Re-issued to coincide with the centenary of Messiaen's birth, The Messiaen Companion was the first major study to appear after the composer's death in April 1992. It was the first book to offer both a complete survey of Messiaen's extraordinary achievements and a comprehensive guide to his music, also examining in detail the enduring inspiration which Messiaen derived from his religious faith and from his lifelong passion for ornithology and the natural world. The contributors, all of whom have made a special study of the composer, include two biographers of Messiaen and a number of the foremost interpreters of his music. Messiaen's influential teaching is recalled in essays by three of his pupils (Pierre Boulez, George Benjamin, and Peter Hill), and the composer is also remembered in a remarkable and moving contribution from his widow and devoted musical companion, the pianist Yvonne Loriod.
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Editorial Reviews
About the Author
Russell Hoban was born in Pennsylvania in 1925. He went to art school before serving in World War II and was a freelance illustrator for eight years before taking up full-time writing. His many works of fiction and poetry for both adults and children have won him numerous awards. The Mouse and His Child has been hailed as one of the great classics of the twentieth century. The editor, Peter Hill, is a pianist whose complete recording of Messiaen's piano music (made under the composer's guidance) received exceptional critical acclaim. He is well known for his writings and broadcasts on twentieth-century music. Married with two daughters, he lives in Yorkshire and is a Professor of Music at The University of Sheffield.
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27 of 29 people found the following review helpful:
5.0 out of 5 stars
Nice collection on this 20th Century musical citadel,
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This review is from: The Messiaen Companion (Paperback)
This is an incredibly usefull comprehensive collection of essays,reflections,analyses, and a few interviews. Messiaen was primarily a teacher, and he taught without hesitation the post-war generation of composers and continued this until his death. Everyone flocked to his composition classes in Paris. And it was considered an honour to be accepted. Once there you were his,he probed what you as a creator needed. For instance when a young exiled architect came to his door seeking lessons, and a pathway confessing he (Xenakis) did not have any knowledge of counterpoint or harmony, Messiaen said "don't study any of these", meaning Xenakis had enough reserve and imagination from his affinities for numbers and forms to write the most original music we have heard. This touches all the musical categories, and Messiaen contributed to each. He virtually rethought the limitations of the pipe organ. Long a morose encumbered instrument loaded with historical baggage. John Milsom here exposes Messiaen's unique contributions to registral settings and Messiaen's conceptual focus of the Catholic spirituality in this organ repertoire. Likewise Peter Hill takes on the neglected piano solo music, again another focus of innovation for this century. Boulez's early piano sonatas would not be possible without Messiaen's affinity for the violence and surreal beauty that can be part of piano sonority. Other important Messiaenism concepts are of course Colour, and Birdsongs,Mysticism and Theology. All amply handled by Jonathan Bernard(colour) and seasoned writer Wilfred Millers on Theology, a difficult subject when a creator's life is engaged. Paul Griffiths brings us up to date with an essay on Messiaen's last important work the opera "St.Francis of Assisi", which is now seeing the productions rounds. There is obvious inclusions here as well an excellent discography and list of works. Nice vintage photographs as well are included.
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