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  Исполнитель(и) :
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  Наименование CD :
   Poemes Pour Mi, Sept Haikai, Le Reveil Des Oiseaux



Год издания : 1997

Компания звукозаписи : Deutsche Grammophon

Время звучания : 1:12:04

Код CD : 453 478-2 (0 28945 34782 0)

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Classics (Modern Classics)      

Cleveland Orchestra Orchestra

Recorded in Cleveland, Masonic Auditorium, 11/1994 (tracks 1-9) & 2/1996 (tracks 10-17)

========= from the cover ==========

Messiaen: Poemes Pour Mi

Sept Haikai - Reveil des oiseaux

According to Boulez, the best teaching and learning happens quickly. For him, eight months or so in Messiaen's class between the autumn of 1944 and his winning of a first prize in harmony at the Paris Conservatoire the following summer were enough to set him on the road. Inevitably, the paths of teacher and pupil diverged and in particular Boulez has expressed doubts about those Messiaen works like Turangalila which display a mixture of tonal (or modal) and atonal languages, saying that he prefers the ones that remain true to one or the other. The three works on this disc conform to that preference.

It is also possible to link these three works through the concept of earthly love, mirroring a love of God that is itself amply expressed elsewhere in Messiaen's oeuvre. On 21 June 1932, the 23-year-old composer married the violinist Louise Justine Delbos, known to the world as Claire and to Messiaen familiarly as Mi. In the summer of 1936 he wrote the cycle of nine songs called Poemes pour Mi in which he celebrates the preparation and fulfilment of the sacrament of marriage, seen as a mortal reflection of that between Christ and his Church. Although he orchestrated them in 1937, they were not heard in this version until 1946. sung by the Wagnerian soprano Marcelle Bunlet.

In the opening "Action de graces", the husband thanks God for the gifts of Nature and in particular for that of his loved one. 'an eye close to my eye, a thought close to my thought": the song ends with a melismatic alleluia. "Pay-sage" follows the pattern of Verlaine's poetry in using Nature as a symbol of love: "the lake like a large blue jewel" stands for the constancy of love amid the trials of life.

The next two songs are, as it were, glosses on the main text. Having established the existence and nature of love in "Paysage", Messiaen looks forward in "La Maison" to the heavenly life in which earthly anxieties will pass away. "Epouvante" is a gloss in the opposite direction, a vision of hell inspired by the thought of losing the earthly love which is modelled on divine love. "L'Epouse" is the central song and pivot of the cycle, on which it turns towards fulfilment and in which the words openly state the link between married love and the Church as the Bride of Christ. The next three songs stress the sacramental nature of marriage. In "Ta voix" the beloved's voice acts like that of a bird in springtime, as a symbol of awakening, while the "Two Warriors" of the next song are sworn companions in the march through life's vicissitudes towards the gates of the Heavenly City, "Le Collier" is the most openly sensuous song of the set, the "necklace" of the title being "your two arms around my neck, this morning". Finally. "Priere exaucee" is at once a prayer for grace and a celebration of divine love; after doubts and tribulations, joy has returned. The consistency of the musical language in these Poemes is assured by reliance on Messiaen's own brand of chromatic modes. A parallel consistency is found in the mixture of a harsher chromaticism with Japanese birdsong in the Sept Haikai, written in 1962 after a visit Messiaen made to Japan for the first performance there of the Turangalila Symphonie, a visit which was also in the nature of a delayed honeymoon for the composer and his second wife, Yvonne Loriod.

Although Messiaen never admitted to the existence of any "love interest" in the Sept Haikai, their Japanese ceremoniousness is audibly softened at times by what sounds like a more personalized sensibility. The first and last movements act, in the composer's words, like "the two guardian-kings flanking the entrance to Buddhist temples", and here all is order and ritual; Messiaen actually warns conductors that the long legato theme on eight violins, to which their training in the 19th-century repertoire might lead them to attach overriding importance, is no more than one voice among many. In the two other pairs of movements (II and V, III and VI), the interest lies respectively in the colours of the natural world and in the beauties of the songs of 25 Japanese birds. In II the three clarinets and marimba predominate, the marimba playing in Messiaen's style oiseau but with the species not identified, while in V Messiaen responds to what he calls "perhaps the most beautiful landscape in Japan" by, for the first time in his works, naming the colours to which chords and phrases "belong": the opening string chords, for example, begin "grey and gold" and then modulate through "red" to "orange".

Movements III and VI correspond not only in their reliance on birdsong, but in their form - in III we hear a threefold repetition of orchestra answered by piano, while in VI the final piano answer is aborted by an orchestral rallentan-do, sounding as though the mechanism has run down. The return of a version of the "guardian-kings" restores momentum and order. But the heart of the work is the central "Gagaku", evoking the court music of 7th-century Japan, in which the hichiriki is imitated by trumpet, two oboes and cor anglais in unison and the sho. an acerbic kind of mouth organ, by the eight violins playing dissonant chords near the bridge without vibrato. The Japanese love of order and ceremony clearly appealed to Messiaen the composer. At the same time, there was in Messiaen the bird lover a balancing impulse to let birdsong speak for itself with a minimum of com-positorial interference. This can be heard most clearly in Reveil des oiseaux, completed in 1953. After Turangalila, Messiaen had sharply turned his back on lushness with his tough and technically experimental Quatre Etudes de rythme for piano of 1949/50. which provided a mine of interest for the young avant-garde. Reveil des oiseaux was experimental too but in a manner that tempted no imitators, the entire musical material consisting of the songs of 38 French birds.

The form of the work is dictated by the progression in time from midnight to midday, and between these two Messiaen concentrates on three points: the birds' awakening at 4 a.m., as the spring light begins to show; the ensuing grand tutti; and the songs they sing in the course of the morning. There are also two profound silences, after the dawn chorus and before noon. By its essence, Reveil resists deep analysis. In his next bird piece, Oiseaux exotiques, Messiaen the composer moved in to organize things, but here we find him, as it were, abandoning Self before the Divine Providence and following his own advice to pianists about to embark on these bird imitations, to "go for several walks in the forest in Spring, especially very early in the morning, to get to know their models."

- Roger Nichols


  Соисполнители :

Francoise Pollet (Soprano Voice)
Joela Jones (Piano)
Pierre-Laurent Aimard (Piano)


№ п/п

Наименование трека

Текст

Длительность

Комментарий
   1 Book I: No. 1, 'Action Des Graces'         0:06:54 Poemes Pour Mi, Song Cycle For Soprano & Piano (or Orchestra), I/17b
   2 Book I: No. 2, 'Paysage'         0:01:49 -"-
   3 Book I: No. 3, 'La Maison'         0:01:52 -"-
   4 Book I: No. 4, 'Epouvante'         0:02:58 -"-
   5 Book II: No. 5, 'L'epouse'         0:03:03 -"-
   6 Book II: No. 6, 'Ta Voix'         0:03:08 -"-
   7 Book II: No. 7, 'Les Duex Guerriers'         0:01:41 -"-
   8 Book II: No. 8, 'Le Collier'         0:04:00 -"-
   9 Book II: No. 9, 'Priere Exaucee'         0:03:28 -"-
   10 Reveil Des Oiseaux, For Piano & Orchestra, I / 40         0:20:21  
   11 No. 1, Introduction         0:02:06 Sept Haikai, For Piano, 13 Winds, 6 Percussion & 8 Violins, I/45
   12 No. 2, Le Parc De Nara Et Les Lanternes De Pierre         0:02:08 -"-
   13 No. 3, Yamanaka-cadenza         0:04:22 -"-
   14 No. 4, Gagaku         0:03:44 -"-
   15 No. 5, Miyajima Et Le Torii Dans La Mer         0:01:37 -"-
   16 No. 6, Les Oiseaux De Karuizawa         0:06:41 -"-
   17 No. 7, Coda         0:02:12 -"-

      Обозначения:

 T   'щелкнуть' - переход к тексту композиции.

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