Timestamps: 0:05 - I. Premières fusées 2:52 - II. L'eau 6:07 - III. Les fusées 7:20 - IV. L'eau (Oraison, later arranged for cello and piano as the fifth movement of Quatuor pour la fin du temps). Individually published as part of an issue of Revue internationale de musique. 15:34 - V. Les fusées 17:11 - VI. L'eau (à son maximum de hauteur) 24:24 - VII. Superposition de l'eau et des fusées 26:10 - VIII. Feu d'artifice final
I can't imagine what people thought of this piece back in 1937. I expect it is the sort of thing that was rarely performed at all, given the unusual instruments required, but on those occasions when it was, it must have struck listeners as being the sort of music they'd hear shortly after dying, or landing on Mars perhaps. Even today, to my ears it is alien, spectral music that just doesn't seem to belong to Earth. It does make for some very intriguing listening to be sure, and there is nothing quite like it anywhere. Great stuff.
An otherworldly piece, especially with the tone colors! Sometimes, the ondes Martenot here sound like organs, otherwise, like violins, cellos, woodwinds, or the human voice! Even when taking one of these forms, however, the instrument always retains its uniqueness. Simply lovely.
Je suis fasciné par la personnalité de l'individu. Au siècle précédent, il n'a jamais douté dans un monde où tout portait à croire qu'il s'effondrerait sur lui-même! Tout son travail est comme la première lumière du crépuscule. C'était de son vivant le reproche qu'on lui faisait. Sa musique, sous des aspects sombres et diaboliques, a été entièrement composée à la gloire du Christ, et il a beaucoup souffert que des grenouilles de bénitier le vouent aux gémonies pour avoir "enfermé le diable dans son orgue" !
I wish I could find the entire Ravel string quartet in F Major played on Ondes Martenot, took me half an hour just to find this whole LP! (thanks for uploading)
@@francoisplaniol1489 Whilst it is in the Quatuor, that piece was written near the end of the Second World War, and this was written in 1937, so it's most likely that after Fête des Belles Eaux he thought to make an arrangement of that movement for cello and piano
9:49 onwards is one of the most beautiful moments in all of music. so different in this context than in the quatour, but equally special in my opinion.
Thanks so much for uploading with score, so I can at least have an idea of the combinations between the oscillators and the resonators. No mentioned the expressive resources.
What an unexpected delight. Years before Hollywood sci-fi films, and decades before Wendy Carlos, Tomita and the synthesiser craze, Messiaen thought of this! Astonishing!
@@OpalBerries 1. I haven't charged you with anything. I was just commenting on the likes and dislikes. 2. This piece isn't terrible. That's just your opinion. In reality, this piece is highly sophisticated, emotionally very moving for multiple people, and Messiaen is highly respected in academic music circles.
@@OpalBerries I must ask, what is terrible about it? If it's the idea of it being modern then that's fine, but why should be that one must inform people of when they're disliking something or if a piece is bad - if it really is, then I completely understand, and it will be left at that. Also, I respect Messiaen very highly as a composer too, and in regards to @Chris Bandy and his message, I think that it's amazing that so many people enjoy his works and want to show his appreciation. He was a very strange composer, but nevertheless changed the course of modern music throughout France and the rest of Europe.
funny how in the final part, about 27 minutes in, the monophonic quality of the instrument combined with plenty of parts for just one player automatically conjures a sound/atmosphere like a moog solo on a 1970s jazz-rock album.
top jam here. a shame the commercial i heard amidst it- a sort of country/pop/rock jingle. its awfully jarring and despicable to hear such things during this beauty...
It'd be pretty difficult considering the range of the runs given to the first player. I don't think any one saxophone can play below the bass clef and above the treble clef. Even if one could, it'd be very impractical at that speed.
@@kennethray8473 that's the who point of "arrangement" obviously. One can't just assume it would be note to note. I agree some movements may not be as practical of course. Strings could pretty much do the whole thing.
@@MichaelSidneyTimpson Uh… no. You can’t take 6 string instruments (I guess you’re thinking about violin, viola, cello and double bass) and make them play all of this. None of these have a 7-octave range like the Ondes, and it ist needed to be able to play all of it.
@@LightProgRock Firstly it was saxophone quartet, but strings are obviously easier. I understand your message but you probably don't realize that is part of the art of arrangement. Ravel, for example, took many pieces for piano, and arranged them for orchestra, which doesn't even have as large as range as the piano. However, what you don't realize is that keyboard instruments such as these have actually quite a limited timbre, and need a wide range to make up for it. Acoustic non-keyboard instruments have many possible colors (even within the same instrument) to make up for this, and actually don't need such a wide range. Just because a note in one register sounds good on a Ondes or piano, doesn't mean it can't sound great in another octave in the hands of a creative orchestration. I teach concepts like this on a daily basis to my composition students for the past 25 years as a music professor. However, your question is great because it points out the rookie mistake many inexperienced students make (i.e. writing too high for the trumpet, just because the note was that high on piano, etc.)
@@MichaelSidneyTimpson great, but still : even without 7 octaves range, there are some jumps that are too big to be played convincingly by strings. And don't think you're the only one knowing things : I play sax, Ondes and had some viola lessons too. It could be arranged for strings, sure, if you shift everything up or down all the time, but will it still be the same ? And will you manage to say within the range of 6 instruments ? With an orchestra, sure, I could do it. Give me 6 violins, 6 violas, 6 cellos and 6 basses and it's trivial. Also, I think what you're saying about Ravel is strange : contrabassoon goes as low as the piano, and piccolo goes as high. So orchestra has the same range, if not more if you include rare instruments. It's funny that a ''25 years professor" doesn't know that.
if you're on mobile feel free to insult youtube. If you're on pc just install a chrome extension which blocks ads. Trust me, it does work at least for the videos
Sextuor Jeanne Loriod. Jeanne Loriod (1928-2001) was the younger sister of Yvonne and thus Messiaen's sister-in-law. She is widely considered to be one of the finest ondists of all time. The ensemble's second to sixth ondists are as follows: Nelly Caron, Monique Matagne, Renée Recoussine, Karel Trow, and Henriette Chanforan. Obviously, the first, and its leader; is Jeanne Loriod herself. The information has been sourced from the 1967 Erato vinyl that this recording has been sourced from.
![ROSÉ(로제) - APT. (Band VER.) (With. 이영지) [더 시즌즈-이영지의 레인보우] | KBS 241129 방송](http://i.ytimg.com/vi/IW8qaemx74g/mqdefault.jpg)
Did I really just listen to 30 minutes of the ondes martenot? And did I love it? Yes
I wonder how many times in recent history there have been six ondes martenots in the same room.
how to disappear completely with radiohead that one time
Timestamps:
0:05 - I. Premières fusées
2:52 - II. L'eau
6:07 - III. Les fusées
7:20 - IV. L'eau (Oraison, later arranged for cello and piano as the fifth movement of Quatuor pour la fin du temps). Individually published as part of an issue of Revue internationale de musique.
15:34 - V. Les fusées
17:11 - VI. L'eau (à son maximum de hauteur)
24:24 - VII. Superposition de l'eau et des fusées
26:10 - VIII. Feu d'artifice final
Thank you very much.
This is a gem I’ll cherish now
I can't imagine what people thought of this piece back in 1937. I expect it is the sort of thing that was rarely performed at all, given the unusual instruments required, but on those occasions when it was, it must have struck listeners as being the sort of music they'd hear shortly after dying, or landing on Mars perhaps. Even today, to my ears it is alien, spectral music that just doesn't seem to belong to Earth. It does make for some very intriguing listening to be sure, and there is nothing quite like it anywhere. Great stuff.
It was composed to accompany the movement of the fountains during the Paris expo of 1937 :)
An otherworldly piece, especially with the tone colors! Sometimes, the ondes Martenot here sound like organs, otherwise, like violins, cellos, woodwinds, or the human voice! Even when taking one of these forms, however, the instrument always retains its uniqueness. Simply lovely.
This is music from a different galaxy. Absolutely gut wrenching. I love it
Je suis fasciné par la personnalité de l'individu. Au siècle précédent, il n'a jamais douté dans un monde où tout portait à croire qu'il s'effondrerait sur lui-même! Tout son travail est comme la première lumière du crépuscule. C'était de son vivant le reproche qu'on lui faisait. Sa musique, sous des aspects sombres et diaboliques, a été entièrement composée à la gloire du Christ, et il a beaucoup souffert que des grenouilles de bénitier le vouent aux gémonies pour avoir "enfermé le diable dans son orgue" !
I wish I could find the entire Ravel string quartet in F Major played on Ondes Martenot, took me half an hour just to find this whole LP! (thanks for uploading)
It is on RUclips
Thank you for uploading this recording and the score. Fascinating to hear the original of Louange à l'Eternité de Jésus, and study its score.
I think the original is in the Quatuor. At least the first occurrence of this melody in the works of Messiaen I know.
@@francoisplaniol1489 Whilst it is in the Quatuor, that piece was written near the end of the Second World War, and this was written in 1937, so it's most likely that after Fête des Belles Eaux he thought to make an arrangement of that movement for cello and piano
I thought I had heard it before! Gotcha!
Thanks, George. Remarkable piece!
9:49 onwards is one of the most beautiful moments in all of music. so different in this context than in the quatour, but equally special in my opinion.
Thanks so much for uploading with score, so I can at least have an idea of the combinations between the oscillators and the resonators. No mentioned the expressive resources.
What an unexpected delight. Years before Hollywood sci-fi films, and decades before Wendy Carlos, Tomita and the synthesiser craze, Messiaen thought of this! Astonishing!
Another mesmerizing work of this marvelous artist.
merci pour les belles eaux
Can't stop listening to this
Bravo-bravo-bravo! Great!
this is amazing, thanks a lot!
So great!
6:12 this part absolutely bangs!!!!!
8:10 excerpt, IV. L'eau
15:33 V. Les fusées
118 likes 0 dislikes. Yes!! One of my favorites
you have charged me with being the first person, and not the last, to dislike this terrible piece. Congo-ratulations!
@@OpalBerries
1. I haven't charged you with anything. I was just commenting on the likes and dislikes.
2. This piece isn't terrible. That's just your opinion. In reality, this piece is highly sophisticated, emotionally very moving for multiple people, and Messiaen is highly respected in academic music circles.
@@OpalBerries I must ask, what is terrible about it? If it's the idea of it being modern then that's fine, but why should be that one must inform people of when they're disliking something or if a piece is bad - if it really is, then I completely understand, and it will be left at that.
Also, I respect Messiaen very highly as a composer too, and in regards to @Chris Bandy and his message, I think that it's amazing that so many people enjoy his works and want to show his appreciation. He was a very strange composer, but nevertheless changed the course of modern music throughout France and the rest of Europe.
@@OpalBerries r/madlad
@@ChrisBandyJazz You know the drill.
"If a video has dislikes, it's known."
funny how in the final part, about 27 minutes in, the monophonic quality of the instrument combined with plenty of parts for just one player automatically conjures a sound/atmosphere like a moog solo on a 1970s jazz-rock album.
Indeed
26:26 is the cantina theme from star wars
Not just one. Not just two. Not just three. Not just four. Not just five ... but SIX.
❤
06:06 III. Les fusees
makes me feel like i'm hearing a string quartet for organ
top jam here. a shame the commercial i heard amidst it- a sort of country/pop/rock jingle. its awfully jarring and despicable to hear such things during this beauty...
Interesting.
♥
Movement 5 - 15:33
Movement 6 - 17:12
Wonderful piece ! Do you have a pdf of this score ?
Please give me your email, Jean-David, or contact me.
wait, no one has ever arranged this for saxophone sextet yet? Almost hard to believe....
It'd be pretty difficult considering the range of the runs given to the first player. I don't think any one saxophone can play below the bass clef and above the treble clef. Even if one could, it'd be very impractical at that speed.
@@kennethray8473 that's the who point of "arrangement" obviously. One can't just assume it would be note to note. I agree some movements may not be as practical of course. Strings could pretty much do the whole thing.
@@MichaelSidneyTimpson Uh… no. You can’t take 6 string instruments (I guess you’re thinking about violin, viola, cello and double bass) and make them play all of this. None of these have a 7-octave range like the Ondes, and it ist needed to be able to play all of it.
@@LightProgRock Firstly it was saxophone quartet, but strings are obviously easier. I understand your message but you probably don't realize that is part of the art of arrangement. Ravel, for example, took many pieces for piano, and arranged them for orchestra, which doesn't even have as large as range as the piano. However, what you don't realize is that keyboard instruments such as these have actually quite a limited timbre, and need a wide range to make up for it. Acoustic non-keyboard instruments have many possible colors (even within the same instrument) to make up for this, and actually don't need such a wide range. Just because a note in one register sounds good on a Ondes or piano, doesn't mean it can't sound great in another octave in the hands of a creative orchestration. I teach concepts like this on a daily basis to my composition students for the past 25 years as a music professor. However, your question is great because it points out the rookie mistake many inexperienced students make (i.e. writing too high for the trumpet, just because the note was that high on piano, etc.)
@@MichaelSidneyTimpson great, but still : even without 7 octaves range, there are some jumps that are too big to be played convincingly by strings. And don't think you're the only one knowing things : I play sax, Ondes and had some viola lessons too. It could be arranged for strings, sure, if you shift everything up or down all the time, but will it still be the same ? And will you manage to say within the range of 6 instruments ? With an orchestra, sure, I could do it. Give me 6 violins, 6 violas, 6 cellos and 6 basses and it's trivial.
Also, I think what you're saying about Ravel is strange : contrabassoon goes as low as the piano, and piccolo goes as high. So orchestra has the same range, if not more if you include rare instruments. It's funny that a ''25 years professor" doesn't know that.
Fête des belles _Eaux_
Is there an arrangement for six stylophones? Asking for a friend.
😂😂😂
i don't know what a "chegg" is, but whatever it is, i will not be buying any after it interrupted this piece three times with terrible ads!
@@nandocordeiro5853 hahaha so funny
if you're on mobile feel free to insult youtube. If you're on pc just install a chrome extension which blocks ads. Trust me, it does work at least for the videos
This kind of music would render so well on FamiTracker!
Des belles EAUX, avec un e
Fête Des Belles Eaux
Charles Derlincourt tes conn mec
that's right
What's the ensemble called?
Sextuor Jeanne Loriod. Jeanne Loriod (1928-2001) was the younger sister of Yvonne and thus Messiaen's sister-in-law. She is widely considered to be one of the finest ondists of all time.
The ensemble's second to sixth ondists are as follows: Nelly Caron, Monique Matagne, Renée Recoussine, Karel Trow, and Henriette Chanforan. Obviously, the first, and its leader; is Jeanne Loriod herself. The information has been sourced from the 1967 Erato vinyl that this recording has been sourced from.
Outer space
28:23 SuperMario
2:53 : Suicide mouse.
Who's performing?
Sextuor Jeanne Loriod
Ondes Martenot I and Director: Jeanne Blanche Armande Loriod (13 July 1928 - 3 August 2001)
Ondes Martenot II: Nelly Caron
Ondes Martenot III: Monique Matagne
Ondes Martenot IV: Renée Recoussine
Ondes Martenot V: Karel Trow
Ondes Martenot VI: Henriette Chanforan
damn
15:33 :D
:-D
Beautiful piece. But ondists vibrato too much and too fast.
So when are we getting six Jonny Greenwoods to play this
Ondes Martenot, the Minitel of music instruments