Raphaël Martenot Video
Ultimo aggiornamento
2024-04-21
Aggiorna
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
Olivier Messiaen Järvi Tamara Stefanovich Thomas Bloch Bloch Martenot Kristjan Järvi 1430 1920
Turangalîla Symphony by Olivier Messiaen Tamara Stefanovich · piano Thomas Bloch · ondes martenot Junge Deutsche Philharmonie conducted by Kristjan Järvi Recorded at the Berlin Philharmonie Directed by Stéphan Aubé 00:00 00:04 1. Introduction (modéré, un peu vif) 06:32 2. Chant d'amour I (modéré, lourd) 14:30 3. Turangalîla I (presque lent, rêveur) 19:20 4. Chant d'amour II (bien modéré) 29:55 5. Joie du sang des étoiles (vif, passionné, avec joie) 36:22 6. Jardin du sommeil d'amour (très modéré, très tendre) 47:40 7. Turangalîla II (un peu vif - bien modéré) 51:29 8. Développement de l'amour (bien modéré) 1:02:47 9. Turangalîla III (bien modéré) 1:06:56 10. Final (modéré, presque vif, avec une grande joie) Please subscribe to my channel → (http•••) #messiaen #moderncomposer #20thcenturycomposers
o
- cronologia: Compositori (Europa).
- Indici (per ordine alfabetico): M...