Dupré later wrote that Messiaen, having never seen an organ console, sat quietly for an hour while Dupré explained and demonstrated the instrument, and then came back a week later to play Johann Sebastian Bach's Fantasia in C minor to an impressive standard.

In 1943, Messiaen wrote Visions de l ' Amen (" Visions of the Amen ") for two pianos for Loriod and himself to perform.

Messiaen wrote a large body of music for the piano.

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.

Other composers, such as Olivier Messiaen, Jehan Alain, Jean Langlais, and Petr Eben, wrote post-tonal organ music.

Barraqué wrote many articles on other composers ( including Alban Berg, Monteverdi, Mozart and Messiaen ) and on theoretical aspects of contemporary music.

Two other professional musicians were also among his fellow prisoners ( violinist Jean le Boulaire and cellist Étienne Pasquier ), and after he managed to obtain some paper and a small pencil from a sympathetic guard, Messiaen wrote a short trio for them ; this piece developed into the Quatuor for the same trio with himself at the piano.

* French composer Olivier Messiaen wrote a piece for solo piano La dame de Shalotte in 1917 based on Tennyson's poem.

Messiaen wrote, " Their series is closed, it is mathematically impossible to find others, at least in our tempered system of 12 semitones.

In his Preface to the score, Messiaen describes the opening of the quartet:

He continued music lessons ; one of his teachers, Jehan de Gibon, gave him a score of Debussy's opera, which Messiaen described as " a thunderbolt " and " probably the most decisive influence on me ".

Messiaen notated the bird species with the music in the score ( Examples 1 and 4 ).

The serialization of rhythm, dynamics, and other elements of music was partly fostered by the work of Olivier Messiaen and his analysis students, including Karel Goeyvaerts and Boulez, in post-war Paris.

Messiaen stated that the commission did not specify the length of the work or the size of the orchestra.

Shortly after its completion, Messiaen received a commission from Alice Tully for a work to celebrate the U. S. bicentennial.

Messiaen preferred to describe the final work as a " spectacle " rather than an opera.

Messiaen continually evolved new composition techniques, always integrating them into his existing musical style ; his final work still retains the use of modes of limited transposition.

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.

His early work is sometimes evocative of Igor Stravinsky and Olivier Messiaen ( composers he has acknowledged as influences ) and his technique of juxtaposing blocks of sound is sometimes compared to that of Edgar Varèse.

Previous composer festivals at the Academy have been devoted to the work of Witold Lutosławski, Michael Tippett, Krzysztof Penderecki, Olivier Messiaen, Hans Werner Henze, Luciano Berio, Elliott Carter, as well as Academy graduates, Alfred Schnittke, György Ligeti, British and American film composers, Franco Donatoni, Galina Ustvolskaya, Arvo Pärt, György Kurtág and Mauricio Kagel.

This trend was present already in the 1920s and 1930s, for example in the music of Béla Bartók, Henry Cowell, Colin McPhee, Alan Hovhaness, and Lou Harrison, and slightly later in the work of Olivier Messiaen, Chou Wen-chung, Halim El-Dabh, and Peggy Glanville-Hicks.

The composer Olivier Messiaen, who admired birdsong, used the song of S. borin as basis for his 1971 work La fauvette des jardins, the title being the French name of the species.

Messiaen revised the work in 1990.

In writing about the work, Messiaen identified four " cyclic " themes that reappear throughout ; there are other themes specific to each movement.

* 1953-Ornithologist Olivier Messiaen composes the orchestral work Réveil des oiseaux — based on birdsong in the Jura.

Although Goehr's personal relationship to his father was not unproblematic, Walter Goehr had a determining influence on his son via his work as a conductor: the composers whose work Walter championed — Arnold Schoenberg, Claudio Monteverdi, Modest Mussorgsky, Olivier Messiaen — feature as a red-thread throughout Alexander's output.

This music began to emerge in the 1970s both in France amongst the composers of the Groupe de l ' Itinéraire, influenced by work of composers such as Maurice Ravel and Olivier Messiaen, in Germany amongst the members of the Feedback group in Cologne, and in Romania, with composers around Hyperion Ensemble, all of whom created harmonies and orchestrations based on the harmonic and inharmonic partials contained in complex sounds, such as multiple-stop organ tones, bell sounds, and bird song.

The composer Olivier Messiaen referred to the " surrealist anxiety " of Schaeffer's early work in contrast to the " asceticism " of the later Etude aux allures of 1958 ( Messiaen 1959, 5 – 6 ).

He was educated at the Hochschule für Musik Köln and the University of Cologne, and later studied with Olivier Messiaen in Paris, and with Werner Meyer-Eppler at the University of Bonn.

Boulez was initially part of a cadre of early supporters of Leibowitz, but due to an altercation with Leibowitz, their relations turned divisive, as Boulez spent much of his career promoting the music of Messiaen instead.

Later in his life he was appointed professor of composition at the Conservatoire de Paris and the École Normale de Musique ; his pupils included Maurice Duruflé, Olivier Messiaen, Joaquín Rodrigo and Manuel Ponce.

Luc Ferrari was born in Paris, and was trained in music at a very young age, studying the piano under Alfred Cortot, musical analysis under Olivier Messiaen and composition under Arthur Honegger.

Olivier Messiaen (; December 10, 1908 – April 27, 1992 ) was a French composer, organist and ornithologist, one of the major composers of the 20th century.

Messiaen entered the Paris Conservatoire at the age of 11 and was taught by Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others.

On the fall of France in 1940, Messiaen was made a prisoner of war, during which time he composed his (" Quartet for the end of time ") for the four available instruments — piano, violin, cello and clarinet.

The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards.

Olivier Eugène Prosper Charles Messiaen was born in Avignon, France, into a literary family.

He was the elder of two sons of Cécile Sauvage, a poet, and Pierre Messiaen, a teacher of English who translated the plays of William Shakespeare into French.

After showing improvisation skills on the piano Messiaen studied organ with Marcel Dupré and inherited the tradition of great French organists ( Dupré had studied with Charles-Marie Widor and Louis Vierne, Vierne in turn was a pupil of César Franck ).

Église de la Sainte-Trinité, Paris | Église de la Sainte-Trinité, Paris, where Messiaen was titular organist for 61 years

From 1929, Messiaen regularly deputised at the Église de la Sainte-Trinité, Paris, for the organist Charles Quef, who was ill at the time.

At the outbreak of World War II, Messiaen was drafted into the French army.

Shortly after his release from Görlitz in May 1941, Messiaen was appointed a professor of harmony at the Paris Conservatoire, where he taught until his retirement in 1978.

The Greek composer Iannis Xenakis was referred to him in 1951 ; Messiaen urged Xenakis to take advantage of his background in mathematics and architecture in his music.

The third piece inspired by the Tristan myth was Cinq rechants for twelve unaccompanied singers, described by Messiaen as influenced by the alba of the troubadours.

Messiaen visited the United States in 1947, where his music was conducted by Koussevitsky and Leopold Stokowski.

When in 1952 Messiaen was asked to provide a test piece for flautists wishing to enter the Paris Conservatoire, he composed the piece Le merle noir for flute and piano.

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.

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.

Messiaen was not interested in depicting aspects of theology such as sin ; rather he concentrated on the theology of joy, divine love and redemption.

Messiaen very rarely used the whole-tone scale in his compositions because, he said, after Debussy and Dukas there was " nothing to add ", but the modes he did use are all similarly symmetrical.