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奥利维埃·梅西安
Olivier Messiaen
一位年长的男子，头发稀疏且向后梳，穿着西装。他面向镜头。
1986年的梅西安
出生(1908-12-10)1908年12月10日
 法国亚维农
逝世1992年4月27日(1992岁—04—27)（83岁）
 法国克利希
知名作品奥利维埃·梅西安作品列表（英语：List of compositions by Olivier Messiaen）
配偶

奥利维耶·欧仁·普罗斯佩尔·查尔斯·梅西安（法语：Olivier Eugène Prosper Charles Messiaen，英国 /ˈmɛsiæ̃/,[1] 美国 /mɛˈsjæ̃, meɪˈsjæ̃, mɛˈsjɒ̃/;[2][3][4] 法语发音：[ɔlivje øʒɛn pʁɔspɛʁ ʃaʁl mɛsjɑ̃]；1908年12月10日—1992年4月27日），法国作曲家、管风琴演奏家和鸟类学家。作为20世纪主要作曲家之一，他也是杰出的作曲和音乐分析教师。

梅西安11岁进入巴黎音乐学院，师从保罗·杜卡斯、莫里斯·埃曼纽尔、查尔斯-马里·维多尔和马塞尔·杜普雷等人学习。1931年，他被任命为巴黎圣三一教堂的管风琴师，在此职位上工作了61年，直到去世。20世纪30年代，他在巴黎圣乐学院任教。1940年法国沦陷后，梅西安在德国战俘营Stalag VIII-A被囚禁了9个月，在那里他为监狱中仅有的四种乐器——钢琴、小提琴、大提琴和单簧管——创作了《时间终结四重奏》。这部作品首次由梅西安和他的狱友们为囚犯和狱卒们演奏。[5]1941年获释后不久，梅西安被任命为巴黎音乐学院和声学教授。1966年，他又被任命为该学院的作曲教授，直到1978年退休前一直担任这两个职位。他的许多杰出学生包括扬尼斯·泽纳基斯、乔治·本杰明、亚历山大·戈尔、皮埃尔·布列兹、雅克·赫图、特里斯坦·穆赖、卡尔海因茨·施托克豪森、捷尔吉·库尔塔格和伊冯娜·洛里奥，后者成为了他的第二任妻子。

梅西安在听到某些音乐和弦时会感知到颜色（一种被称为色听的现象）；据他说，这些颜色的组合在他的创作过程中很重要。他广泛旅行，创作了受多种影响启发的作品，包括日本音乐、犹他州布莱斯峡谷的景观和圣方济各·亚西西的生平。他的风格吸收了许多全球音乐影响，如印度尼西亚的甘美兰（调音打击乐器在他的管弦乐作品中经常占据突出地位）。他对鸟鸣声着迷，在世界各地记录鸟鸣声，并将鸟鸣声转录融入他的音乐中。

梅西安的音乐在节奏上很复杂。在和声和旋律方面，他采用了他称之为“有限移调音阶”的系统，这是他从早期作品和即兴创作产生的材料系统中抽象出来的。他为室内乐团和管弦乐团、声乐、独奏管风琴和钢琴创作音乐，并尝试使用他一生中在欧洲开发的新型电子乐器。在短暂的一段时间里，他尝试了与“全序列主义”相关的参数化，在这个领域他经常被视为创新者。他对色彩的创新使用、他对时间与音乐关系的构想以及他对鸟鸣声的运用是使梅西安音乐与众不同的特征之一。

生平

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青年和学习时期

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1910年的梅西安与他的父母

奥利维耶·欧仁·普罗斯佩尔·查尔斯·梅西安[6]于1908年12月10日出生在法国阿维尼翁的西克斯特-伊斯纳德大街20号，出身于一个文学世家。[7]他是诗人塞西尔·安妮·玛丽·安托瓦内特·索瓦奇和英语学者兼教师皮埃尔·莱昂·约瑟夫·梅西安的长子，父亲来自韦尔维克-苏德附近的一个农场[8]，也曾将威廉·莎士比亚的戏剧翻译为法语。[9]梅西安的母亲出版了一系列诗歌《萌芽的灵魂》，这是《当地球转动时》的最后一章，诗中提到了她未出生的儿子。梅西安后来说这些诗深深地影响了他，并称之为预言了他未来的艺术生涯。[10]他的弟弟阿兰·安德烈·普罗斯佩尔·梅西安比他小四岁，后来成为一名诗人。

第一次世界大战爆发时，皮埃尔参军，塞西尔带着两个儿子去格勒诺布尔与她的兄弟同住。在那里，梅西安对戏剧着迷，经常给弟弟朗诵莎士比亚的作品。他们自制的玩具剧院使用玻璃纸包装做成的半透明背景。[11]这时他也皈依了罗马天主教。后来，梅西安最喜欢待在多芬内的阿尔卑斯山，他在格勒诺布尔南部建造了一座房子。他大部分音乐作品都是在那里创作的。[12]

梅西安开始学习钢琴课程，此前他已经自学了弹奏。他对法国作曲家克劳德·德彪西和莫里斯·拉威尔的近期作品很感兴趣，圣诞节时他会要求歌剧声乐谱作为礼物。[13]他还攒钱买乐谱，包括爱德华·格里格的《培尔·金特》，他说“美丽的挪威旋律线带有民歌的味道……让我爱上了旋律”。[14]大约在这个时候，他开始作曲。

1918年，他的父亲从战争中归来，全家搬到了南特。梅西安继续上音乐课；他的一位老师让安·德·吉邦给了他德彪西歌剧《佩利亚斯与梅丽桑德》的乐谱，梅西安称之为“一道霹雳”和“可能对我影响最大的作品”。[15]次年，他的父亲在巴黎索邦大学获得了一个教职。1919年，11岁的奥利维耶进入了巴黎音乐学院。[16]

 
1929年巴黎音乐学院保罗·杜卡的作曲课。梅西安坐在最右边；杜卡站在中央。

梅西安在音乐学院取得了优异的学习成绩。1924年，15岁的他在让·加隆教授的和声课上获得了二等奖。1925年，他在钢琴伴奏中获得一等奖，1926年在赋格中获得一等奖。在跟随莫里斯·埃曼纽尔学习后，他在1928年获得音乐史二等奖。[17]埃曼纽尔的榜样激发了他对古希腊节奏和异国情调音阶的兴趣。[18]在展示了钢琴即兴演奏技巧后，梅西安跟随马塞尔·杜普雷学习管风琴。[19]1929年，他在管风琴演奏和即兴创作中获得一等奖。[18]在跟随查尔斯-马里·维多尔学习作曲一年后，1927年秋天，他进入了新任命的保罗·杜卡斯的班级。就在课程开始前不久，梅西安的母亲因肺结核去世。[20]尽管悲伤，他还是恢复了学习，并在1930年获得作曲一等奖。[18]

在学生时代，他创作了他的第一批出版作品——八首钢琴前奏曲（较早的《天国的宴席》后来出版）。这些作品展示了梅西安对有限移调音阶和回文节奏（梅西安称之为不可逆节奏）的运用。他的官方首秀是1931年的管弦乐组曲《被遗忘的奉献》。那年他第一次听到甘美兰乐团的演奏，激发了他对使用调音打击乐器的兴趣。[21]

圣三一教堂、青年法兰西和梅西安的战争时期

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巴黎圣三一教堂，梅西安在此担任正式管风琴师长达61年

1927年秋，梅西安加入了杜普雷的管风琴课程。杜普雷后来写道，梅西安从未见过管风琴控制台，静静地坐了一个小时听杜普雷解释和演示这种乐器，一周后回来演奏约翰·塞巴斯蒂安·巴赫的C小调幻想曲，达到了令人印象深刻的水平。[22]从1929年起，梅西安经常在圣三一教堂代替身体欠佳的查尔斯·奎夫演奏。1931年奎夫去世后，这个职位空缺，杜普雷、查尔斯·图尔内米尔和维多尔等人支持梅西安的候选资格。他的正式申请包括维多尔的推荐信。1931年，他获得了这个职位[23]，并在这个教堂担任管风琴师超过60年。[24]20世纪30年代初，他还在巴黎圣乐学院任职。[25]1932年，他为管风琴创作了《永恒教会的显现》。[26]

 
与克莱尔·德尔博斯

同年，他与小提琴家和作曲家克莱尔·德尔博斯（维克多·德尔博斯的女儿）结婚。他们的婚姻激发了他创作作品让她演奏（他们结婚那年创作了《小提琴与钢琴的主题与变奏》），也创作了庆祝他们家庭幸福的作品，包括1936年的歌曲套曲《献给Mi的诗》，1937年他为其配器。Mi是梅西安对妻子的昵称。[27]1937年7月14日，梅西安的儿子帕斯卡·埃曼纽尔出生；梅西安创作《地与天之歌》来庆祝这一时刻。[28]这段婚姻在二战末期变得悲剧性，德尔博斯在一次手术后失去了记忆。她余生都在精神病院度过。[29]

1934年，梅西安发表了他的第一部重要管风琴作品《主的诞生》。四年后，他创作了后续作品《光荣的身体》，于1945年首演。

1936年，梅西安与安德烈·约利韦、丹尼尔·勒苏尔和伊夫·博德里埃组成了“青年法兰西”群体。他们的宣言暗中抨击了当时巴黎音乐界盛行的轻浮风气，拒绝了让·考克多1918年的《公鸡与小丑》，主张“有真诚、慷慨和艺术良知动力的活生生的音乐”。[30]梅西安的职业生涯很快脱离了这个论战阶段。

1937年，为回应巴黎博览会期间塞纳河上灯光水景表演的委托，梅西安展示了他对使用电子乐器马特诺琴的兴趣，为六重奏创作了《美水之庆》。[31]在随后的几部作品中，他都包含了这种乐器的部分。[32]

 
阿尔古工作室（英语：Studio Harcourt）1937年拍摄的梅西安肖像

在这段时期，他创作了几部多乐章的管风琴作品。他将自己的管弦乐组曲《升天》改编为管风琴曲，用全新的乐章《灵魂在基督的荣耀面前的欢欣》替换了管弦乐版的第三乐章。[33]他还创作了大型套曲《主的诞生》和《光荣的身体》。[34]

第二次世界大战爆发时，梅西安被征召入法国军队。由于视力不佳，他被编入医疗辅助部门而非战斗部队。[35]他在凡尔登被俘，在那里结识了单簧管演奏家亨利·阿科卡；1940年5月，他们被带到格利茨，被关押在Stalag VIII-A战俘营。他在战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（让·勒·布莱尔）。他为他们创作了一部三重奏，后来逐渐将其融入一部更宏大的新作品《时间终结四重奏》。[5]在一位友好的德国警卫卡尔-阿尔伯特·布吕尔的帮助下，他获得了稿纸和铅笔。[36]这部作品于1941年1月首次在战俘和警卫面前演出，作曲家在严寒中弹奏一架保养不善的立式钢琴，三重奏使用的是二手的破旧乐器。[37]战俘营生活强制的内省和反思结出了20世纪古典音乐公认的杰作之一。标题中的“时间终结”暗指启示录，也指梅西安通过节奏和和声使用时间的方式，这与他的前辈和同时代人完全不同。[38]

2004年12月，在Stalag VIII-A战俘营遗址建立一个名为“梅西安音乐会议点”的欧洲教育文化中心的想法应运而生，这个中心面向儿童、青少年、艺术家、音乐家和该地区的所有人。在梅西安遗孀的参与下，这个项目作为德国和波兰两国议会区的联合项目得到发展，并于2014年完工。[39]

特里斯坦和序列主义

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1941年5月，在很大程度上由于他的朋友和老师马塞尔·杜普雷的劝说，梅西安从格利茨获释。此时已成为家喻户晓的人物的梅西安被任命为巴黎音乐学院的和声学教授，他在那里教学直到1978年退休。[40]1944年，他编写并出版了《我的音乐语言技巧》，其中引用了许多他自己音乐的例子，特别是四重奏。[41]尽管他只有三十多岁，但他的学生们形容他是一位杰出的教师。[42]他的早期学生中包括作曲家皮埃尔·布列兹和卡雷尔·霍伊瓦尔茨。其他学生包括1952年的卡尔海因茨·施托克豪森，1956-57年的亚历山大·戈尔，1962-63年的雅克·赫图，1967-72年的特里斯坦·穆赖，以及70年代末的乔治·本杰明。[43]1951年，希腊作曲家扬尼斯·泽纳基斯被介绍给他；梅西安敦促泽纳基斯在音乐中利用他的数学和建筑背景。[44]

1943年，梅西安为伊冯娜·洛里奥和自己演奏创作了双钢琴曲《阿门的视象》。不久之后，他为她创作了巨大的独奏钢琴套曲《二十次注视婴儿耶稣》。[45]同样为洛里奥创作的还有女声合唱团和管弦乐队的《神圣临在的三个小礼仪》，其中包含一个难度很高的钢琴独奏部分。[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]

 
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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参见：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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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. [失效链接]
  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]. （原始内容存档于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]. （原始内容存档于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]. （原始内容存档于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 (编). The Oxford Companion to Music  new. Oxford and New York: Oxford University Press. 2002. ISBN 978-0-19-866212-9 –通过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 (编). 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

编辑
  • 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
编辑
 
维基共享资源上的相关多媒体资源：Jiewei Xiong/沙盒
 
维基语录上的Jiewei Xiong/沙盒语录

Listening

编辑

Template:Olivier Messiaen

 
Links to related articles
 
Awards for Olivier Messiaen
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