1. Visualisation for the Insen Tour of Alva Noto & Ryuichi Sakamoto in 2005 and 2006. This one i did within an hour when i had access to the complete LED screen for the first time. The tour had already started. When you would display just one colour on the whole screen you could see the edges of each LED module. So i just used these edges for the display of the lines.

    Each stroke of a key on Sakamotos Yamaha Disklavier would send out a MIDI signal that would call a random preset of predefined patterns on the screen.

    # vimeo.com/23787867 Uploaded 13.9K Plays 10 Comments
  2. The Thailand premiere of this massive work in July 2009 was conducted by Somtow Sucharitkul at the Thailand Cultural Center.

    # vimeo.com/8590921 Uploaded 144 Plays 0 Comments
  3. Berlin Auenkirche, 2010

    # vimeo.com/21266996 Uploaded 68 Plays 0 Comments
  4. 05. Louange à l'Éternité de Jésus
    07. Fouillis d'arcs-en-ciel, pour l'Ange qui annonce la fin du Temps
    08. Louange à l'Immortalité de Jésus

    Part 2 of 2. "The “Quatuor Pour la Fin du Temps”, opus 48, is performed by Oganes Girunyan, violin, Stanislav Yankovsky, clarinet, Stanislav Ovchinnikov, cello and Dina Novikova, piano..

    Quotations are translated from Messiaen's Preface to the score.

    • Louange à l'Éternité de Jésus

    (V. "Eulogy to the eternity of Jesus", for cello and piano.)

    Jesus is considered here as the Word. A broad phrase, "infinitely slow", on the cello, magnifies with love and reverence the eternity of the Word, powerful and gentle, "whose time never runs out". The melody stretches majestically into a kind of gentle, regal distance. "In the beginning was the Word, and Word was with God, and the Word was God." (John 1:1 (KJV))

    The music is arranged from an earlier, unpublished piece, "Fêtes des belles eaux". The tempo marking is infiniment lent (literally "infinitely slowly").

    An excerpt from Movement VI ("Danse de la fureur ..."), which is played by all four instruments in unison. It shows Messiaen's rhythmic technique, in which the underlying quavers (eighth notes) are alternately diminished to semiquavers (sixteenth notes) or augmented to dotted quavers.

    • Danse de la fureur, pour les sept trompettes

    (VI. "Dance of fury, for the seven trumpets", for the full quartet.)

    Rhythmically, the most characteristic piece of the series. The four instruments in unison imitate gongs and trumpets (the first six trumpets of the Apocalypse followed by various disasters, the trumpet of the seventh angel announcing consummation of the mystery of God) Use of added values, of augmented or diminished rhythms, of non-retrogradable rhythms. Music of stone, formidable granite sound; irresistible movement of steel, huge blocks of purple rage, icy drunkenness. Hear especially all the terrible fortissimo of the augmentation of the theme and changes of register of its different notes, towards the end of the piece.

    The theme returns fortissimo in augmentation and with wide changes of register towards the end of the movement.

    • Fouillis d'arcs-en-ciel, pour l'Ange qui annonce la fin du Temps

    (VII. "Tangle of rainbows, for the Angel who announces the end of time", for the full quartet.)

    Recurring here are certain passages from the second movement. The angel appears in full force, especially the rainbow that covers him (the rainbow, symbol of peace, wisdom, and all luminescent and sonorous vibration). - In my dreams, I hear and see ordered chords and melodies, known colors and shapes; then, after this transitional stage, I pass through the unreal and suffer, with ecstasy, a tournament; a roundabout compenetration of superhuman sounds and colors. These swords of fire, this blue-orange lava, these sudden stars: there is the tangle, there are the rainbows!

    • Louange à l'Immortalité de Jésus

    (VIII. "Praise to the immortality of Jesus", for violin and piano.)

    Large violin solo, counterpart to the violoncello solo of the 5th movement. Why this second eulogy? It is especially aimed at second aspect of Jesus, Jesus the Man, the Word made flesh, immortally risen for our communication of his life. It is all love. Its slow ascent to the acutely extreme is the ascent of man to his god, the child of God to his Father, the being made divine towards Paradise.

    The music is an arrangement of the second part of his earlier organ piece, "Diptyque", although raised in pitch by a major third from C to E.

    # vimeo.com/3854785 Uploaded 1,303 Plays 0 Comments
  5. 01. Liturgie de cristal
    02. Vocalise, pour l'Ange qui annonce la fin du Temps
    03. Abîme des oiseaux
    04. Intermède

    Part 2 of 2. "The “Quatuor Pour la Fin du Temps”, opus 48, is performed by Oganes Girunyan, violin, Stanislav Yankovsky, clarinet, Stanislav Ovchinnikov, cello and Dina Novikova, piano.

    Quotations are translated from Messiaen's Preface to the score.

    • Liturgie de cristal

    (I. "Liturgy of crystal", for the full quartet.)

    Between three and four in the morning, the awakening of birds: a solo blackbird or nightingale improvises, surrounded by a shimmer of sound, by a halo of trills lost very high in the trees. Transpose this onto a religious plane and you have the harmonious silence of Heaven.

    The opening movement begins with the solo clarinet imitating a blackbird's song, and the violin imitates a nightingale’s song. The underlying pulse is provided by the cello and piano: the cello repeats the same fifteen-note melody continuously, using only the notes C, E, D, F-sharp and B-flat. The piano part consists of a seventeen-note rhythm which is permuted strictly through twenty-nine chords, as if to give the listener a glimpse of something eternal.

    • Vocalise, pour l'Ange qui annonce la fin du Temps

    (II. "Vocalise, for the Angel who announces the end of time", for the full quartet.)

    The first and third parts (very short) evoke the power of this mighty angel, a rainbow upon his head and clothed with a cloud, who sets one foot on the sea and one foot on the earth. In the middle section are the impalpable harmonies of heaven. In the piano, sweet cascades of blue-orange chords, enclosing in their distant chimes the almost plainchant song of the violin and cello.

    • Abîme des oiseaux

    (III. "Abyss of birds", for solo clarinet.)

    The abyss is Time with its sadness, its weariness. The birds are the opposite to Time; they are our desire for light, for stars, for rainbows, and for jubilant songs.

    A test for even the most accomplished clarinetist, with an extremely slow tempo marking quaver (eighth note) = 44.

    • Intermède

    (IV. "Interlude", for violin, cello, and clarinet.)

    Scherzo, of a more individual character than the other movements, but linked to them nevertheless by certain melodic recollections.

    # vimeo.com/3857964 Uploaded 2,021 Plays 0 Comments

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