The ondes Martenot ( OHND mar-tə-NOH; French: [ɔ̃d maʁtəno], lit. 'Martenot waves') or ondes musicales (lit. 'musical waves') is an early electronic musical instrument. Early models were played only by moving a ring tied to a wire, creating "wavering" sounds similar to a theremin, but a lateral-vibrato keyboard was soon added. Dynamics and timbre are adjusted using controls in a drawer on the instrument's left side. A player of the ondes Martenot is called an ondist. The ondes Martenot was invented in 1928 by the French inventor Maurice Martenot. Martenot was inspired by the accidental overlaps of tones between military radio oscillators, and wanted to create an instrument with the expressiveness of the cello. The ondes Martenot is used in more than 100 orchestral compositions. The French composer Olivier Messiaen used it in pieces such as his 1949 Turangalîla-symphonie, and his sister-in-law Jeanne Loriod was a celebrated player of the instrument. It appears in numerous film and television soundtracks, particularly science fiction and horror films. It has also been used by contemporary acts such as Daft Punk, Damon Albarn, and Radiohead guitarist and keyboardist Jonny Greenwood.

Olivier Eugène Prosper Charles Messiaen (UK: , US: ; French: [ɔlivje øʒɛn pʁɔspɛʁ ʃaʁl mɛsjɑ̃]; 10 December 1908 – 27 April 1992) was a French composer, organist, and ornithologist. One of the major composers of the 20th century, he was also an outstanding teacher of composition and musical analysis. Messiaen entered the Conservatoire de Paris at age 11 and studied with Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité, Paris, in 1931, a post he held for 61 years, until his death. He taught at the Schola Cantorum de Paris during the 1930s. After the fall of France in 1940, Messiaen was interned for nine months in the German prisoner of war camp Stalag VIII-A, where he composed his Quatuor pour la fin du temps (Quartet for the End of Time) for the four instruments available in the prison—piano, violin, cello and clarinet. The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards. Soon after his release in 1941, Messiaen was appointed professor of harmony at the Paris Conservatoire. In 1966, he was appointed professor of composition there, and he held both positions until retiring in 1978. His many distinguished pupils included Iannis Xenakis, Mikis Theodorakis, George Benjamin, Alexander Goehr, Pierre Boulez, Jacques Hétu, Tristan Murail, Karlheinz Stockhausen, György Kurtág, and Yvonne Loriod, who became his second wife. Messiaen perceived colours when he heard certain musical chords (a phenomenon known as chromesthesia); according to him, combinations of these colours were important in his compositional process. He travelled widely and wrote works inspired by diverse influences, including Japanese music, the landscape of Bryce Canyon in Utah, and the life of St. Francis of Assisi. His style absorbed many global musical influences, such as Indonesian gamelan (tuned percussion often features prominently in his orchestral works). He found birdsong fascinating, notating bird songs worldwide and incorporating birdsong transcriptions into his music. Messiaen's music is rhythmically complex. Harmonically and melodically, he employed a system he called modes of limited transposition, which he abstracted from the systems of material his early compositions and improvisations generated. He wrote music for chamber ensembles and orchestra, voice, solo organ, and piano, and experimented with the use of novel electronic instruments developed in Europe during his lifetime. For a short period he experimented with the parametrisation associated with "total serialism", in which field he is often cited as an innovator. His innovative use of colour, his conception of the relationship between time and music, and his use of birdsong are among the features that make Messiaen's music distinctive.

This is a list of compositions for piano and orchestra. For a description of related musical forms, see Concerto and Piano concerto.

The ondes Martenot ( OHND mar-tə-NOH; French: [ɔ̃d maʁtəno], lit. 'Martenot waves') or ondes musicales (lit. 'musical waves') is an early electronic musical instrument. Early models were played only by moving a ring tied to a wire, creating "wavering" sounds similar to a theremin, but a lateral-vibrato keyboard was soon added. Dynamics and timbre are adjusted using controls in a drawer on the instrument's left side. A player of the ondes Martenot is called an ondist. The ondes Martenot was invented in 1928 by the French inventor Maurice Martenot. Martenot was inspired by the accidental overlaps of tones between military radio oscillators, and wanted to create an instrument with the expressiveness of the cello. The ondes Martenot is used in more than 100 orchestral compositions. The French composer Olivier Messiaen used it in pieces such as his 1949 Turangalîla-symphonie, and his sister-in-law Jeanne Loriod was a celebrated player of the instrument. It appears in numerous film and television soundtracks, particularly science fiction and horror films. It has also been used by contemporary acts such as Daft Punk, Damon Albarn, and Radiohead guitarist and keyboardist Jonny Greenwood.

Olivier Eugène Prosper Charles Messiaen (UK: , US: ; French: [ɔlivje øʒɛn pʁɔspɛʁ ʃaʁl mɛsjɑ̃]; 10 December 1908 – 27 April 1992) was a French composer, organist, and ornithologist. One of the major composers of the 20th century, he was also an outstanding teacher of composition and musical analysis. Messiaen entered the Conservatoire de Paris at age 11 and studied with Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité, Paris, in 1931, a post he held for 61 years, until his death. He taught at the Schola Cantorum de Paris during the 1930s. After the fall of France in 1940, Messiaen was interned for nine months in the German prisoner of war camp Stalag VIII-A, where he composed his Quatuor pour la fin du temps (Quartet for the End of Time) for the four instruments available in the prison—piano, violin, cello and clarinet. The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards. Soon after his release in 1941, Messiaen was appointed professor of harmony at the Paris Conservatoire. In 1966, he was appointed professor of composition there, and he held both positions until retiring in 1978. His many distinguished pupils included Iannis Xenakis, Mikis Theodorakis, George Benjamin, Alexander Goehr, Pierre Boulez, Jacques Hétu, Tristan Murail, Karlheinz Stockhausen, György Kurtág, and Yvonne Loriod, who became his second wife. Messiaen perceived colours when he heard certain musical chords (a phenomenon known as chromesthesia); according to him, combinations of these colours were important in his compositional process. He travelled widely and wrote works inspired by diverse influences, including Japanese music, the landscape of Bryce Canyon in Utah, and the life of St. Francis of Assisi. His style absorbed many global musical influences, such as Indonesian gamelan (tuned percussion often features prominently in his orchestral works). He found birdsong fascinating, notating bird songs worldwide and incorporating birdsong transcriptions into his music. Messiaen's music is rhythmically complex. Harmonically and melodically, he employed a system he called modes of limited transposition, which he abstracted from the systems of material his early compositions and improvisations generated. He wrote music for chamber ensembles and orchestra, voice, solo organ, and piano, and experimented with the use of novel electronic instruments developed in Europe during his lifetime. For a short period he experimented with the parametrisation associated with "total serialism", in which field he is often cited as an innovator. His innovative use of colour, his conception of the relationship between time and music, and his use of birdsong are among the features that make Messiaen's music distinctive.

Olivier Eugène Prosper Charles Messiaen (UK: , US: ; French: [ɔlivje øʒɛn pʁɔspɛʁ ʃaʁl mɛsjɑ̃]; 10 December 1908 – 27 April 1992) was a French composer, organist, and ornithologist. One of the major composers of the 20th century, he was also an outstanding teacher of composition and musical analysis. Messiaen entered the Conservatoire de Paris at age 11 and studied with Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité, Paris, in 1931, a post he held for 61 years, until his death. He taught at the Schola Cantorum de Paris during the 1930s. After the fall of France in 1940, Messiaen was interned for nine months in the German prisoner of war camp Stalag VIII-A, where he composed his Quatuor pour la fin du temps (Quartet for the End of Time) for the four instruments available in the prison—piano, violin, cello and clarinet. The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards. Soon after his release in 1941, Messiaen was appointed professor of harmony at the Paris Conservatoire. In 1966, he was appointed professor of composition there, and he held both positions until retiring in 1978. His many distinguished pupils included Iannis Xenakis, Mikis Theodorakis, George Benjamin, Alexander Goehr, Pierre Boulez, Jacques Hétu, Tristan Murail, Karlheinz Stockhausen, György Kurtág, and Yvonne Loriod, who became his second wife. Messiaen perceived colours when he heard certain musical chords (a phenomenon known as chromesthesia); according to him, combinations of these colours were important in his compositional process. He travelled widely and wrote works inspired by diverse influences, including Japanese music, the landscape of Bryce Canyon in Utah, and the life of St. Francis of Assisi. His style absorbed many global musical influences, such as Indonesian gamelan (tuned percussion often features prominently in his orchestral works). He found birdsong fascinating, notating bird songs worldwide and incorporating birdsong transcriptions into his music. Messiaen's music is rhythmically complex. Harmonically and melodically, he employed a system he called modes of limited transposition, which he abstracted from the systems of material his early compositions and improvisations generated. He wrote music for chamber ensembles and orchestra, voice, solo organ, and piano, and experimented with the use of novel electronic instruments developed in Europe during his lifetime. For a short period he experimented with the parametrisation associated with "total serialism", in which field he is often cited as an innovator. His innovative use of colour, his conception of the relationship between time and music, and his use of birdsong are among the features that make Messiaen's music distinctive.

Keith Jarrett (born May 8, 1945) is an American pianist and composer. Jarrett started his career with Art Blakey and later moved on to play with Charles Lloyd and Miles Davis. Since the early 1970s, he has also been a group leader and solo performer in jazz, jazz fusion, and classical music. His improvisations draw from the traditions of jazz and other genres, including Western classical music, gospel, blues, and ethnic folk music. His album The Köln Concert, released in 1975, is the best-selling piano recording in history. In 2008, he was inducted into the DownBeat Jazz Hall of Fame in the magazine's 73rd Annual Readers' Poll. In 2003, Jarrett received the Polar Music Prize and was the first recipient to be recognized with the prizes for both contemporary and classical music. In 2004, he received the Léonie Sonning Music Prize. In February 2018, Jarrett suffered a stroke and has been unable to perform since. A second stroke in May 2018 left him partially paralyzed and unable to play with his left hand.

Olivier Eugène Prosper Charles Messiaen (UK: , US: ; French: [ɔlivje øʒɛn pʁɔspɛʁ ʃaʁl mɛsjɑ̃]; 10 December 1908 – 27 April 1992) was a French composer, organist, and ornithologist. One of the major composers of the 20th century, he was also an outstanding teacher of composition and musical analysis. Messiaen entered the Conservatoire de Paris at age 11 and studied with Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité, Paris, in 1931, a post he held for 61 years, until his death. He taught at the Schola Cantorum de Paris during the 1930s. After the fall of France in 1940, Messiaen was interned for nine months in the German prisoner of war camp Stalag VIII-A, where he composed his Quatuor pour la fin du temps (Quartet for the End of Time) for the four instruments available in the prison—piano, violin, cello and clarinet. The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards. Soon after his release in 1941, Messiaen was appointed professor of harmony at the Paris Conservatoire. In 1966, he was appointed professor of composition there, and he held both positions until retiring in 1978. His many distinguished pupils included Iannis Xenakis, Mikis Theodorakis, George Benjamin, Alexander Goehr, Pierre Boulez, Jacques Hétu, Tristan Murail, Karlheinz Stockhausen, György Kurtág, and Yvonne Loriod, who became his second wife. Messiaen perceived colours when he heard certain musical chords (a phenomenon known as chromesthesia); according to him, combinations of these colours were important in his compositional process. He travelled widely and wrote works inspired by diverse influences, including Japanese music, the landscape of Bryce Canyon in Utah, and the life of St. Francis of Assisi. His style absorbed many global musical influences, such as Indonesian gamelan (tuned percussion often features prominently in his orchestral works). He found birdsong fascinating, notating bird songs worldwide and incorporating birdsong transcriptions into his music. Messiaen's music is rhythmically complex. Harmonically and melodically, he employed a system he called modes of limited transposition, which he abstracted from the systems of material his early compositions and improvisations generated. He wrote music for chamber ensembles and orchestra, voice, solo organ, and piano, and experimented with the use of novel electronic instruments developed in Europe during his lifetime. For a short period he experimented with the parametrisation associated with "total serialism", in which field he is often cited as an innovator. His innovative use of colour, his conception of the relationship between time and music, and his use of birdsong are among the features that make Messiaen's music distinctive.

In music, variation is a formal technique where material is repeated in an altered form. The changes may involve melody, rhythm, harmony, counterpoint, timbre, orchestration or any combination of these. Variation is often contrasted with musical development, which is a slightly different means to the same end. Variation depends upon one type of presentation at a time, while development is carried out upon portions of material treated in many different presentations and combinations at a time.

This is a list of compositions for piano and orchestra. For a description of related musical forms, see Concerto and Piano concerto.