Olivier Messiaen - Apparition de l'Église Éternelle (Apparition of the Eternal Church)
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- čas přidán 10. 09. 2024
- Capt. Brian Walden conducts the Navy Concert Band at the Hylton Performing Arts Center in Manassas, VA. The piece was arranged for wind ensemble by Musician 1st Class David Miller.
An absolutely beautiful, unhurried performance of a brilliant transcription, with lovely organ-like sonorities! Kudos to the Band and to Musician 1st Class David Miller!
Kudos to 1st Class David Miller for his outstanding adaptation, and to the conductor and the entire ensemble for a staggeringly mesmerizing performance. Absolutely fantastic! The arrangement and performance brings this deceivingly simple organ composition to life in a way that seems to elude the organ itself. I think Messiaen would raise his hat to this arrangement and performance were he still with us ! To think, this was performed and recorded 10 years ago is also amazing.
Absolutely stunning arrangement of one of Messiaen's most profound works...this band and this conductor are amazing...I have lived and studied with this piece for many years and I have been in egliese de la trinitie when this was performed when you can literally feel the stone shaking...the percussion is excellent and perfect concerning the use of such in Messiaen's important orchestral works...we should have this performed at Carnegie Hall...more info please...Bravissimo!
I have to say this is much better than I thought it would be. Well done!
I'd have dismissed this feat of transcription as impossible. I am quite humbled, and I will be returning to this performance repeatedly to learn from it. Extraordinary!
Nigel Tufnel : Well, it's one louder, isn't it? It's not ten. You see, most blokes, you know, will be playing at ten. You're on ten here, all the way up, all the way up, all the way up, you're on ten on your guitar. Where can you go from there? Where?
Marty DiBergi : I don't know.
Nigel Tufnel : Nowhere. Exactly. What we do is, if we need that extra push over the cliff, you know what we do?
Marty DiBergi : Put it up to eleven.
Nigel Tufnel : Eleven. Exactly. One louder.
Magnifique et convaincant, dans la transcription comme dans l'éxécution!
Fantastic music, very good orchestration et very nice playing ! Bravo !
Une pure merveille !!
Amazing arrangement--sounds just like an organ.
This is an excellent transcription (as one who has every note of the organ work in my hands and mind) well performed. I think this performance needs more wind bass in addition to the timpani and bass drums--perhaps more use of the tubas or even a couple more tubas (but of course I can't help but comparing the lows to those from 32' organ voices).
Absolutely beautiful.
Like a soundtrack to a Biblical Movie, I love it!!!!!!
We should combine it with the Pipe Organ.
I wish I could see the orchestra score.
A very effective transcription! And very well performed -- thanks especially for the ideally grand, slow tempo. The solemnity and religious depth of this piece are very appropriately conveyed.
Superb transcription; it's better than the original! Perfect choice of sound-colors by the groups of wind instruments as they enter;; spine--tingling tympani and bass drum at the climax, chilling splashes of sound by the cymbal at just the right chord changes;. Musician 1st Class David Miller nailed it! Thanks
Great arrangement and Great Playing
Fantastic! The colors of the arrangement are outstanding and what a difficult piece to play. I thought the pitch in the upper woodwinds was fantastic and the low brass always sounds great. Not many bands could pull that piece off. Congratulations on a great arrangement.
Thanks for this! Inspiring to hear this organ piece with fresh ears.
AMAZING stuff!
So many (pleasant) surprises here.
TRASCRIZIONE STUPENDA
Works very well in this arrangement. Messiaen used wind, brass and percussion in Et Expecto Resurrectionem Mortuorum. It looks a little incongruous to see all these military people playing such spiritual music, but nevertheless, a great sound.
You can't tell from appearances. I wouldn't be surprised if all of them were vastly more spiritual than I am. I am certain I'm not worthy of any of them in any way, including cleaning their shoe soles.
@@russedav5 ???
Brilliant!
Wow. I was surprised just how effective this was. Well done! Thank you.
Fascinating! I've only ever heard the organ version, so this transcription is really illuminating. OK, now do all of 'Livre du Saint Sacrament' :p
1. That must be the arrival of the aboriginal 'Apparation' at 5:11 with that resounding C Major chord.
2. One fellow I knew, when hungry, referred to Apparition de l'Église Éternelle as Vision of the Eternal Cheeseburger.
3. He also referred to Messiaen's Le Banquet Celeste as The Celestial Bag Lunch.
...performed this in it's original form, though this transcription gives it a different sense of breadth and power that is very fitting to the work.
I don't think it sounds like an organ at all.Why transcribe it if you want it to sound like the original? This arrangement is haunting and exciting , the percussion addition compliments the strange dissonances and resolutions of Messiaen . What a great band !
Why should it have to sound like an organ? Fucking retarded comment.
Great performance but too much percussion in the build up. Less is more.
The tempo is so appropriate per the composer's own 1956 recorded (organ) performance of 10:17. Far too many, even greats like Latry & Alain who should know better, rush it far too much at 9 & even 8 minutes, a real failure to comprehend the subject of Apparition de l'Église Éternelle. I don't really know French, but I suggest that "Vision" might be a better English rendition of the French "Apparition" than the literal cognate "Apparition" that would seem inappropriately to conjure up a Halloween-like specter.
Apologies for my accidental omission of my heartfelt "Wonderful performance" I'd guess Messiaen himself would have approved.
vous avez raison
Vous avez tort car vous ne commandez pas français. Messiaen a choisi le mot exact.
When I made the experimental documentary Apparition of the Eternal Church, the original impetus was an idea I had about how with this piece the devout French-Catholic composer had responded to the German atheist who appropriated the pipe organ, the singing voice of the church, in Also Sprach Zarathustra. The big C major climax on the organ, to me, sounded like a forceful and infuriated reappropriation. I figured if I played the work for enough listeners, eventually I could lay bare this contentious dialogue, but even though the cast included a Messiaen student (Richard Felciano) and an organist (Albert Fuller) who knew both the music and the man, 115 interviews went by without a single word on the subject of Strauss. What did come out wound up being more interesting anyway, and I more or less forgot about that catalytic theory, but this arrangement brought it back with force. The instrumentation also exposed newly, to my ear, the remarkable continuity, via the modes of limited transposition, between very early and very late Messiaen: we can hear this miraculous career as a nonretrogradable rhythm. Bravo-bravi-and thanks.
I don't even mean this as an insult but it should really end at 5:32
This must be a nightmare to conduct as no two bars are the same length
Bravo! The sound is often organ-like. Perhaps the percussion could have been reined in a bit.
Messiaen was a "fool", that is, a mystic. Avant-garde composers of "noisist" horrors were just fools.
Shut up, dumbass