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Turangalîla-Symphonie

February 06, 2023

The Turangalîla-Symphonie is the only symphony by Olivier Messiaen (1908–1992). It was written for an orchestra of large forces from 1946 to 1948 on a commission by Serge Koussevitzky in his wife's memory for the Boston Symphony Orchestra. Along with the Quatuor pour la fin du temps, the symphony is one of the composer's most notable works.

Turangalîla-Symphonie
for piano, ondes martenot, and orchestra
by Olivier Messiaen
Messiaen (1986)
Other nameTurangalîla
CatalogueSimeone: I/29
Period20th-century music
GenreSymphony
Commissioned bySerge Koussevitsky
Based onTristan and Iseult
Composed17 July 1946 – 29 November 1948 (rev. 1990)
DedicationIn memoriam Natalie Koussevitsky (manuscript; published copy bears no dedication)
PublisherDurand
Durationabout 80 minutes
MovementsTen
ScoringLarge orchestra, Ondes Martenot, and piano
Premiere
Date2 December 1949
LocationBoston
ConductorLeonard Bernstein
PerformersBoston Symphony Orchestra
Yvonne Loriod (piano)
Ginette Martenot (ondes Martenot)

The premiere was in Boston on 2 December 1949, conducted by Leonard Bernstein. The commission did not specify the duration, orchestral requirements or style of the piece, leaving the decisions to the composer.[1] Koussevitzky was billed to conduct the premiere, but fell ill, and the task fell to the young Bernstein.[2] Bernstein has been described as "the ideal conductor for it, and it made Messiaen's name more widely known".[3] Yvonne Loriod, who later became Messiaen's second wife, was the piano soloist, and Ginette Martenot played the ondes Martenot for the first and several subsequent performances.

From 1953, Yvonne's sister Jeanne Loriod was the ondes Martenot player in many performances and recordings.[4]

Concept

While most of Messiaen's compositions are religious in inspiration, at the time of writing the symphony the composer was fascinated by the myth of Tristan and Isolde, and the Turangalîla Symphony forms the central work in his trilogy of compositions concerned with the themes of romantic love and death; the other pieces are Harawi for piano with soprano and Cinq rechants for unaccompanied trios of soprani, alti, tenors, and basses.[5] It is considered one of the greatest musical compositions of the 20th century; being described by its commissioner as 'the most important piece of classical music ever written since Igor Stravinsky's The Rite of Spring'. A typical performance runs around 80 minutes in length. Messiaen famously summarised the entire symphony as being "a love song; a hymn to joy."[6]

Although the concept of a rhythmic scale corresponding to the chromatic scale of pitches occurs in Messiaen's work as early as 1944, in the Vingt regards sur l'enfant-Jésus (a work Messiaen quotes in the fourth movement), the arrangement of such durations into a fixed series occurs for the first time in the opening episode of the movement "Turangalîla 2" in this work, and is an important historical step toward the concept of integral serialism.[7]

The title of the work, and those of its movements, were a late addition to the project, chosen after Messiaen made a list of the work's movements. He described the name in his letters from 1947 to 1948.[8] He derived the title from two Sanskrit words, turanga and līlā, which he explained thus:[6]

"Lîla" literally means play – but play in the sense of the divine action upon the cosmos, the play of creation, destruction, reconstruction, the play of life and death. "Lila" is also love. "Turanga": this is the time that runs, like a galloping horse; this is time that flows, like sand in an hourglass. "Turanga" is movement and rhythm. "Turangalîla" therefore means all at once love song, hymn to joy, time, movement, rhythm, life and death.

Messiaen described the joy of Turangalîla as "superhuman, overflowing, blinding, unlimited".[6] He revised the work in 1990.[4]

Instrumentation

The piece is scored for:

The demanding piano part includes several solo cadenzas.

Cyclic themes

 
The ondes Martenot, an electronic instrument, is used in sensuous and dramatic parts of the Turangalila such as the "love theme"

In writing about the work, Messiaen identified four cyclic themes that reappear throughout; there are other themes specific to each movement.[6] In the score the themes are numbered, but in later writings he gave them names to make them easier to identify, without intending the names to have any other, literary meaning.

  Introduced by trombones and tuba, this is the statue theme. According to Messiaen, it has the oppressive, terrible brutality of ancient Mexican monuments, and has always evoked dread. It is played in a slow tempo, pesante.[a]
  This is the flower theme. It is introduced by two clarinets.
  This theme, the most important of all, is the love theme. It appears in many different guises, from hushed strings in movement 6, to a full orchestral treatment in the climax of the finale.
  A simple chain of chords, used to produce opposing chords on the piano and crossing counterpoints in the orchestra.

Structure

The work is in ten movements, linked by the common themes identified above, and other musical ideas:

 
I. Introduction
II. Chant d’amour 1
III. Turangalîla 1
IV. Chant d’amour 2
V. Joie du sang des étoiles
VI. Jardin du sommeil d’amour
VII. Turangalîla 2
VIII. Développement d’amour
IX. Turangalîla 3
X. Final
Problems playing these files? See media help.
  1. Introduction. Modéré, un peu vif
    A "curtain raiser" introducing the "statue theme" and the "flower theme", followed by the body of the movement, which superimposes two ostinato groups with rhythmic punctuations. A reprise of the "statue" theme closes the introduction.
  2. Chant d’amour (Love song) 1. Modéré, lourd
    After an atonal introduction, this movement is built on an alternation of a fast and passionate theme dominated by the trumpets, and a soft and gentle theme for the strings and ondes.
  3. Turangalîla 1. Presque lent, rêveur
    Three themes are stated: one starting with a solo clarinet, the second for low brass and strings, and the third a sinuous theme on the woodwinds. The movement then develops and, later, overlaps the themes, with the addition of a new rhythm in the percussion.
  4. Chant d’amour 2. Bien modéré
    Introduced by a scherzo for piccolo and bassoon, this movement is in nine sections, some of which recall and develop music heard earlier. A calm coda in A major brings it to a close.
  5. Joie du sang des étoiles (Joy of the Blood of the Stars). Vif, passionné avec joie
    A frenetic dance whose main theme is a fast variant of the "statue theme". For Messiaen, it represented the union of two lovers seen as a transformation on a cosmic scale. The dance is interrupted by a shattering piano cadenza before a brief orchestral coda.
  6. Jardin du sommeil d’amour (Garden of Love’s Sleep). Très modéré, très tendre
    The first full rendition of the "love" theme in the strings and ondes is accompanied by idealized birdsong played by the piano, and by other orchestral coloristic effects. According to Messiaen, "The two lovers are enclosed in love's sleep. A landscape comes out from them..."
  7. Turangalîla 2. Un peu vif, bien modéré
    A completely atonal movement that is intended to invoke terror, with a predominant role for the percussion ensemble.
  8. Développement d’amour (Development of Love). Bien modéré
    For Messiaen, the title can be considered in two ways. For the lovers, it is terrible: united by the love potion, they are trapped in a passion growing to the infinite. Musically, this is the work's development section.
  9. Turangalîla 3. Bien modéré
    A theme is introduced by the woodwind. A five-part percussion ensemble introduces a rhythmic series that then sustains a set of superimposed variations on the woodwind theme.
  10. Final. Modéré, presque vif, avec une grande joie
    The movement is in sonata form: A brass fanfare, coupled with a fast variation of the "love theme", is developed and leads to a long coda, a final version of the "love" theme played fortissimo by the entire orchestra. The work ends on an enormous F♯ major chord. In Messiaen's words, "glory and joy are without end".

The composer's initial plan was for a symphony in the conventional four movements, which eventually became numbers 1, 4, 6, and 10. Next, he added the three Turangalîla movements, which he originally called tâlas, a reference to the use of rhythm in Indian classical music. Finally, the 2nd, 5th, and 8th movements were inserted.[9] Early on, Messiaen authorized separate performance of movements 3, 4, and 5, as Three tâlas (not to be confused with the original use of the term for the three Turangalîla movements), but later came to disapprove of the performance of extracts.

Recordings

 
Maurice Le Roux conducting the Turangalila-Symphonie
Recordings of Turangalîla-Symphonie
Conductor Orchestra Piano Ondes martenot Label Catalog Released Format Notes
Roger Désormière Orchestre National de la RTF Yvonne Loriod Ginette Martenot INA [full citation needed] 1950 Live recording on 25 July 1950, of the European premiere at the Aix-en-Provence Festival
Hans Rosbaud SWF-Sinfonieorchester Baden-Baden Yvonne Loriod Ginette Martenot Wergo WER 6401-2 1992 Recorded 23/24 December, 1951
Maurice Le Roux Orchestre National de la RTF Yvonne Loriod Jeanne Loriod Vega/Accord
  • VAL 127
  • Vega C 30 ST 20033/4
  • Vega C 35 X 940
 1962
  • Box set
  • 10-inch LPs
  •  
 Recording supervised by Messiaen in 1961. Released in France
Jean Fournet Netherlands Radio Philharmonic Yvonne Loriod Jeanne Loriod Q Disc [full citation needed] 1967 Live
Seiji Ozawa Toronto Symphony Orchestra Yvonne Loriod Jeanne Loriod RCA [full citation needed] 1967
André Previn London Symphony Orchestra Michel Béroff Jeanne Loriod EMI SLS 5117 1977 Double LP
Louis de Froment Orchestre Symphonique de RTL Yvonne Loriod Jeanne Loriod Forlane [full citation needed] 1982 Live
Esa-Pekka Salonen Philharmonia Orchestra Paul Crossley Tristan Murail
  • I2M 42126
  • G010003836824C
  • 1985
  • 2018
  • 2 LPs
  • CD
Simon Rattle City of Birmingham Symphony Orchestra Peter Donohoe Tristan Murail EMI
  • EX270468-3
  • 747463-8
 1986
  • LP
  • CD
Myung-Whun Chung Orchestre de l'Opéra Bastille Yvonne Loriod Jeanne Loriod Deutsche Grammophon 0289 431 7812 9 1990 CD First recording of the revised version, supervised by Messiaen.
Riccardo Chailly Royal Concertgebouw Orchestra Jean-Yves Thibaudet Takashi Harada Decca
  • 1993
  • 2012
  •  
  • CD
Marek Janowski Orchestre philharmonique de Radio France Roger Muraro Valérie Hartmann-Claverie RCA 09026 61520 2 1992
Yan Pascal Tortelier BBC Philharmonic Howard Shelley Valérie Hartmann-Claverie Chandos CHAN9678 1998 CD
Antoni Wit Polish National Radio Symphony Orchestra François Weigel Thomas Bloch Naxos 8.554478-9 December 1998 CD
Hans Vonk Saint Louis Symphony Orchestra Garrick Ohlsson Jean Laurendeau Pentatone [full citation needed] 1999 Live
Kent Nagano Berliner Philharmoniker Pierre-Laurent Aimard Dominique Kim Teldec 8573-82043-2 2001 CD Live recording in March 2000 in Berlin
Norichika Iimori Tokyo Symphony Orchestra Kazuoki Fujii Takashi Harada Canyon [full citation needed] 2001
Ryusuke Numajiri Japan Philharmonic Orchestra Ichiro Nodaira Takashi Harada Exton [full citation needed] 2002 Live
Thierry Fischer BBC National Orchestra of Wales Roger Muraro Jacques Tchamkerten BBC Music [full citation needed] 2006 Live
Hiroyuki Iwaki Melbourne Symphony Orchestra Kaori Kimura Takashi Harada ABC Classics 4812873 2007 CD Live recording in 1985. Re-released 2007.
Sylvain Cambreling SWR Sinfonieorchester Baden-Baden und Freiburg Roger Muraro Valérie Hartmann-Claverie Hänssler Classic 93.225 2008 CD
Juanjo Mena Bergen Philharmonic Orchestra Steven Osborne Cynthia Millar Hyperion A67816 2012 CD
Hannu Lintu Finnish Radio Symphony Orchestra Angela Hewitt Valérie Hartmann-Claverie Ondine ODE12515 2014 CD
Yutaka Sado Tonkünstler Orchestra Roger Muraro Valérie Hartmann-Claverie Tonkünstler Orchestra TON2005 2018 CD

See also

Notes

  1. ^ This example is taken from the CD booklet included with the Chung recording.[6] It was written in Messiaen's own hand, and has the low D (D2) assigned to the third trombone as shown. However, in the published 1990 score,[4] the note is written an octave higher (D3).

References

  1. ^ Program notes provided with the Naxos Records recording by the Polish National Radio Symphony Orchestra with François Weigel (piano), Thomas Bloch (ondes Martenot) and Antoni Wit (conductor).
  2. ^ Thomas Barker, "The Social and Aesthetic Situation of Olivier Messiaen's Religious Music: Turangalîla-Symphonie." International Review of the Aesthetics and Sociology of Music. 43, no. 1 (2012): 53–70; citation on 53
  3. ^ Andrew Ford (2012). Try Whistling This: Writings about Music. Collingwood, Victoria.: Black Inc. p. 261. ISBN 9781863955713.
  4. ^ a b c d e Full score, pub, Durand.
  5. ^ Peter Hill and Nigel Simeone (2005). Messiaen. New Haven and London: Yale University Press. ISBN 0-300-10907-5.[page needed]
  6. ^ a b c d e Messiaen, Olivier (2004) [1991]. Turangalîla-Symphonie (CD liner booklet). Orchestre de l'Opéra Bastille, Myung-whun Chung, Yvonne Loriod, Jean Loriod. Deutsche Grammophon. p. 1. DG 431 781–2.; Page, Tim (20 February 2002). "Live Online: Classical Music Forum". The Washington Post. Retrieved 11 July 2020.
  7. ^ Robert Sherlaw Johnson, Messiaen, revised and updated edition (Berkeley: University of California Press. 1989): 94, 192.
  8. ^ Hill 2005, 172
  9. ^ Hill 2005, 171

External links

  • Turangalîla-Symphonie The Philharmonia Orchestra's Olivier Messiaen Website. Featuring films, photos, documents and much more. An interview with Esa-Pekka Salonen, a look at the percussion used and a visit to the site of the premiere in Boston.
  • Programme notes for the Turangalîla-Symphonie by Luke Berryman
  • About the ondes Martenot : facts, videos, pictures, recordings, players...
  • Audio excerpts from all 10 movements of the Symphonie

February 06, 2023
turangalîla, symphonie, only, symphony, olivier, messiaen, 1908, 1992, written, orchestra, large, forces, from, 1946, 1948, commission, serge, koussevitzky, wife, memory, boston, symphony, orchestra, along, with, quatuor, pour, temps, symphony, composer, most,. The Turangalila Symphonie is the only symphony by Olivier Messiaen 1908 1992 It was written for an orchestra of large forces from 1946 to 1948 on a commission by Serge Koussevitzky in his wife s memory for the Boston Symphony Orchestra Along with the Quatuor pour la fin du temps the symphony is one of the composer s most notable works Turangalila Symphoniefor piano ondes martenot and orchestraby Olivier MessiaenMessiaen 1986 Other nameTurangalilaCatalogueSimeone I 29Period20th century musicGenreSymphonyCommissioned bySerge KoussevitskyBased onTristan and IseultComposed17 July 1946 29 November 1948 rev 1990 DedicationIn memoriam Natalie Koussevitsky manuscript published copy bears no dedication PublisherDurandDurationabout 80 minutesMovementsTenScoringLarge orchestra Ondes Martenot and pianoPremiereDate2 December 1949LocationBostonConductorLeonard BernsteinPerformersBoston Symphony OrchestraYvonne Loriod piano Ginette Martenot ondes Martenot The premiere was in Boston on 2 December 1949 conducted by Leonard Bernstein The commission did not specify the duration orchestral requirements or style of the piece leaving the decisions to the composer 1 Koussevitzky was billed to conduct the premiere but fell ill and the task fell to the young Bernstein 2 Bernstein has been described as the ideal conductor for it and it made Messiaen s name more widely known 3 Yvonne Loriod who later became Messiaen s second wife was the piano soloist and Ginette Martenot played the ondes Martenot for the first and several subsequent performances From 1953 Yvonne s sister Jeanne Loriod was the ondes Martenot player in many performances and recordings 4 Contents 1 Concept 2 Instrumentation 3 Cyclic themes 4 Structure 5 Recordings 6 See also 7 Notes 8 References 9 External linksConcept EditWhile most of Messiaen s compositions are religious in inspiration at the time of writing the symphony the composer was fascinated by the myth of Tristan and Isolde and the Turangalila Symphony forms the central work in his trilogy of compositions concerned with the themes of romantic love and death the other pieces are Harawi for piano with soprano and Cinq rechants for unaccompanied trios of soprani alti tenors and basses 5 It is considered one of the greatest musical compositions of the 20th century being described by its commissioner as the most important piece of classical music ever written since Igor Stravinsky s The Rite of Spring A typical performance runs around 80 minutes in length Messiaen famously summarised the entire symphony as being a love song a hymn to joy 6 Although the concept of a rhythmic scale corresponding to the chromatic scale of pitches occurs in Messiaen s work as early as 1944 in the Vingt regards sur l enfant Jesus a work Messiaen quotes in the fourth movement the arrangement of such durations into a fixed series occurs for the first time in the opening episode of the movement Turangalila 2 in this work and is an important historical step toward the concept of integral serialism 7 The title of the work and those of its movements were a late addition to the project chosen after Messiaen made a list of the work s movements He described the name in his letters from 1947 to 1948 8 He derived the title from two Sanskrit words turanga and lila which he explained thus 6 Lila literally means play but play in the sense of the divine action upon the cosmos the play of creation destruction reconstruction the play of life and death Lila is also love Turanga this is the time that runs like a galloping horse this is time that flows like sand in an hourglass Turanga is movement and rhythm Turangalila therefore means all at once love song hymn to joy time movement rhythm life and death Messiaen described the joy of Turangalila as superhuman overflowing blinding unlimited 6 He revised the work in 1990 4 Instrumentation EditThe piece is scored for Solo piano Ondes MartenotWoodwinds 1 piccolo 2 flutes 2 oboes 1 cor anglais 2 clarinets 1 bass clarinet 3 bassoonsBrass 4 horns 3 trumpets 1 trumpet in D 1 cornet 3 trombones 1 tuba Percussion 8 to 11 percussionists 4 Vibraphone Keyed or mallet glockenspiels Triangle Temple blocks Wood block Cymbals crash and three types of suspended Tam tam Tambourine Maracas Snare drum Provencal tabor Bass drum Tubular bells CelestaStrings 32 violins 14 violas 12 cellos 10 double basses 4 The demanding piano part includes several solo cadenzas Cyclic themes Edit The ondes Martenot an electronic instrument is used in sensuous and dramatic parts of the Turangalila such as the love theme In writing about the work Messiaen identified four cyclic themes that reappear throughout there are other themes specific to each movement 6 In the score the themes are numbered but in later writings he gave them names to make them easier to identify without intending the names to have any other literary meaning Introduced by trombones and tuba this is the statue theme According to Messiaen it has the oppressive terrible brutality of ancient Mexican monuments and has always evoked dread It is played in a slow tempo pesante a This is the flower theme It is introduced by two clarinets This theme the most important of all is the love theme It appears in many different guises from hushed strings in movement 6 to a full orchestral treatment in the climax of the finale A simple chain of chords used to produce opposing chords on the piano and crossing counterpoints in the orchestra Structure EditThe work is in ten movements linked by the common themes identified above and other musical ideas I Introduction source source II Chant d amour 1 source source III Turangalila 1 source source IV Chant d amour 2 source source V Joie du sang des etoiles source source VI Jardin du sommeil d amour source source VII Turangalila 2 source source VIII Developpement d amour source source IX Turangalila 3 source source X Final source source Problems playing these files See media help Introduction Modere un peu vifA curtain raiser introducing the statue theme and the flower theme followed by the body of the movement which superimposes two ostinato groups with rhythmic punctuations A reprise of the statue theme closes the introduction Chant d amour Love song 1 Modere lourdAfter an atonal introduction this movement is built on an alternation of a fast and passionate theme dominated by the trumpets and a soft and gentle theme for the strings and ondes Turangalila 1 Presque lent reveur Three themes are stated one starting with a solo clarinet the second for low brass and strings and the third a sinuous theme on the woodwinds The movement then develops and later overlaps the themes with the addition of a new rhythm in the percussion Chant d amour 2 Bien modere Introduced by a scherzo for piccolo and bassoon this movement is in nine sections some of which recall and develop music heard earlier A calm coda in A major brings it to a close Joie du sang des etoiles Joy of the Blood of the Stars Vif passionne avec joie A frenetic dance whose main theme is a fast variant of the statue theme For Messiaen it represented the union of two lovers seen as a transformation on a cosmic scale The dance is interrupted by a shattering piano cadenza before a brief orchestral coda Jardin du sommeil d amour Garden of Love s Sleep Tres modere tres tendre The first full rendition of the love theme in the strings and ondes is accompanied by idealized birdsong played by the piano and by other orchestral coloristic effects According to Messiaen The two lovers are enclosed in love s sleep A landscape comes out from them Turangalila 2 Un peu vif bien modere A completely atonal movement that is intended to invoke terror with a predominant role for the percussion ensemble Developpement d amour Development of Love Bien modere For Messiaen the title can be considered in two ways For the lovers it is terrible united by the love potion they are trapped in a passion growing to the infinite Musically this is the work s development section Turangalila 3 Bien modere A theme is introduced by the woodwind A five part percussion ensemble introduces a rhythmic series that then sustains a set of superimposed variations on the woodwind theme Final Modere presque vif avec une grande joie The movement is in sonata form A brass fanfare coupled with a fast variation of the love theme is developed and leads to a long coda a final version of the love theme played fortissimo by the entire orchestra The work ends on an enormous F major chord In Messiaen s words glory and joy are without end The composer s initial plan was for a symphony in the conventional four movements which eventually became numbers 1 4 6 and 10 Next he added the three Turangalila movements which he originally called talas a reference to the use of rhythm in Indian classical music Finally the 2nd 5th and 8th movements were inserted 9 Early on Messiaen authorized separate performance of movements 3 4 and 5 as Three talas not to be confused with the original use of the term for the three Turangalila movements but later came to disapprove of the performance of extracts Recordings Edit Maurice Le Roux conducting the Turangalila Symphonie Recordings of Turangalila Symphonie Conductor Orchestra Piano Ondes martenot Label Catalog Released Format NotesRoger Desormiere Orchestre National de la RTF Yvonne Loriod Ginette Martenot INA full citation needed 1950 Live recording on 25 July 1950 of the European premiere at the Aix en Provence FestivalHans Rosbaud SWF Sinfonieorchester Baden Baden Yvonne Loriod Ginette Martenot Wergo WER 6401 2 1992 Recorded 23 24 December 1951Maurice Le Roux Orchestre National de la RTF Yvonne Loriod Jeanne Loriod Vega Accord VAL 127 Vega C 30 ST 20033 4 Vega C 35 X 940 1962 Box set 10 inch LPs Recording supervised by Messiaen in 1961 Released in FranceJean Fournet Netherlands Radio Philharmonic Yvonne Loriod Jeanne Loriod Q Disc full citation needed 1967 LiveSeiji Ozawa Toronto Symphony Orchestra Yvonne Loriod Jeanne Loriod RCA full citation needed 1967Andre Previn London Symphony Orchestra Michel Beroff Jeanne Loriod EMI SLS 5117 1977 Double LPLouis de Froment Orchestre Symphonique de RTL Yvonne Loriod Jeanne Loriod Forlane full citation needed 1982 LiveEsa Pekka Salonen Philharmonia Orchestra Paul Crossley Tristan Murail CBS Masterworks Sony I2M 42126 G010003836824C 1985 2018 2 LPs CDSimon Rattle City of Birmingham Symphony Orchestra Peter Donohoe Tristan Murail EMI EX270468 3 747463 8 1986 LP CDMyung Whun Chung Orchestre de l Opera Bastille Yvonne Loriod Jeanne Loriod Deutsche Grammophon 0289 431 7812 9 1990 CD First recording of the revised version supervised by Messiaen Riccardo Chailly Royal Concertgebouw Orchestra Jean Yves Thibaudet Takashi Harada Decca full citation needed London 436 626 2 1993 2012 CDMarek Janowski Orchestre philharmonique de Radio France Roger Muraro Valerie Hartmann Claverie RCA 09026 61520 2 1992Yan Pascal Tortelier BBC Philharmonic Howard Shelley Valerie Hartmann Claverie Chandos CHAN9678 1998 CDAntoni Wit Polish National Radio Symphony Orchestra Francois Weigel Thomas Bloch Naxos 8 554478 9 December 1998 CDHans Vonk Saint Louis Symphony Orchestra Garrick Ohlsson Jean Laurendeau Pentatone full citation needed 1999 LiveKent Nagano Berliner Philharmoniker Pierre Laurent Aimard Dominique Kim Teldec 8573 82043 2 2001 CD Live recording in March 2000 in BerlinNorichika Iimori Tokyo Symphony Orchestra Kazuoki Fujii Takashi Harada Canyon full citation needed 2001Ryusuke Numajiri Japan Philharmonic Orchestra Ichiro Nodaira Takashi Harada Exton full citation needed 2002 LiveThierry Fischer BBC National Orchestra of Wales Roger Muraro Jacques Tchamkerten BBC Music full citation needed 2006 LiveHiroyuki Iwaki Melbourne Symphony Orchestra Kaori Kimura Takashi Harada ABC Classics 4812873 2007 CD Live recording in 1985 Re released 2007 Sylvain Cambreling SWR Sinfonieorchester Baden Baden und Freiburg Roger Muraro Valerie Hartmann Claverie Hanssler Classic 93 225 2008 CDJuanjo Mena Bergen Philharmonic Orchestra Steven Osborne Cynthia Millar Hyperion A67816 2012 CDHannu Lintu Finnish Radio Symphony Orchestra Angela Hewitt Valerie Hartmann Claverie Ondine ODE12515 2014 CDYutaka Sado Tonkunstler Orchestra Roger Muraro Valerie Hartmann Claverie Tonkunstler Orchestra TON2005 2018 CDSee also EditClassic 100 Music of France ABC Leela Futurama character named for the Turangalila Symphonie Notes Edit This example is taken from the CD booklet included with the Chung recording 6 It was written in Messiaen s own hand and has the low D D2 assigned to the third trombone as shown However in the published 1990 score 4 the note is written an octave higher D3 References Edit Program notes provided with the Naxos Records recording by the Polish National Radio Symphony Orchestra with Francois Weigel piano Thomas Bloch ondes Martenot and Antoni Wit conductor Thomas Barker The Social and Aesthetic Situation of Olivier Messiaen s Religious Music Turangalila Symphonie International Review of the Aesthetics and Sociology of Music 43 no 1 2012 53 70 citation on 53 Andrew Ford 2012 Try Whistling This Writings about Music Collingwood Victoria Black Inc p 261 ISBN 9781863955713 a b c d e Full score pub Durand Peter Hill and Nigel Simeone 2005 Messiaen New Haven and London Yale University Press ISBN 0 300 10907 5 page needed a b c d e Messiaen Olivier 2004 1991 Turangalila Symphonie CD liner booklet Orchestre de l Opera Bastille Myung whun Chung Yvonne Loriod Jean Loriod Deutsche Grammophon p 1 DG 431 781 2 Page Tim 20 February 2002 Live Online Classical Music Forum The Washington Post Retrieved 11 July 2020 Robert Sherlaw Johnson Messiaen revised and updated edition Berkeley University of California Press 1989 94 192 Hill 2005 172 Hill 2005 171External links EditTurangalila Symphonie The Philharmonia Orchestra s Olivier Messiaen Website Featuring films photos documents and much more An interview with Esa Pekka Salonen a look at the percussion used and a visit to the site of the premiere in Boston Programme notes for the Turangalila Symphonie by Luke Berryman About the ondes Martenot facts videos pictures recordings players Audio excerpts from all 10 movements of the Symphonie Retrieved from https en wikipedia org w index php title Turangalila Symphonie amp oldid 1123862865, wikipedia, wiki, book, books, library,

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