ABSTRACT
This chapter examines Olivier Messiaen's relationship with selected compositions of Claude Debussy and The Rite of Spring from technical, poetical and analytical perspectives. To assess Messiaen's analysis of La mer it is instructive to make comparisons with those of two Debussy scholars-Roy Howat and Simon Trezise. The prelude of Debussy moves towards distant tonal centres, and Messiaen is more interested in his modal priorities. Given Messiaen's enthusiasm for a greater understanding of the role of poetry in the work of other composers, it would also be constructive to make an assessment of his views on the close relationship between Debussy and his chosen literary sources. The most tangible evidence previously available was Pierre Boulez's article on The Rite, 'Stravinsky Remains', which is quite obviously based on the concepts proposed in Messiaen's analysis. Other writers such as Pieter van den Toorn and André Boucourechliev have also employed theories whose origin can be traced back to Messiaen.
