If the orchestral version has a different ambience to the piano/voice version, Cambreling made the most of the more elaborate colorations. He conducted with great refinement and got lustrous, detailed playing from his musicians. Each of these songs is distinctive and needs individual emphasis : horrified dissonances in Épouvante, shimmering glissandi in Le Collier. The “wavering” sounds in the string section were not like vibrato in voice, but built up from careful modulation, precisely controlled. The final song, Prière exacuée, is particularly well suited to orchestra, where a rich carillon like multiple bells is created by different instruments and combinations. The ending is vivid, picking up the staccato refrain “Frappe, tape, choque”, cymbals crashing on the crest.
For descriptions of the concerts mentioned above go to the list on the right and hit "Messiaen" Read about the piano song version of this cycle and its background by following the subject tags at the right for Messiaen and Lieder. (Look up October). This blog is the biggest non official Messiaen site on the net, so welcome to browse.