#symphonies de widor

[lucdupuis]

Website: https://www.lucdupuis.org

Luc Dupuis, organiste et compositeur belge né en 1954, est reconnu pour son expertise dans la musique pour orgue, notamment les œuvres de Widor et Handel. Professeur émérite au Conservatoire royal de Bruxelles, Dupuis a grandement contribué au domaine musical avec ses méthodes d'enseignement innovantes et ses compositions. Ses offres incluent une gamme de symphonies pour orgue, de concertos et de matériaux pédagogiques, séduisant les amateurs et les musiciens professionnels. L'œuvre de Dupuis se caractérise par un mélange de savoir-faire traditionnel et d'interprétation contemporaine, rendant ses compositions et transcriptions une ressource précieuse pour les aficionados de la musique pour orgue.

Luc Dupuis, a distinguished Belgian organist and composer born in 1954, is renowned for his expertise in organ music, particularly the works of Widor and Handel. As a professor emeritus at the Royal Conservatory of Brussels, Dupuis has significantly contributed to the field of music through his innovative teaching methods and compositions. His offerings include a range of organ symphonies, concertos, and educational materials, appealing to both enthusiasts and professional musicians. Dupuis' work is characterized by a blend of traditional craftsmanship and contemporary interpretation, making his compositions and transcriptions a valuable resource for organ music aficionados.

Luc Dupuis, ein renommierter belgischer Organist und Komponist, geboren 1954, ist bekannt für seine Expertise in Orgelmusik, insbesondere den Werken von Widor und Händel. Als emeritierter Professor am Königlichen Konservatorium Brüssel hat Dupuis einen bedeutenden Beitrag zum Musikbereich durch seine innovativen Lehrmethoden und Kompositionen geleistet. Sein Angebot umfasst eine Reihe von Orgelsymphonien, Konzerten und Bildungsmaterialien, die sowohl Enthusiasten als auch professionelle Musiker ansprechen. Dupuis' Werk zeichnet sich durch eine Mischung aus traditionellem Handwerk und zeitgenössischer Interpretation aus, was seine Kompositionen und Transkriptionen zu einer wertvollen Ressource für Orgelmusikliebhaber macht.

Facebook: https://www.facebook.com/profile.php?id=100090204940795

Youtube: https://www.youtube.com/channel/UC-67JW0CTvn6Aw1zgde7T7g

Keywords: publications de musique pour orgue partitions de symphonies pour orgue concertos de handel pour orgue symphonies de widor matriaux dducation musicale techniques de composition pour orgue services de transcription musicale musique classique pour orgue compositions contemporaines pour orgue pdagogie de la musique pour orgue partitions de symphonie pour orgue transcription des concertos de handel ditions des symphonies de widor ressources denseignement musical arrangements de musique pour orgue publications de musique classique thorie de la musique pour orgue techniques de performance pour orgue services de composition musicale rpertoire de musique pour orgue partitions dorgue en ligne compositions pour orgue solo musique liturgique pour orgue partitions dorgue baroque musique sacre pour orgue partitions de bach pour orgue partitions romantiques pour orgue musique contemporaine dorgue compositions impressionnistes pour orgue partitions de musique religieuse pour orgue partitions de musique franaise pour orgue musique mditative pour orgue compositions virtuoses pour orgue partitions dorgue romantique musique festive pour orgue musique pour crmonie dorgue partitions dorgue de mariage compositions pour orgue moderne partitions dorgue solennelle musique dorgue contemporaine partitions de musique chorale pour orgue compositions pour orgue sacr partitions dorgue classique musique de chambre pour orgue partitions dorgue jazz compositions pour orgue lectrique musique pour orgue et orchestre partitions dorgue en rcital compositions dorgue romantique organ music publications symphony scores for organ handel organ concertos widor symphonies music education materials organ composition techniques musical transcription services classical organ music contemporary organ compositions organ music pedagogy organ symphony sheet music handel concertos transcription widor symphony editions music teaching resources organ music arrangement classical music publications organ music theory organ performance techniques music composition services organ music repertoire online organ sheet music solo organ compositions liturgical music for organ baroque organ sheet music sacred music for organ bach organ sheet music romantic organ sheet music contemporary organ music impressionistic organ compositions religious organ sheet music orgelmusik publikationen orgelsymphonie partituren hndel orgelkonzerte widor symphonien musikbildungsmaterialien orgelkompositionstechniken musikalische transkriptionsdienste klassische orgelmusik zeitgenssische orgelkompositionen orgelmusikpdagogik orgelsymphonie noten transkription von hndel konzerten widor symphonie ausgaben musikunterrichtsressourcen orgelmusikarrangement klassische musikpublikationen orgelmusiktheorie orgelperformanztechniken musikkompositionsdienste orgelmusikrepertoire online orgelnoten kompositionen fr soloorgel liturgische musik fr orgel barocke orgelnoten sakrale musik fr orgel bach orgelnoten romantische orgelnoten zeitgenssische orgelmusik impressionistische orgelkompositionen religise orgelnoten franzsische orgelmusiknoten meditative musik fr orgel virtuose orgelkompositionen festliche musik fr orgel orgelmusik fr zeremonien hochzeitsorgelnoten moderne orgelkompositionen orgelnoten fr feierliche anlsse chorale orgelnoten sakrale orgelkompositionen klassische orgelnoten kammermusik fr orgel jazz orgelnoten elektrische orgelkompositionen orgelmusik mit orchester orgelnoten fr konzerte romantische orgelkompositionen

[classicarte]

Symphonie pour orgue n.° 8 en si majeur, Op. 42, n.° 4 : II. Moderato cantabile – Charles-Marie Widor

Détail de « L'Ange semeur », par Armand Cambon (ca. 1860).

Detail of “Sowing Angel”, by Armand Cambon (ca. 1860).

[blackswaneuroparedux]

Anonymous asked: I always think of you as Kristin Scott Thomas’ character Fiona in Four Weddings and a Funeral as a beautiful woman who is scarily clever and classy. So with my upcoming wedding (next year!) and especially wedding music I thought of you. I really would appreciate your advice on Mendelssohn or Wagner as they seem to be the traditional choices of music to play at a traditional church wedding. My fiancé isn’t bothered what music we play but I can’t decide. Please do help as I value your unvarnished truth.

Thank you for the flattering words which while well intentioned are nevertheless entirely misplaced.

Swiftly moving on, a sincere congratulations on your forthcoming wedding. I can only imagine how stressful it must be running around like a headless chicken trying to desperately organise everything. And desperate you certainly must be - perhaps even certifiably insane -  if you’re turning to me on Tumblr for advice!

I’m not married....yet ( oops! better get that caveat in before I am chastised by those who really know me)  but I am a wedding veteran - some would even say, a jaded one (thank you, mummy).

Every season there is a string of wedding invitations that I can’t turn down and I feel obligated to attend. While great fun, one wedding starts to blur into another especially when the champagne starts to copiously flow. I have my own thoughts on the good, the bad, and the tacky about wedding etiquette but I don’t want to disappear down that rabbit hole. Instead let’s talk about Mendelssohn and Wagner.

Both music pieces have traditionally struck a chord (pardon the pun) and have become a staple of traditional weddings since time immemorial.

Mendelssohn's ‘Wedding March’ was originally composed in 1842. He got there first.

Wagner's ‘Bridal Chorus’ came later in 1848. The ‘Bridal Chorus’ became a popularised piece to play at weddings around Europe after it was most memorably used as the processional at the wedding of Victoria, the Princess Royal to Prince Frederick William of Prussia in 1858. Nowadays - certainly in Britain and the US -  it is generally known as "Here Comes the Bride”.

I suppose the straight forward answer is that it doesn’t have to be Wagner vs. Mendelssohn. Why not both?  Wagner’s ‘Bridal Chorus’ can be used for the entrance processional of the bride walking down the aisle and the Mendelssohn ‘Wedding March’ for the recessional walk out of the church.

But you did say you wanted my ‘unvarnished truth’ so allow me the small luxury of an arm chair rant from the Coronavirus self-isolation of my Paris apartment. 

Of the two I would definitely ditch the Wagner piece. Please don’t misunderstood me. I am a huge fan of Wagner’s music - like any true Wagnerian I have taken more than one pilgrimage to Beyreuth - but in this case playing Wagner’s music would show a frightful ignorance of the meaning behind the ‘Bridal Chorus’ piece.  

I don’t know why more people haven’t picked up on this but I’ve always found it a terribly odd piece to play at a wedding especially as it originates from Wagner’s masterful opera, Lohengrin.

Wagner came upon the opera's inspiration around 1845 when he took interest in the legend of the Holy Grail through the poems of Wolfram von Eschenbach and the anonymous epic of Lohengrin. Composed by 1848, Lohengrin features "Bridal Chorus" as the prelude to a very short-lived, doomed marriage between Elsa and Lohengrin.

The famous ‘Bridal Chorus’ is lustily sung by women of the bridal party serenading Elsa to the bridal suite after the wedding in Act III. Elsa is not allowed to know her true knight’s true name and identity. But this is a romantic German opera and so of course Lohengrin is found out with dire consequences for all.  A sad Lohengrin ends up revealing that  he is in fact a knight of the Grail and son of King Parsifal, sent to protect an unjustly accused woman. The laws of the Holy Grail say that Knights of the Grail must remain anonymous. If their identity is revealed, they must return home. Lohengrin is lead back to the castle of the Holy Grail. Elsa is grief stricken at being left behind.  Poor Elsa (naturally) collapses and dies with a broken heart.

Charming.

To say it’s not the happiest of allusions of looking forward to a long life of wedded bliss would be an understatement.

However my objections against Wagner’s ‘Bridal Chorus’ goes beyond this. For one thing I find it rather too sombre - Oh dear God! Is marriage really like this?!

My main ire is that it overly used and therefore boring to listen to. And when one is bored the mind wanders.

In my case, without sounding malicious, my mind just drifts to whispering mischievous lyrics under my breath that go like, “here comes the bride, big fat and wide, here comes the groom, skinny as a broom.” Try as I might I can never get those words out of my silly mind whenever I hear the organ music playing “Here come’s the bride.” Not my finest hour.

Now Mendelssohn’s ‘Wedding March’ is different beast entirely. Beast being the operative word as we are dealing with Pagan deities.

Typically used in church wedding recessionals, the ‘Wedding March’ piece has sparked controversy due to its literary origins. The Prussian monarch Friedrich Wilhelm IV commissioned Mendelssohn to compose incidental music for many pieces that were based upon Greek mythology and tragedy in order to revive the genre of literature and performance. Among his commissions, in 1843 Mendelssohn composed a setting for William Shakespeare's A Midsummer Night's Dream; the setting comprises twelve musical numbers and a finale. The plot of Shakespeare's play focuses on a pagan god and goddess and is filled with fairies, magic, and fantasy. Due to the piece's pagan, fantastic inspirations, some puritanical leaders and musicians - particularly in Roman Catholic churches - have found the piece to be inappropriate for a Christian religious ceremony. In its defence at least Shakespeare’s A Midsummer Night's Dream was a comedy with a happy ending.

If you’re feeling traditional rather than puritanical then the joyous Mendelssohn ‘Wedding March’ might still be a great option either as a processional or recessional.

If you’re looking for options outside of either Wagner and Mendelssohn then it’s really a matter of exercising good taste alongside what suits the personal tone of your wedding.

Off the top of my head I keep coming back to Johann Sebastian Bach.

Bach’s many cantatas and fugues seem to tick all the boxes. In particular there is Jesu, Joy of Man's Desiring (derived from the cantata Herz und Mund und Tat und Leben, "Heart and Mouth and Deed and Life”). There is also the Toccata and Fugue in D minor ‘Dorian’ BWV 538 and the Toccata and Fugue in F Major, BWV 540.  Arioso in A flat for solo piano from Cantata No. 156 "Ich steh`mit einem Fuss im Grabe is softly elegant. A particular favourite piece of mine is Weichet nur, betrübte Schatten, BWV 202, the ‘Wedding Cantata’. Of course many would point out that Bach’s Ave Maria would be perfect for a processional but I would think twice about that. As beautiful as the piece is it is about the Virgin Mary after all and you may invite unwanted speculation from your guests if you are (cough) chaste.

Trumpet Tune in D by Jeremiah Clarke is a little more festive. Or consider his more famous Trumpet Voluntary ‘The Prince of Denmark's March’.

Charles-Marie Widor  was a fine composer and his Toccata (from Symphony for Organ No. 5) is spiritually intense for traditional organ music.

Eugène Gigout's famous Grand Chœur Dialogué might appeal to you as well.

G.F. Handel’s Water Music Suite - Air has a graceful and calming tone. The Arrival of The Queen of Sheba (Solomon) HWV 67 is upbeat and was made for a processional.

Beethoven’s Für Elise is perfect to calm last minute panic attacks before you go up the aisle.

And how can one forget Wolfgang Amadeus Mozart?

The Serenade No. 13 for strings in G major, K. 525 or more commonly known as Eine kleine Nachtmusik KV. 525 - II. Romanze: Andante is a beautiful melody familiar to many and sets a soothing tone. Ave verum corpus, K.618 is profoundly spiritual and lifts your hearts up to the angels. ‘Alleluia’ from ‘Exsultate, jubilate’ is wonderful if you can get your hands on a competent soprano. If you are feeling more adventurous then the Spanish Wedding March from The Marriage of Figaro which might be to your taste. 

Elgar’s Salut d'Amour, Op. 12 is soft, inviting and makes one feel you’re in some 19th Century romance novel set at court.

Elgar finished the piece in July 1888, when he was romantically involved with Caroline Alice Roberts, and he called it Liebesgruss ('Love's Greeting') because of Miss Roberts' fluency in German. When he returned home to London on 22 September from a holiday at the house of his friend Dr. Charles Buck, in Settle, he presented it to her as an engagement present. The dedication was in French: à Carice. 'Carice' was a combination of his wife's names Caroline Alice, and was the name to be given to their daughter born two years later.

Edvard Grieg’s Wedding Day at Troldhauen, Op. 65, no. 6 is magnificently playful.

Jean-Joseph Mouret’s Rondeau from Sinfonie de Fanfares is a beautiful Baroque piece. What’s a wedding without trumpets that could be heard all the way into the heavens?

Gluck’s Dance of the Blessed Spirits from his Orfeo et Euridice can be an elegant choice to do a recessional. Perfect for sensitive souls.

Gabriel Fauré’s Pavane, Op. 50 is sublime. I can never get tired of listening to it. Would make a worthy piece as a processional.

I would also throw into the mix Gaetano Donizetti’s ‘Una furtiva lagrima’ (A furtive tear) is the romanza from Act II of his delightful opera L'elisir d'amore.

It is sung by Nemorino (a tenor) when it appears that the love potion he bought to win the heart of his dream lady, Adina, works. Nemorino is in love with Adina, but she is not interested in a relationship with an innocent, rustic man. To win her heart, Nemorino buys a love potion with all the money he has in his pocket. That love potion is actually a cheap red wine sold by a traveling quack doctor, but when he sees Adina weeping, he knows that she has fallen in love with him, and he is sure that the "elixir" has worked. It may not fit your idea of a processional but I would try and use it some where in your wedding - perhaps at the reception.

I feel guilty about trashing on Wagner and Mendelssohn so I will leave you with two final thoughts. Reconsider Wagner’s opera Lohengrin. Forget the Bridal Chorus but instead listen to the chorus ‘Gesegnet soll sie schreiten’ in Act II. The various horns give this chorus a dreamlike quality and you feel like you are floating on air. Mendelssohn’s On Wings of Song is a powerful and poignant piano piece and quite suitable to play as your guests away your arrival in church.

I am sure there are other great classical music pieces that I have neglected to mention but others reading this might give their thoughts in the comments below.

If knowledge is knowing a tomato is a fruit, then wisdom is not putting it in a fruit salad. So give careful and considered thought to what music you throw together into the mix as your church wedding processional and recessional.

Congratulations again and I hope it’s a special day for both of you and your families and friends.

Thanks for your question.

[thierrymechler]

ORGAN ACADEMY IN DUISBURG from April 23 to April 26, 2020 at St. Johann Premonstratensian Abbey in Duisburg-Hamborn, Germany by Thierry Mechler, concert artist, professor at the Hochschule für Musik und Tanz Köln and organist at the Cologne Philharmonie. Organ pupils and students, as well as church organists and concert performers can participate in this seminar. A maximum of eight organists may be admitted to participate actively. The number of listeners is unlimited. Active course price 150 €, listeners 75 €. At the end of the seminar, the selected participants will give a closing concert at the abbey church on Sunday April 26, 2020 at 4.30 p.m. Classes will take place from 10 a.m. to 1 p.m. and from 2 p.m. The course themes will focus on the art of touch, articulation, phrasing, breathing, accentuation and registration. The choice of the repertoire remains free, the following compositions for information only. N. de Grigny - Organ book L.N Clérambault - the 2 suites C. Franck - the organ work C.M. Widor - the 10 symphonies L. Vierne- Fantasy Pieces, 6 symphonies M. Dupré - 3 Preludes and fugues, Symphony Passion, Chemin de La Croix J. Alain, M. Duruflé, O. Messiaen - the organ work Registration deadline March 31, 2020. ˋ Information and registration: Cantor Peter Bartetzky, Hufstr. 78 D. 47166 Duisburg-Germany E-mail peter.bartetzky@abtei-Hamborn.de Payment for lessons will be made by bank transfer to Propstei St. Johann IBAN: DE24 3506 0386 5111 2000 08 #organ #masterclass #orgelkurs #thierrymechler #pedagogy #kunst #art #pipeorgan #organmusic #organist #pedagogie #classicalmusic #classicalmusicians https://www.instagram.com/p/B8eWolYAjcw/?igshid=473obdmpha1s

[sdws]

Recently restored organ was honored with a full program including //

Octopus Chamber Choir  Litanies Jehan Alain The Beatitudes Arvo Pärt Te Deum in C Benjamin Britten Chichester Psalms Leonard Bernstein

Bernard Foccroulle / Yoann Tardive – Salva Sanchis dance Kyrie, Christe, Kyrie Anonymous (Codex Faenza, ca 1400) Fanfare II (1972) Philippe Boesmans Première Fantaisie Jehan Alain Deuxième Fantaisie Jehan Alain The Fifth Hammer (Belgian premiere) Thomas Lacôte

Koen Maas - Pieter Pellens / soprano saxophone – Eric Sleichim alto saxophone – Piet Rebel tenor saxophone – Raf Minten baritone saxophone – Reitze Smits organ Water Music Suite, HWV 348-350 (arr. by Eric Sleichim & Reitze Smits) Georg Friedrich Händel Le Chaos (Les Élemens) - arr. Eric Sleichim Jean-Fery Rebel Ciaconne (Andante larghetto, e staccato - Concerto op. 7/5, HWV 310) Georg Friedrich Händel Music for the Royal Fireworks, HWV 351 (arr. Eric Sleichim & Reitze Smits) Georg Friedrich Händel

Damien Leurquin organ – Bart Verheyen organ – Maria Vekilova organ Ballo del Granduca Jan Pieterszoon Sweelinck Choral "Wachet auf, ruft uns die Stimme", BWV 645 Johann Sebastian Bach Carillon de Westminster, op. 54/3 (24 pièces de fantaisie) Louis Vierne Prelude and fugue in a (after J.S. Bach) Franz Liszt Toccata und Fuge, BWV 565 Johann Sebastian Bach Ich ruf zu dir Herr Jesu Christ, BWV 639 Johann Sebastian Bach Wenn wir in höchsten Nöthen sein, BWV 641 Johann Sebastian Bach Toccata (Symphonie n° 5) Charles Marie Widor

Francesco Filidei

Anna von Hausswolff & Band

[vincentdelaplage]

"LE PREMIER MÉRITE D'UN TABLEAU EST D'ÊTRE UNE FÊTE POUR L'OEIL" DELACROIX https://culturejai.fr/?p=9074 La Lutte de Jacob avec l'Ange est une peinture murale réalisée par Eugène Delacroix dans les années 1850 et achevée en 1861, pour la chapelle des Saints-Anges à l'église Saint-Sulpice de Paris. Widor : Final Symphonie n° 6 - Vincent Dubois à St Sulpice https://youtu.be/jJMBRSb9mK4 Eugène Delacroix n’était peut-être pas un croyant invétéré, mais il a réellement vécu ce doute permanent propre à de nombreuses âmes attirées par le Mystère. Il l’a laissé entrer dans sa propre chair. Et la peinture servait de réceptacle à sa quête spirituelle, comme des marches à gravir pour atteindre l’apaisement de l’âme. En plein travail sur La Lutte de Jacob avec l’Ange, il avouait même : « Mais d’où vient que ce combat éternel, au lieu de m’abattre, me relève, au lieu de me décourager, me console ? ». https://www.instagram.com/p/CBvO1EuKb23/?igshid=gvvf5mx9k18p

[lesser-known-composers]

Charles-Marie Jean Albert Widor (Lyon, 1844 -- Paris, 1937) Symphony Nr. 1 in F minor/major, Op. 16 (1873) Movements: 1. Allegro con moto (0:00) 2. Andante (6:30) 3. Scherzo: Presto (13:52) 4. Finale: Allegro con brio (18:23) Performed by the Ulster Orchestra, conducted by Kenneth Montgomery Illustration: Palais de Luxembourg, Paris, around 1900. CC-BY Wikimedia Commons.

[todayclassical]

March 12 in Music History

604 Birth of Pope Gregory, developed the Gregorian chant. 1515 Birth of German composer Caspar Othmayr, in Amberg. 

1655 FP of La Guerre's Le Triomphe de l'Amour. 

1710 Birth of English composer Thomas Augustine Arne in London.  1726 FP of G. F. Handel's opera Scipione at the King's Theater in the Haymarket, London.

1793 Birth of composer Augustin-Philippe Peellaert.

1826 Birth of soprano Sofia Cruvelli in Bielefeld.  

1826 Birth of composer Robert Lowry.

1832 Death of German composer Daniel Frederik Rudolph Kuhlau. 

1837 Birth of French organist and composer for the organ, Felix Alexandre Guilmant. 

1850 Birth of German musicologist Heinrich Reimann. 

1857 FP of Verdi's opera Simone Boccanegra in Venice.

1863 Birth of tenor Georg Anthes in Bad Homburg. 

1859 Birth of composer Josef Cyril Sychra.

1860 Birth of composer Salvatore Di Giacomo.

1865 Birth of tenor Edoardo Garbin in Padua.  

1869 Death of Russian composer Ernst Haberbier in Bergin, Norway.

1874 Birth of Austrian composer Edmund Eysler.

1875 Birth of composer Julio Garreta.

1878 Birth of composer Joseph Gustav Mraczek.

1878 Death of bass Osip Petrov. 

1878 Birth of bass-baritone Walther Soomer in Liegnitz. 

1879 Birth of bass Vasily Petrov in Alexeyevka, Ukraine. 

1883 Birth of soprano Ester Mazzoleni in Sebenico. 

1888 Birth of German conductor Hans Knappertsbusch. 

1888 Birth of composer Hall Johnson.

1898 FP of V. Kalinnikov's Symphony No. 2, in Kiev. 

1899 Birth of tenor Hans Fidesser in Vienna. 

1900 Birth of tenor Vladimir Toms in Chrudim. 

1899 Death of soprano Mary Anne Goward.

1903 The MET Opera stages Ethel Smyth's Der Wald. 

1908 Birth of tenor Eugene Conley. 

1912 Birth of American composer and conductor Paul Weston.

1912 Birth of Canadian-American composer Theodore "Ted" Norman. 

1912 Birth of tenor Franciszek Arno in Wilno. 

1914 Birth of composer Jan Kapr.

1921 Birth of American composer, conductor Ralph Shapey, in Philadelphia. 

1922 Birth of composer Thomas Hugh Eastwood.

1923 Birth of Austrian-English violinist Norbert Brainin.

1925 Birth of composer Georges Delerue.

1925 Birth of soprano Helga Pilarczyk in Brunswick.

1926 Birth of bass Zoltan Keleman in Budapest.

1926 Birth of American composer Rolv Yttrehus.

1928 Birth of English trumpeter Philip Jones in Bath. 

1929 Birth of composer Francisco Bernardo Pulgar Vidal.

1930 Birth of baritone Russell Christopher in Grand Rapids, Michigan. 

1930 Birth of composer Stanko Horvat.

1934 First complete performance of Paul Hindemith's symphonic suite Mathis der Maler, by the Berlin P. O. Wilhelm Fürtwängler conducting.

1937 Birth of Welsh soprano Elizabeth Vaughan in Llanfyllin, N Wales.

1937 Death of French composer and organist Charles Marie Widor in Paris. 

1937 Death of Hungarian composer Jeno Hubay in Budapest. 

1938 Birth of composer Tona Scherchen-Hsiao.

1938 Birth of composer Dimitri Terzakis.

1938 Hitler takes Vienna. Nazi's force exile of musicians and reduce the Salzburg Festival to mediocrity.

1939 Birth of tenor Veriano Luchetti in Tuscany. 

1941 Birth of Finnish pianist, composer  Erkki Olavi Salmenhaara in Helsinki.

1941 Death of singing coach Isadora Luckstone. 

1943 FP of Copland's Fanfare for the Common Man in Cincinnati. 

1945 WW II continues, allies bomb Vienna Opera House.

1954 FP of Arnold Schoeberg's opera Moses und Aron.

1958 Birth of Italian composer Davide Zannoni in Spoleto, Italy.

1959 Birth of soprano Catherine Dubosc in Lille. 

1964 FP of B. Britten's Symphony for Cello and Orchestra. Rostropovich, cellist; Britten, conducting, in Moscow.

1965 FP of Witold Lutoslawski's String Quartet. LaSalle Quartet in Stockholm. 

1969 Birth of mezzo-soprano Kristine Zadovska.

1970 Death of soprano Grete Merrem-Nikisch. 

1978 Death of composer and conductor Tolchard Evans. 

1985 Death of Hungarian-American conductor Eugene Ormandy. 

1988 Death of mezzo-soprano Gianna Pederzini. 

1991 Death of bass Michael Langdon.

1991 Death of bass Nicola Rossi-Lemen. 

1995 Death of soprano Rita Talarico. 

1999 Death of soprano Bidu Sayao. 

1999 Death of American violinist and conductor Yehudi Menuhin

[lipwak]

VHS #396

VHS #396

4 Mountain Stages:  Los Lobos & Habib Koite, Great Pickers, Americana, Jerry Douglas & Leo Kottke and Mike Gordon, excerpts from Paolo Conti - Face On Loan, Toccata from Widor organ symphony #5, Etta James on Tavis Smiley 2007 - At Last, Van Morrison at Montreaux 1980.

***

Mountain stage: Los Lobos & Habib Koite 2003

Los Lobos

Malaque (https://youtu.be/V8CaEq2Spm4) Not this clip. Maria Christina (https://youtu.be/jKmbQi4gRIM) Not this clip. talk with David Hidalgo Hearts of Stone(https://youtu.be/0b79qasoPt4) This clip.

Habib Koite and Bamata Fatma (https://youtu.be/iYDSNUX-ANY) Not this clip. Nimato (https://youtu.be/fYGpP2vat0Q) Not this clip.

Los Lobos Luz De Me Vida (https://youtu.be/PSoFLozPyrs) Not this clip. David talks again Good Morning Aztlan (https://youtu.be/O1UcoEXQieU) Not this clip. Don’t Worry Baby (https://youtu.be/McyG6WJQAb0) Not this clip.

***

Mountain Stage: Great Pickers 2003

Jerry Douglas Senia’s Lament (https://youtu.be/WQRvYkLm0QI) Not this clip. We Hide And Seek (https://youtu.be/otc_4AzUoPk) Not this clip.

Ricky Skaggs Amanda Jewell (https://youtu.be/sxaOWFrBoLo) Not this clip.

Sonny Landreth Port of Calling/Ioana (https://youtu.be/mtjc7PC8H2A) This clip!

Mark Selby Down By The Tracks (https://youtu.be/LQbpcaBRcec) Not this clip.

Dereck Trucks band Cheesecake (https://youtu.be/LO_-AwXBWdk) Not this clip.

Leo Kottke w/ Mike Gordon Disco (https://youtu.be/usxEITQ4ri0) Not this clip. something familiar of Leo’s which they don’t credit. (Living In The Country?) (https://youtu.be/p_-zqJ0DhNo) Not this clip.

John Pizzarelli Trio They Can’t Take That Away From Me (https://youtu.be/38Z3po46G7w) Not this clip. I Got Rhythm (https://youtu.be/OZ5KYc_s4bE) Not this clip.

***

Mountain Stage: Americana 2003

Guy Clark Sis Draper (https://youtu.be/ozxw_2xx5X4) Not this clip.

Buddy & Julie Miller I Still Cry (https://youtu.be/cFHX8_B7Ey8) Not this clip.

Delbert McCinton w/ Marsha Ball Read Me My Rights (https://youtu.be/3pg56phvHYE) This clip!

Billy Joe Shaver Magnolia Mothers Love (https://youtu.be/J7Qyq3Z3RLQ) Not this clip.

Amy Rigby Magicians (https://youtu.be/QoyRv7OeWXU) Not this clip.

Paul Thorn Mission Temple Fireworks Stand (https://youtu.be/BXPnD368f-0) Not this clip.

Jack Ingram Goodnight Moon (https://youtu.be/8HKzwzgRY6o) Not this clip.

Jimmy LaFave Bad, Bad Girl (https://youtu.be/ST0oUYZ-YXU) Not this clip.

Joan Baez Rexroth’s Daughter (https://youtu.be/ifIz5ABwMwk) Not this clip.

Josh Ritter Me and Jiggs (https://youtu.be/iT6O4wQQrF0) Not this clip.

Richard Shindell Arrowhead (https://youtu.be/lFULBkbOl4Q) Not this clip.

Rosanne Cash Rules of Travel (https://youtu.be/M_MNSdvGmtE) Not this clip.

***

Mountain Stage missed beginning

Jerry Douglas Wild Rumpus (https://youtu.be/ubi9C_v6bIM) This clip! Jerry talks Senia’s Lament (https://youtu.be/WQRvYkLm0QI) Not this clip. intros band Cave Bop (https://youtu.be/-pWMcd3c_NM) Not this clip. Jerry talks We Hide And Seek (https://youtu.be/otc_4AzUoPk) Not this clip.

Leo Kottke and Mike Gordon Disco (https://youtu.be/usxEITQ4ri0) Not this clip. Living In The Country (https://youtu.be/p_-zqJ0DhNo) Not this clip. they talk The Collins Missile (https://youtu.be/gGOPsQYutpM) Not this clip. From Pizza Towers To Defeat (https://youtu.be/iGVu3MfY2KI) Not this clip. William Powell (https://youtu.be/n78mEixU1w8) Not this clip. Rings (https://youtu.be/2zBMvNGlMSI) Not this clip, although it has the same intro...

***

Paolo Conti - Face On Loan excerpts rec 7/3/08 Ovation

intro - it’s wonderful, it’s wonderful, it’s wonderful (https://youtu.be/BZOObJjjiOA) Not this clip. shoeshiner (w/ kazoo & fast guitar) = Lo Zio (https://youtu.be/eYnBwQqqtjk) Not this clip. Gli impermeabili (old favorite of mine) (https://youtu.be/DEH-ckKC_3U) Not this clip. unknown song w/ accordions repeating

***

Toccata from Widor organ symphony #5 on St Denis organ of Paris & by Denise Bish w/ man (From The Joy of Music) (https://youtu.be/I6kXGMSYmVI) Not this clip.

(WMFE-TV)

***

Etta James on Tavis Smiley 2007 (w/ 2 sons) - At Last (https://youtu.be/edGDt5izxIg) This clip!

***

Van Morrison at Montreaux 1980 56:26 w/ WLIW pledge breaks edited out See the whole thing here! (https://youtu.be/i9cffwu-Pc0)

Wavelength Kingdom Hall And It Stoned Me Moondance Haunts of Ancient Peace Wild Night Listen To The Lion Tupelo Honey Angelou

[leyhejuhyunghan]

Les XX and music Conservatoire de Paris Paul Marie Théodore Vincent d'Indy (French, 1851–1931) Poème des rivages (1919-21) on Kant sublime and Vincent Willem van Gogh (Dutch, 1853–1890)

Les XX and music Conservatoire de Paris Paul Marie Théodore Vincent d'Indy (French, 1851–1931) Poème des rivages (1919-21) on Kant sublime and Vincent Willem van Gogh (Dutch, 1853–1890)

Paul Marie Théodore Vincent d'Indy (French: [vɛ̃sɑ̃ dɛ̃di]; 27 March 1851 – 2 December 1931) was a French composer and teacher.

Vincent d'Indy, ca. 1895 https://en.wikipedia.org/wiki/Vincent_d%27Indy#/media/File:D%27Indi_Vincent_Postcard-1910.jpg

Life[edit]

Paul Marie Théodore Vincent d'Indy was born in Paris into an aristocratic family of royalist and Catholic persuasion. He had piano lessons from an early age from his paternal grandmother, who passed him on to Antoine François Marmontel and Louis Diémer.[1] From the age of 14 he studied harmony with Albert Lavignac. At age 19, during the Franco-Prussian War, he enlisted in the National Guard, but returned to musical life as soon as the hostilities were over. The first of his works he heard performed was a Symphonie italienne, at an orchestral rehearsal under Jules Pasdeloup; the work was admired by Georges Bizet and Jules Massenet, with whom he had already become acquainted.[1] On the advice of Henri Duparc, he became a devoted student of César Franck at the Conservatoire de Paris. As a follower of Franck, d'Indy came to admire what he considered the standards of German symphonism.

Vincent d'Indy, sculpture by Antoine Bourdelle In the summer of 1873 he visited Germany, where he met Franz Liszt and Johannes Brahms.[1] On 25 January 1874 his overture Les Piccolomini was performed at a Pasdeloup concert, sandwiched between works by Bach and Beethoven.[1] Around this time he married Isabelle de Pampelonne, one of his cousins. In 1875 his symphony dedicated to János Hunyadi was performed. That same year he played a minor role – the prompter – at the premiere of Bizet's opera Carmen.[1] In 1876 he was present at the first production of Richard Wagner's Ring Cycle at Bayreuth. This made a great impression on him and he became a fervent Wagnerite. In 1878 d'Indy's symphonic ballad La Forêt enchantée was performed. In 1882 he heard Wagner's Parsifal. In 1883 his choral work Le Chant de la cloche appeared. In 1884 his symphonic poem Saugefleurie was premiered. His piano suite ("symphonic poem for piano") called Poème des montagnes came from around this time. In 1887 appeared his Suite in D for trumpet, 2 flutes and string quartet. That same year he was involved in Lamoureux's production of Wagner's Lohengrin as choirmaster. His music drama Fervaal occupied him between 1889 and 1895.

Inspired by his own studies with Franck and dissatisfied with the standard of teaching at the Conservatoire de Paris, d'Indy, together with Charles Bordes and Alexandre Guilmant, founded the Schola Cantorum de Paris in 1894. D'Indy taught there and later at the Paris Conservatoire until his death. Among his many students were Isaac Albéniz, Leo Arnaud, Joseph Canteloube (who later wrote d'Indy's biography), Pierre Capdevielle, Jean Daetwyler, Arthur Honegger, Eugène Lapierre, Leevi Madetoja, Albéric Magnard, Rodolphe Mathieu, Darius Milhaud, Helena Munktell, Cole Porter, Albert Roussel, Erik Satie, Georges-Émile Tanguay, Otto Albert Tichý, Emiliana de Zubeldia and Xian Xinghai, Ahmet Adnan Saygun. Xian was one of the earliest Chinese composers of western classical music See: List of music students by teacher: C to F#Vincent d'Indy. While A. A. Saygun became one of the pioneers of classical music in Turkey.

Few of d'Indy's works are performed regularly today. His best known pieces are probably the Symphony on a French Mountain Air (Symphonie sur un chant montagnard français, also known as Symphonie cévenole) for piano and orchestra (1886), and Istar (1896), a symphonic poem in the form of a set of variations in which the theme appears only at the end.[1]

Vincent d'Indy in 1913. Among d'Indy's other works are other orchestral music (including a Symphony in B♭, a vast symphonic poem, Jour d'été à la montagne, and another, Souvenirs, written on the death of his first wife; he later remarried), chamber music, including two of the most highly regarded string quartets of the latter nineteenth century (No. 2 in E major, Op. 45, and No. 3 in D-flat, Op. 96), piano music (including a Sonata in E minor), songs and a number of operas, including Fervaal (1897) and L'Étranger (1902). His music drama Le Légende de Saint Christophe, based on themes from Gregorian chant, was performed for the first, and possibly last, time, on 6 June 1920. His comédie musicale had its premiere in paris on 10 June 1927. His Lied for cello and orchestra, Op. 19, was recorded by Julian Lloyd Webber and the English Chamber Orchestra conducted by Yan Pascal Tortelier in 1991. As well as Franck, d'Indy's works show the influence of Berlioz and especially of Wagner.

D'Indy helped revive a number of then largely forgotten early works, for example, making his own edition of Claudio Monteverdi's opera L'incoronazione di Poppea.

His musical writings include the co-written three-volume Cours de composition musicale (1903–1905), as well as studies of Franck and Beethoven.

D'Indy died where he was born, in Paris.

Political views[edit]

D'Indy was a committed monarchist, joining the League of la Patrie française during the Dreyfus affair. He was anti-Semitic, but did not extend this bias to his Jewish colleagues.[1]

Critical reaction[edit]

Vincent d'Indy, photo: Library of Congress Opera critic Arthur Elson, writing in 1901, while appreciating d'Indy, prefers another composer.[2]:343–44

Of the younger men, Vincent d'Indy (1851– ) has shown himself abreast of the times, and his Fervaal, with a libretto of "rhythmic prose," is a worthy example of the school of operatic realism and musical complexity. [...] But the most prominent composer for the Paris stage at present is Alfred Bruneau. [...] [I]n Le Réve [sic] (1891), on a libretto from Zola's novel, he began the career that has won him his present position.

In a post-Wagner age under "the artistic domination of Bayreuth," Elson describes two "paths" in contemporary opera, one path being more conservative[2]:350–51

while the other has led to the uttermost regions of modern polyphony and dissonance. [...] Among the more radical group, corresponding to Bruneau, d'Indy and Franck, the most daring work has been done by Richard Strauss.

In Elson's opinion, those following the more conservative path are Cornelius, Goetz, Humperdinck, Goldmark, Saint-Saëns and Massenet.

Legacy[edit]

The private music college École de musique Vincent-d'Indy in Montreal, Canada, is named after the composer, as is the asteroid 11530 d’Indy. https://en.wikipedia.org/wiki/Vincent_d%27Indy

Symphony on a French Mountain Air, Op. 25 by Vincent D’indy (1886) https://youtu.be/ojHuauK7vlg

Vincent d'Indy Poème des rivages Op.77 (1919-21) Part I https://youtu.be/SnPH-6mim60

Movements/Sections 4 movements Calme et Lumière. Agay (Méditerranée) La joie du bleu profond. Miramar de Mallorca (Méditerranée) Horizons verts. Falconara (Adriatique) Le mystère de l'Océan. La Grande Côte (Golfe de Gascogne) http://imslp.org/wiki/Poème_des_rivages%2C_Op.77_(Indy%2C_Vincent_d%27)

The Conservatoire de Paris (pronounced [kɔ̃.sɛʁ.va.twaʁ də pa.ʁi]; English: Paris Conservatory) is a college of music and dance founded in 1795 associated with PSL Research University. It is situated in the avenue Jean Jaurès in the 19th arrondissement of Paris, France. The Conservatoire offers instruction in music, dance, and drama, drawing on the traditions of the "French School".

In 1946 it was split in two, one part for acting, theatre and drama, known as the Conservatoire national supérieur d'art dramatique (CNSAD), and the other for music and dance, known as the Conservatoire national supérieur de musique et de danse de Paris (CNSMDP). Today the conservatories operate under the auspices of the Ministry of Culture and Communication.

Franco-Prussian War and the Third Republic[edit] In the Franco-Prussian War, during the siege of Paris (September 1870 – January 1871), the Conservatory was used as a hospital. On 13 May 1871, the day after Auber's death, the leaders of the Paris Commune appointed Francisco Salvador-Daniel as the director - however Daniel was shot and killed ten days later by the troops of the French Army. He was replaced by Ambroise Thomas, who remained in the post until 1896. Thomas's rather conservative directorship was vigorously criticized by many of the students, notably Claude Debussy.[2]

Piano class of Charles de Bériot in 1895 with Maurice Ravel on the left During this period César Franck was ostensibly the organ teacher, but was actually giving classes in composition. His classes were attended by several students who were later to become important composers, including Ernest Chausson, Guy Ropartz, Guillaume Lekeu, Charles Bordes, and Vincent d'Indy.[2]

Théodore Dubois succeeded Thomas after the latter's death in 1896. Professors included Charles-Marie Widor, Gabriel Fauré, and Charles Lenepveu for composition, Alexandre Guilmant for organ, Paul Taffanel for flute, and Louis Diémer for piano.[2]

Gabriel Fauré[edit]

Fauré in his office at the Conservatoire, 1918 Lenepveu had been expected to succeed Dubois as director, but after the "Affaire Ravel" in 1905, Ravel's teacher Gabriel Faurébecame director. Le Courier Musical (15 June 1905) wrote: "Gabriel Fauré is an independent thinker: that is to say, there is much we can expect from him, and it is with joy that we welcome his nomination."[14]

Fauré appointed forward-thinking representatives (such as Debussy, Paul Dukas, and André Messager) to the governing council, loosened restrictions on repertoire, and added conducting and music history to the courses of study. Widor's composition students during this period included Darius Milhaud, Arthur Honegger, and Germaine Tailleferre. Other students included Lili Boulanger and Nadia Boulanger. New to the staff were Alfred Cortot for piano and Eugène Gigout for organ.[2]

The modern era[edit]

The CNSMDP new building at the Cité de la Musique. The Conservatory moved to facilities at 14 rue de Madrid in 1911.[2]

Henri Rabaud succeeded Fauré in 1920 and served until 1941. Notable students were Olivier Messiaen, Jean Langlais, and Jehan Alain. Staff included Dukas and Jean Roger-Ducasse for composition, Marcel Dupré for organ, Marcel Moyse for flute, and Claire Croiza for singing.[2]

Claude Delvincourt was director from 1941 until his tragic death in an automobile accident in 1954. Delvincourt was a progressive administrator, adding classes in harpsichord, saxophone, percussion, and the Ondes Martenot. Staff included Milhaud for composition and Messiaen for analysis and aesthetics. In 1946, the dramatic arts were transferred to a separate institution (CNSAD). Delvincourt was succeeded by Dupré in 1954, Raymond Loucheur in 1956, Raymond Gallois-Montbrun in 1962, Marc Bleuse in 1984, and Alain Louvier in 1986. Plans to move the Conservatory of Music and Dance to more modern facilities in the Parc de la Villette were initiated under Bleuse and completed under Louvier. It opened as part of the Cité de la Musique in September 1990.[2]

Currently, the conservatories train more than 1,200 students in structured programs, with 350 professors in nine departments.

https://en.wikipedia.org/wiki/Conservatoire_de_Paris

Les XX was founded on 28 October 1883 in Brussels and held annual shows there between 1884 and 1893, usually in January–March. The group was founded by 11 artists who were unhappy with the conservative policies of both the official academic Salon and the internal bureaucracy of L'Essor, under a governing committee of twenty members. Unlike L'Essor ('Soaring'), which had also been set up in opposition to the Salon, Les XX had no president or governing committee. Instead Octave Maus (a lawyer who was also an art critic and journalist) acted as the secretary of Les XX, while other duties, including the organization of the annual exhibitions, were dispatched by a rotating committee of three members. A further nine artists were invited to join to bring the group membership of Les XX to twenty; in addition to the exhibits of its Belgian members, foreign artists were also invited to exhibit.[1]

There was a close tie between art, music and literature among the Les XX artists, during the exhibitions, there were literary lectures and discussions, and performances of new classical music, which from 1888 were organised by Vincent d'Indy,[2] with from 1889 until the end in 1893 very frequent performances by the Quatuor Ysaÿe.[3] Concerts included recently composed music by Claude Debussy, Ernest Chausson and Gabriel Fauré. Leading exponents of the Symbolist movement who gave lectures include Stéphane Mallarmé, Théodore de Wyzewa and Paul Verlaine.[1]

https://wikivisually.com/wiki/Les_XX

Vincent Willem van Gogh (Dutch, 1853–1890)

Self-Portrait, 1887, Art Institute of Chicago https://en.wikipedia.org/wiki/Vincent_van_Gogh#/media/File:Vincent_van_Gogh_-_Self-Portrait_-_Google_Art_Project_(454045).jpg

Flowering Plum Orchard (after Hiroshige), 1887. Van Gogh Museum, Amsterdam https://en.wikipedia.org/wiki/Vincent_van_Gogh#/media/File:Vincent_van_Gogh_-_Bloeiende_pruimenboomgaard-_naar_Hiroshige_-_Google_Art_Project.jpg

The Starry Night, June 1889. Museum of Modern Art, New York https://en.wikipedia.org/wiki/Vincent_van_Gogh#/media/File:Van_Gogh_-_Starry_Night_-_Google_Art_Project.jpg

The Church at Auvers, 1890. Musée d'Orsay, Paris https://en.wikipedia.org/wiki/Vincent_van_Gogh#/media/File:Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise,_View_from_the_Chevet_-_Google_Art_Project.jpg

Starry Night Over the Rhone, 1888. Musée d'Orsay, Paris https://en.wikipedia.org/wiki/Vincent_van_Gogh#/media/File:Vincent_van_Gogh_-_Starry_Night_-_Google_Art_Project.jpg

Olive Trees with the Alpilles in the Background, 1889. Museum of Modern Art, New York https://en.wikipedia.org/wiki/Vincent_van_Gogh#/media/File:Van_Gogh_The_Olive_Trees..jpg

Wheatfield Under Thunderclouds, 1890, Van Gogh Museum, Amsterdam, Netherlands https://en.wikipedia.org/wiki/Vincent_van_Gogh#/media/File:Vincent_van_Gogh_-_Wheatfield_under_thunderclouds_-_Google_Art_Project.jpg

Wheatfield with Crows, 1890. Van Gogh Museum, Amsterdam https://en.wikipedia.org/wiki/Vincent_van_Gogh#/media/File:Vincent_van_Gogh_-_Wheatfield_with_crows_-_Google_Art_Project.jpg

Vincent Willem van Gogh (Dutch: [ˈvɪnsɛnt ˈʋɪləm vɑn ˈɣɔx] (About this sound listen);[note 1] 30 March 1853 – 29 July 1890) was a Dutch Post-Impressionist painter who is among the most famous and influential figures in the history of Western art. In just over a decade he created about 2,100 artworks, including around 860 oil paintings, most of them in the last two years of his life. They include landscapes, still lifes, portraits and self-portraits, and are characterised by bold colours and dramatic, impulsive and expressive brushwork that contributed to the foundations of modern art. His suicide at 37 followed years of mental illness and poverty.

Born into an upper-middle-class family, Van Gogh drew as a child and was serious, quiet and thoughtful. As a young man he worked as an art dealer, often travelling, but became depressed after he was transferred to London. He turned to religion, and spent time as a Protestant missionary in southern Belgium. He drifted in ill health and solitude before taking up painting in 1881, having moved back home with his parents. His younger brother Theo supported him financially, and the two kept up a long correspondence by letter. His early works, mostly still lifes and depictions of peasant labourers, contain few signs of the vivid colour that distinguished his later work. In 1886, he moved to Paris, where he met members of the avant-garde, including Émile Bernard and Paul Gauguin, who were reacting against the Impressionist sensibility. As his work developed he created a new approach to still lifes and local landscapes. His paintings grew brighter in colour as he developed a style that became fully realised during his stay in Arles in the south of France in 1888. During this period he broadened his subject matter to include series of olive trees, wheat fields and sunflowers.

Van Gogh suffered from psychotic episodes and delusions and though he worried about his mental stability, he often neglected his physical health, did not eat properly and drank heavily. His friendship with Gauguin ended after a confrontation with a razor, when in a rage, he severed part of his own left ear. He spent time in psychiatric hospitals, including a period at Saint-Rémy. After he discharged himself and moved to the Auberge Ravoux in Auvers-sur-Oise near Paris, he came under the care of the homoeopathic doctor Paul Gachet. His depression continued and on 27 July 1890, Van Gogh shot himself in the chest with a revolver. He died from his injuries two days later.

Van Gogh was unsuccessful during his lifetime, and was considered a madman and a failure. He became famous after his suicide, and exists in the public imagination as the quintessential misunderstood genius, the artist "where discourses on madness and creativity converge".[6] His reputation began to grow in the early 20th century as elements of his painting style came to be incorporated by the Fauves and German Expressionists. He attained widespread critical, commercial and popular success over the ensuing decades, and is remembered as an important but tragic painter, whose troubled personality typifies the romantic ideal of the tortured artist.

https://en.wikipedia.org/wiki/Vincent_van_Gogh

[graal813]

La divine symphonie numéro 5 pour orgue de Widor dans "IF" de Lindsay Anderson ( 1968)

La divine symphonie numéro 5 pour orgue de Widor dans “IF” de Lindsay Anderson ( 1968)

Source : La divine symphonie numéro 5 pour orgue de Widor dans “IF” de Lindsay Anderson ( 1968)

[classicarte]

Symphonie pour orgue n.° 7 en la mineur, Op. 42, n.°3 : V. Largo – Charles-Marie Widor

Détail de « Les gardiens dans la nuit », par Thomas Blackshear.

Detail of “Watchers in the Night”, by Thomas Blackshear.

[topos318]

La divine symphonie numéro 5 pour orgue de Widor dans "IF" de Lindsay Anderson ( 1968)

La divine symphonie numéro 5 pour orgue de Widor dans “IF” de Lindsay Anderson ( 1968)

[thierrymechler]

ORGAN ACADEMY IN DUISBURG from April 23 to April 26, 2020 at St. Johann Premonstratensian Abbey in Duisburg-Hamborn, Germany by Thierry Mechler, concert artist, professor at the Hochschule für Musik und Tanz Köln and organist at the Cologne Philharmonie. Organ pupils and students, as well as church organists and concert performers can participate in this seminar. A maximum of eight organists may be admitted to participate actively. The number of listeners is unlimited. Active course price 150 €, listeners 75 €. At the end of the seminar, the selected participants will give a closing concert at the abbey church on Sunday April 26, 2020 at 4.30 p.m. Classes will take place from 10 a.m. to 1 p.m. and from 2 p.m. The course themes will focus on the art of touch, articulation, phrasing, breathing, accentuation and registration. The choice of the repertoire remains free, the following compositions for information only. N. de Grigny - Organ book L.N Clérambault - the 2 suites C. Franck - the organ work C.M. Widor - the 10 symphonies L. Vierne- Fantasy Pieces, 6 symphonies M. Dupré - 3 Preludes and fugues, Symphony Passion, Chemin de La Croix J. Alain, M. Duruflé, O. Messiaen - the organ work Registration deadline March 31, 2020. ˋ Information and registration: Cantor Peter Bartetzky, Hufstr. 78 D. 47166 Duisburg-Germany E-mail peter.bartetzky@abtei-Hamborn.de Payment for lessons will be made by bank transfer to Propstei St. Johann IBAN: DE24 3506 0386 5111 2000 08 #organ #masterclass #orgelkurs #thierrymechler #pedagogy https://www.instagram.com/p/B8eWolYAjcw/?igshid=9ggiexclg6cq

[vincentdelaplage]

"LE PREMIER MÉRITE D'UN TABLEAU EST D'ÊTRE UNE FÊTE POUR L'OEIL" DELACROIX https://culturejai.fr/?p=9074 La Lutte de Jacob avec l'Ange est une peinture murale réalisée par Eugène Delacroix dans les années 1850 et achevée en 1861, pour la chapelle des Saints-Anges à l'église Saint-Sulpice de Paris. Widor : Final Symphonie n° 6 - Vincent Dubois à St Sulpice https://youtu.be/jJMBRSb9mK4 Eugène Delacroix n’était peut-être pas un croyant invétéré, mais il a réellement vécu ce doute permanent propre à de nombreuses âmes attirées par le Mystère. Il l’a laissé entrer dans sa propre chair. Et la peinture servait de réceptacle à sa quête spirituelle, comme des marches à gravir pour atteindre l’apaisement de l’âme. En plein travail sur La Lutte de Jacob avec l’Ange, il avouait même : « Mais d’où vient que ce combat éternel, au lieu de m’abattre, me relève, au lieu de me décourager, me console ? ». https://www.instagram.com/p/CBqZ8hHKIsg/?igshid=1fnus8i2y2wwj