Messiaen Perspectives 1: Sources and Influences

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Introduction
I: Sources
Perspectives on Sources
1: Olivier Messiaen and the Prix de Rome as Rite of Passage
2: Olivier Messiaen and Portique pour une fille de France
3: Formal Genesis in the Sketches for Visions de l'Amen 1
4: From Music for the Radio to a Piano Cycle: Sources for the Vingt Regards sur l'Enfant-Jésus
5: My Collaboration with Olivier Messiaen and Yvonne Loriod on Harawi
6: Olivier Messiaen's Timbres-durées
7: From Réveil des oiseaux to Catalogue d'oiseaux: Messiaen's Cahiers de notations des chants d'oiseaux, 1952–59
8: In the Beginning Was The Word? An Exploration of the Origins of Méditations sur le mystère de la Sainte Trinité
I: Intermède
9: Yvonne Loriod as Source and Influence
II: Influences
Perspectives on Influences
10: Messiaen and Mozart: A Love without Influence?
11: Messiaen and the Romantic Gesture: Contemplations on his Piano Music and Pianism
12: Messiaen and the Problem of Communication
13: Messiaen and Art Sacré
14: Messiaen, the Cinq Rechants and ‘Spiritual Violence'
15: Messiaen in Retrospect

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Focusing on Messiaen’s relation to history - both his own and the history he engendered - the Messiaen Perspectives volumes convey the growing understanding of his deep and varied interconnections with his cultural milieux. Messiaen Perspectives 1: Sources and Influences examines the genesis, sources and cultural pressures that shaped Messiaen’s music. Messiaen Perspectives 2: Techniques, Influence and Reception analyses Messiaen’s compositional approach and the repercussions of his music. While each book offers a coherent collection in itself, together these complementary volumes elucidate how powerfully Messiaen was embedded in his time and place, and how his music resonates ever more today. Messiaen Perspectives 1: Sources and Influences presents many new primary sources, including discussion of Messiaen’s birdsong cahiers, sketch and archival materials for his Prix de Rome entries and war-time Portique, along with performance practice insights and theological inspiration in works as diverse as Visions de l’Amen, Harawi, Timbres-durées and the organ Méditations. The volume places the composer within a broader historical and cultural framework than has previously been attempted, ranging from specific influences to more general contexts. As a centrepiece, the book includes an examination of the impact of one of the greatest influences upon Messiaen, Yvonne Loriod.

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This pair of volumes ... raises the level of insightful scholarship to new heights. The editors and publishers must be congratulated on the production of these handsome volumes, replete with extensive musical illustrations of high quality, surely a compliment to the perfectionist philosophy of their extraordinary subject

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