SYMPHONIE-PASSION, Opus 23 The first symphony for organ was created by Cesar Franck, whose Grande Piece symphonique was completed by Symphonie-Passion Op. 23 ()  The influence of Marcel Dupré on organ playing and composition cannot be over-estimated, and. Alternate Names/Transliterations: Marcel Dupre. = Compositions by: Dupré, Marcel Vêpres du commun des fêtes de la Sainte Vierge, Op (Dupré, Marcel ).
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The Final in F-sharp Minor is a French Toccata in sonata form, based on a melody that recalls the opening theme of the first movement. Diese Improvisation wurde zur Grundlage seiner Symphonie-Passionop. In seinen Durpe erinnert er sich an den Abend des 8. The opening section of the Resurrection portrays events preceding the dawn of that first Easter. When my plan was announced by Dr.
Symphohy Lutheran Church, Washington, D. Good performances from the passio of Janette Fishell on Naxos 8. He refers in his memoirs to the evening of 8 December when, at a recital he was giving in the Wanamaker Auditorium in Philadelphia, he was offered several liturgical themes on which to improvise— Iesu redemptor omniumAdeste fidelesStabat mater dolorosa and Adoro te devote.
All motion ceases except for the repetitions of a falling second, a time-honored gesture used to depict grief and weeping.
The achievement of these feats was partially due to his native genius and partially due to his extremely hard work doing paper exercises when he was not busy practising or composing. The sponsorship of an American transcontinental tour by the John Wanamaker Department Store interests rocketed his name into international prominence.
In his memoirs the composer reflected on that occasion: Customers who bought this product also purchased. This improvisation became the basis of his Symphonie-PassionOp 23, which he began to compose on his return to France.
But this is transcended by a recapitulation in toccata style duprw which Adoro te appears again in long notes on the pedal reeds trombones and trumpets supporting a series of canons increasing in complexity and tension, finally exploding into a cascade of exuberant, exultant chords. Anthony’s, New Bedford, Mass. The Passuonwhich presents a striking contrast to the opening movement, is a triptyque that follows the biblical narrative: Currently, you have 0 quantity of this product in your shopping cart.
Marcel Dupré – Wikipedia
During this time he wrote the Three Preludes and FuguesOp. Subscribe to our free weekly review listing sample Sample: In his passiom the composer reflected on that occasion:. The piece is based completely on material heard in the first few measures. The second, more lyrical theme of this exposition is in the chromatic-mediant key of B-flat Major.
It prays, weeps or exults with them.
Iesu redemptor omniumAdeste fidelesStabat mater dolorosa und Adoro te devote. Hyperion offers both CDs, and downloads in a number of formats. Titular Organist, Saint Sulpice Paris — After a more chromatic middle section the Locrian melody returns, this time accompanied by roulades on the harmonic flute.
You can also use this FreeFind but it is not so comprehensive. The first movement, Allegro maestosois in sonata form and begins boldly with an elegiac theme in octaves, marked by sporadic rhythms and punctuated by diminished-seventh chords. August Total duration: Man bot ihm einige liturgische Themen zur Improvisation: Retrieved from ” https: Write a review on this product! Twelve years later, he was appointed professor of organ performance and improvisation at the Paris Conservatoirea position he held until Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.
The Crucifixion is also in three parts: From Wikipedia, the free encyclopedia. Naxos has Stefan Engels performing the Symfonie-Passion on 8.
The impish, almost sinister staccato chords are based primarily on the whole-tone scale and give way to a more lyrical theme set over a dancing bass. He died in passio Meudon near Paris. As a composer, he produced a wide-ranging oeuvre of 65 opus numbers.
The weight of the Crucifixion is doom-laden beyond any other performance mentioned here, Cochereau defining the shape of the pedal lines with tragic clarity, the growing sense of angst and agony a grim but compulsively organic ordeal.