Olivier Messiaen San Francesco d'Assisi Video
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2024-04-17
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Charles Tournemire Bériot César Franck Charles Marie Widor Couperin Aristide Cavaillé Coll Cavaillé Olivier Messiaen Assisi Klerk Notre Dame 1870 1891 1939
Charles Tournemire was born in Bordeaux in 1870. A child prodigy he became organist-accompagnateur at age 11 at the St. Pierre in Bordeaux. At the Paris Conservatory he had lessons from De Bériot and César Franck, after whose death he continued with Charles-Marie Widor. In 1891 he became organist of the famous Basilika St. Clotilde in Paris, a post he held till his death in 1939. Composer: Charles Tournemire Artists: Tjeerd van der Ploeg (organ) Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play): (http•••) More Information: (http•••) Charles Tournemire +••.••(...)) ranks among the most important organ composers of the 20th century, writing in a language that drew for its expressive power on the centuries-old tradition of French organ music from Couperin to Franck, as well as the timbral innovations pioneered by the organ builder Aristide Cavaillé-Coll, anticipating in his boldest harmonic strokes and most perfumed textures the music of Olivier Messiaen. However, while never exactly overlooked either by organists or listeners, Tournemire’s output has suffered somewhat in the shadow of more extrovert composer-performers such as Marcel Dupre and Messiaen. It takes a particularly refined sensibility as well as the right instrument and an unassailable technique to do his complex music full justice. The Dutch organist Tjeerd van der Ploeg has long been recognised as one of the composer’s most persuasive advocates, one of very few with the stamina and dedication to make a complete recording of the Orgue mystique project which was Tournemire’s life’s work. Alongside it, however, he composed many other suites and standalone pieces throughout his career, ranging from the brilliant Sortie Op. 2 to the more ruminative pleasures of the Fioretti Op. 60 (based on the sayings of St Francis of Assisi) and extended meditations on the Seven Last Words. Van der Ploeg’s achievement is widely recognised by his fellow organists. Among the most celebrated of them was his fellow Dutchman Albert de Klerk, who wrote: ‘These are sounds for meditation and prayer. You will be gripped by this and will not let go. I have nothing but praise for Tjeerd van der Ploeg’s playing. This man understands Tournemire. His playing is flexible, the articulation is just right. His registrations are usually excellent. [...] The instrument has been chosen correctly, a great wealth of fundamental voices, reeds and silent solo registers. The present set reissues recordings made around the turn of the millennium on superb French instruments in Douai Abbey, Cambrai Cathedral and the church of Notre Dame d’Auteuil in Paris. Tracklist: 0:00:00 Symphonie choral d’orgue, Op. 69 Sei fioretti, Op. 60: 0:24:05 I. — 0:28:17 II. — 0:33:05 III. — 0:37:40 IV. — 0:42:36 V. — 0:46:29 VI. — 0:50:58 Symphonie sacrée, Op. 71 Trois poèmes, Op. 59: 1:16:09 I. Poème I 1:27:15 II. Poème II 1:39:58 III. Poème III Suite evocatrice, Op. 74: 1:51:40 I. Grave 1:53:15 II. Tierce en taille et récit de cromhorne 1:57:05 III. Flûte d’écho 1:58:29 IV. Jeu doux et voix humaine 2:01:41 V. Caprice 2 Fresques symphoniques sacrées, Op. 75/76: 2:07:06 I. Fresque No. 1 2:19:28 II. Fresque No. 2 2:30:46 Fantaisie symphonique, Op. 64 7 Chorals-Poèmes d'orgue pour les sept paroles du Xrist, Op. 67: 2:47:45 I. Pater, dimitte illis, nesciunt enim quid faciunt 2:58:04 II. Hodie mecum eris in paradiso 3:07:36 III. Mulier, ecce filius tuus/ Ecce mater tua 3:15:30 IV. Eli, Eli, lamma sabacthani 3:24:11 V. Sitio 3:32:34 VI. Pater, in manus tuas commendo spiritum meum 3:40:23 VII. Consummatum est 3:46:42 Andantino, Op. 2 3:50:49 Sortie pour grand orgue, Op. 3 3:55:21 Pièce symphonique pour grand orgue, Op. 16 Suite de morceaux pour grand orgue, Op. 19: 4:02:54 I. Adagio 4:05:50 II. Scherzetto 4:09:12 III. Toccata 5 Interludes: 4:12:56 I. — 4:14:01 II. — 4:15:05 III. — 4:15:43 IV. — 4:17:06 V. — Suite de morceaux pour grand orgue, Op. 24: 4:18:08 I. Pastorale 4:23:06 II. Communion 4:27:49 III. Ite missa est-Sortie 4:33:49 Triple choral pour grand orgue, Op. 41 Social media links: Instagram: (http•••) Facebook: (http•••) TikTok: (http•••) Spotify: (http•••) Thank you for watching, we hope you enjoyed it! Don’t forget to like, share and subscribe to our channel. And visit our channel for the best classical music. #Tournemire #Oeuvres #d'Orgue #Complete #Organ #Classical #Music #BrilliantClassics
Olivier Messiaen Rolf Liebermann Malatesta Seiji Ozawa Esa Pekka Salonen Sylvain Cambreling Kent Nagano Assisi Festival Salzbourg Opéra Bastille 1908 1975 1983 1992 1998 2004
Olivier Messiaen +••.••(...)) qui se passionne pour le plain-chant, la musique indienne et le chant des oiseaux, et se proclame profondément chrétien, est surtout l'un des compositeurs français les plus importants du XXe siècle. C'est à la demande de Rolf Liebermann qu'il accepte en 1975 la commande d'un opéra, qu'il choisit de consacrer à Saint François d'Assise, et qui est finalement créé à l'Opéra de Paris, huit ans plus tard, sous l'administration de Massimo Bogianckino. Messiaen s'explique lors de l'entretien qu'il accorde à Mildred Clary sur le type même de son opéra et son choix du personnage central, sur l'écriture du livret dont il est l'auteur, sur sa technique de composition en référence aux chants des oiseaux qu'il affectionne particulièrement, et sur la précision de ses didascalies pour la représentation. L'opéra est confié pour cette création mondiale au metteur en scène Sandro Sequi et au décorateur Giuseppe Crisolini-Malatesta, et est dirigé par le chef d'orchestre japonais Seiji Ozawa. L'œuvre, longue de quatre heures, et difficile, est restée une dizaine d'années sans connaître de reprise autre qu'au concert, puis s'est peu à peu imposée internationalement, à partir de sa reprise au Festival de Salzbourg en 1992 dans la production de Peter Sellars et dirigée par Esa-Pekka Salonen, reprise aussitôt à l'Opéra-Bastille sous la direction de Sylvain Cambreling, puis à Salzbourg en 1998 avec Kent Nagano. De nouvelles productions suivent à Leipzig, Berlin, Bochum, Amsterdam, Munich... Une troisième production parisienne, confiée à Sylvain Cambreling et Stanislas Nordey sert à l'inauguration du mandat de Gérard Mortier à la tête de l'Opéra de Paris en 2004. Interrogé par Mildred Clary, Olivier Messiaen expose les principes mêmes de son opéra Saint François d'Assise, quelques minutes avant la retransmission intégrale télévisée de l'œuvre, quelques jours après sa création à l'Opéra de Paris le 28 novembre 1983. Olivier Messiaen +••.••(...)) who is passionate about plainsong, Indian music and birdsong, and proclaims himself to be deeply Christian, is above all one of the most important French composers of the 20th century. It was at the request of Rolf Liebermann that he accepted in 1975 the commission of an opera, which he chose to dedicate to Saint Francis of Assisi, and which was finally premiered at the Paris Opera, eight years later. later, under the administration of Massimo Bogianckino. Messiaen explains himself during the interview he gives to Mildred Clary on the very type of his opera and his choice of the central character, on the writing of the libretto of which he is the author, on his technique of composition in reference. to the songs of the birds which he particularly likes, and on the precision of his didascalies for the representation. The opera is entrusted for this world creation to the director Sandro Sequi and the decorator Giuseppe Crisolini-Malatesta, and is conducted by the Japanese conductor Seiji Ozawa. The work, four hours long, and difficult, went about ten years without experiencing a cover other than a concert, then gradually established itself internationally, from its cover at the Salzburg Festival in 1992. in the production of Peter Sellars and directed by Esa-Pekka Salonen, resumed immediately at the Opéra-Bastille under the direction of Sylvain Cambreling, then in Salzburg in 1998 with Kent Nagano. New productions followed in Leipzig, Berlin, Bochum, Amsterdam, Munich ... A third Parisian production, entrusted to Sylvain Cambreling and Stanislas Nordey, served for the inauguration of Gérard Mortier's mandate at the head of the Paris Opera in 2004. Interviewed by Mildred Clary, Olivier Messiaen exposes the very principles of his opera Saint François d'Assise, a few minutes before the complete televised retransmission of the work, a few days after its premiere at the Paris Opera on November 28, 1983. -Pierre Flinois
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