Messiaen held the titular position as organist at L’église de la Sainte-Trinité in Paris for more than sixty years. He recorded most of his own works on this instrument, so this chapter begins by noting the importance of these recordings, and in particular the way they proscribed a “manner of performance” for his organ works that would be dominant for more than fifty years. It then discusses recordings by other organists on other instruments, and how they differ from the composer’s recordings. The discussion focuses on those who have recorded the entire repertoire, but also considers notable recordings of single pieces.

This chapter examines Messiaen’s long involvement with the USA. It discusses commissions, his relationship with notable figures, his teaching there, and the genesis and performance of both the Turangalîla-Symphonie and Des canyons aux étoiles…, including Messiaen’s admiration for the mountains in Utah. It also explores Messiaen as a performer of his own music in America (he premiered the Méditations sur le mystère de la Sainte-Trinité), the commissioning and performance of the Livre du Saint-Sacrement, and the orchestral éclairs sur l’Au-delà….

Messiaen is famous for the length of his tenure as titular organist at Sainte-Trinité, which lasted from 1931 to his death in 1992. This chapter explores his appointment, details of his duties, and notable events during his career. It discusses the relationship between him and other prominent organist-composers during this period, including Franck, Tournemire, and Langlais. It deals in detail with the Cavaillé-Coll Grand Organ in La Trinité and how this may have influenced not only his organ compositions, but also his other works; it also refers to the importance of the recordings he made on the instrument, playing his own works.

This chapter explores Messiaen’s relationship with Charles Tournemire, particularly focusing on how Tournemire understood Messiaen and how this relationship was seminal and fruitful to both composers. Of primary importance is the role of organ improvisation and the type of apocalyptic Catholicism espoused by Tournemire as a context for Messiaen’s art.

Amy Beach was a prolific composer for the piano and an accomplished concert pianist. This chapter explores her works for solo piano, encompassing her lifespan: from those composed as a young child to her Improvisations, op. 148, written in her late sixties. Beach wrote fluidly for the piano, with her intimate knowledge of the instrument coupled with her secure compositional skills culminating in a fantastic repertoire for piano. Her pieces include simple, pedagogic works; intricate character pieces; works in generic forms; and virtuosic works requiring advanced piano technique. This chapter sets out Beach’s prodigious oeuvre for solo piano chronologically, in the context of Beach’s life, exploring how her personal circumstances symbiotically influenced her compositional output. The chapter concludes with a brief discussion of her few pieces for organ, piano duet, and two pianos.

This chapter examines the reign of the notorious musician-emperor Nero. It offers a comprehensive survey of the ancient material relating to Nero’s performances, stressing also his important role behind the scenes as producer, composer and choreographer. Building on the recent ‘performative turn’ in Neronian studies, the chapter argues that Nero used music not to satisfy some narcissistic or tyrannical bent, as has traditionally been maintained, but rather as part of a self-conscious strategy for the negotiation and representation of imperial power. Nero’s music-making responded to, and drew energy from, the cultural interests of both the ordinary Roman people and the young metropolitan elite. In this way, Nero succeeded in creating and disseminating an original musical language, which repackaged elements of Greek culture into a distinctly Roman product optimised for popular consumption.

This chapter deals with the German position on States and their organs. It is divided into five parts: territorial sovereignty; political independence; Statehood and recognition; organs of the State and their status; and State succession. The first part deals with the principles underpinning Germany’s delivery of humanitarian assistance; Germany’s view on the Kashmir conflict as an internal matter of India; Germany rebuking the United States for recognising Israel’s annexation of the Golan Heights, Germany’s criticism of Russia’s passportisation in Ukraine, Germany’s position on Georgia’s territorial integrity regarding South Ossetia and Abkhazia, two German court rulings on the legality of Kuwait Airline’s practice of not transporting Israeli citizens; Germany granting refugee status to two activists from Hong Kong; and a German court’s decision on the return of an Iraqi citizen in a criminal case and possible links to the principle of male captus. The second part, political independence, deals with Germany opposing Facebook’s Libra currency on grounds of State sovereignty and advocating regaining digital sovereignty; and the meeting of Federal Foreign Minister Heiko Maas with Joshua Wong. The third, statehood and recognition, focuses on Germany confirming its non-recognition of the Republic of China (Taiwan).

Britten’s primary role was as a composer, but he possessed a unique ability to assemble musicians for performances which was second only to his skill at arranging notes for his compositions. His choices were impeccable in both activities. When he combined these — a specific piece composed for a specific performer — he produced music of startling originality. This chapter contextualises the instrumental music he wrote for each of the Aldeburgh Festivals that he personally directed. The focus is on select performers, many of whom function as subtexts in the music Britten created, and the premiere performances that helped to shape the festival season, including details of the original encounter that lead to the creation of the work and the collaborative process that produced such exceptional music.

The principle of joint responsibility is only halfway to solving the question of the international responsibility of the EU. That the EU and its Member States are independently responsible for their joint obligations does not necessarily mean that a breach will result in their joint and several responsibility. Chapter 4 accordingly addresses the exclusive responsibility of the EU and its Member States. This chapter explores the hypothesis suggested by the European Commission that authorities of the EU act as de facto organs of the Union when they implement EU law. For this purpose, this study delves into the travaux préparatoires of the ILC rules of responsibility to search for the concept of an organ and agent. It is suggested that while the ILC adopts a broad reading of these terms, international dispute-settlement practice does not support the European Commission’s claim that conduct of Member States’ organs is attributed to the EU when they carry out EU policies.

The organ constituted a prominent and lavishly supported voice for the church from at least the late fourteenth century. In tracing the various building projects from that time until the mid-sixteenth century, this chapter reveals its importance in the organisation’s self-image: as an elaboration of the ritual, a demonstration of institutional pride, and as an instrument of display and propaganda. The level of detail provided by the continuous run of accounts is exceptional, and affords historically important insight into developments in instrument design over a 150-year period, from a single Blockwerk into a more sophisticated instrument with various keyboards, registrations and chests. The study also provides an exceptional level of detail on the complex process of scoping, ordering, building-work and quality control that went into the installation of an organ in a large church building in the later Middle Ages.