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Claviers accouplés. Tirasses<BR> | Claviers accouplés. Tirasses<BR> | ||
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On the great you would want a few of the 8' foundation stops, but not including the 8' principal (the French "montre"). On the swell (the French "recit") you would want some of the 8' foundation stops. These may include flutes, a principal, and possibly a string. For the pedal you would want some of the softer 16' and 8' stops. The swell should be coupled to the great, and both manuals should be coupled to the pedal. You should start the piece with the swell box closed. If your organ has an expressive Great division, you will want its shades open. You will need to open or close the swell box for the crescendos and diminuendos indicated in the score. Where the score indicates "G.R." you would play the manual parts on the Great with the Swell coupled. Where the score indicates "Ped." you would play the lowest line on the pedals with the two manuals coupled. Where the score indicates "Ped. R." you would play the lowest notes on the pedals with only the Swell coupled. At one point in the piece the score indicates "G. montre." You would need to add an 8' principal to the Great at this point and remove it when the score indicates "Otez la montre." Thus in order to perform this piece you will need a few pistons prepared with the necessary stop and coupler changes. Or, you could possibly make the stop changes manually at the indicated places in the score. | On the great you would want a few of the 8' foundation stops, but not including the 8' principal (the French "montre"). On the swell (the French "recit") you would want some of the 8' foundation stops. These may include flutes, a principal, and possibly a string. For the pedal you would want some of the softer 16' and 8' stops. The swell should be coupled to the great, and both manuals should be coupled to the pedal. You should start the piece with the swell box closed. If your organ has an expressive Great division, you will want its shades open. You will need to open or close the swell box for the crescendos and diminuendos indicated in the score. Where the score indicates "G.R." you would play the manual parts on the Great with the Swell coupled. When the score indicates "R." you would play the manual parts on the Swell. Where the score indicates "Ped." you would play the lowest line on the pedals with the two manuals coupled. Where the score indicates "Ped. R." you would play the lowest notes on the pedals with only the Swell coupled. At one point in the piece the score indicates "G. montre." You would need to add an 8' principal to the Great at this point and remove it when the score indicates "Otez la montre." Thus in order to perform this piece you will need a few pistons prepared with the necessary stop and coupler changes. Or, you could possibly make the stop changes manually at the indicated places in the score. | ||
==Fingering and Pedaling== | ==Fingering and Pedaling== | ||
Revision as of 03:09, 18 March 2015
from Vingt-quatre Pièces en style libre by Louis Vierne
Background
Dedicated to Edouard Mignan.
E Minor 4 pages 1-4 voice texture
Registration and Organs
The following registration indications are given in the score:
G. Fonds 8' sans montre
R. Fonds 8'
Ped. Fonds doux 16', 8'
Claviers accouplés. Tirasses
On the great you would want a few of the 8' foundation stops, but not including the 8' principal (the French "montre"). On the swell (the French "recit") you would want some of the 8' foundation stops. These may include flutes, a principal, and possibly a string. For the pedal you would want some of the softer 16' and 8' stops. The swell should be coupled to the great, and both manuals should be coupled to the pedal. You should start the piece with the swell box closed. If your organ has an expressive Great division, you will want its shades open. You will need to open or close the swell box for the crescendos and diminuendos indicated in the score. Where the score indicates "G.R." you would play the manual parts on the Great with the Swell coupled. When the score indicates "R." you would play the manual parts on the Swell. Where the score indicates "Ped." you would play the lowest line on the pedals with the two manuals coupled. Where the score indicates "Ped. R." you would play the lowest notes on the pedals with only the Swell coupled. At one point in the piece the score indicates "G. montre." You would need to add an 8' principal to the Great at this point and remove it when the score indicates "Otez la montre." Thus in order to perform this piece you will need a few pistons prepared with the necessary stop and coupler changes. Or, you could possibly make the stop changes manually at the indicated places in the score.
Fingering and Pedaling
Pedaling throughout about one-half of the piece Expression pedal
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, Moderato, quarter note = 69
Scores and Editions
File:Vierne, Op. 31, No. 10 - Reverie.pdf
Recordings
Replace this text with any specific information on recordings
Free Online
Replace this text with any specific information on online recordings that are available free
Pay to Listen
Replace this text with any specific information on online recordings that are available for a fee
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'CEuvre d'Orgue de J.S. Bach," CEuvres 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.
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