 | Marchand, Louis - "Basse de Trompette" from "Pièces d'Orgue" for Piano Piano seul |
VoirPDF : "Basse de Trompette" from "Pièces d'Orgue" for Piano (2 pages - 118.55 Ko)224x⬇ MP3 : "Basse de Trompette" from "Pièces d'Orgue" for Piano 25x⬇ 351x
| Compositeur : | Marchand, Louis (1668 - 1732) | ||
| Instrumentation : | Piano seul | ||
| Partition centrale : | Pièces d'orgue (5 partitions) | ||
| Genre : | Baroque | ||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Droit d'auteur : | Public Domain | ||
| Ajoutée par magataganm, 10 Fév 2020 Louis Marchand (1669 – 1732) was a French Baroque organist, harpsichordist, and composer. Born into an organist's family, Marchand was a child prodigy and quickly established himself as one of the best known French virtuosos of his time. He worked as organist of numerous churches and, for a few years, as one of the four organistes du roy. Marchand had a violent temperament and an arrogant personality, and his life was filled with scandals, publicized and widely discussed both during his lifetime and after his death. Despite his fame, few of his works survive to this day, and those that do almost all date from his early years. Nevertheless, a few pieces of his, such as the organ pieces Grand dialogue and Fond d'orgue have been lauded as classic works of the French organ school. Marchand came from a musical family: his grandfather, Pierre (d.1676) had been a schoolmaster and music teacher and his three sons, Jean (Marchand's father), Pierre and Louis were organists. Pierre held the incumbency at Auxonne for some years before his death in 1684; Louis was to become curé at the church of Saint-Maurice Pontailler-sur-Saône, some 15 kilometres from Auxonne after 1 January 1676, where he was to remain until his arrest for the abduction and rape of 'paroissiennes' (His sentence of death was commuted to servitude on the galleys and he died in Marseilles in 1694). By age 20 he settled in Paris, and married the daughter of the harpsichord builder Jean Denis. According to his marriage contract, he was by that time organist at the church of Eglise Saint-Jacques on Paris's South Bank. Future tenures were to be held at Saint-Benoît-le-Bétourné in France, the church of the Cordeliers Convent and the church of Saint-Honoré Abbey in Germany. In June 1708, he was appointed as one of the four Organists du Roy for which he received a stipend of 600 livres. His duties were to play for the July–September quartier of the year. It is not known why he left Paris for a three-year sojourn in Germany in 1713, which was to include performing for various electors and the emperor. After his return to France Marchand once again settled in Paris and worked as organist for the Cordeliers Convent, augmenting his income with teaching. Comparatively few works by Marchand survive, most of them dating from the early stages of his career. The most numerous and arguably most important are his organ works. The twelve that were published by the Boivin atelier in 1740 are likely to be a reproduction of a book of organ pieces that were published in January 1700, of which no extant copies are known. A further 42 pieces are to be found in a manuscript that was housed in the Bibliothèque royale at Versailles. These pieces include a number of important pieces: the massive Grand Dialogue (1696), a harmonically adventurous Fond d'orgue, the Quatuor, a four-part fugue that was quintessential to French organist-composers, and a Plein jeu with a canon in double pedals. Modern scholar Geoffrey Sharp divided Marchand's organ oeuvre into three distinct groups: pieces influenced by vocal genres, pieces influenced by instrumental genres, and vocal-instrumental hybrid works. He singles out Marchand's organ trios and non-contrapuntal works as the composer's most successful pieces. The extant pieces for harpsichord are contained in two suites. The first was originally published 'chez l'auteur' in 1699 with plates engraved by Claude Roussel. It was reissued in 1702 under the auspices of Christophe Ballard as Livre Premier; a Livre Second was published simultaneously. Stylistically, the suites are disparate. Livre Premier begins with a measured prélude that is more reminiscent of Frescobaldi than any French paradigm, yet the dances are distinctly in le goût français; Livre Second begins with a prélude non mesuré yet its accompanying dances look forward to a more italianate style. In addition are two attributions in a Ballard publication of 1707 Pièces choisies pour le clavecin de différents auteurs: La Vénitienne and La Bandine. In 2005, a recording was released of a manuscript entitled Livre de Suittes pour le clavecin composé par Monsieur de Charmant cordelier, et arrangé par Renard, à Paris, 1754. This came to light in a private music collection in 2003 and reputedly contains a collection of pieces by Marchand in C major and minor. We are told that the current owners have no desire for the disclosure of their details or for its contents to be made available to scholars and musicians. No other reference to the works is to be found: its liner notes refer to a yet-to-be-published article by an untraceable musicologist. Although the recording’s contents are charming, it reveals a collection of works in the Italian style that could have been written by any number of composers. Source: Wikipedia (hhttps://en.wikipedia.org/wiki/Louis_Marchand). Although originally composed for Organ, I created this Interpretation of the "Basse de Trompette" from "Pièces d'Orgue" for Piano. | |||
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