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Apparition de l'église éternelle (Apparition of the eternal church) is a work for organ, written by the French composer Olivier Messiaen in 1932.. The piece is in arch form, beginning in pianissimo (pp) and building up to a fortississimo (fff) climax featuring a C major chord, and then receding back to pianissimo.
They are both very similar and very different. Very similar by the harmonic style where complex sounds with changing colors evolve. The blues, reds, oranges, violets, "transposed reversal chords" dominate. The "chords with contracted resonance" and the "chords of the chromatic total" add their more violent or subtle colours.
The Transfiguration is an oil on canvas altarpiece by Ludovico Carracci, from 1595. It is held in the Pinacoteca Nazionale di Bologna . An earlier version of the topic was painted between 1588 and 1590, and is housed in the Scottish National Gallery , in Edinburgh .
For example, Messiaen has written that "The 'Theme of Chords' is heard throughout, fragmented, concentrated, surrounded with resonances, combined with itself, modified in both rhythm and register, transformed, transmuted in all sorts of ways: it is a complex of sounds intended for perpetual variation, pre-existing in the abstract like a series ...
Polymodal, consisting of a blue-orange mode with a chordal ostinato and cascades of chords, and a violet-purple mode having a copper timbre. Note the pianistic writing, composed of triple notes, rapid passages in chords, canon in contrary motion, hand crossing, various staccatos, brassy louré, gem effects. 6 Cloches d'angoisses et larmes d'adieu
La Transfiguration de Notre Seigneur Jésus-Christ ("The Transfiguration of Our Lord Jesus Christ") is an oratorio written between 1965 and 1969 [1] by Olivier Messiaen. Based on the account found in the synoptic gospels of Jesus' transfiguration , its writing is on a colossal scale, requiring around two-hundred performers.
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Probably the most famous part of the cycle, the Joy and clarity of the bodies glorious presents a unison, rhapsodic theme in the upper voice, interrupted by three chords played in the récit, is heard at the beginning of the movement over a receding fifth in the pedal. This is followed by a quieter middle section, in which the cromorne of the ...