Nicolas Gigault Video
compositore e organista francese
- organo
- Francia
- organista, compositore
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2024-04-29
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Jehan Titelouze Amédée Gastoué Crespin Carlier Fijan Marin Mersenne Gigault Marcel Dupré Harmonie Universelle 1562 1563 1585 1588 1600 1604 1610 1613 1623 1626 1630 1633 1634 1930 1942 1985
Jean Titelouze (o Jehan Titelouze) fue organista compositor y poeta francés nacido en Saint-Omer, en 1562 y fallecido en Ruán, el 24 de octubre de 1633. Si bien históricamente pertenece al primer barroco, su estilo encaja firmemente en la tradición del Renacimiento, y en su obra se distingue el órgano de lo generalmente utilizado en Francia en el siglo XVII. Sus himnos y el Magnificat son las primeras composiciones para órgano en su país, por lo cual se le considera el fundador de la Escuela Francesa de órgano. En un estudio de 1930, Amédée Gastoué sugirió que el apellido Titelouze podría ser de origen irlandés o inglés, pero esta teoría ha sido refutada y Titelouze está ahora vinculado a "de Toulouse". Nacido en Saint-Omer en 1562 (o 1563, pues se desconoce la fecha exacta) se educó allí, fue ordenado sacerdote en 1585 y sirvió como organista en la Catedral de Saint-Omer. Se trasladó a Ruán al año siguiente y en 1588 sustituyó a François Josselin como organista de la Catedral de Rouen. Su trabajo no se limitó únicamente a Rouen, pues fue también asesor de órgano en otras ciudades. En 1600 Titelouze invitó al famoso constructor de órganos franco-flamenco Crespin Carlier a trabajar en la Catedral de Rouen. El resultado de esta colaboración es descrita por los críticos como de las mejores de Francia. Las obras posteriores de Carlier fijan la pauta de la tradición clásica francesa. Titelouze siguió trabajando de vez en cuando con Carlier en diversos instrumentos. En 1604 Titelouze se convirtió en ciudadano francés, pues Saint-Omer, donde nació, había sido hasta entonces una ciudad española de Holanda. En 1610 pasó a ser canónigo de la Catedral de Rouen. En 1613 ganó su primer premio de la sociedad literaria de Rouen, la Academia de Palinods, por sus poemas. En 1623 publicó su Hymnes de l'Eglise, una colección de explicaciones sobre himnos gregorianos de uso litúrgico. En ese mismo año, por problemas de salud, Titelouze se retiró parcialmente de la oficina del organista, pero manteniendo el puesto hasta su muerte. En 1626 publicó una segunda colección de canciones de órganos, el Magnificat, que contiene ocho elaboraciones sobre el canto del Magníficat. En 1630 recibió un nuevo premio Académie des Palinods. Murió tres años más tarde. Titelouze fue amigo de Marin Mersenne, un importante teórico de la música, matemático, filósofo y teólogo francés. Mersenne le dio asesoramiento sobre el Tratado de L'Harmonie Universelle, publicado en 1634-37. Aunque la música polifónica pronto desapareció de la música de órgano, la influencia pervivió años después de su muerte. Por ejemplo, el organista y compositor Nicolás Gigault incluyó una fuga a la Manière de Titelouze en su Libro musique pour l'orgue de 1985. Aproximadamente trescientos años más tarde, un compositor de obras de órgano, Marcel Dupré se inspiró en él para escribir Le Tombeau de Titelouze, opus 38 (1942).
Louis Claude Daquin Biggs Gigault Gruber Stille Bernier Marchant Laborde 1694 1706 1739 1772
John W Dudek (my father) exposed me to these beautiful French Christmas Noels. In my youth, this album was always my favorite music to play during Christmas time. Recently I found the old record in some boxes and a USB record player to digitize it. The music and the album cover notes (below) are presented here as a Christmas Gift to my dad. ALBUM NOTES: A BOOK OF NOELS (Nouveau Livre de Noels) for the Organ (dedicated to: Le Comte D'Eu, Prince Souverain de Dombes) by Louis Claude Daquin +••.••(...)) Organist of the Royal Chapel 01 - Noel sur les jeux d'Anches 02 - Noel en Dialogue, Duo, Trio 03 - Noel en Musette, en Dialogue et en Duo 04 - Noel en Duo, sur les jeus d'Anches 05 - Noel en Duo 06 - Noel sur les jeux d'Anches, et en Duo 07 - Noel en Trio et en Dialogue 08 - Noel sur les jeux d'Anches, et en Duo 09 - Noel sur les Flutes 10 - Noel Grand jeu et Duo 11 - Noel en Recit en Taille 12 - Noel Suisse, Grand jeu et Duo Some of the loveliest instrumental music celebrating the season of Christmas has been written around the old French Noels, or Carols. In this, the French composers have a particular--indeed, a unique--skill. Even the melodies themselves, the popular tunes of a French Christmas, appear particularly well adapted for instrumental elaboration. In his Nouveau Livre de Noels, dedicated to his friend and patron Le Comte D'Eu, Louis Claude Daquin brought to perfection the development of this charming tradition. His distinguished predecessors, Le Begue, Gigault and Raison, had already treated some of these melodies in their Organ Books. But no composer caught the subtle and varied charm of these folk melodies as did Daquin, enriching them with profusion of melody, variety of mood, subtlety of harmony and majesty of proclamation. The Book of Noels forms a musical diversion at times gay and festive, at other serious, contemplative and tender. No wonder it is related that "all Paris" flocked to hear Daquin play these pieces at the celebrations of the Christmas season. In musical form the Noels are simple. Themes are stated with fitting simplicity, and are subjected to a fairly uniform pattern of variations, increasing in complexity yet always maintaining a clear projection of the melody. Extraordinary chromatic harmonies lend a poignant air to several Noels, particularly the second and eleventh. Others are ornamented in gay profusion of notes, most are rounded out by a sonorous "Grand jeu," or full organ, with a few "echo" passages thrown in for good fun. Not the least charm of this Book of Noels is that the melodies are not--at any rate outside France--exclusively identified with Christmas. One does not have the feeling as with--for example, Gruber's "Stille Nacht"--that these Noels must be put on the shelf the rest of the year! Daquin turns folk tunes into art-music, music that seems fully as enjoyable and even appropriate on a mid-summer's day as in the season of its origin. The Composer Louis Claude Daquin was born on the fourth of July, 1694. He came from a distinguished family, members of which occupied positions of prominence in the political, literary and scientific life of France. Antoine Daquin, Louis Claude's great-uncle, was physician and Councillor of State to Louis XIV. Daquin's father led a venturesome life. In the course of his travels he was shipwrecked near Tunis, losing all his possessions. Returning to Paris, he lived by his painting, an art that he had cultivated as a diversion in his youth. On his mother's side, Louis Claude is said to have been related to Rabelais. At the age of six, the young musician played before Louis XIV. Patting him on the shoulder, the King remarked "This child will become one of the great men of his century." Bernier, music master of the Sainte Chappelle, taught Daquin harmony, but observed that the pupil "knew things intuitively, and by ear discovered the most beautiful chordal sequences, making admirable use of them before knowing their names." In 1706, Daquin became Organist at the Chapel of St. Antoine. He later studied with Marchant, and followed this distinguished musician as Organist at the Cordoliers. In 1739, Daquin was made Organist at the Chapel Royal. Biographers are unanimous in extolling Daquin's generosity and the charm of his personality, remarking that "he took a great interest in the success of his colleagues, instructing some and finding appointments for others." "He followed his career because he was born for it, he loved his art for its own sake" writes de Laborde, adding that the vivacity of Daquin's organ music "was a consequence of his bubbling character." E. Power Biggs
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- cronologia: Compositori (Europa). Interpreti (Europa).
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