Camille Saint-Saëns 2 Chorals, Opp. 141 Vidéos
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2024-04-27
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Camille Saint Saens Louis Lefébure Wély Lefébure Rheinberger 1659 1858 2001
"As found in Saint-Saens' Opus 1, this piece features that mainstay of Victorian drawing rooms – the Harmonium. The domestic organ that had quite a lot of music written for it at around this time, but precious little since. It has an interesting sound, making the piece worth a listen, despite it being so rarely performed. One strange aspect of these pieces is what audience were they written for. The dedication of the pieces is to Louis Lefébure-Wély, the organist (and composer of many works for harmonium) who Saint-Saens replaced in 1858 (the year these duos were written) as chief organist of the Madeleine church in Paris. So, perhaps they were a goodbye present, designed to be played by Louis and Camille. But the pieces themselves veer between pieces of extremely simplicity that even a pretty untalented amateur could play, to pieces of extreme virtuosity that only a really technically excellent players could pull off. 0:00 - Fantasia e Fuga: Allegro moderato ma con fuoco / Piu Allegro 6:37 - Cavatina: Andante con espressione, un poco adagio 11:59 - Chorale: Agitato 16:59 - Capriccio 20:01 - Scherzo: Presto 23:49 - Finale: Allegro molto / A tempo / Tempo 1 / Piu mosso The opening piece, is a case in point – an extensive Fantasia con Fuga. The Fantasia consisting of uniformly loud chord progressions in the harmonium accompanied by a veritable waterfall of rapid falling scales in the piano, which almost sound like practise scales. The fugue is a fairly dry and academic exercise in fugue, of the kind that Saint-Saens seemed prone to, making this movement an arguably mundane introduction The second piece – a cavatina – is another simple piece for the players. Essentially a piano chorale, with a single line tune picked out on the harmonium, it's probably the most basic of the pieces. The third movement is titled “Choral”, and it’s true there is a church hymn played on the harmonium in here (from a Rheinberger Organ Sonata, making it a reasonably well-known chorale tune), but most of the movement (marked agitato) consists of hushed drama of the piano playing in E minor with very rapidly shifting and clashing chords, like a Mendelssohnian scherzo. It’s possibly the most effective of the six pieces – not a typical Chorale. Certainly not easy to play for the pianist, but more interesting is the strange contrast between the piano’s agitato caffeine and the harmonium’s choral valium. The fourth piece – a capriccio – sees the harmonium getting in on the action with a very jolly rapidly octave figure going on while the piano plays simply short staccato accompaniment (eventually this switches around) before the piece finishes quite amicably. An Fsharp minor scherzo is the fifth piece – in the way that the cavatina was a chorale, and the chorale a scherzo, the scherzo is a tarantella – not too dissimilar than the recently composed Tarantelle Op.6. The piano has a tarantella phrase answered by a gentler chordal phrase on the harmonium, with a few flourishes to finish off. Finally, the Finale. We start with a loud proclamation by the harmonium – joined and repeated by the piano and despite its pomposity it is effective in grabbing your attention after the scherzo. Then we are presented with a similar treatment as the opening Fantasia, with repeat scale like figures in the piano accompanying a series of chord progressions." Complete Works of Camille Saint-Saens Performed by Johannes Matthias and Ernst Breidenbach
César Auguste-Jean-Guillaume-Hubert Franck (10 December 1822 – 8 November 1890) was a Romantic composer, pianist, organist, and music teacher who worked in Paris during his adult life. Please support my channel: (http•••) Prelude, Fugue et Variation in B minor, Op. 18 for Organ +••.••(...)) Transcribed for piano solo by Harold Bauer Dedication: à son ami monsieur Camille Saint-Saëns Pianist unknown Description by Meredith Gailey [-] César Franck's Prélude, fugue et variations has become a popular work among organists and is familiar to music lovers even though they may not know its title or composer. Written in 1862, it is a part of the larger Six Pièces pour le Grand Orgue. After having worked as organist at the parish of Saint-Jean-Saint-François for seven years, Franck obtained the same appointment at Sainte-Clotilde, where he had been choirmaster for some time. It was at the latter church that he received his inspiration for Prélude. At his new post, he met with a monumental artistic challenge when the inventor-builder Aristide Cavaillé-Coll finished construction on a three-manual grand organ for the church in 1859. For the dedication of this instrument on December 19 of the same year, Franck played his Final in B Flat Major, Op. 21. His attachment to this particular organ was so great that it inspired him to immediately compose Six Pièces pour le Grand Orgue +••.••(...)), which he followed with Trois Pièces pour le Grand Orgue (1878) and Trois Chorals (1890). These works were written at the height of the Romantic organ's popularity, which stretched between 1830 and 1930. This period's most popular organists were Charles-Marie Widor, Alexandre Pierre François Boëly, Louis Lefébure-Wély and of course, Franck, who in time became known as the only true "equal" of Johann Sebastian Bach as a composer for the organ. The Prélude was dedicated to Camille Saint-Saëns. The two men had similar posts and influences, and had both studied with François Benoist at the Paris Conservatoire.
Luigi Cherubini Beethoven Schumann Brahms Arturo Toscanini Verdi Riccardo Muti Heinrich Schütz Michael Praetorius Berlioz Dvořák Fauré Duruflé Nbc Symphony Orchestra Robert Shaw Chorale Ambrosian Singers Philharmonia Orchestra Boston Baroque 1816 1817 1820 1834 1836 1970 1982 1987 1992 2007
The Requiem in C minor for mixed chorus was written by Luigi Cherubini in 1816 and premiered 21 January 1817 at a commemoration service for Louis XVI of France on the twenty-fourth anniversary of his beheading during the French Revolution. The work was greatly admired by Beethoven, Schumann and Brahms and performed at the funeral of Beethoven in 1827.In 1820 a funeral march and a motet In Paradisum were added. In 1834 the work was prohibited by the archbishop of Paris because of its use of women's voices,and in 1836 Cherubini wrote a second Requiem in D minor for men's chorus.The Requiem is orchestrated for SATB-choir, 2 oboes, 2 clarinets, 2 bassoons, 2 trumpets, 2 horns, 3 trombones, timpani, gong and strings. Note the absence of flutes and SATB-soloists, and the presence of a gong, notably in the opening of the Dies Irae. A notable recording of this requiem was made under the baton of Arturo Toscanini, with the NBC Symphony Orchestra and Robert Shaw Chorale. Also included in the compilation is the Te Deum from Verdi's Quattro pezzi sacri. A recording of the Requiem in C Minor with the Ambrosian Singers and the Philharmonia Orchestra conducted by Riccardo Muti was made in 1982 and released by EMI. The later requiem in D minor was recorded by the same choir, orchestra and conductor, and released by EMI in 1987. Boston Baroque recorded the C-minor Requiem under Martin Pearlman in 2007 for Telarc. The piece was also featured in the 1992 film Twin Peaks: Fire Walk With Me. A Requiem or Requiem Mass, also known as Mass for the dead (Latin: Missa pro defunctis) or Mass of the dead (Latin: Missa defunctorum), is a Mass in the Catholic Church offered for the repose of the soul or souls of one or more deceased persons, using a particular form of the Roman Missal. It is usually, but not necessarily, celebrated in the context of a funeral.Musical settings of the propers of the Requiem Mass are also called Requiems, and the term has subsequently been applied to other musical compositions associated with death, dying, and mourning, even when they lack religious or liturgical relevance.The term is also used for similar ceremonies outside the Roman Catholic Church, especially in the Anglo-Catholic tradition of Anglicanism and in certain Lutheran churches. A comparable service, with a wholly different ritual form and texts, exists in the Eastern Orthodox and Eastern Catholic Churches, as well as in the Methodist Church. The Mass and its settings draw their name from the introit of the liturgy, which begins with the words "Requiem aeternam dona eis, Domine" – "Eternal rest grant them, O Lord",which is cited from 2 Esdras 2:35-35(4 Esdras in Vulgate) ("Requiem" is the accusative singular form of the Latin noun requies, "rest, repose".) The Roman Missal as revised in 1970 employs this phrase as the first entrance antiphon among the formulas for Masses for the dead, and it remains in use to this day. Requiem is also used to describe any sacred composition that sets to music religious texts which would be appropriate at a funeral, or to describe such compositions for liturgies other than the Roman Catholic Mass. Among the earliest examples of this type are the German settings composed in the 17th century by Heinrich Schütz and Michael Praetorius, whose works are Lutheran adaptations of the Roman Catholic requiem, and which provided inspiration for the mighty German Requiem by Brahms.The Requiem Mass is notable for the large number of musical compositions that it has inspired, including settings by Mozart (though uncompleted),[Verdi, Berlioz, Saint-Saëns, Brahms, Dvořák, Fauré, Duruflé, and others. Originally, such compositions were meant to be performed in liturgical service, with monophonic chant. Eventually, the dramatic character of the text began to appeal to composers to an extent that they made the requiem a genre of its own, and the compositions of composers such as Verdi are essentially concert pieces rather than liturgical works. (http•••) (http•••) (http•••) #requiem #cherubini
Charles Gounod Gabriel Fauré Louis Aubert Rivers Giuseppe Verdi Camille Saint Saëns Francis Bardot Carpenter Saint George Nash Knox 1818 1845 1877 1888 1893 1924 1968 1994 2018
ÉGLISE DE LA MADELEINE - PARIS - MARDI 12 JUIN 2018 MAESTRO PETER TIBORIS Directeur Artistique PREMIÈRE PARTIE REQUIEM DE GABRIEL FAURÉ 1845-1924 Créé le 16 janvier 1888 en l’Église de La Madeleine avec le Soprano solo Louis Aubert +••.••(...)), futur compositeur Florian BISBROUCK, Baryton Soprano Garçon du Choeur d’Enfants d’Ile de France Direction Earl RIVERS/ DEUXIÈME PARTIE REQUIEM DE CHARLES GOUNOD 1818-1893 Créé en octobre 1994 pour l’anniversaire de la mort du compositeur En présence de Giuseppe Verdi, Direction Gabriel Fauré, Organiste Camille Saint Saëns Soprano et Alto Garçons du Choeur d’Enfants d’Ile de France Benjamin WOH, Ténor - Florian BISBROUCK, Baryton Direction Francis BARDOT CLERMONT FESTIVAL CHORALE Cincinnati, OH (Direction TIM et TRACY CARPENTER) WARWICK VALLEY CHORALE Warwick, NY (Direction STANLEY CURTIS) SAINT GEORGE GREEK ORTHODOX CHURCH CHOIR Oklahoma City, OK (Direction HALDOR HOWARD) NORTHERN KENTUCKY COMMUNITY CHORUS, Lakeside Park, KY (Direction STEPHANIE NASH) KNOX CHOIR Cincinnati, OH (Direction EARL RIVERS) JEUNE CHOEUR & CHOEUR D’ENFANTS D’ILE DE FRANCE Levallois (Direction Francis BARDOT) ORCHESTRE BEL’ARTE Direction Richard BOUDARHAM
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