Customer Reviews:
Brilliant, brilliant, brilliant.......1999-04-12
Olivier Messiaen may be the greatest composer of the 20th century. His discussion of his own musical technique is brilliant, lucid, and almost as endearing as the music itself. A must fr any serious scholar of music.
Very practical demonstration of Messiaen's techniques`.......1998-12-21
This book is arranged in short lessons or demonstrations of Messiaen's musical concepts, with musical examples that illustrate the points. In comparison to the other books on Messiaen's composition techniques, this one is the best at getting to the point quickly.
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Olivier Messiaen: Music, Art and Literature (Music and Literature)
Manufacturer: Ashgate Pub Co
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Messiaen Studies (Cambridge Composer Studies)
Manufacturer: Cambridge University Press
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ASIN: 0521839815 |
Book Description
The French composer Olivier Messiaen is one of the major figures of twentieth-century music. This collection of scholarly essays offers new cultural, historical, biographical and analytical perspectives on Messiaen’s musical œuvre from 1941 to 1992. The volume includes: a fascinating snapshot of Messiaen’s life in occupied France; a study of the Surrealist poetics of Messiaen’s song cycle Harawi; a chapter on Messiaen’s iconoclastic path to the avant-garde heritage that he bequeathed to his pupils; discussion on Messiaen’s place in twentieth-century music; and detailed analysis of specific works, including his opera St François d'Assise. The chapters provide fresh insights on the origins, style and poetics of Messiaen’s music, and therefore provide an inspiration and foundation for future scholarship. Reflecting and expanding upon the broad range of Messiaen’s own interdisciplinary interests, the book will be of interest to students and scholars of music, art, literature and theology.
Book Description
The French composer Olivier Messiaen (1908–92) is a musician about whom most remains to be discovered. More than a decade after his death our knowledge of Messiaen is largely conditioned by what he said about himself in lectures and interviews, in his work as a teacher, and in the monumental seven-volume treatise that encompassed the whole of his composing world. But Messiaen’s public documents conceal as much as they reveal, seldom explaining why a work was written or what complexities went into its making. The composer was similarly reticent about his private life.
This is the first book to explore the world that Messiaen was at pains to keep hidden. Based upon unprecedented access to Messiaen’s private archive granted to the authors by the composer’s widow, Yvonne Loriod-Messiaen, Peter Hill and Nigel Simeone trace the origins of many of Messiaen’s greatest works and place them in the context of his life, from his years at the Paris Conservatoire and his passionate first marriage to Claire Delbos through the immense achievements of his final decades.
Customer Reviews:
Messiaen the Man and Artist.......2007-02-27
Olivier Messiaen is one of my favorite composers. I have performed, studied, and listened to his music avidly ever since I "caught the bug" during college. Peter Hill and Nigel Simeone's book was fascinating to read because it gave me a more complete picture of Messiaen the man: his personal habits, his compositional methods, his day-to-day activities, etc. Messiaen himself wrote copiously about his works, but he most often passed over the sorts of details that fill the pages of this book.
As such, I would not recommend "Messiaen" to those who have only a passing curiosity in the man or his music. The authors seem to presuppose at least some familiarity with most of his compositions, and they discuss several of his self-analytical theories (e.g. modes of limited transposition, "rhythmic personnages," "color" chords) without further explication. Fortunately, Messiaen spared no detail in explaining these and other concepts in numerous treatises, prefaces to scores, and program notes.
For those who already know and love Messiaen's music, though, this book will be a goldmine full of insights. After reading it, I listened with new ears to even my least favorite among Messiaen's works, such as "Livre d'Orgue" and "Chronochromie." As a performer, I am now eager to dive into more of his organ and piano pieces. My renewed enthusiasm for Messiaen's music is a testament to the authors' successful way of assembling many and various details into a compelling narrative.
In addition to this book, I would recommend Rebecca Rischin's "For the End of Time" to those who are especially interested in the "Quatuor pour la fin du temps" and Messiaen's time in a prisoner-of-war camp during World War II. Rischin tells the story of all four performers from the 1941 premiere (not just Messiaen himself) and gives a fuller picture of camp life at Stalag VIIIA than do Messiaen or Hill and Simeone. (Be forewarned, however, that her musical descriptions often come across as unsophisticated, especially in comparison with Hill and Simeone's--her book would rate at 4 stars versus their 5.)
Chances are that Hill and Simeone's "Messiaen" will reach its target audience without my help, but if you are a Messiaen fan and are still unsure whether you will enjoy this book, I cannot recommend it more highly.
A Must Read For Messiaen-ists!.......2005-11-12
This book is a five star joy. The authors certainly have the chops: Professor Hill is an accomplished musician whose recordings of Messiaen's piano works are top flight, and Professor Simeone previously wrote the standard bibliography of the composer's works. Their access to Messiaen's previously unavailable letters and notebooks, together with their ability to condense that material into coherent story lines, means that every chapter (there are 14) has irresistible nuggets of revelation about Messiaen's music.
One good way to judge a critical or biographical book is whether it makes you - the reader - seek out or revisit the works of the book's subject. With this book, I practically stopped reading after every chapter to play a recording of one or more of Messiaen's works, because my interest had been sparked, or re-sparked, by something I had just read.
The book focuses on the process by which Messiaen composed his works, and it is fascinating to learn about the inner workings of his particular genius. The authors essentially show that Messiaen was an astonishing omnivore, taking just about everything in his mind and heart and combining that with what he saw and heard to produce an enormous catalog of amazing music over an approximately 60 year period (circa 1930 to 1990).
Although the book is full-length and very detailed, the authors indicate in their introduction that they could not include information about, for example, the initial public reaction to each and every Messiaen composition. This is understandable, given the focus on how the music was composed.
Also understandable, given the amount of primary material (the letters and notebooks) they had at hand, is the authors' decision to limit their own inferences and opinions (although those that are included suggest that it is well worth considering the views of Hill and Simeone about most things related to Messiaen).
The book also includes hundreds of black and white reproductions of photos, ephemera, and a few bits of musical scores. These reproductions would be much better if larger, and if the later photos were in color. Of course, doing those things probably would have doubled the book's cost. On balance, it's great to have so many reproductions just as they are; they definitely liven up what might otherwise come across as a too dense mass of facts.
I read this book carefully, and did spot a couple of minor errors. Perhaps the biggest howler is the authors' suggestion (see footnote 24 at pages 157 and 393) that a book by Andre Breton about surrealism and painting that Messiaen read in 1945 was the "Second Manifesto of Surrealism." The authors missed the obvious here: the book by Breton about surrealism and painting that Messiaen read was most probably - er, um - "Le Surrealisme et la Peinture" ("Surrealism and Painting"), first published in 1928 with a new edition published in, yes, 1945.
In a book this size, presenting so much information, such errors are inevitable and don't at all mar the authors' stupendous achievement. I strongly recommend this book, particularly to those who know Messiaen's work and would enjoy learning more about how his marvelous music came to be.
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Olivier Messiaen, the Musical Mediator: A Study of the Influence of Liszt, Debussy, and Bartok
Madeleine Hsu
Manufacturer: Fairleigh Dickinson University Press
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ASIN: 0838635954 |
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Olivier Messiaen (1908-1992) was one of the great composers of the twentieth century. The premiere of the French composer's Quartet for the End of Time on January 15, 1941 at -4 degrees Fahrenheit in Stalag VIIIA, a Nazi prison camp, has been called one of the great stories of twentieth century music. A devout Catholic with an interest in mysticism and the supernatural, Messiaen was also a poet and an accomplished amateur ornithologist. He mixed sounds as a painter mixes colors, associating specific shades with certain modes and chords.
This book is the first comprehensive history of the composition and premiere of Quartet for the End of Time. Based on testimonies by the musicians and their families, witnesses to the premiere, former prisoners, and documents from Stalag VIIIA, For the End of Time examines the events that led to the Quartet's composition, the experiences of the musicians in the camp, the contradictory accounts, the composer's interpretive preferences, and the musicians' problems in execution and how they affected the premiere and subsequent performances. Rebecca Rischin explores the musicians' life in the prison camp, their relationships with each other and with the German camp officials, and their intriguing fortunes before and after the momentous premiere.
For the End of Time is distinguished by Rischin's extensive interviews and intimate correspondence with survivors of the Quartet's premiere and members of the Messiaen circle, including the cellist Etienne Pasquier and the violinist Jean Le Boulaire, relatives of the clarinetist Henri Akoka, and Messiaen's widow, Yvonne Loriod. The book is generously illustrated with photographs of the musicians, press releases from the premiere, autographs, letters, and pen-and-ink drawings of the camp's layout. Included are wartime photos of the camp and its prisoners along with present-day views of the camp site, which Rischin visited in 1995.
Customer Reviews:
Rather insubstantial and repetitive, but may be of interest.......2005-10-15
FOR THE END OF TIME is Rebecca Rischin's story of Olivier Messiaen's piece "Quatuor pour fin du Temps", written mainly when the great French composer was imprisoned in Stalag VIII A as a prisoner of war in 1940-1941. While many people connected to the quartet are now deceased, Rischin was fortunate to interview Etienne Pasquier, the cellist, and Jean Le Boulaire, violinist. Since Henri Akoka, who performed clarinet, passed away in the early 1970s, she interviewed his family.
There is little analysis of the music, and nary a score sample can be seen. For those wishing to know more about the actual music, I'd recommend Anthony Poole's work (Cambridge University Press, 1998) in the Cambridge Music Handbook series. Rischin is concerned with the environment in which the piece was written. She begins with the composer's meeting Pasquier and Henri Akoka on military service in early 1940. It is there, Rischin shows, that the quartet began. Messiaen had already begun to compose the "Abyss of the Birds" movement, and Akoka performed it for him in the middle of a field after the trio had been captured by the Germans and were awaiting transport to the camp.
The description of Stalag VIII A and the various characters and events there makes up the middle portion of the book. Rischin tracks the writing of the quartet, but notes again that not all of it was written on the spot, as two movements are based on earlier compositions. The story of the work's premier is generally in line with what Messiaen has stated: a freezing makeshift concert hall, an out-of-tune piano whose keys stuck, and an audience of all walks of life who, because of their shared suffering, understood him perfectly. She doesn't stop there, however, but tells of how the four musicians left the camp (Akoka daringly escaped) and what they did after the war. The final chapter, "Into Eternity" attempts to describe how the piece continues to touch the hearts of listeners when the generation in which it was composed passes away. Two appendices are provided, one begin Messiaen's own preface to the work, and the second a discography.
The book attempts to correct some of the distortions spread by Messiaen himself about the piece's origins, including that it was played "before thousands" (the barracks serving as concert hall held only around 400 people). However, I find it strange that she relied so much on the testimony of the composer's widow Yvonne Loriod, for Mrs. Loriod did not meet the composer until after his liberation and wouldn't know anything about the writing of the piece beyond what the untrustworthy Messiaen had told her. Beyond that, I found that Rischin's book contained enormous amounts of repetition, which is very noticiable in a work of hardly more than 100 pages. It could have used tighter editing and review by other scholars; there are some mispellings and a non-standard transliteration scheme for Sanskrit which could have easily been ironed out. There is also a hero-worship which is inappropriate in an academic work.
If you love Messiaen's quartet, a great work which served as a basis for the much greater works which were to come over the following fifty years, I'd recommend first the book by Poole, which will expand one's appreciation of the piece greatly. Rischin's history can be left to those who want to read everything possible about the quartet.
Remarkable research on an overlooked subject.......2004-04-30
By illuminating the personalities and circumstances of the Quartet's composition, first performance, and eventual place as a seminal 20th Century work, the author increased my appreciation of it as no amount of musical analysis could have. This story needed to be told, and perhaps what is most surprising is that no one had conducted research on this level or interviewed the participants before. In the end, the Quartet is about the incredible richness and beauty of life. This book is indispensable for anyone interested in Messiaen or the Quartet.
A revalation about Messien's Quartet For the End of Time.......2004-01-13
Rebecca Rischin masterfully describes the terrible ordeal that confronted Messien when he wrote and presented his Quartet -The End of Time while he was a POW in a German camp.
She gives musical insights into the complexity of Messien and his music. She also brings to life the differing personalities of the three musicians-violints, cellist and clarinets who performed the quartet on January 15 1941 in barracks of Stalag V!!!.
Book Description
Olivier Messiaen stands as one of the most influential composers of the twentieth century and among the foremost religious artists of any era. When he died in 1992, the prevailing image was of a deeply religious man whose only sources of inspiration were God and Nature, and of a composer whose music progressed along an entirely individual path, impervious to contemporaneous events and the whims both of his fellow artists and the critics. The Life of Messiaen paints a more nuanced picture of the man and the musician, peering behind Messiaen’s public persona to examine the private difficulties and creative struggles that were the true backdrop to many of his greatest achievements. Based upon the latest research, including previously overlooked sources, this book provides an excellent introduction to Messiaen's life and work, presenting a fascinating new perspective of a man whose story is more remarkable than the myths surrounding it.
Average customer rating:
- Messiaen in his own words, works almost like a great autobiography
- Most informative
- Extremely informative
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Olivier Messiaen: Music and Color: Conversations with Claude Samuel
Claude Samuel
Manufacturer: Hal Leonard Corporation
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Binding: Hardcover
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ASIN: 0931340675 |
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Olivier Messiaen is widely revered as a great 20th-century composer. His distinctive music was born of his fascination with experimental modes, complex rhythms, metallic sonorities, and above all, bird songs. In these conversations, Messiaen talks candidly about his sources of inspiration, musical methods, and aesthetic views.
Customer Reviews:
Messiaen in his own words, works almost like a great autobiography.......2005-10-19
OLIVIER MESSIAEN: Music and Color, a book-length interview conducted by Claude Samuel, is the closest thing we have to an autobiography of the late French composer of deeply religious music. Samuel, a friend of the composer for three decades, set down with Messiaen in 1986 to discuss his career, philosophy, musical techniques, travels, and thoughts about contemporary music.
His youth and first love of birds is covered, as well as the various adventures he had through life searching new bird-watching (and bird-listening) opportunities. Tens of pages are dedicated to how he perceived sound and colour, as he experienced synasthesia, and his rhythmic innovations. As Messiaen was nearing the end of his life, the interview deals at length with generations after Messiaen's own. The composer is full of praise for Boulez and Xenakis and his younger wife Yvonne Loriod, but his most effusive praise is reserved for George Benjamin, one of his last students (whose career doesn't seem to have taken off quite as much as Messiaen expected). The book decades over 40 pages to "Saint Francois d'Assisi", Messiaen's opera of epic proportions premiered in 1983. Messiaen seems to hold this as his most important work, and it's a pity that nowadays it is almost forgotten while "lesser" works like "Turangalila-symphonie" and the Quatuor are frequently performed.
I learned a little bit more about certain works by Messiaen by reading this interview, and a lot more about the man Messiaen and what he felt was his mission in life. Worth reading for fans of the great composer.
Most informative.......2000-07-23
I find this book the definitive source of information about the personal views of Olivier Messiaen. Claude Samuel seems to be well aquainted with Messiaens music and poses interesting and thought-provoking questions to the maestro. The book contains passages about bird-song and greek poetry wich are quite fascinating for a layman. Also quite curious are some of Messiaens personal opinions on some of the most important composers in history. There is enough facts about Messiaens music to satisfy even those who are allready familiar with his works. The book is written in an understandable manner, yet deep enough for musicians and scholars to get a lot out of it.
Extremely informative.......2000-07-22
This book is the definitive source of information about Messiaens personal views and opinions. Claude Samuel, the interwiever, is apparently quite familiar with Messiaens works and sets intelligent and thought-provoking questions to the maestro. Messiaen talks about his compositional techniques in an understandable manner, yet deep enough to satisfy the need of professional musicians as well. Delightful information is also given about Messiaens pupils and peers: Boulez, Xenakis and Stockhausen. Also somewhat surprising are his (often quite cruel) personal opinions about some composers who normally are considered to be some of the most influential in history. Also for a non-ornithologer there is a fascinating passage about bird-song and its influence and application to Messiaens music. I deeply recommend this book to everyone even remotely interested in one of the most important musical figures of the 20th century.
Book Description
This book is about one musical work, the popular Quartet for the End of Time by the great French composer Olivier Messiaen. Like virtually all of his works, the Quartet combines the striking technical achievement of Messiaen's rich and attractive musical style with a deeply felt theological inspiration. Anthony Pople's book provides an introduction to Messiaen's style through an examination of this great work, showing how it came to be composed while Messiaen was a prisoner-of-war and premiered under extraordinary conditions in Stalag VIIIA in 1941. He gives an in-depth assessment of each of its eight movements.
Customer Reviews:
An exceptional overview of one of Messiaen's most characteristic works.......2007-03-12
Olivier Messiaen's Quatuor pour la Fin du Temps is, in many ways, a textbook example of all of the techniques he had consolidated up until 1941 (and is still a characteristic "textbook" up until 1950). This explains the profusion of examples from this work that find their way into Messiaen's literal textbook dating from this period, Technique de mon langage musical.
Considering this, Anthony Pople's handbook on Quatuor pour la Fin du Temps is an excellent entry into the world of Messiaen. Pople amply extracts the most prevalent techniques in this music directly from Technique de mon langage musical (A publication relatively hard to find outside of the university or conservatory library), and elaborates on them.
Due to the length and space (as well as the presumed targeted audience) provided for Cambridge Handbooks, some of the analysis is rather glossed over: the rhythmic and harmonic pedals in 'Liturgie de cristal', for example, do indeed have variation, contrary to Pople's explanation of these cycles. To Pople's credit, he points out one of the instances of this in the rhythmic pedal of the cello.
As this may only occur in the first printing of this book, the following may be excused if it has been corrected in subsequent editions. In the Appendix that cites the modes of limited transposition, there is a mistake in the example of Mode 7. The correct version in C transposition is C, Db, D natural, Eb, F, F#, G, Ab, A natural, B (enharmonically spelled). Although this may seem like nitpicking, The suggestion will surely be helpful to the frustrated student trying to realize the 6 proper transpositions to no avail. This is obviously a misprint, as Anthony Pople correctly cites the mode in his paper "Messiaen's Musical Language: An Introduction", in The Messiaen Companion.
Overall, this is a wise place to start in any study or appreciation of Olivier Messiaen's music, and Anthony Pople should be commended for this exceptional work.
A heady musicological analysis that reveals a work of great cleverness.......2005-11-14
Anthony Pople's work on Olivier Messiaen's war-time masterpiece "Quatuor pour la fin du temps" is, like all entries in the Cambridge Music Handbooks series, a rigorous musicological examination.
The introduction of the work gives some background on Messiaen, speaking about his life and earlier works (useful for understanding where some of the material of the fifth movement came from). The the Quatuor's creation, within the Stalag prisoner-of-war camp in Nazi Germany, is legendary and receives some discussion here, although those hoping for even more information on the setting should turn to Rebecca Rishin's "For the End of Time: The Story of the Messiaen Quartet" (Cornell University Press, 2003).
Each of the eight movements of the Quatuor has its own chapter, and the analysis differs based on the special properties of each. For example, form and colour are the focus of the second movement ("Vocalise..."), while birdsong is the major topic of the third ("Abime des oiseaux"). The quartet was written as Messiaen was conducting the experiments that led to his early book "Technique", and Pople carefully charts the innovations of rhythm and pitch that Messiaen was developing at this time. As with all entries in the CMH series, quotations from the score abound.
If you have some musical training, Pople's book will vastly expand your appreciation of the "Quatuor". I went from thinking it a juvenille work compared to "Des canyons aux etoiles" or "Eclairs sur l'aux-dela" to seeing it as a piece of marvellous ingenuity.
Book Description
Detained in a German prison camp, Olivier misses his family, his friends, and his home — but most of all he misses music. A chance encounter with a nightingale and a German officer, however, provides Olivier with a small miracle — the opportunity to write music again.
Jen Bryant's poetic biography of French composer Olivier Messiaen, coupled with Beth Peck's evocative pastel illustrations, captures both the desolation of a World War II prison camp and the transforming power of music. This book will stir readers of all ages to seek hope in the things that inspire them.
Customer Reviews:
Music For the End of Time.......2006-10-13
This story is based on the experience of Olivier Messiaen, a Christian French composer. In 1941, he is detained in a German prison camp, but he is granted permission to play a piano and compose his music. A German officer leads him to the piano and he eventually becomes inspired by the song of a nightingale, which he translates into a sonata. Two new prisoners arrive carrying their instruments in cases and before long, voila!-- chamber music for a camp concert in front of 5,000 prisoners. The camp is described as desolate, and the first illustration does show a dejected line of khaki-clad prisoners being guarded through the gates by German guards and a dog. The prisoners are sent to their barracks where they receive non-striped khaki uniforms and mattresses made of straw, but the lovely pastel illustrations down play the harshness of the surroundings. There is no Jewish content.. The now-famous piece Messiaen composed there, is: Quartet for the End of Time. For ages 8 and up. Reviewed by Marcia Posner
A children's picturebook based on the true story of French composer Olivier Messiaen.......2006-02-11
Music for the End of Time is a children's picturebook based on the true story of French composer Olivier Messiaen, who was captured by the Germans during World War II and sent to a prison camp in Gorlitz (now part of Poland). Despite the bleak living conditions, he received the gift of a small miracle - the opportunity to write music again. With the aid of three fellow musicians also taken prisoner, the song of a beautiful nightingale, and the permission of a German officer, he was able to compose and play the now-famous "Quartet for the End of Time", in a performance appreciated like no other by his fellow prisoners. The emotionally touching pastel illustrations add the perfect quality to this simple story about keeping hope alive in the darkness.
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