Abstract
This recording of Messiaen’s Harawi (1945) – a 75-minute song cycle of extraordinary technical and emotional demands – was produced and performed by the researcher in collaboration with soprano Amy Moore. The scholarly booklet by Nigel Simeone (leading Messiaen authority) and the researcher contextualises the performance within Messiaen research. The recording generates new knowledge through specific interpretive decisions – tempi, dynamic relationships, text projection – that constitute a documented performance reading of this notoriously demanding work. The production methodology, honed through the researcher’s BBC career, applies systematic recording and editing practices that are themselves a form of research-through-practice.