Messiaen: Prèlude, Regards & Esquisses Marie Vermeulin

• 1 I. La Colombe 02:15
• 2 II. Chant d'extase dans un paysage triste? 06:14
• 3 III. Le nombre léger 01:48
• 4 IV. Instants défunts 04:44
• 5 V. Les sons impalpables du rêve 03:23
• 6 VI. Cloches d'angoisse et larmes d'adieu 08:27
• 7 VII. Plainte calme 02:34
• 8 VIII. Reflets dans le Vent 05:21
• 9 V. Regard du Fils sur le Fils 07:36
• 10 X. Regard de l'Esprit de Joie 09:32
• 11 I. Le Rouge-gorge 02:12
• 12 II. Le Merle noir 02:07
• 13 III. Le Rouge-gorge 02:14
• 14 IV. La Grive musicienne 02:03
• 15 V. Le Rouge-gorge 02:23
• 16 VI. L'Alouette des champs 02:17
• Total Runtime 01:05:10

Info zu Messiaen: Prèlude, Regards & Esquisses

That's it, it's official, Olivier Messiaen is now part of the repertoire: musicians who have not personally experienced - neither he nor his wife, Yvonne Loriod, who was also long been one of its outstanding performers - musicians who were barely born when he died in 1992, interpret and record.

In terms of heritage, Marie Vermeulin has been excellent school, the best perhaps, that of Roger Muraro, one of pianistic references when it comes to Messiaen. With this first solo record, entitled Preludes, looks & sketches, the young pianist offers a comprehensive program that covers all the creative life of the composer, and assumes three essential facets.

Respectful of chronology, Marie Vermeulin is first grabs an early work: Eight Preludes (1928-1929). If we hear before a young man of 20 years literally fascinated by the piano Debussy (who died just ten years earlier), there already guess the composer sound / color - the same composer who would later explain his approach to harmony evoking a form of synesthesia combining color agreement. This is an opportunity for Marie Vermeulin to demonstrate its undeniable affinities with French Impressionism: the velvet touch is 'forget hammers' as seemed Debussy, inspired phrasing and breathing are the colors of each of these tables to the eloquent title: Song of Ecstasy in a Sad Landscape, The Sons Impalpables Dream, A Reflection in the Wind ... followed by two excerpts from a monument of religious music of Messiaen: two Vingt Regards sur l'Enfant- Jesus (1944) which, although a bit fuzzy sensuality, perfectly support the comparison with the references are for example records Pierre-Laurent Aimard and Roger Muraro.

Marie Vermeulin concludes his recital on (a must) notes bird, with Six Small Bird Sketches. Composed between 1985 and 1987, these miniatures belong to the last period of the composer. It includes both the quintessence of the harmonic world of Messiaen and melodic and rhythmic movements of birdsong, he liked to meet during his walks. The young pianist will demonstrate an astounding maturity and requires a bright and shiny style. His posture is that of the projection of a real speech on the musical fabric - yet conceived as a succession of quasi frozen stasis - it stirred constantly Coruscantes palpitations. This vision made real breath narrative dynamic of great subtlety contrasts dramatizes what is not in essence and lets go to the point: the expression.

Marie Vermeulin, piano

Marie Vermeulin
A First Prize winner of the International Music Tournament (Italy, 2004), and Grand Prize winner at the Maria Canals International Music Competition (Barcelona, 2006), and the Concours International Olivier Messiaen (Paris, 2007), Marie Vermeulin is undoubtedly a major discovery of recent years. Her playing has been noticed for its technical temerity, finesse, and exceptional maturity.

Despite her youth, Ms. Vermeulin boldly engages with demanding works such as Stravinsky’s Trois mouvements de Petrouchka, Schubert’s Wanderer-Fantaisie, Ravel’s Gaspard de la nuit. She also plays major contemporary works (Boulez, Murail, Messiaen...), revealing an appetite to play and immerse herself in the widest possible repertoire. Ms. Vermeulin’s phrasing, her colorful and poetic touch, and her taste for theatrical expression all contribute to an artistic temperament that is distinguishable from the very first notes. Her concerts are greeted by unanimous praise, and listeners are delighted to discover a complete artist with a tonal palette of remarkable richness.

Before her thirtieth birthday, the pianist has already worked with the greatest conductors, (Pierre Boulez, Paul Goodwin...) and has performed in many of the finest festivals and venues in France (Cité de la Musique, Opéra Bastille...) and abroad (Spain, Italy, Germany, Lithuania, Switzerland, Belgium, Algeria, Moldova, Montenegro, Lebanon, Ethiopia, Vietnam, Indonesia, Philippines...)

After her musical studies at the Conservatoire National Supérieur de Musique de Lyon and the Accademia Pianistica Internazionale of Imola, Ms. Vermeulin developed a special affinity with French music, including the work of Olivier Messiaen. Her interest in Messiaen has been encouraged by the great Messiaen interpreter Roger Muraro with whom she has performed Visions de l’Amen for two pianos.

Coinciding with Olivier Messiaen’s centennial in 2008, Ms. Vermeulin became known for her performances of a large number of works by the composer. Since then she continues to perform Messiaen’s work regularly throughout the world, sometimes coupling her recitals with master-classes and conferences. A regular guest at the Messiaen Festival in Meije, she chose to record this album at the Church of La Grave, known for its exceptional acoustics which were an inspiration for the composer.

Booklet für Messiaen: Prèlude, Regards & Esquisses