REMEMBERING MESSIAEN
by Marta Ptaszynska

One of my most memorable experiences was meeting Olivier Messiaen for the first time at the Conservatoire Superieur de Musique. As a French Government grant student in Paris in 1969, I was assigned for my "post-master" composition studies to Nadia Boulanger. But, before leaving for Paris my great teacher and mentor Witold Lutoslawski gave me a recommendation letter, which I handed to Olivier Messiaen upon my first visit to the Conservatoire. I remember that while reading Witold's letter, Messiaen smiled joyfully, and as soon as he found that my last name means "a little bird” in Polish, he was so invigorated that he bounded to the bookshelf and pulled out a photo album. Opening the first page, he happily exclaimed: "Mademoiselle, c'est moi!" In this photograph he was only couple of months old. He proceeded to show me the photographs of his childhood. Many photos, overwhelming me! But, teaching, composing or playing organ, he was always like that, full of powerful and youthful energy, combined with a great spiritual joy. His generosity and honesty toward me and other students was beyond belief. Being with him in the classroom, at a rehearsal in Strasbourg for the premiere of La Transfiguration de Notre-Seignuer Jesus-Christ, or simply at a tavern for wine was always a most illuminating experience for me. He was always himself and never tried to inflate his image. And he was always busy. Even while waiting for students, he was composing. I will remember forever his friendly "innocent child" smile, his shining personality emanating with joy, excitement, and genuine enthusiasm. For years I have admired Messiaen for his profound and illuminating spirituality, for his impeccable musicianship, and for the joy, truth, and excitement he conveyed in his exuberant music.

REMEMBERING MESSIAEN
by George Benjamin

I was taken to meet Messiaen in April 1976, when I was just 16. He responded with surprising warmth to the naïve pieces I played and immediately invited me to become his student at the Paris Conservatoire.

Messiaen devoted a huge amount of time and energy to teaching, giving three classes a week, each lasting over four hours. Though in his sixties, his curiosity and enthusiasm were that of a man half his age. Messiaen would analyze classical and modern works, including his own, in great detail. His views on harmony and rhythm were revelatory, and topics ranged from birdsong and non-Western music to plainchant and avant-garde instrumental techniques.

His encouragement was inspiring as he looked through my pieces as they grew. He engaged with students with exceptional attention and subtlety, aiming to serve them in the most humble way. These attributes—added to his remarkable capacity to encourage independent thought—still fill me with wonder.