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使用者:Jiewei Xiong/沙盒

維基百科，自由的百科全書
奧利維埃·梅西安
Olivier Messiaen
一位年長的男子，頭髮稀疏且向後梳，穿著西裝。他面向鏡頭。
1986年的梅西安
出生(1908-12-10)1908年12月10日
 法國亞維農
逝世1992年4月27日(1992歲—04—27)（83歲）
 法國克利希
知名作品奧利維埃·梅西安作品列表（英語：List of compositions by Olivier Messiaen）
配偶

奧利維耶·歐仁·普羅斯佩爾·查爾斯·梅西安（法語：Olivier Eugène Prosper Charles Messiaen，英國 /ˈmɛsiæ̃/,[1] 美國 /mɛˈsjæ̃, meɪˈsjæ̃, mɛˈsjɒ̃/;[2][3][4] 法語發音：[ɔlivje øʒɛn pʁɔspɛʁ ʃaʁl mɛsjɑ̃]；1908年12月10日—1992年4月27日），法國作曲家、管風琴演奏家和鳥類學家。作為20世紀主要作曲家之一，他也是傑出的作曲和音樂分析教師。

梅西安11歲進入巴黎音樂學院，師從保羅·杜卡斯、莫里斯·埃曼紐爾、查爾斯-馬里·維多爾和馬塞爾·杜普雷等人學習。1931年，他被任命為巴黎聖三一教堂的管風琴師，在此職位上工作了61年，直到去世。20世紀30年代，他在巴黎聖樂學院任教。1940年法國淪陷後，梅西安在德國戰俘營Stalag VIII-A被囚禁了9個月，在那裡他為監獄中僅有的四種樂器——鋼琴、小提琴、大提琴和單簧管——創作了《時間終結四重奏》。這部作品首次由梅西安和他的獄友們為囚犯和獄卒們演奏。[5]1941年獲釋後不久，梅西安被任命為巴黎音樂學院和聲學教授。1966年，他又被任命為該學院的作曲教授，直到1978年退休前一直擔任這兩個職位。他的許多傑出學生包括揚尼斯·澤納基斯、喬治·班傑明、亞歷山大·戈爾、皮埃爾·布列茲、雅克·赫圖、特里斯坦·穆賴、卡爾海因茨·施托克豪森、捷爾吉·庫爾塔格和伊馮娜·洛里奧，後者成為了他的第二任妻子。

梅西安在聽到某些音樂和弦時會感知到顏色（一種被稱為色聽的現象）；據他說，這些顏色的組合在他的創作過程中很重要。他廣泛旅行，創作了受多種影響啟發的作品，包括日本音樂、猶他州布萊斯峽谷的景觀和聖方濟各·亞西西的生平。他的風格吸收了許多全球音樂影響，如印度尼西亞的甘美蘭（調音打擊樂器在他的管弦樂作品中經常占據突出地位）。他對鳥鳴聲著迷，在世界各地記錄鳥鳴聲，並將鳥鳴聲轉錄融入他的音樂中。

梅西安的音樂在節奏上很複雜。在和聲和旋律方面，他採用了他稱之為「有限移調音階」的系統，這是他從早期作品和即興創作產生的材料系統中抽象出來的。他為室內樂團和管弦樂團、聲樂、獨奏管風琴和鋼琴創作音樂，並嘗試使用他一生中在歐洲開發的新型電子樂器。在短暫的一段時間裡，他嘗試了與「全序列主義」相關的參數化，在這個領域他經常被視為創新者。他對色彩的創新使用、他對時間與音樂關係的構想以及他對鳥鳴聲的運用是使梅西安音樂與眾不同的特徵之一。

生平

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青年和學習時期

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一張攝影室肖像。一位年輕男子站立，雙臂交叉；他有深色頭髮，穿著愛德華時代的深色西裝，白色圓領襯衫和深色領帶。在他右側，一位年輕女子坐在木凳上；她有中等長度的深色頭髮，穿著白色襯衫和長白裙。她懷抱著一個金髮小男孩，小男孩穿著一件帶有喇叭裙襬的淺色長袍，頸部有刺繡，腳上穿著深色靴子和短襪。他右手握著一根手杖。在他腳邊，一個空的油漆罐側躺在地上。背景是古典浪漫主義風格的柱廊和雲彩。
1910年的梅西安與他的父母

奧利維耶·歐仁·普羅斯佩爾·查爾斯·梅西安[6]於1908年12月10日出生在法國阿維尼翁的西克斯特-伊斯納德大街20號，出身於一個文學世家。[7]他是詩人塞西爾·安妮·瑪麗·安托瓦內特·索瓦奇和英語學者兼教師皮埃爾·萊昂·約瑟夫·梅西安的長子，父親來自韋爾維克-蘇德附近的一個農場[8]，也曾將威廉·莎士比亞的戲劇翻譯為法語。[9]梅西安的母親出版了一系列詩歌《萌芽的靈魂》，這是《當地球轉動時》的最後一章，詩中提到了她未出生的兒子。梅西安後來說這些詩深深地影響了他，並稱之為預言了他未來的藝術生涯。[10]他的弟弟阿蘭·安德烈·普羅斯佩爾·梅西安比他小四歲，後來成為一名詩人。

第一次世界大戰爆發時，皮埃爾參軍，塞西爾帶著兩個兒子去格勒諾布爾與她的兄弟同住。在那裡，梅西安對戲劇著迷，經常給弟弟朗誦莎士比亞的作品。他們自製的玩具劇院使用玻璃紙包裝做成的半透明背景。[11]這時他也皈依了羅馬天主教。後來，梅西安最喜歡待在多芬內的阿爾卑斯山，他在格勒諾布爾南部建造了一座房子。他大部分音樂作品都是在那裡創作的。[12]

梅西安開始學習鋼琴課程，此前他已經自學了彈奏。他對法國作曲家克勞德·德彪西和莫里斯·拉威爾的近期作品很感興趣，聖誕節時他會要求歌劇聲樂譜作為禮物。[13]他還攢錢買樂譜，包括愛德華·格里格的《培爾·金特》，他說「美麗的挪威旋律線帶有民歌的味道……讓我愛上了旋律」。[14]大約在這個時候，他開始作曲。

1918年，他的父親從戰爭中歸來，全家搬到了南特。梅西安繼續上音樂課；他的一位老師讓安·德·吉邦給了他德彪西歌劇《佩利亞斯與梅麗桑德》的樂譜，梅西安稱之為「一道霹靂」和「可能對我影響最大的作品」。[15]次年，他的父親在巴黎索邦大學獲得了一個教職。1919年，11歲的奧利維耶進入了巴黎音樂學院。[16]

一群由十位年輕男子和三位年輕女子組成的人，穿著20世紀早期的服裝，圍繞著一位頭髮和鬍鬚已經灰白的老年男子。在右側，一些人俯身在一張桌子上，桌上攤開著樂譜。
1929年巴黎音樂學院保羅·杜卡的作曲課。梅西安坐在最右邊；杜卡站在中央。

梅西安在音樂學院取得了優異的學習成績。1924年，15歲的他在讓·加隆教授的和聲課上獲得了二等獎。1925年，他在鋼琴伴奏中獲得一等獎，1926年在賦格中獲得一等獎。在跟隨莫里斯·埃曼紐爾學習後，他在1928年獲得音樂史二等獎。[17]埃曼紐爾的榜樣激發了他對古希臘節奏和異國情調音階的興趣。[18]在展示了鋼琴即興演奏技巧後，梅西安跟隨馬塞爾·杜普雷學習管風琴。[19]1929年，他在管風琴演奏和即興創作中獲得一等獎。[18]在跟隨查爾斯-馬里·維多爾學習作曲一年後，1927年秋天，他進入了新任命的保羅·杜卡斯的班級。就在課程開始前不久，梅西安的母親因肺結核去世。[20]儘管悲傷，他還是恢復了學習，並在1930年獲得作曲一等獎。[18]

在學生時代，他創作了他的第一批出版作品——八首鋼琴前奏曲（較早的《天國的宴席》後來出版）。這些作品展示了梅西安對有限移調音階和回文節奏（梅西安稱之為不可逆節奏）的運用。他的官方首秀是1931年的管弦樂組曲《被遺忘的奉獻》。那年他第一次聽到甘美蘭樂團的演奏，激發了他對使用調音打擊樂器的興趣。[21]

聖三一教堂、青年法蘭西和梅西安的戰爭時期

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一座19世紀法國風格的教堂，由淺色石材建造。教堂中央有一座圓頂塔樓，左右兩側各有一座較小的塔樓略微後置。
巴黎聖三一教堂，梅西安在此擔任正式管風琴師長達61年

1927年秋，梅西安加入了杜普雷的管風琴課程。杜普雷後來寫道，梅西安從未見過管風琴控制台，靜靜地坐了一個小時聽杜普雷解釋和演示這種樂器，一周後回來演奏約翰·塞巴斯蒂安·巴赫的C小調幻想曲，達到了令人印象深刻的水平。[22]從1929年起，梅西安經常在聖三一教堂代替身體欠佳的查爾斯·奎夫演奏。1931年奎夫去世後，這個職位空缺，杜普雷、查爾斯·圖爾內米爾和維多爾等人支持梅西安的候選資格。他的正式申請包括維多爾的推薦信。1931年，他獲得了這個職位[23]，並在這個教堂擔任管風琴師超過60年。[24]20世紀30年代初，他還在巴黎聖樂學院任職。[25]1932年，他為管風琴創作了《永恆教會的顯現》。[26]

與克萊爾·德爾博斯

同年，他與小提琴家和作曲家克萊爾·德爾博斯（維克多·德爾博斯的女兒）結婚。他們的婚姻激發了他創作作品讓她演奏（他們結婚那年創作了《小提琴與鋼琴的主題與變奏》），也創作了慶祝他們家庭幸福的作品，包括1936年的歌曲套曲《獻給Mi的詩》，1937年他為其配器。Mi是梅西安對妻子的暱稱。[27]1937年7月14日，梅西安的兒子帕斯卡·埃曼紐爾出生；梅西安創作《地與天之歌》來慶祝這一時刻。[28]這段婚姻在二戰末期變得悲劇性，德爾博斯在一次手術後失去了記憶。她餘生都在精神病院度過。[29]

1934年，梅西安發表了他的第一部重要管風琴作品《主的誕生》。四年後，他創作了後續作品《光榮的身體》，於1945年首演。

1936年，梅西安與安德烈·約利韋、丹尼爾·勒蘇爾和伊夫·博德里埃組成了「青年法蘭西」群體。他們的宣言暗中抨擊了當時巴黎音樂界盛行的輕浮風氣，拒絕了讓·考克多1918年的《公雞與小丑》，主張「有真誠、慷慨和藝術良知動力的活生生的音樂」。[30]梅西安的職業生涯很快脫離了這個論戰階段。

1937年，為回應巴黎博覽會期間塞納河上燈光水景表演的委託，梅西安展示了他對使用電子樂器馬特諾琴的興趣，為六重奏創作了《美水之慶》。[31]在隨後的幾部作品中，他都包含了這種樂器的部分。[32]

阿爾古工作室（英語：Studio Harcourt）1937年拍攝的梅西安肖像

在這段時期，他創作了幾部多樂章的管風琴作品。他將自己的管弦樂組曲《升天》改編為管風琴曲，用全新的樂章《靈魂在基督的榮耀面前的歡欣》替換了管弦樂版的第三樂章。[33]他還創作了大型套曲《主的誕生》和《光榮的身體》。[34]

第二次世界大戰爆發時，梅西安被徵召入法國軍隊。由於視力不佳，他被編入醫療輔助部門而非戰鬥部隊。[35]他在凡爾登被俘，在那裡結識了單簧管演奏家亨利·阿科卡；1940年5月，他們被帶到格利茨，被關押在Stalag VIII-A戰俘營。他在戰俘中遇到了一位大提琴手（艾蒂安·帕斯基耶）和一位小提琴手（讓·勒·布萊爾）。他為他們創作了一部三重奏，後來逐漸將其融入一部更宏大的新作品《時間終結四重奏》。[5]在一位友好的德國警衛卡爾-阿爾伯特·布呂爾的幫助下，他獲得了稿紙和鉛筆。[36]這部作品於1941年1月首次在戰俘和警衛面前演出，作曲家在嚴寒中彈奏一架保養不善的立式鋼琴，三重奏使用的是二手的破舊樂器。[37]戰俘營生活強制的內省和反思結出了20世紀古典音樂公認的傑作之一。標題中的「時間終結」暗指啟示錄，也指梅西安通過節奏和和聲使用時間的方式，這與他的前輩和同時代人完全不同。[38]

2004年12月，在Stalag VIII-A戰俘營遺址建立一個名為「梅西安音樂會議點」的歐洲教育文化中心的想法應運而生，這個中心面向兒童、青少年、藝術家、音樂家和該地區的所有人。在梅西安遺孀的參與下，這個項目作為德國和波蘭兩國議會區的聯合項目得到發展，並於2014年完工。[39]

特里斯坦和序列主義

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1941年5月，在很大程度上由於他的朋友和老師馬塞爾·杜普雷的勸說，梅西安從格利茨獲釋。此時已成為家喻戶曉的人物的梅西安被任命為巴黎音樂學院的和聲學教授，他在那裡教學直到1978年退休。[40]1944年，他編寫並出版了《我的音樂語言技巧》，其中引用了許多他自己音樂的例子，特別是四重奏。[41]儘管他只有三十多歲，但他的學生們形容他是一位傑出的教師。[42]他的早期學生中包括作曲家皮埃爾·布列茲和卡雷爾·霍伊瓦爾茨。其他學生包括1952年的卡爾海因茨·施托克豪森，1956-57年的亞歷山大·戈爾，1962-63年的雅克·赫圖，1967-72年的特里斯坦·穆賴，以及70年代末的喬治·班傑明。[43]1951年，希臘作曲家揚尼斯·澤納基斯被介紹給他；梅西安敦促澤納基斯在音樂中利用他的數學和建築背景。[44]

1943年，梅西安為伊馮娜·洛里奧和自己演奏創作了雙鋼琴曲《阿門的視象》。不久之後，他為她創作了巨大的獨奏鋼琴套曲《二十次注視嬰兒耶穌》。[45]同樣為洛里奧創作的還有女聲合唱團和管弦樂隊的《神聖臨在的三個小禮儀》，其中包含一個難度很高的鋼琴獨奏部分。[46]

Two years after Visions de l'Amen, Messiaen composed the song cycle Harawi, the first of three works inspired by the legend of Tristan and Isolde. The second of these works about human (as opposed to divine) love was the result of a commission from Serge Koussevitzky. Messiaen said the commission did not specify the length of the work or the size of the orchestra. This was the ten-movement Turangalîla-Symphonie. It is not a conventional symphony, but rather an extended meditation on the joy of human union and love. It does not contain the sexual guilt inherent in Richard Wagner's Tristan und Isolde because Messiaen believed sexual love to be a divine gift.[35] The third piece inspired by the Tristan myth was Cinq rechants for 12 unaccompanied singers, described by Messiaen as influenced by the alba of the troubadours.[47] Messiaen visited the United States in 1949, where his music was conducted by Koussevitsky and Leopold Stokowski. His Turangalîla-Symphonie was first performed in the US the same year, conducted by Leonard Bernstein.[48]

Messiaen taught an analysis class at the Paris Conservatoire. In 1947 he taught (and performed with Loriod) for two weeks in Budapest.[49] In 1949 he taught at Tanglewood[50] and presented his work at the Darmstadt new music summer school.[51] While he did not employ the twelve-tone technique, after three years teaching analysis of twelve-tone scores, including works by Arnold Schoenberg, he experimented with ways of making scales of other elements (including duration, articulation and dynamics) analogous to the chromatic pitch scale. The results of these innovations was the "Mode de valeurs et d'intensités" for piano (from the Quatre études de rythme)[52] which has been misleadingly described as the first work of "total serialism". It had a large influence on the earliest European serial composers, including Boulez and Stockhausen.[53] During this period he also experimented with musique concrète, music for recorded sounds.[54]

Birdsong and the 1960s

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When in 1952 Messiaen was asked to provide a test piece for flautists at the Paris Conservatoire, he composed the piece Le Merle noir for flute and piano. While he had long been fascinated by birdsong, and birds had made appearances in several of his earlier works (for example La Nativité, Quatuor and Vingt regards), the flute piece was based entirely on the song of the blackbird.[55]

He took this development to a new level with his 1953 orchestral work Réveil des oiseaux—its material consists almost entirely of the birdsong one might hear between midnight and noon in the Jura.[56] From this period onward, Messiaen incorporated birdsong into his compositions and composed several works for which birds provide both the title and subject matter (for example the collection of 13 piano pieces Catalogue d'oiseaux completed in 1958, and La fauvette des jardins of 1971).[57] Paul Griffiths observed that Messiaen was a more conscientious ornithologist than any previous composer, and a more musical observer of birdsong than any previous ornithologist.[58]

Piano teacher sitting left of a student at a great piano
Yvonne Loriod teaching piano (1982)

Messiaen's first wife died in 1959 after a long illness, and in 1961 he married Loriod.[59] He began to travel widely, to attend musical events and to seek out and transcribe the songs of more exotic birds in the wild. Despite this, he spoke only French. Loriod frequently assisted her husband's detailed studies of birdsong while walking with him, by making tape recordings for later reference.[60] In 1962 he visited Japan, where Gagaku music and Noh theatre inspired the orchestral "Japanese sketches", Sept haïkaï, which contain stylised imitations of traditional Japanese instruments.[61]

Messiaen's music was by this time championed by, among others, Boulez, who programmed first performances at his Domaine musical concerts and the Donaueschingen festival.[62] Works performed included Réveil des oiseaux, Chronochromie (commissioned for the 1960 festival), and Couleurs de la cité céleste. The latter piece was the result of a commission for a composition for three trombones and three xylophones; Messiaen added to this more brass, wind, percussion and piano, and specified a xylophone, xylorimba and marimba rather than three xylophones.[63] Another work of this period, Et exspecto resurrectionem mortuorum, was commissioned as a commemoration of the dead of the two World Wars and was performed first semi-privately in the Sainte-Chapelle, then publicly in Chartres Cathedral with Charles de Gaulle in the audience.[64]

His reputation as a composer continued to grow and in 1959, he was nominated as an Officier of the Légion d'honneur.[65] In 1966, he was officially appointed professor of composition at the Paris Conservatoire, although he had in effect been teaching composition for years.[66] Further honours included election to the Institut de France in 1967 and the Académie des Beaux-arts in 1968, the Erasmus Prize in 1971, the award of the Royal Philharmonic Society Gold Medal and the Ernst von Siemens Music Prize in 1975, the Sonning Award (Denmark's highest musical honour) in 1977, the Wolf Prize in Arts in 1982, and the presentation of the Croix de Commander of the Belgian Order of the Crown in 1980.[67]

Transfiguration, Canyons, St. Francis, and the Beyond

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Messiaen's next work was the large-scale La Transfiguration de Notre Seigneur Jésus-Christ. The composition occupied him from 1965 to 1969 and the musicians employed include a 100-voice ten-part choir, seven solo instruments and large orchestra. Its fourteen movements are a meditation on the story of Christ's Transfiguration.[68] Shortly after its completion, Messiaen received a commission from Alice Tully for a work to celebrate the U.S. bicentennial. He arranged a visit to the U.S. in spring 1972, and was inspired by Bryce Canyon in Utah, where he observed the canyon's distinctive colours and birdsong.[69] The 12-movement orchestral piece Des canyons aux étoiles... was the result, first performed in 1974 in New York.[70]

An ondes Martenot, an electronic instrument, for which Messiaen included a part in several of his compositions: the orchestra for his opera Saint François d'Assise includes three of them

In 1971, he was asked to compose a piece for the Paris Opéra. Reluctant to take on such a major project, he was persuaded by French president Georges Pompidou to accept the commission and began work on Saint-François d'Assise in 1975 after two years of preparation. The composition was intensive (he also wrote his own libretto) and occupied him from 1975 to 1979; the orchestration was carried out from 1979 until 1983.[71] Messiaen preferred to describe the final work as a "spectacle" rather than an opera. It was first performed in 1983. Some commentators at the time thought that the opera would be his valediction (at times Messiaen himself believed so),[72] but he continued to compose. In 1984, he published a major collection of organ pieces, Livre du Saint Sacrement; other works include birdsong pieces for solo piano, and works for piano with orchestra.[73]

In the summer of 1978, Messiaen was forced to retire from teaching at the Paris Conservatoire due to French law. He was promoted to the highest rank of the Légion d'honneur, the Grand-Croix, in 1987, and was awarded the decoration in London by his old friend Jean Langlais.[74] An operation prevented his participation in the celebration of his 70th birthday in 1978,[75] but in 1988 tributes for Messiaen's 80th included a complete performance in London's Royal Festival Hall of St. François, which the composer attended,[76] and Erato's publication of a 17-CD collection of his music, including a disc of Messiaen in conversation with Claude Samuel.[77]

Although in considerable pain near the end of his life (requiring repeated surgery on his back),[78] he was able to fulfil a commission from the New York Philharmonic Orchestra, Éclairs sur l'au-delà..., which premièred six months after his death. He died in the Beaujon Hospital in Clichy on 27 April 1992, aged 83.[79]

On going through his papers, Loriod discovered that, in the last months of his life, he had been composing a concerto for four musicians he felt particularly grateful to: herself, the cellist Mstislav Rostropovich, the oboist Heinz Holliger and the flautist Catherine Cantin[80] (hence the title Concert à quatre). Four of the five intended movements were substantially complete; Loriod undertook the orchestration of the second half of the first movement and of the whole of the fourth with advice from George Benjamin. It was premiered by the dedicatees in September 1994.[81]

Music

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參見：List of compositions by Olivier Messiaen
A page from a printed musical score. The tempo marking is "Presque vif", and the orchestration is for wind, strings and percussion instruments.
Example 1. A page from Oiseaux exotiques. It illustrates Messiaen's use of ancient and exotic rhythms (in the percussion near the bottom of the score "Asclepiad" and "Sapphic" are ancient Greek rhythms, and Nibçankalîla is a decî-tâla from Śārṅgadeva). It also illustrates Messiaen's precision in notating birdsong: the birds identified here are the white-crested laughing thrush (garralaxe à huppe blanche) in the brass and wind instruments, and the orchard oriole (troupiale des vergers) played on the xylophone.

Messiaen's music has been described as outside the western musical tradition, although growing out of that tradition and being influenced by it.[82] Much of his output denies the western conventions of forward motion, development and diatonic harmonic resolution. This is partly due to the symmetries of his technique—for instance the modes of limited transposition do not admit the conventional cadences found in western classical music.[83]

"[Messiaen's youthful] fascination with Shakespeare's depiction of human passion and with his magical world also influenced the composer's later works."[84] Messiaen was not interested in depicting aspects of theology such as sin;[85] rather he concentrated on the theology of joy, divine love and redemption.[86]

Messiaen continually evolved new composition techniques, always integrating them into his existing musical style; his final works still retain the use of modes of limited transposition.[83] For many commentators this continual development made every major work from the Quatuor onwards a conscious summation of all that Messiaen had composed up to that time. But very few of these works lack new technical ideas—simple examples being the introduction of communicable language in Meditations, the invention of a new percussion instrument (the geophone) for Des canyons aux etoiles..., and the freedom from any synchronisation with the main pulse of individual parts in certain birdsong episodes of St. François d'Assise.[87]

As well as discovering new techniques, Messiaen studied and absorbed foreign music, including Ancient Greek rhythms,[18] Hindu rhythms (he encountered Śārṅgadeva's list of 120 rhythmic units, the deçî-tâlas),[88] Balinese and Javanese Gamelan, birdsong, and Japanese music (see Example 1 for an instance of his use of ancient Greek and Hindu rhythms).[89]

While he was instrumental in the academic exploration of his techniques (he compiled two treatises; the second, in five volumes, was substantially complete when he died and was published posthumously), and was a master of music analysis, he considered the development and study of techniques a means to intellectual, aesthetic, and emotional ends. Thus Messiaen maintained that a musical composition must be measured against three separate criteria: it must be interesting, beautiful to listen to, and touch the listener.[90]

Messiaen wrote a large body of music for the piano. Although a considerable pianist himself, he was undoubtedly assisted by Loriod's formidable technique and ability to convey complex rhythms and rhythmic combinations; in his piano writing from Visions de l'Amen onward he had her in mind. Messiaen said, "I am able to allow myself the greatest eccentricities because to her anything is possible."[91]

Western influences

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Developments in modern French music were a major influence on Messiaen, particularly the music of Debussy and his use of the whole-tone scale (which Messiaen called Mode 1 in his modes of limited transposition). Messiaen rarely used the whole-tone scale in his compositions because, he said, after Debussy and Dukas there was "nothing to add",[92] but the modes he did use are similarly symmetrical.

Messiaen had a great admiration for the music of Igor Stravinsky, particularly the use of rhythm in earlier works such as The Rite of Spring, and his use of orchestral colour. He was further influenced by the orchestral brilliance of Heitor Villa-Lobos, who lived in Paris in the 1920s and gave acclaimed concerts there. Among composers for the keyboard, Messiaen singled out Jean-Philippe Rameau, Domenico Scarlatti, Frédéric Chopin, Debussy, and Isaac Albéniz.[91] He loved the music of Modest Mussorgsky and incorporated varied modifications of what he called the "M-shaped" melodic motif from Mussorgsky's Boris Godunov,[92] although he modified the final interval from a perfect fourth to a tritone (Example 3).[93]

Messiaen was further influenced by Surrealism, as seen in the titles of some of the piano Préludes (Un reflet dans le vent..., "A reflection in the wind")[94] and in some of the imagery of his poetry (he published poems as prefaces to certain works, for example Les offrandes oubliées).[95]

Colour

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Colour lies at the heart of Messiaen's music. He believed that terms such as "tonal", "modal" and "serial" are misleading analytical conveniences.[96] For him there were no modal, tonal or serial compositions, only music with or without colour.[97] He said that Monteverdi, Mozart, Chopin, Wagner, Mussorgsky, and Stravinsky all wrote strongly coloured music.[98]

In some of Messiaen's scores, he notated the colours in the music (notably in Couleurs de la cité céleste and Des canyons aux étoiles...)—the purpose being to aid the conductor in interpretation rather than to specify which colours the listener should experience. The importance of colour is linked to Messiaen's synaesthesia, which caused him to experience colours when he heard or imagined music (his form of synaesthesia, the most common form, involved experiencing the associated colours in a non-visual form rather than perceiving them visually). In his multi-volume music theory treatise Traité de rythme, de couleur, et d'ornithologie ("Treatise of Rhythm, Colour and Birdsong"), Messiaen wrote descriptions of the colours of certain chords. His descriptions range from the simple ("gold and brown") to the highly detailed ("blue-violet rocks, speckled with little grey cubes, cobalt blue, deep Prussian blue, highlighted by a bit of violet-purple, gold, red, ruby, and stars of mauve, black and white. Blue-violet is dominant").[99][100]

When asked what Messiaen's main influence had been on composers, George Benjamin said, "I think the sheer ... colour has been so influential, ... rather than being a decorative element, [Messiaen showed that colour] could be a structural, a fundamental element, ... the fundamental material of the music itself."[101]

Symmetry

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Many of Messiaen's composition techniques made use of symmetries of time and pitch.[102]

Time

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A fragment of printed piano music in 3/4 time, the upper stave is marked "ppp" and "expressif", the lower is marked "mf".
Example 2. The first bar of the piano Prélude, Instants défunts. An early example of Messiaen's use of palindromic rhythms (which he called non-retrogradable rhythms).

From his earliest works, Messiaen used non-retrogradable (palindromic) rhythms (Example 2). He sometimes combined rhythms with harmonic sequences in such a way that, if the process were repeated indefinitely, the music would eventually run through all possible permutations and return to its starting point. For Messiaen, this represented the "charm of impossibilities" of these processes. He only ever presented a portion of any such process, as if allowing the informed listener a glimpse of something eternal. In the first movement of Quatuor pour la fin du temps the piano and cello together provide an early example.[103]

Pitch

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Messiaen used modes he called modes of limited transposition.[83] They are distinguished as groups of notes that can only be transposed by a semitone a limited number of times. For example, the whole-tone scale (Messiaen's Mode 1) exists in only two transpositions: C–D–E–F♯–G♯–A♯ and D♭–E♭–F–G–A–B. Messiaen abstracted these modes from the harmony of his improvisations and early works.[104] Music written using the modes avoids conventional diatonic harmonic progressions, since for example Messiaen's Mode 2 (identical to the octatonic scale used by other composers) permits precisely the dominant seventh chords whose tonic the mode does not contain.[105]

Time and rhythm

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A fragment of printed music, with one stave and no notations.
Example 3. An excerpt from Danse de la fureur, pour les sept trompettes from Quatuor pour la fin du temps. It illustrates Messiaen's use of additive rhythms—in this example the addition of unpaired semiquavers (sixteenth notes) to an underlying quaver (eighth note) pulse and the lengthening of the final quaver by addition of a dot. It illustrates the use of what Messiaen called the Boris M-shaped motif (the last five notes of the excerpt).

As well as making use of non-retrogradable rhythms and the Hindu decî-tâlas, Messiaen also composed with "additive" rhythms. This involves lengthening individual notes slightly or interpolating a short note into an otherwise regular rhythm (see Example 3), or shortening or lengthening every note of a rhythm by the same duration (adding a semiquaver to every note in a rhythm on its repeat, for example).[106] This led Messiaen to use rhythmic cells that irregularly alternate between two and three units, a process that also occurs in Stravinsky's The Rite of Spring, which Messiaen admired.[107]

A factor that contributes to Messiaen's suspension of the conventional perception of time in his music is the extremely slow tempos he often specifies (the fifth movement Louange à l'eternité de Jésus of Quatuor is actually given the tempo marking infiniment lent).[108] Messiaen also used the concept of "chromatic durations", for example in his Soixante-quatre durées from Livre d'orgue (listenⓘ), which is built from, in Messiaen's words, "64 chromatic durations from 1 to 64 demisemiquavers [thirty-second notes]—invested in groups of 4, from the ends to the centre, forwards and backwards alternately—treated as a retrograde canon. The whole peopled with birdsong."[109]

Harmony

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A fragment of printed piano music, labelled with the French word Loriot. The music is marked Bien modéré with a tempo of 100 quaver (quarter-note) beats per minute, "san sourd" on the upper stave and "coulé, doré" on the lower.
Example 4. The song of the golden oriole from Le loriot, part of Catalogue d'oiseaux. The birdsong played by the pianist's left hand (notated on the lower staff) provides the fundamental notes, and the quieter harmonies played by the right hand alter their timbre.

In addition to making harmonic use of the modes of limited transposition, Messiaen cited the harmonic series as a physical phenomenon that gives chords a context he felt was missing in purely serial music.[110] An example of Messiaen's use of this phenomenon, which he called "resonance", is the last two bars of his first piano Prélude, La colombe ("The dove"): the chord is built from harmonics of the fundamental note E.[111]

Messiaen also composed music in which the lowest, or fundamental, note is combined with higher notes or chords played much more quietly. These higher notes, far from being perceived as conventional harmony, function as harmonics that alter the timbre of the fundamental note like mixture stops on a pipe organ.[112] An example is the song of the golden oriole in Le loriot of the Catalogue d'oiseaux for solo piano (Example 4).

In his use of conventional diatonic chords, Messiaen often transcended their historical connotations (for example, with his frequent use of the added sixth chord as a resolution).[113]

Birdsong

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A small bird sitting on a tree branch with a few leaves. The underneath of the bird is light coloured, the back and wings dark brown. The beak is dark brown.
The garden warbler provided the title and much of the material for Messiaen's La fauvette des jardins.

Birdsong fascinated Messiaen from an early age, and in this he found encouragement from Dukas, who reportedly urged his pupils to "listen to the birds". Messiaen included stylised birdsong in some of his early compositions (including L'abîme d'oiseaux from the Quatuor pour la fin du temps), integrating it into his sound-world by techniques like the modes of limited transposition and chord colouration. His evocations of birdsong became increasingly sophisticated, and with Le réveil des oiseaux this process reached maturity, the whole piece being built from birdsong: in effect it is a dawn chorus for orchestra. The same can be said for "Epode", the five-minute sixth movement of Chronochromie, which is scored for 18 violins, each playing a different birdsong. Messiaen notated the bird species with the music in the score (examples 1 and 4). The pieces are not simple transcriptions; even the works with purely bird-inspired titles, such as Catalogue d'oiseaux and Fauvette des jardins, are tone poems evoking the landscape, its colours and atmosphere.[114]

Serialism

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For a few compositions, Messiaen created scales for duration, attack and timbre analogous to the chromatic pitch scale. He expressed annoyance at the historical importance given to one of these works, Mode de valeurs et d'intensités, by musicologists intent on crediting him with the invention of "total serialism".[90]

Messiaen later introduced what he called a "communicable language", a "musical alphabet" to encode sentences. He first used this technique in his Méditations sur le Mystère de la Sainte Trinité for organ; where the "alphabet" includes motifs for the concepts to have, to be and God, while the sentences encoded feature sections from the writings of St. Thomas Aquinas.[115]

Writings

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See also

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Notes

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  1. ^ Messiaen, Olivier. Lexico UK English Dictionary. Oxford University Press. [失效連結]
  2. ^ Messiaen. The American Heritage Dictionary of the English Language 5th. Boston: Houghton Mifflin Harcourt. [18 August 2019]. 
  3. ^ Messiaen. Collins English Dictionary. HarperCollins. [18 August 2019]. 
  4. ^ Messiaen. Merriam-Webster Dictionary. [18 August 2019]. 
  5. ^ 5.0 5.1 Brown, Kellie D. The sound of hope: Music as solace, resistance and salvation during the holocaust and world war II. McFarland. 2020: 168–175. ISBN 978-1-4766-7056-0. 
  6. ^ Avignon Civil Records. Olivier Eugène Prosper Charles Messiaen's birth certificate (PDF). 
  7. ^ Dingle (2007), p. 3
  8. ^ Visions of Amen: The Early Life and Music of Olivier Messiaen, Stephen Schloesser
  9. ^ Hill & Simeone (2005), pp. 10–14
  10. ^ Messiaen & Samuel (1994), p. 15
  11. ^ Messiaen & Samuel (1994), p. 41
  12. ^ Hill (1995), pp. 300–301
  13. ^ Messiaen & Samuel (1994), p. 109
  14. ^ Christopher Dingle, The Life of Messiaen (London: Cambridge University Press, 2007), 7.
  15. ^ Messiaen & Samuel (1994), p. 110
  16. ^ Hill & Simeone (2005), p. 16
  17. ^ Hill & Simeone (2005), pp. 16–17
  18. ^ 18.0 18.1 18.2 18.3 Sherlaw Johnson (1975), p. 10
  19. ^ Bannister (2013), p. 171
  20. ^ Hill & Simeone (2005), p. 20
  21. ^ For further discussion of Messiaen's youth, see, generally, Hill & Simeone (2005)
  22. ^ Hill & Simeone (2005), p. 22
  23. ^ Hill & Simeone (2005), pp. 34–37
  24. ^ Heller (2010), p. 68
  25. ^ Dingle (2007), p. 45
  26. ^ Gillock (2009), p. 32
  27. ^ Sherlaw Johnson (1975), pp. 56–57
  28. ^ Gillock (2009), p. 381
  29. ^ Yvonne Loriod, in Hill (1995), p. 294
  30. ^ From the programme for the opening concert of La jeune France, quoted in Griffiths (1985), p. 72
  31. ^ Hill & Simeone (2005), pp. 73–75
  32. ^ Dingle (2013), p. 34
  33. ^ Benitez (2008), p. 288
  34. ^ Hill & Simeone (2005), p. 115
  35. ^ 35.0 35.1 Griffiths (1985), p. 139
  36. ^ Ross, Alex. The Rest Is Noise: Messiaen's Quartet for the End of Time. The New Yorker. 22 March 2004 [17 May 2012]. 
  37. ^ Rischin (2003), p. 5
  38. ^ See extended discussion in Griffiths (1985), Chapter 6: A Technique for the End of Time, particularly pp. 104–106
  39. ^ European Center Memory, Education, Culture. Meetingpoint Music Messiaen e.V. 17 April 2020 [27 May 2020]. 
  40. ^ Benitez (2008), p. 155
  41. ^ Benitez (2008), p. 33
  42. ^ Pierre Boulez in Hill (1995), pp. 266ff
  43. ^ Benitez (2008), p. xiii
  44. ^ Matossian (1986), p. 48
  45. ^ Sherlaw Johnson (1975), pp. 11, 64
  46. ^ Hill & Simeone (2007), p. 21
  47. ^ Griffiths (1985), p. 142
  48. ^ Hill & Simeone (2005), pp. 186–192
  49. ^ Benitez (2008), p. 3
  50. ^ Hill & Simeone (2005), p. 415
  51. ^ Iddon (2013), p. 31
  52. ^ Sherlaw Johnson (1975), p. 104
  53. ^ Sherlaw Johnson (1975), pp. 192–194
  54. ^ Hill & Simeone (2005), p. 198
  55. ^ Dingle (2007), p. 139. For a general discussion of Messiaen's fusion of birdsong and music, see Hill & Simeone (2007)
  56. ^ Hill & Simeone (2007), p. 27
  57. ^ Kraft (2013)
  58. ^ Griffiths (1985), p. 168; see also Kraft (2013)
  59. ^ Benitez (2008), p. 4
  60. ^ Benitez (2008), p. 138
  61. ^ Messiaen's visit to Japan is documented in Hill & Simeone (2005), pp. 245–251, and there is a more technical discussion in Griffiths (1985), pp. 197–200. Malcolm Troup, writing in Hill (1995), additionally notes the direct influence of Noh theatre on aspects of Messiaen's opera St François d'Assise.
  62. ^ Benitez (2008), p. 280
  63. ^ Sherlaw Johnson (1975), p. 166
  64. ^ Simeone (2009), pp. 185–195
  65. ^ Hill & Simeone (2005), p. 245
  66. ^ Hill & Simeone (2005), p. 306
  67. ^ Hill & Simeone (2005), p. 333
  68. ^ Bruhn (2008), pp. 57–96
  69. ^ Griffiths (1985), p. 225
  70. ^ Hill & Simeone (2005), p. 301
  71. ^ Programme for Opéra de la Bastille production of St. François d'Assise, p. 18
  72. ^ The composer in conversation with Jean-Cristophe Marti in 1992, see p. 29 of booklet accompanying the recording of Saint-François d'Assise conducted by Kent Nagano on Deutsche Grammophon/PolyGram 445 176; see also Hill & Simeone (2005), pp. 340 and 342
  73. ^ Dingle (2013)
  74. ^ Hill & Simeone (2005), p. 357
  75. ^ Dingle (2007), p. 207
  76. ^ Hill & Simeone (2005), p. 371
  77. ^ Messiaen Edition. ArkivMusic. [8 September 2013]. （原始內容存檔於4 March 2016）. 
  78. ^ Yvonne Loriod, in Hill (1995), p. 302
  79. ^ Gillock (2009), p. 383
  80. ^ Catherine Cantin, Flutist - MusicalWorld.com. musicalworld.com. [26 June 2018]. （原始內容存檔於4 June 2019）. 
  81. ^ Dingle (2013), pp. 293–310
  82. ^ Griffiths (1985), p. 15
  83. ^ 83.0 83.1 83.2 Griffiths (1985), Introduction
  84. ^ Olivier Messiaen. Schott Music. [8 September 2013]. （原始內容存檔於8 September 2013）. 
  85. ^ Messiaen & Samuel (1994), p. 213
  86. ^ Bruhn, Siglind; Deely, John. Religious Symbolism in the Music of Olivier Messiaen. The American Journal of Semiotics. January 1996, 13 (1): 277–309. doi:10.5840/ajs1996131/412. 
  87. ^ See for instance Griffiths (1985), p. 233, "[Des canyons aux étoiles...] is therefore not so much a synthesis, as has sometimes been suggested, but more a step into the future that also joins the circle with the composer's past."
  88. ^ Messiaen & Samuel (1994), p. 77
  89. ^ Coleman, John. Maestro of Joy. America: the National Catholic Review. 24 November 2008 [8 September 2013]. 
  90. ^ 90.0 90.1 Messiaen & Samuel (1994), p. 47
  91. ^ 91.0 91.1 Messiaen & Samuel (1994), p. 114
  92. ^ 92.0 92.1 Messiaen, Technique de mon langage musical
  93. ^ Bruhn (2008), p. 46
  94. ^ Sherlaw Johnson (1975), p. 26
  95. ^ Sherlaw Johnson (1975), p. 76
  96. ^ Messiaen & Samuel (1994), pp. 49–50
  97. ^ Messiaen & Samuel (1994), p. 63
  98. ^ Messiaen & Samuel (1994), p. 62
  99. ^ See Messiaen, Olivier Traité de rythme, de couleur, et d'ornithologie. See also Bernard, Jonathan W. (1986). "Messiaen's Synaesthesia: The Correspondence between Color and Sound Structure in His Music". Music Perception 4: 41–68.
  100. ^ Fink, Monika. Farb-Klänge und Klang-Farben im Werk von Olivier Messiaen. Music in Art: International Journal for Music Iconography. 2003, 28 (1–2): 163–172. ISSN 1522-7464. 
  101. ^ George Benjamin, speaking in interview with Tommy Pearson, broadcast on BBC4 in the interval of Prom concert in 2004 at which Benjamin conducted a performance of Des canyons aux étoiles... Asked what made Messiaen so influential he said, "I think the sheer—the word he loved—colour has been so influential. People, composers, have found that colour, rather than being a decorative element, could be a structural, a fundamental element. And not colour just in a surface way, not just in the way you orchestrate it—no—the fundamental material of the music itself. More than that I can't say except that for my own small world he was incredibly important, and an exceptionally special and indeed wonderful person. I met him when I was very young (I was 16) and stayed closely in touch with him until he died in 1992, and was immensely fond of him..."
  102. ^ Benitez, Vincent. Reconsidering Messiaen as Serialist. Music Analysis. July 2009, 28 (2–3): 267–299. doi:10.1111/j.1468-2249.2011.00293.x. 
  103. ^ For discussion, see for example Iain G. Matheson's article "The End of Time" in Hill (1995), particularly pp. 237–243
  104. ^ Hill (1995), p. 17
  105. ^ Griffiths (1985), p. 32
  106. ^ Bruhn (2008), pp. 37–49
  107. ^ Dingle & Simeone (2007), p. 48
  108. ^ Pople (1998), p. 82
  109. ^ Quoted by Gillian Weir, who discusses the work in Hill (1995) pp. 364–366
  110. ^ Messiaen & Samuel (1994), pp. 241–242
  111. ^ Griffiths (1985) p. 34
  112. ^ Benitez, Vincent. Aspects of Harmony in Messiaen's Later Music: An Examination of the Chords of Transposed Inversions on the Same Bass Note. Journal of Musicological Research. April 2004, 23 (2): 187–226. S2CID 191492252. doi:10.1080/01411890490449781. 
  113. ^ Bruhn, Siglind. Traces of a Thomistic De musica in the Compositions of Olivier Messiaen. Logos. 2008, 11 (4): 16–56. S2CID 51268362. doi:10.1353/log.0.0015. 
  114. ^ For extensive discussion of the use of birdsong in Messiaen's work, see Kraft (2013).
  115. ^ See, for example, Richard Steinitz in Hill (1995), pp. 466–469
  116. ^ Broad, Stephen. Technique de mon langage musical. Routledge Encyclopedia of Modernism. Taylor & Francis. 2016 [1 December 2021]. doi:10.4324/9781135000356-REM601-1. 

Sources

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Further reading

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  • Baggech, Melody Ann (1998). An English translation of Olivier Messiaen's "Traite de Rythme, de Couleur, et d'Ornithologie". Norman: The University of Oklahoma.
  • Bauer, Dorothee (2023). Olivier Messiaen's Livre du Saint Sacrement Mystery of the Eucharistic Presence. Paderborn: Brill Schöningh, edited and translated by David Vogels
  • Barker, Thomas (2012). "The Social and Aesthetic Situation of Olivier Messiaen's Religious Music: Turangalîla Symphonie". International Review of the Aesthetics and Sociology of Music 43/1:53–70.
  • Benitez, Vincent P. (2000). "A Creative Legacy: Messiaen as Teacher of Analysis". College Music Symposium 40: 117–139.
  • Benitez, Vincent P. (2001). Pitch Organization and Dramatic Design in Saint François d'Assise of Olivier Messiaen. PhD diss., Bloomington: Indiana University.
  • Benitez, Vincent P. (2002). "Simultaneous Contrast and Additive Designs in Olivier Messiaen's Opera Saint François d'Assise" Music Theory Online 8.2 (August 2002).
  • Benitez, Vincent P. (2004). "Aspects of Harmony in Messiaen's Later Music: An Examination of the Chords of Transposed Inversions on the Same Bass Note". Journal of Musicological Research 23, no. 2: 187–226.
  • Benitez, Vincent P. (2004). "Narrating Saint Francis's Spiritual Journey: Referential Pitch Structures and Symbolic Images in Olivier Messiaen's Saint François d'Assise". In Poznan Studies on Opera, edited by Maciej Jablonski, 363–411.
  • Benitez, Vincent P. (2008). "Messiaen as Improviser". Dutch Journal of Music Theory 13, no. 2 (May 2008): 129–144.
  • Benitez, Vincent P. (2009). "Reconsidering Messiaen as Serialist". Music Analysis 28, nos. 2–3 (2009): 267–299 (published 21 April 2011).
  • Benitez, Vincent P. (2010). "Messiaen and Aquinas". In Messiaen the Theologian, edited by Andrew Shenton, 101–126. Aldershot: Ashgate.
  • Benítez, Vincent Pérez (2019). Olivier Messiaen's Opera, Saint François d'Assise. Bloomington, Indiana: Indiana University Press. ISBN 978-0-253-04287-3.
  • Boivin, Jean (1993). La Classe de Messiaen: Historique, reconstitution, impact. Ph.D. diss. Montreal: Ecole Polytechnique, Montreal.
  • Boswell-Kurc, Lilise (2001). Olivier Messiaen's Religious War-Time Works and Their Controversial Reception in France (1941–1946). Ph.D. diss. New York: New York University.
  • Bruhn, Siglind. Messiaen's Contemplations of Covenant and Incarnation: Musical Symbols of Faith in the Two Great Piano Cycles of the 1940s. Hillsdale, New York: Pendragon Press. 2007. ISBN 978-1-57647-129-6. 
  • Burns, Jeffrey Phillips (1995). Messiaen's Modes of Limited Transposition Reconsidered. M.M. thesis, Madison: University of Wisconsin-Madison.
  • Cheong Wai-Ling (2003). "Messiaen's Chord Tables: Ordering the Disordered". Tempo 57, no. 226 (October): 2–10.
  • Cheong Wai-Ling (2008). "Neumes and Greek Rhythms: The Breakthrough in Messiaen's Birdsong". Acta Musicologica 80, no. 1:1–32.
  • Dingle, Christopher (2013). Messiaen's Final Works. Farnham, UK: Ashgate. ISBN 978-0-7546-0633-8.
  • Fallon, Robert Joseph (2005). Messiaen's Mimesis: The Language and Culture of the Bird Styles. Ph.D. diss. Berkeley: University of California, Berkeley.
  • Fallon, Robert (2008). "Birds, Beasts, and Bombs in Messiaen's Cold War Mass". The Journal of Musicology 26, no. 2 (Spring): 175–204.
  • Festa, Paul. Oh My God: Messiaen in the Ear of the Unbeliever. San Francisco: Bar Nothing Books. 2008. 
  • Goléa, Antoine. Rencontres avec Olivier Messiaen. Paris: Julliard. 1960. 
  • Messiaen, Olivier (Eugène Prosper Charles). 新格罗夫音乐与音乐家辞典. Oxford University Press. 
  • Griffiths, Paul; Nichols, Roger. Messiaen, Olivier (Eugène Prosper Charles). Latham, Alison (編). The Oxford Companion to Music需要免費註冊 new. Oxford and New York: Oxford University Press. 2002. ISBN 978-0-19-866212-9 –透過Internet Archive. 
  • Hardink, Jason M. (2007). Messiaen and Plainchant. D.M.A. diss. Houston: Rice University.
  • Harris, Joseph Edward (2004). Musique colorée: Synesthetic Correspondence in the Works of Olivier Messiaen. Ph.D. diss. Ames: The University of Iowa.
  • Hill, Matthew Richard (1995). Messiaen's Regard du silence as an Expression of Catholic Faith. D.M.A. diss. Madison: University of Wisconsin–Madison.
  • Laycock, Gary Eng Yeow (2010). Re-evaluating Olivier Messiaen's Musical Language from 1917 to 1935. Ph.D. diss. Bloomington: Indiana University, 2010.
  • Luchese, Diane (1998). Olivier Messiaen's Slow Music: Glimpses of Eternity in Time. Ph.D. diss. Evanston: Northwestern University
  • McGinnis, Margaret Elizabeth (2003). Playing the Fields: Messiaen, Music, and the Extramusical. Ph.D. diss. Chapel Hill: The University of North Carolina at Chapel Hill.
  • Nelson, David Lowell (1992). An Analysis of Olivier Messiaen's Chant Paraphrases. 2 vols. Ph.D. diss. Evanston: Northwestern University
  • Ngim, Alan Gerald (1997). Olivier Messiaen as a Pianist: A Study of Tempo and Rhythm Based on His Recordings of Visions de l'amen. D.M.A. diss. Coral Gables: University of Miami.
  • Peterson, Larry Wayne (1973). Messiaen and Rhythm: Theory and Practice. Ph.D. diss. Chapel Hill: University of North Carolina at Chapel Hill.
  • Puspita, Amelia (2008). The Influence of Balinese Gamelan on the Music of Olivier Messiaen. D.M.A. diss. Cincinnati: University of Cincinnati
  • Reverdy, Michèle. L'Œuvre pour orchestre d'Olivier Messiaen. Paris: Alphonse Leduc. 1988. ISBN 978-2-85689-038-7. 
  • Rischin, Rebecca. For the End of Time: The Story of the Messiaen Quartet new. Cornell University Press. 2006. ISBN 978-0-8014-7297-8. 
  • Schultz, Rob (2008). "Melodic Contour and Nonretrogradable Structure in the Birdsong of Olivier Messiaen". Music Theory Spectrum 30, no. 1 (Spring): 89–137.
  • Schloesser, Stephen. Visions of Amen: The Early Life and Music of Olivier Messiaen. Grand Rapids: Eerdmans. 2014. ISBN 9780802807625. 
  • Shenton, Andrew (1998). The Unspoken Word: Olivier Messiaen's 'langage communicable'. Ph.D. diss. Cambridge: Harvard University.
  • Shenton, Andrew. Olivier Messiaen's System of Signs. Abingdon, Oxon & New York: Routledge. 2008. ISBN 978-0-7546-6168-9. 
  • Shenton, Andrew (編). Messiaen the Theologian. Abingdon, Oxon & New York: Routledge. 2010. ISBN 978-0-7546-6640-0. 
  • Sholl, Robert. Messiaen Studies. Cambridge & New York: Cambridge University Press. 2008. ISBN 978-0-521-83981-5. 
  • Sholl, Robert. Olivier Messiaen: A Critical Biography. Reaktion Books. 2024. ISBN 978-1789148657. 
  • Simeone, Nigel (2004). "'Chez Messiaen, tout est priére': Messiaen's Appointment at the Trinité". The Musical Times 145, no. 1889 (Winter): 36–53.
  • Simeone, Nigel (2008). "Messiaen, Koussevitzky and the USA". The Musical Times 149, no. 1905 (Winter): 25–44.
  • Waumsley, Stuart. The Organ Music of Olivier Messiaen new. Paris: Alphonse Leduc. 1975. LCCN 77-457244. OCLC 2911308. 
  • Welsh Ibanez, Deborah (2005). Color, Timbre, and Resonance: Developments in Olivier Messiaen's Use of Percussion Between 1956–1965. D.M.A. diss. Coral Gables: University of Miami
  • Zheng, Zhong (2004). A Study of Messiaen's Solo Piano Works. Ph.D. diss. Hong Kong: The Chinese University of Hong Kong.

Films

[編輯]
  • Apparition of the Eternal Church – Paul Festa's 2006 film about responses of 31 artists to Messiaen's music.
  • Messiaen at 80 (1988). Directed by Sue Knussen. BFI database entry
  • Olivier Messiaen et les oiseaux (1973). Directed by Michel Fano and Denise Tual.
  • Olivier Messiaen – The Crystal Liturgy (2007 [DVD release date]). Directed by Olivier Mille.
  • Olivier Messiaen: Works (1991). DVD on which Messiaen performs "Improvisations" on the organ at the Paris Trinity Church.
  • The South Bank Show: Olivier Messiaen: The Music of Faith (1985). Directed by Alan Benson. BFI database entry.
  • Quartet for the End of Time, with the President's Own Marine Band Ensemble, A Film by H. Paul Moon
[編輯]
維基共享資源上的相關多媒體資源：Jiewei Xiong/沙盒
維基語錄上的Jiewei Xiong/沙盒語錄

Listening

[編輯]

Template:Olivier Messiaen

 
Links to related articles
 
Awards for Olivier Messiaen
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