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Andrew Shenton's groundbreaking cross-disciplinary approach to Messiaen's music presents a systematic and detailed examination of the compositional techniques of one of the most significant musicians of the twentieth century as they relate to his desire to express profound truths about Catholicism. It is widely accepted that music can have mystical and transformative powers, but because `pure' music has no programme, Messiaen sought to refine his compositions to speak more clearly about the truths of the Catholic faith by developing a sophisticated semiotic system in which aspects of music become direct signs for words and concepts. Using interdisciplinary methodologies drawing on linguistics, cognition studies, theological studies and semiotics, Shenton traces the development of Messiaen's sign system using examples from many of Messiaen's works and concentrating in particular on the "Meditations on the Mystery of the Holy Trinity" for organ, a suite which contains the most sophisticated and developed use of a sign system and represents a profound exegesis of Messiaen's understanding of the Catholic triune God. By working on issues of interpretation, Shenton endeavours to bridge the traditional gap between scholars and performers and to help people listen to Messiaen's music with spirit and understanding. ... Read more

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Webster's bibliographic and event-based timelines are comprehensive in scope, covering virtually all topics, geographic locations and people. They do so from a linguistic point of view, and in the case of this book, the focus is on "Olivier Messiaen," including when used in literature (e.g. all authors that might have Olivier Messiaen in their name). As such, this book represents the largest compilation of timeline events associated with Olivier Messiaen when it is used in proper noun form. Webster's timelines cover bibliographic citations, patented inventions, as well as non-conventional and alternative meanings which capture ambiguities in usage. These furthermore cover all parts of speech (possessive, institutional usage, geographic usage) and contexts, including pop culture, the arts, social sciences (linguistics, history, geography, economics, sociology, political science), business, computer science, literature, law, medicine, psychology, mathematics, chemistry, physics, biology and other physical sciences. This "data dump" results in a comprehensive set of entries for a bibliographic and/or event-based timeline on the proper name Olivier Messiaen, since editorial decisions to include or exclude events is purely a linguistic process. The resulting entries are used under license or with permission, used under "fair use" conditions, used in agreement with the original authors, or are in the public domain. ... Read more

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The celebrated composer Olivier Messiaen (1908-1992) characterized himself as a rhythmician, ornithologist, and theologian. All interpreters concur that his life and work are grounded in a profound faith. This book examines the translation of his faith into his musical language. It centers on a hermeutic analysis of two spiritually motiviated instrumental compositions, Visions de l'amen for two pianos (1943) and Vingt Regards sur l enfant-Jésus for piano solo (1944). Part I introduces the main aspects of the composer s religious environment (the catholic literary revival, his father Pierre and his mentor Charles Tournemire) as well as the components of his idiosyncratic musico-symbolic vocabulary. Parts II and III examine the twenty-seven movements comprised in the Visions< and the Regards, whose thematic material, structure, and musical as well as spiritual function within the whole cycle are interpreted in light of the literary source and imagery that inspired Messiaen. ... Read more

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A perfect melding of theology and musical criticism
German-born Musicologist and concert pianist Siglind Bruhn presents Messiaen's Contemplations of Covenant and Incarnation: Musical Symbols of Faith in the Two Great Piano Cycles of the 1940s, a scholarly, hermeneutic analysis of two spiritually motivated instrumental compositions by renowned composer Olivier Messiaen (1908-1992): "Visions de l'Amen" for two pianos (1943) and "Vingt Regards sur l'Enfant-Jesus" for piano solo (1944). Part one offers the main aspects of Messiaen's Catholic religious environment, while parts two and three meticulously dissect the movements in both pieces, as well as their thematic material, structure, and musical as well as spiritual function. A perfect melding of theology and musical criticism (as opposed to literary criticism).
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Three of Olivier Messiaen s later works, La Transfiguration de Notre-Seigneur Jésus-Christ, Méditations sur le mystère de la Sainte Trinité, and Saint François d Assise, are linked by the fact that the composer refers to and quotes from Thomas Aquinas. The composer s reception of Thomistic texts is one of the principles guiding the interpretations in this study. On the one hand, Messiaen had been pondering Thomas s thoughts on the role of music in the life of a Christian and on music s possible spiritual content all through his professional life; on the other hand, the oratorio, the organ meditations, and the opera are the only works in which Messiaen quotes extensive Thomistic sentences addressing purely theological subject matter. The first aspect, Messiaen s appropriation of or felicitous congruence with the medieval theologian s views on music underlies all analyses as a kind of background fabric. The second aspect, Messiaen s quotations from the Summa theologica and their musical translation, determines segments of a larger discussion that, in the book s three main chapters, attempts to do justice to the compositions as a whole. While Thomas theological aesthetics appears as a thread woven through a texture in a way that brings it only periodically to the foreground, the statements from Thomas s writings provide essential foundations determining the works content and its musical rendering. ... Read more

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Olivier Messiaen's lifelong quest centered on the colors and rhythms of a music that would serve as a vehicle for his thoughts about time, his love of God, and his enthusiasm for birdsong. An additional topic about which he felt deeply is that of passionate, fated human love and its relationship to death on the one hand, the love of God on the other. During the years 1936-1948, he composed five cycles of vocal music to his own texts as well as the Turangalîla Symphony, the monumental centerpiece of his Tristan Trilogy.

The focus of this study is the in-depth analysis and interpretation of these six works on love, with particular regard for their unusual wealth of poetic, sonic, and visual colors and imagery. The wonder of rainbows, the magic of exotic sounds, the fantastic attractiveness of surrealist representations, and the majestic inexorability of fate in myths of various times and cultures define Messiaen s lyrics as much as his idiosyncratic, highly symbolic musical language, which never fails to build bridges between this and another world. ... Read more

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In our visually-oriented society, music appears to stand apart from other arts. Yet just as a poet can write a poem whose focus is a painting, so musicians have composed scores based on poems, paintings, and other non-musical art forms. In instrumental music such reinterpretations are especially intriguing as the verbal or visual stimulus does not appear in performance but is rendered in musical form.

In this study, Siglind Bruhn investigates how three French composers of the twentieth century, Claude Debussy, Maurice Ravel, and Oliver Messiaen, express extra-musical subtexts in their piano works. She shows how the relation between the subtexts and the musical works can be broadly catagorized in terms of pictoriality and interiority. In all cases, Bruhn analyzes each musical piece and each source text in its entirety and in depth, drawing on her broad background in both literary and musical interpretation of the twentieth century.

For pianists who seek to better understand an individual work, for scholars in the growing field of musical hermeneutics, and for lovers of music in general, this volume explores and makes explicit connections between music and other arts. ... Read more

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The Miracle of Stalag 8A is a retelling of the fascinating story of Olivier Messiaen's composition of his Quartet for the End of Time. Set in France & Germany from 1939 to 1941, Messiaen served in the French army, was captured at Verdun, and sent to Stalag 8A in Gorlitz, Germany, where he composed the great work, The Quartet for the End of Time.

The enigmatic Messiaen, an avant-garde composer and also a devout Catholic, along with Etienne Pasquier, an agnostic cellist, Henri Akoka, a Jewish Trotskyite Clarinetist, and Jean le Boulaire, an atheistic violinist, become the famous quartet of Stalag 8A. These four very different men collaborated to create musical history in the most unlikely of places. Messiaen's Quartet, composed in a Stalag, transforms man's inhumanity to man with hope.

Yet to the avant-garde, he was too traditional and too religious; to the traditionalists and religious, he was too avant-garde. As a result he will always stand somewhere outside of Time. The first performance of the Quartet for the End of Time at Stalag 8A in January 1941 has become, in the words of Paul Griffiths, "one of the great stories of twentieth-century music". - From the Publisher
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In this fascinating essay Iannis Xenakis succeeds in unraveling the intricate web between the arts and sciences, thereby demonstrating their interdependency as in the components of an alloy. A complete list of works and bibliography are included. In this translation Xenakis explains not only his musical and theoretical writings - but also the role of mathematics as a philosophical catalyst in both his musical and architectural works. He discusses in detail his unique use of computers as a graphic tool in the composition of some of his scores. Unexpected aspects of his character are gracefully revealed in these highly readable exposés.

Xenakis is responding to a panel of noted French masters from the various disciplines in w which he has worked and cleverly manages to answer specific questions in one field while simultaneously addressing perhaps less-initiated exponents from other, seemingly unrelated areas. He succeeds in unraveling the intricate web between the arts and sciences, thereby demonstrating their inter-dependency as in the components of alloys. ... Read more

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Deeply profound discussion with intellectual equals
The "Doctorat d'Etat" in France is awarded based on a body of work both theoretical and creative submitted prior to a lengthy set of interviews with distinguished representatives of French culture andscience. French culture exhibiting a self-referential and reflexive stateinvolved interviewers Olivier Messiaen, the teacher of Xenakis who when hecame to him in the early Fifties perhaps gave him the best guidance of hislife. Xenakis felt his musical education was woefully lacking without adeep knowledge of academic categories as counterpoint and harmony. Messiaenadvised, don't study any of these, Xenakis having a profound knowledge ofhigher mathematics (he was a practicing architect)instead resorted to thisinnate knowledge on body of science and technology as a springboard towardthe creation of his music. Other distinguished interviewers includedrepresentatives from the Sorbonne as aestheticians as Micel Serres, OlivierRevault d'Allones and Bernard Teyssedre This book is a transcription of thethesis defense of Xenakis which occurred on May 18,1976 at The Sorbonne inParis. What a candidate needs to do here is submit your entire body of workfor review and for Xenakis that meant a sizable repertoire of musictouching on all genres from orchestra to unaccompanied solos to chamberworks and piano solos to electronic works. The value for the reader here isthat, you begin to see the slow dissection of a creator's impulses, why hethinks as he does, how he develops concepts that guide his work over largerspans of time. Usually we encounter a composer's work one at a time, withnotes informing us of the impetus of a self-contained work. This thesesdefense in contrast covers again creative concepts working and developedover years. Xenakis was asked to defend his higher utilization of thesciences in his musical work which lends him a certain uniqueness withinmusic. The two creative products which has informed his life revolve aroundmusic and architecture and Xenakis has made significant contributions inbridging the two disciplines. Xenakis also needed to defend his books(which fully explain his thoughts) as in his "Formalized Music"The result makes fascinating reading. There is also a chronology given asan addendum, beginning at 500 BC whichcross-related Math to Music, whereone illumination perhaps generated another. Recall if we warp-speed back to500 BC, music has always been closely related to whatever sciences existed,the linear thinking of Euclid and Pythagoras were prime thinkers anddevelopers in sound production. The list of musical works here ends withthe evocative, other-worldly "Tetras" for string quartet, whichwas a significant end point or beginning within the Xeankis musical oeuvre ... Read more

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Analyses Des Oeuvres Pour Piano De Maurice Ravel ... Read more

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English???
Better brush up on your French because despite the fact that the details state the language is English, the book is indeed written in French!Sacre bleu! ... Read more

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Erato #2292-45505-2/XII. ECD 75505. ... Read more

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Erato # 2292-45505-2/VI. ECD 71590. ... Read more

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Olivier Messiaen (1908–1992) was one of the greatcomposers of the twentieth century. The premiere of the Frenchcomposer’s Quartet for the End of Time on January 15, 1941 at -4degrees Fahrenheit in Stalag VIIIA, a Nazi prison camp, has beencalled one of the great stories of twentieth century music. A devoutCatholic with an interest in mysticism and the supernatural, Messiaenwas also a poet and an accomplished amateur ornithologist. He mixedsounds as a painter mixes colors, associating specific shades withcertain 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 Timeis 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. ... Read more

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"It's a detective novel.Only, it's a true story"
It was January 15, 1941, in the midst of a very bloody World War, and a very cold winter. In Gorlitz, Silesia, Germany, the temperature routinely dipped below -22 degrees Fahrenheit. In Stalag VIII A, something without precedent was happening: Olivier Messiaen, a renowned French composer and prisoner of war, was premiering his newest work, a chamber piece destined to be considered one of the greatest works of the twentieth century, Olivier Messiaen: Quartet for the End of Time, written - of course with the help of a couple of sympathetic German officers, the composer had even to be given pencil and paper, after all -- while he was a prisoner of war at that stalag.

I must first issue a disclaimer.I own this quartet. I also own Messiaen's "Catalog d'oiseaux," ("Catalog of Birds," the composer loved birds) and Olivier Messiaen: Turangalîla Symphony; L'ascension. I listen to them, and I love them.They are modernist, and I don't understand them.In fact, though I own, listen to, and love quite a bit of recorded classical music, I don't understand much of it.The piano teacher of my teenage years, Roz Strumpf, made Herculean efforts to teach me music theory:I clearly remember poring over the score of Mozart's "Jupiter" Symphony with her.But I found it so much easier and more fun to understand rock and roll at that time.SO: don't expect a technical discussion of this work of art, in eight movements, lasting nearly an hour, from me. Rebecca Rischin, a professor of music at Ohio university, and a talented musician herself,has done a great deal of research, and interviewed many people, to make this story available, largely for the first time, in this book. Thanks to her efforts, I am equipped to discuss the music'sremarkable, too-little known history, as she conveys it: and only that.

The Quartet's composition and debut must rank as one of the great uplifting World War II stories: a triumph of human faith --Messiaen seems to have been born a religious Roman Catholic---and endurance in the worst of circumstances.However, before we embark on this, we must recognize that, desperate as stalag conditions were, even granting fully the multitudes of unfortunate prisoners of war that died in them; they were not the Nazi death camps.You cannot equate a stalag to Auschwitz.That being said, it's time to quote Messiaen himself:

"Conceived and composed during my captivity, the `Quartet for the End of Time'was premiered in Stalag VIIIA, on 15 January 1941.It took place in Gorlitz, in Silesia, in a dreadful cold.Stalag was buried in snow.We were 30,000 prisoners (French for the most part, with a few Poles and Belgians).The four musicians played on broken instruments: Etienne Pasquier's cello had only 3 strings; the keys of my upright piano remained lowered when depressed....It's on this piano, with my three fellow musicians, dressed in the oddest way - I myself wearing a bottle-green suit of a Czech soldier - completely tattered, and wooden clogs large enough for the blood to circulate despite the snow underfoot... that I played my `Quartet for the End of Time,' before an audience of 5,000 people.The most diverse classes of society were mingled: farmers, factory workers, intellectuals, professional servicemen, doctors [and] priests.Never before have I been listened to with such attention and understanding."

To quote the author Rischin,"This was a special occasion indeed, and the camp commandant ensured that it would be remembered as such.He ordered programs to be printed listing the name of the camp, the title of the composition, the name of the composer, the date of the premiere, the names of the performers, and the camp's official stamp,'Stalag VIIIAgepruft'[Stalag VIIIA approved]....these programs also served as invitations to the historic event."

Rischin's researches make clear that the composer began work on this quartet before his imprisonment, and that 5,000 men could not have squeezed into Barrack 27, used as the theater.Etienne Pasquier, when interviewed, insisted that his cello had the requisite four strings - he couldn't have played it otherwise, and that Messiaen had exaggerated a bit in that regard, as well. Rischin continues," Recounting the war..., the actions of a kind German officer, the miraculous premier,...Messiaen's subsequent fame, and the heavenly music that united them all in a time notorious for unimaginable barbarism, Pasquier, then 90 years old, remarked: `C'est un roman policier.Mais, c'est vrai, cette histoire.'[It's a detective novel.Only, it's a true story.]" Who could say it better?

Essential "biography" of the Messiaen quartet
Rischin's book is not mainly a musical analysis of Messiaen's masterpiece and was not intended to be one.As other reviewers here have pointed out, there are excellent books devoted to that subject.

Her study instead is a "biography" of the quartet and the musicians who made it happen, not just Messiaen himself, but the other three original performers as well.All four were remarkable people and survived a horrible period of history, midwifing this musical gem almost by accident.

Rischin is a distinguished clarinetist herself and has performed the quartet multiple times.(I've never heard her performances.)There are several outstanding ones available here on Amazon as recordings.My personal favorite is that of the Tashi Quartet.

Worthwhile Research and Enjoyable!
In my last performance of the "Abyss of the Birds" from the quartet, I used what I learned from reading this book, both in my performance of the piece and in my introduction to the audience. It really changed the way I approach and think of this piece. (I have studied the piece extensively in the past, when I performed the whole quartet.) The author includes information from her research that you can't find elsewhere. You really get to know the original performers and their experience at Stalag 8A. Highly recommended.

Rather insubstantial and repetitive, but may be of interest
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
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. ... Read more

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For Clarinet, Violin, Cello and Piano. ... Read more

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BRILLIANT and this is a good score for reading and personal study
It's big enough to read at a piano, but not recommended for performance of course ... Read more

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Les achats comprennent une adhésion à l'essai gratuite au club de livres de l'éditeur, dans lequel vous pouvez choisir parmi plus d'un million d'ouvrages, sans frais. Le livre consiste d'articles Wikipedia sur : Georges Pompidou, Georges Bataille, Alain Marleix, Paul Doumer, Sylvestre Ii, Sheila, Olivier Messiaen, Marie Angélique de Fontanges, Pierre Teilhard de Chardin, François de La Rocque, Arsène Vermenouze, Jean-Baptiste Milhaud, Dominique Dufour de Pradt, Jules Saliège, Camille Gandilhon Gens D'armes, Louis-Furcy Grognier, Liste Des Vicomtes de Carlat, Henri Mondor, Pierre Laurent Buirette de Belloy, Éloy Chapsal, Louis de Boissy, Raymond Léopold Bruckberger, Odon de Cluny, Famille D'estaing, Jean Brunhes, Francis Charmes, Jean Saphary, Jean Chappe, Géraud D'aurillac, Jean de Lastic, Jacques Faizant, Joseph Canteloube, Pierre Fontanier, Émile Duclaux, Édouard de Dienne, Liste Des Abbés D'aurillac, Alexis Joseph Delzons, Aymar de La Baume Pluvinel, Pierre Wirth, Jacques Paul Migne, Jean de Roquetaillade, Jacques Berthieu, Charles de Tourtoulon, Jacques D'armagnac-Nemours, Catherine Alric, Marie Marvingt, Catherine Jarrige, Bernard Tricot, Elise Rieuf, Arsène Lacarrière-Latour, Noël Lafon, Pierre de Vic, Henri de Castellane, Robert de Turlande, Liste Des Évêques de Saint-Flour, Claude Sosthène Grasset D'orcet, Marie-Aimée Méraville, Bonne de Berry, Guillaume Du Vair, Guillaume D'auvergne, Robert D'humières, Martial Lapeyre, Daniel Brugès, Durand de Bredon, Fernand Prax, Christiane Lambert, Famille Brunhes, Marcellin Boule, Victor Fonfreide, Louis Farges, Albert Monier, Jean-Henri Magne, François-Xavier Pagès de Vixouze, Pierre Hébrard, Eugène Lintilhac, Didier Arnal, Marius Maziers, Pierre de Vaissière, Na de Casteldoza, Pierre Marty, Henri Durif, Bonne de Carlat, Eustache de Beaumarchès, Jules Rengade, Robert Garric, Jean Cinquarbres, Marcellin Boudet, Astorg Vii D'aurillac, Jean-Baptiste Rames, Maurice Prax, Jean Civiale...http://booksllc.net/?l=fr ... Read more

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High Quality Content by WIKIPEDIA articles! Paul Abraham Dukas (October 1, 1865 ? May 17, 1935) was a French composer and teacher of classical music..Paul Dukas was born in Paris to a Jewish father and Catholic mother. He studied under Théodore Dubois and Ernest Guiraud at the Conservatoire de Paris, where he became friends with the composer Claude Debussy. After completing his studies Dukas found work as a music critic and orchestrator; he was unusually gifted in orchestration and was one of the most sensitive and insightful critics of the era. Although Dukas wrote a fair amount of music, he was a perfectionist and destroyed many of his pieces out of dissatisfaction with them. Only a few of his compositions remain. His first surviving work of note is the energetic Symphony in C (1896), which belongs to the tradition of Beethoven and César Franck. Like Franck's only symphony, Dukas' is in three movements rather than the conventional four: Allegro non troppo, ma con fuoco; Andante espressive e fuoco; Allegro spiritoso. ... Read more

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Chapters: Albert Schweitzer, Camille Saint-Saëns, Gabriel Fauré, Charles-Marie Widor, Maurice Duruflé, Olivier Messiaen, Louis Vierne, Marcel Dupré, Charles Tournemire, Charles-Valentin Alkan, Pierre Cochereau, Rolande Falcinelli, Théodore Salomé, Jehan Alain, Louis-Nicolas Clérambault, Jean Guillou, César Franck, Jeanne Demessieux, Louis Couperin, André Messager, François Couperin, Dynam-Victor Fumet, Louis Marchand, Jean Titelouze, André Raison, Alexandre Guilmant, Nicolas Gigault, Edmond Audran, Théodore Dubois, Chrétien Urhan, Henri Dumont, Nicolas Lebègue, Guillaume-Gabriel Nivers, Guillaume Costeley, French Organ School, Daniel Roth, Olivier Alain, Nicolas de Grigny, André Fleury, Jean-Jacques Grunenwald, Léon Boëllmann, Suzanne Haïk-Vantoura, Pierre Labric, Jacques Brunel, Hervé, Armand-Louis Couperin, Gabriel Pierné, Louis James Alfred Lefébure-Wély, Edouard Commette, Jean-François Dandrieu, Louis-Claude Daquin, Jean Langlais, Alexandre Pierre François Boëly, Joseph Bonnet, Conrad Bernier, Henri Mulet, Louis-Antoine Dornel, Louis Thiry, Jean-Yves Daniel-Lesur, Alexandre Cellier, Pierre Dumage, Jean-Louis Petit, Charles Racquet, Jacques Berthier, Charles Piroye, Olivier Latry, André Isoir, Pierre Février, François Benoist, Émile Bernard, Eugène Gigout, André Marchal, Marie-Claire Alain, Augustin Barié, Dom Bédos de Celles, René Saorgin, Michael Matthes, André Pirro, Ignace Leybach, Pierre-Claude Foucquet, Abel Decaux, Henri Dallier, Nicolas Siret, Charles Quef, Paul Pierné, Jean-Jacques Beauvarlet Charpentier, Françoise Renet, Édouard Mignan, Charles-Alexandre Fessy, Jean Berveiller, Maurice le Boucher, Paul Berthier. Source: Wikipedia. Pages: 412. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: Albert Schweitzer (14 January 1875 4 September 1965) was a Franco-German (Alsatian) theolo...More: http://booksllc.net/?id=1029 ... Read more

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Chapters: List of Students of Nadia Boulanger, List of Students of Olivier Messiaen, List of Students of Salomon Jadassohn, List of Students of Johann Sebastian Bach, List of Students of Jan Pieterszoon Sweelinck. Source: Wikipedia. Pages: 28. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: This is a list of people who were students of the French music teacher Nadia Boulanger (18871979). Neither Boulanger nor Annette Dieudonné, her life-long friend and assistant, kept records of those students who studied with Boulanger. In addition, it is virtually impossible to determine the exact nature of an individual's private study with Boulanger. All in all, Boulanger is believed to have taught a very large number of students from Europe, Australia, Mexico, Argentina and Canada, as well as over 600 American musicians. ...More: http://booksllc.net/?id=21405114 ... Read more

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This digital document is an article from Notes, published by Music Library Association, Inc. on March 1, 2004. The length of the article is 4563 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Olivier Messiaen. Eclairs sur l'au-dela ... pour grand orchestre [1991].
Author: Robert Fallon
Publication: Notes (Refereed)
Date: March 1, 2004
Publisher: Music Library Association, Inc.
Volume: 60Issue: 3Page: 795(7)

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