The registrations are all perfect. I hope this venue will be used again for a more varied program. Splendid sound and ambiance. Listeners seeking something serious for the Christmas season without the popular tunes and cute orchestrations will find this a wonderful musical treat. To sit and listen to an afternoon of Messiaen is to immerse oneself into a broad pallet of sound, shape, and color. Any collector of organ works would do well to have [this recording] as part of his or her collection.
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Alexa Actionable Analytics for the Web. Le Verbe - Olivier Messiaen, in fact, is central to the work, and, as musicologist John Milsom points out, what appears on paper to be music dominated by melodic and harmonic concerns within a carefully constructed contrapuntal texture instead turns into "flashes of color and light As a whole, the work is a mixture of the beautiful and the bizarre: the density of timbre is at once breathtaking and overwhelming, and the sheer variety of registration makes for a piece that is not always easily accessible.
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Messiaen wrote a large body of music for the piano. Although a considerable pianist himself, he was undoubtedly assisted by Yvonne Loriod's formidable piano technique and ability to convey complex rhythms and rhythmic combinations; in his piano Le Verbe - Olivier Messiaen from Visions de l'Amen onwards he had her in mind. Messiaen said, "I am able to allow myself the greatest eccentricities because to her anything is possible. Developments in modern French music were a major influence on Messiaen, particularly the music of Claude Debussy and his use of the whole-tone scale which Messiaen called Mode 1 in his modes of limited transposition.
Messiaen rarely used the whole-tone scale in his compositions because, he said, after Debussy and Dukas there was "nothing to add",  but the modes he did use are all similarly symmetrical. Messiaen had a great admiration for the music of Igor Stravinskyparticularly the use of rhythm in earlier works such as The Le Verbe - Olivier Messiaen of Springand his use of orchestral colour.
He was further influenced by the orchestral brilliance of Heitor Villa-Loboswho lived in Paris in the s and gave acclaimed concerts there. Colour lies at the heart of Messiaen's music. He believed that terms such as " tonal ", " modal " and "serial" are misleading analytical conveniences. The importance of colour is linked to Monastery Of Malice - Disabuse - Oh No.
Its Live! synaesthesiawhich he said caused him to experience colours when he heard or imagined music he said that he did not perceive the colours visually. His descriptions range from the simple "gold Le Verbe - Olivier Messiaen brown" to Rudolf Innig - La Nativité Du Seigneur highly detailed Le Verbe - Olivier Messiaen rocks, speckled with little grey cubes, cobalt blue, deep Prussian Rudolf Innig - La Nativité Du Seigneurhighlighted by a bit of violet-purple, gold, red, ruby, and stars of mauve, black and white.
Blue-violet is dominant". When asked what Messiaen's main influence had been on composers, George Benjamin said, "I think the sheer Many of Messiaen's composition techniques made use of symmetries of time and pitch.
From his earliest works, Messiaen used non-retrogradable palindromic rhythms Example 2. He sometimes combined rhythms with harmonic sequences in such a way that, if the Le Verbe - Olivier Messiaen were repeated indefinitely, the music would eventually run through all possible permutations and return to its starting point. For Messiaen, this represented the "charm of impossibilities" of these processes.
He only ever presented a portion of any such process, as if allowing the informed listener a glimpse of something eternal. In the first movement of Quatuor pour la fin du temps the piano and cello together provide an early example.
Messiaen used modes he called modes of limited transposition. Messiaen abstracted these modes from the harmony of his improvisations and early works. This involves Epitaph For A Head - Various - Songs We Taught The Fuzztones individual notes slightly or interpolating a short note into an otherwise regular rhythm see Example 3or shortening or lengthening every note of a rhythm by the same duration adding a semiquaver Minarets And Memories - Anne Dudley And Jaz Coleman - Songs From The Victorious City every note in a rhythm on its repeat, for example.
The whole peopled with birdsong. In addition to making harmonic use of the modes of limited transposition, he cited the harmonic series as a physical phenomenon that provides chords with a context he felt was missing in purely serial music. Related to this use of resonance, Messiaen also composed music in which the lowest, or fundamental, note is combined with higher notes or chords played much more quietly.
These higher notes, far from being perceived as conventional harmony, function as harmonics that alter the timbre of the fundamental note like mixture stops on a pipe organ. In his use of conventional diatonic chords, Messiaen often transcended their historically mundane connotations for example, his frequent use of the added sixth chord as a resolution.
Birdsong fascinated Messiaen from an early age, and in this he found encouragement from his teacher Dukas, who Rudolf Innig - La Nativité Du Seigneur urged his pupils to "listen to the birds". The same can be said for "Epode", the five-minute sixth movement of Chronochromiewhich is scored for eighteen violins, each one playing a different birdsong.
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