Customer Reviews

Olivier Messiaen and the Tristan Myth

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Audrey Ekdahl Davidson's "Olivier Messiaen and the Tristan Myth" covers Messiaen's so-called "Tristan trilogy": the song-cycle Harawi, the massive Turangalila-Symphonie, and the choral Cinq rechants. In these pieces Messiaen grappled with the myth and symbols surrounding Tristan and Isolde in a complex and very personal way. I can attest that it is possible to enjoy and be moved by these pieces without being aware of the Tristan theme or even understanding the words (in the case of Harawi and the Cinq rechants), but Messiaen's music always rewards further study and this book helps to unravel the complex web of themes and references in his treatment of the Tristan myth.

Davidson is most successful in her discussion of the often surreal imagery that Messiaen works with, and her translation and explication of the poems in Harawi and Cinq rechants is very helpful for an understanding of these difficult texts that combine French, Quechua, Sanskrit, and invented words. In the case of the Cinq rechants, there is almost no syntax whatsoever.

Davidson's musical analysis is comparatively disappointing, however. She often just describes the music sequentially in a way that does not enlighten the reader. Writing about music is very difficult, and I prefer a style that synthesizes what is noteworthy, important, and interesting, often drawing on the author's long experience with a piece or a composer. I had the sense that Davidson was relying on the score of each piece as a crutch. From a musical standpoint, I would recommend Robert Sherlaw Johnson's book on Messiaen (unfortunately out of print), though it, too, leaves something to be desired.

I am glad I read "Olivier Messiaen and the Tristan Myth," and am grateful for the insights it gave me into the fascinating works it covers. Nonetheless, I believe the definitive work on this subject still remains to be written.