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Classical - Released November 3, 2017 | Sony Classical

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik

Classical - Released March 30, 2018 | PentaTone

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice
Can the title of a work influence the way that performers approach it? At any rate, Messiaen's two great piano masterpieces have titles which suggest very different musical experiences. Vingt Regards sur l’Enfant-Jésus (1944) is steeped in religious fervour and contemplation, while Catalogue d’oiseaux (1956–1958) is a work with rather more of an ornithological bent. Indeed, the composer himself said to Claude Samuel: "I tried to render exactly the song of a bird typical of a given region, surrounded by its neighbours in that habitat, as well as expressions of its song at different times of day and night." But then he goes on to describe a more expressive and poetic side of the work. Birdsong, effectively, "bears in its harmonic and rhythmic material the scents and colours of the country in which the bird lives", and it is hardly possible to "exactly" transcribe the improbable rapidity of birdsong for any human instrument. One might have thought that "sonic reproduction" was the key idea behind the Catalogue d'oiseaux, but in the finished work, what we are listening to is a great composer, a master of innovative structures, finding a stunning range of piano sounds. In other words, in spite of its name, the Catalogue d’oiseaux is not a musical documentary, but rather a series of musical poems exploring birds and other wonders of nature – in France, as that is where all these delightful flying things happened to be found. Pierre-Laurent Aimard gives a reading of the (diabolical) score which is both super-precise and rigorous, and yet so poetic and inspired that one has the impression that he is taking dictation directly from the birds themselves. © SM/Qobuz

Solo Piano - Released January 26, 2018 | NoMadMusic

Hi-Res Booklet Distinctions 5 de Diapason

Classical - Released January 1, 2002 | Deutsche Grammophon (DG)


Classical - Released January 1, 1999 | Deutsche Grammophon (DG)


Solo Piano - Released November 24, 2017 | Piano Classics

Booklet Distinctions Diapason d'or - Le Choix de France Musique

Classical - Released May 5, 2015 | OUR Recordings

Booklet Distinctions Diapason d'or de l'année - Diapason d'or - Special Soundchecks

Classical - Released May 8, 2013 | Paraty Productions

Hi-Res Booklet Distinctions 4F de Télérama - 4 étoiles de Classica - Hi-Res Audio

Classical - Released January 1, 1997 | Deutsche Grammophon Classics

Distinctions The Qobuz Ideal Discography

Classical - Released June 3, 2014 | Ondine

Hi-Res Booklet Distinctions 5 de Diapason - 4 étoiles de Classica - Special Soundchecks

Classical - Released January 1, 2012 | Deutsche Grammophon Classics


Sacred Vocal Music - Released August 18, 2017 | Seattle Symphony Media

Hi-Res Booklet Distinctions 5 de Diapason - 5 étoiles de Classica
Written in 1936 for his young wife Claire Delbos, Poèmes pour Mi (“Mi” being the nickname the composer gave her) is a kind of wedding gift, nine melodies for soprano and orchestra all directly or indirectly inspired by the Dauphiné landscapes Messiaen had fallen in love with. Even though he wasn’t yet 30, the composer had already found his style, which in its harmonic and rhythmic structure would scarcely change. In some of his poems you can even detect the accents he would go on to use 40 years later in Saint François d’Assise. It goes to show that good music remains good music and recycling − conscious or not − isn’t exclusive to composers of previous centuries! Here Jane Archibald, almost without a hint of accent, sings these small gems with great emotion. Trois petites liturgies de la présence divine, written in 1944 when he was liberated from a prisoner-of-war camp, was initially designed for a women’s choir, piano, ondes Martenot and string orchestra. The Seattle Orchestra and Ludovic Morlot decided to entrust the chorus part to a children’s choir, giving it a “purer” and more angelic sound – a charming idea. Upon creating his work in 1945 Messiaen could boast about a particularly prestigious panel of auditors: Arthur Honegger, Georges Auric, Francis Poulenc, Henri Sauguet, Alexis Roland-Manuel, André Jolivet, Claude Delvincourt, Lazare Lévy, Jean-Yves Daniel-Lesur, Jean Wiener, Georges Braque, Paul Éluard, Pierre Henry and even Pierre Boulez (not yet famous but probably already predisposed to being spiteful). His success was as dazzling as immediate and lasting. It has everything that makes up Messiaen, including a rather virtuous piano part (played by Yvonne Loriod upon the work’s creation), little birds, Jesus Christ as well as his ever so specific chords, both brilliant and iridescent. © SM/Qobuz

Classical - Released September 14, 2018 | La Dolce Volta


Classical - Released January 1, 2009 | BIS


Classical - Released August 23, 2004 | Warner Classics International

Hi-Res Booklet Distinctions Hi-Res Audio

Classical - Released January 1, 1999 | Universal Music


Classical - Released September 8, 2008 | Warner Classics

Distinctions The Qobuz Ideal Discography

Musique Concrète - Released June 2, 2008 | naïve Montaigne


Chamber Music - Released March 3, 2015 | LPO

Hi-Res Booklet