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Messiaen: Vingt Regards Sur L'Enfant Jesus
Hakon Austbo
Messiaen: Vingt Regards Sur L'Enfant Jesus
Genre: Classical
  •  Track Listings (10) - Disc #1
  •  Track Listings (10) - Disc #2

MESSIAEN: Vingt Regards sur l'Enfant Jesus by Hakon Austbo


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CD Details

All Artists: Hakon Austbo
Title: Messiaen: Vingt Regards Sur L'Enfant Jesus
Members Wishing: 0
Total Copies: 0
Label: Naxos
Release Date: 9/11/2009
Genre: Classical
Styles: Instruments, Keyboard
Number of Discs: 2
SwapaCD Credits: 2
UPCs: 730099582926, 4891030508293


Album Description
MESSIAEN: Vingt Regards sur l'Enfant Jesus by Hakon Austbo

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CD Reviews

A masterful and spiritual performance of a Great Work!
(5 out of 5 stars)

"Messiaen's "Vingt regards..." has been one of my favorite piano works for many years. I had a front-row seat when Mr. Messiaen and his wife, Yvonne Loriod came to Swarthmore College, where Ms. Loriod performed the entire 20-mov't work FROM MEMORY. It was a wonderful experience. However, I never felt that Ms. Loriod expressed the subtlties of the work as well as the RCA recording of the work performed by Peter Serkin. Unfortunately, that recording is not available on CD. Which brings us to this superb performance by Mr. Austbo. I know this work intimately, and Hakon Astubo does a magnificant interpretation of one of the most profound major works for the piano of the 20th century. In the 20 movements of this score virtually every emotion, expression, and compositional element explored (by the late 1940's) was taken into account (and then some). The price of the 2-CD set is also very reasonable. I might also recommend Astubo's 3-CD recording of Messiaen's "Catalog d'oiseaux". It is equally remarkable. Enjoy!"
Another Naxos triumph
henry the human fly | Norway | 12/18/2000
(5 out of 5 stars)

"This is very refined playing. The range of pianistic colors are huge, and Austbo plays with a lot of dedication. Of course, this isn't easy listening music, but the more adventurous listeners will be highly rewarded by this extraordinary fascinating, rich and varied score. Austbo won a Norwegian Grammy for this performance - and for good reason. Don't let the price/label tempt you to think there's something "cheap" about this performance - it's highly authorative and one of the jewels in the Naxos catalogue. Recorded sound is first-rate. Highly recommended!"
Deeply compelling into the realm of impassioned spirit
scarecrow | Chicago, Illinois United States | 01/16/2002
(5 out of 5 stars)

"Austbo has Yvonne Loriod and her pupil Pierre Aimard as contenders for the citadel interpretive realm of spirituality.Yes Aimard is recommended as a centrist reading, no great challenges or interpretive dangers ventured.Yet deeply compelling,as his Ligeti.
In contrast Austbo is quite overwrought at times,summoning(unnecessarily) the organ timbral dimensions, the lower depth octaves. Yet he restrains himself and is deeply compelling,dangerous at times in his interpretive demeanor. Reminds me of John Ogden(who had introduced this work to England in the Sixties) at moments, clean, razor sharp timbre,strident, deeply 'affretando' emotional equal to Loriod, who's performance cannot be considered definitive, simply one interpretation amongst others, "une jour comme une autre".Austbo is very direct, compelling, engaging, without transgressing the dignity of the work's deep emotive spirtuality,And maintains with vigour, the work's Baroque structural dimensions firmly within grasp. And added to this is able to reflect, and impart the work's myterious transcendental content.Deep respect for the 'Virgin',is revealed,as in the Fourth Movement "Regard De la Vierge" as well as the subsequent transgressive violence and brutality the work contains. Tenth Movement "Regard de l'Esprit de joie".Messiaen had virtually reinvented the timbre of the piano, with his now well-known "mystical chords" as the very opening "Regard du Pere".
There are three structural means utilized here. Chords "Theme De Dieu" as the opening,Then "Theme De L'Etoile et de la Croix", a upper bass melody,or line of notes, and finally the "Theme d'Accords"four chords without rhythmic assignment,simply to be utilized within the frame of the work. These structural features appear prominently in the beginning movements,as points of clarification.
Messiaen's conceptuality as well had an element of the progressive,his Catholicism ventured into liberal realms, in the various depictions here as moments, spiritual experiences,canonical imagery from Catholic beliefs that were transgressive,ugly,and expressionistic.Something I doubt the Church in Rome had accepted at the time this work was writtenMorton Feldman, a genius of restrained timbre once criticized(perhaps twice)Messiaen's "oldness"((more the purely musical)) that 'he was dead' as a creator, Nonsense Morty!, an old "Source Magazine",1969,0r 1970 quip essay,is evidence of this quote, perhaps he, Feldman was feeling a bit neglected,"