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The article focuses on compositional mainstream dominated by composers Olivier Messiaen, Benjamin Britten and Dmitri Shostakovich in post 1945 era, and mentions presentation of Messiaen as Roman catholic theological composer. Topics discussed include Britten's hostile attitude toward British music of 1930s, Britten's attitude to English folk music, and gramophone recordings that had rightful place in dissemination of good music.

The article analyzes the two volumes on "Messiaen perspectives: techniques, influence and reception" edited by Christopher Dingle and Robert Fallon Ashgate, which explore the music of French composer and organist Olivier Messiaen. Messiaen is described as composing music using direct depiction or symbolic encoding that embodies religious or emotional commentaries, and greatly influenced by classical composer Wolfgang Amadeus Mozart. He was also known to compose birdsongs and metaphysical music.

The article discusses the possibility of more extended layers of meaning and symbolism in Gustav Mahler's Sixth Symphony and Edward Elgar's Second by proceeding beyond clues provided by the composers. It cites a range of musicological references and psychoanalytic sources mainly Sigmund Freud's "Beyond the Pleasure Principle" to show the idea of pleasure and joy turning to pain and tragedy. It notes that both works deal symbolically with traumas too painful to be expressed except via music.

The article offers information on the life and works of composer Sergei Prokofiev. It mentions that his working life largely consists of piano practice, proofreading, orchestrating and composing, interrupted by concert tours, performances and rehearsals. It states that the detailed accounts of Prokofiev of the genesis of his ballets "Le fils prodigue" and "Les pas d'acier" are invaluable and show the imaginative input into productions and music.

The article examines the significance of the organ in several musical compositions within the Modern period 1890 to 2000. The organ in "Also spracht Zarathustra," by Richard Strauss is used to mark an orchestral crescendo over a deep continuous pedal point. In "Bluebeard's Castle," by Bela Bartók, the organ adds an aura to the quality of the orchestral writing. The organ is used by Gustav Holst in "The Planets" sparingly to reinforce the succession of passing cadential points.

The article focuses on the life and works of Russian musical composer Sergey Prokofiev. Prokofiev studied at St. Petersburg Conservatory and found himself as a performed composer with his First and Second piano concertos well established in the concert and competition repertoire. Prokofiev reveals that his method of piano composition was different from improvisation and was determined to be a complete musician to develop his pianistic and conducting potential to the full.

The article profiles composer Olivier Messiaen. It comments on the publication of Peter Hill and Nigel Simeone's "Messiaen" which was written with the assistance of Yvonne Loriod-Messiaen. It provides an overview of Messiaen's literary family background. The article examines some of the works of Messiaen, including "L'Ascension, "La nativite du Seigneur" and "Les corps glorieux".