DOCSLIB.ORG

Récital D'orgue

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Récital D'orgue Récital d'orgue MERCREDI 8 JANVIER 2020 20H PIERRE COCHEREAU Boléro sur un thème de Charles Racquet, pour orgue et percussions* (15 minutes environ) MARCEL DUPRÉ Symphonie no 2 en ut dièse mineur op. 26 1. Preludio : Allegro agitato 2. Intermezzo : Très modéré 3. Toccata : Très animé – Più lento – A tempo (20 minutes environ) - Entracte - PHILIPPE HERSANT Les Cloches d’Orléans (commande de Radio France, création mondiale) (13 minutes environ) JULIUS REUBKE Grande Sonate en ut mineur « sur le Psaume 94 » 1. Grave – Larghetto 2. Allegro con fuoco 3. Adagio – Lento 4. Allegro (Fugue) – Allegro assai (26 minutes environ) YVES CASTAGNET orgue GABRIEL BENLOLO et HERVÉ TROVEL percussions* Ce concert, présenté par Arnaud Merlin, est diffusé en direct sur France Musique. Il est disponible à l'écoute sur francemusique.fr PIERRE COCHEREAU 1924-1984 et exige tant de l’organiste que des percussionnistes une rythmique d’airain, un souffle aussi canalisé qu’inépuisable. Sous les voûtes de Notre-Dame, la Boléro sur un thème de Charles Racquet, présence mêlée de l’orgue et des percussions est phénoménale : on conçoit l’authentique et passionnant défi consistant à faire revivre cet hypnotique pour orgue et percussions Boléro dans l’acoustique – un autre monde en termes de résonance – de Improvisé en mai 1973 à Notre-Dame de Paris, avec Michel Gastaud et Michel Cals aux percussions. l’Auditorium de Radio France. Transcrit par Jean-Marc Cochereau. Publié en 1996 aux éd. Chantraine (Tournai). Interprète majeur et génial improvisateur, Pierre Cochereau n’a laissé que peu d’œuvres écrites : Trois Variations sur un thème chromatique, Micro-So- nate en trio, Thème et variations sur « Ma jeunesse a une fin », Symphonie posthume, Paraphrase de la Dédicace. L’œuvre de l’organiste de Notre- Dame s’est toutefois trouvée « augmentée » par les restitutions d’improvisa- tions réalisées (sur la base d’enregistrements phonographiques) par nombre d’organistes à travers le monde. C’est en l’occurrence le fils du musicien, le chef d’orchestre Jean-Marc Cochereau (1949-2011), qui se chargea de coucher sur le papier ce Boléro, d’après l’enregistrement publié par Philips CETTE ANNÉE-LÀ : POUR EN SAVOIR PLUS : (captation réédité en 2007 par Solstice). Donnant au passage une idée très suggestive d’un programme « mixte » (répertoire et improvisation) de 1973 : Danemark, Irlande, Norvège et - Yvette Carbou, Pierre Cochereau - Cochereau en concert à Notre-Dame, Pierre Pincemaille s’en fait l’écho dans Royaume-Uni rejoignent la Commu- Témoignages, Aug. Zurfluh, le chapitre « L’Improvisateur à Notre-Dame » du livre Pierre Cochereau – nauté économique européenne. Pierre 1999. Témoignages : « Le thème du huitième récital annuel donné le 4 mai 1973 Mesmer inaugure le dernier tronçon - Cochereau – « L’Organiste de ne réside pas dans une forme mais dans un aperçu historique : Les Orga- du Boulevard périphérique, commencé Notre-Dame », 1924-1984 (avec nistes de Notre-Dame du XIIe siècle à nos jours. Pas moins de dix auteurs, en 1956. Inauguration à Paris de la en première de couverture cette dont Pérotin, Charles Racquet, Daquin, Armand-Louis Couperin, Balbastre, Tour Montparnasse, à New York du citation de Marcel Dupré : « Un figurent au programme avant Louis Vierne, dont Cochereau joue laRomance World Trade Center, à Sydney de phénomène sans équivalent dans et le Final de la Quatrième Symphonie. Viennent ensuite l’Offertoire sur deux l’Opéra conçu par l’architecte Jørn l’histoire de l’orgue contempo- Noëls de Léonce de Saint-Martin et la Fantaisie-Paraphrase pour la Pente- Oberg Utzon. Fermeture et destruction rain »), DVD Solstice (SODVD 01), côte de Pierre Moreau. Cochereau termine son récital par une improvisation du Gaumont Palace ; racheté en 1976 2004. sur deux thèmes de son lointain prédécesseur [de 1618 à 1647] Charles par la municipalité de Nogent-sur- Racquet (1598-1664) » – dont il ne subsiste qu’une seule, vaste et virtuose Marne, l’orgue Christie (1931) sera Fantaisie du 8e ton. remonté au Pavillon Baltard et inauguré en 1980 par son ancien titulaire, Le 9 juillet 2013, lors d’un récital à l’orgue de Notre-Dame consacré à Tommy Desserre, et Pierre Cochereau. Jeanne Demessieux, Rolande Falcinelli et Marcel Dupré, Yves Castagnet Création à New York du Concerto restituait in situ ce fameux Boléro sur un thème (comme formulé sur le disque pour deux pianos et grand orchestre Philips) de Charles Racquet, œuvre qui dans un tel lieu prenait une réso- de Luciano Berio – qui orchestre cette nance toute particulière – avec l’émotion que l’on imagine. Immense cres- même année ses fameux Folk Songs cendo renouant avec la formule ravélienne, suivi d’un decrescendo certes (1964) dédiés à Cathy Berberian – et plus concis mais qui, une fois le paroxysme passé, semble s’accompagner de Six Pianos de Steve Reich. d’une telle décompression et suspension du temps que toute notion de durée en est presque abolie, l’œuvre est d’une tension absolument phénoménale 4 5 MARCEL DUPRÉ 1886-1971 tive Toccata sous-tendue d’une thématique et d’une dynamique en multiples niveaux de contrastes. Interprète de premier plan de la musique de Marcel o Symphonie n 2 Dupré, Yves Castagnet a gravé la Symphonie-Passion (accompagnée du trip- Composée en 1929. Créée par l’auteur à l’orgue du Wanamaker Auditorium de New York le 30 septembre tyque Évocation op. 37) à l’orgue Cavaillé-Coll de Saint-Ouen de Rouen, dont 1929. Publiée aux éd. Salabert. le père du compositeur, Albert Dupré, était titulaire (Sony, Organa Viventia, 1993) ainsi que cette Symphonie n°2 à celui de Notre-Dame de Paris (avec Le Chemin de la Croix op. 29, Intrada, 2005). L’entre-deux-guerres fut une période d’activité et de créativité exceptionnelles pour Marcel Dupré. Le début des années 1920 correspond à ses premières CETTE ANNÉE-LÀ : et triomphales tournées américaines (à la suite de Guilmant) : Dupré passera de 1922 à 1925 presque six mois chaque année aux États-Unis (dernière 1929 : Accords du Latran : la Cité audition mondiale du Boléro de Ravel, tournée en 1948 – il n’y retournera que pour de brefs séjours, notamment en du Vatican devient un État temporel dirigé au Carnegie Hall de New York 1957 pour des enregistrements à New York et à Détroit). Il donne son premier indépendant – fin de la « question par Toscanini. récital le 18 novembre 1921 à New York, faisant forte impression en impro- romaine » ouverte en 1870 après visant une symphonie entière (ce qu’il refera le 8 décembre à Philadelphie : la prise de Rome, devenue capitale POUR EN SAVOIR PLUS : la future Symphonie-Passion op. 23, couchée sur le papier en 1924 seule- de l’Italie. Heinrich Himmler devient ment). L’aventure symphonique se poursuit en 1928 (tournée au Royaume-Uni, Reichsführer de la Schutzstaffel (SS). - Abbé Robert Delestre, L’Œuvre de mais aussi en Allemagne : Dupré joue pour la première fois à Berlin) avec Mort du maréchal Foch, de Georges Marcel Dupré, éd. Musique sacrée, la Symphonie en sol mineur op. 25 pour orgue et orchestre en quatre mou- Clemenceau. New York, 24 octobre : Procure générale du Clergé, 1952. vements, les masses sonores de chaque formation étant traitées en double- « Jeudi noir » (panique financière). - Marcel Dupré, Marcel Dupré chœur par juxtaposition ou opposition de groupes ou de timbres : dédiée à 29 octobre : Marcel Dupré donne un raconte..., éd. Bornemann, 1972. Sir Henry Wood, elle fut exécutée le 3 janvier 1929 au Saint-Andrew’s Hall concert à l’University Christian Church - Michael Murray, Marcel Dupré, de Glasgow. Cette même année 1929 vit naître la dernière œuvre de Dupré de Seattle. Pose de la première pierre Association des Amis de l’art de recourant au terme symphonie : la Symphonie n°2 en ut dièse mineur op. 26, du Palais des Nations à Genève. Ex- Marcel Dupré, 2001. créée à New York lors du premier des trois concerts qu’il y donna au cours de positioninternationale de Barcelone. - Marcel Dupré, Souvenirs, Asso- sa quatrième tournée transcontinentale, à l’orgue Austin-Wanamaker Organ Création à Los Angeles de l’Academy ciation des Amis de l’art de Marcel Shop (1904/1920, 115 jeux) que Louis Vierne avait également joué en Awards (Oscars) ; Luis Buñuel et Dupré, 2007. concert, comme l’atteste une célèbre photo de 1927. Salvador Dali : Un chien andalou ; Gaston Ravel : Le Collier de la reine Tout en s’inscrivant dans la tradition de la symphonie française pour orgue (l’un des huit longs métrages sonores (Widor, Guilmant, Vierne), Dupré livre une œuvre « moderniste » d’une singu- français de l’année 1929, soit un film lière audace, puissamment intégrée dans la musique de l’entre-deux-guerres, muet avec parties musicales). Margue- ce qu’un recours caustique aux jeux de mutations ne fait que superbement rite Yourcenar : Alexis ou le Traité du souligner. À l’instar de l’électrisant Carillon des Sept pièces de son Opus 27 vain combat, André Breton : Second (1931), la Symphonie n°2 semble rivaliser d’éloquence, en matière de manifeste du surréalisme, Albert percutante Motorik, comme on dit outre-Rhin, avec le Prokofiev des concertos Londres : Terre d’ébène. Création pour piano ou le jeune Chostakovitch symphoniste de la même période. À la Salle Pleyel, par Wanda Landows- différence de la Symphonie-Passion, qui fait référence aux étapes de la vie du ka et Pierre Monteux, du Concert Christ, l’œuvre virtuose de 1929 n’est que « musique pure », d’une énergie et champêtre de Poulenc, mais aussi, d’une mobilité exacerbées presque tout au long de ses trois mouvements (sans chez les Noailles puis au Théâtre des véritable mouvement lent) : très libre forme sonate du Preludio sur trois thèmes Champs-Élysées, de son « Concerto grandement contrastés, Intermezzo empruntant à la forme variation, érup- chorégraphique » Aubade ; première 6 7 PHILIPPE HERSANT né en 1948 Le compositeur écrit : Les Cloches d’Orléans « La pièce qu’Yves Castagnet crée ce 8 janvier s’intitule Les Cloches d’Or- Œuvre composée en 2019.
Load more

Recommended publications
  • Ofmusic PROGRAM
    GUEST ARTIST RECITAL OLIVIER LATRY, Organ Tuesday, February 21, 2012 7:00 p.m. Edythe Bates Old Recital Hall and Grand Organ ~herd RICE UNIVERSITY Sc~ol ofMusic PROGRAM Cortege et litanie Marcel Dupre (1886-1971) ,._ Petite Rapsodie improvisee Charles Tournemire (1870-1939) L'Ascension Olivier Messiaen Majeste du Christ demandant sa gloire a son Pere (1908-1992) Alleluias sereins d 'une ame qui desire le ciel Transports de Joie d 'une ame Priere du Christ montant vers son Pere INTERMISSION Trois danses JehanAlain Joies (1911-1940) Deuils Luttes Improvisation Olivier Latry Olivier Latry is represented by Karen McFarlane Artists, Inc. .. The reverberative acoustics of Edythe Bates Old Recital Hall magnify the slightest sound made by the audience. Your care and courtesy will be appreciated. The taking ofphotographs and use of recording equipment are prohibited. BIOGRAPHY Olivier Latry, titular organist of the Cathedral ofNotre-Dame in Paris, is one of the world's most distinguished organists. He was born in 1962 in Boulogne-sur-Mer, France, and began his study ofpiano at age 7 and his study of the organ at age 12; he later attended the Academy ofMusic at St. Maur-des-Fosses, studying organ with Gaston Litaize. From 1981 until 1985 Olivier Latry was titular organist ofMeaux Cathedral, and at age 23 he won a competition to become one of the three titular organists of the Ca­ thedral ofNotre-Dame in Paris. From 1990 until 1995 he taught organ at the Academy ofMusic at St. Maur-des-Fosses, where he succeeded his teacher, Gaston Litaize. Since 1995 he has taught at the Paris Conservatory, where he has succeeded Michel Chapuis.
    [Show full text]
  • PIERRE COCHEREAU: a LEGACY of IMPROVISATION at NOTRE DAME DE PARIS By
    PIERRE COCHEREAU: A LEGACY OF IMPROVISATION AT NOTRE DAME DE PARIS By ©2019 Matt Gender Submitted to the graduate degree program in School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ______________________________ Chairperson: Michael Bauer ______________________________ James Higdon ______________________________ Colin Roust ______________________________ David Alan Street ______________________________ Martin Bergee Date Defended: 05/15/19 The Dissertation Committee for Matt Gender certifies that this is the approved version of the following dissertation: PIERRE COCHEREAU: A LEGACY OF IMPROVISATION AT NOTRE DAME DE PARIS _____________________________ Chairperson: Michael Bauer Date Approved: 05/15/19 ii ABSTRACT Pierre Cochereau (1924–84) was the organist of Notre Dame Cathedral in Paris and an improviser of organ music in both concert and liturgical settings. He transformed the already established practices of improvising in the church into a modern artform. He was influenced by the teachers with whom he studied, including Marcel Dupré, Maurice Duruflé, and André Fleury. The legacy of modern organ improvisation that he established at Notre Dame in Paris, his synthesis of influences from significant figures in the French organ world, and his development of a personal and highly distinctive style make Cochereau’s recorded improvisations musically significant and worthy of transcription. The transcription of Cochereau’s recorded improvisations is a task that is seldom undertaken by organists or scholars. Thus, the published improvisations that have been transcribed are musically significant in their own way because of their relative scarcity in print and in concert performances. This project seeks to add to this published collection, giving organists another glimpse into the vast career of this colorful organist and composer.
    [Show full text]
  • Olivier Latry Organ
    Wednesday, April 15, 2009 · 7:30 PM OLIVIER LATRY ORGAN Prelude and Fugue in E-flat Major, Op. 99, No. 3 Camille Saint-Saëns (1835-1921) Choral No. 2 in B minor César Franck (1822-1890) Symphonie Gothique, Op. 70 Charles-Marie Widor (1844-1937) Andante sostenuto Symphonie No. 1, Op. 14 Louis Vierne (1870-1937) Allegro vivace Final INTERMISSION Deuxième Fantaisie Jehan Alain (1911-1940) Salve Regina (U.S. Premiere) Olivier Latry (b. 1962) Gregory Purnhagen, baritone This recital is made possible in part by generous support from the New York City Chapter of the American Guild of Organists. __________________________ Please turn off all cellular phones, wristwatch alarms, and beepers. Taking photographs and making recordings of this concert are strictly prohibited. Church of St. Ignatius Loyola 980 Park Avenue at 84th Street, New York City · Notes on the Program · Camille Saint-Saëns (1835-1921) was born and raised in Paris by his mother and great-aunt who provided him his first keyboard instruction at the piano. Considered a child prodigy, he began studies in organ, composition and orchestration at the Paris Conservatoire in 1848. Appointed as organist to l’Eglise de la Madeleine in 1857, Franz Liszt apparently heard him improvise there and proclaimed him to be the greatest organist in the world. Indeed, among the most beloved and well-known symphonic works is his Third “Organ” Symphony, with its famed C major chord resonating as the most glorious moment shared by organ and orchestra in the entire repertory. His Prelude and Fugue in E-flat major is the third of Op.
    [Show full text]
  • Able Fairy: the Feminine Aesthetic in the Compositions of Rolande Falcinelli
    Copyright by Lenore Audrey Jane Alford 2008 The Treatise Committee for Lenore Audrey Jane Alford certifies that this is the approved version of the following treatise: Able Fairy: The Feminine Aesthetic in the Compositions of Rolande Falcinelli Committee: Andrew Dell’Antonio, Supervisor Gerre Hancock, Co-Supervisor Marianne Gedigian Donald Grantham Judith Hancock Russell Schulz Able Fairy: The Feminine Aesthetic in the Compositions of Rolande Falcinelli by Lenore Audrey Jane Alford, B.Mus.; M.Mus. Treatise Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin December 2008 Dedication To Greg, my perfect husband Acknowledgements Graham Hunter made much of this research possible through his generous help in locating many of the scores; Kathleen Thomerson provided excellent ideas (and inspiration for further research); Sylviane Falcinelli, Philippe Brandeis, Naji Hakim, Pierre Pincemaille, and Christopher Teel gave valuable insights and information; Louise Samson and Julie-Anne Derome helped sort out layers of meaning in translating the French texts. Thank you all so very much. v Able Fairy: The Feminine Aesthetic in the Compositions of Rolande Falcinelli Lenore Audrey Jane Alford, D.M.A. The University of Texas at Austin, 2008 Supervisor: Andrew Dell’Antonio Co-supervisor: Gerre Hancock This study links patriarchal Catholic Church culture and feminist studies in musicology to reveal the multi-faceted opus and career of Rolande Falcinelli, 1920-2006. Organist, composer, and pedagogue Rolande Falcinelli was the first woman to be named titular over a prestigious organ console in Paris, that of the Sacré-Coeur Basilica, in 1945; she was also a renowned organ pedagogue at the Paris Conservatory for over thirty years.
    [Show full text]
  • MARCH, 2007 First Church in Oberlin, United
    THE DIAPASON MARCH, 2007 First Church in Oberlin, United Church of Christ Oberlin, Ohio Cover feature on pages 30–31 recording artist) as well as performances series: March 18, Bach birthday con- of Buxtehude’s organ and choral works cert; April 22, Eastertide concert; May THE DIAPASON by David Rothe and Scarlatti sonatas 20, members of the Santa Barbara AGO A Scranton Gillette Publication played on harpsichord, fortepiano, mod- chapter. For information: Ninety-eighth Year: No. 3, Whole No. 1168 MARCH, 2007 ern piano and organ by Robert Bowman. <www.trinitysb.org>. Established in 1909 ISSN 0012-2378 Bowman will also lead a performance of J. S. Bach’s Musical Offering. For infor- The Cathedral of the Madeleine, An International Monthly Devoted to the Organ, mation: <[email protected]>. Salt Lake City, continues its music the Harpsichord, the Carillon and Church Music series: March 18, Founders Day concert The Church of St. Ignatius Loy- (Pärt, Berliner Mass; Rachmaninov, ola, New York City, continues its music Vespers); May 18 and 20, The series: March 14, Michel Bouvard; May Madeleine Festival Concert (Bernstein CONTENTS Editor & Publisher JEROME BUTERA [email protected] 10, Paul Halley, Andrew Henderson, and Ives). For information: 847/391-1045 and Renée Anne Louprette, works for <www.saltlakecathedral.org>. FEATURES organ, piano, and harpsichord by Paul Daniel Pinkham (1923–2006): Halley. The choir and orchestra are fea- The Church of the Covenant, A Memoir tured on March 28, music of Wagner Cleveland, Ohio, has announced its by James McCray 20 Associate Editor JOYCE ROBINSON [email protected] and Mendelssohn (Symphony No.
    [Show full text]
  • Cameron Carpenter, Innovative Spirit of the Twenty-First the Instruments Are Very Different but Complementary
    The Festival history The International Organ Festival “Città di Bergamo” was born at the beginning of the Nineties as a gamble among friends. Convinced of the need to bring to the town an international top circuit of concerts, especially considering the quality and variety of its organs, in 1992 the association Vecchia Bergamo organized a ‘test’ concert. Jean Guillou, one of the most famous contemporary players in the world and titular of the great organs at St. Eustache in Paris, was invited with a special mission: to introduce the improvisation on themes given by the audience in his program. As a matter of fact, this art which is considered as a fundamental pillar by all northern European organ Schools had practically disappeared from the Italian churches in the last fifty years. The clear goal was to show and consequently to measure the reactions of the public, on how much the interpreter’s capability in communicating his own unique feeling is of basic importance to create a larger popular interest around organ music, which up to that time was considered a specialists’ niche. The success was so great and enthusiastic that the year after the International Organ Festival started officially on the big Serassi organ at S.Alessandro della Croce in Pignolo: a perfect instrument, just restored, for portraying a wide range of music and, at the same time, for representing worthily the important organ builders’ tradition of our land. The guidelines and contents of the Festival were, and still are, the following: to focalize on the real actor
    [Show full text]
  • Pierre Pincemaille Organiste Titulaire De La Cathédrale De Saint-Denis
    Pierre Pincemaille Organiste titulaire de la cathédrale de Saint-Denis Elève d'Henri Challan, Jean-Claude Raynaud, Marcel Bitsch, Jacques Casterède et Rolande Falcinelli au Conservatoire Supérieur de Musique de Paris, Pierre Pincemaille a obtenu cinq Premiers Prix : Harmonie, Contrepoint, Fugue, Orgue-Interprétation, Orgue-Improvisation. Puis il a remporté successivement cinq Grands Prix Internationaux : Premier Prix du Concours International d'Improvisation de Lyon (1978), Grand Prix du Concours d'Orgue Européen de Beauvais (1987), Premier Prix du Concours International d'Improvisation de Strasbourg (1989), Grand Prix du Concours International d'Improvisation de Montbrison (1989), Grand Prix d'Improvisation du Concours International de Chartres (1990). C'est en novembre 1987 qu'il est nommé sur concours, Organiste titulaire des grandes orgues de la Cathédrale de Saint-Denis. Cet instrument, mondialement célèbre, est le premier ouvrage (1840) d'Aristide Cavaillé-Coll, célèbre facteur d'orgues du XIXe siècle. Parallèlement , Pierre Pincemaille poursuit une carrière internationale de concertiste (France, Allemagne, Angleterre, Autriche, Pays-Bas, Danemark, Suisse, Italie, Etats-Unis, Canada, Afrique du Sud, Hong Kong). Virtuose incontesté, il démontre de surcroît un exceptionnel talent de coloriste à chacun de ses récitals : par la magie de ses registrations, il tire parti de toutes les ressources sonores d'un orgue, et fait invariablement découvrir à un auditoire habitué d'un instrument des effets de sonorité insoupçonnés. Son public est davantage fasciné par les magistrales improvisations avec lesquelles il termine traditionnellement ses concerts. On lui reconnaît, en cet art, un talent sans équivalent. Pierre Pincemaille enregistre régulièrement pour le disque des œuvres pour orgue, orgue et orchestre, ainsi que ses propres transcriptions d'œuvres pour orchestre qu'il a réalisées lui-même pour l'orgue.
    [Show full text]
  • Copyright © 2012 Anna Pan All Rights Reserved. the Southern Baptist
    Copyright © 2012 Anna Pan All rights reserved. The Southern Baptist Theological Seminary has permission to reproduce and disseminate this document in any form by any means for purposes chosen by the Seminary, including, without limitation, preservation or instruction. CÉSAR FRANCK AS A PIVOTAL FIGURE IN THE REVITALIZATION OF FRENCH ORGAN MUSIC AFTER THE REVOLUTION __________________ A Dissertation Presented to the faculty of The Southern Baptist Theological Seminary __________________ In Partial Fulfillment of the Requirements of Doctor of Musical Arts __________________ by Anna Pan December 2012 APPROVAL SHEET CÉSAR FRANCK AS A PIVOTAL FIGURE IN THE REVITALIZATION OF FRENCH ORGAN MUSIC AFTER THE REVOLUTION Anna Pan Read and Approved by: __________________________________________ Thomas W. Bolton (Chair) __________________________________________ Janet E. Hamilton __________________________________________ Gregory Brewton Date _______________________________ To my deceased father, my mother, and Père et Mère Thomas W. Bolton for their unceasing love, prayers, and support. TABLE OF CONTENTS Page PREFACE . vi Chapter 1. INTRODUCTION . 1 Thesis . 2 Historical Background . 5 Methodology . 10 Related Literature . 11 Definition of Terms . 16 Need of Study . 16 2. EFFECTS OF THE FRENCH REVOLUTION ON THE STATE, THE CHURCH, AND ORGAN MUSIC . 18 The State . 18 The Church . 29 Organ Music . 38 3. POST-REVOLUTIONARY DEVELOPMENTS LEADING TO THE RECOVERY OF FRENCH ORGAN MUSIC . 48 Political and Governmental Factors . 48 The Status of the Church . 50 iv Chapter Page Organ Restoration and Construction . 51 Organ Demonstrations and Inaugurations . 56 Alexandre Pierre François Boëly . 56 Educational Developments . 59 The Choron School . 64 The Niedermeyer School . 69 4. THE LIFE AND WORKS OF CÉSAR FRANCK . 75 Early Years . 75 The Influence of Aristide Cavaillé-Coll .
    [Show full text]
  • The Cavaillé-Coll Organ of Notre Dame De Paris
    The Cavaillé-Coll Organ of Notre Dame de Paris The great organ finds its voice once more. Patricia Stoughton After six months of restoration work, the great organ of Notre-Dame de Paris found Saxe, who was resident organist from its voice once more at the opening ceremony of the 850th anniversary celebrations 1415 - 1436. Olivier Latry writes that of the cathedral on December 12, 2012. A Pontifical Mass was conducted by Cardinal de Saxe’s “nomination by competition André Vingt-Trois of Paris in the presence of the Minister of the Interior, Manuel Valls, gives us an idea of his job description.” and the Mayor of Paris, Bernard Delanoë. And once again the sound of this magnifi- It entailed playing for the twenty-three cent organ filled the cathedral. annual religious festivals, and for all ser- vices from Vespers to a Great Mass. The In addition, as part of the 850th an- The first great or- niversary celebrations, the organ will gan was built during be at the heart of Le jour Mondial de the thirteenth cen- l’Orgue - World Organ Day - on May 6, “a tury. There are no ex- world-wide musical marathon”, organ- isting records of the ized by Notre-Dame cathedral involving first organists to have the performance of more than 850 con- played the instru- certs. Organists from all five continents ment but in 1330 the will play works spanning nearly nine cathedral accounts centuries from some of the famous No- mention the payment tre-Dame composers, including Gervais- of fees to an organist.
    [Show full text]
  • BENELUX and SWISS SYMPHONIES from the 19Th Century to the Present
    BENELUX AND SWISS SYMPHONIES From the 19th Century to the Present A Discography of CDs And LPs Prepared by Michael Herman JEAN ABSIL (1893-1974) BELGIUM Born in Bonsecours, Hainaut. After organ studies in his home town, he attended classes at the Royal Music Conservatory of Brussels where his orchestration and composition teacher was Paul Gilson. He also took some private lessons from Florent Schmitt. In addition to composing, he had a distinguished academic career with posts at the Royal Music Conservatory of Brussels and at the Queen Elisabeth Music Chapel and as the long-time director of the Music Academy in Etterbeek that was renamed to honor him. He composed an enormous amount of music that encompasses all genres. His orchestral output is centered on his 5 Symphonies, the unrecorded ones are as follows: No. 1 in D minor, Op. 1 (1920), No. 3, Op. 57 (1943), No. 4, Op. 142 (1969) and No. 5, Op. 148 (1970). Among his other numerous orchestral works are 3 Piano Concertos, 2 Violin Concertos, Viola Concerto. "La mort de Tintagiles" and 7 Rhapsodies. Symphony No. 2, Op. 25 (1936) René Defossez/Belgian National Orchestra ( + Piano Concerto No. 1, Andante and Serenade in 5 Movements) CYPRÈS (MUSIQUE EN WALLONIE) CYP 3602 (1996) (original LP release: DECCA 173.290) (1958) RAFFAELE D'ALESSANDRO (1911-1959) SWITZERLAND Born in St. Gallen. After some early musical training, he studied in Paris under the tutelage of Marcel Dupré (organ), Paul Roës (piano) and Nadia Boulanger (counterpoint). He eventually gave up composing in order to earn a living as an organist.
    [Show full text]
  • Olivier Latry – Organ
    Download as a Word doc OLIVIER LATRY Biography French organist Olivier Latry is one of the most distinguished concert organists in the world today. One of three titular organists at the Cathedral of Notre-Dame in Paris, he is also Professor of Organ at the Paris Conservatory of Music, Organist Emeritus with the Montreal Symphony Orchestra in Canada, Artist in Residence at the Dresdner Philharmonie for 2017- 2019, and he maintains a full schedule of concert performances appearing regularly as a soloist at prestigious venues and festivals, and with leading orchestras around the world. Recent highlight engagements include the premiere of Benoît Mernier’s organ concerto for the inauguration of the new organ at Palais des Beaux-Arts in Brussels in 2017, the premiere of Michael Gandolfi’s organ concerto with the Boston Symphony Orchestra in 2015, and the premiere of Kaija Saariaho’s Maan Varjot for organ and orchestra with the Orchestre Symphonique de Montréal, Orchestre National de Lyon and Philharmonia Orchestra in 2014. Having performed in more than fifty countries on five continents, Mr. Latry does not want to specialize in any specific repertoire, but rather wishes to explore all styles of organ music, as well as the art of improvisation. At the turn of the twenty-first century, to celebrate Olivier Messiaen as one of the greatest composers of the 20th century, he performed three complete cycles (six recitals each) of Messiaen’s organ music, at the Cathedral of Notre-Dame in Paris, the Church of St. Ignatius Loyola in New York City and St. Paul’s Cathedral in London.
    [Show full text]
  • Finally, You Hear Mr. Laube Play Deux Evocations, a Pair of Pieces Written for Him in 2017 by Organist Composer George Baker
    Greetings from St. Stephen’s Concert Series This week’s featured artist is Nathan Laube who was scheduled to present the annual Frank H. Kenan Memorial Organ Recital at St. Stephen’s last Sunday. His (real) recital has been put on hold, but in our virtual concert he will be playing three major works. First we hear Duruflé’s Prelude and Fugue on the Name of Alain, played on the organ at the Cathedral of the Assumption in Louisville, KY. It is part of a recital streamed on July 8, 2020 to members attending the 43rd National Convention of the National Association of Pastoral Musicians. Next we hear one of the masterpieces of the 19th century organ repertoire, Julius Reubke’s Sonata on the 94th Psalm. Reubke was a student of Liszt who died of tuberculosis at the age of 24. One wonders what he might have composed if he had lived longer. The Reubke Sonata is performed on the 97 rank von Beckerath organ in the St. Paul Roman Catholic Cathedral in Pittsburgh. One can only marvel over Laube’s masterful performance on the huge instrument. But Mr. Laube has had plenty of experience playing on organ’s much larger. In the photo you see the immense Wanamaker Organ in Philadelphia, housed in the Wanamaker Department Store, which has since become a Macy’s. Nathan was an assistant organist there while he attended Curtis. You next see Mr. Laube playing the organ in Ocean City, NJ. Mr. Laube, then 24, is obviously enjoying the experience immensely. Toward the end of the short video you hear snatches of his transcription of Liszt’s Les Preludes.
    [Show full text]