Pasticcio, from Organ Book: Difference between revisions
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==Background== | ==Background== | ||
Pasticcio consists of five pages, with a couple key changes, and multiple manual changes (with both hands playing on the same manual). | ''Pasticcio'' consists of five pages, with a couple key changes, and multiple manual changes (with both hands playing on the same manual). | ||
According to Grove's Dictionary, "Pasticcio" is the Italian word for "mess" or "hotchpotch." It also is a "dramatic work or sacred vocal work whose parts have been borrowed, new texts may have been written, or works by various composers combined." In the 18th century Opera composers borrowed their own tunes for their own pasticcios. When asked what he meant by the title, "Pasticcios," Langlais explained, "A pasticcio is a composition derived from other works." According to Ann Labounsky, Langlais may have had a specific model in mind. Nevertheless, it is thought that it "comes from a love of encoding names in his musical themes."."<ref>Miller, Max B. "Dear Uncle Max." The American Organist, September 2001, 76.</ref> | According to Grove's Dictionary, "Pasticcio" is the Italian word for "mess" or "hotchpotch." It also is a "dramatic work or sacred vocal work whose parts have been borrowed, new texts may have been written, or works by various composers combined." In the 18th century Opera composers borrowed their own tunes for their own pasticcios. When asked what he meant by the title, "Pasticcios," Langlais explained, "A pasticcio is a composition derived from other works." According to Ann Labounsky, Langlais may have had a specific model in mind. Nevertheless, it is thought that it "comes from a love of encoding names in his musical themes."."<ref>Miller, Max B. "Dear Uncle Max." The American Organist, September 2001, 76.</ref> | ||
Latest revision as of 01:34, 2 March 2015
from Organ Book by Jean Langlais
Background
Pasticcio consists of five pages, with a couple key changes, and multiple manual changes (with both hands playing on the same manual).
According to Grove's Dictionary, "Pasticcio" is the Italian word for "mess" or "hotchpotch." It also is a "dramatic work or sacred vocal work whose parts have been borrowed, new texts may have been written, or works by various composers combined." In the 18th century Opera composers borrowed their own tunes for their own pasticcios. When asked what he meant by the title, "Pasticcios," Langlais explained, "A pasticcio is a composition derived from other works." According to Ann Labounsky, Langlais may have had a specific model in mind. Nevertheless, it is thought that it "comes from a love of encoding names in his musical themes."."[1]
Langlais frequently "encoded names of those to whom he dedicated works, or was otherwise close to -- Ann, Susan Ferré, Marie, Marie-Louise, Olivier Messiaen, Pascale, Collete Alain, Paf (a dog), Jeannette, Karen Hastings, and so forth. 'He.....sought to reveal, in his music, his innermost desires and thuoghts as well as the names of persons.....By using pitches to correspond to letters of the alphabet, he was able to write names and even complete sentences, in the form of a musical theme."[2]
Here is an example of how Langlais's coding was done:
A a i q y Bb b j r z C c K s D d l t E e m u F f n v G g o w B h p x
The capital letters correspond to musical pitches.[3]
Langlais used a Braille coding in Pasticcio. "What makes the piece earn its title is the fact that the composition has its own idea, straightforward, until bar 54, the change of key, when two new but similar themes are introduced. They are derived from Jacqueline's name and that of her husband-t-be, the composer Giuseppe Englert. All three themes then are operative, a little of this, a little of that. Ann Labounsky has written in a letter that 'Langlais told me how proud he was that he was able to place the two themes exactly together to represent the union of the newly married couple and that this aspect was the governing principle in his working out of the two themes in Braille.'"[4]
Registration and Organs
Swell: (Vox humana); Cymbale, without tremolo
Great: Foundations 8', 4', 2', Mixtures, Choir to Great coupled
Choir: Foundations 8', 4', 2', 1', Mixtures
Pedal: Foundations 16' and 8'
For information concerning the organ of Jean Langlais, visit The Great Cavaille'-Coll Organ
Fingering and Pedaling
There is very limited pedaling, with the most active pedaling being at the last four measures.
Articulation and Phrasing
Played with a light, staccato articulation.
Ornamentation
No ornamentation is required for this piece.
Tempo and Meter
Allegro, quarter note = 116
This piece is basically in common time, with one or two measures of 2/4 on each page.
Scores and Editions
The Service Playing exam requires the use of Elkan Vogel 463-00006.
Recordings
Replace this text with any specific information on recordings
Free Online
"In Memoriam Jean Langlais," , JEAN LANGLAIS: Pasticcio, from Organ Book [1957] –Jean Langlais (1738 Müller/Sint-Bavokerk [St. Bavo Church], Haarlem, The Netherlands) InterSound 2001, Pipedreams [1]
Jean Langlais - Organ Book: X. Pasticcio. Performed by Dragan Trajer on virtual Mutin-Cavaillé-Coll organ of Notre-Dame de Metz. [2]
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 this piece
Notes
- ↑ Miller, Max B. "Dear Uncle Max." The American Organist, September 2001, 76.
- ↑ Miller, Max B. "Dear Uncle Max." The American Organist, September 2001, 76.
- ↑ Miller, Max B. "Dear Uncle Max." The American Organist, September 2001, 77.
- ↑ Miller, Max B. "Dear Uncle Max." The American Organist, September 2001, 77.
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