Tristan Murail Vidéos
compositeur français
- musique contemporaine, musique de chambre, musique électronique
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2024-05-13
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Olivier Messiaen Martenot Paul Crossley Tristan Murail Esa Pekka Salonen Sergey Koussevitzky Leonard Bernstein Yvonne Loriod Philharmonia Orchestra Boston Symphony Orchestra 1945 1948 1949
Turangalîla-symphonie, for piano, ondes martenot & orchestra, I/29 (1948) I. Introduction: Modéré, un peu vif II. Chant d'amour I: Modéré, lourd III. Turangalîla I: Presque lent, rêveur IV. Chant d'amour II: Bien modéré V. Joie du sang des étoiles: Vif, passionné, avec joie VI. Jardin du sommeil d'amour: Très modéré, très tendre VII. Turangalîla II: Un peu vif, bien modéré VIII. Développement de l'amour: Bien modéré IX. Turangalîla III: Bien modéré X. Finale: Modéré, presque vif, avec une grande joie Paul Crossley, piano Tristan Murail, ondes martenot Philharmonia Orchestra Esa-Pekka Salonen Olivier Messiaen's Turangalîla-Symphonie (1948) was commissioned / without restrictions to instrumentation or length / by Sergey Koussevitzky for the Boston Symphony Orchestra. Consequently, Turangalîla is scored for a large orchestra with a solo piano part, and makes use of the Ondes Martenot / an early electronic instrument / for eerie glissandi and sustained melodic gestures. The work is written in ten movements and lasts in excess of 75 minutes. It was premiered by Leonard Bernstein and the BSO in 1949. Though Turangalîla is Messiaen's most popular orchestral work, it is often mistaken for his most typical; its secular subject material and relatively sparse use of bird songs makes it unique in his orchestral oeuvre. Along with the song cycles Harawi (1945) and Cinq Rechants (1948), Turangalîla is the second of a three-work cycle inspired by the "Tristan" myth. Compiled by Messiaen, the title is derived from Sanskrit and collectively means love song, and hymn to joy, time, movement, rhythm, life, and death. Turangalîla contains many themes that relate to each of its ten movements, but there are also four larger, cyclic themes that recur throughout the work. The first cyclic theme is based on thirds and is most often played by fortissimo by the trombones. Messiaen refers to this as the "statue theme," metaphoric for the oppressive brutality of ancient Mexican monuments. The second "flower" theme is heard pianissimo in the clarinets, alluding to the colors of flowers. Messiaen considers the third "love" theme to be the most significant of the four. The fourth theme is a chain of chords that undergoes rhythmic, contrapuntal, and registral transformations. Messiaen uses three rhythmic "characters" that function in contrapuntal augmentation (attackers), diminution (victims), and unchanging (observers) note values. He also makes extensive use of non-retrogradable rhythms, or rhythmic units that are the same forwards as backwards. Relating to architecture and other decorative arts, non-retrogradable rhythms are ordered around a central axis where two equivalent halves meet. Turangalîla also displays Messiaen's vivid sense of orchestral color. The woodwinds are grouped in threes and have extensive solos, dense contrapuntal webs, bird songs, and highly colored harmonic collections. The brass are led by the trumpets, especially the brilliant piccolo trumpet in D, along with three trumpets in C, cornet, four horns, three trombones, and tuba. The string section is generally heard as a homogeneous group, with the exception of the ninth movement, where 13 individual string parts play independently of the orchestra. The percussion writing emphasizes pitched and metallic instruments such as xylophone, glockenspiel, celeste, gongs, and vibraphone. Coupled with the piano, the percussion section forms an orchestra within an orchestra, and bears a likeness to the Balinese gamelan. The solo piano part is concerto-like in scope, including fiery displays of virtuosity in the cadenzas, several bird songs, and its role as part of the gamelan percussion orchestra. The piano part was written for and dedicated to his wife Yvonne Loriod, as was the Ondes Martenot part for her sister Jeanne Loriod. Turangalîla is also a study in contrasts: melismatic contrapuntal strands contrast with sustaining, block-like sonorities moving in homorhythm; loud and arresting orchestral sound with passages of near inaudibility; dense chromaticism with the major mode; mystery with ecstasy; and brightness with darkness. [allmusic.com] Art by Pablo Picasso
Olivier Messiaen Martenot Paul Crossley Tristan Murail Esa Pekka Salonen Sergey Koussevitzky Leonard Bernstein Yvonne Loriod Philharmonia Orchestra Boston Symphony Orchestra 1945 1948 1949
Turangalîla-symphonie, for piano, ondes martenot & orchestra, I/29 (1948) I. Introduction: Modéré, un peu vif II. Chant d'amour I: Modéré, lourd III. Turangalîla I: Presque lent, rêveur IV. Chant d'amour II: Bien modéré V. Joie du sang des étoiles: Vif, passionné, avec joie VI. Jardin du sommeil d'amour: Très modéré, très tendre VII. Turangalîla II: Un peu vif, bien modéré VIII. Développement de l'amour: Bien modéré IX. Turangalîla III: Bien modéré X. Finale: Modéré, presque vif, avec une grande joie Paul Crossley, piano Tristan Murail, ondes martenot Philharmonia Orchestra Esa-Pekka Salonen Olivier Messiaen's Turangalîla-Symphonie (1948) was commissioned / without restrictions to instrumentation or length / by Sergey Koussevitzky for the Boston Symphony Orchestra. Consequently, Turangalîla is scored for a large orchestra with a solo piano part, and makes use of the Ondes Martenot / an early electronic instrument / for eerie glissandi and sustained melodic gestures. The work is written in ten movements and lasts in excess of 75 minutes. It was premiered by Leonard Bernstein and the BSO in 1949. Though Turangalîla is Messiaen's most popular orchestral work, it is often mistaken for his most typical; its secular subject material and relatively sparse use of bird songs makes it unique in his orchestral oeuvre. Along with the song cycles Harawi (1945) and Cinq Rechants (1948), Turangalîla is the second of a three-work cycle inspired by the "Tristan" myth. Compiled by Messiaen, the title is derived from Sanskrit and collectively means love song, and hymn to joy, time, movement, rhythm, life, and death. Turangalîla contains many themes that relate to each of its ten movements, but there are also four larger, cyclic themes that recur throughout the work. The first cyclic theme is based on thirds and is most often played by fortissimo by the trombones. Messiaen refers to this as the "statue theme," metaphoric for the oppressive brutality of ancient Mexican monuments. The second "flower" theme is heard pianissimo in the clarinets, alluding to the colors of flowers. Messiaen considers the third "love" theme to be the most significant of the four. The fourth theme is a chain of chords that undergoes rhythmic, contrapuntal, and registral transformations. Messiaen uses three rhythmic "characters" that function in contrapuntal augmentation (attackers), diminution (victims), and unchanging (observers) note values. He also makes extensive use of non-retrogradable rhythms, or rhythmic units that are the same forwards as backwards. Relating to architecture and other decorative arts, non-retrogradable rhythms are ordered around a central axis where two equivalent halves meet. Turangalîla also displays Messiaen's vivid sense of orchestral color. The woodwinds are grouped in threes and have extensive solos, dense contrapuntal webs, bird songs, and highly colored harmonic collections. The brass are led by the trumpets, especially the brilliant piccolo trumpet in D, along with three trumpets in C, cornet, four horns, three trombones, and tuba. The string section is generally heard as a homogeneous group, with the exception of the ninth movement, where 13 individual string parts play independently of the orchestra. The percussion writing emphasizes pitched and metallic instruments such as xylophone, glockenspiel, celeste, gongs, and vibraphone. Coupled with the piano, the percussion section forms an orchestra within an orchestra, and bears a likeness to the Balinese gamelan. The solo piano part is concerto-like in scope, including fiery displays of virtuosity in the cadenzas, several bird songs, and its role as part of the gamelan percussion orchestra. The piano part was written for and dedicated to his wife Yvonne Loriod, as was the Ondes Martenot part for her sister Jeanne Loriod. Turangalîla is also a study in contrasts: melismatic contrapuntal strands contrast with sustaining, block-like sonorities moving in homorhythm; loud and arresting orchestral sound with passages of near inaudibility; dense chromaticism with the major mode; mystery with ecstasy; and brightness with darkness. [allmusic.com] Art by Pablo Picasso
Olivier Messiaen Martenot Paul Crossley Tristan Murail Esa Pekka Salonen Sergey Koussevitzky Leonard Bernstein Yvonne Loriod Philharmonia Orchestra Boston Symphony Orchestra 1945 1948 1949
Turangalîla-symphonie, for piano, ondes martenot & orchestra, I/29 (1948) I. Introduction: Modéré, un peu vif II. Chant d'amour I: Modéré, lourd III. Turangalîla I: Presque lent, rêveur IV. Chant d'amour II: Bien modéré V. Joie du sang des étoiles: Vif, passionné, avec joie VI. Jardin du sommeil d'amour: Très modéré, très tendre VII. Turangalîla II: Un peu vif, bien modéré VIII. Développement de l'amour: Bien modéré IX. Turangalîla III: Bien modéré X. Finale: Modéré, presque vif, avec une grande joie Paul Crossley, piano Tristan Murail, ondes martenot Philharmonia Orchestra Esa-Pekka Salonen Olivier Messiaen's Turangalîla-Symphonie (1948) was commissioned / without restrictions to instrumentation or length / by Sergey Koussevitzky for the Boston Symphony Orchestra. Consequently, Turangalîla is scored for a large orchestra with a solo piano part, and makes use of the Ondes Martenot / an early electronic instrument / for eerie glissandi and sustained melodic gestures. The work is written in ten movements and lasts in excess of 75 minutes. It was premiered by Leonard Bernstein and the BSO in 1949. Though Turangalîla is Messiaen's most popular orchestral work, it is often mistaken for his most typical; its secular subject material and relatively sparse use of bird songs makes it unique in his orchestral oeuvre. Along with the song cycles Harawi (1945) and Cinq Rechants (1948), Turangalîla is the second of a three-work cycle inspired by the "Tristan" myth. Compiled by Messiaen, the title is derived from Sanskrit and collectively means love song, and hymn to joy, time, movement, rhythm, life, and death. Turangalîla contains many themes that relate to each of its ten movements, but there are also four larger, cyclic themes that recur throughout the work. The first cyclic theme is based on thirds and is most often played by fortissimo by the trombones. Messiaen refers to this as the "statue theme," metaphoric for the oppressive brutality of ancient Mexican monuments. The second "flower" theme is heard pianissimo in the clarinets, alluding to the colors of flowers. Messiaen considers the third "love" theme to be the most significant of the four. The fourth theme is a chain of chords that undergoes rhythmic, contrapuntal, and registral transformations. Messiaen uses three rhythmic "characters" that function in contrapuntal augmentation (attackers), diminution (victims), and unchanging (observers) note values. He also makes extensive use of non-retrogradable rhythms, or rhythmic units that are the same forwards as backwards. Relating to architecture and other decorative arts, non-retrogradable rhythms are ordered around a central axis where two equivalent halves meet. Turangalîla also displays Messiaen's vivid sense of orchestral color. The woodwinds are grouped in threes and have extensive solos, dense contrapuntal webs, bird songs, and highly colored harmonic collections. The brass are led by the trumpets, especially the brilliant piccolo trumpet in D, along with three trumpets in C, cornet, four horns, three trombones, and tuba. The string section is generally heard as a homogeneous group, with the exception of the ninth movement, where 13 individual string parts play independently of the orchestra. The percussion writing emphasizes pitched and metallic instruments such as xylophone, glockenspiel, celeste, gongs, and vibraphone. Coupled with the piano, the percussion section forms an orchestra within an orchestra, and bears a likeness to the Balinese gamelan. The solo piano part is concerto-like in scope, including fiery displays of virtuosity in the cadenzas, several bird songs, and its role as part of the gamelan percussion orchestra. The piano part was written for and dedicated to his wife Yvonne Loriod, as was the Ondes Martenot part for her sister Jeanne Loriod. Turangalîla is also a study in contrasts: melismatic contrapuntal strands contrast with sustaining, block-like sonorities moving in homorhythm; loud and arresting orchestral sound with passages of near inaudibility; dense chromaticism with the major mode; mystery with ecstasy; and brightness with darkness. [allmusic.com] Art by Pablo Picasso
Dujardin Agus Camus Casey Ludovico Einaudi Proulx Murail Turner 1230 1630 1905 1945 1950 2017
► Au programme: 00:00 - Introduction, la mer et l'obsession 01:20 - Le Vieil Homme et la Mer - Ernest Hemingway 05:30 - Le Vieil Homme et la Mer, une oeuvre machiste ? 07:40 - L'outil gratuit HemingwayApp pour écrire comme Hemingway 08:20 - The Sea, The Sea - Iris Murdoch - un personnage stoic qui tombe dans l'obsession 12:30 - Le film Un balcon sur la mer de Nicole Garcia avec Jean Dujardin. La vie d'un agent immobilier qui est pris d'obsession pour un ancien amour, sur fond de souvenirs et de guerre d'Algérie.. Mal de pierre - Nicole Garcia, adaptation d'un roman de Milena Agus - Mal de Pierres. Selon Charlie - Nicole Garcia. L'étranger de Camus et la place de la mer et de la plage. 16:30 - By The Sea - film muet avec Charles Chaplin. Le gag de la glissade sur la peau de banane, une première au cinéma avec Charles Chaplin 19:45 - Le film Manchester by the Sea - Kenneth Lonergan avec Casey Affleck, bonne réception aux Oscars en 2017 et un des films préférés de Thibaut. Grande performance d'acteur par Casey Affleck, et Michelle Williams. 26:10 - Le film Captain Philipps - Paul Greengrass avec Tom Hanks 28:10 - Seaspiracy - Ali Tabrizi - documentaire choc sur Netflix sur la surpêche, les pirates, les abus en mer, l'esclavage moderne sur les bateaux 30:15 - Ludovico Einaudi - Elegy for the Arctic pour la campagne Save The Arctic de Greenpeace. Video très impressionnante tournée sur une plateforme dans l'Arctique On connait Einaudi on connait pour la musique utilisée dans le film Intouchable. Un succès qui touche toutes les générations. 34:00 - Ludovico Einaudi a des 'tubes' alors que sa musique ne passe pas en radio, serait-ce l'influence de YouTube, Shazam, Spotify ? Experience - Ludovico Einaudi. Mommy - Xavier Dolan 38:15 - The Shipping News - Annie Proulx ; Brokeback Mountain. The Shipping News est une histoire à l'écriture brutte, abrupte, forcée. L'histoire ne mène nulle part, Maxime a abandonné cette lecture avec plaisir. L'adaptation de The Shipping News au cinéma par Lasse Hallstrom avec Kevin Spacey, Cate Blanchett et Judi Dench 43:00 - Une île trop loin - Annika Thor , premier tome de la trilogie 47:30 - Les auteurs jeunesse à succès - Moka, Marie-Aude Murail, Malika Ferdjoukh, Philipp Pullman, Eoin Colfer (la série Artemis Fowl), Michel Honaker (la série Odyssée, Rocambole) 50:40 - Le gardien de Phare - Henryk Sienkiewicz ; Quo Vadis. L'importance du patriotisme dans l'oeuvre du Gardien du Phare de Sienkiewicz (Latarnik). Le film Quo Vadis par Mervyn LeRoy (1950) avec Robert Taylor et Peter Ustinov. Néron et le grand incendie de Rome. Henryk Sienkiewicz Prix Nobel de Littérature en 1905. La trilogie d'Henryk Sienkiewicz - Par le Fer et par le Feu, Le Déluge, Messire Wołodyjowski 57:00 - La Mer en peinture - le genre des 'marines' en peinture - Boudin, Manet, Monet, Courbet, Turner. La Femme Au Parasol d'Eugène Boudin. Turner - Bateau d'Esclaves. La Vague d'Hokusai ► S’abonner au podcast KULT: Spotify ► (http•••) Apple ► (http•••) Flux RSS ► (http•••) ► SOCIAL: - Twitter: (http•••) - FB: (http•••) - IG: (http•••) - YT: (http•••) - Medium: (http•••)
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