A01=Christopher Dingle
advanced musicology research
Author_Christopher Dingle
Category=AVN
Category=AVP
Chord Types
chords
contracted
Contracted Resonance Chord
Des Canyons
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French composers analysis
harmony techniques study
Hors Tempo
inversion
La Transfiguration
late style Messiaen works analysis
Le Chemin
Le Christ
Le Merle Noir
Les Stigmates
Livre Du Saint Sacrement
major
Major Triad
Messiaen's Final Works
Messiaen's Music
Messiaen's Musical Language
messiaens
Messiaen’s Final Works
Messiaen’s Music
Messiaen’s Musical Language
music
olivier
Ondes Martenot
orchestral composition techniques
Penultimate Chord
Petites Esquisses
Pierre Boulez
post-tonal analysis
Rehearsal Figure
resonance
Superimpose
Terribilis Est Locus Iste
transposed
Transposed Inversion Chord
triad
Tritone Cadence
Trois Petites Liturgies
twentieth century music
Yvonne Loriod
Product details
- ISBN 9780754606338
- Weight: 300g
- Dimensions: 156 x 234mm
- Publication Date: 03 Jan 2013
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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When Olivier Messiaen (1908-1992) completed the vast opera Saint François d’Assise in 1983, he was mentally and physically exhausted, and believed that this monumental work would be his final compositional statement. In fact, he completed seven further works, and these form the focus of the present study. Christopher Dingle suggests that, following the crisis provoked by the opera, Messiaen's music underwent a discernible change in style. He examines these seven works to identify characteristics of the composer's music, in particular an often overlooked aspect of his technique: harmony. Part I of the book begins with a brief historical survey before discussing Saint François d’Assise as the work which defines everything that follows. Part II examines the series of miniatures that came after the opera and their links with Éclairs sur l’Au-Delà ..., his final masterpiece. Éclairs forms the subject of Part III of the book. Each movement is analysed in turn, before the work is considered as a whole and its hidden structure and motivic cohesion is revealed. Finally, Part IV considers the incomplete Concert à 4 and key stylistic features of the works of Messiaen’s final years.
Christopher Dingle is Reader in Music at Birmingham Conservatoire, UK. He is the author of the acclaimed biography The Life of Messiaen (Cambridge University Press), co-editor of Olivier Messiaen: Music, Art and Literature (Ashgate) and is editing, with Robert Fallon, two further collections of essays, Messiaen Perspectives 1: Sources and Influences and Messiaen Perspectives 2: Techniques, Influence and Reception (both Ashgate). He is also editing The Cambridge History of Music Criticism (CUP, forthcoming) and is a member of the review panel for BBC Music Magazine.
