by Robert Lemay, published in Clavier, January, 1998 The new book by Madeleine [Forte], Olivier Messiaen, the Musical Mediator, brings a new and particular point of view, that of the performer, to Messiaen's works. As an excellent pianist and scholar, the author opens a new dimension to recent research on Messiaen.
The book stresses the influence of Liszt, Debussy, Stravinsky, Ravel, and Bartók on the early music of Messiaen, especially on the Préludes, and on the Regard e l'Esprit de joie from Vingt regards sur l'Enfant-Jesus. In what is perhaps the most original and interesting aspect of the book, the author emphasizes Bartok's influence on Messiaen's piano works. The impact of Wagner and Debussy on Messiaen's works has been recognized; Messiaen himself has spoken of it. The author, however, identifies Bartók, as well as Liszt, as important and influential figures with respect to Messiaen's music. She discusses the influence of Bartók in the rhythmic, the harmonic, and the pianistic techniques of Messiaen's compositions. Further, through an examination of the use of non-Western elements, the occurrence of extended tonalities, the ostinato and the use of the piano as a percussion instrument, she demonstrates many similarities between the music of Messiaen and that of Bartók, concluding with an exploration of the similarities between Bartók, who collected folk melodies for his compositions, and Messiaen, who did the same with bird songs. The book also serves as an important reference guide for pianists. In my opinion, the analyses of the Préludes and the Regard de l'Esprit de joie in Chapter Two provide knowledge essential to all good performers. In Chapter Three the author discusses six aspects of performance: rhythm, phrasing and slurring, dynamics, touch and tone production, pedaling, and technique, providing assistance to pianists who wish to perform the two pieces. Chapter Four compares Messiaen and Bartók and discusses other important figures at the end of the nineteenth and beginning of the twentieth centuries, while Chapter Five provides a short summary and conclusion.
Olivier Messiaen, the Musical Mediator contains a chronological list of Messiaen's published works for piano solo, together with English translations of the titles of the Preludes. Also included are a bibliography, a Glossary of Selected Terms, and personal correspondence between the author, Olivier Messiaen and Yvonne Loriod – both in the original French and in English translation.