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Without permission in writing from the publishers. Including photocopying and recording, or in any information storage or retrieval system, No part of this book may be reprinted or reproduced or utilised in anyįorm or by any electronic, mechanical, or other means, now known or hereafter invented, Routledge is an imprint of the Taylor & Francis Group, an informa businessĬhristopher Dingle has asserted his right under the Copyright, Designs and patents act,ġ988, to be identified as the author of this work.Īll rights reserved. Finally, Part IV considers the incomplete Concert à 4 and key stylistic features of the works of Messiaen’s final years.įirst published 2013 by Ashgate PublishingĢ Park Square, Milton Park, Abingdon, Oxon OX14 4RNħ11 Third Avenue, New York, NY 10017, USA

Each movement is analysed in turn, before the work is considered as a whole and its hidden structure and motivic cohesion is revealed. Éclairs forms the subject of Part III of the book. Part II examines the series of miniatures that came after the opera and their links with Éclairs sur l’Au-Delà., his final masterpiece. Part I of the book begins with a brief historical survey before discussing Saint François d’Assise as the work which defines everything that follows. He examines these seven works to identify characteristics of the composer's music, in particular an often overlooked aspect of his technique: harmony. Christopher Dingle suggests that, following the crisis provoked by the opera, Messiaen's music underwent a discernible change in style. In fact, he completed seven further works, and these form the focus of the present study.

When Olivier Messiaen (1908-1992) completed the vast opera Saint François d’Assise in 1983, he was mentally and physically exhausted, and believed that this monumental work would be his final compositional statement.