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Messiaen: Vingt Regards sur l'enfant Jésus Double CD

5.0 out of 5 stars 2 customer reviews

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Product details

  • Performer: Steven Osborne
  • Composer: Olivier Messiaen
  • Audio CD (23 Aug. 2002)
  • SPARS Code: DDD
  • Number of Discs: 2
  • Format: Double CD
  • Label: Hyperion
  • ASIN: B00006GO67
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 105,820 in Music (See Top 100 in Music)

Track Listings

Disc: 1

  1. 1 Regard du Pere
  2. 2 Regard de l'Etoile
  3. 3 L'echange
  4. 4 Regard de la Vierge
  5. 5 Regard du Fils sur le Fils
  6. 6 Par Lui tout a ete fait
  7. 7 Regard de la Croix
  8. 8 Regard des hauteurs
  9. 9 Regard du Temps
  10. 10 Regard de l'Esprit de joie

Disc: 2

  1. 11 Premiere communion de la Vierge
  2. 12 La parole toute puissante
  3. 13 Noel
  4. 14 Regard des Anges
  5. 15 Le baiser de l'Enfant-Jesus
  6. 16 Regards des prophetes, des gbergers et des Mages
  7. 17 Regard du silence
  8. 18 Regard de l'Onction terrible
  9. 19 Je dors, mais mon coeur veille
  10. 20 Regard de l'Eglise d'amour

Product Description

Amazon.co.uk

Messiaen's Vingt Regards is a monumental work whose 20 pieces, each with a programmatic religious/spiritual title, run over two hours and demand a pianist, like Osborne, with the virtuosity and idiomatic mastery to do them justice. To the unwary, there's a contradiction between the music's elevated spiritual concerns and the richly textured sounds that reach the ear, especially since those sounds are bathed in sensuous harmonies and modernist chords. But while religiously-inspired music is usually severely austere, Messiaen's colour-drenched sound-world is his analogy for spiritual transcendence. On another plane, this work is an adventure in exciting listening--from the hushed mysteries of the first Regard to the rhetorically powerful final Theme of God. Once heard, the Vingt Regards can't be forgotten as they teem with inventiveness and originality, still sounding fresh sixty years after they were written. Osborne's performance is among the best on disc, virtuosic, well-paced, with a huge dynamic range, fiery in the explosive moments and caressingly sweet in the most contemplative ones. The engineering and notes are exemplary too. --Dan Davis

BBC Review

Messiaen's widow, Yvonne Loriod, was so impressed with Steven Osborne's 1999 performance of Trois Petites Liturgies that she invited him to Paris to study the larger piano works. Since then Osborne has performed Messiaen's epic piano cycle Vingt Regards sur l'Enfant-Jésus a number of times in public, a work which draws enormously on reserves of stamina, strength and dexterity.

The work was written during the German occupation of France, where basic services such as electricity were becoming so scarce that even the Paris Opéra closed for a time. Messiaen's home was in the north-east of the city, surrounded by constant outbreaks of fighting. With De Gaulle's historic shouts of 'Paris humiliated! Paris broken! Paris martyrised! But Paris liberated!' (words which later Messiaen openly supported) it is astonishing that he managed to finish the Vingt Regards at all in this time, with its symbolic themes of all-embracing love, the Virgin, the Cross and God.

Even with music as finely detailed as Messiaen's in its markings of tempo and articulation, there is still a lot of room for individual interpretation and variation. In this recording of Vingt Regards Osborne often produces glittering pianistic effects or brings out rarely-heard musical lines, although sometimes he sticks perhaps a little too rigidly to the composer's precise notation.

With 'music of the spirit' like this, it is difficult to tread the fine line between total adherence to the printed music and a performance which, although accurate, can 'give' at the edges and produce a perhaps more fulfilling, dare I say impressionist, colourful whole. Osborne possesses these 'giving' qualities, but more than a few times I wished he had taken just a little more time over some of the hurrying groups of demisemiquavers.

He certainly has the pianistic and musical capabilities to carry it off, this recording being one of the most virtuosic I have heard. But for me this performance did feel rather '4-square' - although technically very exact, with great sweeping ranges of timbre and dynamics, it was in places too exact, perhaps not luxuriating or giving as much time to the all-important Messiaen sound-world as I would have liked. --Andrew McGregor

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By A Customer on 26 Sept. 2003
Format: Audio CD
This has to be one of the outstanding piano recordings of recent years. I was going to get the never less than excellent Pierre-Laurent Aimard's recording of this work until I heard parts of this recording on Radio 3 Composer of the Week. Osborne's playing is thrilling on this disc. His command of the keyboard ranges from an almost mesmerising stillness to explosive moments of bravura, with a rich palette of a hundred colours and tones in between. He does full justice to a piano work which is perhaps both one of the masterpieces and oddities of keyboard writing in the twentieth century, by turns medidative, simple, dissonant, multi-layered, and even infused with a kind of Lisztian virtuosic swagger. Osborne is a real talent and one can only hope that we hear more from him soon. The sound is excellent too. In all, a must for all piano enthusiasts.
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Format: Audio CD Verified Purchase
As riveting as Osborne's magisterial performance at the Wigmore Hall some 5 years or more ago at The Wigmore Hall. Together with the Quatuor pour la Fin du Temps you penetrate to the essence of our debt to Messiaen.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 5.0 out of 5 stars 5 reviews
37 of 39 people found the following review helpful
5.0 out of 5 stars An astonishing recording 18 Oct. 2005
By John H. Pendley - Published on Amazon.com
Format: Audio CD Verified Purchase
Steven Osborne's recording of Messiaen's Vingt Regards sur l’Enfant-Jésus gets to the heart of the matter. It realizes the two-fold nature of Messiaen's masterpiece; and in doing so, it fully reveals this music as not only an enormously intellectual challenge but as an immensely powerful emotional and spiritual one as well.

That this music poses a great conundrum for the pianist hadn’t impressed itself upon me so vividly until I heard this recording: it is both very passionate and very spiritual. This is exactly as it should be, since its subject is the infant Jesus, the Son of God. Messiaen made this music for Him, believing that mankind would never have known the deep spiritual truths if the Son had not become incarnate: God’s mind is too mysterious for man to know directly. For Messiaen, the passion inherent in being human and the spirituality of the Godhead came together in the Christ he worshiped. And so the two paradoxical elements are one in his music. Osborne communicates these two elements as I haven’t heard them before now.

This duality is evident in the very first piece in Vingt Regard, “Regard du Père,” ("Gaze of the Father"). The movement is marked Extrêmement lent. Mystérieux, avec amour. My previous standard in Vingt Regards has been Pierre-Laurent Aimard, who is rather matter-of-fact in this movement, his phrasing regular. His dynamic range varies from about mezzo piano to mezzo forte. Osborne’s approach to the piece is quite different. It is much slower. In fact, it is two full minutes slower! (Aimard, 6:10; Osborne, 8:10) Its dynamic range extends from about mezzo piano to some of the most amazing pianissimo recorded sounds I have heard, with perhaps one brief instant of mezzo forte. And here, I think that we are approaching the point at which all this technical business intersects art. We are listening to Messiaen’s aural picture of God the Father viewing his mortal Son, and Osborne’s vision spreads out at great length and is very hushed; the great chords of the God the Father theme (to be heard throughout Vingt Regard) impress the listener as imponderable and immensely tender. Aimard’s playing of this music, as much as I’ve enjoyed his recording in the past, now seem to miss the mark. Remember Messiaen’s directions: extremely slow, mysterious, with love. Osborne makes the music sound no less than that, and a great deal more, besides. The music has a sensuous, mesmerizing beauty. From the opening bar, Osborne’s use of the pedal causes chords to blur together. This, combined with Messiaen’s dissonances, causes this unworldly experience to seem very beautiful, not unlike the sensation of being beneath the sea. But that mixes metaphors. There is never any doubt that we are in the presence of the awe inspiring.

The fifth piece “Regard du Fils sur Fils,” ("Gaze of the Son upon the Son") is another case that speaks to the same point. It contains some of Messiaen’s’ famous bird music. Here Aimard’s birds, however beautifully they may sing, are earthbound creatures. Under Osborne’s spell, they sing a divine music. Osborne’s wonderful lightness of touch simply transforms this music into something unearthly. (This simply must be heard to be believed.) Again, the theme of God the Father wafts quietly through the left hand; but now, bright creatures, drunk on heavenly light, flutter in the right.

Steven Osborne performed Vingt Regards in Wigmore Hall, London, on January 5, 2000. That was two hours, ten minutes, of exhausting music making, without intermission. I’d really love to have been there. Failing that, I have this magnificent recording. It is full of the kinds of revelations I’ve described. While I have come back to Aimard’s Vingt Regards sur l’Enfant-Jésus regularly, because it was the finest recording of the piece and because it is filled with amazing pianism, I play Steven Osborne’s recording often—sometimes repeatedly—because it allows me to experience the essence of the music, because it is beautiful and awe inspiring, and because I love it.

Most warmly recommended.
1 of 1 people found the following review helpful
5.0 out of 5 stars How a work for solo piano can be so evocative of a genuine faith experience is simply astonishing! 14 Oct. 2011
By Pete - Published on Amazon.com
Format: Audio CD Verified Purchase
This record defies description.

What we have here is a solo piano piece by the great modernist composer Olivier Messiaen. If you have not heard his work you really must give it a try. But where to start?? His organ work? Solo piano? Orchestral?

Messiaen was a deeply spiritual composer, and this is no exception.

Its entirely solo piano. But it is so gripping and intense, but in a quiet way.

Do give it a try!
2 of 2 people found the following review helpful
5.0 out of 5 stars As close to God as we can get without dying! 31 Jan. 2015
By Mr H Bolet - Published on Amazon.com
Format: Audio CD
An astonishing achievement! This miraculous music by Messiaen out punks punk, out heavy-metals heavy metal, out jazzes jazz, out minimilizes minimalism - the list just goes on! My first encounter with this music was the early 70s EMI recording by Beroff. A great performance but marred by some considerable tape hiss. As each new release of this work would come out, replete with rave reviews, I would always find something missing - or worse still, added - namely the performers ego or point making. Steven Osborne here just plays what Messiaen wrote, with cold, frightening precision - that's all this music needs to achieve its goal: nothing but a musical rendition of the power of God / and/or the Universe itself! His rhythms are nuclear-clock steady (no horrible rubatos / slowing down, speeding up, sickening Romanticizing which ruins other performances - including some sanctioned by Messiaen himself (which proves that composers are not always the best authorities on how their music should be played.) The recording is crystal clear - the piano has perfect tone - the pianist doesn't huff and puff. He also refrains from bashing the piano in fff passages - the power of the music is enough, it doesn't need the performer to exaggerate. This is as close as music can get to a description of God as it possibly can. Bach (Cantatas) Beethoven (Op 111) Thelonious Monk (Green Chimneys) and Messiaen are the only lads who were capable of doing so - and Messiaen has found a perfect performer of his piano music in Steven Osborne. I hope he's up there listening to this. Buy It Now! (Oh, by the way, non-catholic religious people should hear this for a different take on the power of God.)
24 of 26 people found the following review helpful
5.0 out of 5 stars First place among Vingt Regards sur l'Enfant-Jesus 31 Oct. 2002
By Kenneth J. Luurs - Published on Amazon.com
Format: Audio CD
This is a work which inspires passion - one way or another. Like the Goldberg Variations, it attracts pianists seeking an Everest to climb.
Of the CD versions of this work, I believe this recording is the finest now available. The colors achieved by Osborne, the delicacy of sound, the tone of the instrument, even the recording quality itself all lend itself to a superior recording.
The Aimard recording is good - but cooler. The opening work, "Regard du Pere" really sets the mood for the entire performance. It is hauntingly beautiful...sound rising from nothingness...exquisite tones...Aimard plays quicker and cooler -- Osborne's music is more sensual...captivating.
All-in-all, this is a performance which may win you over even if you've never liked this work. It is that good.
22 of 25 people found the following review helpful
5.0 out of 5 stars Osborne's Kapustin was good, but this is off the map... 10 May 2003
By A Customer - Published on Amazon.com
Format: Audio CD
Let me start by saying this release is one of the best piano discs I have ever heard. The music, performance, sound, and presentation are all superlative.
I had enjoyed Osborne's Kapustin recordings (though I preferred Hamelin's live versions of the same material), but his newer Messiaen disc completely stunned me. Most obviously, Osborne has suddenly become a master colorist. I can't imagine a more immediately effective performance or recording of this material.
For me, Osborne's Messiaen disc has quickly become as cherished as Richter's 1958 Sofia Recital, Hamelin's Wigmore Hall Recital, or Hough's Mompou recordings. Please do yourself a favor and invesigate.
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