Ohana, Maurice

(b Casablanca, 12 June 1913; d Paris, 13 Nov 1992). French

composer of Spanish descent. One of the leading independent
figures in French music during the second half of the 20th century.
1. Background.
2. Achievement.
WORKS
WRITINGS
BIBLIOGRAPHY
CAROLINE RAE
Ohana, Maurice
1. Background.
Throughout his life Ohana claimed to have been born in 1914. By
his own declaration he was plagued by superstitions, particularly
concerning the number 13: there is a certain irony, therefore, in the
date of his death.
Ohana was described by Gide as a French Joseph Conrad. The
intriguing parallel highlights the unusual complexity of Ohanas
cultural origins which, like those of the Ukrainian-born Pole, were
different from his bureaucratic national identity. Both Ohana and
Conrad were British citizens. (Ohana took French nationality in
1976.) Born in French, colonial Morocco into a family of Spanish
origins (Gibraltarian-Andalusian on his fathers side and
Andalusian-Castilian on his mothers), Ohana inherited his British
citizenship from his father. The southern culture from which he
stemmed reaches beyond the political boundaries of any one
country; hence in later life he spoke more of cultural roots and
geographical influence than of nationality. As in many Gibraltarian
families, English was spoken in the Ohana household, as well as
Spanish, while French was, by necessity, Ohanas language of
education and training. He remained trilingual, publishing writings
and conducting interviews in all three languages. Describing
himself as Spanish by birth and upbringing but French by training
and adoption, he had much in common with the stream of Spanish
musicians, artists and writers who migrated north to Paris to exploit
their cultural heritage. His cultural complexity contributed to the
relative neglect of his music in the Anglo-Saxon world. In France,
where fascination with the exotic and acceptance of the eclectic
are long established, his music has enjoyed a position of eminence
since his emergence as a composer in the 1950s. He received
numerous prizes and distinctions throughout his lifetime.
Cosmopolitan in upbringing, he spent his youth in Morocco, Spain
and the Basque region, and became familiar with Spanish folk
music from an early age. He learnt many legends and dances of
Spain, as well as repertory from the chanson de geste to the
zarzuela from his mother, while his Andalusian-gypsy nurse

nurtured him into the tradition of the cante jondo. His musical gifts
were recognized early, and he gave his first public piano recital at
the age of 11, the programme including Chopins Study op.10 no.5
and Beethovens op.13 Sonata. Soon after, he enrolled at the
Bayonne Conservatoire, where he studied until 1931 as a pupil of
Ermend Bonnal. Before the age of 18 he had publicly performed all
32 Beethoven piano sonatas, though as a mature composer he did
not remember the experience fondly, feeling ill at ease with music
belonging to the Austro-German tradition. Another teacher,
Jhanne Pris, organist at Ste Eugnie in Biarritz, led him to
discover many works, including the quartets of Debussy and Ravel,
which remained important to him. He took the baccalaurat in 1932
and went to Paris the same year, originally to study architecture.
Following two years at the Ecole des Beaux-Arts, he entered the
Ecole Nationale Suprieure des Arts Decoratifs in 1934. He met
Mallet Stephens and visited the workshop of Le Corbusier. Against
his fathers wishes he continued his musical training, studying
piano with Lazare-Lvy and later with Frank Marshall. In 1936 he
abandoned his architectural studies and devoted himself solely to
the career of a pianist, giving his Paris dbut recital in February
1936 at the Salle Pleyel. Of mammoth proportions, the programme
clearly revealed his instinctive cultural alignment and included
works by Scarlatti, Chopin, Debussy, Granados, Ravel and Albniz.
Before the war he played in many European cities (including
London), and he performed Fallas Noches en los jardines de
Espaa at the Salle Gaveau with the Lamoureux Orchestra and
Eugne Bigot in both 1937 and 1938. Despite his success as a
pianist, he was increasingly drawn to composition and made his
first sketches at this time. Feeling the need to extend the scope of
his musical training he enrolled at the Schola Cantorum in 1937
and studied for three years with Daniel-Lesur. His studies in
counterpoint, plainsong and the medieval and Renaissance
repertory, characteristic of the Schola, proved a lasting influence on
his musical language and vocal style.
An earlier chance meeting with the flamenco dancer and singer La
Argentinita (Encarnacin Jlvez Lpez) in October 1936 had
encouraged him to look to his Spanish origins as the catalyst in
developing a compositional style. Already an established artist
closely associated with Lorca and his circle, La Argentinita was
famed not only for her Ballet Espagnol and revival of traditional
Spanish folk music but also her collaborations with Falla. Together
with the guitarist Ramn Montoya, Ohana and La Argentinita
formed a trio and made a tour of Spain and northern Europe that
included appearances at the Salle Pleyel and the Arts Theatre Club
in London. Some of Ohanas first works were composed for La
Argentinita, although most he subsequently destroyed or withheld
from publication. Through her he became acquainted with many of
the leading figures in ballet at the time, these contacts resulting in
several commissions for ballet scores during the 1950s. As a
further encouragement to draw on Spanish subjects, La Argentinita

gave Ohana the manuscript of Lorcas poem Llanto por Ignacio

Snchez Mejas which he set for baritone, narrator, chorus and
orchestra in 1950.
Throughout this early period, Ohana became increasingly
fascinated with improvised folk music traditions, including not only
Spanish folk music and the jazz he heard in Paris, but African tribal
music. When visiting his home in Casablanca, he travelled into the
Atlas mountains to seek out the indigenous berbers, sometimes
participating in their tribal ceremonies. He absorbed much about
their means of improvisation and learned many of their choral
songs and microtonal melodies. He also discovered sub-Saharan
African music, the rhythmic processes of which proved a decisive
influence on his compositional development. He continued to make
journeys to Africa, north and south of the Sahara, until 1965.
Although he published some studies of Spanish folk-music, most of
his research was intended more for compositional than
musicological purposes. The cross-fertilizations between Spanish
and African musics and culture became an enduring fascination,
African and Afro-Cuban rhythmic patterns and drumming
techniques providing a stimulus to which his fullest response came
in the works of his last decade, most notably his final work, Avoaha
(1991).
Ohana, Maurice
2. Achievement.
Ohanas real beginnings as a composer were interrupted by the
outbreak of World War II. Fleeing France in 1940 via Portugal, he
joined the British Army and saw active service in Africa,
Madagascar, Greece and Italy. During periods of military inactivity
he absorbed himself in the five scores he carried in his pack
throughout his army life: Fallas El retablo de maese Pedro and
Harpsichord Concerto, Debussys Prlude laprs-midi dun
faune and Nocturnes, and Ravels Concerto for the Left Hand.
Holding a commission in the Intelligence Corps, he found himself in
1944 in Rome, where he joined Casellas piano class at the
Accademia di Santa Cecilia. His first published works, Enterrar y
Callar (Trois caprices) and the Sonatine monodique, both for
piano, date from this period. Shortly after the cessation of hostilities
he gave a recital at the Institut Franais in Naples and there met
Gide, who was impressed by his interpretations of Chopin. They
remained in contact until Gides death, and Ohana assisted on
Gides Notes sur Chopin. Following demobilization in 1946 Ohana
settled permanently in Paris and devoted himself increasingly to
composition, gradually winding down his performing activities.
Developing a musical language based on plainsong, techniques of
early counterpoint, rhythmic processes derived from African tribal
music, and melodic features from Spanish folk music, Ohana was
not attracted to the new serialism of his contemporaries. He
declared his fierce independence from Austro-German traditions by

founding the Groupe Zodiaque in 1947 along with two other

students of Daniel-Lesur, Alain Bermat and Pierre de la ForestDivonne. They were joined in 1948 by Sergio de Castro, a former
pupil of Falla, and Stanislaw Skrowaczewski, then studying with
Nadia Boulanger. The group, which mounted concerts on French
Radio and at the Salle Gaveau from 1947 to 1950, rejected not
only the tyranny of serialism and the neo-Romanticism of La Jeune
France but all aesthetic dogma, advocating instead a
reassessment of their respective folk music traditions and
plainsong as the basis for an organic musical language that should
avoid any elaborate precompositional system. Ohanas conscious
distancing of himself from Darmstadt resulted in exclusion from the
concerts of the Domaine Musical, which in turn contributed to his
neglect in the United Kingdom. Sympathetic to the independent
standpoint of the Zodiaque composers, the positions both Dutilleux
and Daniel-Lesur held at French radio were crucial in providing a
platform for the groups music. Although Zodiaque had
disintegrated by 1950, Ohana kept his association with French
radio and worked for a short time with Pierre Schaeffer; he
incorporated electronic tape in several works, most notably in
Sibylle (1968) where it is combined with soprano and percussion.
Many of Ohanas works of the 1950s draw on Spanish subjects
and texts, or allude to forms borrowed from Spanish folk music. His
setting of Lorcas Llanto por Ignacio Snchez Mejas owes much to
the timbral acidity of Falla and includes an orchestral harpsichord.
Together with Cantigas, based on the monodies of Alfonso el
Sabio, these were his first important large-scale works, and show
his growing predilection for the voice. Tiento alludes to the
traditional Spanish form associated with the guitar, while the guitar
concerto Trois graphiques, Si le jour parat and the Trois
caprices are based on engravings by Goya. While Spanish
influences continued to emerge in certain mature works, notably
the first cello concerto, Anneau du Tamarit, and the opera La
Clestine, they were absorbed into a more homogeneous, if widely
eclectic musical language that includes elements of jazz, AfroCuban music, and Chinese and Japanese theatre music. His
melodic parallelism and colouristic view of harmony as timbre, or
sound mass, owes much to Debussy and has parallels in Varse,
just as his superimposed layers of ostinatos in aleatory
counterpoint owe much to Stravinsky and have parallels in
Lutosawski. His first incorporations of African and Afro-Cuban
rhythmic patterns appear in the percussion ballet Etudes
chorgraphiques, but were more fully developed in the layering
techniques of the percussion concertos Synaxis and Silenciaire,
and more freely adapted in certain vocal works, particularly Cris,
Lys de madrigaux and the Mass.
As a result of the stylistic and technical experimentation prompted
by Ohanas many commissions for incidental music in the 1950s
and early 1960s, the middle 1960s marked a stylistic watershed
and witnessed the emergence of his mature style. The Quatre

improvisations for flute seek to recreate the spontaneity of

improvisation, while Tombeau de Claude Debussy for soprano,
piano, zither and orchestra, takes as its point of departure several
piano works of Debussy and makes use of a coordinated system of
third-tones, created by subdividing each interval of either wholetone scale into three (see ex.1); the third-tone-tuned zither was
thenceforth a recurrent feature of his music. The first string quartet,
Cinq squences, includes sections of aleatory counterpoint, and Si
le jour parat for the newly invented ten-string guitar, further
explores an Impressionism stemming from Debussy. Incorporating
all these new textures and techniques, Signes for instrumental
ensemble (1965) represents the complete emergence of his
mature style. It is the first of a series of eleven works composed
during the 1960s and 1970s bearing esoteric titles beginning with
the same letter, the Sigma Series, which according to the
composer symbolized evolution and the proliferation of his mature
style into his second 50 years. With its title partly borne out by
hand-drawn ciphers at the head of each movement, Signes is also
one of many works to incorporate allusions to extra-musical
symbolism, in this case the image of the tree. Other works notable
for their allusive symbolism include the chamber opera Auto-da-f,
the orchestral works THarn-Ng and Livre des prodiges, and
Trois contes de lhonorable fleur, music theatre for soprano and
ensemble.

Ohana contributed to almost every vocal and instrumental genre

and was conspicuous in the harpsichord revival: the concerto
Chiffres de clavecin and the opera La Clestine are representative.
In Sacral dIlx for harpsichord, oboe and horn he used the
instrumental combination envisaged by Debussy for the fourth of
his uncompleted series of late sonatas. Other instruments he
favoured include the guitar, the piano and the two he invented: the
third-tone zither and the ten-string guitar. Prolific as a composer for
the voice, writing opera, chamber opera and music theatre, as well
as non-dramatic works, he concentrated on vocal music in his last
years and produced some of his most personal statements. In
Swan Song (19878) he composed his epitaph.
Ohana, Maurice
WORKS
stage
Les rpresentations de Tanit (ballet, M. Bjart), orch, 1951, Enghien, Casino, 1956;

suite, pf, withdrawn

La soire des proverbes (incid music, G. Schhad) (fl, 2 ob, bn, hn, perc)/(fl, perc),
19534, unpubd, Paris, Marigny, 30 Jan 1954
Paso, solea (ballet, F. Dominique), orch, 1954, Lyons, Opra, 1955, unpubd
Etudes chorgraphiques (ballet, M. Parrs), 46 perc, 195561, Strasbourg, 8 June
1963
Le guignol au gourdin (incid music, F. Garca Lorca: Tragicomedia de Don Crstobal
y la sea Rosita), 1956, unpubd; arr. as music theatre, 1958, Carcassonne, July
1958
Promthe (ballet, Bjart), chbr orch, 19556, Lyons, July 1956, withdrawn; suite,
orch, 1958
Rcit de lan zro (dramatic orat, G. Schhad), 19589, Paris, Grand Auditorium
de lORTF, 11 April 1959
Histoire vridique de Jacotin (incid music, C.J. Cela, adapted A. Trutat), 1961,
Paris, ORTF, 1961; rev. as Le mariage sous la mer (childrens chbr op), 1990,
Boulogne-Billancourt, Conservatoire National, 18 April 1991
Syllabaire pour Phdre (chbr op, 6 episodes, R. Cluzel and M. Ohana, after
Euripides), 19667, Paris, Musique, 5 Feb 1968
Auto-da-f (dramatic cant., Ohana) spkr, 3 SATB, ens, puppets, 1971, Vaison-laRomaine, 9 Aug 1971; rev. 1972 as chbr op (10 scenes, Ohana), Lyons, Opra, 23
May 1972
Office des oracles (music theatre, Ohana), 1974, La Sainte-Baume, 9 Aug 1974
Trois contes de lhonorable fleur (music theatre, O. Marcel, after Ohana), 1978,
Avignon, 15 July 1978
La Clestine (op, 2, Ohana and O. Marcel, after F. de Rojas), 19828, Paris, Opra,
13 June 1988; see also vocal [Suite de concert de la Clestine 198990; 3
prophties de la Sibylle, 198990]; chamber and solo instrumental [Miroir de
Clestine, 198990]
Sundown Dances (ballet, E. Hawkins), fl, cl, tpt, trbn, perc, vn. db, 1990,
Washington, DC, Kennedy Center, May 1991
other incidental music
(selective list)

Les hommes et les autres (A. Trutat, after E. Vittorini), ens, 1956, unpubd; Mde
(J. Bergamin, after Seneca), ens, 1956; Images de Don Quichotte, ens, 1956;
Fuenteovejuna (Lope de Vega), SATB, wind, perc, 1957, unpubd; Homre et
lorchide (B. Horowiscz), 1/3-tone zither, 1959, withdrawn; Hlne (Euripides),
female chorus, ens, 1963, unpubd; Les hraclides (Euripides), SATB, wind, pf, 1/3tone zither, perc, 1964, unpubd; Iphignie en Tauride (Euripides), solo vv, pf, 1/3tone zither, 4 perc, 1965, unpubd; Hippolyte (Euripides), S, Mez, SATB, ens, 1966,
unpubd
orchestral
Sarabande, hpd, orch, 1950, unpubd; 3 graphiques, gui, orch, 4 perc, 195057;
Synaxis, 2 pf, 4 perc, orch, 1966; Chiffres de clavecin, hpd, orch, 1968;
Silenciaire, 6 perc, str, 1969; THarn-Ng, orch, 1974; Anneau du Tamarit, vc,
orch, 1976; Livre des prodiges, orch, 19789; Crypt, str, 1980; Pf Conc. 1981;
In Dark and Blue, vc, orch, 198990
vocal

Choral: Llanto por Ignacio Snchez Mejas (Garca Lorca), orat, Bar, spkr, female
vv, orch, 1950; Cantigas (J. de Valdivielso, F.A. Mortesino, G. de Berceo, Alfonso X,
J. Alvarez), childs voice, S, Mez, SATB, pf, orch, 19534; Cris, SATB, 19689; Lys
de madrigaux, female vv, ens, 19756; Mass, S, Mez, SATB, ens, 1977; 4 choeurs,
childrens vv, 1987; Lux Noctis Dies solis (Catullus, Lat. anon.), 4 choral groups,
childrens vv, 2 org, perc, 19838; Swan Song (Ohana, after P. Ronsard), SATB,
19878; Suite de concert de la Clestine, solo vv, SATB, orch, 198990; Tombeau
de Louize Lab O beaux yeus bruns, SATB, 1990; Nuit de Pouchkine, Ct, SATB,
va da gamba/vc, 1990; Avoaha, SATB, 2 pf, perc, 199091
Solo: 2 mlodies (Garca Lorca), S, pf, 1947, arr. S, gui/hpd, unpubd; 3 pomes de
Saadi (trans. F. Toussaint), Bar, orch, 1947, unpubd; Tombeau de Claude Debussy,
S, 1/3-tone zither, pf, orch, 1962; Sibylle, S, perc, tape, 1968; Stream, B, str trio,
1970; 2 incantations, S, fl, pf, 19724 [no.1 from op Auto-da-f; no.2 from music
theatre Office des oracles]; 3 prophties de la Sibylle, 2 S, pf, perc, 198990 [from
op La Clestine]
Orchestration: Satie: La messe des pauvres, 1990
chamber and solo instrumental
3 or more insts: 5 squences, str qt, 1963; Signes, fl + pic, chromatic zither, 1/3tone zither, pf, 4 perc, 1965; Sacral dIlx, ob, hn, hpd, 1975; Str Qt no.2, 197880;
Kypris, ob/ob damore, va, db, pf, 1985; Str Qt no.3 Sorgin-Ngo, 1989
2 insts: 2 danses, 2 perc, 1954, unpubd; Neumes, ob, pf, 1965; Sorn-Ng, 2 pf,
196970; Syrtes, vc, pf, 1970; Noctuaire, vc, pf, 1976; Satyres, 2 fl, 1976; Anonyme
XXme sicle, 2 gui, 1988; Miroir de Clestine, hpd, perc, 198990
Solo ww: 4 improvisations, fl, 1960; Sarc, ob, 1972
Pf: Sonatine monodique, 1945; 3 caprices, 194454; 24 prludes, 19723; 12
tudes dinterprtation: bk i, 1982, bk ii, 19835 [nos.11 and 12 with perc]
Hpd: Tiento, 1957 [arr. of gui piece]; Carillons Pour les heures du jour et de la nuit,
1960; 2 pices, 1983 [no.1 arr. of Wamba]; So Tango, 1991
Gui: Tiento, 1957; Si le jour parat 10-str gui, 19634, arr. 6-str gui; Cadran
lunaire, 10-str gui, 19812, arr. 6-str gui
Carillon: Wamba, 1980
MSS held by Association des Amis de Maurice Ohana, Paris and publishers

Principal publishers: Amphion/Durand, Billaudot, Jobert, Salabert, Schott

Principal recording companies: Audivis, Calliope, Erato, Opus 111, Philips, REM, Timpani

Ohana, Maurice
WRITINGS
Alfredo Casella, MR, viii (1947), 145
Le Flamenco, Los Gitanillos de Cadiz, Club franais du disque
G4188 (1955) [disc notes]
La gographie musicale de lEspagne, Journal musical franais,
no.47 (1956), 15; no.48 (1956), 13

Erik Satie, Prsences contemporaines: musique franaise, ed. J.

Roy (Paris, 1962), 3879
Bla Bartk, Ujiras [Budapest] (July, 1965); Fr. orig. in Nouvel
observateur (18 Aug 1965)
Disc notes, Etudes chorgraphiques, Philips DSY 836 990 (1967)
Micro-Intervals: Experimental Media II, Twentieth Century Music,
ed. R. Myers (London, 1968), 14750
En el centenario de Manuel de Fallaun revolucionario inconsiente,
Triunfo, no.63 (1976)
Lankylose du thtre psychologique, Aujourdhui lOpra, no.42
(1980)
Les paradoxes de la musique contemporaine, Musique en
questions, no.1 (1980), 9 only
La Nia de los Peies, Le chant du monde, Harmonia Mundi LDX
74859 CM 340 (1980) [disc notes]
Ecrits et paroles, ReM, nos.3512 (1982), 6976 [incl. La
marionette lopra, 75 only]
Au service de la musique, ReM, nos. 3613 (1983), 5960
Erik Satie, ReM, nos.3913 (1986), 1779
SudNord, 20me sicle: images de la musique franaise, ed.
J.P. Derrien (Paris, 1986), 1647
Ohana, Maurice
BIBLIOGRAPHY
A. Gide: Journal 193949 (Paris, 1954), 286
A. Carpentier: Revelacon de un compositor, El domingo
[Caracas] (29 April 1956); repr. in Obras completas, x (Mexico
City, 1987), 2157
B. Gavoty and Daniel-Lesur: Pour ou contre la musique moderne
(Paris, 1957), 24850
C. Rostand: La musique franaise contemporaine (Paris, 1957;
Eng. trans., 1958), 1236
C. Samuel: Maurice Ohana, Panorama de lart contemporain
(Paris, 1962), 334
J. Roy, ed.: Prsences contemporaines: musique franaise (Paris,
1962), 385403
P. Ancelin: Pierre Ancelin avec Maurice Ohana, Lettres
franaises (17 Sept 1964)
R. Myers: Modern French Music (Oxford, 1971), 1714
F. Goldbeck: Twentieth Century Composers: France, Italy and
Spain (London, 1974), iv, 1389
J. Roy: Les compositeurs franais contemporains: Maurice
Ohana, Diapason, no.186 (1974), 1013
C. Chamfray: Biographie de Maurice Ohana, Courrier musical de
France, no.51 (1975), 912
A. Grunenwald: Conversation avec Maurice Ohana: THarnNg, Arfuyen II (Paris, 1975), 5863
A. Gola: La musique de la nuit des temps aux aurores nouvelles
(Paris, 1977), 8445
C. LeBordelays: La musique espagnole (Paris, 1977), 123

R. Lyon: Entretien avec Maurice Ohana, Courrier musical de

France, no.62 (1978), 416
F.B. Mche: Les mal entendus: compositeurs des annes 1970,
ReM, nos.31415 (1978), 10915
F. Bayer: De Schnberg Cage (Paris, 1981), 11921
J.-Y. and D. Bosseur: Revolutions musicales (Paris, 1979), 8990
G. Wade: Traditions of the Classical Guitar (London, 1980), 202
48
C. Prost: Formes et thmes: essai sur les structures profondes du
langage musical de Maurice Ohana (diss., U. of Aix-enProvence, 1981)
P. Bolbach: Maurice Ohana et la guitare: entretien avec le
compositeur, analyse du Tiento, Cahiers de la guitare, no.2
(1982), 410
J. Roy, ed.: Maurice Ohana: essais, tudes et documents, ReM,
nos. 3512 (1982) [Ohana issue; incl. J. Roy: Pour saluer
Maurice Ohana, 510; O. Marcel: LIbrisme de Maurice
Ohana, 1326; C. Prost: Catalogue raisonn, 2967]
F. Bayer: Sous le signe de limaginaire: Maurice Ohana, Esprit,
no.99 (1985), 4357
F. Bayer, ed.: Andr Gide et Maurice Ohana, Bulletin des amis
dAndr Gide, no.71 (1986), 832
C. Prost, ed.: Maurice Ohana: miroirs de loeuvre, ReM, nos.391
3 (1986) [Ohana issue; incl. articles by R. Cluzel, F. Ibarrondo,
H. Sauguet, F. Bayer, E. Chojnacka, L.M. Diego, P. Roberts, H.
Halbreich, G. Reibel, O. Marcel, C. Prost]
C. Paquelet: La percussion dans la musique dOhana, Analyse
musicale, no.8 (1987), 568
M. Cadieu: La Clestine de Maurice Ohana: une tragi-comdie de
moeurs, Opra international, no.115 (1988), 245
C. Rae: La Clestine: Maurice Ohanas Oper in Paris, NZM,
Jg.149, no.10 (1988), 356
C. Rae: The Music of Maurice Ohana (diss., U. of Oxford, 1989)
H. Halbreich: Maurice Ohana, Guide de la musique de chambre,
ed. F.-R. Tranchefort (Paris, 1989), 67883
Lavant-scne opra: opra aujourdhui, no.3A (1991) [La Clestine
issue; incl. interview and articles by C. Prost, H. Halbreich, S.
de Castro]
C. Rae: Maurice Ohana: Iconoclast or Individualist?, MT, cxxxii
(1991), 6974
F. Deval: Llanto por Ignacio Sanchez Mejias de Federico Garca
Lorca Maurice Ohana (Paris, 1992)
C. Rae: Limprovisation dans loeuvre de Maurice Ohana,
Limprovisation musicale: Rouen 1992, 7385
C. Rae: Le symbolisme et larchetype du mythe europen dans
loeuvre de Maurice Ohana, Cahiers du CIREM, nos. 245
(1993), 11530
H. Halbreich: Maurice Ohana, Guide de la musique sacre et
choral profane de 1750 nos jours, ed. F.-R. Tranchefort
(Paris, 1993), 77181

R. Langham Smith: Ohana on Ohana: an English Interview,

CMR, viii/1 (1993), 1239
C. Rae: Debussy et Ohana: allusions et rferences, Cahiers
Debussy, nos.1718 (19934), 1239
F. Deval and J. Roy, eds.: Maurice Ohana: le musicien du soleil,
Monde de la musique, cahier no.2 (Paris, 1994) [incl. articles
by B. Massin, F. Deval, J.L. Tournier, C. Rae, H. Dutilleux, E.
Franco, Daniel-Lesur, J. Gottlieb, F. Bayer, M. Weiss]
C. Rae: The Piano Music of Maurice Ohana, Revista musica [So
Paolo], vi/12 (1995), 4474
C. Rae: The Music of Maurice Ohana (London, 2000)