 |
Vidéo :
![]()
| Composer : | Franck, Cesar (1822 - 1890) | ||||
| Instrumentation : | Winds & String Orchestra | ||||
| Style : | Romantic | ||||
| Key : | B♭ major | ||||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Date : | 1860-62 | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 28 Sep 2018 César-Auguste-Jean-Guillaume-Hubert Franck (1822 – 1890) was a composer, pianist, organist, and music teacher who worked in Paris during his adult life. He was born at Liège, in what is now Belgium (though at the time of his birth it was part of the United Kingdom of the Netherlands). He gave his first concerts there in 1834 and studied privately in Paris from 1835, where his teachers included Anton Reicha. After a brief return to Belgium, and a disastrous reception to an early oratorio Ruth, he moved to Paris, where he married and embarked on a career as teacher and organist. He gained a reputation as a formidable improviser, and travelled widely in France to demonstrate new instruments built by Aristide Cavaillé-Coll. Franck was appointed organist and choirmaster of the suburban Paris basilica of Sainte-Clotilde in 1858, as construction was being completed. Neither was the superb Cavaillé-Coll organ ready -- in fact, Franck did not inaugurate the instrument until a public concert of December 19, 1859. Yet there is no doubt that it reawakened his interest in composition, which had flagged after a youthful spate of undistinguished virtuoso fantasies, songs, sacred pieces, an unproduced opera and opéra comique, four remarkable Trios (1843) that impressed Liszt, and a startling symphonic poem, Ce qu'on entend sur la montagne (1845-1847), which anticipates the vast opening of Das Rheingold, but remained unpublished and unheard. Their precise dating is disputed, but the Six Pièces for organ seem to have taken shape between 1858 and 1864, though they were only published in 1868. Not without charm, the Fantaisie, Pastorale, and Prière breathe the air of religious sentiment. The Prélude, fugue et variation looks ahead to the great piano triptychs -- the Prélude, choral et fugue (1884) and the Prélude, aria et final (1886-1887) -- while the groundbreaking Grande pièce symphonique embodies the lessons of the master in its grandeur and the sure shaping of its material. Beethoven's example also informs the Final, which may be described as an exuberant, substantial sortie, though its robust, fanfare-like opening theme, given to the pedals, soon complemented by a serene melody over a running accompaniment, spaciously developed, suggests a sonata first movement. Its bravura winding up, on the other hand, is not innocent of an opéra comique vulgarity effervescently similar to some manic moments in the great (and misleadingly titled) Impromptu, Op. 69, of his friend Charles-Valentin Alkan, dedicatee of the Grande Pièce symphonique. The Final was dedicated to the once famous organist Louis James Alfred Lefébure-Wély, and was heard for the first time with Franck's premiere of the Six Pièces at Sainte-Clotilde on November 17, 1864. Source: AllMusic (https://www.allmusic.com/composition/final-for-organ-i n-b-flat-major-op-21-fwv-33-mc0002359098 ). Although originally created for Pipe Organ, I created this Interpretation of the Final in Bb Major (FWV 33 Op. 21) for Winds (Flute, Oboe & Bassoon) & Strings (2 Violins, Viola & Cello). Sheet central : | Final en si bémol majeur (Allegro maestoso) (2 sheet music) | | |||
 |
 |
 |
 |
© 2000 - 2024
Home - New realises - Composers
Legal notice - Full version