Introduction:
Messiaen's music has, from its beginning, drawn a wide variety of responses, and not in the least has the form of his works had a part to play in this. Hodier (1961) would have us believe that in the domain of form, “Messiaen has proved completely - and, I fear, definitively impotent" while in 1965, Nicholas Armfelt finds that “Messiaen’s peculiar excellence manifests itself in the form of his works". Such disparity of comments would seem to invite investigation; two of Messiaen’s more recent works, Chronochromie (1960) and Couleurs de la Cité Céleste (1963) provide material suitable for such a study. Both incorporate birdsong, symmetrical permutations of durations and the representation of colour into their structures which, on the surface, are quite different: Chronochromie is articulated in seven distinct sections while Couleurs de la Cité Céleste is through-composed. However, it will be seen that Messiaen's rather unique approach to form is an integral part of both of these, and must be understood if the works are to be fully appreciated.
