Alexandre-Pierre-François Boëly Vidéos
compositeur et organiste français
Commémorations 2025 (Naissance: Alexandre-Pierre-François Boëly)
- orgue, piano
- France
- organiste, compositeur ou compositrice, pianiste
Dernière mise à jour
2024-03-29
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César Auguste-Jean-Guillaume-Hubert Franck (10 December 1822 – 8 November 1890) was a Romantic composer, pianist, organist, and music teacher who worked in Paris during his adult life. Please support my channel: (http•••) Prelude, Fugue et Variation in B minor, Op. 18 for Organ +••.••(...)) Transcribed for piano solo by Harold Bauer Dedication: à son ami monsieur Camille Saint-Saëns Pianist unknown Description by Meredith Gailey [-] César Franck's Prélude, fugue et variations has become a popular work among organists and is familiar to music lovers even though they may not know its title or composer. Written in 1862, it is a part of the larger Six Pièces pour le Grand Orgue. After having worked as organist at the parish of Saint-Jean-Saint-François for seven years, Franck obtained the same appointment at Sainte-Clotilde, where he had been choirmaster for some time. It was at the latter church that he received his inspiration for Prélude. At his new post, he met with a monumental artistic challenge when the inventor-builder Aristide Cavaillé-Coll finished construction on a three-manual grand organ for the church in 1859. For the dedication of this instrument on December 19 of the same year, Franck played his Final in B Flat Major, Op. 21. His attachment to this particular organ was so great that it inspired him to immediately compose Six Pièces pour le Grand Orgue +••.••(...)), which he followed with Trois Pièces pour le Grand Orgue (1878) and Trois Chorals (1890). These works were written at the height of the Romantic organ's popularity, which stretched between 1830 and 1930. This period's most popular organists were Charles-Marie Widor, Alexandre Pierre François Boëly, Louis Lefébure-Wély and of course, Franck, who in time became known as the only true "equal" of Johann Sebastian Bach as a composer for the organ. The Prélude was dedicated to Camille Saint-Saëns. The two men had similar posts and influences, and had both studied with François Benoist at the Paris Conservatoire.
Glenn Gould Bach Carl Philipp Emanuel Bach Gustav Nottebohm Douglass Ishizaka Boëly Hugo Riemann Donald Tovey Göncz Helmut Walcha Goode Ferruccio Busoni Luciano Berio Escher Cheek 1748 1749 1881 2001 2007 2016
Glenn Gould - J.S. Bach - The Art of the Fugue - Last Fugue Bach's last and not completed fugue. The Unfinished Fugue A handwritten manuscript of the piece known as the Unfinished Fugue is among the three bundled with the autograph manuscript P200. It breaks off abruptly in the middle of its third section, with an only partially written measure 239. This autograph carries a note in the handwriting of Carl Philipp Emanuel Bach, stating "Über dieser Fuge, wo der Name B A C H im Contrasubject angebracht worden, ist der Verfasser gestorben." ("At the point where the composer introduces the name BACH [for which the English notation would be B♭–A–C–B♮] in the countersubject to this fugue, the composer died.") This account is disputed by modern scholars, as the manuscript is clearly written in Bach's own hand, and thus dates to a time before his deteriorating health and vision would have prevented his ability to write, probably 1748–1749. Many scholars, including Gustav Nottebohm (1881), Wolff and Davitt Moroney, have argued that the piece was intended to be a quadruple fugue, with the opening theme of Contrapunctus I to be introduced as the fourth subject. The title Fuga a 3 soggetti, in Italian rather than Latin, was not given by the composer but by CPE Bach, and Bach's obituary actually makes mention of "a draft for a fugue that was to contain four themes in four voices". The combination of all four themes would bring the entire work to a fitting climax. Wolff also suspected that Bach might have finished the fugue on a lost page, called "fragment X", on which the composer attempted to work out the counterpoint between the four subjects. The 2016 completion by pianist Kimiko Douglass-Ishizaka rejects the fourth subject theory, opting instead to develop the extant materials in the fugue to completion. A number of musicians and musicologists have composed conjectural completions of Contrapunctus XIV, notably Boëly, music theoretician Hugo Riemann, musicologists Donald Tovey and Zoltán Göncz, organists Helmut Walcha, David Goode and Lionel Rogg, and Davitt Moroney. Ferruccio Busoni's Fantasia contrappuntistica is based on Contrapunctus XIV, but is more a work by Busoni than by Bach. In 2001 Luciano Berio arranged the contrapunctus for orchestra; while Berio did not complete the fugue in the usual sense, he produced a performing version that allows the composition to fade away gracefully. In 2007, New Zealand organist and conductor Indra Hughes completed a doctoral thesis about the unfinished ending of Contrapunctus XIV, proposing that the work was left unfinished not because Bach died, but as a deliberate choice by Bach to encourage independent efforts at a completion. Douglas Hofstadter's book Gödel, Escher, Bach discusses the unfinished fugue and Bach's supposed death during composition as a tongue-in-cheek illustration of Austrian logician Kurt Gödel's first incompleteness theorem. According to Gödel, the very power of a "sufficiently powerful" formal mathematical system can be exploited to "undermine" the system, by leading to statements that assert such things as "I cannot be proven in this system". In Hofstadter's discussion, Bach's great compositional talent is used as a metaphor for a "sufficiently powerful" formal system; however, Bach's insertion of his own name "in code" into the fugue is not, even metaphorically, a case of Gödelian self-reference; and Bach's failure to finish his self-referential fugue serves as a metaphor for the unprovability of the Gödelian assertion, and thus for the incompleteness of the formal system. Sylvestre and Costa reported a mathematical architecture of The Art of Fugue, based on bar counts, which shows that the whole work was conceived on the basis of the Fibonacci series and the golden ratio. The significance of the mathematical architecture can probably be explained by considering the role of the work as a membership contribution to the Correspondierende Societät der musicalischen Wissenschaften (de), and to the "scientific" meaning that Bach attributed to counterpoint. Source: Wikipedia.
Alexandre Pierre François Boëly Gatti Eglise Saint Germain Auxerrois 1785 1858 2002
Alexandre Pierre François Boëly +••.••(...)) Fantasia e fuga en si bémol majeur Walter Gatti, organ Live, Temple de St.Ruf, Valence 17 november 2002 Photo: Eglise Saint-Germain l'Auxerrois (l'orgue) - Paris Ier by (http•••) (http•••)
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