Messiaen Perspectives 2: Techniques, Influence and Reception by Robert Fallon, Christopher Dingle

By Robert Fallon, Christopher Dingle

Targeting Messiaen's relation to heritage - either his personal and the heritage he engendered - the Messiaen views volumes exhibit the growing to be figuring out of his deep and sundry interconnections together with his cultural milieux. Messiaen views 1: assets and affects examines the genesis, assets and cultural pressures that formed Messiaen's tune. Messiaen views 2: thoughts, impact and Reception analyses Messiaen's compositional technique and the repercussions of his tune. whereas each one publication bargains a coherent assortment in itself, jointly those complementary volumes elucidate how powerfully Messiaen used to be embedded in his time and position and the way his song resonates ever extra today.Messiaen views 2: innovations, impression and Reception explores Messiaen's imprint on fresh musical lifestyles. the 1st half scrutinizes his compositional process by way of counterpoint, spectralism and later piano track, whereas the second one charts ways that Messiaen's impression is appear within the track and careers of Ohana, Xenakis, Murail and Quebecois composers. The 3rd half comprises case reports of Messiaen's reception in Italy, Spain and the us. the amount additionally contains an ornithological catalogue of Messiaen's birds, collates details at the a number of 'tombeaux' items he encouraged, and concludes with a serious Catalogue of Messiaen's Musical Works.

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La Rousserolle effarvatte’ Personnages None Birdsong ‘Strophes I & II’ Permutations symétriques Birdsong N/A Livre d’orgue Catalogue d’oiseaux Chronochromie La Transfiguration de NotreSeigneur Jésus-Christ 6. ‘Candor est lucis aeternae’ Personnages rythmiques Chorus and birdsong N/A 10. ‘Adoptionem filiorum perfectam’ Permutations symétriques None Chorus and birdsong 12. ‘Terribilis locus iste’ Chromatic modal canon and rhythmic augmentation/ diminution String clusters Fully chromatic cluster, choral declamation Saint François d’Assise 7.

His own terminology has limitations, and can obscure, but it provides labels that are useful so long as the analyst is not restricted by them. The essays by Roderick Chadwick and David Kopp provide examples of how to negotiate the information from Messiaen intelligently. They are much needed examinations of Messiaen’s final two piano works, La Fauvette des jardins and Petites Esquisses d’oiseaux respectively. In both cases they demonstrate an ease with Messiaen’s own viewpoint and terminology, but are far from bound by it in terms of analytical (and performance) insight.

This is the music of the spheres, or the Newtonian view of God as geometer, updated for the century of Einstein. Moreover, while some of these machines are deliberately abstruse, as the ‘creator’ of his music, Messiaen wished to possess an intimate knowledge of the components of the devices he set in motion. An exchange during the thesis defence of Iannis Xenakis, for which Messiaen was on the panel of examiners, is illuminating: Olivier Messiaen: You know as well as I do that a certain number of objects gives a certain number of permutations, and the more the number of objects increases, the more the number of permutations increases and with a speed and in quantities which can seem disproportioned.

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