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The art of the organist in nineteenth-century France and Belgium is a rags-to-riches story full of extraordinary problems and changes. Devastated by the French Revolution, the organ profession rose from desperate circumstances to a period of remarkable brilliance. By the end of the nineteenth century, organ playing was enthusiastically applauded and had been thoroughly integrated in the musical life of Paris. This account is not just a record of stellar events and famous names: it includes failures, all-but-forgotten musicians, and unexpected encounters. In a carefully documented study that is both scholarly and engaging. Orpha Ochse traces three major aspects of the organist's art: the development of the secular recital, the organist as church musician, and the education of organists. In addition to presenting a comprehensive view of the organ profession in France and Belgium throughout the period, she offers a new perspective on nineteenth-century music in general.
The Encyclopedia of Organ includes articles on the organ family of instruments, including famous players, composers, instrument builders, the construction of the instruments, and related terminology. It is the first complete A-Z reference on this important family of keyboard instruments. The contributors include major scholars of music and musical instrument history from around the world.
One of Victorian America's most beloved and respected composers, Dudley Buck played a crucial role in the coming of age of American music following the Civil War. This volume of his most popular organ works is the first scholarly edition of these pieces. A conductor, organist, and teacher, Buck was the first American to write professional, accessible, and popular organ music, as well as a wealth of choral music, including anthems, cantatas, and partsongs. (See also MU 14 for a selection of these works.) N. Lee Orr's careful, authoritative edition presents Buck's two organ sonatas and four concert variations, introduced by an informative essay on Buck's life and the development of American organs and organ music.
French Music Since Berlioz explores key developments in French classical music during the nineteenth and twentieth centuries. This volume draws on the expertise of a range of French music scholars who provide their own perspectives on particular aspects of the subject. D dre Donnellon's introduction discusses important issues and debates in French classical music of the period, highlights key figures and institutions, and provides a context for the chapters that follow. The first two of these are concerned with opera in the nineteenth and twentieth centuries respectively, addressed by Thomas Cooper for the nineteenth century and Richard Langham Smith for the twentieth. Timothy Jones's chapter follows, which assesses the French contribution to those most Germanic of genres, nineteenth-century chamber music and symphonies. The quintessentially French tradition of the nineteenth-century salon is the subject of James Ross's chapter, while the more sacred setting of Paris's most musically significant churches and the contribution of their organists is the focus of Nigel Simeone's essay. The transition from the nineteenth to the twentieth century is explored by Roy Howat through a detailed look at four leading figures of this time: Faur Chabrier, Debussy and Ravel. Robert Orledge follows with a later group of composers, Satie & Les Six, and examines the role of the media in promoting French music. The 1930s, and in particular the composers associated with Jeune France, are discussed by Deborah Mawer, while Caroline Potter investigates Parisian musical life during the Second World War. The book closes with two chapters that bring us to the present day. Peter O'Hagan surveys the enormous contribution to French music of Pierre Boulez, and Caroline Potter examines trends since 1945. Aimed at teachers and students of French music history, as well as performers and the inquisitive concert- and opera-goer, French Music Since Berlioz is an essential companion for an
Drawing on the accounts of those who knew Duruflé personally as well as on Frazier's own detailed research, this new biography offers a broad sketch of this modest and elusive man, widely recognized today for having created some of the greatest works in the organ repertory - and the masterful Requiem. Frazier also examines the career and contributions of Duruflé's wife, the formidable organist Marie-Madeleine Duruflé-Chevalier.
A companion to the author's Toward and Authentic Interpretation of the Organ Works of César Franck, this title applies the sources discussed in that volume in its practical approach to performance. Each of Franck's twelve major organ works is discussed in detail: the manuscript, the work's history and association with Franck and his circle, published editions, corrections to the 1959 Durand edition, and recorded performances. Technical problems are discussed and solutions provided. A glossary of terms found in Franck's organ works is provided with English translation; Franck's often confusing registration indications are translated and explained; performance of each work is discussed in light of the information provided by Franck's own pupils, their students and contemporaries. A bibliography of Franck literature published from 1983 to 1996 is also included.
Creative practice in music, particularly in traditional concert culture, is commonly understood in terms of a rather stark division of labour between composer and performer. But this overlooks the distributed and interactive nature of the creative processes on which so much contemporary music depends. The incorporation of two features-improvisation and collaboration-into much contemporary music suggests that the received view of the relationship between composition and performance requires reassessment. Improvisation and collaborative working practices blur the composition/performance divide and, in doing so, provide important new perspectives on the forms of distributed creativity that play a central part in much contemporary music. Distributed Creativity: Collaboration and Improvisation in Contemporary Music explores the different ways in which collaboration and improvisation enable and constrain creative processes. Thirteen chapters and twelve shorter Interventions offer a range of perspectives on distributed creativity in music, on composer/performer collaborations and on contemporary improvisation practices. The chapters provide substantial discussions of a variety of conceptual frameworks and particular projects, while the Interventions present more informal contributions from a variety of practitioners (performers, composers, improvisers), giving insights into the pleasures and perils of working creatively in collaborative and improvised ways.
Organ, Volume 3 of the Encyclopedia of Keyboard Instruments, includes articles on the organ family of instruments, including famous players, composers, instrument builders, the construction of the instruments and related terminology. It is the first complete reference on this important family of keyboard instruments that predated the piano. The contributors include major scholars of music and musical instruments from around the world.
This study draws portraits of the French romantic organist-composers including Aristide Cavaille-Coll, Cesar Franck, Charles-Marie Widor, Louis Vierne, Marcel Dupre, Jean Langlais and Olivier Messiaen. The author details the lives, times, styles, and techniques of these composers.
"The Frédéric Chopin Annik LaFarge presents here is not the melancholy, sickly, romantic figure so often portrayed. The artist she discovered is, instead, a purely independent spirit: an innovator who created a new musical language, an autodidact who became a spiritually generous, trailblazing teacher, a stalwart patriot during a time of revolution and exile. In Chasing Chopin she follows in his footsteps during the three years, 1837-1840, when he composed his iconic "Funeral March"-dum dum da dum-using its composition story to illuminate the key themes of his life: a deep attachment to his Polish homeland; his complex relationship with writer George Sand; their harrowing but consequential sojourn on Majorca; the rapidly developing technology of the piano, which enabled his unique tone and voice; social and political revolution in 1830s Paris; friendship with other artists, from the famous Eugène Delacroix to the lesser known, yet notorious in his time, Marquis de Custine. Each of these threads-musical, political, social, personal-is woven through the "Funeral March" in Chopin's Opus 35 sonata, a melody so famous it's known around the world even to people who know nothing about classical music. But it is not, as LaFarge discovered, the piece of music we think we know. As part of her research into Chopin's world, then and now, LaFarge visited piano makers, monuments, churches, and archives; she talked to scholars, jazz musicians, video game makers, software developers, music teachers, theater directors, and of course dozens of pianists. The result is extraordinary: an engrossing, page-turning work of musical discovery and an artful portrayal of a man whose work and life continue to inspire artists and cultural innovators in astonishing ways"--