On the occasion of the 90th anniversary of Messiaen's birth (1908) and of the publication, now in process, of his major work, Traité de rythme, de couleur et d'ornithologie (four volumes, out of seven to be published), this article asks the question: could this famous French composer be called a theologian? Without detracting in any way what is specific to musical art, Messiaen has been celebrating the infinite splendour of God in his Mysteries and in his works, while respecting the coherence of theological insight as much as the analogical diversity of all aspects of its application.
