Problems of Performance the O. Messiaen Cycle “Vingt Regards Sur L’Enfant-Jesus” for Piano

This article is devoted to a holistic analysis of the piano cycle by O. Messiaen "Vingt regards sur L’Enfant-Jesus" from the point of view of the features of the musical language and the problems that arise in front of the performer of the largest composition in piano literature of the twentieth century. The article substantiates the importance of the performer's comprehension of the concept of the cycle, the means of expression created by the composer and defined in the work "Technique of my musical language", as well as the author's comments on the musical text. Particular attention is paid to the study of the principles of organizing artistic texture based on a system of "modes of limited transposition", integration of melody and harmony, "resonant" chords, etc.; a specific coloristic technique of "sound stained-glass window", discovered by O. Messiaen. The author draws attention to the expansion by the composer of the coloristic possibilities of the piano, imitation of bell sounds, "bird" singing, giving unique trepidation, sophistication, luminosity to the sound of the instrument and presupposing a rich palette of pianistic techniques of the performer.