Sonata-Allegro: Terminal Development

Definition: The traditional sonata form with Messiaen identifying one element as obsolete (recapitulation) and emphasizing terminal development as essential—developmental sections building over understood dominant and tonic pedals, creating climactic conclusions rather than literal recapitulations.

Messiaen's Treatment: Messiaen states that all free instrumental forms derive more or less from the four movements of the sonata, with the sonata-allegro synthesizing the whole sonata. Having written some absolutely regular sonata-allegros, he declares one thing has become obsolete: the recapitulation. He will try to keep what is most essential: the development.

There are two in a sonata-allegro: the middle modulating development; the terminal development, generally built over understood dominant and tonic pedals. He will be able to write pieces made of this terminal development alone, as tried in "les Enfants de Dieu" from La Nativité du Seigneur.

Analysis of this piece (Examples 153–154):

• (a) First element over a dominant pedal in B major, development by amplification of the second measure of the theme
• (b) A great fortissimo cry, upon a sort of schematic augmentation of the theme
• (c) A tender phrase forming the conclusion, established over a tonic pedal in B major

He may also start directly upon the central modulating development and end upon a large sentence forming at once the conclusion, the first complete exposition of the principal theme, and the definite establishment of the principal tonality, as tried in "Combat de la Mort et de la Vie" from Les Corps glorieux.

Analysis of this piece (Example 155): First element of the development, theme in C minor, in one voice, followed by a contest of chords alternated tumultuously. Then sections in E minor (two voices in canon), A-flat major (three voices in canon), D minor (bass with tumult of chords), ultimately leading to F-sharp major for climax and final exposition.

Modern Context: Messiaen's engagement with sonata form reflects broader modernist reassessment of Classical structures:

Traditional sonata-allegro:

• Exposition: Primary and secondary themes, closing material
• Development: Fragmentation, modulation, contrapuntal treatment
• Recapitulation: Return of exposition material in tonic
• Coda: Final affirmation

Messiaen's modifications:

• Recapitulation obsolete: Literal return replaced by terminal development
• Development essential: Transformation and intensification as primary formal process
• Tonal goal displaced: Not tonic return but climactic arrival
• Through-composed trajectory: Continuous development rather than sectional return

This approach parallels other modernist treatments:

• Schoenberg: Developing variation making recapitulation redundant (Chamber Symphony Op. 9)
• Sibelius: Teleological forms building toward final thematic revelation (Symphony No. 5)
• Liszt: Thematic transformation replacing development-recapitulation (Sonata in B minor)

Messiaen's "terminal development" concept resembles Sibelius's practice of withholding complete thematic statement until the end, making the entire piece a preparation for final revelation. In "Combat de la Mort et de la Vie," the full theme's emergence in F-sharp major represents both climax and resolution—formal culmination and theological meaning (resurrection) unified.

The reference to dominant and tonic pedals shows Messiaen maintaining tonal reference points even within modal contexts. These pedals function as anchors rather than functional harmonies—sustained bass notes providing stability without implying tonal progressions.

Examples: Examples 153–155 demonstrate terminal development as primary formal principle.