About halfway through the Vingt regards sur l'enfant-esus (1944), in 'Premiere communion de la vierge', Messiaen recalls the opening bars of La nativite du Seigneur (1935).1 This introduces what might reasonably be called the Virgin's theme (Ex. 1), since both movements allude to her presence, although in Technique de mon langage musical Messiaen gives this pattern the rather impersonal designation of a cadence.2 Unadorned as it is when it appears at the outset of La nativite, its recurrence in Vingt regards, once again as Messiaen's musical image of the Virgin, is played against a scintillating chain of chords that, in a fashion typical of Messiaen, move in approximate but not strict parallel motion.3 Not only does the Virgin's theme appear in Technique (Chap. 16, 'Modes of Limited Transpositions') as the 'typical cadence' of mode 2, but this chain of chords is also listed on the same occasion as mode 2 set 'in [a] parallel succession of chords' (Ex. 2a).4 This chapter is in many ways Messiaen's fullest account of his modes, although any discussion of mode-colour relationship is curiously missing.5 At the outset he dwells on the transpositional impossibilities and tonal possibilities of his seven modes. Each of them is then presented in scalar form, although typical chords and cadence formulas are shown only for modes 2 and 3. In addition, Messiaen takes special care to arrange the modes, with the exception of 1 and 5, as parallel chord series ('parallel succession of chords' in Satterfield's translation; Ex. 2), one of which, as we have seen, 51nds its way into 'Premiere communion de la vierge'. Messiaen's remark on these parallel chord series is typically brief. None of these chord series are parallel in the strict sense, but, as he puts it, 'each voice [of the series] realizes the entire mode, starting on a different degree'. As a result of this, each of them engages on a regular basis one or more different chord types.6 Although the literature has rarely touched on these series, giving rather more attention to Messiaen's adaptation of decz-talas and birdsongs, we cannot fail to grasp their import as we listen to their insistent presence in his music. As far as his published musical works are concerned, Le banquet celeste (1928) contains the earliest use of such a parallel chord series (p. 2). This series is based on mode 2. Parallel chord series based on modes 3 and 6 soon follow in Preludes of 1929 (Technique, Exs. 302 and 352).7 By contrast, mode 4 is not used in this way until La nativite (Technique, Ex. 156), while series based on
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