Olivier Messiaen (1908-1992)<\/p>\n
- L'Ascension (1934) Quatre m\u00e9ditations symphoniques pour orgue<\/p>\n
I. Majest\u00e9 du Christ demandant sa gloire \u00e0 son p\u00e8re
\nII. All\u00e9luias sereins d'une \u00e2me qui d\u00e9sire le ciel
\nIII. Transports de joie d'une \u00e2me devant la gloire du Christ qui est la sienne
\nIV. Pri\u00e8re du Christ montant vers son p\u00e8re<\/p>\n
- Les Corps Glorieux (1939) Sept visions br\u00e8ves de la Vie des ressuscit\u00e9s<\/p>\n
I. Subtilit\u00e9 des Corps Glorieux
\nII Les Eaux de la Gr\u00e2ce
\nIII. L'Ange aux Parfums
\nIV. Combat de la Mort et de la Vie
\nV. Force et Agilit\u00e9 des Corps Glorieux
\nVI. Joie et Clart\u00e9 des Corps Glorieux
\nVII, Le Myst\u00e8re de la Sainte Trinit\u00e9<\/p>\n
<\/p>\n
Olivier Messiaen is counted among the greatest composers of the 20th century. He wrote orchestral works like L'Ascension, Turangalila-symphonie, Les Canyons aux \u00e9toiles, Eclairs sur l'au d\u00e9l\u00e0, La Transfiguration de N\u00f3tre Seigneur J\u00e9sus Christ (with choir), chamber music (including the Quatuor pour la Fin du Temps), a lot of piano music (mostly written for his wife Yvonne Loriod, a virtuoso pianist) and an opera, Saint Frangois d'Assise. His work is strongly coloured by his orthodox Christian faith, which he expresses in a very personal, modern and colourful way. His music is characterised by a static structure, mostly an amalgamation of separate segments. The consonances are often based on modi '\u00e1 transpositions limit\u00e9es, tone sequences that divide the octave in a symmetrical way, in which elements of the traditional tonal system resound without the functional tonal coherence. To enrich the (in his view) primitive rhythmicity of Western music, he uses, among other things, complex rhythmic modes like Hindu r\u00e1gas. Gregorian chant plays an important role, albeit in an adapted form. In the later works in particular, stylised birdsong is regularly heard. In the orchestral and organ works, he frequently experiments with new sound combinations.
\nBesides his activities as a composer and teacher (one of the most influential composition teachers of his time), he was organist of the Sainte-Trinit\u00e9 in Paris from 1931 until his death. This instrument inspired him to write many organ works. Messiaen composed his first cycle, a group of musical pieces around a particular theme, for orchestra in 1932. He arranged this work, L'Ascension (the Ascension) for organ in 1934, replacing the third movement (Alleluja sur la trompette, alleluia sur la cymbale) with one written specifically for organ: Transports de joie. Tonally, the movements follow an ascending line (obviously also symbolically intended): E, F, F-sharp, and G.<\/p>","protected":false},"excerpt":{"rendered":"