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Solo Piano - Released January 26, 2018 | NoMadMusic

Hi-Res Booklet Distinctions 5 de Diapason
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Classical - Released February 15, 2019 | Alpha

Hi-Res Booklet
Composed in 1944 and first performed at the Salle Gaveau in Paris on 26 March 1945 by Yvonne Loriod, this is the second great pianistic cycle by Olivier Messiaen: a major work indeed, not only in the composer’s oeuvre but in the entire repertoire for solo piano. As we know, its origin is in the faith and spirituality of Olivier Messiaen, who described it as: ‘The Contemplation of the Child-God in the cradle, and the gazes fixed upon Him: from the inexpressible Gaze of God the Father to the multiple Gaze of the Church of love, also taking in the unheard Gaze of the Spirit of joy, the tender Gaze of the Virgin, of the Angels, of the Magi, and of those creatures that are immaterial or symbolic (Time, Extreme Height, Silence, the Star, the Cross).’ He continues: ‘It is a complex of sounds destined for perpetual variations, pre-existing in the abstract as a series, but very concrete and easy to recognize by their colours: a steely grey-blue traversed by bright red and orange, a mauve-tinted violet spotted with leather-brown and encircled in deep purple.’ The vision of this work transmitted by Martin Helmchen – a great piano virtuoso who is himself marked by a strong sense of spirituality – is another substantial contribution to the Messiaenic monument. © Alpha Classics
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Classical - Released November 3, 2017 | Sony Classical

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik
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Classical - Released January 1, 2002 | Deutsche Grammophon (DG)

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

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Classical - Released January 1, 1997 | Deutsche Grammophon Classics

Distinctions The Qobuz Ideal Discography
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Classical - Released January 1, 2012 | Deutsche Grammophon Classics

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Classical - Released August 23, 2004 | Warner Classics International

Hi-Res Booklet Distinctions Hi-Res Audio
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Classical - Released January 1, 1999 | Universal Music Division Decca Records France

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Classical - Released May 5, 2015 | OUR Recordings

Booklet Distinctions Diapason d'or de l'année - Diapason d'or - Exceptional sound
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Classical - Released May 4, 2018 | Sony Classical

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Classical - Released January 1, 1995 | Deutsche Grammophon Classics

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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
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Classical - Released July 13, 2018 | Naxos

Hi-Res Booklet
Following his 2017 Naxos release of Olivier Messiaen's Les Corps glorieux and the Messe de la Pentecôte, Tom Winpenny has recorded the Livre d'orgue (1951), a collection of studies employing Indian rhythms, unusual modes, and birdsongs, which were all part of the composer's stock-in-trade at the time. The opening track, an independent work titled Verset pour la fête de la Dédicace (1960), is a soft and relatively accessible birdsong piece that serves as a suitable introduction to Messiaen's style and methods. Because what follows is considerably more sparse, angular, and fragmentary, the Livre d'orgue may be regarded as a rather cerebral exercise. In spite of such evocative titles as "The Hands of the Abyss" and "The Eyes in the Wheels," there is less of the religious mysticism that otherwise permeates Messiaen's music. One might be tempted to dismiss the Livre d'orgue as an anthology of mid-20th century avant-garde notions, particularly over the use of pointillisme that was common in the international serial style, but considering Messiaen's deep faith and visionary outlook, it's difficult to write off as merely a bag of tricks. The closing pieces, Monodie (1963) and Tristan et Yseult: Thème d'amour (1945), are slight and seem to be included for the sake of completeness, though Winpenny deserves credit for choosing pieces that are well suited to the program as a whole.
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Classical - Released January 1, 2000 | Deutsche Grammophon Classics

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Classical - Released September 8, 2008 | Warner Classics

Distinctions The Qobuz Ideal Discography
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Classical - Released January 1, 1991 | Deutsche Grammophon Classics

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

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Classical - Released October 3, 2005 | Warner Classics