Description
Book SynopsisEssays by prominent scholars and organists examine the music of Franck and other nineteenth-century French organist-composers through stylistic analysis, study of compositional process, and exploration of how ideas about organ technique and performance-practice traditions developed and became codified. Nineteenth-century French organ music attracts an ever-increasing number of performers and devotees. The music of Cesar Franck and other distinguished composers-Boëly, Guilmant, Widor-and the impact upon this repertoire of the organ-building achievements of Aristide Cavaillé-Coll, are here explored through stylistic analysis, the study of the 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 Franck and other French organist-composers worked. Contributors: Kimberley Marshall, William J. Peterson,Benjamin van Wye, Craig Cramer, Jesse E. Eschbach, Karen Hastings-Deans, Marie-Louise Jaquet-Langlasi, Daniel Roth, Edward Zimmerman, Lawrence Archbold, Rollin Smith
Trade ReviewExcellent scholarship; highly recommended for all academic collections. * CHOICE *
Lawrence Archbold and William J. Peterson have amassed the quintessential scholarly compendium. . . . For recitalists, informed teachers, and students of the Romantic period, this is required reading and study. * AMERICAN ORGANIST *
An enormous amount of scholarly investigation has gone into this volume. . . a thoroughly admirable piece of work. * MUSIC AND LETTERS *
Table of ContentsPart 1 From the revolution to Franck: evolutionary schemes -organists and their revolutionary music, Kimberly Marshall and William J. Peterson; organ music in the Mass of the Parisian rite to 1850 with emphasis on the contributions of Boely, Benjamin Van Wye; Boely's "Quatorze Preludes sur des Cantoques de Denisot" op.15, and the creation of a French "Christmas" "Orgelbuchlein", Craig Cramer; Lemmens, his "Ecole d'orgue" and 19th-century organ methods, William J. Peterson. Part 2 Franck - the texts: Paris, Bibliotheque Nationale, MS 8707 - a new source for Franck's registrational practices and its implications for the published registrations of his organ works, Jesse E. Eschbach; from manuscript to publication - Franck's "Choral" no.1, Karen Hastings-Deans. Part 3 Franck - issues in performance: the organ works of Franck - a survey of editorial and performance problems, Marie-Louise Jaquet-Langlais; some thoughts on the interpretation of the organ works of Franck, on his organ and on the Lemmens tradition, Daniel Roth. Part 4 Widor and his contemporaries: "Why should we not do the same with our Cathlic melodies?" - Guilmant's "L'Organiste liturgiste" op.65, Edward Zimmerman and Lawrence Archbold; Widor's "Symphonie romane", Lawrence Archbold; the organ of the Trocadero and its players, Rollin Smith.
