Here we are among the third generation pianists who are performing Messian. Yvonne Lloyd, then Beref, Muraro, Bertrand Chamayu’s turn after Imard. For whom ” The Twenty Looks at Child Jesus is a true relic of the twentieth century »And says he discovered this huge score from a young age. Great sign of humility to go to it on record and in concert, only at maturity. A work that is published The amazing modernity of the Messiah (Claude Samuel) As an irresistible attraction of the monument. The French pianist’s interpretation is a model of fidelity to the text as an encouragement to music.
This score, which he completed in 1944, is already a declaration of Messianic piano. By its specificity, its originality like no other. In an interview with the composer, Claude Samuel (“Olivier Messian’s Permanent Dialogues and Comments”, Actes Sud, 1999), he gives some keys to understanding the features of his writing. It is made up of ” The chords give the music a side of gems, glitter “Especially when he meets what he says.” Asymmetrical growth 6, this phenomenon of amplification, of amplification of words, which we also find in his symphonic compositions. He added: ” Extreme treble and piano extreme bass use simultaneously ব্যবহার as its use Rhythmic cannon “Per” The word percussion “And” Non-retrograde rhythm “Or even” A combination of Axellando and Ralendando “Use more” Stroke in reverse movement, arpeggiating both hands voluntarily against each other Added to this is the song of birds, subtle inspiration, humor or conversation, consistent with his music. Finally, he insists on a silent role. Says: ” Whether one believes in God or not, transcendentalism, those who know how to devote themselves to it, dwell on the observations of nature and try to consider the universe around us, can be confusing. “An outburst that flooded the musical text and had to preside over its performance.
The twenty pieces of the cycle were interpreted by Messien himself in the form of “notes from the author”, taken from another interview book, this time by Antoine Goliar (“Avant Olivier Messien in Rencantre”, Slatkin, Geneva, 1964). We will borrow from this valuable analysis. The task is a ” Child-god thinking »,” Seeing “that which comes upon him, the Father of God, the Son, the Spirit of Joy, the Virgin … it is made up of” Pieces connected by 3 circular themes … Theme of God, a theme of jaggery that gives rise to fragmentation according to the method of alchemists and a theme of the Star and the Cross “It combines ” looks ”, such as – 13 in number – and other sequences with more free titles (” The Exchange ”, ” Everything Was Made by Him ” ‘,’ Premier Communion of the Virgin ” …) After starting from PP to PPP register (I. ” Regard du Père ”), ” Regard de l’Étoile ” (II.), Or Song Bring sweetness and tenderness from ” L’Échange ” (III.) To ” Regard de la Vierge ” (IV.), Where ” Purity in music The “song of the birds” makes their appearance in “The Son’s Face on the Son” (V.). ” Everything was done by him ” (V.) Birds, we find them “looking from the heights” (VIII.), Because these singers turn to the scene of birth from the sky. “Look of the Spirit of Victory” (X.) is ” Strong dance Inspired by Plainsong, a piece that Messien himself considered ” Confusing “Everything shines, with the words mixed with the song of the birds, to the accompaniment of ” Regard des Anges’ (XIV.)” The wonder of the angels In the sequel to “The Kiss of the Child Jesus” (XV.), The music turns into a lullaby and soliloquy in an extremely loud voice, leading to a blinding light. One of the pages ” Multicolored and irresistible music, confetti, light gems, reflection of collision “From the appearance of the terrible anointing” emanates a dreadful glory for man in the face of God. “I am asleep, but my heart is awake” (XIX.) Love poems, mysterious love dialogues 6, a moment of immense sweetness. “Looking at the Church of Love” closes the cycle, where before the development exhibition, a bold move. It’s a summary of all its complexities and the processes that have been developed there, a glorious conclusion, up to sonic incandescence, which we can say. ” A huge and powerful cathedral (Antoine Golia).
Olivia Messien and Evan Loriod, creators of Vingt Regards sur l’Enfant-Jésus © DR
Bertrand Chamaiu plays these pieces with all his heart, his intelligence and of course his powerful tactics in them, in energy (nos VI, X, XIV, XVIII) such as infinitely soft (nos IV, XV, XIX). From where this indescribable emotion and this feeling that the complexity is gradually eradicated, as far as it goes, is a balance between spirits and discernment, spring and calm, about a kind of clarity. ” The result is a feeling of compassion and power, the power of which seems to destroy everything in its path. “, He comments. His Steinway de Damper sounds great on all registers with a prudent use of the paddle.
He preceded and ended this Everest with a few pieces in homage to Messian. Introduction and PostScript by the way. We first hear of three pieces written in 1992, shortly after the master’s death: Tekmitsu’s “Rain Tree Sketch II”, painful music, “Live Year Emission!” Anthony Cheung (* 1982), live piece, and Tristan Murail. (* 1947), “Farewell bell, and a smile …” by one of Messiah’s students decorated with crystal words. Les Vingt Regards is followed by Cartag’s short text, “… Olivier Messien …” (1993), running as briefly as possible, and finally Jonathan Harvey (1939-2012), “Piano and Digital Audio Tape” (1994), Tombeau by Messien for “Music” apocalyptic That, according to Chamayu, where live piano and tape superposition provide words that are curious to say the least, but where we find famous simultaneous relationships, so dear to the great French musician, is the piano of low and high register. One might wonder about this addition, the main work is not essential for listening. In each case, they have seized it, despite obstacles we can scarcely imagine. ”
Sound recording in Grenoble’s MC2 provides an atmosphere and an analytical sound. The instrument, in a central and forward position (shaft to the left of the spectrum, treble to the right), when played in all its intensity, sounds almost orchestral: glorious and precisely resonated shaft, superbly percussive extreme treble, sound environment for striking.
Written by Jean-Pierre Robert
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