olivier messiaen [1908-19921 la transfiguration de notre seigneur jksus-christ

pour choeur rnixte, sept solistes instrurnentaux et tr6s grand orchestre [juillet 1965 - f6vrier 19691

Differents aspects du mystere de la Transfiguration du Christ sont successivement Bvoques par une mosaYque de textes latins, soigneusement choisis par le compositeur pour servir de base B sa meditation : textes extraits de I'Evangile, de I'Ecriture Sainte (GenBse, Psaumes, Livre de la Sagesse, ~ ~ i t r e s de Saint Paul), du Missel et de la Somme Thhologique de Saint Thomas d'Aquin.

commande de la Funda~ao Calouste Gulbenkian, Lisboa

creation le 7 juin 1969 B Lisbonne,Xllle Festival Fundagao Calouste Gulbenkian, sous la direction de Serge Baudo

O 1972 by Alphonse Leduc et Cie. Paris

mm 1-7 Premier Septenaire

mm 1-7 Deuxieme Septenaire

Yvonne loriod, piano arturo muruzabal, violoncelle martine van der loo, fliite harmen de boer, clarineffe peter prommel, marimba ruud stotjin, vibraphone henk de vlieger, xylorimba ludwig van gijsegem, tknor reiner holthaus, baryton

koor van de brt bruxelles groot omroepkoor & radio symfonie orkest hilversum reinbert de leeuw, direction

((Execution magnifique ! Le choeur merveilleux ! Les solistes et I'orchestre, tous admirables ! Reinbert de Leeuw : chef rnerveilleux: Precision, noblesse, grandeur, tres chaleureux ! Un tr6s grand chef !. . . Quelle emotion : il est descendu de son pupitre, et il est venu rn'embrasser a ma place dans la salle !!! pendant que le public applaudissait debout pendant plus de dix minutes ! C'Qtait une execution extraordinaire. ..n

Olivier Messiaen 29 juin 1991 ti Amsterdam

Note laissee par Olivier Messiaen dans sa partition d'orchestre de La Transfiguration de Notre Seigneur JBsus-Christ datbe dujour do concertde Reinbertde Leeuw a Amsterdam.

l a t r a n s f i g u r a t i o n de n o t r e s e i g n e u r J C s u s - C h r i s t

premier Septenaire 1 I RBcit evangelique 2 11 Configuratum corpori claritatis suae 3 111 Christus Jesus, splendor Patris 4 IV Recit kvangklique 5 V Quam dilecta tabernacula tua 6 VI Candor est lucis aeternae 7 VII Choral de la Sainte Montagne

Deuxierne Septenaire 1 Vlll RBcit Bvangelique 2 IX Perfecte conscius illius perfectae generationis 3 X Adoptionem filiorurn perfectarn 4 XI Recit evangelique 5 XI1 Terribilis est locus iste 6 Xlll Tota Trinitas apparuit 7 XIV Choral de la Lumiire de Gloire

l a t r a n s f i g u r a t i o n d e n o t r e s e i g n e u r J e s u s - C h r i s t par Olivier Messiaen

Differents aspects du mystere de la Transfiguration du Christsont successivement Bvoques par une mosai'que de textes latins, soigneusement choisis par le compo- siteur pour servir de base a sa meditation : textes ex- t ra i ts de ~ ' ~ v a n g i l e , de ~ ' ~ c r i t u r e Sainte (Genese, Psaumes, Livre de la Sagesse, ~ p l t r e s de Saint Paul), du Missel e t de la Somme Theologiquede SaintThomas dlAquin. L'ouvrage se divise en deux septenaires, ou groupes de sept pieces. A chaque fragment du recit evangelique de la Transfiguration succedent deux pieces qui en dB- veloppent les idQes clefs. Un choral c18t chaque sep- tenaire. Les deux septenaires sont paralleles. Le plan general est donc le suivant :

@ Premier Septenaire I Recit evangblique II et I l l Meditations IV Recit evangelique V e t VI Meditations VII Choral terminal

Deuxieme Septenaire Vl l l Recit Qvangelique lX et X Meditations XI Recit evangelique XI1 e tX l l l Meditations XIV Choral terminal

Nomenc la tu re

Chaeur mixte, septsolistes instrumentaux et un tres grand orchestre : 1. Dix-huit bois. Les bois ont un r8le considerable. Soutien du chaeur, couleurs d'accords, couleurs de resonances,

lignes melodiques et chants d'oiseaux : ils jouent tout le temps ou presque. Sans parler de la clarinette solo, les cinq clarinettes de I'orchestre (une petite clarinette, trois grandes clarinettes, une clarinette basse) ont i faire les traits les plus difficiles. 2. Dix-sept cuivres : une petite trompette, trois trompettes, six cors,trois trombones, un trombone basse, un tuba, un saxhorn basse, un tuba contrebasse. 3. Un petit ensemble au sein du grand, groupant sept so- listes : fliite, clarinette, xylorimba, vibraphone, grand ma- rimba, violoncelle, et piano solo. 4. Chceur mixte de cent chanteurs. Le chaeur est divise en dix groupes : premieres et deuxiemes sopranos, mezzos, premieres et deuxiemes contraltos, premiers et deuxiemes tenors, barytons, premieres et deuxiemes basses. 5. Quintette a cordes (68 musiciens). 6. Six percussionnistes. Ils jouent chacun plusieurs ins- truments, avec predominance des instruments de metal : jeu de crotales, jeu de cloches, petites et grandes cym- bales, sept gongs et trois tam-tams.

A n a l y s e s u c c i n c t e de chaque p i g c e

Premier septenaire I - Recit evangelique Introduction rythmique, par les percussions metal- liques, lestemple-blocks, les claves, e t les cloches. Le texte de I'Evangile en recitatif non accompagn6. A r r i t e t vocalise sur le mot Transfiguration.

II - Configuratum corpori claritatis suae On reprend I ' idie de la lumiere. Si le Christ a Bte lumi- neux, nous le serons aussi apres la resurrection, quand nous possederons le don de clarte. La voix du (( grand indicateur 1) (oiseau dfAfrique) le proclame joyeusement, e t les tenors en disent I'attente : (( exspectamus.. . n.

111 - Christus Jesus, splendor Patris Toujours I'idee de la lumiere, mais une lumiere plus haute. Symbole de la foudre : ( I vos eclairs ont illumine I'orbe de la terre n. Les oiseauxde haute montagne : chocard des Alpes et accenteur alpin, joignent leurs voix a celles du spreo superbe (Afrique) et du troupiale de Baltimore (Amerique du Nord). Les traits de marimba etxylorimba s'opposent aux graves du tuba contrebasse. Une phrase en accords massifs dit la majest6 du Christ, (( splendeur du Pere, empreinte de sa substance 1). Et la chouette de la Louisiane (aux cors) exprime la crainte r6verencielle.

IV - Recit evangelique lntroduction rythmique. Suite du texte evangelique en recitatif non accompagne.

V - Quam dilecta tabernacula tua (( Seigneur (disait I'apbtre Pierre),il nous est bon d'etre ici.. . )) Et le psaume 84 s'ecrie a son tour: (( Qu'ils sont aimes,vostabernacles ! Vos autels, vos autels, mon Roi et mon Dieu !... s Phrase douce et tendre des voix d'hommes, plus vehemente et plus forte par le c h ~ u r entier. Des couleurs modales evoluent: or etviolet, rouge et pourpre violacie, gris bleute clout6 d'or et bleu pro- fond, le vert et I'orange, le bleu et I'or, le jaune et le vio- let stries d'or et de blancheur ... Le violoncelle solo chante la clarte simple de la lumiere Bternelle. Le piano solo ajoute le rouge-gorge bleu d'Amerique, I'ensemble des solistesfait entendre le merle de roche (oiseau de montagne livree orange vif et bleu d'ardoise). Conclusion sur les harmonies rouge et or du chceur a bouche fermee : tapis onctueux, pianissimo t r i s loin- tain, sur lequel s'818ve dans la nuit, au piano, la premiere strophe du rossignol.

VI - Candor est lucis aeternea (( Splendeur de la lumiere Bternelle n, chantent lesvoix de femmes. C'est ainsi que le Livre de la Sagesse pro-

phetise 5 la fois le Fils-Verbe, et le Christ transfigure. Contrepoint de chants d'oiseaux,trhs complexe, aux har- monies multicolores. Un d e ~ i - t i l a (rythme de I'lnde antique) s'y transforme par augmentations et diminu- tions successives.

VI1 - Choral de la Sainte Montagne Le Psaume 48 prophetise a son tour la grandeur et la beaute de Notre Seigneur sur la montagne de la Transfiguration. Choral d'une extreme lenteur. La qua- torzieme piece conclura dans lefortissimo. La septieme piece c18t le premier septenaire dans le pianissimo.

Deuxieme septenaire Vlll - Recit evangelique lntroduction rythmique (variee). Suite du texte Bvan- gelique en recitatif. La nuee lumineuse est rendue par des ensembles de glissandos aux cordes, glissandos de differentes longueurs et de tempos differents. La ((Voix )) dans la nuee s'accompagne d'accords trilles rnulticolores dont les couleurs se meuvent i des vitesses differentes: les trilles de triangle et de cymbale s'unis- sent aux sons harrnoniques des cordes poursouligner le fremissement de la lumiere.

IX - Perfecte conscius illius perfectae generationis Developpernent de I'idee de filiation. Notre filiation commence au baptkrne etse complete apres la resur- rection dans I'etat de corps glorieux. Elle n'est qu'une image de la seule filiation, celle du Fils de Dieu. Cette filiation parfaite n'est totalement comprise et connue que du Pere, du Fils, et du Saint Esprit. Les rythmes en augmentations et diminutions inexactes des cymbales et gongs, les sons-pedales des trombones, le tam-tam, et les voix de basses dans le grave, essaient de dire la hauteur et la profondeur du mystere. De nombreux oi- seaux s'y associent : le loriot, I'ascenseur alpin, I'hy- pola'is des oliviers (Grece), le stournelle des pr6s de

r e i n b e r t de leeuw Reinbert de Leeuw a etudie le piano et la theorie musi- cale a Amsterdam, et la composition La Haye avec Kees van Baaren. Au debut des annees 70, il creait un cycle de concerts i Amsterdam, guides par une approche the- matique de la musique du Wme siecle; ces concertsfu- rent le lieu de nombreuses creations en Hollande des compositeurs les plus importants d'Europe et d1Amerique. En 1974, il creait le Schonberg Ensemble, dont il conti- nue a 6tre le chef principal. Aussi bien en tant que pia- niste qu'entantque chef d'orchestre, Reinbertde Leeuw a enregistre de nombreux disques pour lesquels diffe- rents prix lui ont Bte dbcernes, dont le Premio della cri- tics discografica italiana, le Grand prix Hongrois de I'Academie Liszt, et, a deux reprises, le grand prix n6er- landais du disque : Edison. Son repertoire comprend Arnold Schoenberg, Franz Listz, Erik Satie, George Antheil, Oliver Messiaen, Louis Andriessen, Steve Reich. Reinbertde Leeuwa publie un ouvrage sur Charles lves en 1968, et un recueil d'essais sur la musique : Musical Anarchy 11 9701. II estdirecteur artistique invite du Festival de Aldeburgh en 1992, et directeur artistique du Festival de Musique Contemporaine de Tanglewood en 1994.

Yvonne l o r i o d ~ l ' i g e de quatorze ans,Yvonne Loriod avait deja a son repertoire le Clavier bien temper6 de J. S. Bach, les Sonates de Beethoven, I'CEuvre integral de Chopin et la totalit6 des concertos de Mozart. Au Conservatoire de Paris, cette pianiste prodige travaille avec Marcel Ciampi, Simone Caussade, Joseph Calvet, Lazare Levy, Darius Milhaud et Olivier Messiaen. Son repertoire s'klargit alors i la musique du Wm"iecle. Nantie de sept prix du Conservatoire, elle entame une carriere in- ternationale, defendant a la fois les oeuvres classiques et les partitions contemporaines. De 1967 i 1989, elle

enseigne le piano au Conservatoire de Paris. Creatrice de Structuresde Pierre Boulez,Yvonne Loriod est surtout I'inspiratrice et I'interprkte privilegiee d'olivier Messiaen qui lui a dedie les VisionsdeI'Amenet les Vingt regards sur I'Enfant Jksus. Recompenses par douze grands prixdu disque,ses enregistrements embrassent tout le repertoire, de Mozart a de Falla, de Schumann i Schoenberg. Elle a grave I'integralite des oeuvres de Messiaen pour piano seul et pour piano et orchestre.

r a d i o symfon ie o r k e s t (RSO h i l ve rsum) & g r o o t omroepkoor

COrchestre Symphonique de la Radio Neerlandaise a kt6 fond6 en 1985. Aujourd'hui, la formation compte en- viron quatre-vingt dix musiciens,tous places sous la ba- guette de Kees Bakels depuis 1993. De 1985 B 1989, c'est Kenneth Montgomery qui I'avait dirige, tout en faisant appel i des chefs invites comme Kent Nagano ou Rudolf Barshai. Corchestre abordetous les repertoires. II se consacre a I'opbra - principalement f ran~a is et italien - autant

a qu'auxgrandes pagessymphoniques, etil dedie une par- tie importante de son activite a la musique contempo- raine. Lorchestre Symphonique de la Radio Neerlandaise realise une quarantaine de programmes par an, pr6- sentes pour la plupartau Concertgebouw d'Amsterdam et au Muziekcentrum Vredenburg a Utrecht. II s'asso- c ie f requemment avec le Choeur de la Radio Nkerlandaise. Le Choeur de la Radio Neerlandaise est I'ensemble vocal professionnel le plus important des Pays-Bas. Son repertoire estvaste, aussi bien dans le temps-de Bach a Karlheinzstockhausen-que dans la diversite desfor- mations-de huit a quatre-vingts chanteurs. Partenaire privilegie de I'Orchestre de la Radio Neerlandaise, il se produit frequemment aussi au Concertgebouw dfAmsterdam e ta Utrecht.

Cht-eur de La BRTN

Le Chceur de la BRTN (Radio Television Flamande) est une formation professionnelle qui regroupe vingt-cinq chanteurs et qui est basee a Bruxelles. Sa mission est de repondre aux exigences variees des differentes chainesde radio et de television de la BRTN. De cefait, le chceur n'a pas un repertoire specifique et fixe : il defend tout aussi bien I'operette que la musique religieuse, les oeuvres rares et meconnues du passe, comme les partitions contemporaines - avec une predilection pour le repertoire choral flamand dont il est aujourd'hui I'un des meilleurs ambassadeurs. Avant la seconde guerre mondiale, le Chceur de la BRTN a Bte dirige par Leonce Gras. Jan Van Bouwel lui a succede, et depuis 1970 c'est le Vic Nees qui conduit la formation. Ce dernier est aussi compositeur.

La t r a n s f i g u r a t i o n de n o t r e s e i g n e u r j i s u s - c h r i s t (the Transfiguration of our Lord Jesus Christ) by Olivier Messiaen

Different aspects of the mystery of the Transfiguration of Christ are successively called to mind by means of a mosaic of Latin texts, meticulously chosen by the com- poser, which form the basis for his meditation. The texts are drawn initially from the Gospel, then from the Holy Scripture (Genesis, the Psalms, the Wisdom of Solomon,the Epistles of Saint Paul), and finally from the Missals and the Summa Theologica of Saint Thomas Aquinas. The work is divided into two septenaries or groups of seven movements. Each portion of the Gospel narra- tive is followed by two movements which expand the key ideas. Each septenawis broughtto a close by a cho- rale.Thetwo septenaries are parallel in form. The ove- rall sequence is as follows:

First Septenary I Gospel Narrative II and Il l Meditations IV Gospel Narrative V and VI Meditations VI 1 Final chorale

Second Septenary Vlll Gospel Narrative 1X and X Meditations XI Gospel Narrative Xll and Xll l Meditations XIV Final chorale

D e t a i l e d L i s t Mixed choir, seven instrumental soloists and very large orchestra 1. Eighteen Woodwind. The woodwind instruments

play a considerable role, providing support for the choir, chordal colours, tone colours, melodic lines and birdsong. They are heard almost continuously throu- ghout. Apart from the solo clarinet, the five orchestral clarinets (small clarinet, three large clarinets, bass clarinet) are also called upon to execute virtuosic passages. 2. Seventeen brass: small trumpet, three trumpets, six horns, three trombones, bass trombone, tuba, bass saxhorn, contrabass tuba. 3. A small ensemble within the main ensemble, com- prising seven soloists: flute, clarinet, xylorimba, vibraphone, large marimba, cello and solo piano. 4. A hundred-strong choir, divided into ten sections: first and second sopranos, mezzos,first and second contraltos,first and second tenors, bar i tone~~f i rs t and second basses. 5. String Quintet (68 players). 6. Six percussionists, each playing several instruments, with a predominance of metal instruments: crotales, bells, small and large cymbals, seven gongs and three tamtams.

B r i e f a n a l y s i s o f each movement

First septenary I - Gospel Narrative A rhythmic introduction by the metallic percussion, temple blocks, claves and bells. The text of the Gospel as an unaccompanied recitative. Pause and vocaliza- tion on the word "Transfiguration".

II - Configuration corpori claritatis suae The idea of light is resumed. If Christwas illumined, then we too shall be, after resurrection, when we shall pos- sess the gift of clarity. The voice of the black-throated

honey-guide (an African bird) proclaims i t joyfully and the tenors expressthe expectation: "exspectamus.. .".

111 - Christus Jesus, splendor Patris Still the idea of light, but a higher light. The symbol of lightning: "the lightnings lightened the world". Birds ofthe upper mountain regions,the alpine chough and alpine accentor, join in the songs of the superb star- ling (Africa) and the Baltimore oriole (North America). Virtuosic passagesfor marimba and xylorimba contrast with lower registers of the contrabass tuba. A massive chordal phrasetellsofthe majestyof Christ, "the bright- ness of the Father, the express image of his person". And the barred owl (horns) voices reverent awe.

IV - Gospel Narrative Rhythmic introduction. Continuation of the Gospel text as an unaccompanied recitative.

V- Quam dilecta tabernacula tua "Lord (said the apostle Peter), it is good for us to be here ..." And, in its turn, Psalm 84 exclaims: "How amiable are thy tabernacles! Thine altars, thine altars my King and my God! ..." A soft and tender phrase for male voices, and then louder and more vehement for the whole choir. Evolution of modal colours: gold and violet, red and mauvish-purple, bluish-grey studded with gold, yellow and violet streaked with gold and whi- teness ... The solo cello rejoices in the simple clarity of everlasting light.The solo piano introduces the eas- tern bluebird and the rockthrush (a mountain bird with a bright orange and slate-blue livery) is heard from the ensemble of soloists. The movement concludes with the choir humming red and gold harmonies: a smooth-flo- wing carpet of sound, very distant pianissimo over which the first strophe of the nightingale's song rises, in the night, on the piano.

VI - Candor est lucis aeternae "The brightness of the everlasting light", sing the female voices.This is howthe Wisdom ofSolomon prophesied that, atonce,the Son be made Word andthe Christtrans- figured. Highly complex counterpoint of birdsong with multicoloured harmonies. Transformation of a deci- tzla (an ancient Indian rhythm) in successive aug- mentations and diminutions.

VII - Chorale of the Holy Mountain Psalm 48, in its turn, prophesies the grandeur and beauty of Our Lord on the mountain ofthe Transfiguration. Extremely slow chorale.Thefourteenth movementwill end fortissimo. The seventh movement ends the firstsep- tenary pianissimo.

Second septanary Vlll - Gospel Narrative Rhythmic introduction (varied). Continuation of the Gospel text as a recitative. The bright cloud is repre- sented by ensembles of string glissandos of different lengths and in different tempos. The "voice" in the cloud is accompanied by multicoloured trilled chords, the colours of which move at varying speeds: triangle and cymbal trills unite with string harmonies to ac- centuate the quivering of the light.

IX - Perfecte conscius illius perfectae generationis Development ofthe idea of affiliation. Our affiliation be- gins at our baptism and finds completion after resur- rection in the state of a glorious body. However,this is only an image of the unique affiliation, which is that of the son of God.The perfect affiliation is completely com- prehended and known only by the Father, the Son and the Holy Spirit. Inexact augmentations and diminutions ofthe rhythms ofthe cymbals and gongs,thetrombone

peda-notes, the tamtam, and bass voices on their lo- west notes attemptto express the height and depth of the mystery. Numerous birds join in: the golden oriole, alpine warbler, olive-tree warbler (Greece), western meadowlark (Canada), blue mockingbird (Mexico). A highly melodious refrain,the harmonies of which range from blue striped with green to black flecked with red and gold, going through diamond, emerald, mauvish- purple, with a dominant lightorange studded with milky white. A cadenza forthe soloists on the song of three Mexican birds: the slate-coloured solitaire, gray salta- tor,tropical mockingbird. A large rhythmic combination superimposes the rhythm of the choir on three groups of rhythms, using Greekmetrical units ofvarying lengths, long and short, and Indian deci-tfilas in retrograde mo- vement. A fortissimo unison. A second strophe re- sumes all these elements in a differentmusic.The final unison declaims the terrible words: "perfectae gene- rationis".

X- Adoptionem filiorum perfectam Still the idea of affiliation. It concerns here our state as adoptive children: children and accordingly heirs and joint-heirs t o paradise, Christ's Kingdom. The beginning of the movement is characterized by permutations of note-values in a melody of timbres,with the main role going t o the solo cello. A long cadenza mingling percussion rhythms w i th the birdsong of the soloists: blackcap (France) on the clarinet, superb starling (Africa) on the marimba, summer tanager, indigo bunting, rose-breasted grosbeak (Nor th America) on t h e solo piano. Sopranos and tenors sing Alleluia pianissimo. V io l in harmon ics , c r o t a l e s a n d v i b r a p h o n e accompanythem with tiers of multicoloured chords, tautened and gathered into shimmering complexes. Counterpoints of birdsong on the marimba and xylophone (India shama), and by the wood-wind en-

semble (Crimson-winged f inch and Moussier's redstart of the High Atlas).

XI - Gospel Narrative Rhythmic introduction (extended andvaried). Recitatives and vocalizations of the following and final Gospel narratives.

XI1 -Terribilis est locus iste l twas in clearweatherwhilstgazing at Mont Blanc,the Jungfrau and the three glaciers ofthe Meije in Oisans, that I grasped the difference between the modest splendour of snow and the mightysplendour ofthe sun -that is also where I could imagine the extent of the awesomeness of the place of the Transfiguration!. . . The holy terror is conveyed by trombone pedal-notes and low-pitched trilled clusters.The scene is set by the cries of mountain birds: the peregrine and Bonelli's eagle.The light from "on high" becomes visible in the wind and brass chords passing abruptly to the pianissimo of vio- lin harmonics: in this supernatural whiteness quiverthe pizzicatos of the cellos and the colours of piano chords, bells and crotales. A collective vocalization,written for

Q twenty real parts, leads to the final words: "Terribilis".

Xlll - Tota Trinitas apparuit Of all the movements, this is the most developed. Reiteration of the same solemn music depicting "all that is on high": the mountain, eternal glory,the voice ofthe Father,the Son -both Man and God -, the Holiness of the Spirit.

XIV- Chorale of the Glorious Light An extremely slow movement. Total fortissimo for the choir and orchestra. This final chorale ends the work with words from Psalm 26: "1 have loved the place where thine honour dwelleth!" Glory dwelt in the moun- tain of Transfiguration, Glory dwells in the Blessed Sacrament in our churches, Glory dwells forever in Eternity.

translation : Margaret Tunstill

r e i n b e r t de Leeuw Reinbertde Leeuw studied piano and music theory in Amsterdam and composition with Kees van Baaren in The Hague. In the early seventies he founded a concert series in Amsterdam with a thematic approach to the music of the XXth century, introducing many first performances of the major European and American composers in Holland. In 1974 he founded the Schonberg Ensemble of which he is since the startthe principal conductor. Both as a pianist and as a conductor he released many recordings, and received different awards, like Premio della critica discografica italiana, Grand prix ofthe Hungarian LisztAcademy, and twicethe Dutch Edison Price. Among his repertoire: Arnold Schonberg, Franz Liszt, Erik Satie, George Antheil, Oliver Messiaen, Louis Andriessen, Steve Reich. Reinbert de Leeuw published a book on Charles lves [I9681 and a book with essays on music [Musical Anarchy, 19701. In 1992 he is guest artistic director of the Aldeburgh Festival and artistic director ofthe Tanglewood Music Festival of Contemporary Music in 1994.

Yvonne L o r i o d Already atthe age offourteen,Yvonne Loriod's repertoire contained Bach's The Well-tempered Clavier, Beethoven's Sonatas, the complete works of Chopin and all Mozart's concertos. As a piano prodigy atthe Paris Conservatoire, she studied under Marcel Ciampi, Simone Caussade, Joseph Calvet, Lazare LQvy, Darius Milhaud et Olivier Messiaen. During this time, she added music of the XXth century to her repertoire and won seven Conservatoire prizes. Upon leaving the Conservatoire, she embarked upon an international career, championing the cause of the classics and new compositions alike. From 1967to 1989, she taught piano atthe Paris Conservatoire. She gave the veryfirst performance of Structures by Pierre Boulez, but

she is probably best known as Olivier Messiaen's inspi- ring force and privileged interpreter. Messiaenk Visions de /'Amen and Vingt Regards sur I'Enfant Jhsus were de- dicated to her. Yvonne Loriod's recordings, ranging from Mozartto de Falla and from Schumann to Schijnberg, reflect a highly comprehensive repertoire and have received twelve Grands prix du disque. Her discography includes all of Messiaen's works for solo piano and piano and orchestra.

r a d i o s y m f o n i e o r k e s t ( R S O h i l v e r s u m ) & g r o o t omroepkoor

The Nederlands Radio Symphony Orchestra was founded in 1985. The ensemble actually comprises some ninety players with Kees Bakels holding the post of conductor since 1993. Kenneth Montgomery was conductorfrom 1985to 1989 during whichtime guest conductors included Kent Nagano and Rudolf Barshai. The orchestra's wide-ranging repertoire covers opera-chiefly French and Italian-and well-known symphonic works. I t also devotes a large part of its time to contemporary music. The Netherlands Radio Symphony Orchestra gives around forty concerts each year, held for the most part at the Concertgebouw, Amsterdam and at the Muziekcentrum Vredenburg, Utrecht. I t appears re- gularly wi th the Netherlands Radio Choir. The Netherlands Radio Choir is the largest profes- sional choir in Holland. The size of the choir,varying in numberfrom as few as eightto a maximum of eighty singers, is adapted to an extensive repertoire which covers ground from Each to Karlheinz Stockhausen. The choir has close links with the Netherlands Radio Orches t ra and appears regu la r l y a t t h e Concertgebouw, Amsterdam and Utrecht.

BRTN c h o i r The Brussels based BRTN Choir is a company of twenty- five professional singers. Its particulartask is to meet the requirements of the different services of the BRTN (Flemish Radio and Television). As such, the choir has no specific or fixed repertoire and moves effortlessly between operetta, sacred music, rare or little-known works from the past and contemporary music. More spe- cifically, it is acknowledged to be one oftoday's leading exponents of Flemish choral music. Until World War 11, the BRTN Choir was led by Leonce Gras with Jan van Bouwel later succeeding him. Vic Nees, who is also a composer, has conducted the ensemble since 1970.

Premier septenaire I - Recit evangelique (( Jesus prit avec lui Pierre, Jacques, et Jean son frkre, et les conduisit i I'ecartsur une haute montagne. Et il futtransfigure devant eux. Son visage devint brillant comme le soleil, et ses vgtements blancs comme la neige. ))

~vangile selon Saint Matthieu chapitre 17, verset 1,2

Premier septenaire I - Recit evangelique (( Assumpsi t Jesus Petrum, e t Jacobum, et Joannem fratrem ejus, et duxit illos in montem excelsum seorsum : et transfiguratus est ante eos. Et resplenduitfacies ejus sicut sol : vestimenta autem ejus facta sunt alba sicut nix. n

First septenary I - Gospel narrative "Jesus taketh Peter, James, and John his brother, and bringeth them up into an high mountain apart; And was transfigured before them: and his face did shine asthe sun, and his rai- ment was white as the light."

Gospel according to Saint Matthew chapter 17, verses l , 2

II - Configuratum corpori claritatis suae II - Configuraturn corpori claritatis suae II -Configuraturn corpori claritatis suae (( Nous attendons le Sauveur, notre (( Salvatorem expectamus Dominum "We look for the Saviour, the Lord Seigneur Jesus-Christ, qui reformera nostrum Jesum Christum, qui refor- Jesus Christ, who shall change our le corps de notre humilite en le mabit corpus humilitatis nostrae vilebody,thatitmay befashionedlike conformant i son corps de gloire. )) configuratum corpori claritatissuae.)) unto his glorious body."

itre re de saint Paul aux Philippiens, Epistle of Saint Paul to the Philippians, chapitre 3, versets 20,21 chapter 3, verses 20,21

'@ u C'est la splendeur de la lumierk u Candor est lucis aeternae, specu- "Forsheisthe brightnessofthe ever- eternelle, son miroir sans tache, et lum sine macula, et imago bonitatis lasting light,the unspotted mirrocand I'image de sa bonte. Alleluia. a illius. Alleluia. )) the image of His goodness. Alleluia." Livre de la Sagesse, chapitre 7, verset26 Wisdom of Solomon, chapter 7, verse 26

111 - Christus Jesus, splendor Patris 111 - Christus Jesus, splendor Patris 111 - Christus Jesus, splendor Patris (( Vos eclairs ontillumine I'orbe de la (( llluxerunt coruscationes tuae orbi "The lightnings lightened the world: terre : la terre a et6 remuee, elle a terrae : commota est, et contremuit the earth trembled and shook." tremblb. )) terra. n

Psaurne 77, verset 19 Psalm 77, verse 19

(( Christ Jesus, splendeur du PBre, (( Christus Jesus, splendor Patris, et "Christ Jesus, the brightness of the empreinte de sa substance. n figura substantiae ejus. )) Father, and the express image of his

person." itre re de Saint Paul aux HBbreux, Epistle of Saint Paul to the Hebrews,

chapitre 1, verset 3 chapter 1, verse 3

IV- Recit evangelique (( Etvoici que leur apparurent Moise et Elie, qui s'entretenaient avec lui. Pierre alors, prenant la parole, dit B Jesus : Seigneur, il nous est bon d'etre ici ; si vous voulez, faisons-y troistentes, une pourvous, une pour Mo'ise, et une pour Elie. ))

~ v a n ~ i l e selon Saint Matthieu, chapitre 17, versets 3,4

IV - RBcit Bvangelique IV - Gospel narrative (( Et ecce apparueruntillis Moyses et "And behold, there appeared unto Elias cum eo loquentes. Respondens them Moses and Elias talking with autem Petrus, d ix i t ad Jesum : him.Then answered Peter,and said Domine, bonum est nos hic esse : si unto Jesus, Lord, i t is good for us to vis,faciamus hic tria tabernacula,tibi be here: ifthou wilt, let us make here unum, Moysi unum, et Eliae unum. a threetabernacles;oneforthee, and

one for Moses, and one for Elias." Gospel according to Saint Matthew,

chapter 17,verses 3,4

V- Quam dilecta tabernacula tua V- Quam dilecta tabernacula tua V- Quam dilecta tabernacula tua (( Qu'ilssontaimes,vostabernacles !.. . (( Quarn dilecta tabernacula tua !. . . "How amiable arethytabernacles!. . . Mon dme languit aprks les parvis Deficit anima mea in atria Domini.- M y soul longeth forthe courts ofthe du Seigneur.-Mon cceuretma chair Cor meum, et car0 mea, exsultave- Lord.-My heart and my flesh crieth onttressailli de joie pour le Dieu vi- runtin Deumvivum.-Altariatua !... out for the living God. - Thine al- vant. - Vos autels !. . . mon Roi et Rex meus et Deus meus ! 1) tars! ... my King, and my God!" mon Dieu ! ))

Psaume 84, versets 2,3,4 Psalm 84, verse 1,2,3

(( C'est la solendeur de la lumikre (( Candor est lucis aeternae. )) "For she isthe brightness oftheever- Q Bternelle. 1)

Livre de la Sagesse, chapitre 7, verset 26 lasting light." Wisdom of Solomon, chapter7, verse 26

VI - Candor est lucis aeternae VI - Candor est lucis aeternae VI - Candor est lucis aeternae (( C'est la splendeur de la lumihre (( Candor est lucis aeternae, specu- "Forshe isthe brightness ofthe ever- eternelle, son miroir sans tache, et lum sine macula, et imago bonitatis lasting light, The unspotted mirror, I'image de sa bontb. n illius. )) and the image of His goodness." Livre de la Sagesse, chapitre 7, verset 26 Wisdom of Solomon, chapter 7, verse 26

VII - Choral de la Sainte Montagne VII - Choral de la Sainte Montagne VII - Chorale of the Holy Mountain (( Grand est le Seigneur, et digne de (( Magnus Dominus, et laudabilis "Great is the Lord, and greatly to be toute louange, dans la cite de notre nimis: in civitate Dei nostri,in monte praised in the city of our God, in the Dieu, sur sa Montagne Sainte. )) sancto ejus. )) mountain of his holiness."

Psaume 48, verset 2 Psalm 48, verse 2

Deuxieme septenaire Vlll- Recit evangelique (( Comme il parlait encore, une nuee lumineuse les prit sous son ombre ; etvoici qu'unevoixsortitde la nube, disant : Celui-ci est mon Fils bien- aime, en qui j'ai mistoutes mes com- plaisance~ : ecoutez-le. n

Evangile selon Saint Matthieu, chapitre 17, verset 5

IX-Perfecte conscius illius petfectae ge- nerationis (( L'adoption des fils de Dieu se fait par une image qui les rend conformes au Fils nature1 de Dieu.. . D'abord, par la gr5ce de la vie presente, qui ne donne qu'une conformite imparfaite ; ensuite, par la gloire, qui apporte une conformite parfaite ... La grsce, nous I'obtenons par le bapteme, mais la Transfiguration nous a montre par avance la clarte de la gloire future. Aussi,tant au b a p t h e du Christ qu'i saTransfiguration, convenait-il que le temoignage du PBre manifestM la filiation naturelle du Christ; carseul le Pere est parfaitement conscient de cette generation parfaite, ainsi que le Fils et le Saint Esprit. s

Saint Thomas d'Aquin, Somme Thbologique Livre Ill, question 45, article 4, conclusion

Deuxieme septenaire Second septenary Vlll - Recit evangelique Vlll - Gospel narrative (( Adhuc eo loquente, ecce nubes lu- "While he yetspoke, behold, a bright cida obumbravit eos. Eteccevoxde cloud overshadowed them; and be- nube, dicens: Hic est Filius meus di- hold a voice out of the cloud, which lectus, in quo mihi bene complacui : said; This is my beloved Son, in whom ipsum audite. )) I am well pleased; hear ye him."

Gospel according to Saint Matthew, chapter 17, verse 5

IX- Perfecte conscius illius perfectae ge- nerationis (( Adoptio filiorum Dei est per quam- dam conformitatem imaginis ad Dei Filium naturalem ... Primo quidern, per propriam gratiarn viae, quae est conformitas impetfecta; secundo, per gloriam, quae est conformitas perfects.. . Gratiam per baptismum consequimur, in Transfiguratione autem praemonstrata est claritasfu- turae gloriae, ideo tam in baptism0 quam in Transfiguratione conveniens fuit manifestare naturalem Christifi- liationem testimonio Patris : quia solus est perfecte conscius illius perfectae generationis, simul cum Filio et Spiritu Sancto.))

IX-Perfecte conscius illius perfectae ge- nerationis "The adoption which belongs to the children of God is a kind of confor- mityto the image of the natural Son of God.. . Firstly, by the grace of the wayfarer, which is an imperfect conformity; secondly, by glory, which is perfect conformi ty... We attain grace through baptism; i n t h e Transfiguration however, the clarity of the future glory isforeshadowed, thus both in baptism and in Transfiguration i t was appropriate that the natural sonship of Christ should be manifested by the testi- mony of the Father who alone is perfectly conscious of that perfect generation atthe same time with the Son and the Holy Spirit." Saint Thomas Aquinas, Summa Theologica

question 45, article 4, conclusion

X- Adoptionem filiorum perfectam X- Adoptionem filiorum perfectam X- Adoptionem filiorum perfectam (( 0 Dieu, qui dans la glorieuse (( Deus, qui fidei, sacramenta in "God our Father, in the transfigured Transfiguration de votre Fils unique, Unigenititui gloriosaTransfiguratione, glory of Christ your Son, you streng- avez confirme les mysteres de la foi patrum testimonio roborasti,etadop- then our faith by confirming the wit- par le temoignage des Prophetes, tionem filiorum perfectam voce de- ness of your prophets, and show us

et qui avez marque d'une maniere ad- mirable la parfaite adoption de vos enfants par la voixqui eclata dans la nuee lumineuse,faites-nous la gr ice d9tre un jour les coheriiiers de ce Roi de gloire, et de partager avec lui son glorieux royaume,AII~luia,AII~luia.n

Oraison de la fete de la Transfiguration de Notre Seigneur Jesus-Christ

XI - Recit BvangBlique (( Kentendant, les disciples tomberent la face contre terre, saisis d'une grande crainte. Mais JQsus, s'ap- prochant, les toucha et leur dit : Levez-vous et ne craignez point. Levant alors les yeux, ils ne virent plus rien que Jesus seul. Comme ils descendaient de la mon- tagne, Jesus leur donna cet ordre : Ne parleza personne de cettevision, jusqu'h ce que le Fils de I'homme soit ressuscite des morts. ))

Evangile selon Saint Matthieu, chapitre 17, versets 6-9

lapsa in nube lucida mirabiliter prae- the splendour ofthe adoption of your signasti :concede propitius, utipsius beloved sons and daughters in the Regis gloriae nos coheredes effi- voice which spoke from the bright cias, et ejusdem gloriae tribuas esse cloud, help us to become heirs to consortes.Alleluia,Alleluia. )) eternal life with Him, the King of

Glory, and to share His glorious Kingdom. Alleluia, Alleluia." Prayer of the Feast of the Transfiguration

of our Lord

XI - Recit evangelique (( Et audientes discipuli, ceciderunt in faciern suam, et timuerunt valde. Et accessit Jesus, et tetigit eos, dixitque eis : Surgite et nolite timere. Levantes autem oculos suos, nemi- nem viderunt, nisi solum Jesum. Et descendentibus illis de monte, prae- cepit eis Jesus, dicens: Nemini dixe- ritisvisionem, donec Filius hominis a mortuis resurgat. ))

XI - Gospel narrative "And when the disciples heard it, they fell on theirface, and were sore afraid. And Jesus came and touched them and said, Arise, and be not afraid. And when they had lifted up their eyes, they saw no man, save Jesus only. And as they came down from the mountain, Jesus charged them, saying, Tell the vision to no man, until the Son of man be risen again from the dead."

Gospel according to Saint Matthew, chapter 17, verses 6-9

XI1 -Terribilis est locus iste XI1 -Terribilis est locus iste XI1 -Terribilis est locus iste (( .. enveloppe de lumiire comme cc Amictus lumine sicutvestimento. )) "... coverestwith light as with a gar- d'un manteau ... )) ment.. ."

Psaume 104, verset 2 Psalm 104, verse 2

(( La clarte de ses vetements sym- (( Claritas vestimentorum ejus desi- "The brightness of his garments de- bolise la future clarte dessaints, qui gnatfuturam claritatem sanctorum, signated the future brightness ofthe sera surpassee par la clarte du Christ, quae superabitur a claritate Christi, saints,whose clarityis surpassed by comme la splendeur de la neige est sicut candor nivis superatur a can- the clarity of Christ as the light of surpassee par la splendeurdu soleil. n dore solis. )) snow is surpassed by the brightness

of the sun." Saint Thomas d'Aquin, Somme Theologique Saint Thomas Aquinas, Summa

question 45, article 2, solution 3 Theologica question 45, article 2, solution 3

(( Glo,ire i Dieu dans les hauteurs ! )) (( Gloria in excelsis Deo ! r "Gloryto God in the Highest!" Evangile selon Saint Luc, chapitre 2, Gospel according to Saint Luke, chapter

verset 14 et le ccGloriar 2, verse 14 and the "Gloria" de I'Ordinaire de la Messe from the Ordinan/ of the Mass

(( C'est la splendeur de la lumiere (( Candor est lucis aeternae )) "For she isthe brightness of the ever- eternelle r lasting light." Livre de la Sagesse, chapitre 7,verset 26 Wisdom of Solomon, chapter 7, verse 26

(( Ce lieu estterrible : crest la maison (( Terribilis est locus iste : hic domus "How dreadful is this place! this in de Dieu, et la porte du ciel. )) Dei est, et porta caeli. )) none other but the house of God,

and this is the gate of heaven." GenBse, chapitre 28, verset 17 Genesis, chapter 28, verse 17

Xlll -Tota trinitas apparuit Xlll -Tota trinitas apparuit Xlll -Tota trinitas apparuit All6luia ! Envoyez notre lumi6re et Alleluia ! Emitte lucem tuam etve- '.'Alleluia! 0 send outthy light and thy

votre verite ! qu'elles me guident et ritatem tuam : ipsa me deduxerunt, truth: letthem lead me; letthem bring me ramenentversvotre sainte mon- et adduxerunt in montem sanctum me unto thy holy hill, and to thy ta- tagne et vers vos tabernacles. n tuum, et in tabernacula tua. a bernacles."

Psaume 43, verset 3 Psalms 43, verse 3

(( Vous tous qui cherchez le Christ, (( Quicumque Christum quaeritis - "All ye who seek Christ, lift up your levez les yeux vers la montagne : Oculos in altum tollite : - lllic licebit eyes unto the mountain where you vous pourrez y contempler un rayon visere - Signum perennis gloriae. 1) will see a ray of his eternal glory." de sa gloire Bternelle. 1)

Hymne de la Transfiguration de Notre Hymn of the Transfiguration of Our Lord Seigneur Jesus-Christ Jesus Christ

(( Par le mystere de I'incarnation du Verbe, un nouveau rayon de votre splendeur a brill6 aux yeux de notre 2me: afin que tandis que nous connaissons Dieu sous uneformevi- sible, nous soyons ravis par Lui en I'amour des choses invisibles. a

Preface de la Transfiguration de Notre Seigneur Jesus-Christ

(( Quia per incarnati Verbi myste- "Through the mystery of the incar- rium, nova mentis nostrae oculis lux nation of the Word, a light shines tuae claritatis infulsit : ut dum visibi- anew upon the eyes of our mind: we liter Deum cognoscimus, per hunc in acknowledge God in hisvisibleform invisibilium amorem rapiamur. )) and delight in Him through our love

of that which is invisible."

Preface of The Transfiguration of Our Lord Jesus Christ

(I Dans la Transfiguration, qui est le (I In Transfiguratione, quae est sa- "In the Transfiguration, which is sacrementdela seconde generation, cramentum secundae regeneratio- the sacrament of second rebirth, toute la Trinite s'est manifestee : le nis, tota Trinitas apparuit : Pater in the entire Trinity is manifest - the PBre par la voix, le Fils par l'homrne, voce, Filius in homine, Spiritus Father in the voice,the Son as man, IeSaint-Espritparla nuke lumineuse. )) Sanctus in nube c1ara.s the Holy Spirit in the bright cloud." Saint Thomas d'Aquin, Somme Theologique Saint Thomas Aquinas, Summa Theologica Livre Ill, question 45, article 4, solution 2 question 45, article 4, solution 2

XIV- Choral de la lurniere de gloire XIV- Choral de la lurniere de gloire XIV- Chorale of the glorious light ((Seigneur, j'aime la beaute devotre I( Domine,dilexi decorem domustuae, "Lord, I have loved the habitation of maison, et le lieu o i habite votre et locum habitationis gloriae tuae ! )) thy house and the place where thine Gloire ! )) honour dwelleth."

Psaume 26, verset 8 Psalm 26, verse 8

translation: Margaret Tunstill

La transfiguration de notre seigneur Jesus-Christ

Les o i s e a u x II - Configuration Corpori claritatis suae Grand indicateur d'Afrique Bulbul Grive grise

111 - Christus Jesus, splendor Patris Engoulevent de Nuttall (Amerique du Nord) Chouette de la Louisiane Chocard des Alpes Accenteur alpin Chouette des terriers Barbu B tete rouge (Afrique) Ani B bec lisse Tangara rouge Sprbo superbe Grive de Lawrence (Sabii-poliglota) Grive des cacaos (Sabia verdadeiro) Troupiale de Baltimore Fauvette B tete noire Merle de Swainson

V- Quam dilecta tabernacula tua Rouge gorge bleu dfAmerique Rhipidure de Willie Rossignol Merle de roche Sporophile a joues blanches (Brbsil) Accenteur alpin Carouge noir ou Vacher B t6te brune (Am. Nord)

VI - Candor est lucis aeternae Fauvette B calotte grise (Afrique) Cisticole du Natal Merle noir

T h e b i r d s II - configuratum corpori claritatis suae Black-throated, Honey-guide Dark-capped Bulbul Grey Butcherbird

111 - Christus Jesus, splendor Patris Common Poor Barred Owl Alpine Chough Alpine Accentor Burrowing Owl Red-Headed Barbet Smooth-Billed Ani Summer Tanager Superb Starling Lawrence's Thrush Sabian Thrush Baltimore Oriole Blackcap Olive-backed Thursh

V - Quam dilecta tabernacula tua Eastern Bluebird Willie Wagtail Nightingale Rock Thrush Double-collared Seedeater Alpine Accentor Brown-headed Cowbird

VI -Candor est lucis aeternae Grey-capped Warbler Croaking cisticola Warbler Blackbird

Hibou oreillard (Canada) Fauvette des jardins Oiseau-chat Chardonneret Fauvette a t6te noire Rouge gorge Grive musicienne Merle ardoise (Brksil) Sporophile a joues blanches (Bresil) ~ v 6 ~ u e bleu (Bresil) Colombe Talpacoti (Bresil) Engoulevent roux (Brhsil) Tarin de Magellan (Brisil) Gelinotte Fauvette a calotte grise (Afrique)

IX - Perfecte conscius illius perfectae generationis Moqueur bleu du Mexique Bruant melanocephale Solitaire ardoise (Mexique) Bobolink Troglodyte a poitrine tachetee (Mexique) Saltator grisdtre (Mexique) Moqueur des Tropiques (Mexique) Hypola'is des oliviers

X- Adoptionem filiorum perfectam Bouvreuil ailes roses (Haut Atlas) Telephone Tschagra Tangara Qcarlate Pape indigo Guirace a poitrine rose Fauvette Passerinette Cardinal rouge de Virginie Shama des lndes Dromoi'que du Sahara (Marocl Rubiette de Moussier (Marocl

Long-eared Owl Garden Warbler Catbird Goldfinch Blackcap Robin Song Thrush Slaty Thrush Double-collared Seedeater Blue-black Grosbeak Talpacoti Dove Rufous Nightjar Hooded Siskin Hazel Hen Grey-capped Warbler

IX- Perfecte conscius illius perfectae generationis Mexican blue Mockingbird Black-headed Bunting Slate-coloured Solitaire Bobolink Spotted-Breasted Wren Gray Saltator Tropical Mockingbird Olive-tree Warbler

X- Adoptionem filiorum perfectam Crimson Winged Finch Black-headed Bush-Shrike Summer Tanager Indigo Bunting Rose-Breasted Grosbeak Subalpine Warbler Cardinal Sharna Scrub Warbler Moussier's Redstart

XI1 -Terribilis est locus iste Aigle de bonelli Faucon pelerin Pie grieche B t i t e rousse Circaete Jean-le-Blanc

Xlll -Tota Trinitas apparuit Calao gris d'Afrique Siffleur dorb Moqueur B tete noire (Amazonie) Koel Loriot vert Rouxinol de Rio (Amazonie) Cisticole B moustaches (Afrique) Grive d'Alice Siffleur B ventre roux

XI1 -Terribilis est locus iste Bonelli's Eagle Peregrine Woodchat Shrike Short-toed Eagle

Xlll -Tota Trinitas apparuit African Grey Hornbill Golden Whistler Black-Capped Mockingbird Koel-Cuckoo Olive-backed Oriole Gray-Breasted Wren Croaking Cisticola Gray-cheeked Thrush Rufous Whistler '

Digital recordings VARA Hilversum Live recording Concertgebouw (Grote Zaal) - Holland FestivalNARA-Matinbe - Amsterdam 29.V1.1991 Recordinglsound engineering, NOB Audio: Lodewjik Colette Executive producer, Jan Zekveld photo O dr

M O N T A I G N E

Ne en 1987 afin de reveler les tresors des grands concerts du Thedtre des ~ h a m ~ s - ~ l ~ s 6 e s , Montaigne se consacre ensuite B la musique du XXe sihcle et enregistre les ceuvres des grands compositeurs du sihcle : d'Arnold Schoenberg B John Cage, de Mauricio Kagel B Marc Monnet, de George Antheil i Jonathan Harvey, d'0livier Messiaen B Pascal Dusapin, explorations et decouvertes lumineuses de notre XXe s i d e se conjuguent au pluriel. Creuset de la creation contemporaine, Montaigne s'at- tache les sewices des meilleurs interprhtes, cr6e des series avec le quatuor Arditti ou I'Ensemble Recherche ... Une formidable histoire, plus vivante que jamais, gr lce aujourd'hui B ces reeditions, et bien sOr grdce aux nouveaux enregistrements presents et B venir ...

Montaigne was created in 1987 for the presentation of the great concerts given at the Th6dtre des champs-~lysbes in Paris, before specialising in 20th-century music and recording works by its great composers, froni Arnold Schoenberg to John Cage,from Mauricio Kagel to Marc Monnet, from Olivier Messiaen to Pascal Dusapin, and exploring the many facets of their music. A crucible for modern crea- tion, Montaigne calls upon the finest interpreters and creates collections with the Arditti Quartet or the Recherche Ensemble ... A wonderful history, still very much alive, whicli is presented in these re-re- leases, and, of course, in the new recordings of toclay and of the future.

georges aperghis recitations martine viard M 0 782118

alban berg streichquartett op.3, lyrische suite arditti string quartet M 0 7821 19

henri dutilleux ainsi la nuit pascal dusapin time zone - quatuor (I) arditti string quartet M 0 782125

pascal dusapin comoed~a 1993, fist, aria, hop', aks, coda, attacca ars nova francoise kubler

pierre boulez armand angster, trois sonates pour piano ~ h i l i ~ ~ e nahon claude helffer M 0 7821 50 M 0 782120

pascal dusapin britten ~annis xenakis

cello suites no.1-3 works for flute

rohan de saram cecile daroux

M 0 782081 M 0 782173

john cage morton feldman the wonderful widow of eigh- routine investigations

teen springs the viola in my life I, II

ryoanji a flower 59 112 ~ ~ ~ ~ ~ i , " ~ , " ~ a t h e rue joelle leandre hornmage a j... fijrstenberg

joelle Ieandre & ninh I$ quan ~ ~ { b 2 ~ ~ h e r c h e M 0 782121

james dillon morton feldman

ignis noster Samuel beckett

helle Nacht words and music

bbc symphony omar ebrahim stephen lind

arturo tamayo ensemble recherche

M 0 782123 M 0 782145

pascal dusapin h i a n ferneyhough requiem [sl

fourth string quartet

ars nova, kurze schatten II

chmur de charnbre trittico Per g.s. terrain

laurence equilbey brenda mitchell

M 0 782116 rnagnus andersson iwine arditti

~ G A L E M E N T DISPONIBLE A L S O A V A I L A B L E from Scandinavia kurtag, lutoslawski, olivier messiaen lindberg, sorensen, gubaidulina visions de I'amen tiensuu, saariaho arditti string quartet maarten bon kari kriikku jukka tiensuu M 0 782147 reinbert de leeuw arditti string quartet M0 782159 M 0 782141 helmut lachenmann

roberto gerhard the plague (la pestel epithalamion michael lonsdale bhc symphony chorus joven orquesta nacional de espaiia edmon colome~ M 0 782127

jonathan hawey

reigen seliger geister tanzsuite rnit deutschlandlied arditti string quartet deutsches symphonie- orchester berlin olaf henzold M 0 782130

bruno maderna for string arditti string quartet M 0 782158

tristan murail gondwana desintegrations time and again orchestre national de france ensemble de I'itineraire yves prin M 0 782175

luigi nono variazioni canoniche a carlo scaroa. architetto

bhakti nouvel ensemble rnoderne bruno maderna

no hay caminos.

lorraine vaillancourt hay que caminar..

M 0 782128 satyricon sinfonieorchester divertimento ensemble des sudwestfunks sandro gorli

mauricio kagel M 0 782174 pan string quartets I, II, Ill arditfi string quartet M 0 782129

mauricio kagel 5 stucke der windrose phantasiestuck schonberg ensemble reinbert de leeuw M 0 782140

olivier messiaen sept ha~ka'i couleurs de la cite celeste un vitrail et des oiseaux oiseaux exotiques yvonne loriod ensemble intercontemporain pierre boulez M 0 782131

michael gielen M 0 782132

luigi nono la lontananza nostalgica utopica futura i ~ i n e arditti experimentalstudio-h.strohel stiftung andre richard M 0 782133

olivier messiaen luigi nono mauricio kagel des canyons aux Btoiles ... fragmente Sankt-Bach-Passion maria bon e hay que caminar ))

Anne Sofie von Otter ask0 ensemble arditti string quartet Hans-Peter Blochwitz schonberg ensemble M 0 782172 Radio-Sinfonie-Orchester slagwerkgroep den haag Stuttgart Mauricio Kagel reinbert de leeuw M 0 782157 2 CO M 0 782142 2 CD

stefano scodanibbio arditti string quartet ask0 ensemble jonathan nott M 0 782169

emmanuel nunes quodlibet ensemble modern orchestra gulbenkian lisboa kasper de roo & emilio pomarico M 0 782143

maurice ohana I'ceuvre pour guitare works for guitar stephan Schmidt M 0 782138

giacinto scelsi 5 string quartets string trio khoom ardini string quartet M 0 782156 2 CO

arnold schoenberg die jakobsleiter friede auf erden, opus 13 Siegfried lorenz the tokyo symphony orchest kazuyoshi akiyama M 0 782146

iannis xenakis chamber music 1955-1990 claude helffer & arditti string quartet M 0 782137 2CO

iannis xenakis orestei'a, kassandra spiros sakkas sylvio gualda chceur du departement musical de I'universitb de strasbourg

ra maitrise de colrnar ensemblevocal d'anjou ensemble de basse

maurice ohana normandie office des oracles messe avoaha

arnold schoenberg zbi[$,",dEbart Ivs de madrigaux

weihnachtsmusik R tmnsrintinn~ M 0 782151

chceur conternporain -

musicatreize arditti string quartet

roland havrabedian M 0 7821 60

roger reynolds coconlno.. . a shattered landscape, visions, kokoro, ariadne's thread, focus a beam. emptied of thinking, outward. .. ardini string quartet M 0 782083 2 CO

usa nancarrow, carter, ives, yim, feldman, lucier, young, cage ardini string quartet M 0 782139

anton webern the complete string trios and quartets ardini string quartet M 0 782136

wolfgang rihm streichquartette Ill, V, Vlll arditti string quartet M 0 782134

CD1 first septenary CD2 second septenary

larid, m u r w , van dar Iso;c@ baer, pommel, stoth, & v l i e r , van ~i jsqpm, ho.rofyh~s

kwr van TI brt blzudlw gr& ornqepksor & radio symfonie mkat hilvgrsurn

O'un eifectif monumentd. La Tmf&uratiOn d'Oliwar Memiam us c b w tdle une rcnrploeusa c- goltuqw, torrte mpke & lunt8rea dbdorsa. Au son des d& et des insbumsnlm soktea ( p r o , wdoncelie, Wte, darrwth rylorunba. vbrqhons st ~ R n b a ) , r&uts evw#qws, tmnmwkkes, rkfbt~ons et chorala nkmnent s w s h d t e dbte , comms autant ds tableaux 6 q&rwt h phs grsnd des Myst&w.

Wrilten for monutlwntd forcss, Mbarlasn's ha 7 i i u ~ ~ towem up Ike a a n i M 0oWc cethedal Med with liahts of manv Edounr. To lhe scud of be!k and sdo mstrurnmts (m, d o , flute, ckrinei, wEorimba. vibrackme e;d nwpnG, gospel Mnataree, uurmsntanes, imedMms and &oink r-rmte b e n d thac&sM vw#; Ilk6 a sucaea8'1rm of prmtwe pentmgs &hg the greatest d Mystwks.