Enhanced descriptions from Syndetics:

(Amadeus). Olivier Messiaen is widely revered as a great 20th-century composer. His distinctive music was born of his fascination with experimental modes, complex rhythms, metallic sonorities, and above all, bird songs. In these conversations, Messiaen talks candidly about his sources of inspiration, musical methods, and aesthetic views.

Reviews provided by Syndetics

CHOICE Review

In 1967 music critic and journalist Samuel interviewed Messiaen, publishing their talks as Entretiens avec Olivier Messiaen (Paris, 1967), English edition Conversations with Olivier Messiaen, translated by Felix Aprahamian (London, 1976). Samuel, now music director of Radio France, augmented the seven conversations with new interviews in 1985, publishing the expanded book as Musique et couleur (1986). This English translation by Glasow is easier to read than the previous one by Aprahamian; the book's layout is also superior. Additional material includes chapters on Messiaen's opera Saint Francois d'Assise, his travels in Japan and America, color relationships of his works, and evaluations of performances, interpreters, students, and composers. The 13-page CD discography adds to the value of this fascinating book. Highly recommended for all libraries. K. Thomerson; Southern Illinois University-Edwardsville

Booklist Review

When French composer Messiaen died at 83 in 1992, he left behind music that in its time was on the cutting edge, influential, personal, and, improbably enough, also popular. His Quartet for the End of Time, written in a German POW camp in 1941, became a cult hit in the 1970s, and his exotic Turangalila-symphonie is one of the few major additions to the symphonic repertoire since 1945 with many enthusiastic admirers. He based an extensive body of music on birdsong and, as a devout Catholic, composed the only extant body of avant-garde Catholic organ music. Useful as an introduction to this idiosyncratic composer's life and works, this book consists of conversations from 1986 between Messiaen and critic Claude Samuel, discussions that reveal the essence of Messiaen's musical thought and the essential sweetness of his personality. The chapter on birdsong is a particular delight: Messiaen traveled the world, transcribing birdsong in the field. His work with these transcriptions reached apotheosis in the opera St. Francois d'Assise, containing a riotously beautiful depiction of St. Francis' sermon to the birds. A delightful book made more valuable by an accurate and current discography and a bibliography. ~--John Shreffler