Messiaen's Final Works: Style and Technique

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Contents:
Part I Final Works: The end; A few techniques from Messiaen's musical language; Messiaen's final work? Saint FranAois d'Assise; Messiaen's final (organ) work: Livre du Saint Sacrement.
Part II The Miniatures:
Introduction to the miniatures; A work for Yvonne Loriod: Petites Esquisses d'oiseaux; Two works for Boulez: Un Vitrail et des oiseaux pour piano solo et petit orchestre and La Ville d'En-Haut pour piano solo et petit orchestre; A work for Mozart: Un Sour
Part III A0/00clairs sur l'Au-DelA ...:
Introduction to A0/00clairs sur l'Au-DelA ...; I. Apparition du Christ glorieux; II. la constellation du Sagittaire; III. l'Oiseau-Lyre et la Ville-Fiancee; IV. les elus marques du sceau; V. Demeurer dans l'Amour...; VI. les sept Anges aux sept trompettes
Part IV Final Thoughts?: Death and a new work: Concert A quatre pour flA"te solo, hautbois solo, violoncelle solo, piano solo et orchestre; Messiaen's latest style; Appendices; Select bibliography; Discography; Index.

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When Olivier Messiaen (1908-1992) completed the vast opera Saint FranÃ§ois d’Assise in 1983, he was mentally and physically exhausted, and believed that this monumental work would be his final compositional statement. In fact, he completed seven further works, and these form the focus of the present study. Christopher Dingle suggests that, following the crisis provoked by the opera, Messiaen's music underwent a discernible change in style. He examines these seven works to identify characteristics of the composer's music, in particular an often overlooked aspect of his technique: harmony. Part I of the book begins with a brief historical survey before discussing Saint FranÃ§ois d’Assise as the work which defines everything that follows. Part II examines the series of miniatures that came after the opera and their links with Ã‰clairs sur l’Au-DelÃ ..., his final masterpiece. Ã‰clairs forms the subject of Part III of the book. Each movement is analysed in turn, before the work is considered as a whole and its hidden structure and motivic cohesion is revealed. Finally, Part IV considers the incomplete Concert Ã 4 and key stylistic features of the works of Messiaen’s final years.

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