 | Franck, Cesar - Prélude from "Prélude, Fugue et Variation" for Pipe Organ Opus 18 FWV 30 Orgue seul |
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| Compositeur : | Franck, Cesar (1822 - 1890) | ||||
| Instrumentation : | Orgue seul2 autres versions | ||||
| Genre : | Classique | ||||
| Tonalité : | Si mineur | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 31 Aoû 2023 César-Auguste-Jean-Guillaume-Hubert Franck (1822 – 1890) was a French Romantic composer, pianist, organist, and music teacher born in present-day Belgium. He was born in Liège (which at the time of his birth 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 of 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 musical improviser, and travelled widely within France to demonstrate new instruments built by Aristide Cavaillé-Coll. In 1858, he became organist at the Basilica of St. Clotilde, Paris, a position he retained for the rest of his life. He became professor at the Paris Conservatoire in 1872; he took French nationality, a requirement of the appointment. After acquiring the professorship, Franck wrote several pieces that have entered the standard classical repertoire, including symphonic, chamber, and keyboard works for pipe organ and piano. As a teacher and composer he had a vast following of composers and other musicians. His pupils included Ernest Chausson, Vincent d'Indy, Henri Duparc, Guillaume Lekeu, Albert Renaud, Charles Tournemire and Louis Vierne. Like Widor, César Franck (1822–1890) was a Parisian organist, presiding from 1858 until his death at the Cavaillé-Coll organ at Ste-Clotilde. Prélude, Fugue et Variation, Op 18, the third of his Six Pièces (1860–62), is dedicated to Saint-Saëns. Coming as it does directly after Franck’s Grande Pièce Symphonique, Op 17, its title might suggest a contrasting work of neo-Baroque severity, but what could be more Romantic than the haunting oboe melody of the first movement? A typical Franckian theme, moving largely by step and emphasizing particular notes of the scale, it has two limbs, the first a flowing theme of five-bar phrases, the second a dogged affair ascending the scale in four-bar phrases (and taken up in quasi-canonic fashion by the pedals). A short bridge passage introduces the second movement, a sober fugue on a subject, vocal in character, marked cantando. Assisted by stretti, a muted climax is reached, and the music proceeds without a break to the Variation, in which the hautbois, taking the stage again, has the ‘flowing’ and ‘dogged’ themes of the first movement, but here set against rippling semiquavers. Source: Wikipedia (https://en.wikipedia.org/wiki/C%C3%A9sar_Franck). I created this Transcription of the Prélude from "Prélude, Fugue et Variation pour orgue" (Opus 18 FWV 30) for Pipe Organ (2 Manuals w/Pedals). Partition centrale : | Prélude, Fugue et Variation en si mineur (Andantino) (11 partitions) | | |||
