Olivier Messiaen

Messiaen, Olivier

(ôlēvyā` mĕsyäN`), 1908–92, French composer and organist, b. Avignon. Messiaen was a pupil of Paul DukasDukas, Paul
, 1865–1935, French composer and critic. He was influenced by both the romanticism of Wagner and the impressionism of Debussy. His compositions are few, the best known being a symphonic poem, The Sorcerer's Apprentice (1897), and an opera,
..... Click the link for more information. at the Paris Conservatory. He became organist of La Trinité, Paris, in 1931 and taught at the Schola Cantorum and the École Normale de Musique (1936–39). In 1942 he was appointed professor of harmony at the Paris Conservatory, where he taught such 20th-century figures as Pierre BoulezBoulez, Pierre
, 1925–2016, French conductor and composer of modernist classical music. He studied at the Paris Conservatory with Olivier Messiaen (1944–45) and studied twelve-tone technique with René Leibowitz (1946).
..... Click the link for more information. and Karlheinz StockhausenStockhausen, Karlheinz
, 1928–2007, German composer, music theorist, and teacher; his first name also appears as Karl Heinz. He studied composition with Frank Martin in Cologne (1950–51) and with Olivier Messiaen and Darius Milhaud in Paris (1951–53).
..... Click the link for more information. . Messiaen's music is remarkably original and personal, rich in color and texture. It draws from many schools and styles, including electronic and serial musicserial music,
the body of compositions whose fundamental syntactical reference is a particular ordering (called series or row) of the twelve pitch classes—C, C#, D, D#, E, F, F#, G, G#, A, A#, B—that constitute the equal-tempered scale.
..... Click the link for more information. , and is often based on scale formulas of his own invention or on his studies of Asian music and birdsong. His compositions also reflect his profound religious mysticism, which is also expounded in his didactic prose works.

Messiaen's major works include L'Ascension (1933), for orchestra; Apparition de l'Église Éternelle (1932), La Nativité du Seigneur (1935), Le Banquet Céleste (1936), and Les Corps Glorieux (1939), for organ; Quartet for the End of Time (1941), his best-known piece, composed while he was a prisoner of war in Germany (1940–42); Visions de l'Amen (1943), for two pianos; the orchestral Oiseaux Exotiques (1956), Et Exspecto Resurrectionem Mortuorum (1965), and Des Canyons aux Étoiles (1974); and The Transfiguration (1969), an oratorio. He also wrote masses, songs, and much chamber music. His symphony in 10 movements, Turangalila Symphony (1948), is considered the most grandiose expression of his theories. Messiaen's only opera is the five-hour St. Francis of Assisi (1983). His last major composition, Éclairs sur l'Au-Delà (1992), was commissioned by the New York Philharmonic, to celebrate its 150th anniversary.

Bibliography

See his Technique of My Mystical Language (tr. 1957); biography by R. S. Johnson (1975, rev. 1989); studies by C. H. Bell (1984), P. Griffiths (1985), and R. Nichols (1986).

单词	olivier messiaen
释义	DictionarySeeMessiaen Olivier Messiaen Messiaen, Olivier (ôlēvyā` mĕsyäN`), 1908–92, French composer and organist, b. Avignon. Messiaen was a pupil of Paul DukasDukas, Paul , 1865–1935, French composer and critic. He was influenced by both the romanticism of Wagner and the impressionism of Debussy. His compositions are few, the best known being a symphonic poem, The Sorcerer's Apprentice (1897), and an opera, ..... Click the link for more information. at the Paris Conservatory. He became organist of La Trinité, Paris, in 1931 and taught at the Schola Cantorum and the École Normale de Musique (1936–39). In 1942 he was appointed professor of harmony at the Paris Conservatory, where he taught such 20th-century figures as Pierre BoulezBoulez, Pierre , 1925–2016, French conductor and composer of modernist classical music. He studied at the Paris Conservatory with Olivier Messiaen (1944–45) and studied twelve-tone technique with René Leibowitz (1946). ..... Click the link for more information. and Karlheinz StockhausenStockhausen, Karlheinz , 1928–2007, German composer, music theorist, and teacher; his first name also appears as Karl Heinz. He studied composition with Frank Martin in Cologne (1950–51) and with Olivier Messiaen and Darius Milhaud in Paris (1951–53). ..... Click the link for more information. . Messiaen's music is remarkably original and personal, rich in color and texture. It draws from many schools and styles, including electronic and serial musicserial music, the body of compositions whose fundamental syntactical reference is a particular ordering (called series or row) of the twelve pitch classes—C, C#, D, D#, E, F, F#, G, G#, A, A#, B—that constitute the equal-tempered scale. ..... Click the link for more information. , and is often based on scale formulas of his own invention or on his studies of Asian music and birdsong. His compositions also reflect his profound religious mysticism, which is also expounded in his didactic prose works. Messiaen's major works include L'Ascension (1933), for orchestra; Apparition de l'Église Éternelle (1932), La Nativité du Seigneur (1935), Le Banquet Céleste (1936), and Les Corps Glorieux (1939), for organ; Quartet for the End of Time (1941), his best-known piece, composed while he was a prisoner of war in Germany (1940–42); Visions de l'Amen (1943), for two pianos; the orchestral Oiseaux Exotiques (1956), Et Exspecto Resurrectionem Mortuorum (1965), and Des Canyons aux Étoiles (1974); and The Transfiguration (1969), an oratorio. He also wrote masses, songs, and much chamber music. His symphony in 10 movements, Turangalila Symphony (1948), is considered the most grandiose expression of his theories. Messiaen's only opera is the five-hour St. Francis of Assisi (1983). His last major composition, Éclairs sur l'Au-Delà (1992), was commissioned by the New York Philharmonic, to celebrate its 150th anniversary. Bibliography See his Technique of My Mystical Language (tr. 1957); biography by R. S. Johnson (1975, rev. 1989); studies by C. H. Bell (1984), P. Griffiths (1985), and R. Nichols (1986).
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