The work is in ten movements, linked by the common themes identified above, and other musical ideas:
1) Introduction. Modéré, un peu vif: A "curtain raiser" introducing the "statue theme" and the "flower theme", followed by the body of the movement, which superimposes two ostinato groups with rhythmic punctuations. A reprise of the "statue" theme closes the introduction.
2) Chant d’amour (Love song) 1. Modéré, lourd: After an atonal introduction, this movement is built on an alternation of a fast and passionate theme dominated by the trumpets, and a soft and gentle theme for the strings and ondes.
3) Turangalîla 1. Presque lent, rêveur: Three themes are stated: one starting with a solo clarinet, the second for low brass and strings, and the third a sinuous theme on the woodwinds. The movement then develops and, later, overlaps the themes, with the addition of a new rhythm in the percussion.
4) Chant d’amour 2. Bien modéré: Introduced by a scherzo for piccolo and bassoon, this movement is in nine sections, some of which recall and develop music heard earlier. A calm coda in A major brings it to a close.
5) Joie du Sang des Étoiles (Joy of the Blood of the Stars). Vif, passionné avec joie: A frenetic dance whose main theme is a fast variant of the "statue theme". For Messiaen, it represented the union of two lovers seen as a transformation on a cosmic scale. The dance is interrupted by a shattering piano cadenza before a brief orchestral coda.
6) Jardin du Sommeil d’amour (Garden of Love’s Sleep). Très modéré, très tendre: The first full rendition of the "love" theme in the strings and ondes is accompanied by idealized birdsong played by the piano, and by other orchestral coloristic effects. According to Messiaen, "The two lovers are enclosed in love's sleep. A landscape comes out from them..."
7) Turangalîla 2. Un peu vif, bien modéré: A completely atonal movement that is intended to invoke terror, with a predominant role for the percussion ensemble.
8) Développement d’amour (Development of Love). Bien modéré: For Messiaen, the title can be considered in two ways. For the lovers, it is terrible: united by the love potion, they are trapped in a passion growing to the infinite. Musically, this is the work's development section.
9) Turangalîla 3. Bien modéré: A theme is introduced by the woodwind. A five-part percussion ensemble introduces a rhythmic series that then sustains a set of superimposed variations on the woodwind theme.
10) Final. Modéré, presque vif, avec une grande joie: The movement is in sonata form: A brass fanfare, coupled with a fast variation of the "love theme", is developed and leads to a long coda, a final version of the "love" theme played fortissimo by the entire orchestra. The work ends on an enormous chord of F♯ major. In Messiaen's words, "glory and joy are without end".
The composer's initial plan was for a symphony in the conventional four movements, which eventually became numbers 1, 4, 6, and 10. Next, he added the three Turangalîla movements, which he originally called tâlas, a reference to the use of rhythm in Indian classical music. Numbers 2 and 8 came next, and finally the 5th movement was inserted.Early on, Messiaen authorized separate performance of movements 3, 4, and 5, as Three tâlas (not to be confused with the original use of the term for the three Turangalîla movements), but later came to disapprove of the performance of extracts.
A chapter from Wikipedia entry on Messiaen's Turangalîla-Symphonie.
"Pod pokroviteljsvtom radija nastupila je regresija u slušanju. Uprkos, a možda baš i zbog porasta količine muzike, psihološki efekti ovakve vrste slušanja vrlo su srodni onima koji se nalaze u filmovima i sportu, koji zahtevaju nezrelog a neki put čak i infantilnog slušaoca. „Regresija" se ovde shvata u psihološkom, a ne u čisto muzičkom smislu.
Na primer: simfonija Betovenove vrste, tzv. klasična, pojavljuje se kao jedna od najviših integrisanih formi. Celina je sve; deo, ili ono što bi laik nazvao melodijom, nevažan je. Regresija koja se pojavljuje u slušanju odnosi se na to da se ne sluša celina već se slušaju samo delići forme, melodije, kao da je sama struktura na nivou jedne balade. Danas postoji tendencija da se Betovenova Peta sluša kao skup citata Betovenove Pete. Razvili smo ideje kao što su atomističko slušanje, citat slušanje, što sve vodi ka hipotezi da proizvodimo dečji muzički jezik."