Jean-Thierry Boisseau

Petite Suite Liturgique (Orgel Solo)

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Petite Suite Liturgique (Orgel Solo) Petite Suite Liturgique (Orgel Solo) Petite Suite Liturgique (Orgel Solo) Petite Suite Liturgique (Orgel Solo) Petite Suite Liturgique (Orgel Solo) Petite Suite Liturgique (Orgel Solo) Petite Suite Liturgique (Orgel Solo) Petite Suite Liturgique (Orgel Solo) Petite Suite Liturgique (Orgel Solo) Petite Suite Liturgique (Orgel Solo) Petite Suite Liturgique (Orgel Solo) Petite Suite Liturgique (Orgel Solo) Petite Suite Liturgique (Orgel Solo) Petite Suite Liturgique (Orgel Solo) Petite Suite Liturgique (Orgel Solo) Petite Suite Liturgique (Orgel Solo) Petite Suite Liturgique (Orgel Solo) Petite Suite Liturgique (Orgel Solo) Petite Suite Liturgique (Orgel Solo) Petite Suite Liturgique (Orgel Solo) Petite Suite Liturgique (Orgel Solo) Petite Suite Liturgique (Orgel Solo) Petite Suite Liturgique (Orgel Solo)

Veni Creator, Pange Lingua, Ave Maris Stella, Victimae Paschali, chow does one dare, afterGrigny, Duruflé, Dupré, Tournemire, to composer, "à la française", works using thesethemes? My position is that these composers never intended that it be forbidden to writesuch works after their own. Perhaps they even wished, by their excellant example, tomotivate those who came after them to be inspired by these themes. à s´y intéresser aussi.

In this work, I wanted to address an issue that Carson P. Cooman brought to my attention.Composer-organists have written and more generally write virtuoso works, even if theirinspiration in liturgical. The typical Church organist is not usually a virtuoso by definitiion.These organists are generally excellant musicians. If the Church Organist does notimprovise, he might find himself trapped in a repertoire which he can technically play, butwhich usually remains in the domain of common-practice music. Modern music, which isusually quite difficult, is usually not part of this repertoire.In these seven pieces, I am thus proposing a contemporary alternative for Church musiciansto the usual repertoire of the past.

These works are an evident evocation of the French OrganSchool of the 20th century in an easier style. The pedal part is especially conceived in thissense. These simple works may also serve as an introduction to improvising using Gregorianthemes.These pieces are generally short, but there are numerous passages which may be repeated asdesired, generally indicated by a double bar.

The registrations are desired, but allow theperformer to find the best solution with his own instrument. It is necessary, however, to havean instrument with at least two keyboards.The liturgical uses suggested by the subtitles are only propositions.

Jean-Thierry Boisseau



Details

Artnr.: mfjtb046
Autoren: Boisseau Jean-Thierry 1949-* (52)
Stilrichtung: Klassik Zeitgenössisch
Instrument: Orgel Solo
Seiten: 22
Unser Preis: 14.95 EUR

(Preis inkl. gesetz. MwSt.)