Título: Olivier Messiaen
Seção: Tristan and serialism
Background: Olivier Eugene Charles Prosper Messiaen (French: [olivje mesja]; December 10, 1908 - April 27, 1992) was a French composer, organist, and ornithologist, one of the major composers of the 20th century. 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. He travelled widely and wrote works inspired by diverse influences ranging from Japanese music, the landscape of Bryce Canyon in Utah and the life of St. Francis of Assisi.

Conteúdo: Shortly after his release from Gorlitz in May 1941, Messiaen was appointed a professor of harmony at the Paris Conservatoire, where he taught until his retirement in 1978. He compiled his Technique de mon langage musical ("Technique of my musical language") published in 1944, in which he quotes many examples from his music, particularly the Quartet. Although only in his mid-thirties, his students described him as an outstanding teacher. Among his early students were the composers Pierre Boulez and Karel Goeyvaerts. Other pupils included Karlheinz Stockhausen in 1952, Alexander Goehr in 1956-57, Tristan Murail in 1967-72 and George Benjamin during the late 1970s. The Greek composer Iannis Xenakis was referred to him in 1951; Messiaen urged Xenakis to take advantage of his background in mathematics and architecture in his music.  In 1943, Messiaen wrote Visions de l'Amen ("Visions of the Amen") for two pianos for Yvonne Loriod and himself to perform. Shortly thereafter he composed the enormous solo piano cycle Vingt regards sur l'enfant-Jesus ("Twenty gazes upon the child Jesus") for her. Again for Loriod, he wrote Trois petites liturgies de la presence divine ("Three small liturgies of the Divine Presence") for female chorus and orchestra, which includes a difficult solo piano part.  Two years after Visions de l'Amen, Messiaen composed the song cycle Harawi, the first of three works inspired by the legend of Tristan and Isolde. The second of these works about human (as opposed

user: What is Tristan and serialism?

assistant: Messiaen composed the song cycle Harawi, the first of three works inspired by the legend of Tristan and Isolde.

user: What was the song about?

assistant: The second of these works about human (as opposed to divine) love was the result of a commission from Serge Koussevitzky.

user: Was he commissioned to write any other songs?

assistant: CANNOTANSWER

user: Are there any other interesting aspects about this article?

assistant: Messiaen taught an analysis class at the Paris Conservatoire.

user: How long did he teach for?

assistant: In 1947 he taught (and performed with Loriod) for two weeks in Budapest.

user: What else did he do in Budapest?

assistant: In 1949 he taught at Tanglewood.

user: Did he travel any where else?

assistant: Beginning in summer 1949 he taught in the new music summer school classes at Darmstadt.

user: Did he teach anywhere else?

assistant: CANNOTANSWER

user: What else is notable about this time?

assistant: It had a large influence on the earliest European serial composers,