and Tobias Hnermann,
2434. Signale aus Kln 7. Mnster: Lit Verlag.
ISBN 978-3-8258-7212-0.
Kmper, Dietrich. 2006. Messiaen und die
Darmstdter Ferienkurse: eine Begegnung. In
La cit cleste: Olivier Messiaen zum Gedchtnis
Dokumentation einer Symposienreihe, edited by
Christine Wassermann Beiro, 18190. Berlin:
Weidler. ISBN 978-3-89693-473-4.
Kinzler, Hartmuth.
1997.
Viereinhalb
Marginalien zum ersten Stadium von Stockhausens Kreuzspiel". Musiktheorie 12, no. 1
(Analysieren und Hren neuer Musik): 7186.
Krumhansl, Carol L. 1991. Internal Representations for Music Perception and Performance. In
Cognitive Bases of Musical Communication, edited
by Mari Riess Jones and Susan Holleran, 197211.
Washington, D.C.: American Psychological Association. ISBN 1-55798-127-2.
Messiaen, Olivier. 1994. Programme note in booklet accompanying Koch International Classics 37267-2 H1.
Messiaen, Olivier. 1996. Trait de rythme, de
couleur, et dornithologie (1949-1992): en sept
tomes. vol. 3. Paris: Editions Musicales
Alphonse Leduc. ISBN 9782856890493 (br); ISBN
9782858690497.
Nichols, Roger. 1975. Messiaen. Oxford Studies
of Composers 13. Oxford and New York: Oxford
University Press.
Schweizer, Klaus. 1973. Olivier Messiaens
Klavieretude Mode de valeurs et d'intensits.
Archiv fr Musikwissenschaft 30, no. 2:12846.
Sherlaw Johnson, Robert. 1989. Messiaen, revised
and updated edition. London: J. M. Dent & Sons;
Berkeley: University of California Press. ISBN
9780460126038 (London); ISBN 9780520067349
(Berkeley).
Stegemann, Michael. 1986. O. Messiaen: Mode
de valeurs et d'intensits. In Werkanalyse in
Beispielen, edited by Siegmund Helms and Helmuth
Hopf, 36069. Regensburg: Gustav Bosse. ISBN
37-649-2276-1.
Toop, Richard. 1974. Messiaen/ Goeyvaerts,
Fano/ Stockhausen, Boulez. Perspectives of New
Music 13, no. 1 (FallWinter): 14169.
Toop, Richard. 2000. Von der 'Sternenmusik'
zur Musik des Weltraums: Karlheinz Stockhausens
musikalischer Kosmos. Neue Zeitschrift fr Musik
161, no. 6 (NovemberDecember): 3843.

Trawick, Eleanor F. 1999. Order, Progression, and

Time in the Music of Messiaen. Ex Tempore 9, no.
2 (SpringSummer): 6477.

6 Further reading
Bauer, Hans-Joachim. 1983. Klangkristalle.
Zur Analyse einer seriellen Komposition fr den
Musikunterricht. Zeitschrift fr Musikpdagogik 8,
no. 22:4857.
D'kova,
Ldmila Sergeevna (,
).
2002.
"
" [Paradigm as a
scholarly method of cognition]. In
: [Musicology at the Turn of the Century: Past and Present],
edited by Tat'na Ivanovna Naumenko (
), 2441. Moscow: Rossijska Akademi Muzyki imeni Gnesinyh. ISBN
5-8269-0052-0.
Firnkees, Gertrud. 1980. Improvisation als Einfhrung in die zeitgenssische Musik. Zeitschrift
fr Musikpdagogik 5, no. 12:19295.
Lee, John Madison. 1972. Harmonic Structures
In The 'Quatre tudes rythmiques [sic] of Olivier
Messiaen. Ph.D. diss. Tallahassee: The Florida
State University.
Puspita, Amelia. 2008. The Inuence of Balinese
Gamelan on the Music of Olivier Messiaen. DMA
diss. Cincinnati: University of Cincinnati.
Song, Sun-ju. 2008. Music Analysis and the
Avant-Garde Compositions of PostWorld War II:
Four Case Studies. PhD diss. Nathan: Queensland
Conservatorium Grith University.
Zheng, Zhong (

). 2005.

[Messiaens Multi-level
Serial Composition Technique: On the Example of
the Piano Piece 'Mode de valeurs et d'intensits].
Huangzhong: Zhongguo Wuhan Yinyue Xueyuan
xuebao/Huangzhong: Journal of Wuhan Conservatory of Music, China 1, no. 73:5763.

7 External links
Fiche de l'ircam
Work on le de Feu I and le de Feu II (Portuguese)

8 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

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