Dear friends of music, Welcome to the Chronochromie channel (formerly named "Discord Baroque Society"). This channel wishes to help bring classical (biased towards the 19th century and beyond) music, obscure or not, to the masses. It also wishes to help promote the pipe organ as an instrument. Join my Pipe Organ Discord server, for all enthusiasts, organists, and fans of the instrument as a whole: discord.gg/dd2evFP And the Score Video Community for all classical music score video fans: discord.gg/938w8ZK
An important disclaimer: I, the channel owner, nor the channel, do not own the presented materials unless otherwise specified. Everything are uploaded for the sake of the proliferation of music and the arts and education. ADVERTISEMENTS APPEAR ON SOME OF MY VIDEOS DUE TO RU-vid POLICIES. I AM NOT MONETISED AND DO NOT MAKE, NOR DO I INTEND TO, ANY PROFITS FROM VIDEOS. Any copyright concerns can be submitted to my email.
Hello, after dinner, I've been listening to the opera "Saint Francis of Assisi" on RU-vid for the first time in a while, composed by Olivier Messiaen, conducted by Seiji Ozawa, and featuring the Bari Opera Orchestra and José Van Damme. First of all, when I listen to Messiaen, I feel like the concept of meaning in music is shifting from the concept of the meaning of sound to the construction or form of sound that was popular in Germany and Austria's late Romanticism, to the spirituality added to it, to the sense of color and abstraction of the gradation of sound, which can be said to be a global synesthesia in a sense. If we use a painting analogy, it is something like the concreteness of Rembrandt or Vermeer, or the expressiveness as a creative act of the New Paintings after Pollock. I felt that he made the discovery and fusion of new sounds, such as the rough modern sound that began with Debussy, the new sense of materializing the sound of the meaning of music by Satie and others, and gamelan-like minimalism, the most popular in a sense. The concept of color in the sound of these new musical sounds sometimes seemed like a kind of strange sounding structure, colored by Hollywood-like paranoia, but I felt that by awakening to that sense, I was able to discover new meaning in music. Mr. Ozawa's energy in this performance is extraordinary, and I feel as if he is inviting the listener to the far reaches of space. Although there is still a long way to go, I hope that I can once again immerse myself in the world of sound that seems to come from far beyond Messiaen's flash of light.
Love the bombarde at m.136 - this would be a great showy piece for a pianist transitioning to organ as there's not a lot of technical difficulty particularly with pedal but it sure sounds challenging to the ear!
Why don't you play the first two eighth notes in tempo each time? I assume you're trying to keep things from getting muddy. But the consequence is exactly the opposite. Not only is it still thick and somewhat muddy, but we lose the one grounding thing we need to pull us from the muddiness, which is the sense of rhythm/time. It's very disconcerting. But I love the piece, nonetheless.
Autre improvisation de Messiaen : "Et les mages offrirent en présent à Marie et à l'enfant Jésus de l'or, comme à un roi, de l'encens, comme à un dieu et de la myrrhe, comme à un homme mortel" (41'05'')
Émotion et surprise de l'entendre dans Ma Mère l'Oye. D'autant que l'on sait que Ravel avait songé à une Jeanne d'Arc que la maladie l'a empêché d'écrire, et que la fin de Saint François d'Assise (en Do M) n'est pas sans évoquer la fin du Jardin féerique... Saint François d'Assise c'est à l'Elbphilharmonie On a raté les représentations de Genève, on se rattrape à Hambourg. (On emmène Arthur ! On veut lui faire la surprise 🤫 Maintenant j'espère qu'il se tiendra bien durant les 4 heures que dure la représentation) +++ Vignette de la vidéo, on a choisi Mme Loriod-Messiaen. Avoir cette lettre de sa main (...) ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-ejV3WY41VWA.htmlsi=FSnHn0jvI9OWUEit
Je suis vraiment très surpris de lire que la dernière esquisse est jouée par Jean-Baptiste Robin : l'ayant entendu par ailleurs, c'est pour le moins surprenant Le tempo est complètement instable, le patho poussé à l'extrême, des notes traînent, d'autres sont accélérées, mais le pédalier ne suit pas (dans les octaves il y a carrément des notes qui manquent), des silences sont raccourcis, d'autres improvisés, il ne respecte pas la mesure.. bref, tout ce dont Dupré avait horreur. Il doit avoir un compte à régler ici, ou alors il a viré sa cutie ou pété un plomb et a envie de se payer sa tête, je ne vois a priori pas d'autre explication... En tout cas je ne peux pas aimer, désolé.
One of the 10 classical music masterpieces of 20th century... At many parts - sensational performance.... Один из 10 шедевров классической музыки XX века... Во многих частях - сенсационное исполнение....
My orchestra arrangement of this piece as "The Symphony of the Fugue" Woodwinds: 2 Basset Horns 2 Bassoons Brass: 2 Natural Trumpets in D 3 Trombones (Alto, Tenor and Bass) Percussion: 2 Timpani in D and A Strings: Violins 1, 2 Violas Continuo (Cellos, Basses and Organ)
Maurice must have had a direct thread to Our Dear Lord in Heaven, just like the great Johann Sebastian Bach in his days ... Otherwise I cannot possibly understand how a human being should be able to write such heavenly music ... Soli Deo Gloria
Incredibly moving final piece, wonderfully well played. Liberated and unleashed! As it should be, like Pentecostal flames. The whole cycle is marvellous and one of Messiaen's greatest and most original (which is saying something).
Herr Köhler- Welte wie immer super. Thanks for the great Whitney Houston Tribute Show with you in the Stadthalle Balingen am 9.3.2018, mein Papa wäre 95 Jahre alt geworden. Er wurde am 9.3.23 geboren und ist am 9.12.2017 gestorben, um den Weg für seine nächste Enkelin Alice freizumachen. Auch Elisa wird die Eiskönigin Elsa perfekt singen. Diese Gene (DNA) habe ich weiter gegeben, nicht mein Ex Mann Rolf- Dieter Koch aus Balingen- Frommern. ❤🎉😅
Was unaware of this composer. The piece shows a nice sensibility and is a snapshot of 1890s Paris where Japanese things were all the rage, and a 21 year old composer could produce such a pleasing light work for the salon.
