Complete works for Organ

Alexandre Pierre François Boëly

Œuvres complètes pour orgue

Volume I
Les Offertoires

Ref.  PBM 32.01-SMF19 05.05/2014
Price  55.00 €

Technical info
A volume 225 x 310 (landscape format). 116-page. Edition Nanon Bertrand, Henri de Rohan-Csermak and Georges Lartigau.
Foreword Brigitte François-Sappey. Presentation and Editorial notes in French, English.

Contents

4 Offertories op. 9, Offertory from the Mass for Christmas Day op. 11, Offertory for Holy Thursday op. 40, Offertory for Easter Sunday op. 38, Easy Offertory op. 12, Short Offertory op. 41.

Summary

The present volume is the first text covering the complete Offertories of Boëly, and as such is an important collection in the history of a genre which has its moment of glory in the 17th and 18th centuries.

Alexandre Pierre François Boëly

Œuvres complètes pour orgue

Volume II
Les Pièces de Noël

Ref.  PBM 33.01
Price  55.00 €

Technical info
A volume 225 x 310 (landscape format). 148-page. Edition N. Bertrand, H. de Rohan-Csermak and G. Lartigau.
Foreword B. François-Sappey. Presentation and Editorial notes in French, English.

Contents

Mass for Christmas Day op. 11, including all the plainsong necessary for executing the mass in the context for what it was written.

14 Preludes on the Cantiques de Denizot: Seigneur Dieu ouvre la porte, D'où vient qu'en cette nuitée, Chantez mes vers ce jour, Esprits divins, Réveillez-vous pastoureaux, Quel étonnement, Ici je ne bâtis pas, Sus qu'on se réveille, Le vermeil du Soleil, Lyre ce n'est pas en ce chant, Voici la première entrée, Muses sœurs de la peinture, Sus bergers en campagne, Mon âme dormez-vous?

7 "Noëls": Une bergère jolie, Grâce soit rendue, [Untitled], Noël suisse, Vous qui désirez sans fin, Ô jour ton divin flambeau, Le roi des cieux vient de naître.

3 chorales: Bin ich gleich von dir gewichen, Ermuntre dich mein schwacher Geist, Was mein Gott will das g'scheh' allzeit.

Summary

While the pieces which make up the volume may seem rather varied, their common style provides us with such a strong sense of unity that is easy to believe that they were written with a view to one day forming the present collection presented here.

Alexandre Pierre François Boëly

Œuvres complètes pour orgue

Volume III
L'Opus 18

Ref.  PBM 35.02
Price  55.00 €

Technical info
A volume 225 x 310 (landscape format). 120-page. Edition N. Bertrand and H. de Rohan-Csermak. Foreword B. François-Sappey. Presentation and Editorial notes in French, English.

Contents

12 Pieces for Organ or Pedal Piano : Andante con moto, Prelude d'orgue a 2 claviers separes et pedale obligee, Andante a 2 claviers, Canon perpetuel double a l'octave, Prelude d'orgue avec pedale obligee, Fantaisie and Fugue, Allegro non troppo in F minor, Fantasia in G, Scherzo a 5 voci, Allegretto in B minor, Canone all'ottava in E minor, Allegro moderato.

Summary

Published by Richault two years before Boëly's death, op. 18 is a collection of the longest and most accomplished works that the composer wrote for this instrument. The source material shows that the pieces are of diverse origins both regarding for which instrument (Organ or Pedal Piano) they are intended and as to their dates of composition.

Alexandre Pierre François Boëly

Œuvres complètes pour orgue

Volume IV
Les Pièces pour orgue expressif ou harmonium

Ref.  PBM 37.04-SMF19 04.01
Price  55.00 €

Technical info
A volume 225 x 310 (landscape format). 104-page. Edition N. Bertrand and H. de Rohan-Csermak. Foreword B. François-Sappey. Presentation and Editorial notes in French, English.

Contents

12 Morceaux op. 14, Prelude and 2 Fantasias op. 57.

Summary

Rousseau says that “music, in imitating the variety of accents and sounds, should imitate the intensity or the calm nature of words, speaking softly at times, loudly at others and sometimes in a subdued voice”. The style of the pieces op. 14 is rather more of a compromise between piano abd organ idiom. The “expressive” dimension is is taken taken to great lengths in the Fantaisies, containing many indications of dynamics, accents and even crescendo markings on held notes.

Alexandre Pierre François Boëly

Œuvres complètes pour orgue

Volume V
Les Opus 10 et 12

Ref.  PBM 45.08-SMF19 08.11
Price  55.00 €

Technical info
A volume 225 x 310 (landscape format). 156-page. Edition N. Bertrand, with the collaboration of É. Lebrun.

Contents

Recueil Contenant quatorze Morceaux pour l'Orgue Qui pourront servir pendant l'Office divin op. 10.

Sur les grands jeux, La voix humaine avec le tremblant doux, Main droite sur le hautbois, Grand Chœur, Prélude sur les jeux de fonds, Hymne du 3e ton Pange Lingua, Grand Chœur, Fuga, Récit de hautbois, Trio à claviers séparés, (Dernier Kyrie), Les claviers séparés, Quatuor à deux claviers séparés et pédale obligée, Duo de Cornet de Récit et Trompette du positif, Flûtes de 8.

Vingt-quatre Pièces Composées pour l'Orgue Avec les principaux mélanges des Jeux et des Claviers op. 12.

Grand Chœur, Dialogue de Hautbois et Cromorne à 3 Claviers et Pédale obligée, Duo de Cornet de Récit et Trompette du Positif, Fughetta. Grand Chœur, Sur les jeux de fonds, Récit de Hautbois, Trio sur deux Claviers séparés, Les Claviers séparés (Tierce en taille), Fughetta sur Urbs Jerusalem, Quatuor sur deux Claviers et Pédale obligée, Suite de cinq Pièces pour un Magnificat en ut majeur, Fuga. Grand Chœur, Sur les jeux de Fonds, Duo, Récit de Flûte, Trio, Grand Chœur, Sur les Jeux de Fonds avec le Cromorne, Grand Chœur, Offertoire d'une exécution facile.

Summary

This volume gathers together two collections of 14 Pieces (op. 10) and 24 Pieces (op. 12), which close the cycle of works published during Boely's lifetime.

Boëly is fifty-seven years old when opus 9, 10 and 11 appear in 1842 with the publisher Canaux, then the opus 12 in 1843 with Mme Vve Canaux. Many of these pieces are dated from the previous decade, a period during which Boëly was deputy at the Church of Saint-Gervais.

The opus 10 consists of short pieces which because of their conciseness can easily be integrated into the liturgy. One finds elegant “Récits” “which are not uninviting by their severity”, Duos, Trios, Fugues and one Quartet, all registered with great care in the colours of the French Classical Organ.

In this opus 12, the organist-composer offers a new set of pieces in the spirit of the French classical style and as previously, registered in great detail and grouped by tone. In this opus, one will find the ultimate “récit de tierce en taille” for the organ repertoire, a piece emblematic among French composers...

Alexandre Pierre François Boëly

Œuvres complètes pour orgue

Volume VI
Les auto-transcriptions
La Toccata op. 43/13 posthume

Ref.  PBM 47.08-SMF19 08.13
Price  55.00 €

Technical info
A volume 225 x 310 (landscape format). 220 pages. Edition N. Bertrand. Presentation in French and English.

Contents

1804: “Modern Style” in E major op. 44/15: organ; Adagio for two violins, alto and cello.
1805: Fuga in F # minor op. 43/9: organ; Fuga in F # minor op. 31/1: piano.
1805 (ca): Fuga in D major op. 43/10: organ; Fuga in D major op. 31/11: piano.
1817: [Piece without title] in B major op. 43/6: organ; [Piece without title] in B major op. 50/6: piano.
1817: “Modern Style” in C op. 44/7: organ; All° moderato in C op. 50/7: piano.
1825 (ca): “Modern Style” in G major op. 43/12: organ; “N° 19” in G major op. 6/19: piano.
1828: “Modern Style” in C # minor op. 43/8: organ.
1828, 14th April: “34” in C minor op. 13/34: piano.
1830 (ca): Canone all'ottava in F # major op. 43/4: organ; Canone all'ottava in F # major op. 47/1: piano.
1831: Scherzo a 5 in B major op. 18/9: organ; Scherzo a 5 in F major: piano.
1833: Allegretto moderato in E b major op. 18/12: organ; [Piece without title] in E b major: piano.
1834: Récit de hautbois-Christe eleison in C minor op. 10/9: organ
[1840]: Récit de flûte-Christe in E major op. 12/19: organ; Récit de la main gauche sur le jeu de tierce in G major op. 12/8: organ; 3 Mélodies pour le Violoncelle avec accompt. d'Orgue expressif.
1857: Andante non troppo lento in C # minor op. 45/14: organ.
1857, 20th-26th August: Sarabande Larghetto in C # minor op. 56/4: piano.
1858, 23rd July: Prélude pour le Piano avec basse de pédale in B minor op. 43/13: organ or pedal-piano; Toccata in B minor op. 56/9: piano.

Summary

“[Boëly] once told me: ‘All of this, after my death, will be sold to a grocer; nobody will want to publish it or play it’”, Romary Grosjean deplored in a letter sent on February 16th, 1859 to the newspaper La Maîtrise (15th August 1859).

“He left more than three hundred new compositions, which his family and anonymous friends endeavoured with pious zeal to make entirely available. Their publication was carried out by Richault under the overall title Collection of posthumous works by A.P.F. Boëly. It spanned the two years 1859 and 1860, bringing up to 57 the number of works by the musician. The chronological order of his manuscripts was more or less followed” (Michel Brenet, La Revue musicale S.I.M., 1st May 1914).

Boëly, heir to the tradition, mentor of young generations, is an essential hinge between classicism and romanticism, inspiring Franck, Saint-Saëns, Widor, Guilmant...

Bach's pupil equalled his model — Saint-Saëns himself says it.

Alexandre Pierre François Boëly

Tiré à part du vol. VI.

3 mélodies pour le Violoncelle
avec accompagnement d'Orgue expressif

Ref.  PBM 46.08a/b-SMF19 08.13a/b
Price  10.00 €

Technical info
Off print. A volume 230 × 310 (upright format). Score 12 pages + Cello part 8 pages.

Contents

These Three Melodies, dedicated “To the Marquis de Corberon”, have already been presented in their Great Organ version in vol. V of our collection, Opus 10 & 12

Summary

The first corresponds to op. 10/9, Récit de hautbois. The second refers to op. 12/19, Récit de Flûte, which, according to ms 169 kept in the Bibliothèque municipale in Versailles, is also the Christe from a Messe de Dumont [1st mode]. As for the third, it is the replica of the Récit de la main gauche sur le Jeu de Tierce du Grand Orgue (Tierce en taille) op. 12/8.

It would be pointless to try to find out whether the Three Melodies were written prior to the organ pieces or the other way round. If we consider that a corpus of Douze Pièces pour orgue expressif op. 14, published in 1846, is dedicated to the same Marquis de Corberon, the three Melodies for cello and expressive organ can be dated between 1834 and 1845.

Alexandre Pierre François Boëly

Messe solennelle pour l'Orgue
extraite de plusieurs auteurs anciens

Pièces d'orgue de plusieurs auteurs

Ref.  PBM 46.0817-SMF19 08.1217
Price  42.00 €

Technical info
A volume 225 x 310 (landscape format). 92-page. Presentation É. Lebrun. Preface N. Bertrand. Texts in French and English.

Contents

Works by Bach, Boëly, F. et L. Couperin, Haendel, J. Kirnberger, Padre G.B. Martini, J.G. Albrechtsberger, C.P.E. Bach.

Excerpt

We find the Messe solennelle on the manuscript ms. 169, preserved at the Bibliothèque Municipale at Versailles. This constitutes triple evidence, at the same time invaluable and moving, because it shows the singular course of the musician; he proposes an elegant “Faux-bourdon” on the Plainsong Mass “Cunctipotens”, imparted to the tenor voice, giving us a modern example of the interpretation of early music in 1830. This mass is built on the principle of alternation, so dear to French composers of the 17th and 18th centuries and which was still in use during many subsequent decades. The odd verses are played on the organ while the even verses are sung by the Choir. (after Éric Lebrun)

Summary

Pièces d'orgue de divers auteurs: written in the same spirit as the Solemn Mass, it appears that these Pieces are intended for the Clicquot organ of St. Gervais.

One will find, in the Kyrie (Cunctipotens mass), a similar structure according to the principle of alternation, with free-form odd verses, which perpetuate the variety of registration of his illustrious predecessor Couperin, and the principle of a fugato 3rd strophe of the Kyrie. As in the Solemn Mass, the author inserts some verses of his own. Some of the verses are designed to be improvised upon. Like all the organists of the time, Boëly practices the Parisian rit and tends to orient the old styles towards tonality rather than towards the Church tones. This is why he notes “in C minor” for the Kyrie, and “in G minor” for the Gloria.

The two following anthems have not been preserved. Both refer to Easter time: Quo vos Magistri for Whit Sunday (on the melody of Stupete gentes), and Forti tegente for Low Sunday.

The manuscript of the ensemble Pièces d'orgue de divers auteurs comes from our collections of Boëly's manuscripts. (after Nanon Bertrand)

Alexandre Pierre François Boëly

O Salutaris à 4 voix mixtes SATB
avec accompagnement d'orgue

Ref.  PBM 51.11-SMF19 11.15
Price  12.00 €
Special prices for choirs.

Technical info
A volume 230 x 310 (upright format). 16-page.

Contents

Yet unpublished, Boëly's liturgical vocal work is not really abundant: two masses for three voices with organ accompaniment, one mass a cappella, some motets a cappella, three motets with accompaniment, three small motets for solo voices with accompaniment.

Summary

For the most part, these pieces can be found among the manuscripts kept in the Bibliothèque municipale in Versailles.

In 1840, Boëly, who had previously been deputy of St Gervais, is appointed Organist of the Royal parish of the Louvre, St Germain l'Auxerrois. The parish employs a choir, for which Boëly writes “functional” and “easy” to perform pieces. It is in this context that he composes in 1841 this O salutaris hostia.

O salutaris is made up by the 5th and 6th stanzas of the anthem Verbum supernum, for the celebration of the Blessed Sacrament. A degree of closeness with J.S. Bach cannot be missed in this O salutaris: the polyphony is based on four voices, at the same time fluent, dancing and compact. The duality between the voices and the organ contributes, in a continuously vigorous motion, to strengthen the praise..

Coming Soon

Œuvres complètes pour Orgue

Volume VII
Les messes, les versets de messes, entrées, sorties

Ref.  PBM 60.16-18.28

For Saint-Gervais: Masses and verses for “Annuels ou Solemnels majeurs” (Cunctipotens), “Grands solennels” (Dumont), “Solemnels mineurs” (De Angelis).

For Saint-Germain l’Auxerrois: Organ verses in plainsong in 4 parts: Messe de Dumont pour les Grands solemnels, Messe des Annuels, Messe des Solemnels mineurs, Messe des Doubles majeurs “in the J.S. Bach style”.

Two masses with figured bass: for Doubles mineurs, for Sundays and semi-doubles.

Entrances and sorties; single verses.

Reviews

Alexandre Pierre François Boëly

Œuvres complètes pour orgue

Volume I
Les Offertoires

Ref.  PBM 32.01

Volume II
Les Pièces de Noël

Ref.  PBM 33.01

Volume III
L'Opus 18

Ref.  PBM 35.02

Volume IV
Les Pièces pour orgue expressif ou harmonium

Ref.  PBM 37.04-SMF19 04.01

« Voici ce qu’on peut appeler un sensationnel événement. On attendait depuis des décennies la publication des œuvres de Boëly, dont on pouvait grignoter quelques petits morceaux çà et là.
«Ainsi, c’est donc à la maison Publimuses-[SMF19] que revient le privilège de faire cette publication, prévue en 13 volumes et dont nous avons reçu les 4 premiers. On sait l’importance de Boëly dans l’histoire de l’orgue en France, on sait aussi la grande valeur musicale de son œuvre.
«Le volume 1 s’ouvre sur plusieurs articles (français-anglais) sur l’édition elle-même, sur Boëly et sa musique, ses orgues, la registration, bref tout ce dont on a besoin pour se faire une idée aussi précise que possible sur la manière de faire sonner ces œuvres […]
«Chaque volume comporte un appareil critique et tous les textes et documents correspondants. Un travail très fouillé, très solide… »

(Guy Bovet, La Tribune de l’orgue 57/2, 2005)

Publimuses-[SMF19] new Boëly edition goes a long way toward making good its advertised claim to be a ‘reference document, the fruit of vast critical research, and also a collection designed for the practicing organist’.“
(Benjamin Van Wye, The American Organist, October 2005)

“A.P.F. Boëly is a rather shadowy figure for most of us – a shadowy figure from a shadowy period in the life og a great country. Editions Bornemann and Editions Costallat, among others, have over the years produced selected editions of Boëly’s organ works. The latter were edited by Saint-Saëns, the former by N. Dufourcq. A new edition, promising to be complete, is appearing. […] This new edition, packed with historical and musical information, is hugely welcome.”
(Paul Hale, Organist’ Review, May 2003)

“The projected complete edition of the organ music by Publimuses-[SMF19] ought to attract considerable attention. With over one hundred and forty pages of preamble, these editions are furnished with plenty of useful and well-researched information.
“The publication of the next volumes in the ongoing project is eagerly to be awaited, and may reveal a much more interesting composer than has hitherto been known.”

(William Whitehead, RCO News, Feb. 2003, vol. 8 Issue 1)

« Si tous les amateurs d’orgue mesurent aujourd’hui l’importance de Boëly et la grandeur de son action, c’est grâce à la curiosité et la persévérance de musicologues d’une autre époque […] En dépit de quelques éditions, les instrumentistes ne disposaient pas jusqu’à présent d’un grand éventail de textes imprimés. On ne peut que se réjouir de voir l’effort des historiens et musicologues prolongé par une entreprise de longue haleine qui contribue en premier lieu à mettre en lumière des pièces encore ignorées par beaucoup d’artistes. »
(François Sabatier, L’Orgue, n° 258, 2002-II)

« La sorprendente produzione di A.P.F. Boëly annovera opere per pianoforte, per archi, per orchestra e, soprattutto, per organo. La sua creatività ci ha lasciato oltre trecento composizioni organistiche : circa la metà furono edite quando era in vita mentre parte delle altre fu pubblicata postuma o raccolta in anthologie oggi introvabili. Publimuses, la casa editrice francese che ormai da anni è impegnata nel portare nuovamente alla luce la musica organistica francese del XIX secolo, ha progettato l’edizione dell’opra integrale per organo di Boëly. […] Il comitato editoriale di Publimuses, oltre all’enorme lavoro compiuto per reperire e riordinare, ha provveduto a redigere per ogni volume un accurato apparato critico che fornisce anche preziose coordinate per l’esecuzione. »
(Andrea Macinanti, Arte organaria e organistica, Anno IX, n° 44 Sett.-Ottobre 2002)

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