Following the second World War, Olivier Messiaen, previously
known primarily for his religious music, composed three works
inspired by the medieval love story of Tristan and Iseult:
"Harawi," "Turangal DEGREESD"la-symphonie," and "Cinq rechants."
Though the song cycle, symphony, and choral work each consider
their source story in a different way, the three compositions are
tied closely together by theme and musical technique. This new
study is the only full-length consideration of this most
significant work, applying literary techniques of stylistic
analysis and source study as well as musical analysis of Messiaen's
aesthetics and form.
As Audrey Ekdahl Davidson shows, Messiaen's work was informed by
more than just the mythic tale at its center. The twelve songs in
"Harawi" are indebted to Peruvian melodies, and rhythmically they
reveal the influence of the Hindu musical theory that the composer
encountered at the Paris Conservatory. "Turangal
DEGREESD"la-symphonie" continues and expands the use of these
complex rhythmic structures to create a form that expresses
elements of the Tristan story as filtered through Wagner's famous
operatic depiction. And in "Cinq rechants," Messiaen produced a set
of choral pieces that use surrealistic texts joined to music that
is related structurally to the "rechants" of the sixteenth-century
composer Claude le Jeune. Davidson's examination of these works
reveals both their interrelatedness and their many layers of
musical and textual meaning.
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