Sources
-
Louis Vierne, Mes souvenirs, Cahiers et mémoires
de l'orgue (numéros spéciaux de la revue L'Orgue),
CXXXIV bis, Paris, 1970.
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Bernard Gavoty, Louis Vierne, la vie et l'oeuvre.
Paris, Albin Michel, 1943. 325 pages. 12 illustrations
(y compris portraits, facsimiles musicales, etc). 21 cm.
"Catalogue des oeuvres de Louis Vierne", p. 296-312.
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Emmanuel Sauvlet, "Les Six symphonies pour Orgue de Louis Vierne", Cahiers et mémoires de l'orgue No 47, Paris, 1er trimestre 1992, 106 p.
Partitions
- Louis Vierne, Organ Symphonies Nos. 1, 2, and 3.
Dover Publications, janvier 1997.
(ISBN 0486294056. US$9.95. (US$8.76, chez Amazon.com)
(Catalogue et commande sur internet: www.jwpepper.com.)
-
- Louis Vierne, Organ Symphony No. 4, Op. 32, G minor.
Boca Raton (Florida, USA): Masters Music Publishers, 1996. 57 pp (musique), 31cm.
(Catalogue et commande sur internet: www.jwpepper.com.)
- Louis Vierne, 24 Pieces in Free Style, Books 1 and 2.
Masters Music Publishers, 1992. (US$10.95 chaque livre)
(Catalogue et commande sur internet: www.jwpepper.com.)
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L'orgue
Nicholas Thistlethwaite, Geoffrey Webber (eds.)
The Cambridge Companion to the Organ
(Cambridge Companions to Music)
Cambridge Univ Press
(à paraître en août 1998)
(ISBN 0521573092)
-
- Orpha Ochse, Organists and Organ Playing in Nineteenth-Century
France and Belgium.
Indiana University Press, 1994.
(ISBN 0253341612. US$30.)
-
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.
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Lawrence Archbold, William J. Peterson (eds.)
French Organ Music: From the Revolution to Franck and Widor
(Eastman Studies in Music) Boydell & Brewer, 1995.
(ISBN 1878822551. hardcover, 323 pp. US$55.30 [Amazon.com])
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In Europe and America alike, nineteenth-century French organ music continues
to attract performers and devotees. Scholars and critics are examining, often
in innovative ways and with reference to previously uptapped sources, the
organ music of Cesar Franck and other distinguished composers -- Boely,
Guilmant, Widor -- and are exploring the impact upon this repertoire of
the organ-building achievements of Aristide Cavaillé-Coll.
This volume contains contributions by many of the most prominent scholars
and performer-scholars currently dealing with this fascinating repertoire,
including the noted French organists Daniel Roth and Marie-Louise
Jaquet-Langlais. The essays examine selected parts of this varied repertoire
through stylistic analysis, the study of compositional process, and the
exploration of how ideas about organ technique and performance-practice
traditions developed and became codified. New consideration is also given
to the political and cultural contexts within which French organist-composers
worked. This volume of scholarly and readable essays, nearly all of them
previously unpublished or unavailable in English translation, provides
convincing evidence that the field of nineteenth-century French organ music
has now emerged as an important arena of musical and cultural studies.
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