Jean Langlais Remembered As the Most Influential on Him, Was Unquestionably Albert Mahaut, Who Had Won a First Prize in César Franck’S Conservatory Class
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BOSTON UNIVERSITY COLLEGE of FINE ARTS Dissertation MERRI FRANQUIN and HIS CONTRIBUTION to the ART of TRUMPET PLAYING by GEOFFRE
BOSTON UNIVERSITY COLLEGE OF FINE ARTS Dissertation MERRI FRANQUIN AND HIS CONTRIBUTION TO THE ART OF TRUMPET PLAYING by GEOFFREY SHAMU A.B. cum laude, Harvard College, 1994 M.M., Boston University, 2004 Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts 2009 © Copyright by GEOFFREY SHAMU 2009 Approved by First Reader Thomas Peattie, Ph.D. Assistant Professor of Music Second Reader David Kopp, Ph.D. Associate Professor of Music Third Reader Terry Everson, M.M. Associate Professor of Music To the memory of Pierre Thibaud and Roger Voisin iv ACKNOWLEDGEMENTS Completion of this work would not have been possible without the support of my family and friends—particularly Laura; my parents; Margaret and Caroline; Howard and Ann; Jonathan and Françoise; Aaron, Catherine, and Caroline; Renaud; les Davids; Carine, Leeanna, John, Tyler, and Sara. I would also like to thank my Readers—Professor Peattie for his invaluable direction, patience, and close reading of the manuscript; Professor Kopp, especially for his advice to consider the method book and its organization carefully; and Professor Everson for his teaching, support and advocacy over the years, and encouraging me to write this dissertation. Finally, I would like to acknowledge the generosity of the Voisin family, who granted interviews, access to the documents of René Voisin, and the use of Roger Voisin’s antique Franquin-system C/D trumpet; Veronique Lavedan and Enoch & Compagnie; and Mme. Courtois, who opened her archive of Franquin family documents to me. v MERRI FRANQUIN AND HIS CONTRIBUTION TO THE ART OF TRUMPET PLAYING (Order No. -
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. -
Belgique Francophone, Terre De B.D
Belgique francophone, terre de B.D. François Pierlot Frantseseko lektorea / Lector de francés Laburpena Komikien historia Suitzan hasi zen 1827an, Rodolphe Töpffer-ek “litera- tura iruditan” deiturikoa sortu zuenean. Printzipioa sinplea da: istorio bat kontatzen du marrazki bidez, eta istorioa azaltzeko testuak eransten ditu. Hogei urte geroago, Wilhelm Bush alemaniarrak Max und Moritz sortu zuen, marrazkietan dinamismo handia zuen umorezko komikia. Gero, batez ere egunkarietan agertzen hasi ziren komikiak. Eguneroko prentsak ere gero eta arrakasta handiagoa zuenez, komikiak Europa osora za- baldu ziren. Egunkarientzat oso garrantzitsua zen komiki onak izatea, irakur- le asko erakartzen zituztelako. Erresuma Batuan ere arrakasta izan zuten ko- mikiek. AEBtik, bestalde, koloretako argitalpenak iristen hasi ziren, testuen ordez bunbuiloak zituztenak. Belgikan, 1929an hasi ziren komikiak argitaratzen, Le petit vingtième haurrentzako egunkarian. Apaiz oso kontserbadore bat zen erredakzioburua, eta umeei komunisten alderako gorrotoa barneratzeko pertsonaia asmatzeko eskatu zion Hergé marrazkilari gazteari. Horrela sortu zen Tintin. Lehenengo aleak Tintin sobieten herrialdean zuen izenburua. Hergék bere pertsonaiaren «gobernua» hartu baino lehen, ideologiaz beteriko beste bi abentura ere izan ziren (Tintin Kongon eta Tintin Amerikan). Tintinekin hasitako goraldiaren ondoren, beste marrazki-aldizkari bel- gikar batzuk sortu ziren; besteak beste, Bravo! agerkaria. Komiki belgikarrak 1940ko hamarkadatik aurrera nagusitu ziren mundu frantsestunean, bi agerkari zirela bitarte: Le Journal Tintin eta Le Journal de Spirou, hurrenez hurren, Hergé eta Franquin marrazkilari zirela. Bi astekariek talentu gazteak hartu zituzten, aukera bat emateko. Komikien ibilbidea finka- tu zuten, klasizismo mota bat ezarrita. Journal de Spirou izenekoa 1938an sortu zuen Dupuis argitaletxeak, eta umorea landu zuen. Pertsonaiek oso jatorrak dirudite, grafismo biribilari esker (horregatik aipatzen da “sudur lodiaren” estiloa). -
Tuesday, February 12
The Organizer — — February — 2008 A G O Monthly Newsletter The Atlanta Chapter L O G O AMERICAN GUILD of ORGANISTS The Organizer FEBRUARY 2008 _________________________________________________________________________________________________________________ Dr. Ann Labounsky has earned TUESDAY, FEBRUARY 12 an enviable international reputation as Ann Labounsky, organist Atlanta a virtuoso performer and improvisor at the organ, and particularly, as a leading “Life and Music of Jean Langlais” Chapter Officers American disciple of Jean Langlais. Dean From 1962 to 1964 Ann Labounsky PEACHTREE CHRISTIAN CHURCH Michael Morgan lived and studied in Paris as a recipient 150 Peachtree Street NE at Spring of a Fulbright Grant. As an organ Atlanta, Georgia Sub-Dean 404.876.5535 James Mellichamp student of André Marchal and Jean Langlais, she immersed herself in the Host: Herb Buffington Secretary French organ tradition; she studied Betty Williford 6:00 pm Punch Bowl most of Langlais’s compositions with Treasurer the composer, and played them for him 6:30 pm Dinner & Meeting Charlene Ponder on the organ at Sainte-Clotilde. In 1964, 8:00 pm Recital while she was Langlais’s student at the Registrar Schola Cantorum, she earned the Dinner Reservations ($12) Michael Morris due by 2/7/08 Diplôme de Virtuosité with mention Newsletter Editor maximum in both performance and improvisation. Additional study was Charles Redmon Ann Labounsky’s early training was under the with Suzanne Chaisemartin and Marcel direction of Paul J. Sifler and John LaMontaine Chaplain Dupré. She was awarded the diploma in New York City. She was awarded a Bachelor Rev. Dr. John Beyers with the highest honors at the organ of Music degree from the Eastman School of Auditor competition at the Soissons Cathedral. -
Bande Dessinée & Illustration
COMMUNIQUÉ DE PRESSE ǀ PARIS ǀ 21 AVRIL 2016 ǀ POUR DIFFUSION IMMÉDIATE BANDE DESSINÉE & ILLUSTRATION Paris, samedi 21 mai 2016 FRANQUIN JEAN-PIERRE GIBRAT GASTON – GALA DE GAFFES (T.2) LE VOL DU CORBEAU, COUVERTURE DE L’INTÉGRALE Estimation: €100.000-120.000 Estimation: €40.000-50.000 Franquin, Jidéhem ©Dargaud-Lombard, 2016 Le Vol du Corbeau par Gibrat © Dupuis 2016 Le 21 mai prochain, Christie’s Paris et Daniel Maghen proposeront leur 3e vente dédiée au 9e art. Depuis le lancement de cette spécialité chez Christie’s en 2014, amateurs et collectionneurs se donnent rendez-vous chaque printemps pour acquérir les œuvres qui ravivent avec joie leurs souvenirs d’enfance, et qui, depuis plusieurs années, ont accédé au statut de 9e art, sollicité par les plus grands musées et les institutions culturelles, privées ou publiques. La vente du mois de mai proposera plus de 200 planches, couvertures et éditions originales pour une estimation totale de plus de €2,5M. Chaque lot a été sélectionné avec soin afin d’offrir un panel quasi exhaustif, représentatif de la bande dessinée d’hier à aujourd’hui. Connaisseurs avisés ou amateurs moins confirmés trouveront ici un vaste choix permettant aisément de démarrer ou compléter une collection, entre auteurs historiques, nouveaux classiques et étoiles montantes de l’illustration contemporaine. Cinq grands piliers de la bande dessinée franco-belge seront également représentés : Morris, Franquin, Hergé, Jacobs et Uderzo. Les couvertures originales seront particulièrement mises à l’honneur. Qu’il s’agisse de couvertures d’albums ou d’hebdomadaires tels Le Journal de Tintin, Le Journal de Spirou, Pilote ou Métal Hurlant, toutes les époques sont représentées, notamment à travers les grands classiques –Franquin, Jacobs, Will et Gotlib–, les nouveaux classiques –Pellerin, Vance, Francq, Bilal, Gibrat– et les contemporains –Brüno, Mallié, Ledroit, Vallée, Meyer. -
2016-October
Pipelines October 2016 Volume 97 Issue 1 IN THIS ISSUE DEAN’S NOTES Dean’s Notes… pg 1 By Edward Alan Moore, DMA - Dean ([email protected]) -------------------------------------------------------------------------------------- The Musical Road to our 65th Dear Colleagues, Wedding Anniversary… pg 2 October is Here. ScHools are bacK in session. Concert Celebrating the Sainte- CHoirs Have resumed reHearsals. Arts organizations Clotilde Tradition… pg 3 around the region Have launcHed new seasons of concerts. So many options…so little time! Directory Updates… pg 4 In this issue of Pipelines and througH our paid Email Blasts, we see there are lots of concerts and Substitute List… pg 4 events going on involving the membersHip of the PittsburgH AGO CHapter. October Meeting: Dr. Brenda Please Keep sHaring those events, and please continue to attend and Portman… pg 5 support your fellow cHapter members as you can. Speaking of attending and supporting events, one of the jewels in OAS Opener… pg 5 the crown of the PittsburgH AGO CHapter is the Organ Artists Series of Pittsburgh. The 38th Season of OAS opens on October 16 at 3:00 PM with Upcoming Events… pg 6 a concert by David Higgs from the Eastman ScHool of Music. THe concert is Job Openings… pg 7 at East Liberty Presbyterian CHurcH. More information about this concert can be found on page 5. The OAS has continued to present Thirty-Eight seasons of some of our profession’s finest artists in concert to audiences throughout the greater Contact the editor: Pittsburgh area. [email protected] THis is not only significant, it is remarKable! OAS is a great source of pride for our cHapter, but not one that sHould be taken for granted. -
Comment François Gravel a Écrit Certains De Ses Livres Monique Noël-Gaudreault
Document generated on 09/27/2021 1:27 a.m. Québec français Comment François Gravel a écrit certains de ses livres Monique Noël-Gaudreault Nouvelles technologies et enseignement Number 114, Summer 1999 URI: https://id.erudit.org/iderudit/56205ac See table of contents Publisher(s) Les Publications Québec français ISSN 0316-2052 (print) 1923-5119 (digital) Explore this journal Cite this document Noël-Gaudreault, M. (1999). Comment François Gravel a écrit certains de ses livres. Québec français, (114), 108–109. Tous droits réservés © Les Publications Québec français, 1999 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ LITTERAT<W#£,eMe Comment François Gravel a écrit certains de ses livres PROPOS RECUEILLIS PAR MONIQUE NOËL-GAUDREAULT Tintin, Gaston, Zorglub et les autres... désordre le plus com Enfant, François Gravel était abonné au plet. La plupart du journal de Spirou, dans lequel il dévorait temps, il ne devine la les aventures de Johan et Pirlouit, de fin qu'une fois la pre Gaston Lagaffe, de Lucky Luke et de mière moitié écrite, Spirou lui-même. Il a assisté, ébahi, à la mais il n'a encore naissance du Marsupilami : c'était l'appa aucune idée de la façon rition de la couleur et de la fantaisie dans dont il va y parvenir. -
The Interaction of Image and Text in Modern Comics
240 Lambeens And Pint Chapter 12 The Interaction of Image and Text In Modern Comics Tom Lambeens and Kris PintLambeens and Pint Introduction The combination of image and text is undoubtedly one of the most typical features of the comic strip genre. This combination in itself is, of course, far from new. Sequential images were already combined with textual elements in Egyptian hieroglyphs or medieval manuscripts and paintings.1 The comic strip as such evolved in the first half of the nineteenth century, with artists like Rodolphe Töpffer (influenced by William Hogarth), Wilhelm Busch and Pehr Nord quist, all of whom created stories that were easy to reproduce and com bined words and images, albeit still strictly separated from each other. Inspired by the American newspaper comics of the early twentieth century, like Frede rik Burr Opper’s Happy Hooligan (1900) and Alphonse and Gaston (1901), the European comic strip started to integrate speech balloons into the image itself, with Hergé’s Les Aventures de Tintin as its most prominent and bestknown ex ponent.2 Initially conceived for the youth supplement of a Belgian newspaper, Tintin proved so successful that his adventures were soon published in book form as well. The emergence of real comic books meant an important evolu tion of comics, a move away from the rather transitory medium of the newspa per. Yet for a long time, comic books were mostly seen as children’s entertain ment. In the seventies, this view began to change with the emergence of the socalled “graphic novel,” which featured more mature content and, at times, a more experimental style of drawing as well. -
Cathedral Music Magazine 2/15.Indd
COME & SING LANGLAIS - IN THE TOWN WHERE HE WAS BORN Brenda Dean writes on the annual Langlais Festival Langlais went blind from glaucoma at the age of two, but, despite this handicap, became one of the most respected organists and composers of the 20th century. A prolific composer, his catalogue of works comprises vocal and instrumental sacred music (among them the famous Missa salve regina, the Messe solennelle and the Missa in simplicitate, very often performed in concert), secular music and numerous organ pieces, some of which are considered ean Langlais was born in the Brittany town of La 20th century classics. Fontenelle, Ille-et-Vilaine, in February 1907. His family Jwere very poor; his father was a quarry worker and his mother a dressmaker. Langlais went blind from glaucoma at the age of two, but despite this handicap, became one of the most respected organists and composers of the 20th century. It was as a result of his blindness that he rose out of poverty and was able to develop his musical gifts – had he remained sighted, it is likely that he would have become a quarryman like his father. Thanks to a good-hearted relative, however, he was sent to Paris at the age of 10 and studied piano, violin, composition and organ firstly at the National Institute for the Young Blind and then subsequently at the Conservatoire de Musique. He was awarded first prize at the Conservatoire in Marcel Dupré’s class of 1930, and a composition prize in Paul Dukas’s class of 1934. He studied improvisation with Charles Tournemire, receiving in 1931 the Prix des Amis de l’Orgue. -
May 08 Pp. 2-21.Indd 10 4/9/08 10:23:00 AM Nel Rogg, Bernard Lagacé, and Anton with an Aunt; He Earned a Bachelor of Mu- and Fi Rst Printed Edition
the time of Bingham’s compositions and Nebraska, AGO chapter, July 6–11. An no. 224, pp. 12–14); in Recherches sur as had been incorporated into the 1923 endowed scholarship in memory of Seth Nunc Dimittis la musique française classique edited by Casavant Bingham designed for Madison Bingham helps to support student en- Picard: on the instrumental fantasies of Avenue Presbyterian Church, where he rollment in Pipe Organ Encounters. Eustache Du Caurroy (in 1961–62) and was organist 1913–51. Because this organ on Jehan Titelouze’s organ works (1965), had been entirely replaced in 1961 by a as well as numerous biographical notices new Casavant of the prevailing neo-ba- on French musicians for Die Musik in roque infl uence, Marks chose to record Geschichte und Gegenwart (Bärenreiter) on the four-manual, 110-rank Schoen- and for Corliss Arnold’s Organ Litera- stein organ of symphonic inspiration built ture: A Comprehensive Survey (Scare- in 1997 at First Plymouth Congregational crow Press). Church in Lincoln, Nebraska, utilizing Jean Bonfi ls composed an organ piece, many of the special tonal and dynamic ef- Communion on “Beata Viscera,” pub- fects as suggested in the music. lished in L’Organiste liturgique (Schola A prolifi c composer, Seth Bingham Cantorum). Jean Langlais dedicated to served as professor of composition at Co- him his Trois Méditations sur la Sainte- lumbia University 1920–54 and lecturer Trinité, op. 129 (Philippo, 1962). at the School of Sacred Music of Union At La Trinité Church, I had the joy Theological Seminary 1953–1965. A stu- of working with him from 1989 to 1997. -
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 . -
Contextualizing the Music of Jehan Alain: Three Lenses on Variations Sur Un Thème De Clément Jannequin
Fall 08 Contextualizing the Music of Jehan Alain: Three Lenses on Variations sur un thème de Clément Jannequin Ruth Draper A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2015 Reading Committee: Carole Terry, Chair Judy Tsou Robin McCabe Program Authorized to Offer Degree: School of Music ©Copyright 2015 Ruth Draper Fall 08 University of Washington Abstract Contextualizing the Music of Jehan Alain: Three Lenses on Variations sur un thème de Clément Jannequin Ruth Draper Chair of the Supervisory Committee: Professor Carole Terry School of Music French organist and composer Jehan Alain (1911-1940) was one of the first to bring modernism to organ composition. His music is known for its highly creative, even fantastical, approach to form, rhythm, timbre and mode. This dissertation explores the relationship between Alain’s innovative compositional voice and the trends of his time, using a multipronged analysis of one piece to situate Alain in the ideological and musical currents of interwar France. Variations sur un thème de Clément Jannequin (1937) is a set of variations on a sixteenth-century chanson. The theme is an almost verbatim transcription of a polyphonic Renaissance work arranged for piano and solo voice by Jean-Baptiste Weckerlin in the 1850s. Analysis shows that the changes Weckerlin made to the 1529 source better align his arrangement with ideal “French” qualities identified and promoted throughout nineteenth- century France in a widespread attempt to overturn the prevailing negative image of French music by identifying its distinctive and positive qualities. Written comments by Alain suggest that what attracted him about this chanson were both its authentic Renaissance characteristics and the notion of Frenchness portrayed in Weckerlin’s arrangement.