The Boston Symphony Orchestra, which premiered Messiaen’s Turangalîla-Symphonie in 1949, returns to the work under conductor Andris Nelsons, joined by pianist Yuja Wang and ondes martenot player Cécile Lartigau. This nearly eighty-minute composition, which Messiaen described as a “love song” and “hymn to joy,” comprises ten varied movements that traverse ecstatic, spiritual, and esoteric landscapes. Successful performances – such as the recent recording by Gustavo Gimeno reviewed on these pages – balance the expansive form with intensity and emotional rawness. Given Nelsons’ interpretative clarity and Wang’s distinct musical personality, this release sets high expectations.
The symphony opens dramatically with an assertive Introduction (track 1), immediately showcasing the orchestra’s colorful timbres and powerful brass section – essential for Messiaen’s dense orchestration. Comparing this new recording with Gimeno’s proves interesting: where the BSO goes for a heady, assertive-yet-well-rounded profile, the Toronto players infuse the charged moments with more verve and urgency. The recording quality and acoustics also make a difference: listen to how clearly the dialogue between the woodwinds, strings, and piano is heard on the Boston recording, from 1’35” onward.
Tempo choices significantly influence this work’s character, as evident from the opening of the first Chant d’amour (track 2), where Nelsons adopts a quicker pace than Gimeno, Ozawa (in his earlier Toronto recording), and Myung-Whun Chung with the Orchestre de l’Opéra Bastille. The brisk tempo adds an unexpected, dance-like quality, juxtaposing the movement’s abrasive elements with rhythmic clarity. Similar clarity appears in Chant d’amour 2 (track 4), where the piccolo and bassoon pairing nods to Stravinsky’s ballet writing. Nelsons manages the movement’s intricate layering with care, weaving together cyclic motifs (including the “Statue” theme), scherzo-like textures, and birdsong from the piano.
By the fifth movement, Nelsons’ approach becomes more apparent – elegant, well-shaped, and always under control. Joie du Sang d’étoiles has plenty of sparkle, with the brass section sounding almost cinematic and Yuja Wang delivering the piano part with effortless clarity. It all feels carefully sculpted, though some listeners might miss the edge and wildness found in the Thibaudet–Chailly version with the Concertgebouw.
Nelsons’ refined interpretation finds its greatest strength in the slower sections, notably Jardin du sommeil d’amour (track 6), characterized by a lyrical warmth reminiscent of mid-century film scores. Here, Wang’s nuanced and transparent playing shines – her delicate touch particularly effective in rendering Messiaen’s intricate birdsong.
“In all three works [Turangalia, Harawi and Cinq Rechants] the lovers – as in Marc Chagall’s paintings – go beyond themselves and take wing into the clouds.”
(Messiaen: Traité de rythme, de couleur, et d’ornithologie)
In the exuberant Finale, both Wang and the orchestra sustain impressive energy, seamlessly blending virtuosity with structural coherence. The emotional range explored throughout the previous movements culminates here convincingly, underscoring the ensemble’s technical precision and unified vision.
This recording from Nelsons, Wang, and the Boston Symphony Orchestra holds its own among notable predecessors, particularly in its tonal balance and clarity. While it may not have the urgency or abandon of some rival versions, it remains engaging – combining polish with a fair amount of drive.
Recommended Comparisons
Chailly & Royal Concertgebouw | Chung & Bastille Opera Orchestra | Nagano & Berlin Philharmonic | Gimeno & Toronto Symphony Orchestra
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Album Details |
|
|---|---|
| Album name | Turangalîla-Symphonie |
| Label | Deutsche Grammophon |
| Catalogue No. | 4867044 |
| Artists | Yuja Wang (piano), Cécile Lartigau (ondes martenot) Boston Symphony Orchestra, Andris Nelsons |
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