His music is rhythmically complex; harmonically and melodically he employs a system he called modes of limited transposition, which he abstracted from the systems of material generated by his early compositions and improvisations.
He wrote music for chamber ensembles and orchestra, vocal music, as well as for solo organ and piano, and also experimented with the use of novel electronic instruments developed in Europe during his lifetime.
❝ I give bird songs to those who dwell in cities and have never heard them, make rhythms for those who know only military marches or jazz, and paint colors for those who see none.❞
We listen to
Symphonie for piano, ondes martenot & orchestra
conducting the Orchestre Philharmonique de Radio France Roger Muraro, piano Cynthia Millar, Ondes Martenot
I. Introduction: Modéré, un peu vif II. Chant d’amour I: Modéré, lourd III. Turangalîla I: Presque lent, rêveur IV. Chant d’amour II: Bien modéré V. Joie du sang des étoiles: Vif, passionné, avec joie VI. Jardin du sommeil d’amour: Très modéré, très tendre VII. Turangalîla II: Un peu vif, bien modéré VIII. Développement de l’amour: Bien modéré IX. Turangalîla III: Bien modéré X. Finale: Modéré, presque vif, avec une grande joie
“Turangalîla” means love song, hymn to joy, time, movement, rhythm, life and death, all at once.
[“Lîla” literally means play — but play in the sense of the divine action upon the cosmos, the play of creation, destruction, reconstruction, the play of life and death. “Lila” is also love. “Turanga”: this is the time that runs, like a galloping horse; this is time that flows, like sand in an hourglass. “Turanga” is movement and rhythm.]
Here are works by Messiaen, Oannes has posted in his blog: