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Olivier Messiaen Trivia Questions

How much do you really know about Olivier Messiaen? Below are 8 true or false statements. Click each one to reveal the answer and explanation.

1.

Messiaen was a devout atheist who rejected religious themes in his work.

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Easy
✗ FALSE

He was a devout Catholic, and most of his music expresses theological concepts, such as the 'Vingt Regards sur l'Enfant-Jésus'.

2.

Messiaen's works are all extremely long, with none shorter than 30 minutes.

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Easy
✗ FALSE

He wrote shorter pieces like 'Le Merle Noir' (about 6 minutes) and 'La Nativité du Seigneur' includes brief movements, though many are expansive.

3.

Messiaen was a synesthete who saw colors when hearing chords and rhythms.

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Medium
✓ TRUE

He experienced vivid color associations with sound, often describing specific chord combinations as 'red' or 'gold' in his scores.

4.

Messiaen transcribed bird songs from around the world into his compositions.

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Medium
✓ TRUE

He was an avid ornithologist, traveling globally to notate bird songs, which he incorporated into works like 'Catalogue d'oiseaux'.

5.

Messiaen was a student of Claude Debussy and directly copied his impressionist style.

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Medium
✗ FALSE

Messiaen studied at the Paris Conservatoire with Paul Dukas, not Debussy. He admired Debussy's music but forged a unique style using birdsong and modes of limited transposition, markedly different from impressionism.

6.

Messiaen was a prisoner of war and composed 'Quatuor pour la fin du temps' in a camp.

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Medium
✓ TRUE

He wrote this iconic piece while imprisoned in Stalag VIII-A, premiering it with fellow inmates on a broken piano and cello.

7.

Messiaen's music is entirely atonal and avoids any sense of key or harmony.

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Hard
✗ FALSE

He used unique modes of limited transposition and rich harmonies, but never abandoned tonality entirely; his music is often deeply tonal.

8.

Olivier Messiaen incorporated rhythms from Hindu deçî-tâlas into his compositions.

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Hard
✓ TRUE

Messiaen studied the 120 deçî-tâlas from the medieval Indian treatise Sangita Ratnakara and used them extensively, most notably in his Turangalîla-Symphonie.

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