that "The 'Theme of Chords' is heard throughout, fragmented, concentrated, surrounded with resonances, combined with itself, modified in both rhythm and register, transformed, transmuted in all sorts of ways: it is a complex of sounds intended for perpetual variation, pre-existing in the abstract like a series, but quite concrete and quite easily recognizable through its colours: a steely grey-blue shot through with red and bright orange, a mauve violet spotted with leather-brown and encircled by bluish-purple." References Bibliography Bruhn, Siglind (2008). Messiaen's Interpretations of Holiness and Trinity: Echoes of Medieval Theology in the Oratorio, Organ Meditations, and Opera. Hillsdale, NY: Pendragon Press. . Bruhn, Siglind (2008). Messiaen's Explorations of Love and Death. Musico-poetic Signification in the Tristan Trilogy and Three Related Song Cycles. Hillsdale, NY: Pendragon Press. . Bruhn, Siglind (2007). Messiaen's Contemplations of Covenant and Incarnation: Musical Symbols of Faith in the Two Great Piano Cycles of the 1940s. Hillsdale, NY: Pendragon Press. . Dingle, Christopher (2013). Messiaen’s Final Works. Farnham, UK: Ashgate. Goléa, Antoine (1960). Rencontres avec Olivier Messiaen. Paris: René Julliard Hill, Peter and Simone, Nigel (2005). Messiaen. New Haven & London: Yale University Press Sherlaw Johnson, Robert (1975). Messiaen. Berkeley, CA: University of California Press. Sholl, Robert (2008). Messiaen Studies. Cambridge and New York: Cambridge University Press. Compositions by Olivier Messiaen Compositions for solo piano 1944 compositions