French composer, organist and ornithologist (1908–1992)
POPULARITY
9 episodes with Olivier Messiaen
11 episodes with Olivier Messiaen
7 episodes with Olivier Messiaen
9 episodes with Olivier Messiaen
3 episodes with Olivier Messiaen
3 episodes with Olivier Messiaen
2 episodes with Olivier Messiaen
3 episodes with Olivier Messiaen
3 episodes with Olivier Messiaen
DOMRADIO.DE hat das Pontifikalamt aus dem Kölner Dom an Christi Himmelfahrt mit Weihbischof Rolf Steinhäuser übertragen. Der Kölner Domchor stand beim Pontifikalamt unter der Leitung von Alexander Niehues und Valentin Bauer. Der Knabenchor der Hohen Domkirche sang unter anderem die Missa in G von Josef Gabriel Rheinberger. Zum Auszug spielte Matthias Wand an der Domorgel von Olivier Messiaen: aus der Orgelkomposition "L'Ascension" (dt.:"Die Himmelfahrt) das Werk "Transports de joie d'une âme devant la gloire du Christ qui est la sienne" (dt.:Freudenausbrüche einer Seele angesichts der Herrlichkeit Christi, welche die ihre ist).
On this week's show, our panel of Dana, Steve, and Sam Adams are on the case. The case: is the movie Sheep Detectives a real movie and is it any good? The answer: it's a star-studded cozy murder mystery based on a best-selling book about ungulate sleuths… and yeah, it might just be the surprise word-of-mouth delight of the season. Next, they take up the proverbial conch shell to assess Lord of Flies, the new Netflix limited series adaptation of William Golding's classic novel from the creator of Adolescence.Finally, they're joined by longtime Slate book reviewer Laura Miller who understandably has some thoughts and feelings about the recent piece by New York Times book critic Dwight Garner “Where Have All the Book Reviews Gone?”In an exclusive bonus episode for Slate Plus subscribers, Laura sticks around to report back from her viewing of the strange mess that is the new Animal Farm adaptation.EndorsementsLaura: The new book by philosopher and polymath C. Thi Nguyen The Score: How To Stop Playing Somebody Else's Game. Steve: The music of the Brazilian recording artist Sessa and the chamber music piece Quartet for the End of Time by Olivier Messiaen.Sam: The Wager: A Tale of Shipwreck, Mutiny and Murder by David Grann.Dana: The audiobook Patrick Stewart Performs the Complete Sonnets of William Shakespeare. --Email us your thoughts at culturefest@slate.com. Podcast production by Benjamin Frisch. Production assistance by Daniel Hirsch. Hosted on Acast. See acast.com/privacy for more information.
On this week's show, our panel of Dana, Steve, and Sam Adams are on the case. The case: is the movie Sheep Detectives a real movie and is it any good? The answer: it's a star-studded cozy murder mystery based on a best-selling book about ungulate sleuths… and yeah, it might just be the surprise word-of-mouth delight of the season. Next, they take up the proverbial conch shell to assess Lord of Flies, the new Netflix limited series adaptation of William Golding's classic novel from the creator of Adolescence.Finally, they're joined by longtime Slate book reviewer Laura Miller who understandably has some thoughts and feelings about the recent piece by New York Times book critic Dwight Garner “Where Have All the Book Reviews Gone?”In an exclusive bonus episode for Slate Plus subscribers, Laura sticks around to report back from her viewing of the strange mess that is the new Animal Farm adaptation.EndorsementsLaura: The new book by philosopher and polymath C. Thi Nguyen The Score: How To Stop Playing Somebody Else's Game. Steve: The music of the Brazilian recording artist Sessa and the chamber music piece Quartet for the End of Time by Olivier Messiaen.Sam: The Wager: A Tale of Shipwreck, Mutiny and Murder by David Grann.Dana: The audiobook Patrick Stewart Performs the Complete Sonnets of William Shakespeare. --Email us your thoughts at culturefest@slate.com. Podcast production by Benjamin Frisch. Production assistance by Daniel Hirsch. Hosted on Acast. See acast.com/privacy for more information.
Wer schon einmal eine Übertragung der Berliner Philharmoniker im Stream geguckt hat, hat wahrscheinlich gar nicht bemerkt, dass da jemand in einer Regie sitzt und im Sekundentakt entscheidet, was zu sehen ist. Erste Geige? Pauke? Dirigent? Halbtotale? Der Mann hinter diesen Entscheidungen liest dabei nicht den Spielplan, sondern die Partitur. Heute geht es im Credit to the Edit Podcast um eine Variante des Schneidens, die in Echtzeit passiert: Live-Bildregie bei klassischen Konzerten. Zu Gast ist Sascha Etezazi, der für den WDR und andere Sender Konzerte als Streams und Filme begleitet. Sascha erzählt, wie er Wochen vor einem Konzert mit der Partitur "ins Bett" geht, wie er aus jedem Takt eine Bildidee macht und warum sein Job am Ende vor allem eines verlangt: Vertrauen. Vertrauen vom Bildmischer, der seine Anweisungen sekundengenau umsetzen kann. Vertrauen vom Orchester, das sich nicht ungerecht ins Bild gesetzt sehen will. Und Vertrauen ins eigene Bauchgefühl, wenn der Dirigent plötzlich vom Plan abweicht. Sascha Etezazi ist Tonmeister, Klangregisseur und Komponist. Er studierte Tonmeister am Erich-Thienhaus-Institut der Hochschule für Musik Detmold bei Bernhard Güttler und Komposition an der Robert-Schumann-Hochschule Düsseldorf bei Oliver Schneller. Seine Arbeit bewegt sich zwischen CD- und Radioproduktion, Bildregie, Klangregie und eigener Komposition für Konzert und Klanginstallation. Als Video Recording Producer gestaltet er seit Jahren die Bildregie der Klangkörper des WDR und ihrer internationalen Gäste; als Klangregisseur ist er regelmäßig bei den Darmstädter Ferienkursen, den Donaueschinger Musiktagen und Podium Esslingen aktiv. Aktuell beschäftigt er sich verstärkt mit der musikalischen Erkundung virtueller Umgebungen und mit den künstlerischen Mechanismen der Digitalität. Eine Folge über das Schneiden ohne Schnitt-Taste, über die Dramaturgie eines Konzertabends als Filmgrammatik und über den einen Konzertschnitt, der gegen die Maus verloren hat. Timeline-Shortcuts 00:06 Anmoderation 01:55 Gesprächsstart / Was machst du als Video Recording Producer? 06:18 Vorbereitung & Partitur: Wochen vor dem Konzert 14:20 Dramaturgie der Bilder: Mikro, Makro, Dirigent als Anker 24:30 Zeitdruck, Vertrauen & Konflikte am Bildmischer 36:00 Schnittschau & Tipps: Karajan, Sokolov, Messiaen 46:25 Kategorien: Anekdote & Liebling der Woche 52:58 Abmoderation Weiterführende Links Konzert, das wir besprochen haben: Resonanzen – Hadelich & Schostakowitsch (WDR Sinfonieorchester, Dima Slobodeniouk, 17./18.04.2026 Kölner Philharmonie, Live-Mitschnitt) Resonanzen – Hadelich & Schostakowitsch | Programm Kölner Philharmonie Mehr über Sascha Etezazi: Klassiktonmeister – Sascha Etezazi Sascha Etezazi auf LinkedIn Sascha Etezazi auf IMDb Westfalen-Blatt-Porträt: »Mein Beruf? Ich bin Streamer!« Filme & Aufnahmen, die in der Folge besprochen wurden: Vom Ende der Welt in Görlitz – Olivier Messiaen und sein Quatuor pour la fin du temps (ARTE / Accentus Music, 2021, Regie: Ute Feudel) Grigory Sokolov spielt Bach: Partita Nr. 1 BWV 825, La Roque d'Anthéron 2015 (Regie: Bruno Monsaingeon)
Olivier Messiaen ging hinaus in die Wälder und beobachtete Vögel. Er studierte ihre Stimmen und holte sich von ihnen Anregungen für seine eigene Klangsprache. Unser ZOOM widmet sich der ornithologischen Seite dieses Komponisten.
Con Pablo Palacio desmenuzamos la riqueza musical del canto de los pájaros, con un repertorio que abarca un notable rango espectromorfológico de absoluta contemporaneidad, que va desde complejas texturas de ruido hasta delicados tonos afinados.Acusmatrix, de Pablo Palacio, es una obra electroacústica–acusmática que explora la riqueza musical del canto de las aves mediante procesos de metamorfosis sonora aplicados a grabaciones de cuatro especies europeas. Inspirada en el tratado de pájaros de Olivier Messiaen, la pieza explora la riqueza musical del canto de las aves no solo tomando los motivos temáticos de sus cantos, sino profundizando en la complejidad del espectro de sus sonidos. A través de técnicas de transformación sonora vinculadas la obra explora el sonido como materia en continua mutación. El canto de los pájaros revela una complejidad musical que precede al ser humano: escalas, ritmos y estructuras que cuestionan la idea de la música como patrimonio exclusivamente humano. Escucharlos supone un ejercicio de humildad y una toma de conciencia sobre el estado incipiente de nuestra propia percepción. En este sentido la obra, plantea una reflexión acerca de relación entre la riqueza acústica del mundo natural y el desarrollo de la sensibilidad humana, desde el desarrollo de laescucha os entornos resonantes de las cuevas paleolíticas hasta la escucha en la música contemporánea. Este enlace al álbum de la obra incluye versiones de audio inmersivo ambisónico tanto para auriculares (binaural) como para altavoces (estéreo), derivadas de la versión original de ocho canales. Más información en: https://pablopalacio.bandcamp.com/album/acusmatrix lacasadelsonido@rtve.esEscuchar audio
On this episode of The Bandwich Tapes, I sit down with pianist, composer, improviser, label founder, and educator Kris Davis—one of the most forward-thinking voices in creative music today. Our conversation left me feeling genuinely energized. Kris approaches music with a rare combination of curiosity, discipline, and fearless experimentation, and it was a joy to dig into how all of that shows up in her work.We start with what's immediately ahead for her: a trip to Hamburg to premiere a newly expanded big band version of a trio piece with the NDR Big Band. Kris shares the very real “composer panic” that comes with catching an engraving mistake right before rehearsal—one of those behind-the-scenes realities of composing that every musician can relate to.From there, we talk about festivals—especially Big Ears, which feels like its own musical universe—and dive into two major pillars of her work: prepared piano and large-form composition. Kris reflects on studying with pianist Benoît Delbecq, whose approach to prepared piano emphasized rhythm, individuality, and finding a personal sonic vocabulary.One of the highlights of our conversation is a deep look at her remarkable Solastalgia Suite, written for the Lutosławski Quartet after a commission through Poland's Jazz to Pad Festival. Kris talks about learning how to write for strings in real time and how the concept of **solastalgia—the grief you feel for your home while you're still living in it—**became the emotional core of the piece.We also zoom out into the bigger picture of her work: her leadership role alongside Terri Lyne Carrington at Berklee's Institute of Jazz and Gender Justice, and her decade-long journey building Pyroclastic Records, a label dedicated to supporting adventurous music and the artists creating it. At its heart, this conversation is about craft, community, curiosity, and the importance of taking creative risks on purpose.Key TakeawaysThe behind-the-scenes realities of composing for large ensembles—including last-minute engraving panic before a premiere.Why festivals like Big Ears create a unique ecosystem for creative music.How studying with Benoît Delbecq shaped Kris Davis's approach to prepared piano.The creative challenge of writing for string quartet for the first time.The emotional meaning of solastalgia and how it shaped the Solastalgia Suite.Kris's work at Berklee's Institute of Jazz and Gender Justice alongside Terri Lyne Carrington.How Pyroclastic Records has grown into an important platform for adventurous and forward-thinking music.Music from the EpisodeDiatom Ribbons — Kris DavisInterlude (from the Solastalgia Suite) — Kris DavisLife on Venus (from the Solastalgia Suite) — Kris DavisRun the Gauntlet — Kris DavisAbout the PodcastThe Bandwich Tapes is a long-form conversation podcast where host Brad Williams sits down with some of the most thoughtful musicians, composers, and artists working today. The show explores the stories behind the music—creative process, collaboration, career paths, and the human experiences that shape the sounds we love.Connect with the ShowEmail: contact@thebandwichtapes.com
Mark Heap is one of the funniest actors on television - from Green Wing to Friday Night Dinner and his new series opposite Dawn French - Can You Keep a Secret.Born in India to the son of a Methodist minister Mark's early life featured eclectic and majestic music.Inherited: Were You There? by Tennessee Ernie FordPassing on: L'Ascension: IV Prière du Christ montant vers son père, composed by Olivier Messiaen, performed by Orchestre de l'Opéra National de Paris Producer: Ben Mitchell
durée : 00:47:32 - Les Nuits de France Culture - par : Albane Penaranda - Voulez-vous encore un peu de "Bidule en ut" ? La série en deux épisodes "La musique concrète et le 20e siècle", diffusée en juillet 1952 sur Paris Inter, permet de découvrir des œuvres musicales des compositeurs Olivier Messiaen, Pierre Henry et Pierre Schaeffer. - réalisation : Thomas Jost - invités : Pierre Schaeffer Compositeur, ingénieur, chercheur, théoricien et écrivain français.; Pierre Henry Compositeur français, pionnier de la musique électroacoustique (Paris, 1927 - 2017); Olivier Messiaen Compositeur français (Avignon 1908 – Clichy 1992)
Olivier Messiaen macht in „La Nativité du Seigneur“ das Weihnachtsmysterium mit seinen schwebenden Orgelklängen hörbar. Dem berühmten Werk widmen sich nun der schwedische Organist, Komponist und Maler Hans-Ola Ericsson, der Messiaen jahrelang bis zu seinem Tod 1992 begleitete, und die Organistin und Lyrikerin Katrin Bibiella. Gemeinsam schufen sie das Orgelwerk rahmende Bilder und Gedichte. Kerstin Bachtler hat die Künstler in Oppenheim besucht und ihnen in der Katharinenkirche gelauscht.
Komponistinnen, Interpretinnen, Dozentinnen, Organisatorinnen: Es gab viele Frauen, die die Anfangszeit der Darmstädter Ferienkurse mitgeprägt haben. Die meisten sind in Vergessenheit geraten. 1946 wurden die Darmstädter Ferienkurse für Neue Musik gegründet. Im Nachkriegsdeutschland sollten sie der am Boden liegenden Musikszene zu einem Aufschwung verhelfen. Schnell wurden sie zu einem hot spot der zeitgenösschen Musik. Es sind vor allem die Namen von Männern, die mit der Anfangszeit der Ferienkurse in Verbindung gebracht werden: Olivier Messiaen, Theodor W. Adorno, John Cage. Aber es gab auch zahlreiche Frauen, die die Geschichte der Ferienkurse prägten: Die Sängerinnen Carla Henius und Margot Hinnenberg-Lefèbre, die Komponistinnen Dika Newlin und Gladys Nordenstrom, die Musikjournalistin und Chronistin Brigitte Schiffer. Ein blinder Fleck in der Musikgeschichte, dem sich Musikwissenschaftlerin Juana Zimmermann angenommen hat.
”Man skal passe på ikke at gøre evangeliet til lov”, siger Anne Sofie Engelstad Nissen, sognepræst i Godthåbskirken på Frederiksberg, i denne samtale med Andreas Riis Damgaard, Mariendal Kirke, om læsningerne til 22. søndag efter trinitatis. De taler om, hvordan tilgivelsen står i centrum i lignelsen om den gældbundne tjener, og om hvordan det her er tydeligt, at syndserkendelse er gudserkendelse. Talen falder også på filmen Den enfoldige morder, den franske forfatter Édouard Louis og på to, der efter 2. verdenskrig ikke havde samme syn på tilgivelse: Eva Mozes Kor, der overlevede holocaust, og komponisten Olivier Messiaen.Prædiken på vej er præster, der taler med andre præster og teologer om den kommende prædikentekst - til faglig inspiration og almindelig opbyggelse, til forberedelse for den, der skal prædike på søndag, og til glæde for alle, der vil lytte til en fri og teologisk kvalificeret samtale om de tekster, der skal prædikes over. Podcastserien blev lanceret i 2020 og er siden blevet produceret i skiftende samarbejde med folkekirkens stifter. Der er over 300 afsnit i serien, og der kommer hver uge et nyt til. Prædiken på vej bliver fra palmesøndag 2025 og det kommende år til i et samarbejde mellem Fyens Stift og Folkekirkens Uddannelses- og Videnscenter.
In this sermon we continue our series allowing some of the voices from the Philokalia to help us hear the gospel. Today we look at some verses from the book of Romans alongside some words from Peter of Damascus. The sermon is on patience and hope, but we talk a lot about how music can teach us these things. A song by Olivier Messiaen serves as a refrain throughout the sermon such that we not only think about patience but are forced to experience a time of waiting through listening. A long quote by Jeremy Begbie is very helpful. Simone Weil helps us tie it to prayer. A summary really does not do this one justice. It was fun to prepare and give. May we encounter the crucified Christ raised from the dead in these words.
durée : 00:09:55 - Philip Glass : Les Enfants Terribles - Katia & Marielle Labèque - Après avoir travaillé avec Olivier Messiaen, Luciano Berio, Gyorgy Ligeti, Pierre Boulez, Katia & Marielle Labèque ont continué à créer des pièces écrites spécialement pour elles par Louis Andriessen, Bryce Dessner, Thom Yorke et Philip Glass. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.
durée : 00:09:55 - Philip Glass : Les Enfants Terribles - Katia & Marielle Labèque - Après avoir travaillé avec Olivier Messiaen, Luciano Berio, Gyorgy Ligeti, Pierre Boulez, Katia & Marielle Labèque ont continué à créer des pièces écrites spécialement pour elles par Louis Andriessen, Bryce Dessner, Thom Yorke et Philip Glass. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.
durée : 00:09:55 - Philip Glass : Les Enfants Terribles - Katia & Marielle Labèque - Après avoir travaillé avec Olivier Messiaen, Luciano Berio, Gyorgy Ligeti, Pierre Boulez, Katia & Marielle Labèque ont continué à créer des pièces écrites spécialement pour elles par Louis Andriessen, Bryce Dessner, Thom Yorke et Philip Glass. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.
Interpreten:Benedict Kloeckner, Kai SchumacherLabel: Berlin ClassicsEAN: 885470041162Der estnischeKomponist Arvo Pärt gehört unbestritten zu den bedeutendsten Tonsetzern unsererZeit. Vor wenigen Tagen hat er seinen 90. Geburtstag gefeiert und auch unsereCD der Woche steht in engem Zusammenhang mit seiner Musik, auch wenn „nur“ einStück tatsächlich von Pärt stammt. Mehr über die CD Fratres mit BenedictKloeckner und Kai Schumacher verrät Ihnen wieder Michael Gmasz.1977, am Beginn der Entwicklung seines TintinnabuliStils, hat Arvo Pärt sein Werk Fratres komponiert. Heute gehört es neben FürAlina und Spiegel im Spiegel, ebenfalls in dieser Zeit entstanden, zu den beliebtestenund meistgespielten Werken aus seiner Feder. Cellist Benedict Kloeckner und PianistKai Schumacher haben dieses Werk nicht nur als Titel ihrer neuen CD gewählt,sondern nehmen Fratres auch als Ausgangspunkt für ein spannendes Programm mit „PärtsBrüdern und Schwestern“ im musikalischen Geiste. Auch bei den Werken von PhilipGlass, Christopher Cerrone, Gavin Bryars, Valentin Silvestrov, Olivier Messiaen,Franz Liszt, Sophia Jani und Kai Schumacher selbst steht der Klang und dieReduktion auf das Wesentliche im Mittelpunkt.Vermeintlich simple Linien, die durch Transformation undVariation zum Leben erweckt werden, prägen den Hauptteil der Musik auf dieserCD. Mein persönliches Highlight nebst A Line von Kai Schumacher selbst, ist ThePleasure at being the cause des 1984 geborenen Christopher Cerrone. Auch erscheint sich das „Tintinnabulische“ Pärts als Vorlage genommen zu haben undsetzt seine Töne einem Glockenspiel gleich. Die Musik auf dieser CD fasziniertmich auf mehreren Ebenen – Sie hat etwas absolut Beruhigendes und gleichzeitig Aufwühlendes,ist mal düster und im nächsten Moment gleich wieder erhellend, wirkt einfach imSpiel und ist doch hoch virtuos. Wunderschön auch, wie sich Franz Liszts SanctaDorothea in der Bearbeitung von Kai Schumacher zu den zeitgenössischen Werkengesellt, und doch einen harmonischen und atmosphärischen Kontrast bietet. EinAlbum, das zum uneingeschränkten Zuhören einlädt, mit Struktur, Idee undperfekter Dramaturgie. (mg)
durée : 00:12:19 - Harawi : Olivier Messiaen - Marie Kobayasi, Fuminori Tanada - Ce coffret rassemble deux compositions de François Nicolas, Duelle et Petrograd 1918, commandes de l'Ircam, et un film de Jean Seban, Cantus firmus, sous le signe de l'hétérophonie, donc d'un collectif de voix intriquant coopération polyphonique, émulation antiphonique et simple juxtaposition. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.
University of Illinois Percussion Professor Josh Graham returns to talk about his post-master's degree years in Michigan and taking non-music opportunities to make it work (02:15), moving to Chicago, getting his doctorate at the University of Illinois, getting more fully into chamber music, and his time teaching at the University of Northern Iowa (10:30), and finishing with the Random Ass Questions, including segments on commissioning non-percussion composers, working at Wendy's, Alfred Hitchcock movies, Detroit sports, and Olivier Messiaen (27:25).Finishing with a Rave on the 2025 film Sinners (56:35).Josh Graham links:Part 1 with Josh GrahamJosh Graham's websiteJosh Graham's Illinois pageF-PLUS MusicPrevious Podcast Guests mentioned:Megan Arns in 2017Garrett Arney in 2019Marco Schirripa in 2022Other Links:Aspen Music FestivalContemporary Directions EnsembleSteven Stucky“Micro-Concerto” - Steven MackeyCloyd DuffJoe GramleyAndrew SpencerJenny KlukkenDoug PerkinsRaves:Sinners trailer
Jamaica's former poet laureate, Lorna Goodison, on setting Dante's Inferno on the island of her birth; Journalist Joanna Moorhead on Pope Francis' relationship with the arts; Poet and librettist Michael Symmons Roberts on writing a form-breaking book to re-examine French composer Olivier Messiaen's form-breaking masterwork - Quartet for the End of Time; and going in search of an important piece of theatre history with Daniel Swift, author of The Dream Factory: London's First Playhouse and the Making of William Shakespeare.Presenter: Nick Ahad Producer: Ekene Akalawu
fWotD Episode 2882: Pierre Boulez Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Wednesday, 26 March 2025 is Pierre Boulez.Pierre Louis Joseph Boulez (French: [pjɛʁ lwi ʒozεf bulɛz]; 26 March 1925 – 5 January 2016) was a French composer, conductor and writer, and the founder of several musical institutions. He was one of the dominant figures of post-war contemporary classical music.Born in Montbrison, in the Loire department of France, the son of an engineer, Boulez studied at the Conservatoire de Paris with Olivier Messiaen, and privately with Andrée Vaurabourg and René Leibowitz. He began his professional career in the late 1940s as music director of the Renaud-Barrault theatre company in Paris. He was a leading figure in avant-garde music, playing an important role in the development of integral serialism in the 1950s, controlled chance music in the 1960s and the electronic transformation of instrumental music in real time from the 1970s onwards. His tendency to revise earlier compositions meant that his body of work was relatively small, but it included pieces considered landmarks of twentieth-century music, such as Le Marteau sans maître, Pli selon pli and Répons. His uncompromising commitment to modernism and the trenchant, polemical tone in which he expressed his views on music led some to criticise him as a dogmatist.Boulez was also one of the most prominent conductors of his generation. In a career lasting more than sixty years, he was music director of the New York Philharmonic, chief conductor of the BBC Symphony Orchestra and principal guest conductor of the Chicago Symphony Orchestra and the Cleveland Orchestra. He made frequent appearances with many other orchestras, including the Vienna Philharmonic and the Berlin Philharmonic. He was known for his performances of the music of the first half of the twentieth century—including Debussy and Ravel, Stravinsky and Bartók, and the Second Viennese School—as well as that of his contemporaries, such as Ligeti, Berio and Carter. His work in the opera house included the production of Wagner's Ring cycle for the centenary of the Bayreuth Festival, and the world premiere of the three-act version of Berg's opera Lulu. His recorded legacy is extensive. He also founded several musical institutions. In Paris he set up the Domaine musical in the 1950s to promote new music; in the 1970s he established the Institut de Recherche et Coordination Acoustique / Musique (IRCAM), to foster research and innovation in music, and the Ensemble intercontemporain, a chamber orchestra specialising in contemporary music. Later he co-founded the Cité de la musique, a concert hall, museum and library dedicated to music in the Parc de la Villette in Paris and, in Switzerland, the Lucerne Festival Academy, an international orchestra of young musicians, with which he gave first performances of many new works.This recording reflects the Wikipedia text as of 00:21 UTC on Wednesday, 26 March 2025.For the full current version of the article, see Pierre Boulez on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm generative Olivia.
Pierre Boulez war nicht nur ein großer Dirigent, sondern prägte die Musik der Nachkriegszeit auch als Komponist. Als Vertreter der seriellen Musik wollte der Messiaen-Schüler alle Aspekte des Klangs in Reihen organisieren und schuf faszinierende Werke voller Logik und Poesie wie "Der Hammer ohne Meister" von 1955. Von Ben Süverkrüp.
Just when we thought we had our final rankings pretty much in the bag, Nickel Boys comes and changes everything. RaMell Ross's living piece of art took us all by surprise and moved us in ways we never expected. The performances were extraordinary, but the heart of the piece was in the direction and camera work. We'll be angrily shaking our fists for years to come that this didn't receive more nominations. Another year in the books, tell us your final rankings! Let us know on Twitter, Instagram or Threads! Listen to the score, track played Grown Into by Alex Somers Read the script Listen to our other episodes we talked about - Judas and the Black Messiah, Moonlight, The Tree of Life, The Zone of Interest, Maestro Watch Passing Read The Vanishing Half by Brit Bennett Listen to Olivier Messiaen's Quartet For The End Of Time Theme music by RomanBelov #NickelBoys #BestPicture #BestAdaptedScreenplay #Oscars2025 #2025Oscars #AcademyAwards #Oscars
The Battenkill Chorale, founded in 1995, is a dedicated group of amateur singers that has become a cultural jewel of the North Country and the Capital Region. On January 18 and 19, The Battenkill Chorale will perform Louis Vierne's “Solemn Mass” and works by Maurice Duruflé, Jean Langlais, Olivier Messiaen, and Pierre Villette at the historic Immaculate Conception Church in Hoosick Falls, New York.
Violinist Sophie Till of the Marywood University Music Faculty, and clarinettist Pascal Archer, principal with the NEPA Philharmonic, speaking about the Quartet for the End of Time by Olivier Messiaen which they performed with cellist Christiane Appenheimer-Vaida and pianist Ron Stabinsky, in the Marian Chapel at the Swartz Center on the Marywood campus in Scranton on Saturday, September 28, 2024. The event was a collaboration between Marywood Music Faculty and the NEPA Philharmonic. For information: marywood.edu/mtd or nepaphil.org/ The interview was first broadcast 9/20/24.
Olivier Messiaen leistet 1944 einen weihnachtlichen Beitrag zur Klaviermusik, der es in sich hat: Seine "Vingts regards sur l'enfant Jésus" sind ebenso faszinierend wie rätselhaft. 20 Klavierstücke zwischen Meditation und Dramatik, in denen er mit speziellen "Modi" arbeitet, die für unverwechselbare Farbwirkungen sorgen. Von Ben Süverkrüp.
durée : 01:29:21 - Roger Muraro - par : Aurélie Moreau - Roger Muraro, pianiste éclectique, romantique et grand interprète des œuvres de Maurice Ravel et Olivier Messiaen, produit aussi des émissions sur France Musique. Son enregistrement des Années de pèlerinages de Liszt est paru le 4 octobre (Alpha).
SynopsisToday's date in 1922 marks the birthday of Héctor Campos Parsi, one of Puerto Rico's finest composers.Campos Parsi originally planned to become a doctor, but after a meeting with the Mexican composer Carlos Chávez, ended up studying music at the New England Conservatory in 1949 and 1950 with the likes of Aaron Copland, Olivier Messiaen and Serge Koussevitzky, and between 1950 and 1954 with Paul Hindemith at Yale and with Nadia Boulanger in Paris.Returning to Puerto Rico, Campos Parsi pursued a dual career: as a writer, he contributed short stories, essays, poems to Puerto Rican magazines, and wrote music reviews and articles for island newspapers. As a composer, he wrote instrumental and vocal works for chamber, orchestral, and choral ensemble. Two of his best-known works are Divertimento del Sur, written for string orchestra with solo flute and clarinet, and a piano sonata dedicated to Puerto Rican pianist Jesús María Sanromá. As a musicologist, Campos Parsi wrote entries for music encyclopedias and served as the director of the IberoAmerican Center of Musical Documentation and as composer-in-residence at the University of Puerto Rico at Cayey, where died in 1998 at 75.Music Played in Today's ProgramHéctor Campos Parsi (1922-1998): Divertimento del Sur; Members of the Casals Festival Orchestra; Milton Katims, conductor; Smithsonian Folkways COOK-01061
DOMRADIO.DE hat am fünfundzwanzigsten Sonntag im Jahreskreis das Kapitelsamt aus dem Kölner Dom mit mit Domdechant Robert Kleine. Das Vokalensemble Kölner Dom singt unter der Leitung von Eberhard Metternich die Missa "O quam gloriosum" von Tomás Luis de Victoria, "Ubi caritas et amor" von Ola Gjeilo und "O sacrum convivium" von Olivier Messiaen. An der Orgel: Winfried Bönig.
Violinist Sophie Till of the Marywood University Music Faculty, and clarinettist Pascal Archer, principal with the NEPA Philharmonic, speaking about the Quartet for the End of Time by Olivier Messiaen which they will perform with cellist Christiane Appenheimer-Vaida and pianist Ron Stabinsky, in the Marian Chapel at the Swartz Center on the Marywood campus in Scranton.The concert will take place on Saturday, September 28, 2024, at 7:00 pm, and the event is a collaboration between Marywood Music Faculty and the NEPA Philharmonic. For tickets and more information: marywood.edu/mtd or nepaphil.org/
Violinist Sophie Till of the Marywood University Music Faculty, and clarinettist Pascal Archer, principal with the NEPA Philharmonic, speaking about the Quartet for the End of Time by Olivier Messiaen which they will perform with cellist Christiane Appenheimer-Vaida and pianist Ron Stabinsky, in the Marian Chapel at the Swartz Center on the Marywood campus in Scranton. The concert will take place on Saturday, September 28, 2024, at 7:00 pm, and the event is a collaboration between Marywood Music Faculty and the NEPA Philharmonic. For tickets and more information: marywood.edu/mtd or nepaphil.org/
Daniel Popp présente l'intégrale en 13 CD de son père André Popp et le duo toulousain Tropic Hotel se rêve en pop love tropicale à Rio. André Popp (1924-2014) serait le chaînon manquant entre Olivier Messiaen et la variété, c'est ce que nous explique son fils Daniel Popp, à l'occasion de la sortie de l'intégrale instrumentale de son père, soit 293 titres, 13 CD, entre 1955 et 1976. Note d'intention Daniel Popp (son fils)Réunir pour la première fois dans une intégrale, tous les albums d'André Popp de 1955 à 1976, jamais ou si peu publiés en CD, permet de voir à quel point la musique instrumentale est un élément essentiel de son œuvre de compositeur, arrangeur, chef d'orchestre. Un volant peu connu tant les arrangements qu'il a écrits pour les plus grands, ses chansons à succès qui ont fait le tour du monde, couvrant plusieurs générations, jusqu'à aujourd'hui, ou la série des « Piccolo, Saxo et Cie » ont voilé quelque peu son travail en tant que chef d'orchestre. Car outre le côté avant-gardiste des explorations sonores d'« Elsa Popping et sa Musique Sidérante » qui lui auront collé une image d'« amuseur », ou les musiques qui ont alimenté nombre de génériques de séries d'animation (Colargol, Babar...), et d'une myriade d'émissions de radio ou de télévision (« Les Maîtres du Mystère », « La Tête et les Jambes » entre autres…) et de bandes originales (« Tintin »…), André Popp, album après album, n'aura cessé de creuser un sillon musical qui n'appartient qu'à lui. Souvent nourri d'œuvres composées pour la radio qui fut son conservatoire, dont le bonus inédit, exceptionnel, du CD 13, offre un concert radiophonique dirigé par Popp, lui-même, revisité dans un esprit jazz coloré de joyeuses dissonances. Cette publication en révèle enfin la mesure, l'incroyable variété : une véritable malle aux trésors prenant figure d'œuvre regorgeant d'audace, de malice, de folle créativité musicale, entrecoupée de périodes plus sages, mais toujours élégantes et inventives, dont il est passionnant de constater l'évolution sur une vingtaine d'années. Biographie André PoppLa passion absolue de la musique résume la vie et la carrière d'André Popp. Parfait autodidacte ou presque, génial créateur, il est resté dans l'ombre malgré une œuvre très riche, jalonnée par des tubes internationaux sur fond d'explorations musicales en tous genres. Dès cinq ans, en 1929, il apprend le piano en Vendée, là où réside sa famille. Mais la musique se révèle vraiment à lui, pendant la guerre, quand il remplace l'abbé mobilisé qui tenait l'harmonium dans la chapelle de son pensionnat. Le jeune André joue de l'instrument à tous les offices avec un grand bonheur. Déjà, plutôt que les grands classiques, il préfère écouter Stravinsky ou Messiaen. À la même période, sa première rencontre importante fut Jean Broussolle, futur ‘Compagnon de la chanson' avec lequel il écrit ses premières chansons. C'est encore avec Broussolle, qu'il ose « monter » à Paris à la Libération en 1944, venant de sa Vendée natale. Là, il travaillera comme pianiste dans divers cabarets ou encore au célèbre Théâtre des Trois Baudets à partir de 1949. Sur tous les fronts en 1953, il devient le musicien/producteur de la grande émission du samedi soir sur Paris Inter : « La bride sur le cou ». Véritable laboratoire et conservatoire pour André Popp qui affirmait y avoir fait ses classes d'orchestration, de composition, de direction d'orchestre ! En 1956, Jacques Canetti engage André Popp chez Philips et sa filiale Fontana comme chef d'orchestre et arrangeur. Chez Fontana, sous la direction artistique de Boris Vian, André Popp enregistre en 1956 son premier album instrumental Musiques en tous genres, suivi un an plus tard de Elsa Popping, un album 30 cm réunissant des classiques connus : polkas, java et autres, avec des arrangements avant-gardistes et de nombreux trucages jamais réalisés en studio. Parmi les accompagnements d'artistes chez Philips/Fontana, on découvre ses arrangements ciselés sur mesure pour Jacques Brel avec ‘Quand on a que l'amour', son premier succès, Juliette Gréco et ‘Il n'y a plus d'après', Mouloudji, Zizi Jeanmaire et tellement d'autres, tant son originalité lui vaut de faire partie des arrangeurs « à la mode » ! Puis viendront une kyrielle de chansons dont il écrit les musiques gravées dans toutes les mémoires : les célébrissimes ‘Lavandières du Portugal' en 1955 avec Jacqueline François, ‘La complainte du téléphone' ou ‘De Pantin à Pékin' pour Juliette Gréco, ‘Tom Pillibi', chanté par Jacqueline Boyer, Grand prix de l'Eurovision en 1960, ‘Le chant de Mallory' avec Rachel, quatrième de cette même Eurovision en 1964, ‘Le lit de Lola', ‘Manchester et Liverpool' et ‘Mon amour, mon ami', pour Marie Laforêt. Son plus grand succès comme compositeur restera ‘Love Is Blue' (‘L'amour est bleu') dont le chef d'orchestre Paul Mauriat fera un succès mondial en 1968 et vendra trente millions de disques. ‘La solitude c'est après' pour Claude François, ‘L'amour c'est comme les bateaux' pour Sylvie Vartan ou un autre tube planétaire ‘Song for Anna' joué au départ par Herb Ohta, un guitariste Hawaïen, sont d'autres belles réalisations à l'actif d'André Popp qui a aussi offert des chansons à Petula Clark, Brigitte Bardot, France Gall, Régine, Françoise Hardy, Nana Mouskouri, Nicole Croisille ou encore à la toute jeune Céline Dion à ses débuts. Mais le chef d'œuvre d'André Popp restera à tout jamais « Piccolo, saxo et compagnie », seule œuvre symphonique éducative destinée à la jeunesse, jouée de l'Australie à la Colombie en passant par l'Allemagne, la France… Peu présent dans le monde du cinéma, André Popp composera néanmoins quelques musiques de film, dont « Tintin et le mystère de la toison d'or ». Le théâtre lui ouvrira ses portes grâce à ses orchestrations célèbres d'Irma la douce jouée encore à Broadway le jour de sa mort, ou par ses musiques composées pour nombre de pièces d'André Barsac au Théâtre de l'Atelier. Depuis une décennie, André Popp était heureux d'avoir trouvé en Fred Pallem et son orchestre de jazz « Le Sacre du Tympan », le prolongateur de son œuvre. Fred Pallem qui ne se lasse pas de répéter qu'André Popp symbolise encore aujourd'hui le chaînon manquant entre Olivier Messiaen et la musique de variété.Extrait de « Les Arrangeurs de la Chanson Française : 200 Rencontres » Par Serge ELHAÏK (2017) Éditions Textuel.Titres d'André Popp joués dans l'émission :Les Papillons, Les Lavandières du Portugal, 20 que da ?, Le chant de Mallaury par Tabuley Rochereau (extrait), Manchester & Liverpool demo par David Bowie (extrait), Love is Blue par George Benson et La Polka du Roi.► Coffret 13 CD André Popp L'intégrale instrumentale (1955-1976) (Universal 2024).Facebook - Site - Deezer - YouTube.En 2025 ! Le 8 Mars 2025, concert exceptionnel de Fred Pallem et le Sacre du Tympan Big Band « 100 ans de Popp et de jazz » dans le cadre du centenaire du compositeur André Popp, Radio France, Studio 104. Puis nous recevons Tropic Hotel pour la sortie de l'album Tum Tum Bossa. Un travail d'adaptation en français de poésies brésiliennes issues de la bossa nova des années 60 (Tom Jobim, Chico Buarque, Caetano Veloso, Vinicius de Moraes, Carlos Lyra, Adoniran Barbosa…) au plus proche du sens et de la sonorité d'origine : Tropic Hotel, c'est un homme (Frédéric Jean, ex-Hyperclean) et une femme (Sandra Campas) qui jouent et chantent face à face le discours amoureux. Partis de la forme brute de la bossa, le Tropic Hotel n'hésite pas à s'aventurer sur les sentiers électriques de la pop exotica et nous entrainent dans un véritable « road movie musical. » Ce sont des histoires d'amour. D'abord celle de Sandra et Frédéric.En 2014, alors élève au Conservatoire de Jazz de Montauban, Sandra rencontre Frédéric. Le week-end, ils se retrouvent dans une petite cabane perdue au fond des bois pour jouer de la bossa nova nus. S'inspirant des surréalistes, ils s'essaient à des adaptations à partir de jeux littéraires. Sandra chante en brésilien et Frédéric interprète ce qu'il entend en français. Ils appellent cela des « bossas sourdes ». Fin 2016, Sandra se lance dans des adaptations, au plus proche du sens et de la sonorité d'origine. Il apparaît évident que c'est ce qui restitue le mieux la poésie crue de ces textes brésiliens des années 60. Au printemps 2017, ils décident alors de les partager sur scène. Frédéric fait quelques propositions d'arrangements plus électriques et peu à peu se dessine le répertoire, nouvel havre pour ces poèmes d'amour. On laisse la cabane pour le Tropic Hotel. Titres interprétés au grand studio- Je ne suis plus toi et moi (voce e eu) Live RFI- Viens, extrait de l'album voir le clip- Petite Valse Live RFI.Line Up : Sandra Campas, chant, Frédéric Jean, guitare.Son : Benoît Letirant.► Album Tum Tum Bossa (Velvetica Music 2024).- Site - Facebook - Instagram - Spotify.
Daniel Popp présente l'intégrale en 13 CD de son père André Popp et le duo toulousain Tropic Hotel se rêve en pop love tropicale à Rio. André Popp (1924-2014) serait le chaînon manquant entre Olivier Messiaen et la variété, c'est ce que nous explique son fils Daniel Popp, à l'occasion de la sortie de l'intégrale instrumentale de son père, soit 293 titres, 13 CD, entre 1955 et 1976. Note d'intention Daniel Popp (son fils)Réunir pour la première fois dans une intégrale, tous les albums d'André Popp de 1955 à 1976, jamais ou si peu publiés en CD, permet de voir à quel point la musique instrumentale est un élément essentiel de son œuvre de compositeur, arrangeur, chef d'orchestre. Un volant peu connu tant les arrangements qu'il a écrits pour les plus grands, ses chansons à succès qui ont fait le tour du monde, couvrant plusieurs générations, jusqu'à aujourd'hui, ou la série des « Piccolo, Saxo et Cie » ont voilé quelque peu son travail en tant que chef d'orchestre. Car outre le côté avant-gardiste des explorations sonores d'« Elsa Popping et sa Musique Sidérante » qui lui auront collé une image d'« amuseur », ou les musiques qui ont alimenté nombre de génériques de séries d'animation (Colargol, Babar...), et d'une myriade d'émissions de radio ou de télévision (« Les Maîtres du Mystère », « La Tête et les Jambes » entre autres…) et de bandes originales (« Tintin »…), André Popp, album après album, n'aura cessé de creuser un sillon musical qui n'appartient qu'à lui. Souvent nourri d'œuvres composées pour la radio qui fut son conservatoire, dont le bonus inédit, exceptionnel, du CD 13, offre un concert radiophonique dirigé par Popp, lui-même, revisité dans un esprit jazz coloré de joyeuses dissonances. Cette publication en révèle enfin la mesure, l'incroyable variété : une véritable malle aux trésors prenant figure d'œuvre regorgeant d'audace, de malice, de folle créativité musicale, entrecoupée de périodes plus sages, mais toujours élégantes et inventives, dont il est passionnant de constater l'évolution sur une vingtaine d'années. Biographie André PoppLa passion absolue de la musique résume la vie et la carrière d'André Popp. Parfait autodidacte ou presque, génial créateur, il est resté dans l'ombre malgré une œuvre très riche, jalonnée par des tubes internationaux sur fond d'explorations musicales en tous genres. Dès cinq ans, en 1929, il apprend le piano en Vendée, là où réside sa famille. Mais la musique se révèle vraiment à lui, pendant la guerre, quand il remplace l'abbé mobilisé qui tenait l'harmonium dans la chapelle de son pensionnat. Le jeune André joue de l'instrument à tous les offices avec un grand bonheur. Déjà, plutôt que les grands classiques, il préfère écouter Stravinsky ou Messiaen. À la même période, sa première rencontre importante fut Jean Broussolle, futur ‘Compagnon de la chanson' avec lequel il écrit ses premières chansons. C'est encore avec Broussolle, qu'il ose « monter » à Paris à la Libération en 1944, venant de sa Vendée natale. Là, il travaillera comme pianiste dans divers cabarets ou encore au célèbre Théâtre des Trois Baudets à partir de 1949. Sur tous les fronts en 1953, il devient le musicien/producteur de la grande émission du samedi soir sur Paris Inter : « La bride sur le cou ». Véritable laboratoire et conservatoire pour André Popp qui affirmait y avoir fait ses classes d'orchestration, de composition, de direction d'orchestre ! En 1956, Jacques Canetti engage André Popp chez Philips et sa filiale Fontana comme chef d'orchestre et arrangeur. Chez Fontana, sous la direction artistique de Boris Vian, André Popp enregistre en 1956 son premier album instrumental Musiques en tous genres, suivi un an plus tard de Elsa Popping, un album 30 cm réunissant des classiques connus : polkas, java et autres, avec des arrangements avant-gardistes et de nombreux trucages jamais réalisés en studio. Parmi les accompagnements d'artistes chez Philips/Fontana, on découvre ses arrangements ciselés sur mesure pour Jacques Brel avec ‘Quand on a que l'amour', son premier succès, Juliette Gréco et ‘Il n'y a plus d'après', Mouloudji, Zizi Jeanmaire et tellement d'autres, tant son originalité lui vaut de faire partie des arrangeurs « à la mode » ! Puis viendront une kyrielle de chansons dont il écrit les musiques gravées dans toutes les mémoires : les célébrissimes ‘Lavandières du Portugal' en 1955 avec Jacqueline François, ‘La complainte du téléphone' ou ‘De Pantin à Pékin' pour Juliette Gréco, ‘Tom Pillibi', chanté par Jacqueline Boyer, Grand prix de l'Eurovision en 1960, ‘Le chant de Mallory' avec Rachel, quatrième de cette même Eurovision en 1964, ‘Le lit de Lola', ‘Manchester et Liverpool' et ‘Mon amour, mon ami', pour Marie Laforêt. Son plus grand succès comme compositeur restera ‘Love Is Blue' (‘L'amour est bleu') dont le chef d'orchestre Paul Mauriat fera un succès mondial en 1968 et vendra trente millions de disques. ‘La solitude c'est après' pour Claude François, ‘L'amour c'est comme les bateaux' pour Sylvie Vartan ou un autre tube planétaire ‘Song for Anna' joué au départ par Herb Ohta, un guitariste Hawaïen, sont d'autres belles réalisations à l'actif d'André Popp qui a aussi offert des chansons à Petula Clark, Brigitte Bardot, France Gall, Régine, Françoise Hardy, Nana Mouskouri, Nicole Croisille ou encore à la toute jeune Céline Dion à ses débuts. Mais le chef d'œuvre d'André Popp restera à tout jamais « Piccolo, saxo et compagnie », seule œuvre symphonique éducative destinée à la jeunesse, jouée de l'Australie à la Colombie en passant par l'Allemagne, la France… Peu présent dans le monde du cinéma, André Popp composera néanmoins quelques musiques de film, dont « Tintin et le mystère de la toison d'or ». Le théâtre lui ouvrira ses portes grâce à ses orchestrations célèbres d'Irma la douce jouée encore à Broadway le jour de sa mort, ou par ses musiques composées pour nombre de pièces d'André Barsac au Théâtre de l'Atelier. Depuis une décennie, André Popp était heureux d'avoir trouvé en Fred Pallem et son orchestre de jazz « Le Sacre du Tympan », le prolongateur de son œuvre. Fred Pallem qui ne se lasse pas de répéter qu'André Popp symbolise encore aujourd'hui le chaînon manquant entre Olivier Messiaen et la musique de variété.Extrait de « Les Arrangeurs de la Chanson Française : 200 Rencontres » Par Serge ELHAÏK (2017) Éditions Textuel.Titres d'André Popp joués dans l'émission :Les Papillons, Les Lavandières du Portugal, 20 que da ?, Le chant de Mallaury par Tabuley Rochereau (extrait), Manchester & Liverpool demo par David Bowie (extrait), Love is Blue par George Benson et La Polka du Roi.► Coffret 13 CD André Popp L'intégrale instrumentale (1955-1976) (Universal 2024).Facebook - Site - Deezer - YouTube.En 2025 ! Le 8 Mars 2025, concert exceptionnel de Fred Pallem et le Sacre du Tympan Big Band « 100 ans de Popp et de jazz » dans le cadre du centenaire du compositeur André Popp, Radio France, Studio 104. Puis nous recevons Tropic Hotel pour la sortie de l'album Tum Tum Bossa. Un travail d'adaptation en français de poésies brésiliennes issues de la bossa nova des années 60 (Tom Jobim, Chico Buarque, Caetano Veloso, Vinicius de Moraes, Carlos Lyra, Adoniran Barbosa…) au plus proche du sens et de la sonorité d'origine : Tropic Hotel, c'est un homme (Frédéric Jean, ex-Hyperclean) et une femme (Sandra Campas) qui jouent et chantent face à face le discours amoureux. Partis de la forme brute de la bossa, le Tropic Hotel n'hésite pas à s'aventurer sur les sentiers électriques de la pop exotica et nous entrainent dans un véritable « road movie musical. » Ce sont des histoires d'amour. D'abord celle de Sandra et Frédéric.En 2014, alors élève au Conservatoire de Jazz de Montauban, Sandra rencontre Frédéric. Le week-end, ils se retrouvent dans une petite cabane perdue au fond des bois pour jouer de la bossa nova nus. S'inspirant des surréalistes, ils s'essaient à des adaptations à partir de jeux littéraires. Sandra chante en brésilien et Frédéric interprète ce qu'il entend en français. Ils appellent cela des « bossas sourdes ». Fin 2016, Sandra se lance dans des adaptations, au plus proche du sens et de la sonorité d'origine. Il apparaît évident que c'est ce qui restitue le mieux la poésie crue de ces textes brésiliens des années 60. Au printemps 2017, ils décident alors de les partager sur scène. Frédéric fait quelques propositions d'arrangements plus électriques et peu à peu se dessine le répertoire, nouvel havre pour ces poèmes d'amour. On laisse la cabane pour le Tropic Hotel. Titres interprétés au grand studio- Je ne suis plus toi et moi (voce e eu) Live RFI- Viens, extrait de l'album voir le clip- Petite Valse Live RFI.Line Up : Sandra Campas, chant, Frédéric Jean, guitare.Son : Benoît Letirant.► Album Tum Tum Bossa (Velvetica Music 2024).- Site - Facebook - Instagram - Spotify.
Compline by Candlelight provides peace and stillness as one week ends and another begins. Set in the tranquility of St. Paul's Chapel, one of the oldest buildings in New York City, guests find a seat and hold a candle, while 30 minutes of improvised music by The Choir of Trinity Wall Street fill the space. There's nothing to do but listen. O sacrum convivium! – Olivier Messiaen
BELIEVE IT OR NOT, the combination of ambient nature sounds and electronic music was actually an innovation in the 1970s. And you may be surprised that the idea had a history in European classical music, especially in England and France. In England, it was the so-called "pastoral" composers like ARNOLD BAX and RALPH VAUGHAN WILLIAMS, who created orchestral images of nature. In France, it was the Impressionists, from CLAUDE DEBUSSY to OLIVIER MESSIAEN. They didn't have recordings, so they created new instruments and playing techniques to imitate natural sounds like wind and birdsongs. By the mid-20th century, we could record the sounds of nature, edit them and play them back at will. In the 1950s, avant-garde composers like JOHN CAGE were promoting an awareness of ambient sound as equal to music. Music...was how you listened. Incorporating nature sounds into music was the next step; beside, film soundtracks had been doing it for years. The psychology is foundational: humans evolved listening to natural sounds, and they send a message we respond to instinctively. For example, birdsong on a gentle summer morning is delightful and calming. Blend in some subtle synthesizers, season with gourmet reverberation and you have what two young Canadians named MYCHAEL DANNA and TIM CLÉMENT called "environmental electronic music." It's an idea that was embraced by New Age musicians and in time became a bit of a cliché. But it led to an electronic genre of extended tone-color journeys in virtual space, which is still alive and well. On this transmission of Hearts of Space, the fluid, airy sound of summer spacemusic, on a program called SUMMERTONES 3. Music is by MEG BOWLES, DANNA & CLÉMENT, CHRONOTOPE PROJECT, ALTUS, and STELLIA. [ view program page ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]
In this episode of One Symphony, conductor Devin Patrick Hughes interviews internationally renowned pianist Quynh Nguyen (pronounced Quin Nwen), exploring her remarkable journey in music. Born in post-war Vietnam, Nguyen's path has been shaped by her family legacy, global influences, and dedication to her craft. From her early beginnings at the Hanoi Conservatory to her studies in Moscow, Paris, and the United States, Nguyen's story exemplifies perseverance and the power of music to transcend boundaries. The interview examines Nguyen's direct connections with French composer Olivier Messiaen and studying with his wife Yvonne Loriod, her respect for Germaine Tailleferre's resilience, and her collaboration with Paul Chihara on his Concerto Fantasy for Piano and Orchestra. Nguyen also explores music's capability to promote peace between nations in her touching final remarks. Quynh Nguyen has performed throughout the United States, Europe, and Vietnam, in venues including Carnegie Hall, Lincoln Center, Smithsonian's Freer Gallery, Berlin Konzerthause, and the Opera House in Hanoi, Vietnam. Broadcast appearances include Voice of America, WQXR, WGBH, NHK Television in Japan, Vietnamese national television, and “Grand Piano,” on cable TV channels across the United States. Her discography includes recordings on Arabesque, Naxos's American Classics Series, and Music and Arts labels. Dr. Nguyen is a graduate of The Juilliard School and Mannes College of Music and received her Doctor of Musical Arts degree from the Graduate Center of City University of New York. She is the recipient of several highly prestigious scholarships and awards, including the United States Presidential Academic Fitness Award, the American Prize, and the Fulbright Fellowship to France. Thank you for joining us on One Symphony. Thanks to Quynh Nguyen for sharing her music and spirit. You can find more info at https://www.quynhpiano.com All music selections feature Quynh Nguyen on Piano. The following albums were featured on One Symphony today: “Fleurs de France: No. 2, Coquelicot de Guyenne” and “Berceuse” composed by Germaine Tailleferre from the album The Flower of France available from Naxos. From Vingt regards sur l'Enfant-Jesus I. No. 15. Le baiser de l'enfant-Jesus ("The kiss of the infant Jesus") composed by Olivier Messiaen from the album Quynh Nguyen: Live in Concert - New York available from Arabesque Records. Concerto Fantasy, composed by Paul Chihara and featuring Nguyen with the London Symphony Orchestra “Drinking Songs for Kittens,” “Like Rising Must,” and “Kleine Toccata…” from the Twice Seven Haiku. 4 Reveries on Beethoven (2021 Version): No. 2, Pastorale. All these selections are available on the album Chihara: Concerto-Fantasy for Piano and Orchestra, Bagetelles, Reveries & Ami on the Naxos label. You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music! https://www.quynhpiano.com https://www.priceattractions.com/devin-patrick-hughes-conductor
Is there really a music of the spheres? And why is space so inspirational for creativity? To ponder these cosmic questions, Dr. Charles Liu and co-host Allen Liu welcome noted composer and pianist Bruce Lazarus. As always, though, we start off with the day's joyfully cool cosmic thing, this time in honor of our guest: the fact that the movie “Oppenheimer” won the Academy Award for Best Original Score. Chuck mentions some other incredible musical scores, especially John William's soundtrack to “Star Wars.” Bruce points out that Williams also did the theme song and soundtrack to the 1960s TV series, “Lost In Space.” And of course, his soundtracks for “Jurassic Park,” “Raiders of the Lost Ark,” “E.T. the Extra-Terrestrial,” and “Close Encounters of the Third Kind.” Bruce has composed many musical pieces inspired by and about the cosmos, including “Musical Explorations of Messier Star Clusters and Nebulae” and “Starry Messenger.” He talks about how the early U.S. space program and the Mercury 7, and the U.S. World's Fair in 1964 inspired him. And while he got away from space-themed music for a while after his time at Juilliard in the 1970s, Bruce estimates that about two thirds of his work over the last 20 years has been astronomy themed. He talks about being inspired by other musical works, from science fiction movie soundtracks like “Arrival” to a few classical pieces like “Colors of the Celestial City” and “Visions from Beyond” by Olivier Messiaen. For our first student question, Ariella asks, “Is there really a music of the spheres?” To answer, Bruce quotes the 5th Century Roman philosopher Boethius, who wrote about how everything is vibrating, so everything has sound. We then listen to a portion of Bruce Lazarus's piece, “Boethius Said.” Allen talks about how many aspects of our existence involve vibration and sound while Chuck brings up the Cosmic Microwave Background and Gravitational Wave Background. Bruce talks about his cycle of 14 pieces for the solo piano inspired by the most commonly referenced Hubble images of the celestial objects found in the Messier Catalog (not to be confused with Messiaen), including Andromeda Galaxy (M31), Ring Nebula (M57), Eagle Nebula (M16), Sombrero Galaxy (M104), and the Pleiades (M45). Our next student question comes from Gino, who asks, “Did you ever want to be a scientist before you became a composer?” Bruce explains that he's always liked building things, so he began building music the way he'd built model airplanes, and at 14 years old decided he wanted to be a composer and also focused on the piano, for both composing and making money! The trio ends up discussing the original “Tron” – and believe it or not, it's Bruce who brings it up, not our Geek-in-Chief Chuck! Our last student question comes from Wally, who asks, “Why is space the most inspirational thing to you when writing music?” Bruce describes how space has been a large part of his life for as long as he can remember. He talks about the Veil Nebula, and why he didn't include it in his Messier cycle. He also shares his experience watching the April 8, 2024 total solar eclipse, and how the reality of seeing it with his own eyes impacted him unexpectedly. If you'd like to know more about Bruce, you can visit his website at www.brucelazaruscomposer.com. We hope you enjoy this episode of The LIUniverse, and, if you do, please support us on Patreon. Credits for Images Used in this Episode: – NASA's first astronauts, the “Mercury 7” – NASA, Public Domain – Olivier Messiaen – Dutch National Archives, Public Domain – Andromeda Galaxy (M31) – Kees Scherer, Public Domain – Ring Nebula (M57) – NASA, ESA, and C. Robert O'Dell, Public Domain – Eagle Nebula (M16) – NASA, ESA, and the Hubble Heritage Team (STScI/AURA), Public Domain – Sombrero Galaxy (M104) – NASA/ESA and The Hubble Heritage Team (STScI/AURA), Public Domain – Pleiades (M45) – NASA, ESA, AURA/Caltech, Palomar Observatory, Public Domain – Crab Nebula (M1) – NASA, ESA, J. Hester and A. Loll, Public Domain – Veil Nebula – Giuseppe Donatiello – The April 8 2024 Total Solar Eclipse – NASA Headquarters / NASA/Keegan Barber Credits for Music Used in this Episode: – “Boethius Said”; Original Lyrics by Boethius, Music & Lyrics by Bruce Lazarus, performed by Cantabile Chamber Chorale, Directed by Rebecca Scott. Used with permission from Bruce Lazarus. – “M1 Crab Nebula” from “Musical Explorations of the Messier Catalogue of Star Clusters and Nebulae.” Composed and performed by Bruce Lazarus. Used with permission from Bruce Lazarus. #TheLIUniverse #CharlesLiu #AllenLiu #SciencePodcast #AstronomyPodcast #BruceLazarus #MusicoftheSpheres #CharlesMessier #MessierCatalog #Boethius #BoethiusSaid #MusicalExplorationsoftheMessierCatalogue #StarClusters #Nebulae #ColorsoftheCelestialCity #OlivierMessiaen #CelestialObjects #HubbleSpaceTelescope #SolarEclipse
As we continue to investigate the great books, music, and ideas of our Western Civilization, we thought it would be good to offer a live conference lecture from 2010 that Director Hodges gave on Olivier Messiaen's masterful QUARTET FOR THE END OF TIME, for violin, cello, clarinet, and piano. Coming as it did out of his time in a Nazi prison camp during WW II, it is a sobering work, but its purpose is one of liberation of the soul. We hope you like it.
Clive Oppenheimer is a volcanologist, filmmaker and Professor of Volcanology at the University of Cambridge. His research has taken him on expeditions across the world, from Antarctica, where he discovered the camp of Captain Scott's attempt to reach the South Pole, to Ethiopia where he was held at gunpoint by rebels. Clive was born in London, and fell in love with rocks and the stories they tell on visits to what is now the Natural History Museum. His mother survived the Blitz in London and his father escaped persecution by the Nazis in Germany in the 1930s. On a gap year trip to Indonesia, Clive saw his first volcanoes and realised both their natural power and their significance in human lives. He studied at the University of Cambridge, and completed a PhD at the Open University.He has taken part in and led expeditions to volcanoes all over the world, including Indonesia, Italy and Ethiopia. He is one of few Westerners to have worked in North Korea, where he was invited by the government to study volcanic activity at the culturally significant Mount Baekdu. He has also made three documentaries with filmmaker Werner Herzog about volcanoes and their scientific, cultural and spiritual significance. DISC ONE: Blue Rondo a la Turk - Dave Brubeck Quartet DISC TWO: Love Hangover - Diana Ross DISC THREE: Autobahn - Kraftwerk DISC FOUR: Lava - The B-52's DISC FIVE: Debaser - Pixies DISC SIX: Turangalîla-symphonie, Part VI Jardin du sommeil d'amour. Composed by Olivier Messiaen and performed by the Orchestre de l'Opéra Bastille, cond Myung-Whun Chung, with Yvonne Loriod (piano) and Jeanne Loriod (ondes martenot) DISC SEVEN: T'zeta - Bezawork Asfew DISC EIGHT: Hymn for the Dormition of the Mother of God - The Sixteen and Harry ChristophersBOOK CHOICE: The Vivisector by Patrick White LUXURY ITEM: A seismometer CASTAWAY'S FAVOURITE: Debaser – PixiesPresenter Lauren Laverne Producers Sarah Taylor and Tim Bano
Tommy Murphy is an award-winning screenwriter and playwright based in Sydney. Tommy adapted the Australian queer classic memoir Holding the Man for both stage and screen, while his limited series Significant Others was broadcast on the ABC last year. Most recently, he adapted Nevil Shute's On the Beach for the Sydney Theatre Company.Holding the Man is currently back on stage in Sydney at the Belvoir Theatre. We discuss music by Whitney Houston, Olivier Messiaen, and Rufus Wainwright.This conversation was recorded at Forbes Street Studios in Sydney. A huge thank you to Anthony Garvin for his support.Listen to all previous guest choices in one handy Spotify playlist, Selections from Tracks of Our Queers and follow the pod on Instagram.Support the showHelp keep Tracks of Our Queers ad-free by shouting me a coffee right here. Thank you for your support.
In this episode we hear Darius Battiwalla improvising to a 1920 silent horror film called 'The Cabinet of Dr Caligari. Sitting at the console of the 1972 Hradetzky organ at the Royal northern College of Music, Darius demonstrates some of the musical techniques he uses when improvising to silent films.http://www.dariusbattiwalla.com/Tom Daggett, Director of Music at Sheffield Cathedral, talks about the work he's doing to rebuild the cathedral's choir. https://www.sheffieldcathedral.org/cathedral-choirBlind organist and composer, David Aprahamian Liddle, explains the process of learning music through braille, and shares some amusing anecdotes of his encounters with Jean Langlais, Olivier Messiaen, André Marchal and Madame Duruflé. http://davidliddle.org/biography.htm Get in touch: theorganpodcast@rco.org.ukhttps://www.rco.org.uk/
Violinist Alena Baeva is Russian, Luxembourgish Polish and Ukrainian. With her Ukrainian husband, the pianist Vadym Kholodenko, she has just released a new album entitled "Fantasy", which revisits dream-tinted music by Franz Schubert, Igor Stravinsky, Robert Schumann and Olivier Messiaen. The duo are currently touring the record and the award-winning soloist stopped by arts24 to tell us more about it. We also take a look at other new collaborative albums including Ye (Kanye West) and Ty Dolla Sign's "Vultures 1", as well as Liam Gallagher and John Squire's eponymous first album.
It's a new year and that means a new season of TNT! This year we're still digging into full-length albums - but we're also uncovering the record labels that provide the world with these releases and the rare gems that we look forward to uncovering. On our first show of Season 5 (!) Thanh + Tim talk about the 2017 Luaka Bop release, "Reflections: Mojave Desert" by British electronic music producer, DJ, and musician Floating Points.
It made Pierre Boulez want to vomit: Francis Poulenc thought it was atrocious: and Igor Stravinsky said all you needed to write it was enough manuscript paper. But its composer wrote all 80 minutes of it as a love song, and a hymn to joy. So just what is Olivier Messiaen's epic Turangalila Symphony, premiered in 1949 by Leonard Bernstein and the Boston Symphony Orchestra, why did it divide opinion so much, and what does it mean today?Producer: Ruth Thomson
In seiner einzigen Oper, "Saint François d'Assise", bringt Olivier Messiaen den heiligen Franziskus auf die Bühne: Eine besondere Rolle spielen dabei Vögel. Von Christoph Vratz.
durée : 02:10:00 - Les Nuits de France Culture - par : Philippe Garbit - A l'occasion du 70ème anniversaire du compositeur français Olivier Messiaen (1908-1992), France Culture consacre en décembre 1978 une émission spéciale à cet artiste chrétien, amoureux de la nature, des oiseaux, et de la culture japonaise. - invités : Olivier Messiaen Compositeur français (Avignon 1908 – Clichy 1992)
PETER SEIVEWRIGHT has received a Special Judges' Citation in The American Prize Ernst Bacon Award for the Performance of American Music competition, in the professional solo artist division. Peter Seivewright, honored for “Championing American Piano Music,” was selected from applications reviewed recently from all across the United States and the United Kingdom, and the citation awarded for his Divine Art album ‘American Piano Sonatas‘. Peter Seivewright has performed extensively as a recitalist and as Piano Concerto soloist with leading professional Orchestras throughout Great Britain, Ireland, Norway, Austria, Germany, Italy, Belgium, Denmark (eight recital tours), Latvia, Estonia, Malaysia, Afghanistan, Cambodia, Vietnam, Kazakhstan, Australia (four recital tours), China, India, Kuwait, the United Arab Emirates, Trinidad and Tobago, the United States of America, Russia, and the Donetsk People's Republic. Peter Seivewright's CD discography is extensive and includes: The Complete Piano Music of Carl Nielsen (2CDs – Naxos), Contemporary Scottish Piano Music, (Merlin), the major piano works by the Danish Romantic composer Victor Bendix (1851-1926) (Rondo Records, Copenhagen), and several CDs issued by The Divine Art Recordings Group, for whom he now records exclusively. Peter is working through a series of CDs for Divine Art featuring the complete Piano Sonatas of Baldassare Galuppi (1706-1785), the last great composer of the independent Venetian Republic. In 2007 Divine Art released a double CD comprising the major piano works of the Danish composer Louis Glass (1864-1936).Other Divine Art recordings include a disc of J.S.Bach Piano Concertos and a CD featuring American Piano Sonatas, which was exceptionally critically well-received, and which is currently a finalist for the Ernst Bacon Award in THE AMERICAN PRIZE 2018. Future recording plans include several more sets of American Piano Sonatas, more J.S.Bach and music by Reger, Cyril Scott, and Olivier Messiaen.
Synopsis Today's the birthday of the versatile Argentinean-born American composer, arranger and jazz pianist, Boris Claudio “Lalo” Schifrin, who was born in Buenos Aires on today's date in 1932.From his background, you'd guess Schifrin was destined for a concert career. His father was a violinist in the orchestra of Argentina's premiere opera house, the Teatro Colon. As a boy he studied with Enrique Barenboim, father of pianist/conductor Daniel Barenboim, and in Paris he studied composition with Olivier Messiaen and Charles Koechlin. But Lalo Schifrin also loved jazz, and after studies by day with Messiaen, his nights were spent performing in Parisian jazz clubs. Eventually Dizzy Gillespie commissioned him to write for his band. Around the same time, Schrifin began writing film and TV scores. When he started working on the TV series “Alfred Hitchcock Presents,” he came into contact with legendary film composer Bernard Herrmann, who became a friend and mentor. Schifrin has written more than 100 scores for film and television but his most famous composition is this catchy theme of the 1960s TV series, “Mission Impossible”—and still used in the subsequent movie remakes. Music Played in Today's Program Lalo Schifrin (b. 1932) Hommage a Ravel Eaken Piano Trio Naxos 8.559062 Lalo Schifrin (b. 1932) Theme fr Mission Impossible studio orchestra BBC Records 763
Composer pianist Timo Andres joins us to discuss the Apple Music Classical app and Kirk's article about classical music that doesn't sound like classical music. Help support The Next Track by making regular donations via Patreon (https://www.patreon.com/thenexttrack). We're ad-free and self-sustaining so your support is what keeps us going. Thanks! Guest: Timo Andres (https://www.andres.com) Show notes: Timo Andres on Wikipedia (https://en.wikipedia.org/wiki/Timo_Andres) Apple Music Classical (Mostly) Plays the Right Chords - TidBITS (https://tidbits.com/2023/03/29/apple-music-classical-mostly-plays-the-right-chords/) The Next Track: Episode #253: Apple Music Classical (https://www.thenexttrack.com/258) Classical music recommendations for people who want to discover classical music that doesn't sound like classical music (https://kirkville.com/classical-music-recommendations-for-people-who-want-to-discover-classical-music-that-doesnt-sound-like-classical-music/) Takemitsu: Spectral Canticle (https://music.apple.com/us/album/1679990578) Merlin Bird ID (https://merlin.allaboutbirds.org) Terry Riley: In C, Shanghai Film Orchestra (https://music.apple.com/us/album/in-c/201360456?i=201360500) Timo Andres: Shy and Mighty (https://music.apple.com/us/album/shy-and-mighty-feat-david-kaplan/368561944) - Brian Eno: Everything Merges With The Night — Timo Andres (https://www.youtube.com/watch?v=e0YJIvyrrRA) Sufjan Stevens: Reflections (https://music.apple.com/us/album/reflections/1675947765) The music Steve Reich: Music for 18 Musicians This 1976 work is one of the foundational works of minimalism. Its driving beat, or pulse, as Reich calls it, makes it a toe-tapper. This recording, on the ECM label in 1978, is the first recording by Steve Reich and Musicians. There have been many recordings since then by Reich and by other ensembles. John Cage: Sonatas and Interludes for Prepared Piano You can't talk about 20th-century classical music without mentioning John Cage. His music, mostly created using chance operations, was revolutionary. The pieces on this recording were composed between 1946 and 1948, before Cage adopted his Yi Jing influenced compositional approach. The revolution here is the "prepared" piano, in which screws and bolts, pieces of plastic and rubber were wedged between the piano strings, turning into a percussion ensemble. Morton Feldman: Piano and String Quartet Morton Feldman was a close friend of John Cage, but his music was very different. Many of his pieces are long - this one lasts 79 minutes - and quite. His music has slow, soft, slowly morphing phrases, and you can get lost in his sound world. Toru Takemitsu: From Me Flows What You Call Time Strongly influenced by western classical music, notably Debussy, Tour Takemitsu created unique music that doesn't fit easily in any boxes. This 1990 work is a concerto for five percussionists and orchestra, and lasts about 36 minutes. Philip Glass: Einstein on the Beach Philip Glass is one of the foundational composers of New York minimalism, and is well known for his operas and film scores. His first "opera," Einstein on the Beach, lasts about five hours, and is a summation of his various composing styles in the 1970s. This recording is from the 1984 revival at the Brooklyn Academy of Music, which I attended, and which has left its mark on me. If you like this, you may want to see the opera staged, and this Blu-Ray of a 2014 production in Paris is excellent. Olivier Messiaen: Catalogue d'Oiseaux My only atonal selection is this group of works by the French composer Olivier Messiaen. He lived in the French Alps for many years, and in this series of piano pieces, Catalogue of birds, he presents his take on songs of the different birds heard around France. Much of Messiaen's music is "difficult," but if you take the time to get into this recording, you may find it enjoyable. Arvo Pärt: Tabula Rasa Estonian composer Arvo Pärt was "discovered" in the west in 1984 when ECM released this album. The title work, from 1977, is an example of music that deconstructs, and other works on the album are also fascinating. Terry Riley: In C One of the first true minimalist works, In C "consists of 53 short numbered musical phrases, lasting from half a beat to 32 beats; each phrase may be repeated an arbitrary number of times at the discretion of each musician in the ensemble. Each musician thus has control over which phrase they play, and players are encouraged to play the phrases starting at different times, even if they are playing the same phrase." (Wikipedia) This is the first recording, from 1968, led by the composer, but it has been recorded many times since. Frederic Rzewski: The People United Will Never Be Divided This work consists of 36 variations on a Chilean protest song ¡El pueblo unido jamás será vencido! which is both highly musical and extremely difficult to perform. Timo Andres: Home Stretch Timo Andres is a young composer living in New York City. This recording is probably the most classical sounding of my selection. At its center is a "reconstruction" of an incomplete Mozart piano concerto, which is "an almost entirely new-sounding piece, which I hope will be an antidote to the studied blandness of most existing completions." This is bookended by Home Stretch, a piece "in three large sections which gradually accelerate: beginning in almost total stasis, working up to an off-kilter dance with stabbing accents, and ushering in a sturm-und-drang cadenza which riles itself up into a perpetual-motion race to the finish," and Paraphrase on Themes of Brian Eno, where Andres orchestrates some of Brian Eno's songs from Before and After Science and Another Green World. (Notes from Timo Andres's website.) If you like the show, please subscribe in iTunes (https://itunes.apple.com/podcast/the-next-track/id1116242606) or your favorite podcast app, and please rate the podcast.
There is one composer who I've never devoted a full show to that fills me with the same devotion and ecstasy as the people who claim that Wagner almost immediately dissolves them into tears. His music is widely played, but it has never been totally embraced by the wider classical music audience. There are a variety of reasons for this, but his uniquely 20th century language of tonality mixed with atonality mixed with something completely different from anyone who has ever written music makes it sometimes difficult to pin down his vast contribution to the world of music. His music is as deeply connected to his religious faith as any composer in history, and yes, that includes Bach. His music is as deeply connected to Nature as any composer who ever lived, and his music is tied directly to the colors he saw as he played and listened to it. His name is Olivier Messiaen, and he is one of the greatest composers of the 20th century. I wish I could describe to you the otherworldly feeling I get when I listen to his music, but for a very long time, I shied away from it. Perhaps the reason is that it's extremely hard to talk about Messiaen's musical outlook without talking about his religious faith. I'm a non-religious Jewish person, so the depths of devotion that Messiaen describes regularly as his inspirations were and are foreign to me. And yet, the first time I heard his L'Ascension, every single hair on my body seemed to stand on end. I was completely blown away by these ravishing harmonies, how light seemed to shine off of them, how Messiaen translated his religious devotion into sound. I've not talked about Messiaen's music on the show because it's not easy to grapple with, but I can't wait any longer. Today I'll tell you a bit about Messiaen's life, his upbringing, his musical and religious revelations, and then I'll discuss some of his greatest pieces using three frameworks - religion, nature and specifically birdsong, and color. Join us!
© 2020-2026 Ivy Podcast Discovery LLC
