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Messiaen: Vingt Regards Sur L'Enfant Jesus

2 customer reviews

Price: £23.48
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Product details

  • Performer: Yvonne Loriod
  • Composer: Olivier Messiaen
  • Audio CD (26 April 1993)
  • SPARS Code: ADD
  • Number of Discs: 2
  • Label: Erato
  • ASIN: B000005EAE
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 594,357 in Music (See Top 100 in Music)

Disc: 1
1. Vingt regards sur l'enfant Jesus: I - Regard du Pere
2. Vingt regards sur l'enfant Jesus: II - Regard de l'etoile
3. Vingt regards sur l'enfant Jesus: III - L'echange
4. Vingt regards sur l'enfant Jesus: IV - Regard de la Vierge
5. Vingt regards sur l'enfant Jesus: V - Regard du Fils sur le Fils
6. Vingt regards sur l'enfant Jesus: VI - Par lui tout a ete fait
7. Vingt regards sur l'enfant Jesus: VII - Regard de La Croix
8. Vingt regards sur l'enfant Jesus: VIII - Regard des hauteurs
9. Vingt regards sur l'enfant Jesus: IX - Regard du Temps
10. Vingt regards sur l'enfant Jesus: X - Regard de l'Esprit de joie
See all 11 tracks on this disc
Disc: 2
1. XII - La Parole toute puissante
2. XIII - Noel
3. XIV - Regard des Anges
4. XV - Le baiser de L'Enfant Jesus
5. XVI - Regard des prophetes, des bergers et des mages
6. XVII - Regard du silence
7. XVIII - Regard de l'Onction terrible
8. XIX - Je dors mais mon coeur veille
9. XX - Regard de l'Eglise d'amour

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Most Helpful Customer Reviews

1 of 1 people found the following review helpful By schumann_bg TOP 50 REVIEWER on 15 Jun. 2013
Yvonne Loriod's interpretation of Messiaen's gargantuan piano work has the special status of being recorded with Messiaen present, as well as all the understanding she must have had of his world being married to him. It's presumably about as close as you can get to the interpretation the composer would have given us himself. Made in 1973, the recording is wonderfully clear and full, with superb body in the sound. It actually sounds completely ideal for such an epic musical experience. The range of colour and mood is extraordinary, from the quiet opening Regard du Pere or Je dors mais mon coeur veille, taking in the playful, the grand, the radiantly spiritual ... even a comic element, as in the tune in the amazing final Regard de l'Eglise d'amour, with its repeated chords, high splash and double crash in the bass. At times the music seems to be in about three keys at once. Every chord has such colour, such an upward elan. Messiaen seems to have absorbed elements of Debussy, Ravel, even Rachmaninov in some of the birdsong trills, while turning them into something completely new, bringing a radically new voice into being. Taken as a whole, the work seems to be nothing less than a 2-hour affirmation of faith and the joy of belief in God and the birth of Christ. To this end, he uses the piano's percussive and ecstatic potential in the most fantastic way - there's no other movement in the entire piano repertoire that can quite match the Regard de l'Esprit de joie, for instance. Having recently heard Steven Osborne play it in London in the most unforgettable concert, I have been repeatedly returning to these Loriod discs.Read more ›
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By Bjarne Mørup on 13 Nov. 2014
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Most Helpful Customer Reviews on (beta) 3 reviews
11 of 11 people found the following review helpful
Vintage and definitive, quite effective 21 Jan. 2000
By Czinczar - Published on
An impressive recording by Yvonne Loriod, the composer's wife. This woman could play with great power, which serves the music well in the appropriate places. Though some might find that she didn't bring enough quietness and introspection to the places where those qualities are needed. But her interpretation could be considered to be beyond questioning, since her husband Messiaen was there at her side during the recording session. It must have been exactly what the composer intended. This recording was actually made in 1973. Analog recording was wonderful back then, with great clarity and depth, and a feel for the acoustics of the recording space. To some degree, this works to this recording's disadvantage. It was recorded at the Eglise Notre-Dame du Liban in Paris. The traffic outside the church is quite noticable, especially in the quiet passages, which somewhat breaks the mood. But the recording's plusses far outweigh its minuses. A definitive and recommended recording.
10 of 13 people found the following review helpful
extroverted interpretation here, testament to modernity 7 Aug. 2001
By scarecrow - Published on
The recent Aimard CD of this work as well as the earlier Hakon Austbo on Naxos is another,all are different,it's incredible the amount, the traces one may find in this one-dimensional conceptually that is colossol work for the piano,for Messiaen had veritably alone created a new language of timbral pianism,he did the same for organ registrations, never quite heard before timbres. I've been in love with Loriod ever since I've owned the old Vega Vinyl of her Boulez Second Piano Sonata. Incredibly extroverted playing, yet she knows how to deeply probe the creativity,what's the sensibility, the spirit, the mysteries of creativity. She understood the young Boulez deeply, You'd think with Messiaen even more, yet as other reviewers here say,I agree she tilts the sclaes, she pummeles the work forward all the way, even the relatively passive # 4 Regard de la Vierge, marked "tendre et naif" in the music Loriod pushes forward. The # 6 "Par lui tout a ete fait, the most violent here on Disc 1 she gets sloppy, and unwantonly ugly, with the repeated almost animal like tones. She has great sense of projection of Messian's fistfulls of tones,cluster like. Loriod I think if there is one word to sum up her interpretive sensibility it is gesture, like the tender opening "Regard du Pere" Those repeated tinkly like tones if not paced and played a little off the rhythm can sound like an alarm bell,as Aimard. One nice aspect is she doesn't make this piece into one for the pipe organ as Austbo does with his thunderous octaves as in #3 L'echange". Loriod is always beyond this piece,whereas Aimard I enjoyed for he allows the piece to work its own charm, probe its own mysteries, Aimard steps back,not nearly as extroverted. But all know this piece is a testament to modernity,never afraid of being klangorous for its own sake,that a spirituality exists within the pure power of timbre, one of god's creations. There are great cascades of timbres here scouring the entire regions, and registers of the keyboard. Messiaen's musical language wasn't yet enamored over bird calls which began appearing everyplace blandly and as an obsession,This work is from right after or during the Second World War 1944, also his typical chordal excursions, was also a frequent occurrence in his latter music. Here we should thank the stars, "etoiles" that his musical language seemed to simply relish in the pure timbre of the piano, clusters, as fast as possible high register filigrees,roaring octaves,and impenetrable rhythmic convolutions.Other times the middle register is simply ommitted, when this happenes the piano percussive constitution comes to full blossum.Structurally the work breaks no new ground, it is buily on cyclical themes.
1 of 1 people found the following review helpful
The definitive reading! 17 April 2014
By Hiram Gòmez Pardo Venezuela - Published on
The figure of Messiaen has been earning reputation and well recognized admiration during the last fifty years.

Olivier Messiaen's Vingt Regards sur l'Enfant Jésus (20 Contemplations of the Infant Jesus) are a notable specimen of twentieth century pianism. It was written in 1944 and premiered the following year by Messiaen's wife Yvonne Loriod, whose masterful early performances and recordings of Messiaen's piano works did tremendous amount to bring his music to a wider audience in the 1950s and 1960s, the Vingt Regards sur l'Enfant Jésus plunge into the raw depths of Messiaen's Christian faith ; the scintillating and frighteningly (but exhilaratingly) virtuosic fast movements prove once again how primal and joyful Messiaen's religion was to him, and the slow movements touch the sublime in ways that perhaps no composer of Western sacred or sacred-inspired music since J.S. Bach has managed with quite the same steadfast selflessness.

In this composition Messiaen created perhaps the hitherto twentieth century Christmas suite for piano. In it, he contemplates virtually all the figures associated with the story of the Nativity, and with many of the theological implications of the same event. Some movements are tender; others are full of roaring power, as Messiaen turns his attention to cosmic implications.
The Vingt Regards are brilliantly chromatic music .

Ivonne Loriod's performance is fluid and extremey powerful in which enraptured lyrical flight concerns.

Don't miss this treasure.
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