Fall River MA St Anne Organ John Rose French Romantics Vol 5 Vinyl LP Record VG+

Description: Yes we combine shipping for multiple purchases.Add multiple items to your cart and the combined shipping total will automatically be calculated. 1983 Fall River MA Massachusetts St. Anne's Church Organ John Rose French Romantics Vol 5 Vinyl LP Record VG+ Record Grade per Goldmine Standard: VG+ THE FRENCH ROMANTICS VOL.5 JOHN ROSE,organOrgan of St. Anne s Church, Fall River, MassachusettsProduced and Engineered by Michael NemoSide One: (20:12)FRANCK: Fantasie in A major (12:54)VIERNE: Arabesque (7:07)Side Two: (25:07)GUILMANT: Sonata No. 1 in D minorIntroduction and Allegro (10:38)Pastorale (6:00)Final (8:18)The three composers represented on thisrecording, together with Charles-MarieWidor,whose best known work comprised thepreceding volume in this series, were thedominant organist figures in Paris for wellover a half century span from about 1860 intothe 1930s. These two discs, therefore, samplethe work of the nucleus of the French com-posers for organ of the second half of music’sRomantic era.The post of greatest influence in givingshape to the French organ tradition was thatof professor of organ at the ConservatoireNationale in Paris, and three of these com-posers (Franck, Widor, Guilmant) held theposition in succession for just shy of fourdecades while the fourth (Vierne) served asassistant and substitute teacher to two of them.Cesar Franck became the organ professorin 1872, and was succeeded by Widor in 1890.Six years later Widor was named professor ofcomposition, and upon his recommendationwas succeeded in the organ post by AlexandreGuilmant who held it until his death in 1911.Guilmant’s assistant and substitute while ontour was Louis Vierne, who had been a studentat the Conservatoire of both Franck and Widorand had also assisted Widor in teaching.It was widely thought, including by Vierne .himself, that Vierne would succeed Guilmantin the post. When political maneuveringprevented the appointment, both Vierne andhis teacher Widor were concerned to continuethe tradition which Franck, Widor andGuilmant had represented. Guilmant hadearlier founded, together with Vincent d’Indyand Charles Bordes, the Schold Cantorum inParis and had taught the organ class there aswell as at the Conservatoire Nationale until hisdeath. Despite a rivalry with d’Indy, Widorurged Vierne to accept the appointment tosucceed Guilmant there as organ professor,and thus the tradition lived on until 1937—theyear of death for both Widor and Vierne andthe close of the era of the French Romanticsof the organ.These four also dominated the Parisianorgan scene by presiding at the four stellarexamples of the art of the great organ builderAristide Cavaille-Coll, whose instrumentsdeveloped the orchestral fullness which madepossible and gave shape to the Romanticorgan literature—Franck at Sainte-Clotilde(1859 to his death in 1890), Widor at Saint-Sulpice (1869-1933), Guilmant at La Trinite(1871- to 1901) and Vierne at Notre DameCathedral (1900 to his death in 1937).In the liner notes of preceding volumes inthis French Romantics series, the careers ofWidor (IV), Vierne (II) and Franck (I and III)have been outlined.Alexandre Guilmant was born in 1837 inBoulogne-sur-Mer where his father was theparish organist. He was not encouraged topursue music, but eventually his familybecame convinced of the sincerity and depthof his commitment, and his father initiated theboy’s musical education. By the age of 12 hewas substituting for his father, and at 16 hadbecome the organist of another local church.At the age of 18 his first composition, asolemn mass, was being used at St. NicholasChurch by his father. By the age of 20 he waschoirmaster at St. Nicholas, a faculty memberat the conservatory in Boulogne and conductorfor a local music society.As with Widor, the major influence onGuilmant’s development as an organist wasthe Belgian master Jacques Lemmens withwhom he first studied in Paris and then inBrussels. His performance debut in Pariscame at the age of 25 when he played as partof the dedication ceremonies for the neworgan at St. Sulpice. Later he performed oneof his own compositions when the new instru-ment at Notre Dame Cathedral was dedicated,which helped lead to his own appointment asorganist of La Trinite.He became known as the foremost Frenchconcert organist of his day, and toured through-out Europe and on several occasions in theUnited States. Much of this fame owed to hisextraordinary prowess as an improvisaleur, andit was this which led to a command perform-ance at St. George’s Chapel, Windsor Castle,before Queen Victoria. The Queen, who hadstudied with Mendelssohn, supplied Guilmant’stheme for the improvisation, and at its con-clusion is said to have eagerly congratulatedher guest.Guilmant’s first American tour began withperformances at the Chicago World’s Fair in1893. He toured here again in 1898, and on histhird trip in 1904 he played 40 recitals at theSt. Louis Exposition followed by 24 recitals inother cities. At home his basic public forumwas the Cavaille-Coll instrument at theTrocadero, for which he had played one of thededicatory recitals and on which for years heperformed a series with a large popularfollowing.Guilmant’s compositions include eightorgan sonatas and hundreds of other organpieces including masses and arrangements andtranscriptions for the organ. As a teacher hepassed along the legacy of Lemmens to futureluminaries of the French organ scene such asOlivier Messiaen, a successor at La Trinite,and Marcel Dupre, a successor as organprofessor at the national conservatory.In Guilmant’s First Sonata one quicklysenses a musical idiom which is uniquelyorganistic. While the ear can imagine much ofthe composition translated into the similarlanguage of a symphony orchestra (the com-poser himself arranged it for this purpose), italso senses here the work of a craftsman whounderstood exactly what was peculiar to hisinstrument and knew how to construct citiesof sound unmistakable for any rival metropolis.Orchestral sounds are paralleled, but it remainsresolutely a work for the organ.Of these four paramount French Romanticcomposers for the organ, Guilmant was themost narrowly fixated on his own instrument.Franck, Widor and even Vierne turned outconsiderable numbers of pieces composedoriginally for other instruments and ensembles,while Guilmant, aside from arranging thisSonata (and the Eighth) for orchestra andorgan, contented himself for the most partwith writing for the “King of Instruments’’Yet his work is anything but narrow in concep-tion and scope. It starts with his rootedness inBach, through Lemmens, and goes on to explorewith great imagination new areas to be con-quered for the King. The First Sonata hasbeen nicknamed Symphonic and its three con-trasting movements explore the Cavaille-Colltonal characteristics which so fascinatedGuilmant and impelled his writing.Franck’s Fantasie in A was written as oneof three pieces for the same inaugural series ofrecitals at the Trocadero at which Guilmanthad performed. It is improvisatory in style,and again explores a broad range of color anddynamics in a manner characteristic of theperiod. Vierne’s ‘Arabesque”is from hiscollection of Twenty-four Pieces in Free Stylewhich were composed to be performed eitheron a large organ with pedalboard, or a harmo-nium (hands alone). This piece is representativeof Vierne’s impressionistic approach typical ofa large portion of his later organ works.annotation by Phillip TruckenbrodThe ArtistJohn Rose maintains an active North Americanperformance schedule and has toured abroad anumber of times, most frequently in Europe. Asthis series would suggest, he enjoys treating hisaudiences to music by the French symphonistschool of composers when the instrument athand permits.He lives in Hartford, Connecticut, where heserves both as College Organist at Trinity Collegeand Senior Organist at the Cathedral of St.Joseph. Prior to assuming the Trinity Collegepost in 1977 he served for nearly a decade asorganist and music director at the Cathedral ofthe Sacred Heart in Newark, N.J., where he alsotaught organ at Rutgers University.Among the noted composers who havededicated works to John Rose is MalcolmWilliamson, Master of the Queen’s Music toH.M. Elizabeth II of Great Britain. LP408

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