Olivier Messiaen – Quatuor Pour La Fin Du Temps - Daniel Barenboim, Albert Tetard, Claude Desurmont, Luben Yordanoff
Prix habituel
€75,00
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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 :
- Liturgie De Cristal
- Vocalise, Pour L'Ange Qui Annonce La Fin Du Temps
- Abîme Des Oiseaux
- Intermède
- Louange À L'Eternité De Jésus
Side B :
- Danse De La Fureur, Pour Les Sept Trompettes
- Fouillis D'Arcs-En-Ciel, Pour L'Ange Qui Annonce La Fin Du Temps
- 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
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