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Olivier Messiaen’s uniquely distinctive and powerfully expressive musical voice drew strength from religious faith and nature. A prestigious commission, Et exspecto resurrectionem mortuorum commemorates the dead of two World Wars through the transcendence of Christ’s Resurrection. Scored for winds and percussion, the work is conceived for and conjures up vast spaces. Le tombeau resplendissant and Hymne are early works, but equally filled with mystery and symbolism. Fanfare magazine described Jun Märkl’s previous volume in this series (Poèmes pour Mi / 8572174) as “the best recording around of a mesmerizing masterwork”.
Olivier Messiaen: Et exspecto resurrectionem mortuorum
I. Des profondeurs de l'abime, je crie vers toi, Seigneur: Seigneur, ecoute ma voix!
II. Le Christ, ressuscite des morts, ne meurt plus; la mort n'a plus sur lui d'empire
III. L'heure vient ou les morts entendront la voix du Fils de Dieu …
IV. Ils ressusciteront, glorieux, avec un nom nouveau, dans le concert joyeux des etoiles et les acclamations des fils du Ciel
V. Et j'entendis la voix d'une foule immense …
Olivier Messiaen: Le tombeau resplendissant
Le tombeau resplendissant
Olivier Messiaen: Hymne
16th June 2012
“even though a recording cannot generate the shattering impact of live performance, Märkl and the Orchestre National de Lyon give the music plenty of expressive room, thereby underlining the beauty of its quiet birdsong and the universalism of its message.”
21st June 2012
“Jun Märkl's performance is well paced and carefully shaped and balanced,”
“A fascinating mixture of youthful and mature Messiaen...Messiaen was keen that there should be a sense of power in his music (not to be confused with volume), but, beautifully as it is played, this account of Et exspecto periodically pulls its punches. There is still much to admire, though, especially in the early works.”
“Märkl and the Lyons orchestra tend to bring out more of the work's sobriety than its strangeness...It would be hard to sanitise this music completely, however, and the compelling way in which the rhythmic buoyancy of oriental dance comes into conjunction with Roman Catholic piety in the fourth movement is vividly conveyed.”
“These recordings...give us fine and resplendently recorded performances, but the tempos throughout portray Messiaen as a sleep-walking purveyor of hypnotic and grandiose visions. If this is the way you see Messiaen, then fine but the evidence is that the composer himself never intended this music to be given this sort of treatment.”