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Organ Symphony No. 3 (Vierne)
The Organ Symphony No. 3 (''Troisième symphonie pour grand orgue'') in F-sharp minor, Op. 28, is an organ symphony by Louis Vierne. He composed it in 1911, and it was first performed in March 1912. It was first published by Éditions Durand the same year. It has been described as the most inspired and best structured of his six organ symphonies. History Vierne, organist at Notre-Dame de Paris, continued the French tradition of secular organ symphonies, such as the works by his teacher Charles-Marie Widor, who had established the organ as a concert instrument. Widor was inspired by the organs built by Aristide Cavaillé-Coll. Vierne composed the third organ symphony in 1911, beginning on 18 March. He completed it on 14 September during summer vacation which he spent with the family of Marcel Dupré in Saint-Valery-en-Caux, Normandy. He dedicated it to Dupré, who played the world premiere at the Salle Gaveau of Paris in March 1912. It was first published by Éditions Durand tha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Organ Symphony
An organ symphony is a piece for solo pipe organ in various movements. It is a symphonic genre, not so much in musical form (in which it is more similar to the organ sonata or suite), but in imitating orchestral tone color, texture, and symphonic process. Though the very first organ symphony was written by German composer Wilhelm Valentin Volckmar in 1867, the genre is mainly associated with French romanticism. César Franck wrote what is considered to be the first French organ symphony in his '' Grande Pièce Symphonique'', and the composers Charles-Marie Widor, who wrote ten organ symphonies, and his pupil Louis Vierne, who wrote six, continued to cultivate the genre. Modern composers such as Jean Guillou have written organ symphonies as well. The genre is considered to have been brought to fruition in the second organ symphony of André Fleury. The term ''organ symphony'' is also used occasionally to refer to orchestral symphonies with a prominent solo role for an organ (as ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
David Sanger (organist)
David John Sanger (17 April 1947 – 28 May 2010) was a concert organist, professor and president of the Royal College of Organists. Biography Sanger was educated at Eltham College and the Royal Academy of Music. His teachers included Susi Jeans, Marie-Claire Alain and Anton Heiller. His career as a performer was launched when he won first prize in two international competitions: St Albans, England in 1969 and Kiel, Germany in 1972. After this, he toured as a solo recitalist. His discography spans the music of several centuries, and includes the complete organ works of Franck, the complete organ symphonies of Louis Vierne, and works by Liszt and Lefébure-Wély. He also recorded the complete organ music of Bach for Meridian Records. He toured many countries as recitalist – Germany, Denmark, Sweden, Norway, Finland, Belgium, the Netherlands, Austria, Italy, France, Russia, Iceland, the United States, Mexico and South Korea – as well as giving many recitals in the B ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jeremy Filsell
Jeremiah Daniel Filsell (born 10 April 1964) is an English pianist, organist and composer who currently serves as director of music at Saint Thomas Church, New York City. Biography Having played piano and organ from a young age, Filsell was a Limpus prize winner for the Royal College of Organists examination, which he took when he was 19, and a silver medalist of the Worshipful Company of Musicians. He studied music at Oxford University, where he was an organ scholar at Keble College, studying with Nicolas Kynaston and Daniel Roth. He went on to study piano with David Parkhouse and Hilary McNamara at the Royal College of Music and Martin Hughes at the University of Surrey. He won second prize in the 1993 St Albans International Organ Competition. He has particular interest in English piano music and French organ music. He plays in a piano trio with Oliver Lewis, violin, and Neil Heyde, cello, and a piano duo with Francis Pott. Piano He has performed as a piano sol ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bruno Mathieu
Bruno Mathieu (born 23 March 1958) is a French organist. He studied organ with Jean Langlais, Suzanne Chaisemartin, Jean Guillou, Marie-Claire Alain, and composition with Pierre Lantier, as well as piano with France Clidat and Gisèle Kühn. He is the organist of the Church of Saint-Justin de Levallois-Perret. To date, he has given over six hundred recitals in Canada and throughout Europe. In Paris, he is particularly active at the great organs of Notre-Dame de Paris and the Saint-Sulpice, Saint-Germain-des-Prés, la Madeleine churches. Mathieu teaches organ at the 20th arrondissement of Paris Conservatory. Mathieu has recorded under the label Festivo, Adda, Naxos, Numérisson. His compositions include a "Te Deum", premiered at Notre-Dame de Paris on 31 December 2000, a "Fantasy for organ", and a small suite for piano. Compositions *Fantaisie pour orgue (Delatour France) * (Delatour France) * "Petite suite sotte" pour piano (Delatour France) * (Delatour France * "Sou ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Coda (music)
In music, a coda () (Italian for "tail", plural ''code'') is a passage that brings a piece (or a movement) to an end. It may be as simple as a few measures, or as complex as an entire section. In classical music The presence of a coda as a structural element in a movement is especially clear in works written in particular musical forms. Codas were commonly used in both sonata form and variation movements during the Classical era. In a sonata form movement, the recapitulation section will, in general, follow the exposition in its thematic content, while adhering to the home key. The recapitulation often ends with a passage that sounds like a termination, paralleling the music that ended the exposition; thus, any music coming after this termination will be perceived as extra material, i.e., as a coda. In works in variation form, the coda occurs following the last variation and will be very noticeable as the first music not based on the theme. One of the ways that Beethoven ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ostinato
In music, an ostinato (; derived from Italian word for ''stubborn'', compare English ''obstinate'') is a motif or phrase that persistently repeats in the same musical voice, frequently in the same pitch. Well-known ostinato-based pieces include classical compositions such as Ravel's '' Boléro'' and the ''Carol of the Bells'', and popular songs such as Donna Summer and Giorgio Moroder's "I Feel Love" (1977), Henry Mancini's theme from ''Peter Gunn'' (1959), The Who's "Baba O'Riley" (1971), and The Verve's " Bitter Sweet Symphony" (1997). Both ''ostinatos'' and ''ostinati'' are accepted English plural forms, the latter reflecting the word's Italian etymology. The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself. Kamien, Roger (1258). ''Music: An Appreciation'', p. 611. . Strictly speaking, ostinati should have exact repetition, but in common usage, the term covers repetition with variation and development, such as the alteration of an os ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Toccata
Toccata (from Italian ''toccare'', literally, "to touch", with "toccata" being the action of touching) is a virtuoso piece of music typically for a keyboard or plucked string instrument featuring fast-moving, lightly fingered or otherwise virtuosic passages or sections, with or without imitative or fugal interludes, generally emphasizing the dexterity of the performer's fingers. Less frequently, the name is applied to works for multiple instruments (the opening of Claudio Monteverdi's opera ''L'Orfeo'' being a notable example). History Renaissance The form first appeared in the late Renaissance period. It originated in northern Italy. Several publications of the 1590s include toccatas, by composers such as Claudio Merulo, Andrea and Giovanni Gabrieli, Adriano Banchieri, and Luzzasco Luzzaschi. These are keyboard compositions in which one hand, and then the other, performs virtuosic runs and brilliant cascading passages against a chordal accompaniment in the other hand. Among the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Theme (music)
In music, a subject is the material, usually a recognizable melody, upon which part or all of a composition is based. In forms other than the fugue, this may be known as the theme. Characteristics A subject may be perceivable as a complete musical expression in itself, separate from the work in which it is found. In contrast to an idea or motif, a subject is usually a complete phrase or period. The ''Encyclopédie Fasquelle'' defines a theme (subject) as " y element, motif, or small musical piece that has given rise to some variation becomes thereby a theme". Thematic changes and processes are often structurally important, and theorists such as Rudolph Reti have created analysis from a purely thematic perspective. Fred Lerdahl describes thematic relations as "associational" and thus outside his cognitive-based generative theory's scope of analysis. In different types of music Music based on a single theme is called 'monothematic', while music based on several themes is ca ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Richard Wagner
Wilhelm Richard Wagner ( ; ; 22 May 181313 February 1883) was a German composer, theatre director, polemicist, and conductor who is chiefly known for his operas (or, as some of his mature works were later known, "music dramas"). Unlike most opera composers, Wagner wrote both the libretto and the music for each of his stage works. Initially establishing his reputation as a composer of works in the romantic vein of Carl Maria von Weber and Giacomo Meyerbeer, Wagner revolutionised opera through his concept of the ''Gesamtkunstwerk'' ("total work of art"), by which he sought to synthesise the poetic, visual, musical and dramatic arts, with music subsidiary to drama. He described this vision in a series of essays published between 1849 and 1852. Wagner realised these ideas most fully in the first half of the four-opera cycle ''Der Ring des Nibelungen'' (''The Ring of the Nibelung''). His compositions, particularly those of his later period, are notable for their complex textures, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chromaticism
Chromaticism is a compositional technique interspersing the primary diatonic scale, diatonic pitch (music), pitches and chord (music), chords with other pitches of the chromatic scale. In simple terms, within each octave, diatonic music uses only seven different notes, rather than the twelve available on a standard piano keyboard. Music is chromatic when it uses more than just these seven notes. Chromaticism is in contrast or addition to tonality or diatonic and chromatic, diatonicism and modality (music), modality (the major scale, major and minor scale, minor, or "white key", scales). Chromatic elements are considered, "elaborations of or substitutions for diatonic scale members".Matthew Brown; Schenker, "The Diatonic and the Chromatic in Schenker's "Theory of Harmonic Relations", ''Journal of Music Theory'', Vol. 30, No. 1 (Spring 1986), pp. 1–33, citation on p. 1. Development of chromaticism Chromaticism began to develop in the late Renaissance music, Renaissance p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Triple Metre
Triple metre (or Am. triple meter, also known as triple time) is a musical metre characterized by a ''primary'' division of 3 beats to the bar, usually indicated by 3 (simple) or 9 (compound) in the upper figure of the time signature, with , , and being the most common examples. The upper figure being divisible by three does not of itself indicate triple metre; for example, a time signature of usually indicates compound duple metre, and similarly usually indicates compound quadruple metre. Shown below are a simple and a compound triple drum pattern. \new Staff \new Staff Stylistic differences In popular music, the metre is most often quadruple,Schroedl, Scott (2001). ''Play Drums Today!'', p. 42. Hal Leonard. . but this does not mean that triple metre does not appear. It features in a good amount of music by artists such as The Chipmunks, Louis Armstrong or Bob Dylan. In jazz, this and other more adventurous metres have become more common since Dave Brubeck's alb ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Scherzo
A scherzo (, , ; plural scherzos or scherzi), in western classical music, is a short composition – sometimes a movement from a larger work such as a symphony or a sonata. The precise definition has varied over the years, but scherzo often refers to a movement that replaces the minuet as the third movement in a four-movement work, such as a symphony, sonata, or string quartet. The term can also refer to a fast-moving humorous composition that may or may not be part of a larger work. Origins The Italian word ''scherzo'' means 'joke' or 'jest'. More rarely the similar-meaning word ''badinerie'' (also spelled ''battinerie''; from French, 'jesting') has been used. Sometimes the word ''scherzando'' ('joking') is used in musical notation to indicate that a passage should be executed in a playful manner. An early use of the word ''scherzo'' in music is in light-hearted madrigals of the early baroque period, which were often called ''scherzi musicali'', for example: * Claudio Monte ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
