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from Part III - Composers, Performers, and Critics
Published online by Cambridge University Press: 09 November 2023
Messiaen’s use of orchestral colour is integral to the projection of his distinctive sound world. This chapter charts his development as an orchestrator, starting with his inheritance from the French tradition, not least his composition teacher Paul Dukas, as well as figures such as Stravinsky and Bartók. It outlines how Messiaen removed key traces of the nineteenth-century orchestral sound world from his palette and introduced new instruments and new approaches to the orchestra, including distinctive new combinations of ensembles. It discusses the exceptional challenge posed by Des canyons aux étoiles…, and considers the exceptional refinement of the music of his later years.
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