Tag: Weil

Bourbaki and the miracle of silence

Published July 13, 2010 by lievenlb

The last pre-war Bourbaki congress, held in september 1938 in Dieulefit, is surrounded by mystery. Compared to previous meetings, fewer documents are preserved in the Bourbaki archives and some sentences in the surviving notules have been made illegible. We will have to determine the exact location of the Dieulefit-meeting before we can understand why this had to be done. It’s Bourbaki’s own tiny contribution to ‘le miracle de silence’…

First, the few facts we know about this Bourbaki congress, mostly from Andre Weil‘s autobiography ‘The Apprenticeship of a Mathematician’.

The meeting was held in Dieulefit in the Drome-Provencale region, sometime in september 1938 prior to the Munich Agreement (more on this next time). We know that Elie Cartan did accept Bourbaki’s invitation to join them and there is this one famous photograph of the meeting. From left to right : Simone Weil (accompanying Andre), Charles Pison, Andre Weil (hidden), Jean Dieudonne (sitting), Claude Chabauty, Charles Ehresmann, and Jean Delsarte.

Failing further written documentation, ‘all’ we have to do in order to pinpoint the exact location of the meeting is to find a match between this photograph and some building in Dieulefit…

The crucial clue is provided by the couple of sentences, on the final page of the Bourbaki-archive document deldi_001 Engagements de Dieulefit, someone (Jean Delsarte?) has tried to make illegible (probably early on).

Blowing the picture up, it isn’t too hard to guess that the header should read ‘Décision du 22 septembre 1938’ and that the first sentence is ‘Le Bourbaki de 2e classe WEIL fera pour le 15 octobre’. The document is signed

Camp de Beauvallon, le 22.IX.38.
L’adjudant de jour
DIEUDONNE

Now we are getting somewhere. Beauvallon is the name of an hamlet of Dieulefit, situated approximately 2.5km to the east of the center.

Beauvallon is rather famous for its School, founded in 1929 by Marguerite Soubeyran and Catherine Krafft, which was the first ‘modern’ boarding school in France for both boys and girls having behavioral problems. From 1936 on the school’s director was Simone Monnier.

These three women were politically active and frequented several circles. Already in 1938 (at about the time of the Bourbaki congress) they knew the reality of the Nazi persecutions and planned to prepare their school to welcome, care for and protect refugees and Jewish children.

From 1936 on about 20 Spanish republican refugees found a home here and in the ‘pension’ next to the school. When the war started, about 1500 people were hidden from the German occupation in Dieulefit (having a total population of 3500) : Jewish children, intellectuals, artists, trade union leaders, etc. etc. many in the Ecole and the Pension.

Because of the towns solidarity with the refugees, none were betrayed to the Germans, Le miracle de silence à Dieulefit.
It earned the three Ecole-women the title of “Juste” after the war. More on this period can be read here.

But what does this have to do with Bourbaki? Well, we claim that the venue of the 1938 Bourbaki congress was the Ecole de Beauvallon and they probably used Le Pension for their lodgings.

We have photographic evidence comparing the Bourbaki picture with a picture taken in 1943 at the Ecole (the woman in the middle is Marguerite Soubeyran). Compare the distance between door and window, the division of the windows and the ivy on the wall.

Below two photographs of the entire school building : on the left, the school with ‘Le Pension’ next to it around 1938 (the ivy clad wall with the Bourbaki-door is to the right) and on the right, the present Ecole de Beauvallon (this site also contains a lot of historical material). The ivy has gone, but the main features of the building are still intact, only the shape of the small roof above the Bourbaki-door has changed.

During their stay, it is likely the Bourbakis became aware of the plans the school had would war break out. Probably, Jean Delsarte removed all explicit mention to the Ecole de Beauvallon from the archives upon their return. Bourbaki’s own small contribution to Dieulefit’s miracle of silence.

Who was ‘le P. Adique’?

Published July 8, 2010 by lievenlb

Last year we managed to solve the first few riddles of the Bourbaki code, but several mysteries still remain. For example, who was the priest performing the Bourbaki-Petard wedding ceremony? The ‘faire part’ identifies him as ‘le P. Adique, de l’Ordre des Diophantiens’.

As with many of these Bourbaki-jokes, this riddle too has several layers. There is the first straightforward mathematical interpretation of the p-adic numbers $latex \hat{\mathbb{Z}}_p$ being used in the study of Diophantine problems.

For example, the local-global, or Hasse principle, asserting that an integral quadratic form has a solution if and only if there are solutions over all p-adic numbers. Helmut Hasse was a German number theorist, held in high esteem by the Bourbaki group.

After graduating from the ENS in 1929, Claude Chevalley spent some time at the University of Marburg, studying under Helmut Hasse. Hasse had come to Marburg when Kurt Hensel (who invented the p-adic numbers in 1902) retired in 1930.

Hasse picked up a question from E. Artin’s dissertation about the zeta function of an algebraic curve over a finite field and achieved the first breakthrough establishing the conjectured property for zeta functions of elliptic curves (genus one).

Extending this result to higher genus was the principal problem Andre Weil was working on at the time of the wedding-card-joke. In 1940 he would be able to settle the general case. What we now know as the Hasse-Weil theorem implies that the number N(p) of rational points of an elliptic curve over the finite field Z/pZ, where p is a prime, can differ from the mean value p+1 by at most twice the square root of p.

So, Helmut Hasse is a passable candidate for the first-level, mathematical, decoding of ‘le P. adique’.

However, there is often a deeper and more subtle reading of a Bourbaki-joke, intended to be understood only by the select inner circle of ‘normaliens’ (graduates of the Ecole Normale Superieure). Usually, this second-level interpretation requires knowledge of events or locations within the 5-th arrondissement of Paris, the large neighborhood of the ENS.

For an outsider (both non-Parisian and non-normalien) decoding this hidden message is substantially harder and requires a good deal of luck.

As it happens, I’m going through a ‘Weil-phase’ and just started reading the three main Weil-biographies : Andre Weil the Apprenticeship of a Mathematician, Chez les Weil : André et Simone by Sylvie Weil and La vie de Simone Weil by Simone Petrement.

[abp:3764326506] [abp:2283023696] [abp:2213599920]

From page 35 of ‘Chez les Weil’ : “Après la guerre, pas tout de suite mais en 1948, toute la famille avait fini par revenir à Paris, rue Auguste-Comte, en face des jardins du Luxembourg.” Sylvie talks about the Parisian apartment of her grandparents (father and mother of Andre and Simone) and I wanted to know its exact location.

More details are given on page 103 of ‘La vie de Simone Weil’. The apartment consists of the 6th and 7th floor of a building on the Montagne Sainte-Geneviève. The Weils bought it before it was even built and when they moved in, in may 1929, it was still unfinished. Compensating this, the apartment offered a splendid view of the Sacre-Coeur, the Eiffel-tower, la Sorbonne, Invalides, l’Arc de Triomphe, Pantheon, the roofs of the Louvre, le tout Paris quoi…

As to its location : “Juste au-dessous de l’appartement se trouvent l’Ecole des mines et les serres du Luxembourg, avec la belle maison ancienne où mourut Leconte de Lisle.” This and a bit of googling allows one to deduce that the Weils lived at 3, rue Auguste-Comte (the W on the map below).

Crossing the boulevard Saint-Michel, one enters the 5-th arrondissement via the … rue de l’Abbe de l’Epee…
We did deduce before that the priest might be an abbot (‘from the order of the Diophantines’) and l’Epee is just ‘le P.’ pronounced in French (cheating one egue).

Abbé Charles-Michel de l’Épée lived in the 18th century and has become known as the “Father of the Deaf” (compare this to Diophantus who is called “Father of Algebra”). Épée turned his attention toward charitable services for the poor, and he had a chance encounter with two young deaf sisters who communicated using a sign language. Épée decided to dedicate himself to the education and salvation of the deaf, and, in 1760, he founded a school which became in 1791 l’Institution Nationale des Sourds-Muets à Paris. It was later renamed the Institut St. Jacques (compare Rue St. Jacques) and then renamed again to its present name: Institut National de Jeunes Sourds de Paris located at 254, rue Saint-Jacques (the A in the map below) just one block away from the Schola Cantorum at 269, rue St. Jacques, where the Bourbaki-Petard wedding took place (the S in the map).

Completing the map with the location of the Ecole Normale (the E) I was baffled by the result. If the Weil apartment stands for West, the Ecole for East and the Schola for South, surely there must be an N (for N.Bourbaki?) representing North. Suggestions anyone?

Seriously now, where was the Bourbaki wedding?

Published November 25, 2009 by lievenlb

A few days before Halloween, Norbert Dufourcq (who died december 17th 1990…), sent me a comment, containing lots of useful information, hinting I did get it wrong about the church of the Bourbali wedding in the previous post.

Norbert Dufourcq, an organist and student of Andre Machall, the organist-in-charge at the Saint-Germain-des-Prés church in 1939, the place where I speculated the Bourbaki wedding took place, concluded his comment with :

“P.S. Lieven, you _do_ know about the Schola Cantorum, now, don’t you?!?”.

Euh… actually … no, I did not …

La Schola Cantorum is a private music school in Paris. It was founded in 1894 by Charles Bordes, Alexandre Guilmant and Vincent d’Indy as a counterbalance to the Paris Conservatoire’s emphasis on opera. Its alumni include many significant figures in 20th century music, such as Erik Satie and Cole Porter.

Schola Cantorum is situated 69, rue Saint Jacques, Paris, just around the corner of the Ecole Normal Superieure, home base to the Bourbakis. In fact, closer investigation reveals striking similarities and very close connections between the circle of artists at la Schola and the Bourbaki group.

In december 1934, the exact month the Bourbaki group was formed, a radical reorganisation took place at the Schola, when Nestor Lejeune became the new director. He invited several young musicians, many from the famous Dukas-class, to take up teaching positions at the Schola.

Here’s a picture of part of the Dukas class of 1929, several of its members will play a role in the upcoming events :
from left to right next to the piano : Pierre Maillard-Verger, Elsa Barraine, Yvonne Desportes, Tony Aubin, Pierre Revel, Georges Favre, Paul Dukas, René Duclos, Georges Hugon, Maurice Duruflé. Seated on the right : Claude Arrieu, Olivier Messiaen.

The mid-1930s in Paris saw the emergence of two closely-related groups with a membership which overlapped : La Spirale and La Jeune France. La Spirale was founded in 1935 under the leadership of Georges Migot; its other committee members were Paul Le Flem, his pupil André Jolivet, Edouard Sciortino, Claire Delbos, her husband Olivier Messiaen, Daniel-Lesur and Jules Le Febvre. The common link between almost all of these musicians was their connection with the Schola Cantorum.

On the left : Les Jeunes Musiciens Français : André Jolivet on the Piano. Standing from left to right :
Olivier Messiaen, Yves Baudrier, Daniel-Lesur.

Nigel Simeone wrote this about Messiaen and La Jeune France :
“The extremely original and independent-minded Messiaen had already shown himself to be a rather unexpected enthusiast for joining groups: in December 1932 he wrote to his friend Claude Arrieu about a letter from another musician, Jacques Porte, outlining plans for a new society to be called Les Jeunes Musiciens Français.
Messiaen agreed to become its vice-president, but nothing seems to have come of the project. Six months later, in June 1933, he had a frustrating meeting with Roger Désormière on behalf of the composers he described to Arrieu as ‘les quatre’, all of them Dukas pupils: Elsa Barraine, the recently-deceased Jean Cartan, Arrieu and Messiaen himself; during the early 1930s Messiaen and Arrieu organised concerts featuring all four composers.”

Finally, we’re getting a connection with the Bourbaki group! Norbert Dufourcq mentioned it already in his comment “Messiaen was also a good friend of Jean Cartan (himself a composer, and Henri’s brother)”. Henri Cartan was one of the first Bourbakis and an excellent piano player himself.

The Cartan family picture on the right : standing from left to right, father Elie Cartan (one of the few older French mathematicians respected by the Bourbakis), Henri and his mother Marie-Louise. Seated, the younger children, from left to right : Louis, Helene (who later became a mathematician, herself) and the composer Jean Cartan, who sadly died very young from tuberculoses in 1932…

The december 1934 revolution in French music at the Schola Cantorum, instigated by Messiaen and followers, was the culmination of a process that started a few years before when Jean Cartan was among the circle of revolutionados. Because Messiaen was a fiend of the Cartan family, they surely must have been aware of the events at the Schola (or because it was merely a block away from the ENS), and, the musicians’ revolt may very well have been an example to follow for the first Bourbakis…(?!)

Anyway, we now know the intended meaning of the line “with lemmas sung by the Scholia Cartanorum” on the wedding-invitation. Cartanorum is NOT (as I claimed last time) bad Latin for ‘Cartesiorum’, leading to Descartes and the Saint-Germain-des-Pres church, but is in fact passable Latin (plur. gen.) of CARTAN(us), whence the translation “with lemmas sung by the school of the Cartans”. There’s possibly a double pun intended here : first, a reference to (father) Cartan’s lemma and, of course, to La Schola where the musical Cartan-family felt at home.

Fine, but does this brings us any closer to the intended place of the Bourbaki-Petard wedding? Well, let’s reconsider the hidden ‘clues’ we discovered last time : the phrase “They will receive the trivial isomorphism from P. Adic, of the Order of the Diophantines” might suggest that the church belongs to a a religious order and is perhaps an abbey- or convent-church and the phrase “the organ will be played by Monsieur Modulo” requires us to identify this mysterious Mister Modulo, because Norbert Dufourcq rightfully observed :

“note however that in 1939, it wasn’t as common to have a friend-organist perform at a wedding as it is today: the appointed organists, especially at prestigious Paris positions, were much less likely to accept someone play in their stead.”

The history of La Schola Cantorum reveals something that might have amused Frank Smithies (remember he was one of the wedding-invitation-composers) : the Schola is located in the Convent(!) of the Brittish Benedictines…

In 1640 some Benedictine monks, on the run after the religious schism in Britain, found safety in Paris under the protection of Cardinal Richelieu and Anne of Austria at Val-de-Grace, where the Schola is now housed.

As is the case with most convents, the convent of the Brittish Benedictines did have its own convent church, now called l’église royale Notre-Dame du Val-de-Grâce (remember that one of the possible interpretations for “of the universal variety” was that the name of the church would be “Notre-Dame”…).

This church is presently used as the concert hall of La Schola and is famous for its … musical organ : “In 1853, Aristide Cavaillé-Coll installed a new organ in the Church of Sainte-geneviève which had been restored in its rôle as a place of worship by Prince President Louis-Napoléon. In 1885, upon the decision of President Jules Grévy, this church once again became the Pantheon and, six years later, according to an understanding between the War and Public Works Departments, the organ was transferred to the Val-de-Grâce, under the supervision of the organ builder Merklin. Beforehand, the last time it was heard in the Pantheon must have been for the funeral service of Victor Hugo.
In 1927, a raising was carried out by the builder Paul-Marie Koenig, and the inaugural concert was given by André Marchal and Achille Philippe, the church’s organist. Added to the register of historic monument in 1979, Val-de-Grâce’s “ little great organ ”, as Cavaillé-Coll called it, was restored in 1993 by the organ builders François Delangue and Bernard Hurvy.
The organ of Val-de-Grâce is one the rare parisian surviving witnesses of the art of Aristide Cavaillé-Coll, an instrument that escaped abusive and definitive transformations or modernizations. This explain why, in spite of its relatively modest scale, this organ enjoys quite a reputation, and this, as far as the United States.”

By why would the Val-de-Grace organiste at the time Achille Philip, “organiste titulaire du Val-de-Grâce de 1903 à 1950 et professeur d’orgue et d’harmonie à la Schola Cantorum de 1904 à 1950”, be called ‘Mister Modulo’ in the wedding-invitations line “L’orgue sera tenu par Monsieur Modulo”???

Again, the late Norbert Dufourcq comes to our rescue, proposing a good candidate for ‘Monsieur Modulo’ : “As for “modulo”, note that the organist at Notre-Dame at that time, Léonce de Saint-Martin, was also the composer of a “Suite Cyclique”, though I admit that this is just wordplay: there is nothing “modular” about this work. Maybe a more serious candidate would be Olivier Messiaen (who was organist at the Église de la Trinité): his “modes à transposition limitée” are really about Z/12Z→Z/3Z and Z/12Z→Z/4Z. “

Messiaen’s ‘Modes of limited transposition’ were compiled in his book ‘Technique de mon langage musical’. This book was published in Paris by Leduc, as late as 1944, 5 years after the wedding-invitation.

Still, several earlier works of Messiaen used these schemes, most notably La Nativité du Seigneur, composed in 1935 : “The work is one of the earliest to feature elements that were to become key to Messiaen’s later compositions, such as the extensive use of the composer’s own modes of limited transposition, as well as influence from birdsong, and the meters and rhythms of Ancient Greek and traditional Indian music.”

More details on Messiaen’s modes and their connection to modular arithmetic can be found in the study Implementing Modality in Algorithmic Composition by Vincent Joseph Manzo.

Hence, Messiaen is a suitable candidate for the title ‘Monsieur Modulo’, but would he be able to play the Val-de-Grace organ while not being the resident organist?

Remember, the Val-de-Grace church was the concert hall of La Schola, and its musical organ the instrument of choice for the relevant courses. Now … Olivier Messiaen taught at the Schola Cantorum and the École Normale de Musique from 1936 till 1939. So, at the time of the Bourbaki-Petard wedding he would certainly be allowed to play the Cavaillé-Coll organ.

Perhaps we got it right, the second time around : the Bourbaki-Pétard wedding was held on June 3rd 1939 in the church ‘l’église royale Notre-Dame du Val-de-Grâce’ at 12h?

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