@@atlassolid5946 Hi You have to dish out a lot of cash to obtain a true score of this piece. Here in You Tube it is available thank God, Messiean's Premiere of this piece I heard in New York's Alice Tully in the fall of 1974.
@@paulamrod537 My university library has this score -- I have checked it out and taken it home on more than one occasion to read along with the music. Ditto La Transfiguration (which is a couple of gigantic books). So, if you are lucky enough to have a university library card, then maybe you're in business...?
The geophone is a percussion instrument, invented by the French composer Olivier Messiaen for use in his large composition for piano and orchestra entitled Des canyons aux étoiles… ("From the canyons to the stars…"). It consists of a drum filled with thousands of small lead pellets, and is played by swirling it around slowly so that the noise of the pellets resembles the sound of dry shifting earth. Messiaen commissioned a Parisian instrument maker to construct one to his design, and he carried this instrument worldwide to early performances of the piece (which was given its first performance in New York City). Messiaen's wife, Yvonne Loriod, commented that when she and the composer first collected the new instrument from the maker in her car it made a "splendid crescendo" whenever they went round a corner. Messiaen also included the instrument in his only opera, Saint François d'Assise, which was first performed in Paris 1983. Other works that use the geophone include Asyla by Thomas Adès, …towards a Pure Land by Jonathan Harvey, and the operas The Sacrifice by James MacMillan and Dark Sisters by Nico Muhly. (from Wikipedia)
Anyone would be lucky to have a geophone in the back of their car, if only I could've gotten a lift with the two, and if I was actually born in the right century in France 😂 Very informative indeed, and good to see - I myself am a percussionist, and love this sort of thing.
I first came across this piece years and years ago, I was only just getting into classical music (or actually listening to other music), and I came across this piece by accident. I'm now familiar with this sound world, but the first time I heard was a complete shock to me!
I think that Des Canyons is shaping up to be Messiaen's true masterpiece. Of course, Quatuor, Vingt Regards and Turangalila are much better known and performed much more regularly, and I dearly love La Transfiguration and Meditations, but Des Canyons is probably the one that most fully encapsulates his genius. In any case, has there ever been a composer whose music is so varied, original, and interesting? The only comparable composer for me is Ligeti, but I would argue that Messiaen was the superior composer.
Part 1: 0:00:01 I - Le désert 0:03:57 II - Les Orioles 0:10:13 III - Ce qui est écrit sur les étoiles 0:16:33 IV - Le Cossyphe d'Heuglin (piano solo) 0:21:23 V - Cedar Breaks et le Don de Crainte Part 2: 0:29:12 VI - Appel insterstellaire (horn solo) 0:34:39 VII - Bryce Canyon et les rochers rouge-orange (favorite movement) (44:34 piano solo) Part 3: 0:47:59 VIII - Les ressuscités et le chant de l'étoile Aldébaran 0:56:22 IX - Le Moqueur polyglotte (piano solo) 1:07:33 X - La Grive des bois 1:12:29 XI - Omao, Leiothrix, Elepaio, Shama 1:21:26 XII - Zion Park et la Cité céleste
also Part 1: 0:00:01 I - The desert 0:03:57 II - The Orioles 0:10:13 III - What is written about the stars 0:16:33 IV - Heuglin's Cossyphe (solo piano) 0:21:23 V - Cedar Breaks and the Gift of Fear Part 2: 0:29:12 VI - Interstellar Call (horn solo) 0:34:39 VII - Bryce Canyon and the red-orange rocks Part 3: 0:47:59 VIII - The resurrected and the song of the star Aldebaran 0:56:22 IX - The Polyglot Mockingbird (solo piano) 1:07:33 X - The Wood Thrush 1:12:29 XI - Omao, Leiothrix, Elepaio, Shama 1:21:26 XII - Zion Park and the Celestial City
"The same man will become beautiful and magnificent again, after death and resurrection. The serene and solemn music of the horn represents magnificent man, whereas man deformed is depicted by the more fleeting theme of the bird." (Music and color)
can we all just take a moment to appreciate that Messiaen left all parts un-transposed in his score meaning that what you see is what you hear. it's so much easier to read this way
This also helps when trying to figure out what pitches he wantes exactly. Particularly for percussion writing - there's no doubt about the ranges he wanted, and what should be sounding where!
I live in southern Utah an hour away from Zion National Park, two hours away from Bryce Canyon, and had no idea that Messiaen visited these areas in the early '70's which inspired him to compose this score. Utah Symphony conductor Thierry Fischer has been including movements from this piece in his concerts alongside film music from "Star Wars" and "Harry Potter", so I've read, to make more Utahns aware of this music. See the February 5, 2019, article, "Utah's naional parks inspired this classical music piece but few Utahns know about it. The Utah Symphony Hope's to change that", by Lottie Elizabeth Johnson, in the Deseret News. Thanks for the score from someone who lives hours away from a symphony orchestra venue.
i don’t know if anyone’s pointed this out, but i just noticed that at the beginning of III on the score is written M E N E T E Q E L P A R S I N, or mene tekel parsin, which if you look up means “what is written on the wall”, alluding to the title of the movement edit: this is also in the fifth movement at about 23:00, it spells agios o theos, orthodox/catholic hymn
Nice catch! “Mene Teqel Parsin” does indeed refer to the Biblical story of the Writing on the Wall as chronicled in the book of Daniel, but those words actually translate to “Numbered, Weighed, Divided” from Hebrew. I wonder if that also has significance to movement III
I wonder if Herbie Hancock's "Quasar" piece had any influence on that. It was released the same year Messiaen travelled to the US to compose it. There's a somewhat similar vibe, including similar sounds, in both.
Funnily enough, Quasar was the very last thing I listened to before seeing your comment -- I was listening to Sextant and Crossings in my car today. I can say without hesitation that Herbie Hancock had zero influence on Messiaen. Not necessarily the other way round, though.
For presentation: X 1:07:32 opening wood thrush, transition to bird texture, transition to new thrush 1:08:39 hermit thrush/development, adds diversity and new colors to movement however returns to wood thrush 1:09:39 development of slow wood thrush, add thicker harmony suggesting more complexity within song with ascension to heaven. generally m3--dissonance + WT feel 1:11:10 return of thrush and final simple C major arpegg. XI 1:12:26 opening fanfare in WT to shama fanfare to forest to shama transition back to fanfare 1:13:58 add hindu rhythms 1:15:15 Hawaiian birds (ironic) to omao solo - evolution of similar song to new texture of fanfare to new texture of forest 1:20:51 return of shama to signal end
I have the Salonen/Crossley version of this piece, and I am intimately familiar with it, as I listen to it at least once every couple of weeks. The horn solo parts in this recording sound wrong to me, and now I know why. If you look at the very first line of music in "Le Desert" you will notice that the horn is playing three 8th notes and one 16th note then three more 8th notes. However, the 16th note is taken as much less than half the length of the 8th notes. Also, in "Ce qui est ecrit sur les etoiles" starting at 13:57, the solo horn has a repeating rhythmic figure of 16th and 32nd notes. However, again, the 32 notes are played as grace notes, and the 16th notes are 3 or 4 times as long. Also, that first G natural is clearly marked staccato, and he plays it legato. I don't believe the horn player here is playing the piece as Messiaen wrote it, and that's why it sounds wrong to me. Another general complaint I have about all of Chung's Messiaen orchestral renditions is the utter lack of gongs. If you listen to the very end of the work, at 1:31:34, at the end of the second-to-last page of the score, there are four descending notes for the gongs. These are marked f, f, f, ff. That stands for forte and fortissimo, which means "loud" and "very loud" in Italian. So, what are those polite little "bm, bm, bm"s? HIT the damned things already!!!! This overly polite lack of gongs also completely ruined Chung's rendition of "La Transfiguration" where the gongs play a very important role in each of the four "recits evangelique." Also, the second-to last note on the previous page (at 1:31:18) is clearly marked with an accent (especially in the trumpets, which are dominant here), but Chung plays it unaccented and legato here -- the effect is all wrong -- it should be like a short stab. I also feel as if Chung's tempi veer towards the turgid, sucking the life out of this music. Salonen really gets this piece right, just like Dorati really got "La Transfiguration" right back in 1972. It is very unfortunate that Chung's lifeless renditions have now become the standard ones for these pieces. I wonder what Messiaen would have thought had he been alive when these were recorded?
This a wonderful comment. Messiaen fascinates me; I just discovered him, and am exploring him with a mix of delight (at his gorgeous momentary harmonic moments) and perplexity (at his usual otherworldly dissonances) but your thoughts above are a pathway to connecting with him, and with interpreters like Chung and Selonen. It's an education, all right, thanks!
funnily enough, Messiaen actually dedicated his last composition, concert a quatre, to Chung and 4 other musicians he admired. so clearly he appreciated what Chung was doing with his pieces to some extent
@@atlassolid5946 I have that DG debut album of Concert a Quatre with Chung conducting, and it is fabulous. I also really like his interpretation of the Turangalila Symphonie, which was recorded in Messiaen's presence after he made some editions to the work. It's really Chung's interpretation of the 60s and 70s Messiaen pieces that I take issue with. One day, I asked my wife to listen to both the Chung and the Dorati versions of "Christus Jesus, splendor Patris," the third movement of La Transfiguration. Please understand that she can barely tolerate Messiaen on a good day, and this is "hardcore" Messiaen. However, she listened attentively, and then said, "they don't even sound like the same piece." The Chung piece was just so rhythmically lifeless, and utterly lacking in drama. I'm going to make a RUclips video about this soon.
@@docsketchy we can only imagine the discussions Messiaen and Chung had about interpretations. ive listened to the aforementioned Salonen/Crossley version, and i can easily admit that there are some major improvements of it over Chung's interpretation. there are also some downsides, in my opinion. It feels like the piano soloist is rushing a good amount of their solo passages. now, it's a solo, so there's a lot more wiggle room there to be sure. I just feel like Chung's soloist is more careful and deliberate with the piece, and pays more attention to the phrasing. Maybe that's more a comment on the pianists rather than the conductors, but i cant imagine the conductors had no say in the phrasing of the solo passages, lol. funnily enough, you mentioned how Chung's recording is too quiet on the gongs. totally agree there, the Salonen/Crossley version gives the gongs the proper dynamics. but i'd like to mention how weirdly quiet the temple blocks and wood blocks are in that version. Chung's version gives proper attention to the wood blocks, and the Tumba for that matter. the Salonen/Crossley version is so quiet on those instruments that i can barely hear them even when they're almost alone in the passages. i often just cant hear them at all. to quote you, hit the damned things already!
@@atlassolid5946 Fair enough, AtlasSolid! I'll have to listen to it again today and confirm your observations. In La Transfiguration, the gongs are a much bigger problem for me, since they play such a major role in the piece (they are as important to La Transfiguration as the horn is to Des Canyons aux Etoiles). However, what really bothers me more is the lack of rhythmic vitality. That is a harder thing to pin down and describe, but comparative listening tells the story pretty clearly.
@@Cmaj7 for me, XI is my favorite. that horn ostinato that goes throughout the whole movement is so triumphant yet bizarre, and all the little sections compliment it perfectly.
Is it me or is the audio quality not so great? There seems to be quite the amount of flutter. First made me think this piece uses electronics, actually. Really appreciate the score though!
Slightly unrelated but whats the most beautiful piece youve heard this month or even this year And then whats the most relentless, driving piece youve heard this month
I seriously hope no future alien race stumbling across this after life on Earth has ceased will listen to this shit and think that's what birds really sounded like.
paul amrod They are approximations, at best, roughly equivalent to taking a highly-nuanced performance of (whatever) and making an 8-bit version of it. You are losing A LOT in the process. He doesn't even bother using quarter tones, which would help get it slightly closer--but only slightly. Maybe you should go into a forest and then tell me if that sounds like this nonsense. Each instrument has its own set of overtones, and so do birds. I don't even think he is attempting to approximate that anyway by coming up with the closest combination. Mainly he is interested in using the rhythm of the bird song (sometimes slowed down to the point where it would not be recognizable anyway) and the closest fundamental-tone melody translated into 12 tones. That's fine, he's drawing his inspiration from that, but it doesn't sound like a real bird in any meaningful way, any more than a robotic dog from the '90's sounded and moved like a real one. I don't know how he didn't get bored with the concept, or, rather, what he was doing with it.
Good stuff. What an enormous piano concerto! Difficult to execute. In terms of serialism, the music is certainly heavily influenced by Webern, i like it.
Slightly unrelated but whats the most beautiful piece youve heard this month or even this year And then whats the most relentless, driving piece youve heard this month
Slightly unrelated but whats the most beautiful piece youve heard this month or even this year And then whats the most relentless, driving piece youve heard this month
Thank you for the score. No young composer can afford this. A great service for the musical world.
Big facts ^
(dont tell him you can find it for free)
@@atlassolid5946 Hi You have to dish out a lot of cash to obtain a true score of this piece. Here in You Tube it is available thank God, Messiean's Premiere of this piece I heard in New York's Alice Tully in the fall of 1974.
Fortunately, St. Francis is also available 😊@@paulamrod537
@@paulamrod537 My university library has this score -- I have checked it out and taken it home on more than one occasion to read along with the music. Ditto La Transfiguration (which is a couple of gigantic books). So, if you are lucky enough to have a university library card, then maybe you're in business...?
The geophone is a percussion instrument, invented by the French composer Olivier Messiaen for use in his large composition for piano and orchestra entitled Des canyons aux étoiles… ("From the canyons to the stars…"). It consists of a drum filled with thousands of small lead pellets, and is played by swirling it around slowly so that the noise of the pellets resembles the sound of dry shifting earth.
Messiaen commissioned a Parisian instrument maker to construct one to his design, and he carried this instrument worldwide to early performances of the piece (which was given its first performance in New York City). Messiaen's wife, Yvonne Loriod, commented that when she and the composer first collected the new instrument from the maker in her car it made a "splendid crescendo" whenever they went round a corner.
Messiaen also included the instrument in his only opera, Saint François d'Assise, which was first performed in Paris 1983. Other works that use the geophone include Asyla by Thomas Adès, …towards a Pure Land by Jonathan Harvey, and the operas The Sacrifice by James MacMillan and Dark Sisters by Nico Muhly. (from Wikipedia)
Very informative. Thank you.
Thank You very much!!! Fascinating Creativity!
Anyone would be lucky to have a geophone in the back of their car, if only I could've gotten a lift with the two, and if I was actually born in the right century in France 😂
Very informative indeed, and good to see - I myself am a percussionist, and love this sort of thing.
Muchas gracias
I was lucky enough to hear the premiere in Alice Tully Hall in 1974. This had a very profound effect on my own personal ,music.
I heard a lot of people were not a fan. What was the mood after?
This is the piece that made me fall in love with Messiaen :D thank you!!
4'33" RUclipsCommentSpotting
I first came across this piece years and years ago, I was only just getting into classical music (or actually listening to other music), and I came across this piece by accident. I'm now familiar with this sound world, but the first time I heard was a complete shock to me!
I think that Des Canyons is shaping up to be Messiaen's true masterpiece. Of course, Quatuor, Vingt Regards and Turangalila are much better known and performed much more regularly, and I dearly love La Transfiguration and Meditations, but Des Canyons is probably the one that most fully encapsulates his genius. In any case, has there ever been a composer whose music is so varied, original, and interesting? The only comparable composer for me is Ligeti, but I would argue that Messiaen was the superior composer.
Me too ❤
Part 1:
0:00:01 I - Le désert
0:03:57 II - Les Orioles
0:10:13 III - Ce qui est écrit sur les étoiles
0:16:33 IV - Le Cossyphe d'Heuglin (piano solo)
0:21:23 V - Cedar Breaks et le Don de Crainte
Part 2:
0:29:12 VI - Appel insterstellaire (horn solo)
0:34:39 VII - Bryce Canyon et les rochers rouge-orange (favorite movement) (44:34 piano solo)
Part 3:
0:47:59 VIII - Les ressuscités et le chant de l'étoile Aldébaran
0:56:22 IX - Le Moqueur polyglotte (piano solo)
1:07:33 X - La Grive des bois
1:12:29 XI - Omao, Leiothrix, Elepaio, Shama
1:21:26 XII - Zion Park et la Cité céleste
also
Part 1:
0:00:01 I - The desert
0:03:57 II - The Orioles
0:10:13 III - What is written about the stars
0:16:33 IV - Heuglin's Cossyphe (solo piano)
0:21:23 V - Cedar Breaks and the Gift of Fear
Part 2:
0:29:12 VI - Interstellar Call (horn solo)
0:34:39 VII - Bryce Canyon and the red-orange rocks
Part 3:
0:47:59 VIII - The resurrected and the song of the star Aldebaran
0:56:22 IX - The Polyglot Mockingbird (solo piano)
1:07:33 X - The Wood Thrush
1:12:29 XI - Omao, Leiothrix, Elepaio, Shama
1:21:26 XII - Zion Park and the Celestial City
You are a god
Also this is great because you can see the actual bird calls labelled.
Could just be association but I totally am getting canyon colors and sights from this.
nah its all light blues and greens for me
Fascinating! Never knew of this magnificent composition.
As a birder I can appreciate his identification of the birdsongs he incorporates.
Wow. X is my favorite. The ending of that movement is just breathtaking.
"The same man will become beautiful and magnificent again, after death and resurrection. The serene and solemn music of the horn represents magnificent man, whereas man deformed is depicted by the more fleeting theme of the bird." (Music and color)
can we all just take a moment to appreciate that Messiaen left all parts un-transposed in his score meaning that what you see is what you hear. it's so much easier to read this way
Username
Delightful!!!
This also helps when trying to figure out what pitches he wantes exactly. Particularly for percussion writing - there's no doubt about the ranges he wanted, and what should be sounding where!
Merci infiniment d'avoir mis la partition de ce chef d'oeuvre en même temps que son interprétation de référence !
I live in southern Utah an hour away from Zion National Park, two hours away from Bryce Canyon, and had no idea that Messiaen visited these areas in the early '70's which inspired him to compose this score. Utah Symphony conductor Thierry Fischer has been including movements from this piece in his concerts alongside film music from "Star Wars" and "Harry Potter", so I've read, to make more Utahns aware of this music. See the February 5, 2019, article, "Utah's naional parks inspired this classical music piece but few Utahns know about it. The Utah Symphony Hope's to change that", by Lottie Elizabeth Johnson, in the Deseret News. Thanks for the score from someone who lives hours away from a symphony orchestra venue.
What lovely colors.
Absolutely magnificent
STUNNING.
Mille Grazie🇮🇹🇺🇸🗽
After listening to this piece 12-tone temperament never sounds like 12-tone temperament anymore…
One of my favourite pieces by Messiaen. Genius!
Thank You! I love this piece very much!
i don’t know if anyone’s pointed this out, but i just noticed that at the beginning of III on the score is written M E N E T E Q E L P A R S I N, or mene tekel parsin, which if you look up means “what is written on the wall”, alluding to the title of the movement
edit: this is also in the fifth movement at about 23:00, it spells agios o theos, orthodox/catholic hymn
Nice catch! “Mene Teqel Parsin” does indeed refer to the Biblical story of the Writing on the Wall as chronicled in the book of Daniel, but those words actually translate to “Numbered, Weighed, Divided” from Hebrew. I wonder if that also has significance to movement III
Thank you
I wonder if Herbie Hancock's "Quasar" piece had any influence on that. It was released the same year Messiaen travelled to the US to compose it. There's a somewhat similar vibe, including similar sounds, in both.
As much as I'd love for that to be true, probably not. Messiaen was known to not like jazz (because he thought its rhythms were too regular).
Funnily enough, Quasar was the very last thing I listened to before seeing your comment -- I was listening to Sextant and Crossings in my car today. I can say without hesitation that Herbie Hancock had zero influence on Messiaen. Not necessarily the other way round, though.
merveilleux ! merci!
23:50 what a charmfull little part
haha absolutely! so french(?), delicate
For presentation:
X
1:07:32 opening wood thrush, transition to bird texture, transition to new thrush
1:08:39 hermit thrush/development, adds diversity and new colors to movement however returns to wood thrush
1:09:39 development of slow wood thrush, add thicker harmony suggesting more complexity within song with ascension to heaven. generally m3--dissonance + WT feel
1:11:10 return of thrush and final simple C major arpegg.
XI
1:12:26 opening fanfare in WT to shama fanfare to forest to shama transition back to fanfare
1:13:58 add hindu rhythms
1:15:15 Hawaiian birds (ironic) to omao solo - evolution of similar song to new texture of fanfare to new texture of forest
1:20:51 return of shama to signal end
Great!
hi
So wait...you wrote all of those notes out? Or you just assembled the pages?
This is an amazing piece. Thank you for posting.
No, I didn't engrave this. I edit it to fit the screen and some other stuff.
Ok thanks
@@Cmaj7thank you so much
1:04
That’s a eoliphone note what, I never see that note before wow
I have the Salonen/Crossley version of this piece, and I am intimately familiar with it, as I listen to it at least once every couple of weeks. The horn solo parts in this recording sound wrong to me, and now I know why. If you look at the very first line of music in "Le Desert" you will notice that the horn is playing three 8th notes and one 16th note then three more 8th notes. However, the 16th note is taken as much less than half the length of the 8th notes. Also, in "Ce qui est ecrit sur les etoiles" starting at 13:57, the solo horn has a repeating rhythmic figure of 16th and 32nd notes. However, again, the 32 notes are played as grace notes, and the 16th notes are 3 or 4 times as long. Also, that first G natural is clearly marked staccato, and he plays it legato. I don't believe the horn player here is playing the piece as Messiaen wrote it, and that's why it sounds wrong to me.
Another general complaint I have about all of Chung's Messiaen orchestral renditions is the utter lack of gongs. If you listen to the very end of the work, at 1:31:34, at the end of the second-to-last page of the score, there are four descending notes for the gongs. These are marked f, f, f, ff. That stands for forte and fortissimo, which means "loud" and "very loud" in Italian. So, what are those polite little "bm, bm, bm"s? HIT the damned things already!!!! This overly polite lack of gongs also completely ruined Chung's rendition of "La Transfiguration" where the gongs play a very important role in each of the four "recits evangelique." Also, the second-to last note on the previous page (at 1:31:18) is clearly marked with an accent (especially in the trumpets, which are dominant here), but Chung plays it unaccented and legato here -- the effect is all wrong -- it should be like a short stab. I also feel as if Chung's tempi veer towards the turgid, sucking the life out of this music. Salonen really gets this piece right, just like Dorati really got "La Transfiguration" right back in 1972. It is very unfortunate that Chung's lifeless renditions have now become the standard ones for these pieces. I wonder what Messiaen would have thought had he been alive when these were recorded?
This a wonderful comment. Messiaen fascinates me; I just discovered him, and am exploring him with a mix of delight (at his gorgeous momentary harmonic moments) and perplexity (at his usual otherworldly dissonances) but your thoughts above are a pathway to connecting with him, and with interpreters like Chung and Selonen. It's an education, all right, thanks!
funnily enough, Messiaen actually dedicated his last composition, concert a quatre, to Chung and 4 other musicians he admired. so clearly he appreciated what Chung was doing with his pieces to some extent
@@atlassolid5946 I have that DG debut album of Concert a Quatre with Chung conducting, and it is fabulous. I also really like his interpretation of the Turangalila Symphonie, which was recorded in Messiaen's presence after he made some editions to the work. It's really Chung's interpretation of the 60s and 70s Messiaen pieces that I take issue with. One day, I asked my wife to listen to both the Chung and the Dorati versions of "Christus Jesus, splendor Patris," the third movement of La Transfiguration. Please understand that she can barely tolerate Messiaen on a good day, and this is "hardcore" Messiaen. However, she listened attentively, and then said, "they don't even sound like the same piece." The Chung piece was just so rhythmically lifeless, and utterly lacking in drama. I'm going to make a RUclips video about this soon.
@@docsketchy we can only imagine the discussions Messiaen and Chung had about interpretations. ive listened to the aforementioned Salonen/Crossley version, and i can easily admit that there are some major improvements of it over Chung's interpretation. there are also some downsides, in my opinion. It feels like the piano soloist is rushing a good amount of their solo passages. now, it's a solo, so there's a lot more wiggle room there to be sure. I just feel like Chung's soloist is more careful and deliberate with the piece, and pays more attention to the phrasing. Maybe that's more a comment on the pianists rather than the conductors, but i cant imagine the conductors had no say in the phrasing of the solo passages, lol.
funnily enough, you mentioned how Chung's recording is too quiet on the gongs. totally agree there, the Salonen/Crossley version gives the gongs the proper dynamics. but i'd like to mention how weirdly quiet the temple blocks and wood blocks are in that version. Chung's version gives proper attention to the wood blocks, and the Tumba for that matter. the Salonen/Crossley version is so quiet on those instruments that i can barely hear them even when they're almost alone in the passages. i often just cant hear them at all. to quote you, hit the damned things already!
@@atlassolid5946 Fair enough, AtlasSolid! I'll have to listen to it again today and confirm your observations. In La Transfiguration, the gongs are a much bigger problem for me, since they play such a major role in the piece (they are as important to La Transfiguration as the horn is to Des Canyons aux Etoiles). However, what really bothers me more is the lack of rhythmic vitality. That is a harder thing to pin down and describe, but comparative listening tells the story pretty clearly.
Very Very Very Very goooooooooooooooooooood
THIS IS SO GOOD
This is triggering my Insanity. Its so...quenching .
VIII is my favourite.
Personally, VII is my favorite. It's so wonderfully joyous.
@@Cmaj7 for me, XI is my favorite. that horn ostinato that goes throughout the whole movement is so triumphant yet bizarre, and all the little sections compliment it perfectly.
mov.8
Great
Is it me or is the audio quality not so great? There seems to be quite the amount of flutter. First made me think this piece uses electronics, actually. Really appreciate the score though!
Yes, I find Deutsche Grammophon recordings are rather compressed. However, I like this interpretation the best.
I never made a comparison to Carter and Messiaen. Olivier is also my preference.
Based
canyons
1:03:54
Anyone know which part the earth drum/geophone comes in? I'm listening to this because I want to know what it sounds like.
16:05, end of movement III is the first time
@@Cmaj7 Thanks
I wonder who the greatest eoliphone player is?
How to get Messiean's scores?
23:26 what a delicate thing! Sounds like I'm turning my computer off
Slightly unrelated but whats the most beautiful piece youve heard this month or even this year
And then whats the most relentless, driving piece youve heard this month
@@supasayajinsongoku4464 Hi, you mean classical music?
@@ronaldo.araujo yeah
rite of springs is removed?
Yeah, it got blocked. :(
Cmaj 7 yea, I saw who blocked it, u should make a claim to remove the block cuz they're known to falsely block videos.
end of 10th mvt FUCKing good
Always those damn birds!
His birds were ingeniously written!
As Meghan Traynor goes: "Because you know he's all about the birds 'bout the birds, no trouble!"
I seriously hope no future alien race stumbling across this after life on Earth has ceased will listen to this shit and think that's what birds really sounded like.
Listen to the bird call itself and check what Messiaen for music wrote. The passages do sound like the actual birdsong°
paul amrod They are approximations, at best, roughly equivalent to taking a highly-nuanced performance of (whatever) and making an 8-bit version of it. You are losing A LOT in the process. He doesn't even bother using quarter tones, which would help get it slightly closer--but only slightly. Maybe you should go into a forest and then tell me if that sounds like this nonsense. Each instrument has its own set of overtones, and so do birds. I don't even think he is attempting to approximate that anyway by coming up with the closest combination. Mainly he is interested in using the rhythm of the bird song (sometimes slowed down to the point where it would not be recognizable anyway) and the closest fundamental-tone melody translated into 12 tones. That's fine, he's drawing his inspiration from that, but it doesn't sound like a real bird in any meaningful way, any more than a robotic dog from the '90's sounded and moved like a real one. I don't know how he didn't get bored with the concept, or, rather, what he was doing with it.
Good stuff. What an enormous piano concerto! Difficult to execute. In terms of serialism, the music is certainly heavily influenced by Webern, i like it.
Slightly unrelated but whats the most beautiful piece youve heard this month or even this year
And then whats the most relentless, driving piece youve heard this month
Messian notated bird songs
the Parisian building where Messiaen lived, and at the very end of the video a Japanese blackbird.
ruclips.net/video/YyrgzSMtXOA/видео.html
Slightly unrelated but whats the most beautiful piece youve heard this month or even this year
And then whats the most relentless, driving piece youve heard this month
What key is this in? lol
Yeah
Ha ha ha
Z major
what key?
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38:28
Classical music is boring
No thank you for that much-less-than-helpful commentary...
Awful music 😷😷😳😳!!
thank you for the constructive comment
Nope, this is amazing
You expressed your dislike in a funny way. I had to like the comment, even though I love this music