Composer: Olivier Messiaen (1908-1992)
Works: Turangalila Symphony
Performers: Toronto Symphony Orchestra/Seiji Ozawa, Yvonne Loriod, piano
Recording: Recorded in 1967
Label: RCA
Olivier Messiaen’s Turangalila Symphony stands as a monumental achievement in 20th-century orchestral literature, encapsulating the composer’s synesthetic visions, rich harmonic language, and spiritual fervor. Premiered in 1946, this sprawling work reflects Messiaen’s deep engagement with themes of love, joy, and nature, all filtered through his unique musical lens. The present recording, featuring the Toronto Symphony Orchestra under Seiji Ozawa’s baton, rekindles the vibrant energy and audacious colors that characterize this magnum opus, benefiting from a historical context that captures a significant era in Messiaen’s output.
Ozawa’s interpretation is unapologetically grand, channeling the exuberance and kinetic energy that Turangalila demands. The work unfolds in ten movements, and the conductor’s approach is marked by a commitment to the exuberant contrasts that define the score. From the frenetic rhythms of the opening movement, “Turangalila,” to the more subdued yet hauntingly beautiful “Jardin du Sommeil d’Amour,” Ozawa harnesses the orchestra’s full palette. The piano, deftly executed by Yvonne Loriod, shines in its role as both a percussive and melodic instrument, particularly in the electrifying “Joie du Sang des Étoiles,” where Loriod’s virtuosity is matched by the orchestra’s brimming energy.
The recording quality is a double-edged sword; RCA’s characteristic “pizzazz” delivers a vivid soundstage that immerses the listener within the orchestral fabric. The clarity of instrumental lines is commendable, though one might find the engineering occasionally overzealous. For instance, the final moments of “Jardin du Sommeil d’Amour” are marred by a distracting vehicular clamor, an oversight that detracts from the ethereal quality Messiaen intended. Nevertheless, the sheer brilliance of the orchestral execution and the thrilling interplay between piano and orchestra often outweigh such technical shortcomings.
Turning to the second CD, Marek Janowski’s renditions of Albert Roussel’s Symphony No. 3 and Symphony No. 4, performed by the Orchestre Philharmonique de Radio-France, offer a contrasting aesthetic experience. Roussel, a contemporary of Nielsen and Sibelius, imbues his symphonies with a lyrical grace and rhythmic vitality that stand in stark relief to Messiaen’s dense textures. Janowski’s interpretations are marked by precision and a keen understanding of Roussel’s orchestral colors. The brisk 25-minute Symphony No. 3 encapsulates a variety of emotional landscapes, from the energetic first movement to the heart-wrenching second movement, which builds to an impressive climax. The thematic development is tightly woven, and Janowski’s ability to draw out the contrasting moods enhances the symphonic narrative.
The Symphony No. 4, while perhaps less immediately striking, showcases Roussel’s mastery of orchestral form and thematic innovation. Janowski effectively balances clarity and expressiveness, ensuring that the work’s brevity does not undermine its impact. The Boston Symphony Orchestra’s account of Roussel’s Bacchus et Ariane, Suite No. 2, conducted by Charles Munch, further complements this recording. Munch’s interpretation is particularly noteworthy for its lyrical phrasing and the depth of expression he brings to the orchestral textures, despite some slight deficiencies in string solo passages.
The compilation as a whole is a testament to the evolution of orchestral performance and recording practices across decades. While Ozawa’s Turangalila remains a polarizing work, its execution here is compelling enough to engage even those less enamored with Messiaen. Janowski’s readings of Roussel provide an accessible entry point into the composer’s world, showcasing his symphonic voice with clarity and vigor. This collection not only celebrates the brilliance of these works but also highlights the artistry of the performers, making it a worthwhile addition to any discerning listener’s library.
