PLAINCHANTS AS COLOURED TIME IN MESSIAEN'S ‘COULEURS DE LA CITÉ CÉLESTE’

@article{WaiLing2010PLAINCHANTSAC,
  title={PLAINCHANTS AS COLOURED TIME IN MESSIAEN'S ‘COULEURS DE LA CIT{\'E} C{\'E}LESTE’},
  author={Cheong Wai-Ling},
  journal={Tempo},
  year={2010},
  volume={64},
  pages={20 - 37}
}
When Messiaen finished Trois petites liturgies de la présence divine (1943–4), almost all the orchestral works he had composed up to that point had been religious in ethos.1 There was no real sign that this would change: that he would stop devoting his orchestral works to the service of the Catholic faith. That some 20 years elapsed before he attempted another orchestral sacred work is intriguing. It was Couleurs de la cité céleste (1963) that broke the ice, and after it the orchestral and the… 
2 Citations

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Messiaen’s Triadic Colouration: Modes as Interversion

About halfway through the Vingt regards sur l'enfant-esus (1944), in 'Premiere communion de la vierge', Messiaen recalls the opening bars of La nativite du Seigneur (1935).1 This introduces what