Olivier Messiaen & Yvonne Loriod (piano)

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The Ensemble Messiaen plays Quartet for the End of Time a XXth century masterpiece for violin, clarinet, cello and piano by Oliver Messiaen

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Here is Messiaen's Oiseaux Exotiques for piano and small orchestra. Pierre-Laurent Aimard, piano. Pierre Boulez, conductor.

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French composer/organist Olivier Messiaen (1909-1992) improvises at the organ of the Paris Church of the Sainte-Trinité (Holy Trinity), where he was organist for more than six decades (since 1931).

Messiaen organ

Pierre Laurent Aimard, Cynthia Millar, Andrew Davis, and the National Youth Orchestra of Great Britain play Messiaen's Turangalîla Symphonie, 5th Movt "Joy of the Blood of the Stars" at the 2001 Proms. In my opinion, the one is better than the one with Donohoe/Loriod/Rattle.

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Archive footage from Messiaen's Conservatoire analysis class.

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Quatuor pour la fin du temps (1941) I. Liturgie de cristal (Liturgy of Crystal) [0:10] II. Vocalise, pour l'Ange qui annonce la fin du Temps (Vocalise, for the Angel who Announces the End of Time) [2:45] III. Abîme des oiseaux (Abyss of Birds) [7:49] IV. Intermède (Interlude) [16:10] V. Louange à l'Éternité de Jésus (Praise to the Eternity of Jesus) [17:58] VI. Danse de la fureur, pour les sept trompettes (Dance of Fury, for the Seven Trumpets) [25:24] VII. Fouillis d'arcs-en-ciel, pour l'Ange qui annonce la fin du Temps (Tangle of Rainbows, for the Angel who Announces the End of Time) [31:32] VIII. Louange à l'Immortalité de Jésus (Praise to the Immortality of Jesus) [38:54] A work for clarinet, violin, cello and piano by Olivier Messiaen (1908-1992), who composed the piece while being held prisoner by the Germans during the Second World War. The quartet was premiered by clarinetist Henri Akoka, violinist Jean le Boulaire, cellist Étienne Pasquier and Messiaen on the piano in Stalag VIII-A in Görlitz, Germany (now Zgorzelec, Poland) on Jan. 15, 1941, before an audience of about 400 prisoners and guards. The work was inspired by the Book of Revelation, in particular Rev. 10:1-2, and 5-7. "And I saw another mighty angel come down from heaven ... and a rainbow was upon his head, and his face was as it were the sun, and his feet as pillars of fire ... and he set his right foot upon the sea, and his left foot on the earth ... [He] lifted up his hand to heaven, and sware by <b>...</b>

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Olivier Messiaen: Turangalila-Symphonie (1948) Mvt. 1 Orchestre de lOpera Bastille, dir. Myung-Whun chung, soloists: Yvonne Loriod - piano, Jeanne Loriod Ondes Martenot Messiaen wrote the following words about this recording of Turangalila-Symphonie: After hearing around two hundred performances of this work, some small changes have been suggested to me. The magnificent version of Turangalila-Symphonie that has now been achieved by Myung-Whun Chung takes account of these modifications, and answers perfectly to all my desires. These are the correct tempos, the correct dynamics, the right feelings and the right joy! Coming after the many excellent interpretations that we already know, this new version, superb from every point of view, can be considered henceforth the definitive account.

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From the Philharmonia Orchestra's Messiaen website. A film exploring Olivier Messiaen's Use of birdsong in his music, particularly Oiseaux exotiques. For more please visit: www.philharmonia.co.uk/messiaen You can subscribe to the Philharmonia Orchestra's Video Podcast Series by visiting www.philharmonia.co.uk

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Emanuele Battisti performs "Les Corps Glorieux: Sept Visions Brèves de la Vie des Ressuscités, pour orgue", by Olivier Messiaen. www.youtube.com May 15 2008, First Presbyterian Church, Springfield IL. Organ Brombaugh, op. 35 (2001). Master of Music recital at the University of Illinois at Urbana-Champaign, studio of Dr. Dana Robinson. Live recording. Drawings by the artist Vittorio Bustaffa.

Organ recital Olivier Messiaen Corps Glorieux Mystère Sainte Trinité Springfield IL First Presbyterian Church Brombaugh Emanuele Battisti Urbana-Champaign University Illinois Vittorio Bustaffa

Et exspecto resurrectionem mortuorum, for wind orchestra and metallic percussion (1964) 1. Des profondeurs de l'abime, je crie vers toi, Seigneur: Écoute ma voix! 2. Le Christ, ressuscité des morts, ne meurt plus; la mort n'a plus sur lui l'empire 3. L'heure vient où les morts entendront la voix du Fils de Dieu... 4. Ils ressusciteront, glorieux, avec un nom nouveau - dans le concert joyeux des étoiles et les acclamations des fils du ciel 5. Et j'entendis la voix d'une foule immense... Royal Concertgebouw Orchestra Bernard Haitink Messiaen's Et expecto resurrectionem mortuorum (I Await the Resurrection of the Dead) is for an instrumental ensemble of 18 woodwinds, 16 brass, and a metallic percussion ensemble. The work was commissioned by André Malraux, the French Minister of Cultural Affairs. At Malraux's request, Et expecto received a private premiere in the Sainte-Chapelle in Paris before the public premiere in front of General de Gaulle in the Chartres Cathedral. The stained glass lining both cathedrals created a fitting aura in which to witness the work, although Messiaen also envisioned it being performed outdoors at the foot of mountain ranges, which he hoped would enhance the music's monumental, timeless, and natural imagery. Although Messiaen acknowledged the existence of death and suffering — himself a prisoner of war in Silesia — he refused Malraux's request to write a requiem commemorating the outbreak of the two World Wars and those who died. Instead, he wrote <b>...</b>

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Messiaen L'Ascension, for solo organ Part One, performed by Olivier Latry at Royal Albert Hall during the BBC Proms 2008 season.

Messiaen L'Ascension solo organ proms 2008 Olivier Latry Royal Albert Hall

Esa-Pekka Salonen discusses the music of Messiaen, and the influence certain pieces had on him as a performer and a composer. For more information, please visit: www.philharmonia.co.uk/messiaen You can subscribe to the Philharmonia Orchestra's Video Podcast Series by visiting www.philharmonia.co.uk

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These two pieces come from the set of 8 preludes (1929) which were Messiaen's first published work, written as a student a the Paris Conservatoire. They show an economy of means and conciseness that are not always characteristic of Messiaen's later work; and present a gentle introduction to his style, introducing such techniques as modes of limited transposition and 'added resonance' (the faint 'wrong notes' in the last bars of 'La Colombe'). ------------------------------------------------------------------------------------------------------------------------------------------ Played by Phillip Sear www.psear.co.uk

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A 4-hour French opera in 3 acts & 8 scenes by composer & librettist Olivier Messiaen, written from 1975 to 1983. This is the première performance in 1983, conducted by Seiji Ozawa with the orchestra & chorus of the Théâtre national de l'Opéra de Paris, José van Dam as St. Francis. The opera is set in 13th century Italy. Throughout the work one must see the progress of grace in the soul of Saint Francis. Act II Scene 6 - The Sermon to the Birds Messiaen's love for birds factored heavily into the opera's score. The composer traveled to the saint's native Assisi, as well as New Caledonia, to research and record birdcalls of several local species, later transcribing them into melodies for use as musical themes attached to particular characters. Messiaen's full orchestration requires a vast number of musicians, to name a few, 7 flutes (3 picc + 3fl + 1 alto fl) 7 clarinets (2 Eb Cl + 3 Cl + 1 B.Cl + 1 Contrabass Cl), 3 Ondes Martenot, etc. and 100-voice choir in 10 parts

Olivier Messiaen St. Francis Assisi Catholic Christ Cross Stigmata Bible Seiji Ozawa Paris National Theatre José van Dam

The remarkable American pianist Christopher Taylor first performed Olivier Messiaens transformative work for solo piano, Vingt Regards sur lEnfant Jésus, at Columbia Universitys Miller Theatre in February 2001. New York Times critic Anthony Tommasini concluded his review with ...his performance was a highlight of the season and already represents an astonishing achievement. And it should only grow deeper as Mr. Taylor lives with the music in the future... Indeed, Christopher Taylor has lived with the music, and played it across the United States and in Europe. The DVD now available on this web site is an unedited performance of the work from a December 2003 concert at The Angel Orensanz Center for the Arts in the east Village of New York City. In this case unedited means that every note and nuance of the performance is as it was played on that cold December night—but many hours of synchronizing a three-camera television shoot were required to bring what one sees to a finely-tuned artistic whole with what one hears. This DVD is a tour de force. Mr. Taylor has lived up to Anthony Tommasinis prediction in that original Times review that it should only grow deeper as (he) lives with the music... He has now lived with it for some seven years, and in this 100th—anniversary year of Olivier Messiaens birth (2008) he will perform the work in San Francisco, Los Angeles, Dallas, Cleveland, San Diego (La Jolla), New York, Washington (Library of Congress), Utahs MOAB Festival, and <b>...</b>

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Messiaen was the organist at La Trinité Church in Paris for over 60 years, and both the organ and the church influenced his life and compositions. We take a look inside the Organ room for the first time. For More please visit: www.philharmonia.co.uk/messiaen You can subscribe to the Philharmonia Orchestra's Video Podcast Series by visiting www.philharmonia.co.uk

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Michael Bottenhorn an der Orgel der Basilika Saarbrücken

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Éclairs sur l'au delà... [Illuminations of the Beyond...] (1987-1991) I. Apparition du Christ glorieux ("Apparition of Christ in glory") [0:00] II. La Constellation du Sagittaire ("Constellation of Sagittarius") [7:23] III. L'Oiseau-lyre et la Ville-fiancée ("The lyre bird and the bridal...

Olivier Messiaen Éclairs sur l'au delà... delà Eclairs dela messiaen eclairs messiaen eclairs sur l'au dela orchestral symphonic France French francais français compositeur oiseaux catalogue d'oiseaux oiseau exotiques bird birdsong birds ornithology ornithologist mystical religious christian chrétien sacred mystery jesus Christ Cambreling modern contemporary musique classique contemporaine classical music

Olivier Messiaen: "Chronochromie" 1959-60) The title comes from the Greek "Kronos" (time) and "Kroma" (color).

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"Louange à l'Éternité de Jésus" for cello and piano 5th movement of the Quartet for the end of time. Jesus is considered here as the Word. A broad phrase, "infinitely slow", on the cello, magnifies with love and reverence the eternity of the Word, powerful and gentle, "whose time never runs out". The melody stretches majestically into a kind of gentle, regal distance. "In the beginning was the Word, and Word was with God, and the Word was God."

Olivier Messiaen Quartet for the end of time Quatuor pour la fin du temps Louange à l'Éternité de Jésus Cello Piano

Written for the early electronic instrument, the Ondes Martenot (above), Olivier Messiaen's "Oriason" is a beautifully mellow and plaintive piece of music. The Ondes Martenot is a close relation of the theremin, and like the theremin was frequently used (and abused) on sci-fi film and tv soundtracks throughout the 40's, 50's and 60's, but also gained a foothold in many "serious" orchestras. I first heard "Oriason" on the box set "Ohm;The Early Gurus of Electronic Music", as recorded by Ensemble d'Ondes de Montreal. (From "Thespoiledmetropolis.blogspot.com").

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Olivier Messiaen (1908-1992): Oraison, per Ondes Martenot (1937). Ensemble D'Ondes De Montréal. **** Themusic published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.

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We speak to artist Jane Mackay about how synaesthesia affects her artwork, and how it has influenced the incredibly colourful compositions of Olivier Messiaen.

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Messiaen's "Le Merle Noir" (The Blackbird) for flute and piano. This is one of the first of his pieces to be inspired so extensively by bird song, and culminates in a final section in which the flute plays a transcription of the blackbird's song against a piano part determined with serial techniques. Played here by Daniel Pailthorpe on flute and Stephen De Pledge on piano. This is a reupload as youtube idiotically messed up the score/audio synching on the first try (and then did other idiotic things with subsequent tries)...hopefully all will go well this time.

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Vocalise étude (1935), by Olivier Messiaen, performed by Ingrid Kappelle (soprano) & Hakon Austbo (piano). This work was recycled as the second movement of the posthumously premiered Concert á Quatre. This great 2-CD recording brings together Messiaen's complete works for soprano.

Vocalise étude Olivier Messiaen Ingrid Kappelle Hakon Austbo

Messiaen's "Transport de joie", extracted from "L'Ascension " (1932-33), played by Philippe Delacour on the great Haerpfer-Aubertin Organ of Chateau-Salins, France

Olivier Messiean Ascension Organ Orgue Orgel Philippe Delacour Chateau-Salins

4mov.II Chant d'Amour II Cond:Hans Rosbaud Orch:SWR Sinfonieorchester Yvonne Loriod, piano Ginette Martenot, ondes martenot Rec,1951

Rosbaud Messiaen Turangalila

Full-length concert at www.digitalconcerthall.com Olivier Messiaen: Turangalîla-Symphonie / Sir Simon Rattle, conductor · Berliner Philharmoniker · Pierre-Laurent Aimard, piano · Tristan Murail, ondes Martenot / Recorded at the Berlin Philharmonie, 11 September 2008. The Berliner...

Classical Messiaen Turangalîla Pierr-Laurent Aimard Simon Rattle Berliner Philharmoniker Berlin Philharmonic Berlin Phil BPO Orchestra Orchester

Kyung-Wha Chung plays the 8th Mov. of Messiaen quartet for the End of Time (for piano, violin, cello and clarinet). Recorded live in New York in 1984. Since Kyung-Wha Chung mainly recorded romantic and early 20th century works, people tend think her repertoires are limited. Bur if one follows the documents of her concerts and recitals, it reveals full range of repertoires from Baroque to contemporary. This performance of Messiaen would be a good example of her 'unusual' repertoire and capability.

Kyung Wha Chung Messiaen quartet for the end of time

Catalogue d'oiseaux (in 7 books), for piano, I/42 (1956-1958) First Book I. Le chocard des alpes II. Le loriot III. Le merle bleu Second Book IV. Le traquet stapazin Third Book V. La chouette hulotte VI. L'alouette-lulu Fourth Book VII. Le rousserolle effarvatte Fifth Book VIII. L'alouette calandrelle IX. La bouscarle Sixth Book X. Le merle de roche Seventh Book XI. La buse variable XII. La traquet rieur XIII. Le courlis cendré Håkon Austbø, piano Not until French composer Olivier Messiaen was in his mid-40s did his lifelong passion for ornithology manifest itself in his compositions with startling originality. Over the course of the mammoth, seven-book cycle Catalogue d'oiseaux (Catalogue of Birds), the songs of 77 distinct birds unfold in a series of 13 movements totaling nearly three hours of solo piano music. Messiaen's love of nature, as displayed in the cycle (each movement not only has a title bird but also an actual French geographic region assigned to it), is nearly matched by his love of musical arch form. Both within movements and across books, Messiaen inscribes a rough symmetry: occasionally passages reoccur palindromically; more often blocks of sound mirror one another over a central axis. The first and last books both contain three movements, the third and fifth two apiece, and the second, fourth, and six books a single movement each. Catalogue d'oiseaux begins with "Le chocard des alpes" (the Alpine chough), not only depicting the bird, but also its <b>...</b>

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Olivier Messiaen and the Song Thrush

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Pierre Laurent Aimard, Cynthia Millar, Andrew Davis, and the National Youth Orchestra of Great Britain play Messiaen's Turangalîla Symphonie, 1st Movt "Introduction" at the 2001 Proms

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www.kymiakermani.com Kymia Kermani, clarinet Sjaan Oomen, violin Ephraim van IJzelrooij, cello Íñigo Giner Miranda, piano

kymia kermani quatuor messiaen Clarinet

Olivier Messiaen - Saint François d'Assise José van Dam - Saint François

Jose van Dam; Olivier Messiaen; Saint François d'Assise

Serene, contemplative second part from 'Le Verbe' (La Nativité du Seigneur, fourth movement, 1935). Played on the main organ of the Grote of St. Laurenskerk, Rotterdam (Marcussen, 1973). Part of a 2DVD-set issued by Brilliant Classics in 2008, also available via www.willemtanke.com. Original 96 Khz/Surround recording by Marcel van den Tol.

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Olivier messiaen Suzie LeBlanc Minuit pile et face

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Olivier Messiaen (1908-1992): Fête des belles eaux, per sestetto di Ondes Martenot (1937). Sextet Jeanne Loriod: Nelly Caron, Monique Matagne, Renée Recoussine, Karel Trow, Henriette Chanforan, Ondes Martenot Jeanne Loriod, Martenot solo and Musical Direction. *** Themusic published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be apreciated.

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Olivier Messiaen (1908-1992) O Sacrum Convivium! (1937) The Cambridge Singers, John Rutter conducting.

Messiaen Sacrum Convivium

Messiaen's quite early organ piece "Apparition de l'Église éternelle" ["Apparition of the Eternal Church"], with the score. Performed here by Oliver Latry.

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Le traquet stapazin (Black-eared Wheatear) from Catalogue d'oiseaux (Catalogue of Birds), Book II A composition for solo piano by French composer and ornithologist Olivier Messiaen (1908-1992), based on his careful observation of birdsong - in this case, the song of the black-eared wheatear (Oenanthe hispanica), a small migratory bird found primarily in Spain, Portugal and north Africa. Pianist: Håkon Austbø

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Olivier Messiaen: Sept Haikai - Esquisses japonaises" (Seven Haikus - Japanese Sketches") for piano and small orchestra (1962). Mvt. 1 Introduction, 2. Le parc de Nara et les lanternes de pierre [Nara Park and the Lanterns of Stone], 3. Yamanaka cadenza [Internal Mountain Cadenza]. Messiaen's dedication reads: To Yvonne Loriod, to Pierre Boulez, to Mrs. Fumi Yamaguchi, to Seiji Ozawa, to Yoristune Matsudaira, to Sadao Bekku and Mitsuaki Hayama, to the ornithologist Hoshino, to the landscapes, to the music and to all the birds of Japan.

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Vingt Regards sur l'Enfant Jésus (20 Contemplations of the Infant Jesus), (1944) I. Regard du Père II. Regard de l'étoile III. L'échange IV. Regard de la Vierge V. Regard du Fils sur le Fils VI. Par Lui tout a été fait VII. Regard de la Croix VIII. Regard des hauteurs IX. Regard du temps X. Regard de l'Esprit de joie XI. Première communion de la Vierge XII. La parole toute-puissante XIII. Noël XIV. Regard des Anges XV. Le baiser de l'Enfant-Jésus XVI. Regard des prophètes XVII. Regard du silence XVIII. Regard de l'Onction terrible XIX. Je dors, mais mon couer veille XX: Regard de l'Église d'amour Pierre-Laurent Aimard, piano Olivier Messiaen's Vingt Regards sur l'Enfant Jésus (20 Contemplations of the Infant Jesus) are a towering specimen of twentieth century pianism. The work lasts more than two hours on those rare occasions when performed -- as Messiaen intended the pieces to be -- as a complete cycle. Written in 1944 and premiered the following year by Messiaen's wife Yvonne Loriod, whose masterful early performances and recordings of Messiaen's piano works did tremendous amount to bring his music to a wider audience in the 1950s and 1960s, the Vingt Regards sur l'Enfant Jésus plunge into the raw depths of Messiaen's Christian faith; the scintillating and frighteningly (but exhilaratingly) virtuosic fast movements prove once again how primal and joyful Messiaen's religion was to him, and the slow movements touch the sublime in ways that perhaps no composer of Western <b>...</b>

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Performed by Pierre Cochereau. Dieu Parmi Nous ('God Among Us') was a popular showpiece at organ concerts in the 60's & 70's. Not so much any more. Maybe because it's fiendishly difficult to play. Or maybe because Messiaen's popularity has waned. He's a very difficult composer to like; it's not sensual music, it's intellectual (in my humble opinion).

Notre Dame Cathedral Paris pipe organ orgue orgel Cochereau Messiaen

Olivier Messiaen (1908-1992): Réveil des Oiseaux, per pianoforte e orchestra (1953). Yvonne Loriod, pianoforte SWF-Sinfonieorchester Baden Baden diretta da Hans Rosbaud. (Registrazione effettuata l'11.10.1953). Cover image: Max Ernst - Trois Oiseaux (1970). *** The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.

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Alfonso Gomez plays O. Messiaen´s "Regard De L'Etoile" from "Vingt Regards Sur L'Enfant-Jesus" . Piano recital at the "Festival C. Bernaola" in Vitoria-Gasteiz (Spain).www.alfonsogomez.de

Olivier Messiaen Regard de L´Etoile Vingt Regards Sur L'Enfant-Jesus Alfonso Gomez Piano Klavier music

The real thing vs Messiaen's setting piano: Peter Hill

Peter Hill

chicagohumanities.org - See more Chicago Humanities Festival events. How can a piano be made to sound like a bird? Here you will hear Peter Hill, former student of composer Olivier Messiaen, describe and demonstrate his expertise on his mentor's work in his performance of these haunting pieces. The two pieces Hill performs, "The Dove" and one of Messiaen's all-but-lost sight reading exercises, provide a lofty height from which to spread your wings and take a first leap into this composers's (and this performer's) virtuosic portfolio. This performance is brought to you by a partnership between the 2008 Chicago Humanities Festival Thinking Big! and the 2008 Messiaen Music Festival presented by the University of Chicago.

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