Either it's late at night, or... this is the damned best thing I've ever heard in my entire life. So far. I envy those, who are listening to this for the first time... what a blessed position that is, to be in.
wow, I checked your channel and you are really an amazing pianist - awesome. I love Oliver Messiaen's Prelude no. 7. Cool such a great thought-provoking composer. Messiaen reminds me of a friend of mine in the US - Marylin Crispell whom I have not seen for years. Not sure if you have heard of her? marilyncrispell.com/ Love her work too! Anyway awesome. love your channel and your musicianship. Peace and Love Always.
The excerpt at 7:43 feels weirdly resembling to the Spring song from Mendelssohn’s Song without words. Odd, but I felt like that since my first time listening.
Agree; it makes the work seem so calm and, i don’t know how to describe this, but like floating in space without the slightest hint of anything else nearby, just a distant planet.. so serene
@@TheModicaLiszt I moderately agree with you. This is true, but the importnt i=s not a chaord in itself, which can be the result of more or les complex appogiaturas (consider for instance all the stupid comments that were made about the first harmonic progression of the prelude of Tristan: it is noyhing else than the cery traditional progression I - II/7 - V, tonic to dominant with an intermediate submediant natural seventh, which can be simply explained by the so(called "circle of fifths". All chromatic appogiaturas are solved). Debussy often uses pêrfect triad chords in a quite non functional way before rooting again the music into tonality. Added sixth is purely ornamental in such a context, and can act as a complex link between these "floating" chords. In Liszt's music, except in some of his very last short pieces, the progression of chords and the presence of such an "addee sixth" is much more rooted in a clear harmonic tonal progression. - very often quite original and inventive, I fully afree; but with clear tonal functions. .
@@gerardbegni2806 The sixth holds no tonal function when Liszt added it onto his I chord in pieces such as the Benediction de dieu dans la solitude. It was purely an “impressionistic” colour he felt was numinous.
@@TheModicaLiszt In addition, I would like to add that Messiaen uses the augmented fourth in addition to the major sixth. He explains it as a remote harmonic of the tonic, but it can be also heard as a natural chord in his so-clled "2nd limited transposition mode", also known as "Bertha scale". You already find it in Debussy's, Scriabin's and ravel's music. there is even an example in Rimski's Korsakov's music, but it is a purely decorative writing, and not at all a coherent use of a synthetic mode, which has nothing to do with the musical language of this composer.
Much of Messaien to me is ugly - his formulaic permutations sometimes overwhelming the musicality. But occasionally real moments of beauty show through as in this Regards.
i think you'd be hard pressed to find a Messiaen work where every part of it is enjoyable, there is always moments of madness and seeming chaos. To me though, this makes the beautiful moments all the more soaring and transcendent.
Either it's late at night, or... this is the damned best thing I've ever heard in my entire life. So far. I envy those, who are listening to this for the first time... what a blessed position that is, to be in.
haha 4 years ago I wrote a comment "have to play it" and I made it :D I posted on youtube. I really love Aimard's playing.
wow, I checked your channel and you are really an amazing pianist - awesome. I love Oliver Messiaen's Prelude no. 7. Cool such a great thought-provoking composer. Messiaen reminds me of a friend of mine in the US - Marylin Crispell whom I have not seen for years. Not sure if you have heard of her? marilyncrispell.com/ Love her work too! Anyway awesome. love your channel and your musicianship. Peace and Love Always.
@@take5minutesofpeaceandcalm41 thank you! no I haven't heard about her, I'll check the site :) all the best for u too!
Probably my favourite movement of Messiaen's piano music. Just sublime.
I page turned for this piece, kept me on my toes!
Just no words. So beautiful. So complex, yet simple.
beautiful piece. have to play it! ;)
I needed 10 minutes to recover.
Breathtaking.
can see well that is full of blessing.
Beautiful!
The excerpt at 7:43 feels weirdly resembling to the Spring song from Mendelssohn’s Song without words. Odd, but I felt like that since my first time listening.
pure poetry
Wonderful
Beautiful
amazing.
Reading the score shows how accurate is Aiamrd's play
A very good solfège indeed ,but...lack of expression.
C et plat , manque le mystère mystère.. de Messiaen
@@mgaaupetit1509I disagree
I just hope you get, someday , the opportunity to listen to D. Vassilakis interprétation...( Ensemble Intercontemporain too .).
Mesmerising....
sublime
❤
Lindo uso da diminuta :-)
Agree; it makes the work seem so calm and, i don’t know how to describe this, but like floating in space without the slightest hint of anything else nearby, just a distant planet.. so serene
4:59 후기조성
The tempo he takes is almost twice as fast as the indicated tempo.
For meditations, yes this performance is way too fast. For causal listening. I think it’s ok.
Exact , manque de respecter les indications du compositeur ....pourquoi ?
C est plus flatteur pour le pianiste ?
This music's got a good beat.
앗싸 일빠
If Bartok and Ravel had a baby, it would be Messiaen.
Debussy is alos here, espeially through the added sixth in the poarfect major triad. THis chord appears from the beginning.
@@gerardbegni2806 Liszt used that chord more extensively
@@TheModicaLiszt I moderately agree with you. This is true, but the importnt i=s not a chaord in itself, which can be the result of more or les complex appogiaturas (consider for instance all the stupid comments that were made about the first harmonic progression of the prelude of Tristan: it is noyhing else than the cery traditional progression I - II/7 - V, tonic to dominant with an intermediate submediant natural seventh, which can be simply explained by the so(called "circle of fifths". All chromatic appogiaturas are solved). Debussy often uses pêrfect triad chords in a quite non functional way before rooting again the music into tonality. Added sixth is purely ornamental in such a context, and can act as a complex link between these "floating" chords. In Liszt's music, except in some of his very last short pieces, the progression of chords and the presence of such an "addee sixth" is much more rooted in a clear harmonic tonal progression. - very often quite original and inventive, I fully afree; but with clear tonal functions. .
@@gerardbegni2806 The sixth holds no tonal function when Liszt added it onto his I chord in pieces such as the Benediction de dieu dans la solitude. It was purely an “impressionistic” colour he felt was numinous.
@@TheModicaLiszt In addition, I would like to add that Messiaen uses the augmented fourth in addition to the major sixth. He explains it as a remote harmonic of the tonic, but it can be also heard as a natural chord in his so-clled "2nd limited transposition mode", also known as "Bertha scale". You already find it in Debussy's, Scriabin's and ravel's music. there is even an example in Rimski's Korsakov's music, but it is a purely decorative writing, and not at all a coherent use of a synthetic mode, which has nothing to do with the musical language of this composer.
Much of Messaien to me is ugly - his formulaic permutations sometimes overwhelming the musicality. But occasionally real moments of beauty show through as in this Regards.
yeah i don't care for the le Jardin section of this, but the other parts are very good. 2:54 - 5:30 is my favorite.
i think you'd be hard pressed to find a Messiaen work where every part of it is enjoyable, there is always moments of madness and seeming chaos. To me though, this makes the beautiful moments all the more soaring and transcendent.
@@goosegoose8982 oh come on
0:10