Louis Lefébure-Wély Videos
französischer Organist und Komponist
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2024-06-15
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Szostak Bach Heiden Fryderyk Chopin Beethoven Lefébure Lefébure Wély Vierne Józef Elsner Sawa Andrzej Chorosiński Ambrosiano Ullrich Böhme Dijk François Espinasse Penin Daniel Roth Roth Zehnder Frédéric Blanc Thierry Escaich Jarry Vries Church Our Lady 1782 2002 2011 2013 2014 2017 2018 2019
1. Improvisation, Symphonic Variations on a well-known theme 2. J.S. Bach, Nun komm der Heiden Heiland, BWV 659 3. J.S. Bach, Toccata and Fugue in D Minor, BWV 565 4. Fr. Chopin, Nocturne in E flat Major, Op. 9, No 2 5. Fr. Chopin, Mazurka in B flat Major, Op. 7, No 1 6. L. van Beethoven, Allegro con brio, 5th Symphony in C Minor, Op. 67 7. L.J.A. Lefébure-Wély, Andante “Chœur do voix humaines”, Op. 122, No. 7 8. L.J.A. Lefébure-Wély, Boléro de concert, Op. 166 9. L. Vierne, Arabesque from “24 Pieces en style libre”, Op. 31 10. Improvisation, Symphonic Toccata I started studying the organ at the age of 17 in Warsaw, Poland. I am a graduate of the Józef Elsner Public School of Music in Warsaw in the organ class of Dr Roman Szlaużys and organ improvisation in the class of Prof. Marian Sawa. I had been studying organ performance as part of an artistic internship at the Fryderyk Chopin University of Music in Warsaw in Prof. Andrzej Chorosiński’s class, as well as organ improvisation at the Pontificio Istituto Ambrosiano di Musica Sacra in Milan (Italy) in Maestro Davide Paleari’s class. I participated in master classes on the subject matter of organ works (Ullrich Böhme, Andrew Dewar, Pieter van Dijk, François Espinasse, Bernhard Gfrerer, François-Henri Houbart, Oliver Penin, Louis Robilliard, Daniel Roth, Jean-Claude Zehnder and others), organ improvisation (Frédéric Blanc, Sophie-Véronique Cauchefer-Choplin, Thierry Escaich, Gaétan Jarry, Samuel Liégeon, Baptiste-Florian Marle-Ouvrard, Wolfgang Seifen, Sietze de Vries and others) and liturgical music (Roman Catholic and Anglican). In February 2019, I obtained an academic degree of Doctor of Musical Arts in the field of 'Instrumental Studies' in the discipline of 'Organ Performance' based on the dissertation of "Organ, as a source of inspiration in the art of improvisation and performance practice" written under the direction of prof. Andrzej Chorosiński and defended at the Białystok faculty of the Fryderyk Chopin University of Music in Warsaw. I am an international concert organist and I have the pleasure to perform regular solo recitals in countries of Europe, North America, South America, Asia, and Africa: Argentina, Austria, Belgium, Brasil, Canada, Chile, Czech Republic, Denmark, Great Britain, France, Germany, Italy, Kazakhstan, Monaco, Nigeria, Panama, Poland, Slovakia, Ukraine, and the USA. I conduct international (Nigeria, Poland, Ukraine) didactic activities in the field of organ improvisation and practice of interpretation of organ literature from different periods, among others in cooperation with The Royal School of Church Music. I participate in international academic conferences on organ and sacred music (Belgium, Nigeria, Poland). My organological publications are issued regularly by prestigious organ magazines: British "The Organ", Canadian "Organ Canada", as well as American "The Diapason" and "The Vox Humana". Since 2013 I have been a member of The Royal College of Organists, based in London, and since 2014 (as the first Pole) I have had a certificate (certRCO) from this organization. Since 2017 I have been a member of The American Guild of Organists, based in New York City, USA and since 2018 I have been a member of The Organ Historical Society based in the USA. In the years 2002-2011, I was an organist at the Church of Our Lady of Lourdes in Warsaw; I wrote a monograph on the history of the organ (J.G. Meinert, 1782) of this church, and I recorded a CD (organ literature and improvisations), which is the only record of the sound of this instrument which no longer exists. At that time I co-authored a series of broadcasts on “Radio Warszawa 106.2” about organs in the Warsaw-Prague Diocese. In the years 2011-2018, I held the position of Music Director and the Leading Organist at the Sanctuary of the Virgin Mary in Lichen Stary, where I played the largest organ in Poland (Zych, 157, 6M+P) located in the Basilica in Licheń Stary (the largest church in Poland). In 2017, I wrote the book "The Lichen Organ in relation to the Largest Instruments in Poland, Europe and the World" and recorded a compact disc, “Ave Regina Caelorum” with improvisations on the biggest organ in Poland (in the Basilica in Licheń Stary - can be bought on eBay). In 2018 I recorded a second compact disc in the Basilica in Licheń Stary, Poland with French literature and improvisations, "French Inspirations: 2nd half of the 19th century" (eBay). For more detailed information, please visit www.michalszostak.org/cv Michał Szostak, D.Mus.A., Associate Professor
Camille Saint Saens Louis Lefébure Wély Lefébure Rheinberger 1659 1858 2001
"As found in Saint-Saens' Opus 1, this piece features that mainstay of Victorian drawing rooms – the Harmonium. The domestic organ that had quite a lot of music written for it at around this time, but precious little since. It has an interesting sound, making the piece worth a listen, despite it being so rarely performed. One strange aspect of these pieces is what audience were they written for. The dedication of the pieces is to Louis Lefébure-Wély, the organist (and composer of many works for harmonium) who Saint-Saens replaced in 1858 (the year these duos were written) as chief organist of the Madeleine church in Paris. So, perhaps they were a goodbye present, designed to be played by Louis and Camille. But the pieces themselves veer between pieces of extremely simplicity that even a pretty untalented amateur could play, to pieces of extreme virtuosity that only a really technically excellent players could pull off. 0:00 - Fantasia e Fuga: Allegro moderato ma con fuoco / Piu Allegro 6:37 - Cavatina: Andante con espressione, un poco adagio 11:59 - Chorale: Agitato 16:59 - Capriccio 20:01 - Scherzo: Presto 23:49 - Finale: Allegro molto / A tempo / Tempo 1 / Piu mosso The opening piece, is a case in point – an extensive Fantasia con Fuga. The Fantasia consisting of uniformly loud chord progressions in the harmonium accompanied by a veritable waterfall of rapid falling scales in the piano, which almost sound like practise scales. The fugue is a fairly dry and academic exercise in fugue, of the kind that Saint-Saens seemed prone to, making this movement an arguably mundane introduction The second piece – a cavatina – is another simple piece for the players. Essentially a piano chorale, with a single line tune picked out on the harmonium, it's probably the most basic of the pieces. The third movement is titled “Choral”, and it’s true there is a church hymn played on the harmonium in here (from a Rheinberger Organ Sonata, making it a reasonably well-known chorale tune), but most of the movement (marked agitato) consists of hushed drama of the piano playing in E minor with very rapidly shifting and clashing chords, like a Mendelssohnian scherzo. It’s possibly the most effective of the six pieces – not a typical Chorale. Certainly not easy to play for the pianist, but more interesting is the strange contrast between the piano’s agitato caffeine and the harmonium’s choral valium. The fourth piece – a capriccio – sees the harmonium getting in on the action with a very jolly rapidly octave figure going on while the piano plays simply short staccato accompaniment (eventually this switches around) before the piece finishes quite amicably. An Fsharp minor scherzo is the fifth piece – in the way that the cavatina was a chorale, and the chorale a scherzo, the scherzo is a tarantella – not too dissimilar than the recently composed Tarantelle Op.6. The piano has a tarantella phrase answered by a gentler chordal phrase on the harmonium, with a few flourishes to finish off. Finally, the Finale. We start with a loud proclamation by the harmonium – joined and repeated by the piano and despite its pomposity it is effective in grabbing your attention after the scherzo. Then we are presented with a similar treatment as the opening Fantasia, with repeat scale like figures in the piano accompanying a series of chord progressions." Complete Works of Camille Saint-Saens Performed by Johannes Matthias and Ernst Breidenbach
Louis James Alfred Lefébure Wély Lefébure Berkes 2021
Louis James Alfred Lefébure-Wély: G-Dúr Communion Előadja: Berkes-Ébert Dorottya Orgonák éjszakája Magyarok Nagyasszonya Római Katolikus Templom Pécs-Szabolcs, 2021. augusztus 7.
Sali Otar Taktakishvili Charles Gounod Janiszewski Johann Sebastian Bach Wiesław Bednarek Benedetto Marcello Woźniak Fryderyk Chopin Piotr Niewiedział Wiechowicz Karolak Jehan Alain Piotrowski Mieczysław Surzyński Lewandowski Maksymiuk Louis James Alfred Lefébure Wély Lefébure Weber Ignatjew Kozłowski Hawkins Osm 2022
XIX KONCERT MUZYKI SAKRALNEJ ZSM w Poznaniu „Pamięci prof. Lidii Kierończyk” W nagraniu wykorzystano fragmenty utworów, które wykonano podczas XIX Koncertu Muzyki Sakralnej 11 kwietnia 2022 w Sali organowej oraz w Auli ZSM w Poznaniu PROGRAM KONCERTU: Otar Taktakishvili Sonata na flet i fortepian, cz. II Aria wyk. Hanna Polaszek -flet (OSM II stopnia), Fryderyk Walczak – fortepian naucz. Tomasz Walczak Charles Gounod Laudate Dominum (oprac. Wacław Janiszewski) wyk. Zespół Instrumentów Dętych dyr. Stanisław Gruszka Johann Sebastian Bach Kantata I hatte viel Bekümmernis BWV 21, aria Seufzer, Tränen, Kummer, Not wyk. Barbara Labijak – śpiew (PSM II stopnia), Anna Papierz – wiolonczela, Paulina Tarnowska- Mantaj – klawesyn naucz. Czesława Urban Johann Sebastian Bach kantata Christ Lag is Todesbanden BWV 4, duet Den Tod niemand … wyk. Barbara Labijak – śpiew (sopran 1), Zofia Żurawska – śpiew (sopran 2), Anna Papierz – wiolonczela, Paulina Tarnowska - Mantaj – klawesyn naucz. Wiesław Bednarek Benedetto Marcello Concerto c-moll, cz. II Adagio wyk. Antoni Woźniak – saksofon sopranowy (OSM II stopnia), Marcin Dęga – fortepian naucz. Paulina Wasylków-Francuz Fryderyk Chopin Etiuda E-dur op. 10 nr 3 wyk. Joanna Bąk – fortepian (PSM II stopnia) naucz. Piotr Niewiedział Johann Sebastian Bach chorał Jesus bleibet meine Freude z Kantaty BWV 147 wyk. Albert Łukasiewicz – organy (PSM II stopnia) naucz. Elżbieta Wiechowicz-Karolak Jehan Alain Petite piece wyk. Witold Piotrowski (OSM II stopnia) naucz. Elżbieta Wiechowicz-Karolak Mieczysław Surzyński Improwizacje na temat polskiej pieśni kościelnej „Święty Boże” wyk. Antoni Grześkowiak – organy (PSM II stopnia), naucz. Krzysztof Leśniewicz Miłosz Lewandowski Preludia chorałowe na temat pieśni PRAWYKONANIE „Kto się w opiekę” wyk. Amadeusz Maksymiuk – organy (PSM II stopnia), naucz. Krzysztof Leśniewicz Louis James Alfred Lefébure-Wély Prière wyk. Adrian Sanigórski (OSM II stopnia) naucz. Elżbieta Wiechowicz-Karolak Song Magdaleny z musicalu Jesus Christus Superstars (muz. A. L. Weber, sł. T. Rice) wyk. Karolina Grzywińska - śpiew (PSP), Dawid Troczewski - fortepian naucz. Antoni Urban (interpretacja piosenki), Dorota Czerwińska (emisja głosu) Maleński mój ty pisklaku – ballada z musicalu Myszka (muz. J. Szczygieł, sł. B. Sokalówna) wyk. Aleksandra Gąsiorowska - śpiew (absolwentka WWJ), Dawid Troczewski - fortepian naucz. Antoni Urban Johann Sebastian Bach Kantata Wachet auf, ruft uns… BWV 140 Chorały: Zion hört…, Gloria sei dir gesungen wyk. Chór Kameralny, Filip Chojnacki – fortepian, Mateusz Ignatjew - gitara basowa, Jakub Kozłowski – perkusja dyr. Małgorzata Kwaśnik – Chmielewska Oh happy day (sł. i muz. Edwin R. Hawkins) Zanim powiem słowo (z rep. TGD, sł. i muz. Piotr Nazaruk) wyk. Słuchacze PSP im. Czesława Niemena, uczniowie wydziałów wokalistyki: estradowej i jazzowej PSM II st. im. Fryderyka Chopina w Poznaniu, Filip Chojnacki – fortepian, Mateusz Ignatjew - gitara basowa, Jakub Kozłowski - perkusja dyr. Hanna Gieda Nagłośnienie: Andrzej Zujewicz Organizacja Koncertu: Katarzyna i Wiktor Plust Poznań, dn. 11 kwietnia 2022
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- Zeitleiste: Komponisten (Europa). Interpreten (Europa).
- Indizes (in alphabetischer Reihenfolge): L...