1010:. Préludes (selections): La colombe; Chant d'extase dans un paysage triste; Le nombre léger; Instants défunts; Les sons impalpables du rêve; Cloches d'angoisse et larmes d'adieu; Plainte calme; Un reflet dans le vent ...; Quatre études de rythme (selections): Île de Feu 1; Île de Feu 2; Vingt regards sur l'enfant Jésus (selections): Regard de la Vierge; Le baiser de l'Enfant-Jésus; Regard de l'esprit de joie. Angela Hewitt, piano. Recorded in the Reitstadel, Neumarkt in der Oberpfalz, Germany, 21–23 January 1998. Compact disc; 1 sound disc: digital, stereo, 12 cm. Hyperion CDA67054. London: Hyperion, 1998.
155:
without any implications for how they are to be ordered), there is no question of the material determining the work's form. According to the composer's own description, there are separate modes composed of 36 pitches, 24 durations, 12 attacks, and 7 dynamics. The duration scale is separated into three overlapping scales, called "tempi" by the composer, which correspond to the high, middle, and low registers of the piano, and occur in simultaneous superimposition. The first tempo uses 12
2274:
116:
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symmetrical permutation scheme for a duration scale initially given in descending order of durations. The elements are reordered according to a wedge-shaped process, which
Messiaen elsewhere called "permutation in the form of an open fan". The first permutation produces a new ordering which Messiaen called "Interversion I". The same permutation scheme applied to this first interversion produces "Interversion II", and so on:
2298:
212:, Messiaen had formed the idea of exploring the rhythms corresponding to them. "In an interplay of transposition, the neumatic symbol as an indication of a sinuous melodic entity is now applied to a rhythmic motive. Each rhythmic neume is assigned a fixed dynamic and resonances of shimmering colours, more or less bright or somber, always contrasting."
866:. Yvonne Loriod, piano. Erato 2292-45505-2/5 ECD 71589 (+). Previously released in 1968 (2nd–3rd works) and in 1988; Yvonne Loriod, piano./ Recorded at the Eglise Notre-Dame du Liban, Paris, October 1987 (1st work) and January 1968 (2nd and 3rd works). Compact disc, 1 sound disc: digital; 12 cm. : Erato, n.d.
223:
rhythm found at the beginning of the first strophe. As in the refrains, there is a process of augmentation upon repetition, in which new duration units are added in order to form more complex rhythmic cells. The pitches grow out of the major seventh and the tritone found at the beginning of the first
959:. Peter Hill, piano. Previously released on analog discs in 1985 (1st work) and 1986 (remainder). Recorded in Rosslyn Hill Unitarian Chapel, 21–22 February 1984 and 25–26 September 1985. Compact disc, 1 sound disc: digital, stereo, 12 cm. London: Unicorn-Kanchana, 1989. Also packaged as part of
707:
A peculiarity is that the successive applications of this permutation do not yield the twelve permutations which might be expected. This is because the values 10 and 5 map into each other under this operation—which can be seen by scanning down columns 3 and 8 in the table. Consequently, the original
154:
This movement is the most-discussed of the four, as the first work by a
European composer to apply numerical organisation to pitch, duration, dynamics, and mode of attack (timbre). Because the treatment of the parameters is modal and not serial (that is, the elements are treated simply as a scale,
130:, and the thematic material of this movement has "all the violence of the magic rites of this country". The piece consists of five sections, in alternating pairs of musical ideas. The first part of each section is a melodic theme with accompaniment, the second is a departure which Messiaen calls a
725:
The second of the études, "Mode de valeurs et d'intensités", overshadows all the others for having become the model for composers interested in the serialisation of musical parameters other than pitch. Initially, this influence occurred through works composed in 1950 and 1951 by two of
Messiaen's
178:
The durations, intensities and attacks operate on the same plane as the pitches; the combination of modes reveals colors of durations and intensity; each pitch of the same name has a different duration, attack and intensity for each register in which it appears; the influence of register upon the
1003:
Olivier
Messiaen: Piano Music. Håkon Austbø, piano. Vol. 3; Préludes ; Four rhythmic studies ; Cantéyodjayâ.; Vol. 4; Les offrandes oubliées; Fantaisie burlesque; Pièce pour le tombeau de Paul Dukas; Rondeau; Prélude (1964); La fauvette des jardins. Compact disc, 4 sound discs Vol. 1– . : HNH
232:
Although
Messiaen's programme note for this étude says that it is, like the first étude, "also dedicated to Papua or New Guinea", his posthumously published analysis emphatically states that it refers only to the former, not the latter. "he principal theme, ferocious and violent, has the same
236:
The opening strophe from "Île de Feu I" is modified to become the cyclic theme of this étude. As in the other pieces, this alternates with episodes, in this case based on a mode of twelve durations, twelve sounds, four attacks and five intensities. The rhythmic focus in this piece concerns a
1490:
D'âčkova, Lûdmila
Sergeevna (Дьячкова, Людмила Сергеевна). 2002. "Парадигма как научный метод познания" . In Музыковедение к началу века: Прошлое и настоящее , edited by Tat'âna Ivanovna Naumenko (Татьяна Ивановна Науменко), 24–41. Moscow: Rossijskaâ Akademiâ Muzyki imeni Gnesinyh.
1047:. Paul Kim, piano; Matthew Kim, 2nd piano (in 1st work). Compact disc. Recorded in Armonk, New York, August 2002 (1st work) and in New York City, September 2002 (remaining works). Compact disc 1 sound disc: digital; 12 cm. Centaur Records CRC 2668. : Centaur Records, 2003.
885:. Yvonne Loriod, piano. Recorded at the Eglise Notre-Dame du Liban, Paris, October 1973 (CD 1 & CD 2); October 1987 & October 1968 (CD 3). Compact disc, 3 sound discs: analog/digital, stereo, 12 cm. Series: Piano français. Erato 4509-96222-2. France: Erato, 1987.
233:
character as the themes of the first étude; the variations on this theme alternate with permutations, successively permuted according to the same process and superimposed two by two; the piece closes with a cross-handed perpetual motion in the depths of the keyboard".
897:; Béla Bartók: Studies for Piano, op. 18; Ferruccio Benvenuto Busoni: Klavierübung (selections); Igor Fedorovich Stravinsky, Etudes for Piano, no. 7. Paul Jacobs, piano. LP recording, 1 disc: stereophonic. Nonesuch H-71334. Nonesuch Records, 1976. Reissued as part of
192:
of the title. The first set of refrains is marked "rythme en ligne triple: 1 à 5, 6 à 10, 11 à 15", which means there are three durations, short, medium, and long, which are progressively expanded, upon each repetition, by the addition of a semiquaver unit.
1050:
Olivier
Messiaen: Préludes; Quatre Études de rythme; Cantéyodjayâ. Martin Zehn, piano. Recorded in Cologne (Klaus-von-Bismarck-Saal). Compact disc 1 sound disc: digital, stereo, 12 cm. Arte Nova 82876 57833 2; : BMG; : distrib. BMG,
1351:
Barash, Amari Pepper. 2002. "Cadential
Gestures in Post-tonal Music: The Constitution of Cadences in Messiaen's 'Île de Feu I' and Boulez' Première sonate, First Movement". DMA thesis. New York: City University of New York, Graduate
824:, conds. Recorded: Paris, Théâtre Apollo und Studio Albert, between 1942 and 1954. Audio restoration by EMI Music France. Compact disc, 2 sound discs: monaural, 12 cm. EMI Classics 0946 385275 2 7. : EMI Music France, 2007.
207:
The strophes which occur between the refrains are marked "neumes rythmiques, avec résonances et intensités fixes" (rhythmic neumes, with fixed resonances and intensities). From his studies of the neumatic notation symbols of
836:; Pierre Boulez: Étude II ("Etude sur sept sons"); Jean Barraqué: Étude. Ethel Semser, soprano; Paul Jacobs, piano. Musique sur bande. LP recording, 1 disc, 33rpm, 30 cm. Barclay 89005. : Barclay Records, 1959.
179:
quantitative, phonetic, and dynamic soundscape, and the division into three temporal regions imbues the passage with the spirit of the sounds that traverse them, creating the potential for new variations of colors.
138:. The first half of the next three develop the initial theme. The fifth and final section introduces a new, longer theme in two periods which are immediately repeated before the etude is concluded by a final
224:
strophe and in its third bar, respectively. Five basic dynamic-envelope patterns are applied to different groups, while at the same time the melodic motives constantly re-emerge in different rhythms.
204:
rhythm) and, like the first set of refrains with which they alternate, are expanded upon repetition—in this case by a series of progressively larger prime numbers: 41, 43, 47, and 53 semiquavers.
786:. Olivier Messiaen, piano. Sound Recording 2 discs, 78rpm, 30 cm. Columbia LFX 998/9 (CLX 2843; CLX 2844; CLX 2845; CLX 2846) : Columbia, 1951. Presumably the same recording reissued in:
1089:. In the 1st work: Alexandre Rabinovitch, Martha Argerich, pianos; 2nd work: Michel Béroff, piano; 3rd work: John Ogdon, piano. 1 sound disc: digital, 12 cm. EMI Classics 2174732. 2008
963:. Willem Tanke; Peter Hill, piano; Ingrid Kappelle; Håkon Austbø, piano. Compact disc, 17 sound discs: digital, stereo, 12 cm. Brilliant Classics 8949/1–17. : Brilliant Classics, 2008.
708:
order returns once the remaining ten values have circulated. This unexpected restriction has been cited as an example of what
Messiaen called the "charm of impossibilities".
820:, piano; Jeanne Loriod, ondes Martenot; Ensemble Vocal Marcel Couraud; Orchestre de Chambre André Girard; Orchestre de l'Association des Concerts Pierné; Marcel Couraud and
1378:
Gather, John-Philipp. 2003. "The
Origins of Synthetic Timbre Serialism and the Parisian Confluence, 1949–1952". PhD diss. Buffalo: State University of New York at Buffalo.
915:
Olivier Messiaen: Préludes & études. Michel Béroff, piano. LP recording, 1 disc, 33rpm, 30 cm. La voix de son maître 2 C 06916229. France: Pathé Marconi, 1978.
930:. Yuji Takahashi, piano. Recorded at Arakawa Public Hall, Tokyo 21–22 May 1976. Compact disc, 1 sound disc: digital, stereo.; 4 3/4 in. Denon 33CO-1052. : Denon, 1986.
986:
Recital Hall. Compact disc recording: digital, stereo, 12 cm. Koch International Classics 3-7267-2 H1. Port Washington, New York: Koch International L. P., 1994.
2055:
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1509:
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as a gesture of conciliation to his former teacher, transforming the twelve "triplum" elements of the Mode's first division into ordered series and composed
1873:
1650:
1032:. Luca Trabucco, pianist. Twentieth Century French Piano Music. Compact disc, 1 sound disc: stereo, digital, 12 cm. Sony PH 99504. : Sony, 1999.
1825:
847:. Yvonne Loriod, piano. LP recording, 1 disc, 33rpm, stereo, 30 cm. Erato STU 70433. Paris: Éditions Costallat, 1968. Reissued as part of:
1533:. 2004. "Olivier Messiaen und die musikalische Avantgarde der fünfziger Jahre: Zur Rezeption der Etüde 'Mode de valeurs et d'intensités'". In
1644:
1000:, piano. Recorded Frankfurt am Main, Festeburgkirche, 1997. Compact disc, sound disc: digital, stereo, 12 cm. Tacet 53. : Tacet, 1997.
188:
The first of the four to be composed, this étude alternates two separate sets of refrains with longer strophes given over to the rhythmic
1765:
17:
2323:
1096:. Compact disc 32 sound discs: digital; 12 cm. Deutsche Grammophon (set) 480 1333; Deutsche Grammophon 480 1365-480 1334. CD 2:
1999:
1783:
1057:. Pierre-Laurent Aimard, piano. Compact disc, sound disc: digital, stereo, 12 cm. Deutsche Grammophon 477 7452 GH. Contents:
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53:
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1370:
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Kompositorische Stationen des 20. Jahrhunderts: Debussy, Webern, Messiaen, Boulez, Cage, Ligeti, Stockhausen, Höller, Bayle
945:, piano. Compact disc, sound disc, digital, stereo, 12 cm. Nimbus Records NI5090. Monmouth: Nimbus records Ltd., 1988.
77:) by the composer himself, who shortly afterward made the first recording of the études. The French premiere was given in
1365:, edited by Robert Sholl, 145–167. Cambridge Composer Studies. Cambridge and New York: Cambridge University Press, 2008.
1586:
735:
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901:. Paul Jacobs, piano. Compact disc, 2 sound discs: digital, stereo, 12 cm. Arbiter 124. New York: Arbiter, 2000.
1916:
912:. Robert Sherlaw Johnson, piano. LP recording, sound disc: analog, 33⅓rpm, stereo. Argo ZRG 694. London: Argo, 1972.
1889:
941:; Edvard Grieg: Sonata in E Minor, op. 7; Sergei Rachmaninov: Variations on a Theme by Arcangelo Corelli, op. 42.
2328:
1613:
1632:
1519:. 1981. "Musik aus Zahlen. Prinzipien der musikalischen Formgestaltung in der seriellen Kompositionspraxis". In
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Covington, Kate R. 1980. "Visual Perception vs. Aural Perception: A Look at 'Mode de valeurs et d'intensités'".
2146:
1758:
852:
74:
1474:
Bauer, Hans-Joachim. 1983. "Klangkristalle. Zur Analyse einer seriellen Komposition für den Musikunterricht".
832:. Anton Webern: Cinq Mélodies, op. 4; Variations pour piano, opus 27; Trois Chants, op. 23; Olivier Messiaen:
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1881:
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1983:
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61:(1943). Messiaen composed "Neumes rythmiques" and "Mode de valeurs et d’intensités" in 1949 (the latter at
2063:
2031:
1975:
1417:, revised and updated edition. London: J. M. Dent & Sons; Berkeley: University of California Press.
1383:
Messiaen, Olivier. 1994. Programme note in booklet accompanying Koch International Classics 3-7267-2 H1.
2333:
2288:
2192:
1734:
1693:. 2000. "Von der 'Sternenmusik' zur Musik des Weltraums: Karlheinz Stockhausens musikalischer Kosmos".
756:, after a period of estrangement from Messiaen caused by what Boulez viewed as the excessively sensual
2007:
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Messiaen later applied such permutation schemes in works of larger scale, such as the orchestral work
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65:) and added the other two études in the following year, when he was at Tanglewood. The four
2090:
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1948:
1630:
Schweizer, Klaus. 1973. "Olivier Messiaens Klavieretude Mode de valeurs et d'intensités".
908:; "Neumes rythmiques"; "Île de Feu" I and II. Robert Sherlaw Johnson: Piano Sonata No. 1;
8:
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1991:
899:
The Legendary Busoni Recordings & Works by Bach, Bartók, Brahms, Messiaen, Stravinsky
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992:. Igor Strawinsky: Quatre Études op. 7; Béla Bartók: Studies, op. 18; Olivier Messiaen:
2015:
1641:
Music Analysis and the Avant-Garde Compositions of Post–World War II: Four Case Studies
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Kämper, Dietrich. 2006. "Messiaen und die Darmstädter Ferienkurse: eine Begegnung". In
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201:
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Kinzler, Hartmuth. 1997. "Viereinhalb Marginalien zum ersten Stadium von Stockhausens
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Firnkees, Gertrud. 1980. "Improvisation als Einführung in die zeitgenössische Musik".
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The second set of refrains is marked "Nombre premier en rythme non rétrogradable" (A
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Trawick, Eleanor F. 1999. "Order, Progression, and Time in the Music of Messiaen".
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La cité céleste: Olivier Messiaen zum Gedächtnis—Dokumentation einer Symposienreihe
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39:, written in 1949 and 1950. A performance of them lasts between 15 and 20 minutes.
36:
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1620:. Oxford Studies of Composers 13. Oxford and New York: Oxford University Press.
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1585:, edited by Mari Riess Jones and Susan Holleran, 197–211. Washington, D.C.:
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734:. Messiaen's composition and one of the works inspired by it, Goeyvaerts's
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143:
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1991. "Internal Representations for Music Perception and Performance". In
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Traité de rythme, de couleur, et d’ornithologie (1949–1992): en sept tomes
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and Tobias Hünermann, 24–34. Signale aus Köln 7. Münster: Lit Verlag.
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1071:(selections): "Île de Feu 1 et 2". Hamburg: Deutsche Grammophon, 2008.
762:, belatedly discovered the "Mode de valeurs" in 1951 and composed his
996:. György Ligeti: Etudes pour piano, premier livre et deuxième livre.
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100:"Mode de valeurs et d'intensités" (Mode of Durations and Intensities)
134:("episode"). The first section consists of a thematic statement and
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1556:, edited by Christine Wassermann Beirão, 181–190. Berlin: Weidler.
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The Influence of Balinese Gamelan on the Music of Olivier Messiaen
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Harmonic Structures in the 'Quatre Études rythmiques' [
990:Études pour piano, vol. 1: Strawinsky, Bartók, Messiaen, Ligeti
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35:(Four Rhythm Studies) is a set of four piano compositions by
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Zheng, Zhong (郑中). 2005. 梅西安的多维准序列创作观——以钢琴作品《调式化的音值与音强》为例 .
1660:. 1986. "O. Messiaen: Mode de valeurs et d'intensités". In
1441:. 1974. "Messiaen/ Goeyvaerts, Fano/ Stockhausen, Boulez".
1124:. Roger Muraro, piano. Germany: Deutsche Grammophon, 2008.
1715:
Huangzhong: Journal of Wuhan Conservatory of Music, China
1604:
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961:
Messiaen Edition vol. 1: Organ Works; Piano Works; Songs
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982:. Gloria Cheng, piano. Recorded 20–21 December 1993 at
47:
The four pieces which the composer collectively termed
1357:
Bauer, Amy. 2008. "The Impossible Charm of Messiaen's
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12, no. 1 (Analysieren und Hören neuer Musik): 71–86.
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1610:. Ph.D. diss. Tallahassee: Florida State University.
1392:. vol. 3. Paris: Editions Musicales Alphonse Leduc.
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Olivier Messiaen, 1908–1992. The Anniversary Edition
891:
Piano Etudes by Bartók, Busoni, Messiaen, Stravinsky
1174:
1205:
1147:
1092:Complete edition. Olivier Messiaen; Roger Muraro;
1874:La Transfiguration de Notre Seigneur Jésus-Christ
1627:. DMA diss. Cincinnati: University of Cincinnati.
2310:
1711:Huangzhong: Zhongguo Wuhan Yinyue Xueyuan xuebao
1521:Reflexionen über Musik heute: Texte und Analysen
1162:
183:
2056:Méditations sur le Mystère de la Sainte Trinité
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1274:
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1235:
1223:
1141:
1826:Trois petites liturgies de la présence divine
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1645:Queensland Conservatorium Griffith University
794:Trois petites liturgies de la présence divine
227:
1527:, 24–57. Mainz: Schott Musik International.
243:"Île de Feu II": duration-row permutations
110:
1766:
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51:are not a "cycle" like Messiaen's earlier
1583:Cognitive Bases of Musical Communication
1387:
1382:
1335:(work details) (in French and English).
1247:
1187:
219:-like rhythmic structure grows from the
114:
1668:and Helmuth Hopf, 360–369. Regensburg:
830:Premier festival de l'art d'avant-garde
14:
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1699:161, no. 6 (November–December): 38–43.
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103:"Neumes rythmiques" (Rhythmic Neumes)
69:were premiered on 6 November 1950 in
27:Four piano pieces by Olivier Messiaen
1866:Et exspecto resurrectionem mortuorum
1773:
1437:
1298:
1211:
1156:
1008:Angela Hewitt Plays Olivier Messiaen
163:, the second does the same with the
93:The work consists of four movements
1122:Piéce pour le tombeau de Paul Dukas
980:Pièce pour le tombeau de Paul Dukas
949:The Piano Music of Olivier Messiaen
24:
2040:Verset pour la fête de la Dédicace
1587:American Psychological Association
1467:
1447:13, no. 1 (Fall–Winter): 141–169.
810:Visions de l'amen pour deux pianos
790:Les rarissimes de Olivier Messiaen
746:in 1951, prompting him to compose
25:
2345:
1722:
150:"Mode de valeurs et d'intensités"
2324:Compositions by Olivier Messiaen
2296:
2273:
2272:
2099:Vingt Regards sur l'enfant-Jésus
2000:Apparition de l'église éternelle
1706:9, no. 2 (Spring–Summer): 64–77.
1067:(selection): "L'alouette Lulu";
871:Vingt regards sur l'Enfant Jésus
802:Vingt regards sur l'enfant Jésus
106:"Île de Feu II" (Fire Island II)
54:Vingt Regards sur l'enfant-Jésus
1413:Sherlaw Johnson, Robert. 1989.
1504:Zeitschrift für Musikpädagogik
1476:Zeitschrift für Musikpädagogik
775:
752:—his first acknowledged work.
97:"Île de Feu I" (Fire Island I)
75:French protectorate of Tunisia
13:
1:
2252:Mode of limited transposition
1129:
1061:(selection): "La bouscarle";
167:unit, and the third with the
122:firedancers, Papua New Guinea
2242:Olivier Messiaen Competition
1933:Quatuor pour la fin du temps
1633:Archiv für Musikwissenschaft
720:
7:
2147:Petites esquisses d'oiseaux
2064:Le Livre du Saint-Sacrement
1976:Offrande au Saint Sacrement
1098:Petites esquisses d'oiseaux
1014:Composizioni per pianoforte
968:Petites esquisses d’oiseaux
875:Petites esquisses d'oiseaux
853:Petites esquisses d'oiseaux
88:
10:
2350:
2193:Chants de Terre et de Ciel
1882:Des Canyons aux étoiles...
1696:Neue Zeitschrift für Musik
926:: 1962; Olivier Messiaen:
42:
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1959:
1908:
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1662:Werkanalyse in Beispielen
1608:] of Olivier Messiaen
1600:Lee, John Madison. 1972.
1444:Perspectives of New Music
1388:Messiaen, Olivier. 1996.
976:Quatre eetudes de rhythme
1890:Éclairs sur l'au-delà...
935:Prélude, choral et fugue
834:Quatre Études de rythmes
73:(at that time under the
2139:La Fauvette des jardins
2115:Quatre Études de rythme
2008:La Nativité du Seigneur
1799:Saint François d'Assise
1623:Puspita, Amelia. 2008.
1539:Christoph von Blumröder
1331:Quatre Études de rythme
1102:Quatre Études de rythme
1083:Quatre Études de rythme
1069:Quatre Études de rythme
1041:Quatre Études de rythme
1030:Quatre Études de rythme
994:Quatre Études de rythme
953:Quatre Études de rythme
939:Quatre études de rythme
928:Quatre etudes de rythme
895:Quatre etudes de rythme
883:Quatre Études de rythme
864:Quatre Études de rythme
845:Quatre Études de rythme
816:. Olivier Messiaen and
814:Quatre Études de rythme
784:Quatre Études de rythme
744:Darmstädter Ferienkurse
174:According to Messiaen:
32:Quatre Études de rythme
18:Quatre études de rythme
2329:Music with dedications
1018:Le tombeau de Couperin
798:Les offrandes oubliées
181:
123:
2024:Messe de la Pentecôte
1834:Turangalîla-Symphonie
1484:Indiana Theory Review
759:Turangalîla-Symphonie
740:Karlheinz Stockhausen
736:Sonata for Two Pianos
717:, completed in 1960.
176:
142:amounting to a short
118:
1925:Fête des belles eaux
1784:List of compositions
1643:. PhD diss. Nathan:
1639:Song, Sun-ju. 2008.
1510:Hufschmidt, Wolfgang
1275:Sherlaw Johnson 1989
1260:Sherlaw Johnson 1989
1236:Sherlaw Johnson 1989
1224:Sherlaw Johnson 1989
1142:Sherlaw Johnson 1989
1028:; Olivier Messiaen:
1004:International, 1999-
937:; Olivier Messiaen:
893:. Olivier Messiaen:
126:The title refers to
2166:O sacrum convivium!
2131:Catalogue d'oiseaux
1917:Thème et variations
1670:Gustav Bosse Verlag
1579:Krumhansl, Carol L.
1329:"Olivier Messiaen:
1064:Catalogue d'oiseaux
1059:Préludes pour piano
772:in a single night.
244:
184:"Neumes rythmiques"
157:chromatic durations
2123:Réveil des Oiseaux
2016:Les Corps glorieux
1968:Le Banquet Céleste
1651:Stegemann, Michael
1636:30, No. 2:128–146.
1506:5, no. 12:192–195.
1118:Prélude pour piano
1114:Fantasie burlesque
1055:Hommage à Messiaen
1035:Olivier Messiaen:
1020:; Claude Debussy:
910:Seven Short Pieces
904:Olivier Messiaen:
869:Olivier Messiaen:
839:Olivier Messiaen:
782:Olivier Messiaen:
765:Structures, Book I
242:
124:
81:on 7 June 1951 by
2334:1950 compositions
2284:
2283:
2091:Visions de l'Amen
1949:Feuillets inédits
1842:Oiseaux exotiques
1562:978-3-89693-473-4
1547:978-3-8258-7212-0
1371:978-0-521-83981-5
1079:Visions de l'amen
1037:Visions de l'amen
1016:. Maurice Ravel:
703:
702:
59:Visions de l’Amen
16:(Redirected from
2341:
2301:
2300:
2299:
2292:
2276:
2275:
1898:Concert à quatre
1775:Olivier Messiaen
1768:
1761:
1754:
1745:
1744:
1731:
1717:1, no. 73:57–63.
1678:
1659:
1531:Kämper, Dietrich
1518:
1478:8, no. 22:48–57.
1462:
1434:
1409:
1384:
1379:
1374:
1363:Messiaen Studies
1353:
1347:
1345:
1343:
1314:
1308:
1302:
1296:
1290:
1284:
1278:
1272:
1263:
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1215:
1209:
1203:
1197:
1191:
1185:
1172:
1166:
1160:
1154:
1145:
1139:
943:Shura Cherkassky
918:Iannis Xenakis:
822:Roger Désormière
728:Karel Goeyvaerts
245:
241:
128:Papua New Guinea
49:Études de rythme
37:Olivier Messiaen
21:
2349:
2348:
2344:
2343:
2342:
2340:
2339:
2338:
2309:
2308:
2307:
2303:Classical music
2297:
2295:
2287:
2285:
2280:
2266:
2257:La jeune France
2230:
2207:
2172:
2153:
2070:
1955:
1904:
1805:
1786:
1777:
1772:
1729:
1725:
1720:
1672:
1653:
1512:
1470:
1468:Further reading
1465:
1341:
1339:
1317:
1313:, 78–79, 81–82.
1309:
1305:
1297:
1293:
1285:
1281:
1273:
1266:
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1163:
1155:
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1140:
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1127:
778:
723:
253:
250:
230:
228:"Île de Feu II"
186:
159:applied to the
152:
113:
91:
45:
28:
23:
22:
15:
12:
11:
5:
2347:
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2282:
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2271:
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2262:Ondes Martenot
2259:
2254:
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2231:
2229:
2228:
2222:
2215:
2213:
2209:
2208:
2206:
2205:
2197:
2189:
2185:Poèmes pour Mi
2180:
2178:
2174:
2173:
2171:
2170:
2161:
2159:
2155:
2154:
2152:
2151:
2143:
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2012:
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1996:
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1972:
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1937:
1929:
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1794:
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1787:
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1779:
1778:
1771:
1770:
1763:
1756:
1748:
1742:
1741:
1730:Animated score
1724:
1723:External links
1721:
1719:
1718:
1707:
1700:
1688:
1666:Siegmund Helms
1648:
1637:
1628:
1621:
1614:Nichols, Roger
1611:
1598:
1576:
1565:
1550:
1528:
1525:Wilfried Gruhn
1507:
1500:
1488:
1487:3, no. 2:4–11.
1479:
1471:
1469:
1466:
1464:
1463:
1453:10.2307/832372
1435:
1410:
1385:
1380:
1375:
1354:
1348:
1327:Anon. (n.d.).
1323:
1316:
1315:
1303:
1291:
1279:
1264:
1252:
1240:
1228:
1216:
1204:
1192:
1173:
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1128:
1126:
1125:
1090:
1072:
1052:
1048:
1033:
1011:
1005:
1001:
987:
964:
946:
933:César Franck:
931:
916:
913:
902:
888:
887:
886:
867:
837:
827:
826:
825:
806:Trois préludes
779:
777:
774:
722:
719:
705:
704:
701:
700:
697:
694:
691:
688:
685:
682:
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664:
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541:
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260:
257:
254:
251:
249:Initial series
248:
229:
226:
185:
182:
161:demisemiquaver
151:
148:
112:
111:"Île de Feu I"
109:
108:
107:
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101:
98:
90:
87:
44:
41:
26:
9:
6:
4:
3:
2:
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2258:
2255:
2253:
2250:
2248:
2245:
2243:
2240:
2239:
2237:
2233:
2227:(second wife)
2226:
2225:Yvonne Loriod
2223:
2220:
2219:Claire Delbos
2217:
2216:
2214:
2210:
2203:
2202:
2198:
2195:
2194:
2190:
2187:
2186:
2182:
2181:
2179:
2175:
2168:
2167:
2163:
2162:
2160:
2156:
2149:
2148:
2144:
2141:
2140:
2136:
2133:
2132:
2128:
2125:
2124:
2120:
2117:
2116:
2112:
2109:
2108:
2104:
2101:
2100:
2096:
2093:
2092:
2088:
2085:
2084:
2080:
2079:
2077:
2073:
2066:
2065:
2061:
2058:
2057:
2053:
2050:
2049:
2045:
2042:
2041:
2037:
2034:
2033:
2032:Livre d'orgue
2029:
2026:
2025:
2021:
2018:
2017:
2013:
2010:
2009:
2005:
2002:
2001:
1997:
1994:
1993:
1989:
1986:
1985:
1981:
1978:
1977:
1973:
1970:
1969:
1965:
1964:
1962:
1958:
1951:
1950:
1946:
1943:
1942:
1941:Le Merle noir
1938:
1935:
1934:
1930:
1927:
1926:
1922:
1919:
1918:
1914:
1913:
1911:
1907:
1900:
1899:
1895:
1892:
1891:
1887:
1884:
1883:
1879:
1876:
1875:
1871:
1868:
1867:
1863:
1860:
1859:
1855:
1852:
1851:
1850:Chronochromie
1847:
1844:
1843:
1839:
1836:
1835:
1831:
1828:
1827:
1823:
1820:
1819:
1815:
1814:
1812:
1808:
1801:
1800:
1796:
1795:
1793:
1789:
1785:
1780:
1776:
1769:
1764:
1762:
1757:
1755:
1750:
1749:
1746:
1740:
1739:Yvonne Loriod
1736:
1732:
1727:
1726:
1716:
1712:
1708:
1705:
1701:
1698:
1697:
1692:
1691:Toop, Richard
1689:
1686:
1685:37-649-2276-1
1682:
1676:
1671:
1667:
1663:
1657:
1652:
1649:
1646:
1642:
1638:
1635:
1634:
1629:
1626:
1622:
1619:
1615:
1612:
1609:
1606:
1603:
1599:
1596:
1595:1-55798-127-2
1592:
1588:
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1577:
1574:
1570:
1566:
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1555:
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1526:
1522:
1516:
1511:
1508:
1505:
1501:
1498:
1497:5-8269-0052-0
1494:
1489:
1486:
1485:
1480:
1477:
1473:
1472:
1461:
1457:
1454:
1450:
1446:
1445:
1440:
1439:Toop, Richard
1436:
1432:
1431:9780520067349
1428:
1424:
1423:9780460126038
1420:
1416:
1411:
1407:
1406:9782858690497
1403:
1399:
1398:9782856890493
1395:
1391:
1386:
1381:
1376:
1372:
1368:
1364:
1360:
1359:Chronochromie
1355:
1349:
1338:
1334:
1332:
1325:
1324:
1322:
1321:
1312:
1307:
1300:
1295:
1288:
1283:
1276:
1271:
1269:
1261:
1256:
1249:
1248:Messiaen 1996
1244:
1237:
1232:
1225:
1220:
1213:
1208:
1201:
1196:
1189:
1188:Messiaen 1994
1184:
1182:
1180:
1178:
1170:
1165:
1158:
1153:
1151:
1143:
1138:
1134:
1123:
1119:
1115:
1111:
1107:
1103:
1099:
1095:
1094:Olivier Latry
1091:
1088:
1084:
1080:
1076:
1073:
1070:
1066:
1065:
1060:
1056:
1053:
1049:
1046:
1042:
1038:
1034:
1031:
1027:
1023:
1022:Cinq preludes
1019:
1015:
1012:
1009:
1006:
1002:
999:
995:
991:
988:
985:
984:SUNY Purchase
981:
977:
973:
969:
965:
962:
958:
954:
950:
947:
944:
940:
936:
932:
929:
925:
921:
917:
914:
911:
907:
903:
900:
896:
892:
889:
884:
880:
879:Huit préludes
876:
872:
868:
865:
861:
860:
859:Huit Préludes
855:
854:
849:
848:
846:
842:
841:Huit préludes
838:
835:
831:
828:
823:
819:
818:Yvonne Loriod
815:
811:
807:
803:
799:
795:
791:
788:
787:
785:
781:
780:
773:
771:
770:Structures 1a
767:
766:
761:
760:
755:
754:Pierre Boulez
751:
750:
745:
741:
737:
733:
729:
718:
716:
715:
714:Chronochromie
709:
698:
695:
692:
689:
686:
683:
680:
677:
674:
671:
668:
665:
662:
661:
657:
654:
651:
648:
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636:
633:
630:
627:
624:
621:
620:
616:
613:
610:
607:
604:
601:
598:
595:
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589:
586:
583:
580:
579:
575:
572:
569:
566:
563:
560:
557:
554:
551:
548:
545:
542:
539:
538:
534:
531:
528:
525:
522:
519:
516:
513:
510:
507:
504:
501:
498:
497:
493:
490:
487:
484:
481:
478:
475:
472:
469:
466:
463:
460:
457:
456:
452:
449:
446:
443:
440:
437:
434:
431:
428:
425:
422:
419:
416:
415:
411:
408:
405:
402:
399:
396:
393:
390:
387:
384:
381:
378:
375:
374:
370:
367:
364:
361:
358:
355:
352:
349:
346:
343:
340:
337:
334:
333:
329:
326:
323:
320:
317:
314:
311:
308:
305:
302:
299:
296:
293:
292:
288:
285:
282:
279:
276:
273:
270:
267:
264:
261:
258:
255:
247:
246:
240:
239:
238:
234:
225:
222:
218:
213:
211:
205:
203:
202:retrogradable
199:
194:
191:
180:
175:
172:
170:
166:
162:
158:
147:
145:
141:
137:
133:
129:
121:
117:
105:
102:
99:
96:
95:
94:
86:
84:
83:Yvonne Loriod
80:
76:
72:
68:
64:
60:
56:
55:
50:
40:
38:
34:
33:
19:
2319:Piano études
2221:(first wife)
2199:
2191:
2183:
2164:
2145:
2137:
2129:
2121:
2114:
2113:
2107:Cantéyodjayâ
2105:
2097:
2089:
2081:
2062:
2054:
2046:
2038:
2030:
2022:
2014:
2006:
1998:
1990:
1982:
1974:
1966:
1947:
1939:
1931:
1923:
1915:
1896:
1888:
1880:
1872:
1864:
1856:
1848:
1840:
1832:
1824:
1816:
1797:
1714:
1710:
1703:
1694:
1664:, edited by
1661:
1640:
1631:
1624:
1617:
1607:
1601:
1582:
1573:Musiktheorie
1572:
1568:
1553:
1537:, edited by
1534:
1523:, edited by
1520:
1503:
1482:
1475:
1442:
1414:
1389:
1362:
1358:
1340:. Retrieved
1333:(1949–1950)"
1330:
1319:
1318:
1306:
1294:
1282:
1255:
1243:
1231:
1219:
1207:
1195:
1164:
1137:
1121:
1117:
1113:
1109:
1106:Cantéyodjayâ
1105:
1101:
1097:
1087:Cantéyodjayâ
1086:
1082:
1078:
1074:
1068:
1062:
1058:
1054:
1045:Cantéyodjayâ
1044:
1040:
1036:
1029:
1025:
1021:
1017:
1013:
1007:
993:
989:
979:
975:
972:Cantéyodjayâ
971:
967:
960:
957:Cantéyodjayâ
956:
952:
951:. Préludes;
948:
938:
934:
927:
923:
919:
909:
906:Cantéyodjayâ
905:
898:
894:
890:
882:
878:
874:
870:
863:
857:
851:
844:
840:
833:
829:
813:
809:
805:
801:
797:
793:
789:
783:
769:
763:
757:
747:
738:, impressed
724:
712:
710:
706:
252:Interversion
235:
231:
214:
206:
198:prime number
195:
187:
177:
173:
153:
139:
135:
131:
125:
92:
58:
52:
48:
46:
31:
30:
29:
2177:Song cycles
1858:Sept haïkaï
1818:L'Ascension
1673: [
1654: [
1513: [
1433:(Berkeley).
1311:Gather 2003
1200:Barash 2002
998:Erika Haase
776:Discography
732:Michel Fano
2313:Categories
1987:(ca. 1929)
1979:(ca. 1928)
1960:Solo organ
1810:Orchestral
1704:Ex Tempore
1569:Kreuzspiel
1425:(London);
1301:, 142–143.
1289:, 149–150.
1287:Bauer 2008
1238:, 104–105.
1130:References
1077:, vol. 7.
1026:Jeux d'eau
966:Messiaen:
850:Messiaen:
749:Kreuzspiel
210:plainchant
165:semiquaver
57:(1944) or
2188:(1936–37)
2134:(1956–58)
2118:(1949–50)
2086:(1928–29)
2035:(1951–52)
2027:(1949–50)
1936:(1940–41)
1901:(1990–91)
1893:(1988–92)
1885:(1971–74)
1877:(1965–69)
1853:(1959–60)
1845:(1955–56)
1837:(1946–48)
1829:(1943–44)
1821:(1932–33)
1802:(1975–83)
1299:Toop 1974
1212:Toop 1974
1169:Anon. n.d
1157:Toop 1974
721:Reception
67:movements
63:Darmstadt
2278:Category
2247:Biomusic
2083:Préludes
1992:Diptyque
1618:Messiaen
1616:. 1975.
1415:Messiaen
1202:, 18–19.
808:; CD 2:
792:. CD 1:
726:pupils,
89:Analysis
79:Toulouse
2235:Related
2048:Monodie
1984:Prélude
1909:Chamber
1735:YouTube
1352:Center.
1320:Sources
1110:Rondeau
920:Evryali
742:at the
217:collage
200:in non-
120:Baining
43:History
2289:Portal
2212:Family
2204:(1944)
2201:Harawi
2196:(1938)
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