Messiaen Choral and Organ Works
View record and artist detailsRecord and Artist Details
Composer or Director: Olivier Messiaen
Label: Enterprise
Magazine Review Date: 9/1990
Media Format: CD or Download
Media Runtime: 150
Mastering:
ADD
Catalogue Number: 425 616-2DM2
Tracks:
| Composition | Artist Credit |
|---|---|
| (La) Transfiguration de Notre Seigneur Jésus-Chr |
Olivier Messiaen, Composer
Antál Dorati, Conductor Frank Ames, Marimba János Starker, Cello John Kane, Xylorimba Loren Kitt, Clarinet Michael Sylvester, Tenor Olivier Messiaen, Composer Paul Aquino, Baritone Ronald Barnett, Vibraphone Wallace Mann, Flute Washington National Symphony Orchestra Westminster Symphonic Choir Yvonne Loriod, Piano |
| (La) Nativité du Seigneur |
Olivier Messiaen, Composer
Olivier Messiaen, Composer Simon Preston, Organ |
Author: Michael Stewart
Dorati's recording of La Transfiguration de Notre Seigneur Jesus-Christ was the first disc to be issued on Decca's pioneering Headline series back in the early 1970s. Its LP format has been unavailable for some time now, so this CD reissue makes a welcome return to the catalogue as the only recording of Messiaen's monumental work; indeed, alongside the Turangalila-symphonie and the opera Saint Francois d'Assise, it is one of his largest orchestral creations.
Devotees of Messiaen's music will need no recommendation from me to acquire this disc, for it is undoubtedly a very important landmark in his creative output, and Dorati's performance would certainly take some beating should a rival recording appear. But at the risk of offending devotees, I feel I should warn those who are perhaps less initiated into Messiaen's work (particularly his more overtly religious inspired creations, into which category La Transfiguration most certainly falls) that this is no Turangalila, even if it does share its monumental proportions (one hour and 38 minutes), and make use of thematically related material. This is a work that requires a special kind of devotion and a considerable degree of perseverence and stamina in order to make it through the work in one sitting. The music is sustained at a fairly high level of ecstatic tension throughout, although the real climax is saved for the last two sections. It almost feels sacrilegious to say that this is a piece that I would tend to dip into more often than listen to in its entirety.
La Transfiguration is scored for a very large orchestra consisting of 100 players, a mixed choir of 100 voices and a group of seven soloists, comprising piano, cello, flute, clarinet, vibraphone, marimba and xylorimba. Messiaen's fondness for formal symmetry dictates the structure: the work is divided into two groups of seven pieces, which in turn contain internal symmetries and reflections within each part. As with many of his large scale works, Messiaen consolidates the many and varied elements that constitute his mosaic style of composition, such as plainchant, Greek and Indian rhythms and birdsong, etc. In fact La Transfiguration contains over 80 different birdsongs (that's more than there is in his vastCatalogue d'oiseaux).
Despite my reservations concerning the length, there is still much to marvel at and enjoy in this work, not least the deeply committed performances from all concerned.
This reissue also restores to the catalogue Simon Preston's excellent 1965 recording ofLa nativite du Seigneur. Both recordings have transferred to CD exceptionally well.'
Devotees of Messiaen's music will need no recommendation from me to acquire this disc, for it is undoubtedly a very important landmark in his creative output, and Dorati's performance would certainly take some beating should a rival recording appear. But at the risk of offending devotees, I feel I should warn those who are perhaps less initiated into Messiaen's work (particularly his more overtly religious inspired creations, into which category La Transfiguration most certainly falls) that this is no Turangalila, even if it does share its monumental proportions (one hour and 38 minutes), and make use of thematically related material. This is a work that requires a special kind of devotion and a considerable degree of perseverence and stamina in order to make it through the work in one sitting. The music is sustained at a fairly high level of ecstatic tension throughout, although the real climax is saved for the last two sections. It almost feels sacrilegious to say that this is a piece that I would tend to dip into more often than listen to in its entirety.
La Transfiguration is scored for a very large orchestra consisting of 100 players, a mixed choir of 100 voices and a group of seven soloists, comprising piano, cello, flute, clarinet, vibraphone, marimba and xylorimba. Messiaen's fondness for formal symmetry dictates the structure: the work is divided into two groups of seven pieces, which in turn contain internal symmetries and reflections within each part. As with many of his large scale works, Messiaen consolidates the many and varied elements that constitute his mosaic style of composition, such as plainchant, Greek and Indian rhythms and birdsong, etc. In fact La Transfiguration contains over 80 different birdsongs (that's more than there is in his vast
Despite my reservations concerning the length, there is still much to marvel at and enjoy in this work, not least the deeply committed performances from all concerned.
This reissue also restores to the catalogue Simon Preston's excellent 1965 recording of
Messiaen Choral and Organ Works
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