Search

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 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".