Olivier Messiaen - Vingt regards sur l'enfant-Jésus (Pierre-Laurent Aimard)

Information

Composer: Olivier Messiaen

CD1

1. Vingt regards sur l'enfant-Jésus: I. Regard du Père: Extrêmement lent. Mystérieux, avec amour
2. Vingt regards sur l'enfant-Jésus: II. Regard de l'étoile: Modéré
3. Vingt regards sur l'enfant-Jésus: III. L'échange: Bien modéré
4. Vingt regards sur l'enfant-Jésus: IV. Regard de la Vierge: Bien modéré
5. Vingt regards sur l'enfant-Jésus: V. Regard du Fils sur le Fils: Très lent
6. Vingt regards sur l'enfant-Jésus: VI. Par Lui tout a été fait: Modéré, presque vif
7. Vingt regards sur l'enfant-Jésus: VII. Regard de la Croix: Bien modéré
8. Vingt regards sur l'enfant-Jésus: VIII. Regard des hauteurs: Vif
9. Vingt regards sur l'enfant-Jésus: IX. Regard du temps: Modéré
10. Vingt regards sur l'enfant-Jésus: X. Regard de l'Esprit de joie: Presque vif

CD2

1. Vingt regards sur l'enfant-Jésus: XI. Première communion de la Vierge: Très lent
2. Vingt regards sur l'enfant-Jésus: XII. La parole toute-puissante: Un peu vif
3. Vingt regards sur l'enfant-Jésus: XIII. Noêl: Très vif, joyeux
4. Vingt regards sur l'enfant-Jésus: XIV. Regard des Anges: Très vif
5. Vingt regards sur l'enfant-Jésus: XV. Le baiser de l'Enfant-Jésus: Très lent, calme
6. Vingt regards sur l'enfant-Jésus: XVI. Regard des prophètes, des bergers et des Mages: Modéré
7. Vingt regards sur l'enfant-Jésus: XVII. Regard du silence: Très modéré
8. Vingt regards sur l'enfant-Jésus: XVIII. Regard de l'Onction terrible: Modéré
9. Vingt regards sur l'enfant-Jésus: XIX. Je dors, mais mon cœur veille: Lent
10. Vingt regards sur l'enfant-Jésus: XX. Regard de l'Élise d'amour: Presque vif

Pierre-Laurent Aimard, piano

Date: 2000

Label: Teldec

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Review

If a work's greatness can be measured by the number of different interpretations it can withstand, then Messiaen's monumental meditation for piano Vingt regards sur I'enfant Jesus is proving itself a giant. Anyone who has witnessed Pierre-Laurent Aimard's live performance will not be disappointed by this recording. It has all the iridescence and exhilarating energy that took the breath away at his Barbican performance in 1999. He hurls through the work, often at terrific speed; static architecture is replaced by galloping narrative. It may not be what Messiaen originally envisaged, but he was never averse to being surprised by performers.

In comparison to Yvonne Loriod's masterly reading (Erato) his is a youthful approach. Some will find spirituality in its spectacular exultation, others may feel he dances over a deeper sense of meditation. What is sure is that Aimard has opened the shutters on the work and let the light flood in: gone is the heavy churchiness and organ-like massivity. His high tclats glitter; every line, every edge and crevice are revealed, beautifully weighted and balanced. Listen to the irresistible rhythmic drive in 'L'esprit de joie', the luminous, rocking chant of 'La vierge', the diamond clarity of multiple lines and rhythms in 'Prophetes' (16) and the apocalyptic power of his 'figlise d'amour'. But it's not all testosterone: 'Le baiser de Fenfant' is wonderfully veiled and 'Je dors' innocence itself.

The recorded sound is superlative (even the pounded bass chords in 'La parole toute puissante' have a penetrating and precise resonance). Beside it, Loriod's badly edited version sounds congested and murky. Austbo's performance (Naxos) is gentler, more circumspect and certainly truer to Messiaen's marked tempi. But who can complain when the piano playing is of this order? In 20 years time, no doubt, he will play it differently. For now, be dazzled.

— BBC Music Magazine

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Olivier Messiaen (10 December 1908 – 27 April 1992) was a French composer, organist and teacher renowned for his highly original compositions. After studying at the Paris Conservatory with Dukas, Widor and Dupré, among others, he became organist at Sainte-Trinité in Paris in 1931. During World War II, he composed Quartet for the End of Time while imprisoned in Germany. As a teacher at the Paris Conservatory, he mentored leading composers such as Pierre Boulez and Karlheinz Stockhausen. His major works include Turangalîla-Symphonie, Catalogue d’oiseaux, and the opera St. François d’Assise.

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Pierre-Laurent Aimard (born 9 September 1957) is a French pianist. He studied at the Conservatories in Lyon and Paris, and also with with Yvonne Loriod and Maria Curcio. Aimard is particularly committed to contemporary music; he was the soloist in several premieres of works by Pierre Boulez, Karlheinz Stockhausen and György Ligeti. One of his most notable recordings is that of the first two books of Ligeti's piano études. In addition to his work with contemporary music, Aimard has recorded the five Beethoven piano concertos. He has recorded for Sony Classical, Teldec, Deutsche Grammophon and PentaTone labels.

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