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24 of 24 people found the following review helpful:
5.0 out of 5 stars
Modern French Music, January 27, 2006
Olivier Messiaen, the great French modern composer, is here represented by two of his most famous compositions: the early four meditations on L'Ascension and, a composition written after he was released from a German prison camp, the Turangalila-Symphonie, a work of monumental proportions.
L'Ascension is a 25-minute work also well known as an organ solo. Each of the four meditations has specific scripture attached to it, representing Christ's ascension. The first, written for brass ensemble, is a slow undulating progression of chords, which continually resolve themselves gloriously. The second opens with woodwinds alone, a chanting oboe (heavy on tritones), with added outbursts of nature on flute and clarinet. The huge lush string tremolos which end the piece, makes it truly French sounding. The third meditation is a scherzo with brash trumpets and full orchestra. Swift string glissandi, a heroic horn melody and calls are features of this outgoing section, all of which ends in a blaze of glory. The final meditation is marked "extremely slow and solemn" and is written for string ensemble only. Prayerful in nature, like the first, it is made up of a succession of undulating, and more importantly, rising progressions of chords. It is obvious Messiaen studied with the great Romantic/Impressionist teacher Paul Dukas, because the various orchestrations are quite vivid and colorful, amply depicting the prayers of the ascension. An interesting work from his youth.
The massive 80-minute Turangalila-Symphonie is a ten-movement work which features solo piano and a solo ondes martenos, an electronic contraption that makes an unearthly, ghost kind of sound. The title is from Sanskrit which means many things, including time, joy, love, life, and death. The opening movement introduces two important themes: the gigantic, heavy brass chords (called the statue theme) evoking ancient Mexico; and the delicate "flower theme". Together with a large battery of percussion, the movement is forceful and animated. The second movement has an almost jazzy groove which leads into the sumptuous "love theme" in the strings and ondes martenos. An other-worldly, menacing march with weird string tremolos, ondes martenos glissandos, and col legno strings enter, as well as a rhythmical, almost a Copland-ish dance-like section, gives the movement great variety. The third movement displays four themes alone and then puts them together to form utter chaos; while the fourth movement begins as an industrious scherzo, but gives way to a romantic sweeping melody and an almost jazzy secondary melody which dominates the movement. The middle movement has such a joyful and nearly humorous melody, you can't help but smile. The addition of constant tinkly bells and piano, and the confusion of the middle section, it is all a breathless account. Whereas the fifth movement is a dance of love, the sixth movement is more a love slumber, with lazy harmonic development, pulsating vibraphone, lush strings, and woodwind meanderings, all sounds subside in a peaceful sleep. Movement seven opens with a piano cadenza, and later features percussion alone, and a woodwind ensemble with solo cello. Messiaen takes some great themes from earlier movements and develops them in the eighth movement. There are some very dramatic and satisfying arrivals here; a climactic movement. The penultimate movement is a simple natural crescendo, achieved through adding instruments to increase volume. The glorious final movement has a Copland-like perpetual motion with a syncopated melody that is rather engaging. A short love theme, nearly cinematic, invades, and a huge major chord ends the work. The music has advanced harmonies, but they are all based in the tonal world, and Messiaen uses dissonance freely to accent the innate tonal world he writes in. He is especially gifted at writing great melodies and themes which are inventive and engaging, as well as infusing jazz-like rhythms and perpetual motion into the underlying score.
Do not be afraid of this CD because it is a budget label, it is by and far a first-class recording. This may be the finest recorded version on disk (in my opinion). The playing is cohesive, and the forces are closely miked so all voices speak exceedingly clear. The ondes martenos is heard every time it needs to be; the piano soloist is excellent; and while this is the first time I have heard Antoni Wit and the Polish National Radio Symphony Orchestra, their cohesiveness, commitment, and emotional depth are in high gear. Wit's pacing of the work is the stand-out quality, forward movement and prominent textures, melodies, and secondary effects all are heard in a musical manner. The ensemble gives this modern work such emotion and make it fun for the listener; an experience if nothing else. One fair warning, the music of Messiaen is not for everyone; listen to the examples first! Even at budget price, this 2-CD extravaganza outranks many overly-hyped full-price CD's; an enthusiastic recommendation.
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15 of 15 people found the following review helpful:
5.0 out of 5 stars
Those wonderful people at Naxos..., March 22, 2001
I once read a review where Naxos was nicknamed "the little label that could." Sure, it's tacky, but it works. Naxos has this uncanny knack of releasing incredibly good recordings of all sorts of literature, but what's unique is that these aren't just good recordings. In my humble opinion, many Naxos releases are actually better overall productions than their better-known and pricier counterparts.Take the Naxos release of Olivier Messiaen's "Turangalila Symphony." There's a good chance you've never heard of "Turangalila," and the reason is simple. It's an enormous, staggering work. As if the sheer difficulty of the music isn't enough, it lasts a full ten movements. And let's not also forget the kind of themes that pervade it. In Messiaen's own words, it is a "song of love, hymn to joy, time, movement, rhythm, life and death." There are not that many recordings of "Turangalila" for the above reasons. It's an insanely difficult work. So perhaps it is somewhat surprising that the Polish National Radio Symphony Orchestra, under the baton of Antoni Wit, decides to attempt to conquer it. The result is far and away the best recording ever made of the darn piece. Sure, you've never heard of the orchestra or the conductor. And sure, it costs nothing compared to recordings with better known performers. I still insist that it's the best that's out there. I've probably already said too much. I wholeheartedly encourage you to buy this release immediately and experience the piece and the stellar performance for yourself. I guarantee you that you won't regret it.
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13 of 13 people found the following review helpful:
5.0 out of 5 stars
One of the greatest Naxos has made..., July 24, 2002
The Polish National Radio Symphony Orchestra and Antoni Wit have made a WHOLELOTTA discs for Naxos. These discs of Messiaen's music may well be the jewel in their crown...at least so far.You always have to fasten your musical seat belts when dealing with the mightly enigmatic music of Messiaen. No exception here. Yet Wit and his band seem to have their stuff together on this recording. This makes for Messiaen as it should be...free, full of life, without losing vision and insight. The price alone should be enough to persuade those unsure souls who've yet to enter Messiaen's musical world to give it a whirl. If not, let me encourage you--take the leap! This recording will not disappoint.
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