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Hyperion Records

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Track(s) taken from CDA67366
Recording details: September 2003
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: October 2004
Total duration: 6 minutes 57 seconds

'There is much to savour in Osborne and Roscoe's performance, captured in typically superlative Hyperion sound' (BBC Music Magazine)

'The precision and muscular virtuosity of Osborne's and Roscoe's playing is exactly what breathes life into the explicitly 'visionary' character of the work … the performance is lucid in conception and illuminating in its realization. Never laboured, it's marked throughout by a sense of ease, as well as by a sure sense of structure, of rhythmic detail, and of the diverse function and significance of each of the many layers in its complex 'mix'' (International Record Review)

'This performance gets the balance between the blistering, ecstatic intensity and the static moments of contemplation exactly right, presenting all the rhythmic and harmonic layers with perfect clarity, while Osborne's accounts of the three earlier solo pieces are a real bonus' (The Guardian)

'Roscoe's piano handles most of the thematic material and the piano's lower reaches; Osborne supplies the iridescent details. Clarity and rhythmic precision cannot be faulted' (The Times)

'These pianists have a marvellous accord in Messiaen's amazing, clangorous, rapturous, visionary jamboree. Only a pile-up of adjectives, to which should be added coruscating and addictively dithyrambic, could do justice' (The Sunday Times)

'Played with an ear-tweaking sensitivity and gripping sense of theatre. Exceptionally fine sound, and exemplary notes from Nigel Simeone, complete an outstanding release' (Classic FM Magazine)

'The playing of these two wonderful pianists is flawlessly gauged and concentrated, with Osborne's high-speed, lucid playing in the finale, as it shifts into overdrive in its final section, out of this world' (The Herald)

'Osborne and Roscoe play with dazzling splendour' (Manchester Evening News)

Fantaisie burlesque

Introduction  EnglishFrançaisDeutsch
The Fantaisie burlesque was composed in 1932 and first performed in a concert at the Ecole Normale on 8 February 1933 by one of the outstanding French pianists of the day, Robert Casadesus. In a later programme note Messiaen wrote about the piece with an ironic detachment which he found sadly lacking in the music, and revealed something of how he was seen by his friends and contemporaries in 1932:

The title is surprising. There exists very little truly comic music, and my music is not at all humorous. In 1932, my old classmates from Paul Dukas’s composition class found me too serious, too contemplative: they thought I didn’t know how to laugh. I wanted to prove them wrong … and failed to do so. In this unduly traditional ABA piece, the first and third parts are meant to be comical (without succeeding). The middle section is the best: there are many things there which foreshadow the colours of chords and the rhythms in my later works.

The contemporary press judged the work more generously. In Le Ménestrel (17 February) Marcel Belvianes wrote that ‘this Fantaisie has a clownish motif […] which appears at the start and comes back at the end. At the centre of the piece, a much more tender motif unfolds. M. Olivier Messiaen certainly has a sense of colour and lacks nothing in ideas, nor in amusing techniques to give them form. His success was all the greater since he had the great pianist Robert Casadesus as his interpreter.’

from notes by Nigel Simeone © 2004

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