Complainte: Difference between revisions
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==Registration and Organs== | ==Registration and Organs== | ||
The following registration indications are given in the score: | |||
<blockquote> | |||
G. Fonds 8 doux, Nasard<BR> | |||
R. Flutes 8', 4'<BR> | |||
Ped. Fonds doux 8', 16'<BR> | |||
'' | Tirasse G.<BR> | ||
</blockquote> | |||
On the Great you will want just the softest 8' stops. On the Swell you will want an 8' and a 4' flute. On the Pedal you will want a soft 8' stop and a soft 16' stop, probably both flutes. You will want to start with the Great coupled to the Pedal, and the Swell box closed. Whenever you see the letter "G" on the score, play the manual parts on the Great. When you see an "R", play the manual parts on the Swell. Whenever "Ped." appears below the staff, play the lowest notes on the pedal. When "Man." appears, play all the notes on the manuals. <BR> | |||
<BR> | |||
Toward the end of the piece, while playing the last section that is played on the Great, open the Swell box. Then for the last section on the Swell, remove the Great to Pedal coupler. About four measures from the end you will need to effect a diminuendo by smoothly closing the Swell box. | |||
==Fingering and Pedaling== | ==Fingering and Pedaling== | ||
| Line 20: | Line 24: | ||
Pedaling throughout the rest of it | Pedaling throughout the rest of it | ||
A lot of extended tying in various voices | A lot of extended tying in various voices | ||
Use of expression pedal for one diminuendo | |||
==Articulation and Phrasing== | ==Articulation and Phrasing== | ||
"Legato playing is best suited to the organ for, by the very nature of the instrument, the evenness of all notes in the same register quite naturally calls for precisely connecting these notes one after the other."<ref>Louis Vierne,"Renseignements Généraux pour l'Interpretation de l'Œuvre d'Orgue de J.S. Bach," ''Œuvres pour Orgue de Bach'' (Paris: Éditions Maurice Senart, 1924) v.</ref> | |||
Vierne stressed to make certain that the inner voices are legato and that the pedal be played legato as well. He advised "playing the black keys 'on the very edge to facilitate, when practical, sliding onto the naturals.'"<ref>Rollin Smith, ''Louis Vierne: Organist of Notre Dame Cathedral'', 571. The Complete Organ No. 3. Hillsdale, New York: Pendragon Press, 1999.</ref> | |||
==Ornamentation== | ==Ornamentation== | ||
| Line 28: | Line 36: | ||
==Tempo and Meter== | ==Tempo and Meter== | ||
Andante moderato, quarter note = 50 | 3/4, Andante moderato, quarter note = 50 | ||
==Scores and Editions== | ==Scores and Editions== | ||
[[File:24_Pieces_en_style_libre,_No._3_-_Complainte.pdf]] | |||
==Recordings== | ==Recordings== | ||
| Line 37: | Line 46: | ||
===Free Online=== | ===Free Online=== | ||
[https://www.youtube.com/watch?v=fdY6dUdB3EE Ben van Oosten at Saint-Antoine des Quinze-Vingts, Paris] | |||
===Pay to Listen=== | ===Pay to Listen=== | ||
''A Notre-Dame de Paris: Organ Works by Vierne'', Pierre Moreau, $0.99 [http://www.classicalarchives.com/album/3481801010721.html MP3 Album] | |||
==Other Resources== | ==Other Resources== | ||
Latest revision as of 17:27, 13 April 2015
from Vingt-quatre Pièces en style libre by Louis Vierne
Background
Dedicated to Albert Perilhou.
D-flat Major 2 pages 3-4 voice texture
Registration and Organs
The following registration indications are given in the score:
G. Fonds 8 doux, Nasard
R. Flutes 8', 4'
Ped. Fonds doux 8', 16'
Tirasse G.
On the Great you will want just the softest 8' stops. On the Swell you will want an 8' and a 4' flute. On the Pedal you will want a soft 8' stop and a soft 16' stop, probably both flutes. You will want to start with the Great coupled to the Pedal, and the Swell box closed. Whenever you see the letter "G" on the score, play the manual parts on the Great. When you see an "R", play the manual parts on the Swell. Whenever "Ped." appears below the staff, play the lowest notes on the pedal. When "Man." appears, play all the notes on the manuals.
Toward the end of the piece, while playing the last section that is played on the Great, open the Swell box. Then for the last section on the Swell, remove the Great to Pedal coupler. About four measures from the end you will need to effect a diminuendo by smoothly closing the Swell box.
Fingering and Pedaling
Two eight-bar sections of manuals only Pedaling throughout the rest of it A lot of extended tying in various voices Use of expression pedal for one diminuendo
Articulation and Phrasing
"Legato playing is best suited to the organ for, by the very nature of the instrument, the evenness of all notes in the same register quite naturally calls for precisely connecting these notes one after the other."[1]
Vierne stressed to make certain that the inner voices are legato and that the pedal be played legato as well. He advised "playing the black keys 'on the very edge to facilitate, when practical, sliding onto the naturals.'"[2]
Ornamentation
Replace this text with any specific information on ornamentation
Tempo and Meter
3/4, Andante moderato, quarter note = 50
Scores and Editions
File:24 Pieces en style libre, No. 3 - Complainte.pdf
Recordings
Replace this text with any specific information on recordings
Free Online
Ben van Oosten at Saint-Antoine des Quinze-Vingts, Paris
Pay to Listen
A Notre-Dame de Paris: Organ Works by Vierne, Pierre Moreau, $0.99 MP3 Album
Other Resources
Replace this text with any information on other resources pertinent to performing these works
Notes
- ↑ Louis Vierne,"Renseignements Généraux pour l'Interpretation de l'Œuvre d'Orgue de J.S. Bach," Œuvres pour Orgue de Bach (Paris: Éditions Maurice Senart, 1924) v.
- ↑ Rollin Smith, Louis Vierne: Organist of Notre Dame Cathedral, 571. The Complete Organ No. 3. Hillsdale, New York: Pendragon Press, 1999.
This space is for automatic insertion of footnotes. To enter a footnote from anywhere in the article, start by typing the tag <ref> and then enter the text, and type the tag </ref> to end the footnote. The footnote will then appear in this "Notes" section automatically.
