Great work. I also like l'Ascencion. I even try to play bits on the organ (not that I'm a good organist).

> I wonder how you'd appreciate the music of Maurice Ohana, specifically "Messe"

That didn't do it for me. I found it a bit too wandering, amorphous. I listened to some of his guitar work, which is much more concise, somewhat Webern-like. That spoke more to me. Then autoplay put on 12 etudes d'interpretation, which I predominantly found to be too "forced".

> Is serialism lacking an inherent aesthetic, or is it just too different to easily appreciate?

Composers, musicians, and musicologists have tried to push it long enough, and it never got hold, so I guess it just can't work apart from some gimmicky use. It's too rigid. E.g., the dynamics, rhythm, melody and harmony of a piece should be related to each other, but in serialism, they're simply tossed around as if every preconceived change between pp and ff and then mf and then a bunch of sfz will always be musical.

Music thrives under limitations, because it's basically repeated time, and limitations can provide direction. But if I were to start a school of composition that only allows one tone per part, I think nobody would be able to write a meaningful piece (except as a gimmick, again, by picking the instruments that fit with the chord you want). Some limitations are simply not musical, and I guess serialism is among those.