Th. doct.--Musicologie--Paris-Sorbonne, 2002. / Catalogue des oeuvres d'A. Guilmant p. 601-729. Sources et bibliogr. p. 737-756. Index.

The name Lemmens did not only have significance for his students, but also for several critics. Jaak Nikolaas Lemmens (1823-1881) had an enormous impact on the art of the organ music in France in the nineteenth century. The American public knew him as a result of his three Organ sonatas. The works of Bach and other composers like Mendelssohn mainly influenced his performance. Lemmens was seen as a French organist and in the nineteenth century it was not common for a French organist to include works of German composers in concerts due to the mainstream of playing, which was improvisation. He also taught his students on the model of Bach. Hesse introduced Lemmens to the German organ style. One of his students, Alexandre Guilmant (1837-1911), carried on with this tradition. He went on to become one of the great organ-composers of the nineteenth century and was also one of the first to compose a sonata. Guilmant often included the works of German composers in his recitals and had insight into the works of Mendelssohn on his many visits to England. Although both these composers were French, they came under the influence of the German organ tradition. The formal structures, counterpoint and fugues included in their sonatas, are a direct reference to the Trio sonatas of JS. Bach and the organ sonatas of Mendelssohn. In this study, a short introduction to the organ tradition in nineteenth-century France will be given as well as some information about Lemmens and Guilmant. The influence of the German organ tradition on the Three Sonatas of Lemmens and the Eight Sonatas of Guitmant will be shown and it will be proven that indeed the German masters had an influence on the French organ music of the nineteenth century. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2004.

The name Lemmens did not only have significance for his students, but also for several critics. Jaak Nikolaas Lemmens (1823-1881) had an enormous impact on the art of the organ music in France in the nineteenth century. The American public knew him as a result of his three Organ sonatas. The works of Bach and other composers like Mendelssohn mainly influenced his performance. Lemmens was seen as a French organist and in the nineteenth century it was not common for a French organist to include works of German composers in concerts due to the mainstream of playing, which was improvisation. He also taught his students on the model of Bach. Hesse introduced Lemmens to the German organ style. One of his students, Alexandre Guilmant (1837-1911), carried on with this tradition. He went on to become one of the great organ-composers of the nineteenth century and was also one of the first to compose a sonata. Guilmant often included the works of German composers in his recitals and had insight into the works of Mendelssohn on his many visits to England. Although both these composers were French, they came under the influence of the German organ tradition. The formal structures, counterpoint and fugues included in their sonatas, are a direct reference to the Trio sonatas of JS. Bach and the organ sonatas of Mendelssohn. In this study, a short introduction to the organ tradition in nineteenth-century France will be given as well as some information about Lemmens and Guilmant. The influence of the German organ tradition on the Three Sonatas of Lemmens and the Eight Sonatas of Guitmant will be shown and it will be proven that indeed the German masters had an influence on the French organ music of the nineteenth century. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2004.

This thesis on the Rise of the French Organ Symphony refers especially to the relevant works of Alexandre Guilmant and Charles-Marie Widor. It commences with a survey of the historical background, dealing with the development of French organ music from the 16th to 19th Century and the development of organ building in France from the 17th to 19th Century. It then proceeds to descriptions of the organs of St Clotilde, La Trinité and St Sulpice Churches in Paris, which are followed by biographical profiles of Cesar Franck, Alexandre Guilmant and Charles-Marie Widor, respectively. The major part of the thesis is devoted to a detailed analysis of the organ sonatas of Guilmant and the organ symphonies of Widor, which are discussed from the point of their cyclic outline and aspects of form and of style. The final chapter summarises the major findings of the analytical research and evaluates by comparative method, the merits and achievements of the two composers. In addition, Appendices are attached, providing specifications of various French organs and pictorial material relevant to the thesis. A separate cassette tape features characteristic sounds of Cavailie-Coll organs.

Am Anfang des 19. Jahrhunderts übernahm das Pariser Conservatoire verschiedene Aspekte der italienischen Lehrmethoden, insbesondere die Partimenti. Diese französische Tradition begann mit dem Traktat Charles-Simon Catels (1802) und entwickelte sich durch die Publikationen von François-Joseph Fétis (1844), Théodore Dubois (1891), und Charles Koechlin (1927–30) weiter. Henri Challans 380 Basses et chants donnés (1960) ist eine der letzten Veröffentlichungen der französischen Partimento-Tradition. Dieser Beitrag gibt einen Überblick über Challans Traktat. Challan lehrt unter anderem Kadenz- und Sequenz-Muster, wie sie auch in den Orgelwerken von César Franck, Gabriel Fauré, Alexandre Guilmant und Louis Vierne auftreten. Es lässt sich zeigen, dass solche Satzmodelle wichtige Bestandteile der Improvisationspraxis dieser Organisten-Komponisten waren. Zu den typischsten Stimmführungsmustern des französisch-romantischen Stils gehören Kadenzen, die ich ›plagale Varianten‹ nenne, weil sie von der typischen Plagal-Kadenz abweichen. Manche stilistischen Eigenschaften, die wir heute als charakteristisch für Komponisten dieser Schule verstehen, waren von der Partimento-Tradition am Pariser Conservatoire geprägt. / In the early nineteenth century, the Paris Conservatory adopted various aspects of Italian teaching methods, especially partimenti1891), and Charles Koechlin (1927–30). Henri Challan’s 380 Basses et chants donnés (1960) is one of the last publications of the French partimento tradition. The present article gives an overview of Challan’s treatise. Challan presents various cadences and sequences that also appear in the organ works of César Franck, Gabriel Fauré, Alexandre Guilmant, and Louis Vierne. Such voice-leading models were integral elements of the improvisational practice of these organist-composers. Among the most typical voice-leading patterns of the French-romantic style are cadences that I term »plagal variants,« since they deviate from typical plagal cadences. Many stylistic characteristics typical for composers of this school were influenced by the partimento tradition at the Paris Conservatory.

Le XIXe siècle français a été marqué par une pratique extrêmement répandue de la transcription musicale. Cette thèse veut s'attacher à ses usages comme moyen d'accès à l'œuvre, à travers l'apport exceptionnel en ce domaine du compositeur et organiste Alexandre Guilmant, des années 1850 – époque de ses premières activités professionnelles – à 1910, veille de sa mort. Si transcrire n'est pas spécifique au XIXe siècle, cet acte irrigue la création musicale, se place au cœur de la conception esthétique de l'œuvre, au point de concentrer en lui de nombreuses questions liées à l'écoute, à la pratique amateur et professionnelle, à l'émergence d'une littérature spécifique et adaptée, à la propriété intellectuelle, entre autres. Le cas Guilmant, étudié dans son contexte socio-artistique, éclaire l'image du transcripteur qui se nourrit de l'extrême mobilité de la musique, s'imprègne des styles classiques et anciens, actualise des œuvres choisies et contribue ainsi à la construction d'un répertoire exemplaire. La transcription apparaît alors comme médiatrice d'une culture, capable d'accompagner le développement de la conscience historique. / Musical transcription was an extremely widespread practice in 19th-Century France. This thesis will focus on its use as a mean of accessing the original artwork, through the outstanding contribution in this field of composer and organist Alexandre Guilmant, between the years of his early professional activities in the 1850s until the eve of his death in 1910. Although transcription is by no means confined to the 19th-Century, it flows through all of musical creation and lies at the heart of the aesthetic design of the artwork – to the point of bringing into focus many issues related, among others, to listening, to amateur and professional practice, to the emergence of a literature both specific and adapted to intellectual property. Guilmant’s case, studied against his socio-artistic background, illuminates the transcriber who, feeding on the extreme mobility of music, is impregnated by classical and antique styles, updates selected works, and so contributes to the development of an exemplary repertoire. Transcription appears as the mediator of a culture and capable of supporting the development of historical consciousness.

No description available.

This paper examines the Quintet in A Minor for Piano and Strings by Florence B. Price (1887-1953). One of Price's latest compositions (with final revisions dated January 21, 1952), the Quintet is a masterful example of what is possible when using a multicultural lens to approach the making of American music. This paper exposes the insufficiency of examining (and assessing) multicultural composers and their works only with traditional Western European analytical views, when an expanded approach is needed to explain many of the non-European musical influences and phenomena. While more complex and challenging, this expanded analytical approach sheds added light and understanding on all compositional techniques used within this work. This analysis of the Quintet in A Minor shows that Price often self-quotes from some of her own earlier works; specifically works from her organ, art song, and symphonic oeuvres. The findings also show that Price's understanding of both Western Classical traditions and African-American musical traditions enabled her to intertwine multiple cultures, creating novel forms that are authentic to the American experience she lived. Price created what she referred to as a "very beautiful and very American" sound.