Christopher Dingle
Christopher Dingle is a specialist in French Music and the history and practice of Music Criticism.ÌýLong recognized as a leader in Messiaen scholarship, more recently Chris has turned his attention to his long-standing interest in Ìýproducing editions of overlooked works as well as preparing a book on the Symphonies Concertantes and Violin Concerti. Chris's realization of the orchestration forÌýMessiaen’s , received its world premiere at the and is published by Editions Alphonse Leduc.
Chris is Associate Director of Research at Royal ̽»¨Ö±²¥ Conservatoire, Director of theÌýFrench Music Research Hub, a member of the Forum for 17th- and 18th-century musicÌýand aÌý Fellow.ÌýChris is a highly experienced supervisor of research degrees to successful completion and he is happy to hear from potential research/graduate students with interests that relate to his research areas.
Recent publications includeÌý a substantial book of conversations between Chris and the composer Julian Anderson was published in 2020 by Boydell & Brewer, and Chris is also editor of (Cambridge: Cambridge University Press, 2019).ÌýHeÌýis author of (Ashgate, 2012) and the acclaimed biography (Cambridge University Press, 2007). Chris is also co-editor of and (both Ashgate, 2013) as well as the earlier collection .
He was the organiser of the of the 12th Biennial International Conference on Music Since 1900, hosted by Royal ̽»¨Ö±²¥ Conservatoire in June 2022, having previously conceived and organized the Messiaen 2008 Centenary Conference (Royal ̽»¨Ö±²¥ Conservatoire) and the Messiaen 2002 International Conference in Sheffield. His research has been funded on several occasions by The British Academy.
He has given numerous talks in the UK and abroad, such as at The Proms, the RNCM, the RAM, the South Bank, King’s Place, on BBC Radio 3 and at the Greenbelt Festival. He is a member of the review panel for BBC Music Magazine, has broadcast for BBC Radio 3, and written for Music and Letters, Tempo, MLA Notes, The Guardian, The Independent, The Herald, The Tablet and Organists’ Review. He is a member of the jury for the 2020 BBC Music Magazine Awards, having previously been on the jury for 2015, 2011 and 2008, and was one of the contributors to 1001 Classical Recordings you must hear before your die, Matthew Rye (ed.), Quarto Press (2007). He has provided programme notes for major record companies, such as EMI and Naxos, and for numerous orchestras and organizations including the Aldeburgh Festival, BBCSO, BBC Singers, BBC Music Magazine, London Symphony Orchestra, the Philharmonia, the Proms and the Royal Scottish National Orchestra.
Originally from Ilford, prior to joining the Conservatoire Chris was a British Academy Postdoctoral Research Fellow at the University of Sheffield, having previously been Associate Senior Lecturer and Course Leader in Music at the University of Northumbria at Newcastle. His graduate and postdoctoral research was all funded by the British Academy. In 1994 he was awarded ‘The Chancellor’s Medal’ for his research into Messiaen and his contribution to the musical life of the University of Sheffield.ÌýHe plays piano, percussion and bass guitar, is rumoured to be a lapsed oboist and spent several years in his teens failing to master playing the organ.
Current Activity
- The Symphonies Concertantes and Violin Concerti ofÌý (Routledge, forthcoming)
- Joseph Bologne, Chevalier de Saint-Georges, Symphonie Concertante in E flat, op. 13, no. 1, critical edition
- Joseph Bologne, Chevalier de Saint-Georges, Symphonie Concertante in B flat major, op. 6, no. 2, critical edition
- Joseph Bologne, Chevalier de Saint-Georges, Symphonie Concertante in C major, op. 6, no. 1, critical edition
- Joseph Bologne, Chevalier de Saint-Georges, Stabat Mater, op. 10, no. 2a, critical edition
- orchestration realized Christopher Dingle (Paris: Éditions Alphonse Leduc, 2015 (hire material); 2022 (critical edition))
Areas of Expertise
- Olivier Messiaen
- /Journalism
- French Music
- Early Recordings
Qualifications
PhD, 2000, Sheffield
MPhil, 1994, Sheffield
BMus (Hons), 1993, Sheffield
Memberships
¶Ù¾±°ù±ð³¦³Ù´Ç°ù,ÌýFrench Music Research Hub (Royal ̽»¨Ö±²¥ Conservatoire)
Forum for seventeenth- and eighteenth-century music
Member of steering committee for the Biennial International Conference on Music Since 1900
Teaching
Chris is module co-ordinator for:
- Contextual Studies Specialisms (BMus3)
- Further Specialisms (BMus4)
- Professional Music Criticism (PG)
Chris also teaches on the following modules:
- Performance Traditions 1 (BMus1)
- Performance Traditions 3 (BMus3)
- Historical Performance Practice (PG)
- Concepts of Musicology (PG)
- Research Methods (PG)
- Research Project (PG)
- Career Management (Advanced PG Diploma)
Research
- The music ofÌý
- Messiaen – Life and Works
- ,Ìýnotably British newspapers since 1945 and criticism of recordings
- French Music
- Early recordings
Postgraduate Supervision
Research Supervision
Chris is happy to hear from potential research/graduate students with interests in his research areas.
Completed
- Darquise Bilodeau: Poetry and Metre in Fauré’s Mélodies (Director of Studies)
- Harriet Carter – Beyond Transposition? Exploring metaphysicality in birdsong and Olivier Messiaen’s Catalogue d’oiseaux through painting practice
- Fang Fang: Echoes of Chinese Folksong: Degrees of Integration and Separation in the Use of Pre-existing Regional Chinese Folksong and Composed Material
- Jeremy Filsell: Dupré Organ Music – (Director of Studies)
- Patrick Giguère: An exploration of the duende in the composition of musical works
- Sara Hubrich: The Creative Embodiment of Music: practised-based investigations into staged and embodied interpretations of instrumental music
- Gabrielle Kaufmann: Gaspar Cassadó’s Cello Arrangements and Performance Style
- Hans Koller: Twelve Re-inventions for George Russell. The Lydian Chromatic Concept of Tonal Organization as a Transformative Tool in Contemporary Composition (Director of Studies)
- Ronny Krippner: Anglican Organ Improvisation in the 20th and 21st Century
- Chris Marshall – Commissioning music for the Proms 1960–1985: constructing new music (Director of Studies)
- Andrew Mayes: Carl Dolmetsch’s Wigmore Hall Commissions
- Christos Noulis: Somatic Education and Piano Performance
- Joe Scarffe: Performing Musical Graphics: An Autoethnographic Investigation (Director of Studies)
- Kirsten Sheldrake – American and British Flute Schools: Pedagogy and Performance Practice Since 1945 (Director of Studies)
- Paul Taylor: Abstractions of American Landscapes as a Catalyst for Composition
- Andrew Toovey: Confronting a crisis of discourse: Stylistic diversity and artistic collaborations in 21st century music composition
- Riaan Vosloo: Comprovisation/Imprositions: Musical Compositions and Improvisations that Explore Controlled and Uncontrolled Environments and Differing Approaches to their Integration (Director of Studies)
- Graham Waterhouse: A Compositional Reconciliation of Experimental Practice and Post-Tonal Structure in Concertante Works
Current
- Absent Performers, Absent Tools, and their Role in Musical Composition: Exploring Integrated Competencies in the Extended Musical Mind (Director of Studies)
- Clara Schumann’s pedagogy
- The Influence of Liturgical Improvisation on Messiaen's Music Language (Director of Studies)
- Messiaen’s Saint François andÌýMedieval Religious Sensibility (Director of Studies)
- Musical Modernism’s Missing Link? An Examination of the Music Style, Life and Legacy of Alexei Stanchinsky (1888-1914)
- Referential composition: Exploring the extra-musical in contemporary classical composition through the creation of a portfolio of new works
- Simplifying the Complex: Developing a New Method for Memorising Post-Tonal Piano Music (Director of Studies)Ìý
- Virtuosity and Sonority in Ravel’s piano music – a practice-led investigation focusing upon the ‘Lisztian’ trace (Director of Studies)
Publications
Scores/Critical Editions
Joseph Bologne, Chevalier de Saint-Georges, Symphonie Concertante in E flat, op. 13, no. 1. First performance 2nd February 2022 by BBC Philharmonic conducted by Ben Gernon at Media City, Salford. Broadcast live on BBC Radio 3.
Joseph Bologne, Chevalier de Saint-Georges, Symphonie Concertante in C major, op. 6, no. 2. First performance 4th November 2022 given by BBC Philharmonic conducted by Jack Sheen at Media City, Salford. Broadcast live on BBC Radio 3.
Joseph Bologne, String Quartet in E flat, Op. 1, No. 2. First performance 26th October 2022, given by the Jabulani Quartet at Royal ̽»¨Ö±²¥ Conservatoire.
, orchestration realized by Christopher DingleÌý(Paris: Éditions Alphonse Leduc, 2015 (hire material); 2022 (critical score)). World premiere at BBC Proms by BBC Philharmonic, conducted Nicholas Collon, 7th August 2015. Broadcast live on BBC Radio.
Books
Julian Anderson and Christopher Dingle,ÌýÌý(Martlesham: Boydell & Brewer, 2020) –Ìý470 pages.Ìý[Hardback, Paperback and ebook]
Christopher Dingle (ed.),Ìý (Cambridge: Cambridge University Press, 2019) – 842 pages.Ìý[Hardback, Paperback and ebook]
Ìý(Farnham: Ashgate, 2012) –Ìý392 pages.Ìý[Hardback, Paperback and ebook]
Christopher Dingle and Robert Fallon (eds), Ìý(Farnham: Ashgate, 2013) –Ìý388 pages.Ìý[Hardback, Paperback and ebook]
Christopher Dingle and Robert Fallon (eds), Ìý(Farnham: Ashgate, 2013) –Ìý464 pages.Ìý[Hardback, Paperback and ebook]
(Cambridge University Press, 2007)ÌýÌý–Ìý261 pages.Ìý[Hardback and Paperback]
Christopher Dingle and Nigel Simeone (eds), Ìý(Aldershot: Ashgate, 2007)Ìý–Ìý378Ìýpages.Ìý[Hardback, Paperback and ebook]
Book Chapters
‘Éclairs sur l’Au-Delà …: Messiaen’s Career after his Final Work’ in Ìý(Rennes: Presses Universitaires de Rennes, 2020), pp. 129–39.
‘Comparing Notes: The Impact of Recording on Criticism’ in Dingle (ed.), Ìý(Cambridge University Press, 2019), pp. 249–71.
‘Wider still and wider: British Music Criticism since WWII’ in Dingle (ed.), Ìý(Cambridge University Press, 2019), pp. 629–47.
Christopher Dingle and Dominic McHugh: ‘Stop the Press: Changing Media for Criticism’ in Dingle (ed.), Ìý(Cambridge University Press, 2019), pp. 693–706.
‘Commission and Omission: the Canon according to Messiaen’ in Deborah Mawer (ed.), , (Routledge, 2017), pp. 214-32.
‘Messiaen as pianist: a Romantic in a Modernist world’ in Scott McCarrey and Lesley Wright (eds), Ìý(Farnham: Ashgate, 2014) pp. 29-50.
‘Players and pianos: an overview of early recorded resources for the French piano repertoire’ in Scott McCarrey and Lesley Wright (eds), Ìý(Farnham: Ashgate, 2014), pp. 125-49.
‘A Love without Influence? Messiaen and Mozart’ in Dingle and Fallon (eds), Ìý(Farnham: Ashgate, 2013), pp. 217–33.
‘Yvonne Loriod: Source and Influence’ in Dingle and Fallon (eds), Ìý(Farnham: Ashgate, 2013), pp. 197–210.
‘Messiaen’s Sacred Machines: Mechanical Procedures in Messiaen’s Music’ in Dingle and Fallon (eds), Ìý(Farnham: Ashgate, 2013), pp. 13–32.
‘Discography of Commercial Recordings by Yvonne Loriod’ in Dingle and Fallon (eds), Ìý(Farnham: Ashgate, 2013), pp. 323–38.
Christopher Dingle and Robert Fallon, ‘A Critical Catalogue of Messiaen’s Music, Writings, and Recordings’ in Dingle and Fallon (eds), Ìý(Farnham: Ashgate, 2013), pp. 363–406.
‘Frescoes and Legends: the sources and background to Saint François d’Assise’ inÌýDingle and Simeone (eds), Ìý(Aldershot: Ashgate, 2007), pp. 301–322.
‘Catalogue of works and Discography’ in Peter Hill (ed.), The Messiaen CompanionÌý(London: Faber, 1995), pp. 536–65.
Journal Articles
Dingle, Christopher and Laura Hamer. 'False Memories and Dissonant Truths: Digital Newspaper Archives as a Catalyst for a New Approach to Music Reception Studies'. In: Clare Mills, Michael Pidd and Esther Ward. . Sheffield: HRI Online Publications, 2014.Ìý
‘Forgotten offerings: Messiaen’s first orchestral works’ Tempo, 241 (July 2007), pp. 2–21.
‘La statue reste sur son piédestal: Messiaen’s La Transfiguration and Vatican II’. Tempo, 212 (April 2000), pp. 8–11.
‘Charm and Simplicity - the works of Olivier Messiaen's final years'. Tempo, 192 (April 1995), pp. 2–7.
Theses
Understated charm: style and technique in the last works of Olivier Messiaen, 2 volumes (PhD; Sheffield, February 2000).
Mystery and light: Olivier Messiaen's La Transfiguration de Notre-Seigneur, Jésus-Christ, 2 volumes (MPhil; Sheffield, September 1994).
Journal Reviews
‘The Vocal Score for Messiaen’s Saint François d’Assise’, MLA Notes 70/2 (December 2013), 332-336.
‘Messiaen’s Contemplations of Covenant and Incarnation: Musical Symbols of Faith in the Two Great Piano Cycles of the 1940s. By Siglind Bruhn; Messiaen’s Explorations of Love and Death: Musical Signification in the ‘‘Tristan Trilogy’’ and Three Related Song Cycles. By Siglind Bruhn; Messiaen’s Interpretations of Holiness and Trinity: Echoes of Medieval Theology in the Oratorio, Organ Meditations and Opera. By Siglind Bruhn’ in Music and Letters 91 (3) (August, 2010), 457-62.
‘Messiaen Studies edited by Robert Scholl; Olivier Messiaen: A Research and Information Guide by Vincent P. Benitez’, in Tempo, 246 (October 2008), 70-72.
‘Peter Hill & Nigel Simeone: Olivier Messiaen: Oiseaux exotiques’, in Tempo, no.243 (January 2008), 65-70.
‘Ravel: Analyses des Œuvres pour Piano de Maurice Ravel [in French] by Olivier Messiaen and Yvonne Loriod-Messiaen. Durand (United Music Publishers); Technique of my Musical Language by Olivier Messiaen, English translation by John Satterfield, Alphonse Leduc (United Music Publishers).’ in Tempo, 231 (January 2005), 61-2.
‘Traité de rythme, de couleur, et d’ornithologie (1949–92), Tome V, volumes 1 & 2, Tome VI & Tome VII by Olivier Messiaen’, Tempo, 227 (January 2004), 41-45.
‘Traité de rythme, de couleur, et d’ornithologie, Tome IV by Olivier Messiaen (book); Le tombeau de Paul Dukas for piano solo, doigtés et révision de Yvonne Loriod-Messiaen (score)’, Tempo, 205 (July 1998), 26-27.
‘Jean Barraqué: Debussy’, Tempo, 202 (October 1997), 22-3.
‘Traité de rythme, de couleur, et d’ornithologie (1949–1992), Tomes II & III by Olivier Messiaen; La Classe de Messiaen by Jean Boivin (books)’, Tempo, 202 (October 1997), 25-26.
‘M±ð²õ²õ¾±²¹±ð²Ô: °Õ³Ü°ù²¹²Ô²µ²¹±ôî±ô²¹-³§²â³¾±è³ó´Ç²Ô¾±±ð (study score) / La Ville d’En-Haut (full score) / Un Sourire (full score)’, Musical Times (August 1995), 432.
‘Boulez in Webern and Ligeti’ - review of Deutsche Grammophon discs 437 786-2 and 439 808-2, Tempo, 194 (October 1995), 57-58.
‘Traité de rythme, de couleur, et d’ornithologie (1949–1992), Tome I, by Olivier Messiaen (book); Music and color (book); complete organ works (CD – Gillian Weir); La Nativité, etc. (CD – Olivier Messiaen)’, Tempo, 192 (April 1995), 20-32.
Invited Papers
, , January 2022.
'Messiaen's French Internationalism' - keynote speech, Tbilisi International Musicological Conference, April 2021.
‘Beyond Lateness: On Messiaen and Edward Said’, University of Nottingham, March 2019.
‘Messiaen, Truth and Reality’ - Norsk Lydinstitutt, Stavanger, November 2018.
‘Prophets of Doom (and the Doom of Profit): The End of British Music Criticism’s Golden Age?’ – keynote paper, Théories et Conceptions de la critique musicale au xxe siècle, Université libre de Bruxelles, October 2015.
‘Messiaen, Truth and Reality’ – Messiaen’s World and the Vingt Regards', King’s College, London.
‘Truth, Reality and Messiaen’s Transfiguration of Nature’ – keynote speech, Environs Messiaen, Cornell University, March 2015.
‘False Memories and Dissonant Truths: In Search of Music Criticism’s Golden Age’, Music Seminar Series, Kingston University, November 2014.
‘On Messiaen, Late Style and Edward Said’, Music Seminar Series, Bangor University, March 2013.
‘Prophets of doom and the doom of profit: Music Criticism in the 21st Century’, - SMA Study Day on Performance Criticism, IMR, London, December 2009.
‘Not nice, but truthful: faith and the faithful in Messiaen’s music’ – keynote speech, Messiaen Symposium, Stavanger, November 2008.
‘Messiaen’s Late Organ Music’, co-presentation with David Titterington, Research Forum, Royal Academy of Music, October 2008.
Participation in round table – Symposium: Interpreting Messiaen's Piano Music, Royal Academy of Music, October 2008.
Participation in round table – Messiaen Weekend, Royal Northern College of Music, May 2008.
Other Conference Papers
‘Musical traits of Joseph Bologne, Chevalier de Saint-Georges’, RMA Annual Conference, Durham, September 2022.
‘Les Maîtres de son Voix: Borrowing and Truth in Messiaen’ and convenor of Messiaen panel, 11th Biennial Conference on Music Since 1900, Huddersfield, September 2019.
‘The Transfiguration of Messiaen (Studies)’, RMA Annual Conference, Manchester, September 2019.
‘Middle-Aged Style: On Messiaen, Edward Said and Lateness’, AMS Annual Conference, Rochester, November 2017.
‘Éclairs and the Messiaen Archive’ and convenor of Messiaen panel, 10th Biennial International Conference on Music Since 1900, Surrey, September 2017.
‘Revelations in "Paradis": First Insights from the Messiaen Archive’, RMA Annual Conference, Liverpool, September 2017.
‘Les Maîtres de son Voix: Messiaen’s Voice(s) in the 1930s’, Music, Intertextuality, & Inter-Art Forms in Third Republic France: Remembering Paul Dukas at 150 Conference, Maynooth, July 2015
‘From the Cahiers to the Scores: Charting Messiaen’s Thoughts for Des Canyons aux étoiles…’ – paper given as part of themed session ‘Glimpses of the Maître’s Workbench: New Research on Messiaen’s Sources’ (also convenor and chair), RMA Annual Conference, IMR, London, September 2013.
‘Commission and Omission: the Canon according to Messiaen’ – paper given as part of plenary themed session ‘Messiaen, Formation and the Canon’ (also convenor and chair), 8th Biennial International Conference on Music Since 1900, Liverpool Hope, September 2013.
Christopher Dingle and Laura Hamer, ‘The Puccini Paradox: Critics, Unpopular Prejudice and the Populist Canon’ – Royal Musical Association Love to Death: Transforming OperaÌýConference, Cardiff, May-June 2012.
‘After Messiaen’s Late Style’ – Royal Musical Association Love to Death: Transforming OperaÌýConference, Cardiff, May-June 2012.
Christopher Dingle and Laura Hamer, ‘A Varied and Diverse Landscape: Criticism of New Music at The Times Pre- and Post- the Appointment of Glock’ - New Music in Britain Conference, Canterbury, May 2012.
Christopher Dingle and Laura Hamer, 'Ambassadors, Battlelines and the Progressive Canon: the evolving reception of New Music in The Times since World War Two', – Seventh International Conference on Music Since 1900, Lancaster, July 2011.
Christopher Dingle and Laura Hamer, ‘Evolutions and Revolutions: A New Methodology for the Application of Digital Resources to Music Criticism’, – RMA HorizonsÌýConference, Sussex, July 2011.
‘Éclairs sur l’Au-Delà …: Messiaen’s music after his final work’, – Colloque International: Le grand âge et ses œuvres ultimes, Université de Poitiers – GERHICO, December 2009.
‘Messiaen as pianist: a Romantic in a modernist world’, – Symposium: Interpreting Messiaen's Piano Music, Royal Academy of Music, October 2008.
‘A love without influence? Messiaen and Mozart’ – Messiaen 2008 International Centenary Conference, ̽»¨Ö±²¥ Conservatoire, June 2008.
‘Recording Messiaen: a Romantic in a modernist world’ – French Analysis and Performance, BYU Hawaii, November 2007.
‘Recording Messiaen: a Romantic in a modernist world’ - CHARM/RMA conference, Royal Holloway, September 2007.
‘Symbols, Tam Tams and Wisdom: The Influence of Vatican II and Transcendence in Messiaen‘s La Transfiguration de Notre-Seigneur, Jésus-Christ’ – FMCS Meeting 2007, Yale, March 2007.
‘The Mysterious Workings of Liberty: Mechanical Procedures in Messiaen’s Natural and Theological Works’ – Fourth Biennial International Conference on Twentieth-Century Music, Sussex, August 2005.
‘Natural selection: understanding the distribution of material in Messiaen’s birdsong choruses’ – Third Biennial International Conference on Twentieth-Century Music, Nottingham, June 2003.
‘Mystery and Light: Faith and the Faithful in La Transfiguration’ – Messiaen 2002 International Conference, Sheffield University, June 2002.
‘Harmonic Transfiguration: The Evolution of Messiaen’s Approach to Tonality, Colour and Self-analysis’ – Second Biennial International Conference on Twentieth-Century Music, Goldsmiths, June 2001.
‘Illuminating Lightning Flashes: Motivic Development and Harmonic Structure in Late Messiaen’ – Form and Forming in Music conference, Anglia Polytechnic University, April 2000.
‘The Simple, the Complex and the Superfluous in Olivier Messiaen’s La Transfiguration de Notre-Seigneur Jésus-Christ’ – Royal Musical Association research conference, Southampton University, January 1998.
‘The problem with Messiaen: A Reflection upon Inconspicuous Interpretational and Analytical Difficulties in the Music of Olivier Messiaen’ – Towards the Millenium conference, Cardiff University, March 1996.
‘Charm and Simplicity: Messiaen’s Last Decade’ – RMA research conference, Manchester University, December 1994.
‘Light and Transcendence: An introduction to Olivier Messiaen’s La Transfiguration de Notre-Seigneur Jésus-Christ’ – Royal Musical Association Northern Chapter meeting, Edinburgh University, December, 1994.
‘Saint François d’Assise: The Spirit of Messiaen’s Opera’ – Royal Musical Association research conference, Hull University, December, 1993.
Selected Journalism
Reviews of recordings every month for BBC Music Magazine since 1994 (c.900 in total)
‘Building a Library: Debussy Prélude à l’après-midi d’un faune’, BBC Music Magazine (May 2014).
‘D±ð²ú³Ü²õ²õ²â’s Jeux’, BBC Music Magazine (February 2011).
‘Olivier Messiaen’ – composer of the month article in BBC Music Magazine (February 2011).
‘Olivier Messiaen’, in The Great Composers, BBC Music Magazine publication, 2010.
‘All Creatures Great and Small’, BBC Music Magazine (July 2009), pp.30-33.
‘Studying the Maître’, Organists’ Review (November 2008), 29-33.
‘Messiaen Centenary Article’, BBC Music Magazine (November 2008).
‘Sin isn’t interesting, I prefer flowers’, The Guardian (29 August 2008), Film & Music, p.17.
25 entries (Lili Boulanger, Messiaen and Stravinsky) in 1001 Classical Recordings You Must Hear Before You Die, Matthew Rye (ed.) (Cassell, 2007).
‘More than an outsider: Messiaen’s Saint François d’Assise in Paris’, The Tablet (23 October 2004).
‘Henri Dutilleux’ – composer of the month article in BBC Music Magazine (April 2004).
‘Flashes of eternity in an Indian summer’ - article on Messiaen’s Éclairs sur l’au-delà … in The Independent (10 March 2000), Friday Review, p.15.
‘Homage to the master of birdsong: Messiaen Birthday Concert, CBSO Centre’ in The Independent (16 December 1998), Wednesday Review, p.10.
‘Olivier Messiaen’ - composer of the month article in BBC Music Magazine (December 1998).
‘The hope that can conquer cynicism’ - article on Messiaen’s Éclairs sur l’au-delà … in The Herald (14 October 1998).
‘This one goes out to God’ - article on Messiaen’s La Transfiguration in The Independent (25 September 1998).
‘An instrument for Messiaenic devotion’ - article in The Independent (8 May 1998).
‘S³Ù°ù²¹±¹¾±²Ô²õ°ì²â’s Å’dipus Rex’ - review of new production at the Châtelet, Paris in The Independent (18 November 1996).
‘What is perfection in a Performance?’ - article in BBC Music Magazine (August 1995), pp. 30-1.
‘Not of the next world, but of this’ - article on the rediscovery of Olivier Messiaen’s Chant des déportés in The Independent (17 March 1995).
Reviews of the 1994 Huddersfield Contemporary Music Festival in The Independent (22 November, 23 November and 02 December 1994).
‘Olivier Messiaen: Concert à 4’ - review article of the posthumous world première at the Bastille, Paris, in The Independent (30 September 1994).
Media Work
Chris is on the review panel for BBC Music Magazine and broadcasts on BBC Radio 3.
Links and Social Media
Chris is onÌý