In my dissertation, I investigate Messiaen's commissioned work Et exspecto resurrectionem mortuorum (1964) with respect to the cultural, theological and musical elements interpreted in relation to musical semiotics and narrative discourse. Chapter 1 offers a review of the secondary literature related to my general topic and the methodology that I adopt. I provide summaries of notions.
Find album reviews, stream songs, credits and award information for Messiaen: Quartet for the End of Time; Et Expecto Resurrectionem Mortuorum - Vera Beths, Bernard Haitink on AllMusic - 2011.
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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.
Et exspecto resurrectionem mortuorum (1964), for winds and percussion, is a fully mature work full of imaginative writing, and like most of the composer’s later pieces it allows very little latitude for interpretation. It’s kind of like a pre-packaged cake mix: just follow the directions and the result usually turns out fine. At one point in the second movement, where Messiaen writes.
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Shop and Buy Et Exspecto Resurrectionem Mortuorum sheet music. orchestra sheet music book by Olivier Messiaen (1908-1992): Alphonse Leduc at Sheet Music Plus: The World Largest Selection of Sheet Music. (AH.AL23681).
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Guest conductor Mark Wigglesworth pairs tone poem 'Et exspecto resurrectionem mortuorum' with Beethoven's Sixth. Messiaen Connects With Philharmonic - Los Angeles Times.
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The charm of impossibilities: Musical language, theology and narrative discourse in Olivier Messiaen's “Et exspecto resurrectionem mortuorum” by Lee, Chi-Kuen (Martin), Ph.D. State University of New York at Buffalo. 2011: 175 pages; 3460770.
From 1943-47 gave seminars on analysis and composition to a private group of avant-garde spirits,. Et exspecto resurrectionem mortuorum. In 1966, appointed professor of composition at the Paris Conservatory. In 1967, was elected into the Institut. His music was influenced by nature, especially birdsong. explored rhythm adopted Greek meters, medieval rhythms, and western developments.
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