Olivier MESSIAEN (1908-1992)
Visions de l’Amen (1943) [48:53]
Sarah Rothenberg; Marilyn Nonken (pianos)
rec. Stude Hall, Shepherd School of Music, Rice University, Houston, Texas,
26-29 May 2009. DDD
BRIDGE 9324 [48:53]
The prime modern account of Messiaen’s visionary Visions de l’Amen
is that on Hyperion by Steven Osborne and Martin Roscoe. That this version
intermittently comes close is testament to its dedication. However, it misses
the key element of transportation towards ecstasy and; on occasion, it seems
surprisingly directionless, too. The potentialities of the “Amen de
la Création” do not quite glow with promise - neither are the
rhythms of the “Amen des étoiles, de la planète à
l’anneau” as primal as they could be. Messiaen described the latter
as a “brutal, savage dance”, yet there is a feeling of restraint
here.
These two movements include two polarities of Messiaen’s mode of expression
- latent and expressed ecstasy. Both need, as well as first rate players,
first rate sound, and Bridge’s efforts cannot come close to the sense
of presence and truth achieved by Hyperion’s engineers on CDA67366 -
a disc that also manages to fit in three extra pieces. On Bridge, the bass
register lacks full definition and can come close to muddy. Also overall immediacy
is lacking.
There is little sense of suffering, of a mystic nature or otherwise, in the
“Amen de l’agonie de Jésus”. Seeming simplicity in
music often carries the highest demands, and such is the case here with the
opening of “Amen des anges, des saints, du chant des oiseaux”,
which opens with a pure melody that here, alas, holds hardly any magic. The
contrasting, dancing section of this movement is better, though, and the music’s
difficulties as Messiaen layers his birdsong relentlessly seems to inspire
the players to their best. A pity they do not realise as well the monumental
bass explosions of the brief “Amen du jugement”; sadly, the recording
also has a hand in muting their efforts. The final “Amen de la consommation”,
that carillon of transported joy, again misses its remit. The final pages
remain stubbornly studio-bound.
Ultimately, overall this version left me untouched - the exact reverse of
the effect this piece should have.
Colin Clarke
Ultimately, overall this version left me untouched - the exact reverse of
the effect this piece should have.