Music
Messiaen's music has been described as outside the western musical tradition, although growing out of that tradition and being influenced by it. 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.
His youthful love for the fairy-tale element in Shakespeare prefigured his later expressions of what he called "the marvellous aspects of the Roman Catholic Faith"—among which may be numbered Christ's Nativity, Crucifixion, Resurrection, Ascension, Transfiguration, the Apocalypse and the hereafter. 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 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. However, very few of these major 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.
As well as discovering new techniques, Messiaen found and absorbed exotic music, including Ancient Greek rhythms, Hindu rhythms (he encountered Śārṅgadeva's list of 120 rhythmic units, the deçî-tâlas), Balinese and Javanese Gamelan, birdsong and Japanese music (see Example 1 for an instance of his use of ancient Greek and Hindu rhythms).
While he was instrumental in the academic exploration of his techniques (he compiled two treatises: the later one in five volumes was substantially complete when he died and was published posthumously), and was himself a master of music analysis, he considered the development and study of techniques to be 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 it must touch the listener.
Messiaen wrote a large body of music for the piano. Although a considerable pianist himself, he was undoubtedly assisted by Yvonne Loriod's formidable piano technique and ability to convey complex rhythms and rhythmic combinations; in his piano writing from Visions de l'Amen onwards he had her in mind. Messiaen said, "I am able to allow myself the greatest eccentricities because to her anything is possible."
Read more about this topic: Olivier Messiaen
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