ABSTRACT
Olivier Messiaen was capable both of modifying the original conditions and of turning down requests for new works. He had a track record of adding solo piano parts regardless of the terms of the commission. Chronologically Eclairs cfinal works, and they constitute a distinct creative phase, with discernible differences in style and technique from what came before. In Messiaen's case, reflecting the impetus for his inclusive musical approach, it might be viewed as omnitonal, but such a term may not be desirable or appropriate for other composers. Messiaen's globe-trotting to attend many of the concerts held in honour of his 80th birthday can be seen as a turning point. Despite the signs of failing physical health, hearing so much of his own music appears to have rejuvenated Messiaen's creative outlook. If Messiaen's final works, particularly Eclairs, are concerned with the afterlife, it is because this was a lifelong concern.
