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The ''Turangalîla-Symphonie'' is a large-scale piece of orchestral music by Olivier Messiaen (1908–92). It was written from 1946 to 1948 on a commission by Serge Koussevitzky for the Boston Symphony Orchestra. The premiere was in Boston on 2 December 1949, conducted by Leonard Bernstein. The commission did not specify the duration, orchestral requirements or style of the piece, leaving the decisions to the composer.〔Program notes provided with the Naxos Records recording by the Polish National Radio Symphony Orchestra with François Weigel (piano), Thomas Bloch (ondes Martenot) and Antoni Wit (conductor).〕 Koussevitzky was billed to conduct the premiere, but fell ill, and the task fell to the young Bernstein.〔Thomas Barker, "The Social and Aesthetic Situation of Olivier Messiaen's Religious Music: Turangalîla-Symphonie." ''International Review of the Aesthetics and Sociology of Music''. 43, no. 1 (2012): 53-70; citation on 53〕 Bernstein has been described as "the ideal conductor for it, and it made Messiaen's name more widely known". Yvonne Loriod, who later became Messiaen's second wife, was the piano soloist, and Ginette Martenot played the ondes Martenot for the first and several subsequent performances. From 1953, Yvonne's sister Jeanne Loriod was the ondes Martenot player in many performances and recordings.〔Full score, pub, Durand.〕 ==Concept== While most of Messiaen's compositions are religious in inspiration, at the time of writing the symphony the composer was fascinated by the myth of Tristan and Isolde, and the Turangalîla Symphony forms the central work in his trilogy of compositions concerned with the themes of romantic love and death; the other pieces are ''Harawi'' for piano with soprano and ''Cinq rechants'' for unaccompanied choir.〔 It is considered a 20th-century masterpiece and a typical performance runs around 80 minutes in length. When asked about the meaning of the work's duration in its ten movements and the reason for the use of the ondes Martenot, Messiaen simply replied, "It's a love song."〔Olivier Messiaen, Liner notes to ''Turangalîla Symphonie'', (Myung-Whun Chung, conductor; Orchestre de la Bastille; Yvonne Loriod, piano; Jeanne Loriod, ondes martenot). CD recording. DG 431 781-2.〕 Although the concept of a rhythmic scale corresponding to the chromatic scale of pitches occurs in Messiaen's work as early as 1944, in the ''Vingt regards sur l'enfant-Jésus'', the arrangement of such durations into a fixed series occurs for the first time in the opening episode of the movement "Turangalîla 2" in this work, and is an important historical step toward the concept of integral serialism.〔Robert Sherlaw Johnson, ''Messiaen'', revised and updated edition (Berkeley: University of California Press. 1989): 94, 192.〕 The title of the work, and those of its movements, were a late addition to the project, chosen after Messiaen made a list of the work's movements. He described the name in his letters from 1947-1948. He derived the title from two Sanskrit words, ''turanga'' and ''lîla'', which roughly translate into English as "love song and hymn of joy, time, movement, rhythm, life, and death",〔Some of the information in this article can be found in the program notes, written by Messiaen, provided with the DG recording by Orchestre de l'Opéra Bastille.〕 and described the joy of Turangalîla as "superhuman, overflowing, dazzling and abandoned". Messiaen revised the work in 1990.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Turangalîla-Symphonie」の詳細全文を読む スポンサード リンク
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