Huit Préludes – Quatre Études de rythme – Cantéyodjayâ / Håkon Austbø, piano
It might surprise those who think of Messiaen as a composer of emotional–and temporal!–blockbusters to know that among his earliest published works is this modest set of Eight Preludes, completed in 1929 at the time of his graduation from the Paris Conservatoire. Yes, the shadow of Debussy looms large in Messiaen’s musical thinking at this stage, not least in terms of piano technique, but there’s also a freedom of harmonic and rhythmic thinking that looks forward to the innovations to come. The titles sound oblique quoted away from the music, but the even-numbered preludes, in particular, are every bit as imaginative as they sound. 20 years on, and the Four Rhythmic Studies are from a vastly-changed world–musical and otherwise. This was the period when Messiaen was (unwittingly) showing the way forward to the rebellious spirits of the post-war avant-garde. Not that you need to decode this music in order to enjoy its prismatic colours and textures. Cantéyodjaya too inhabits a world not so different from that of Messiaen’s flamboyant orchestral masterpieces. Thoughtful, attentive performances from Austbø make for a disc enjoyable and stimulating. –Richard Whitehouse
