Olivier Messiaen – Quatuor Pour La Fin Du Temps - Daniel Barenboim, Albert Tetard, Claude Desurmont, Luben Yordanoff
Olivier Messiaen – Quatuor Pour La Fin Du Temps - Daniel Barenboim, Albert Tetard, Claude Desurmont, Luben Yordanoff
Olivier Messiaen – Quatuor Pour La Fin Du Temps - Daniel Barenboim, Albert Tetard, Claude Desurmont, Luben Yordanoff
Olivier Messiaen – Quatuor Pour La Fin Du Temps - Daniel Barenboim, Albert Tetard, Claude Desurmont, Luben Yordanoff
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Olivier Messiaen – Quatuor Pour La Fin Du Temps - Daniel Barenboim, Albert Tetard, Claude Desurmont, Luben Yordanoff
Olivier Messiaen – Quatuor Pour La Fin Du Temps - Daniel Barenboim, Albert Tetard, Claude Desurmont, Luben Yordanoff
Olivier Messiaen – Quatuor Pour La Fin Du Temps - Daniel Barenboim, Albert Tetard, Claude Desurmont, Luben Yordanoff
Olivier Messiaen – Quatuor Pour La Fin Du Temps - Daniel Barenboim, Albert Tetard, Claude Desurmont, Luben Yordanoff

Olivier Messiaen – Quatuor Pour La Fin Du Temps - Daniel Barenboim, Albert Tetard, Claude Desurmont, Luben Yordanoff

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Olivier Messiaen – Quatuor Pour La Fin Du Temps

Piano – Daniel Barenboim

Violincello – Albert Tetard

Clarinet – Claude Desurmont

Violin – Luben Yordanoff


1 LP, standard sleeve with a 4-page insert

Original analog Master tape : YES

Heavy Press : 180g

Record color : black

Speed : 33 RPM

Size : 12'’

Stereo

Studio

Record Press : Pallas

Label : Speakers Corner

Original Label : Deutsche Grammophon

Recorded April 1978 at Maison de la Mutualité, Paris

Engineered by Klaus Scheibe

Produced by Günther Breest

Originally released in 1979

Reissued in 2009


Tracks :

Side A :

  1. Liturgie De Cristal
  2. Vocalise, Pour L'Ange Qui Annonce La Fin Du Temps
  3. Abîme Des Oiseaux
  4. Intermède
  5. Louange À L'Eternité De Jésus

Side B :

  1. Danse De La Fureur, Pour Les Sept Trompettes
  2. Fouillis D'Arcs-En-Ciel, Pour L'Ange Qui Annonce La Fin Du Temps
  3. Louange À L'Immortalité De Jésus

           

          Reviews:

          “This recording was made in Messiaen's presence and was authorized by him, so we must take it to be 'authentic'. The rhythmic precision throughout is certainly very commendable tempos are well chosen and maintained and the fast movements go with an invigorating steely zest. I wish, however, that I enjoyed the string playing as much as the composer presumably did: both violin and cello are rather nasal in tone and adopt (except where the score explicitly asks them not to) a continuous and not always perfectly steady vibrato. The effect, in music which is intended to be ''majestic, contemplative, very expressive'' (the fifth movement, with solo cello) or ''tender, ecstatic, expressive, paradisiacal'' (the eighth, with solo violin), is to my ears rather crabbed and nagging. One begins to realize how very difficult such a vibrato is in music so motionlessly sustained as this, and one's left hand aches in sympathy.

          The clarinettist on the other hand is excellent, with a fine sense of line, a vociferous reediness at one end of his range and a disembodied pp at the other (he cannot manage all of Messiaen extremes of dynamic, even so: no clarinettist can). Barenboim is admirable, too: he can scintillate soloistically as well as bear the considerable burden of those hypnotic repetitions. The concerted movements certainly deserve Messiaen's commendation, though the rather close recording, emphasizing the edginess of the strings, gives the ensemble a somewhat wiry sound overall.” Michael Oliver, Gramophone

           

          Ratings :

          Discogs : 4.65 / 5 

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