Abstract
The proliferation of PhD dissertations, journal articles, book chapters, and book-length studies on the music of Thomas Adès that has appeared in recent years demonstrates the continued, and buoyant, academic interest in the composer. Drew Massey’s stimulating Thomas Adès in Five Essays, published shortly before Adès’s fiftieth birthday year, opens by acknowledging its debt to this work. Massey describes his book as ‘an epistle to my colleagues who have engaged in scholarly study of Adès’ (p. 1). Massey demonstrates a comprehensive knowledge of Adès scholarship emanating from North America and the United Kingdom, but aside from a couple of references to the vital work of Hélène Cao (most notably her 2007 monograph Thomas Adès le Voyageur), he doesn’t cite any of the emerging literature from Australia, France, and Germany. Nevertheless, Massey is keen to qualify his relationship with such texts, suggesting, more informally, that the five essays he offers are a response to his ‘personal reactions’ to the music (pp. 1–2) than perhaps might be the norm.
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