Complete works for Organ (4-volume). 2nd edition.
PBM 43.07-SMF19 07.09 • Volume I. Bibliothèque de l'organiste. Suites 1, 2, 3, 4 (New) 30,00 €
A volume 310 x 225 italian format. 134-page. Edition N. Bertrand, T. Nordström and F. Sabatier.
Presentation in French, English.
Contents:
› Bibliothèque de l'organiste. Suite n° 1: Offertoire n° 1 in C major; Offertoire n° 2 in F major; Grand Chœur n° 1 in E minor.
Suite n° 2: Offertoire n° 3 in B b major; Offertoire n° 4 in C major; Grand Chœur n° 2 in C major.
Suite n° 3: Offertoire n° 5 in E b major; Offertoire n° 6 in F major.
Suite n° 4: Élévation n° 1 in D major; Offertoire n° 7 in C major; Élévation n° 2 in E b major; Élévation n° 3 in B b major; Élévation n° 4 in G major.
page 32 Zoom
PBM 49.09-SMF19 09.15 • Volume II. Bibliothèque de l'organiste. Suites 5, 6, 7, 8
In progress:
Volume III. Bibliothèque de l'organiste. Suites 9, 10, 11, 12
Volume IV. Recueil de quatre Morceaux. Pièces diverses
Preface in French, English. Close
This Franck-like music is perfectly suited to the requirements of the harmonium, satisfying liturgical requirements in every key.
Verse 1 - page 13 Zoom
Preface in French, English. Close
The Five Verses occupy a special place in the Boëllmann's prolific output. Written in the key of F major and registered for the great organ, they appear to be a unique example of 19th century Marianism.
Verse 1 - page 10 Zoom
Foreword Brigitte François-Sappey. Presentation and Editorial notes in French, English. Close
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.
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.
Offertory for Easter Sundaypage 99 Zoom
Foreword B. François-Sappey. Presentation and Editorial notes in French, English. Close
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.
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.
Rentrée de procession - page 53 Zoom
Cantique de Denizot VI - page 104 Zoom
Choral "Ermuntre dich mein schwacher Geist"page 141 Zoom
Foreword B. François-Sappey. Presentation and Editorial notes in French, English. Close
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.
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.
Fantaisie and Fugue - page 68 Zoom
Allegro non troppo - page 78 Zoom
Foreword B. François-Sappey. Presentation and Editorial notes in French, English. Close
Contents:
› 12 Morceaux op. 14, Prelude and 2 Fantasias op. 57.
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.
Prelude Zoom
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
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...
Quatuor à 2 claviers séparéset pédale obligée Zoom
Presentation E. Lebrun.
Works by Bach, Boëly, F. and L. Couperin, Händel, J. Kirnberger. Close
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 E. Lebrun)
Christe - page 5 Zoom
In progress:
PBM 47.08-SMF19 08.13 • Volume VI. The transcriptions Boëly-Boëly. The Toccata op. 43 posthumous. 50,00 € Motets pour chœur et orgue
PBM 25.95 • Piece for organ (attributed to) 10,00 €
Presentation in French, English, Japanese. Close
Written in three parts, this piece is 41 bars long and alternates gracefully between Récit de hautbois and Cromorne en taille… Most musicologists agree that the work seems far too advanced for its time to be definitely attributed to Calvière. According to this, it might be a pastiche.
Presentation and Editorial notes in French, English. Close
Contents:
› Grand Chœur in C major, A 2 claviers in B flat major, Andantino in E major, A 2 claviers in F major, Largo in C major, Solo de clarinette, Grand Chœur in E flat major, Verse in D, Andantino in G major, Grand Chœur in G minor, Andantino in D minor, Grand Chœur in E flat major, Moderato “sur les fonds” in A major, Verse in A, Office des morts, Allegro moderato in B flat major, Verse in A, Andantino in B minor, Verse in C, Procession du Saint-Sacrement.
The pre-symphonic period which extends from Romanticism to the final years of the Second Empire still remains littleknown today when this almost seventy years’period is marked by a considerable expansion in organ buildings, and by the birth of a real school of virtuosos. The 20 Pieces, since they make up an essential milestone between Boëly’s still classical art and that of C. Franck; are the best music in adequacy with the French instrument in full transformation in the 1860s.
Piece no. 13 - page 72 ZoomPresentation in French, English. Close
The XV Studies mark a particular stage in the great return to early music which began in France in the early 19th century. Chauvet proposes a tool intended for intellects still unprepared for the polyphonic character of the 18th century music, which he wants to lead smoothly to its perfect mastery.
Presentation and Editorial notes in French, English. Close
Contents:
› [Untitled], Li a proun de gént, Or dites-nous Marie, Noël cette journée, À la venue de Noël, Chantons de voix hautaine, Une bergère jolie, Vous qui désirez sans fin, Grâce soit rendue au Dieu de la sus.
› Various Pieces: Rentrée de procession, Offertory in G major, Offertory in D major, Elévation 1 in F major, Elévation 2 in D major, Offertory in A minor, Elévation ou Communion in A major; Prelude in G minor; Prelude in C, Elévation ou Communion in F major, Offertory in C major; 90 shorts Verses.
The 9 Offertories are related to a French tradition going back to the Livres d’Orgue in the 17th century. The pieces from the Musée de l’Organiste date from the same period and those from the 20 Pieces (1863). The most remarkable piece from this volume is the Prelude in G minor composed for the Cavaillé-Coll of the villa Maracci: this is one of Chauvet’s first works to be truly conceived in the Cavaillé-Coll aesthetic. As to the 90 Petits Versets, they were composed with a very functional aims and they offer the complete range of the writing possibilities of the time.
Various Pieces - page 78 Zoom
Various Pieces - page 79 ZoomPBM 30.99 • 25 Voluntaries for Organ 60,00 €
Presentation and Editorial notes in French, English. Close
Contents:
› Maestoso in C major, Andantino in C major, Andantino in F major, Maestoso in A minor, Andante sostenuto in C major, Andantino in A major, Andante in F major, The Last Judgement, Pastoral, Maestoso in C major, Andante in G major, Maestoso in D major, Vivace in D minor, Andantino in G major, Adagio in D minor, A Concert on a Lake Interrupted by a thunder-storm, Andantino in G minor, Andantino in D major, Adagio in G minor, Maestoso in D major, Andantino in C major, Vivace assai in E minor, Andante in C major, Funeral March, Moderato assai in C major.
Apart from any stylistic consideration, the 25 Voluntaries, composed from 1832 to 1834, are made more interesting by the fact that they constitute an original departure in a genre which, while already well developped for the piano, had not been yet caught on for the organ.
The pieces contained in this edition are stored in the National Library in manuscript form and in the New York Public Library in printed form.
The music will sound well on all Cavaillé-Coll’s instruments (a craftsman staunchly supported by Neukomm), and other symphonic instruments and on any neo-classical organ.
Study no. 15 - page 165 ZoomPresentation and Editorial notes in French and English. Close
Contents:
› Offertory in A flat major, 2 Anthems, Sortie in C major, Offertory in F major, Trio, Priere in E minor, Fuga in A minor, Prelude in D major, Priere in A, Marche religieuse in D major, Communion in G minor, Fuga in D minor, Communion in A major, Pastoral, 4 Verses, Priere in C minor, Communion in D major, 2 Anthems, 2 Verses, Communion in A, Prelude in A minor, Canzone, Marche religieuse in E major.
The thirty pieces comprising Niedermeyer’s organ music were entirely published in the journal La Maîtrise. Virtually all the genres of the organ music of the time are represented here ranging from a liturgy without plainsong, the para-liturgical and pieces of purely musical works which are nevertheless suitable for liturgical use.
While Niedermeyer often gives in to the conventions of the time, he occupies nevertheless a significant place in the period before Franck. He composed organ music of average difficulty which are perfectly suited to the instrument.
Communion - page 80 ZoomPreface Brigitte De Leersnyder. Presentation and Editorial notes in French, English. Close
Contents:
› Méditation, Prélude grave, Canzona, Intermezzo and the Sept Pièces pour les Vêpres du commun des Saints (the full text of the antiphons has been reproduced, providing the performer with an opportunity of observing R. Vierne’s setting of them).
This volume includes the full catalogue of the works by R. Vierne, the youngest brother of the organist of Notre-Dame, Louis Vierne.
A kind of miniature compendium, fit for recital and church alike...
Vêpres - page 39 Zoom
In progress:
Deux motets pour chœur à 4 voix mixtes et orgue