Olivier Messiaen

Context: Olivier-Eugene-Prosper-Charles Messiaen was born December 10, 1908 in Avignon, France, into a literary family. He was the elder of two sons of Cecile Sauvage, a poet, and Pierre Messiaen, a teacher of English who translated the plays of William Shakespeare into French. Messiaen's mother published a sequence of poems, L'ame en bourgeon ("The Budding Soul"), the last chapter of Tandis que la terre tourne ("As the Earth Turns"), which address her unborn son. Messiaen later said this sequence of poems influenced him deeply and he cited it as prophetic of his future artistic career.  At the outbreak of World War I, Pierre Messiaen enlisted and Cecile took their two boys to live with her brother in Grenoble. There Messiaen became fascinated with drama, reciting Shakespeare to his brother with the help of a home-made toy theatre with translucent backdrops made from old cellophane wrappers. At this time he also adopted the Roman Catholic faith. Later, Messiaen felt most at home in the Alps of the Dauphine, where he had a house built south of Grenoble where he composed most of his music.  He took piano lessons having already taught himself to play. His interest included the recent music of French composers Claude Debussy and Maurice Ravel, and he asked for opera vocal scores for Christmas presents. He also saved to buy scores and one such was Edvard Grieg's Peer Gynt whose "beautiful Norwegian melodic lines with the taste of folk song...gave me a love of melody." Around this time he began to compose. In 1918 his father returned from the war and the family moved to Nantes. He continued music lessons; one of his teachers, Jehan de Gibon, gave him a score of Debussy's opera Pelleas et Melisande, which Messiaen described as "a thunderbolt" and "probably the most decisive influence on me". The following year Pierre Messiaen gained a teaching post in Paris. Messiaen entered the Paris Conservatoire in 1919, aged 11.  At the Conservatoire, Messiaen made excellent academic progress. In 1924, aged 15, he was awarded second prize in harmony, having been taught in that subject by professor Jean Gallon. In 1925 he won first prize in piano accompaniment, and in 1926 he gained first prize in fugue. After studying with Maurice Emmanuel, he was awarded second prize for the history of music in 1928. Emmanuel's example engendered an interest in ancient Greek rhythms and exotic modes. After showing improvisational skills on the piano Messiaen studied organ with Marcel Dupre. Messiaen gained first prize in organ playing and improvisation in 1929. After a year studying composition with Charles-Marie Widor, in autumn 1927 he entered the class of the newly appointed Paul Dukas. Messiaen's mother died of tuberculosis shortly before the class began. Despite his grief, he resumed his studies, and in 1930 Messiaen won first prize in composition.  While a student he composed his first published works--his eight Preludes for piano (the earlier Le banquet celeste was published subsequently). These exhibit Messiaen's use of his modes of limited transposition and palindromic rhythms (Messiaen called these non-retrogradable rhythms). His public debut came in 1931 with his orchestral suite Les offrandes oubliees. That year he first heard a gamelan group, sparking his interest in the use of tuned percussion.  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 to divine) love was the result of a commission from Serge Koussevitzky. Messiaen stated that the commission did not specify the length of the work or the size of the orchestra. This was the ten-movement Turangalila-Symphonie. It is not a conventional symphony, but rather an extended meditation on the joy of human union and love. It does not contain the sexual guilt inherent in Richard Wagner's Tristan und Isolde because Messiaen believed that sexual love is a divine gift. The third piece inspired by the Tristan myth was Cinq rechants for twelve unaccompanied singers, described by Messiaen as influenced by the alba of the troubadours. Messiaen visited the United States in 1949, where his music was conducted by Koussevitsky and Leopold Stokowski. His Turangalila-Symphonie was first performed in the US in 1949, conducted by Leonard Bernstein.  Messiaen taught an analysis class at the Paris Conservatoire. In 1947 he taught (and performed with Loriod) for two weeks in Budapest. In 1949 he taught at Tanglewood. Beginning in summer 1949 he taught in the new music summer school classes at Darmstadt. While he did not employ the twelve-tone technique, after three years teaching analysis of twelve-tone scores, including works by Arnold Schoenberg, he experimented with ways of making scales of other elements (including duration, articulation and dynamics) analogous to the chromatic pitch scale. The results of these innovations was the "Mode de valeurs et d'intensites" for piano (from the Quatre etudes de rythme) which has been misleadingly described as the first work of "total serialism". It had a large influence on the earliest European serial composers, including Pierre Boulez and Karlheinz Stockhausen. During this period he also experimented with musique concrete, music for recorded sounds.  When in 1952 Messiaen was asked to provide a test piece for flautists at the Paris Conservatoire, he composed the piece Le merle noir for flute and piano. While he had long been fascinated by birdsong, and birds had made appearances in several of his earlier works (for example La Nativite, Quatuor and Vingt regards), the flute piece was based entirely on the song of the blackbird.  He took this development to a new level with his 1953 orchestral work Reveil des oiseaux--its material consists almost entirely of the birdsong one might hear between midnight and noon in the Jura. From this period onwards, Messiaen incorporated birdsong into all of his compositions and composed several works for which birds provide both the title and subject matter (for example the collection of thirteen pieces for piano Catalogue d'oiseaux completed in 1958, and La fauvette des jardins of 1971). Paul Griffiths observed that Messiaen was a more conscientious ornithologist than any previous composer, and a more musical observer of birdsong than any previous ornithologist.  Messiaen's first wife died in 1959 after a long illness, and in 1961 he married Loriod. He began to travel widely, to attend musical events and to seek out and transcribe the songs of more exotic birds in the wild. Loriod frequently assisted her husband's detailed studies of birdsong while walking with him, by making tape recordings for later reference. In 1962 he visited Japan, where Gagaku music and Noh theatre inspired the orchestral "Japanese sketches", Sept haikai, which contain stylised imitations of traditional Japanese instruments.  Messiaen's music was by this time championed by, among others, Pierre Boulez, who programmed first performances at his Domaine musical concerts and the Donaueschingen festival. Works performed included Reveil des oiseaux, Chronochromie (commissioned for the 1960 festival) and Couleurs de la cite celeste. The latter piece was the result of a commission for a composition for three trombones and three xylophones; Messiaen added to this more brass, wind, percussion and piano, and specified a xylophone, xylorimba and marimba rather than three xylophones. Another work of this period, Et exspecto resurrectionem mortuorum, was commissioned as a commemoration of the dead of the two World Wars and was performed first semi-privately in the Sainte-Chapelle, then publicly in Chartres Cathedral with Charles de Gaulle in the audience.  His reputation as a composer continued to grow and in 1959, he was nominated as an Officier of the Legion d'honneur. In 1966 he was officially appointed professor of composition at the Paris Conservatoire, although he had in effect been teaching composition for years. Further honours included election to the Institut de France in 1967 and the Academie des beaux-arts in 1968, the Erasmus Prize in 1971, the award of the Royal Philharmonic Society Gold Medal and the Ernst von Siemens Music Prize in 1975, the Sonning Award (Denmark's highest musical honour) in 1977, the Wolf Prize in Arts in 1982, and the presentation of the Croix de Commander of the Belgian Order of the Crown in 1980. CANNOTANSWER

Question: Was Olivier Messiaen asked to do any specific work during the 1960s?
Answer: Another work of this period, Et exspecto resurrectionem mortuorum, was commissioned as a commemoration of the dead of the two World Wars