Né de l'imagination des facteurs d'instruments de la première partie du XIXe siècle (J. Napoléon Fourneaux, A. François Debain, etc.), l'orgue expressif, ou harmonium1, objet d'incessantes recherches, est constamment perfectionné dans la seconde partie du siècle par A. F. Debain, Jacob Alexandre, Victor, Charles, Auguste et Alphonse Mustel ainsi que tous les facteurs français, qui construisent des instruments à la facture très soignée. Employé au temple, l'instrument nouveau est surtout très en vogue dans les salons, où il rivalise avec le piano. Cet engouement atteint son apogée dans les années 1855-1870 et suscite une abondante littérature, composée tant de pièces originales que de transcriptions des grands maîtres et surtout d'opéras à la mode. Théodore Dubois a beaucoup composé pour l'instrument, notamment deux volumes de pièces pour harmonium ou orgue (publiés respectivement en 1889 et 1926). Nous réunissons ici les pièces de Théodore Dubois destinées exclusivement à l'harmonium et publiées séparément. / Harmonium

Par CHAMINADE CECILE. / Répertoire / Orgue ou Harmonium et Choeur à 2 Voix Egales

The ?Petite Messe Solennelle? is the finest work of Rossini?s late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet-Will for the consecration of her private chapel where the work received its first performance in March 1864. Together with the ?Stabat mater? the mass is one of the composer?s most important sacred works.The unusual instrumentation with two Pianos and Harmonium is entirely in keeping with the Neapolitan Keyboard tradition of the 18th century which was cultivated in France in Rossini?s day. It forms a distinct contrast to the style of large-scale sacred compositionsas written by for example Liszt and Bruckner. Rossini explained that he wrote the later Orchestral version of the work dating from 1867 out of concern that if he did not do this other composers might orchestrate the mass too heavily in later arrangements.The Piano reduction by Andreas Köhs is extremely idiomatic and largely preserves the charming character of the unusual instrumentation.- Based on the Urtext of the series ?Works of Gioachino Rossini?.- Foreword in two languages (Eng/Ger).- With a separate Harmonium part and one part for Pianos I and II.

Par ROSSINI GIOACHINO. Next to the 'Stabat Mater, ' the 'Petite Messe solennelle' of 1863 is Rossini’s second extensive sacred composition. Ostensibly, the work was an occasional piece, written for the dedication of a private chapel for the once well-to-do Parisian nobility. This explains the reduced instrumental accompaniment for two pianos and harmonium. Of course this instrumental garb, reminiscent of decent, elevated salon music, produces an unmistakable timbre which through its typical Rossini rhythm obtains an additional flair. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Pianos et Harmonium

Par ROSSINI GIOACHINO. Next to the 'Stabat Mater, ' the 'Petite Messe solennelle' of 1863 is Rossini’s second extensive sacred composition. Ostensibly, the work was an occasional piece, written for the dedication of a private chapel for the once well-to-do Parisian nobility. This explains the reduced instrumental accompaniment for two pianos and harmonium. Of course this instrumental garb, reminiscent of decent, elevated salon music, produces an unmistakable timbre which through its typical Rossini rhythm obtains an additional flair. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Pianos et Harmonium

Par CHAMINADE CECILE. / Répertoire / Orgue ou Harmonium et Choeur à 2 Voix Egales

Par CHAMINADE CECILE. / Répertoire / Orgue ou Harmonium et Choeur à 2 Voix Egales

Tonalité : B-Dur -. Par BERLIOZ HECTOR. Reihen bei Carus: Französische Kirchenmusik - Verwendung / Anlässe: Tantum ergo - Langue : Latin/ Répertoire / Choeur SSA, Orgue et Harmonium