Until the present article, Massenet's influence upon the music of Olivier Messiaen has remained entirely unexplored. During the 1930 and 1940s, Messiaen professed his love for the music of Massenet and regularly used Massenet as a model in his teaching materials. Several examples of the way in which Messiaen selects and transforms passages from Massenet's Werther and Manon are considered. The inclusion of a harmonic formula borrowed from Massenet, contrasted with a melodic formula borrowed from Mozart, in ‘Amen du Désir’, the fourth movement of the Visions de l'Amen, reveals the operatic characters hidden behind the programme of one of Messiaen's best-known works. These intersecting source materials in Messiaen's teaching and composition open new roads for the analysis of the composer's music and pedagogy.

中文翻译：

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Un cri de Passion ne s'analysis pas：奥利维尔·梅西安（Olivier Messiaen）从儒勒·马斯内（Jules Massenet）的谐波借用

直到这篇文章，马斯奈对奥利维尔·梅西安的音乐的影响仍然完全未被探索。在 1930 和 1940 年代，梅西安表达了他对马斯奈音乐的热爱，并经常在他的教材中使用马斯奈作为模型。梅西安选择和转换马斯奈的段落的几个例子维特和马农被考虑。包含从马斯奈借来的和声公式，与从莫扎特借来的旋律公式形成对比，在“Amen du Désir”中，该乐章的第四乐章阿门的愿景，揭示了隐藏在梅西安最著名作品之一的节目背后的歌剧人物。梅西安教学和作曲中的这些交叉源材料为分析作曲家的音乐和教学法开辟了新的道路。