Customer Reviews

The Messiaen Companion

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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.