ABSTRACT
Each of the movements of Éclairs has, thus far, been regarded primarily as a self- contained unit. A few inter-movement observations have been made, but these have been restricted largely to the broad ways in which consecutive movements impact on one another; the juxtapositions that heighten the intended effect of the movements in question. Chapter 15 observes of ‘les élus marqués du sceau’ that, while it is the least original movement in Éclairs, it provides a crucial period of emotional detachment between the exuberance of ‘l’Oiseau-Lyre et la Ville- Fiancée’ and the intensity of ‘Demeurer dans l’Amour…’. Chapter 17 notes that Messiaen has no qualms about dispelling the magical world created in ‘Demeurer dans l’Amour…’, and Chapter 19 charts the striking entry of the bass instruments in ‘les étoiles et la Gloire’ well over half way into the work. These juxtapositional inter-relationships are an important element of the surface texture of Éclairs. Their simplicity is part of their power, a crucial factor in Messiaen’s ability to manipulate the emotions of the listener. They are essential to understanding Messiaen’s music and should not be dismissed lightly.
