Organ of Notre-Dame-de-LoretteAt the same time, a revolutionary change was occurring in the techniques of French organ performance. The German organist (1809–1863), a student of biographer, had demonstrated in 1844 in Paris the pedal technique which (together with a German-style ) made the performance of Bach's works possible. This was totally outside the scope of the kind of playing which Franck had learned from Benoist at the Conservatoire; most French organs did not have the pedal board notes required for such work, and even France's own great classical organ tradition dating from the period of the was at that time neglected in favour of the art of improvisation. Hesse's performances might have been treated simply as a short sensation for their dazzling virtuosity, but that Hesse's pupil (1823–1881) came to Paris in 1852 and again in 1854.

1. Cesar Franck Piano Quintet

Lemmens was then professor of organ at the, and was not only a virtuoso performer of Bach but a developer of organ teaching methods with which all organists could learn to play with precision, clarity, and legato phrasing. Franck appeared on the same inaugural concert program as Lemmens in 1854, much admiring not only the classic interpretation of Bach but also the rapidity and evenness of Lemmens's pedal work. States that Franck, pianist before he was organist, 'never wholly acquired the legato style himself'; nevertheless he realized the expansion of organ style made possible by the introduction of such techniques and set about the task of mastering them. Titulaire of Sainte-Clotilde (1858–1872). Performed by (flute) and Mary Norris (piano)Problems playing these files?

See.His music is often complex, using a that is prototypically late, showing a great deal of influence from. In his compositions, Franck showed a talent and a penchant for frequent, graceful of key. Often these modulatory sequences, achieved through a or through inflection of a melodic phrase, arrive at harmonically remote keys. Indeed, Franck's students report that his most frequent admonition was to always 'modulate, modulate.' Franck's modulatory style and his idiomatic method of inflecting melodic phrases are among his most recognizable traits.Franck had huge hands, capable of spanning twelve white keys on the keyboard. This allowed him unusual flexibility in voice-leading between internal parts in composition, and in the size of the repeated chords which are a feature of much of his keyboard music. Of the Violin Sonata's writing it has been said: 'Franck, blissfully apt to forget that not every musician's hands were as enormous as his own, littered the piano part (the last movement in particular) with major-tenth chords.

Most mere pianistic mortals ever since have been obligated to spread them in order to play them at all.' The key to his music may be found in his personality. His friends record that he was 'a man of utmost humility, simplicity, reverence and industry.' , a pupil and later organist titulaire of Notre-Dame, wrote in his memoirs that Franck showed a 'constant concern for the dignity of his art, for the nobility of his mission, and for the fervent sincerity of his sermon in sound.

Joyous or melancholy, solemn or mystic, powerful or ethereal: Franck was all those at Sainte-Clotilde.' .

d'Indy calls Nicolas-Joseph 'stern and autocratic' (p. 31); bluntly refers to 'commercial exploitation' (p. 16).

Vallas, p. 15. Vallas, p. 22.

d'Indy, 31. ^ d'Indy, p. 34.

Vallas, p. 37. Vallas, p. 62.

Davies, p. 63. d'Indy, p. 111.

Davies, p. 62.

Vallas, p. 75-6.

Cesar Franck Piano Quintet

Vallas, p. 105. d'Indy, p. 41. Davies, p. 72. Vallas, p.

84-5. Vallas, p. 85. d'Indy, p. 39. Vallas, p.

102. Vallas, p. 100.

Vallas, p. 103. Vallas, p. 104. Smith, Toward, p. 31-34. Hildebrandt, Vincent.

Retrieved 16 August 2017. Vallas, p. 112, note.

quoted in d'Indy, p. 41-42, note. Smith, Playing, p. 27. Vallas, p. 127.

Davies, p. 87.

Smith, Playing, p. 29. Vallas, p. 135. Vallas, p. 137-8; Smith, Playing, p. 30.

Fir sab tv mp4 downloads. d'Indy, p.235. d'Indy, p.

235. d'Indy, p. 247. Vallas, p. 152. d'Indy, p. 223.

Vallas, p. 163.

Vallas, p. 247.

Vallas, p. 243. Vallas, p. 168.

Stove, p. 260.

Vallas, p. 198. d'Indy, p. 52.

Vallas, p. 185. Vallas, p. 206. d'Indy, p. 173-4.

Stove, p. 262. d'Indy, p.

54. Vallas, p. 211-213.

Vallas, p. 212. Vallas, p.

216. Stove, pp.

279, 295. Vallas, p. 232. Stove, pp.

283-284. Ober, p. 83.

Stove, p. 296. Vallas, p. 234-235.

Stove, p. Retrieved 16 August 2017. at. Smith, Toward, p. 36, note 87. Stove, p.

257. Vierne, Mes Souvenirs, p. 43, quoted in Smith, Toward, p.

24. Smith, Toward, p. Retrieved 16 August 2017.References.

For this double/make-up entry, the first movements of two piano quintets by two contemporaneous french composers.(this is also music i was more or less unfamiliar with, so it's easier for me to do these expositions of more well-known works)M stands for wilhelm mohr, who catalogued franck's work in 1969.this 3-movement quintet was written in 1878-1879, pretty much right in the middle of his fairly prosperous career as professor at the paris conservatoire (his so-called 'late period' lasts from 1872-1890). His new job allowed him to spend a lot more time composing, and he had a pretty reasonable output of work during this period, including a lot of the pieces we now know him best for - le chausseur maudit, symphonic variations, and later, the violin sonata.wikipedia indicates that he is represented in the 'standard' modern repertoire only by a fairly narrow range of works.

I think perhaps this has to do with the fact that the color of much of what he wrote was so similar - hyperromantic, instrumentationally/texturally standard, lapsing sometimes into stagnation, even. But this piano quintet was one of his few works which had a successful premiere.

This massive first movement is angsty and vital, with a 'theatrical grimness,' as one of the critics wrote back in the day.his work before this was mostly just sacred work, and this piece was the beginning of his actual success as a composer. Nyphil writes that the mood's likeliest explanation was 'franck's infatuation with his student augusta holmes, a beautiful and gifted woman 25 years his junior.'

Apparently saint-saens, who was the pianist at the premiere, rather disliked this piece, as well as franck's wife, felicite (for perhaps obvious reasons).this movement is opened by a slow instroduction with two components: huge angsty, dramatic cry from the strings, and a melancholy melody for the piano which begins at 0:27. At 3:43, the tempo suddenly changes to allegro, and a nice characterization for what's happening for the rest of the movement is that instead of the piano trying to calm the strings down, it's the other way around. The super-dotted rhythm is derived from the very opening string statement.at 5:06 is a very chromatic theme which plays a crucial role in the work as a whole, repeating at various points throughout the three movements. It comes back at the end of this movement, much more agitated, at 7:43. In between you have a return of the slow introduction, and lots of development based on said theme.looooots of chromatic movement through this piece - does quite a bit to undermine the tonal center. Some characteristically french melody writing, and quite a lot of the devilish arpeggio-work that anyone who's familiar with the violin sonata will recognize - which was the next and maybe even only work that was quite as overtly passionate and heart-on-sleeve as this.enjoy! Welcome to my blob blog of classical music.

I began this blog at the very beginning of 2011 as a way to A) encourage myself to become more familiar with new repertoire and more adept at light analysis, and B) to provide information that is (hopefully) interesting and more specific than that found in your typical set of liner/program notes. For every post you will see the best YouTube videos I was able to find to accompany my repertoire choice, and in general I try to reference the recordings often in the subsequent post.