French Baroque Organ Art: Musique, Organ building, Performance

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1 Marina Tchebourkina French Baroque Organ Art: Musique, Organ building, Performance Table of Contents Introduction... 5 Chapter I Aesthetic and Stylistic principles of French Baroque Organ Art Etymological analysis of principal stylistic terms Baroque. Jean-Jacques Rousseau s Baroque Music (1750/1766) Galant style, Rococo, Mannerism, Decadence French Classicism Principles of Rhetoric, Passions and Styles Rhetoric and Passions in the 17 th century. Accents Rhetoric and Passions in the 18 th century. Styles Rhetoric and French Baroque Organ Art French Baroque Organ Art as a stylistic phenomenon Pathetic. Pathetic eloquence Concept of Rationalism Light and Dark Findings Chapter II French Baroque Organ Music: Theory and Practice The Liturgy and the Organ Art Cæremoniale Episcoporum ( ) Manuscrit de Troyes (1630) Cæremoniale parisiense (1662) Cérémonial Monastique (1669) Findings Organ genres in the context of Liturgy and Concert Mass Hymn Te Deum Magnificat Suite Noël Precursors of Organ Concerto: Offertory, Symphony, Carillon, pieces for occasion Concerto

2 2.3 Harmonic systems The René Descartes Harmonic system (1618/1650/1668) Effect of Resonaiting Accords ( Consonances ). Arithmetic proportion Theory of Degrees Dissonances General systematization of Degrees and Intervals Scale Theory of Modes The Marin Mersenne s Harmonic system (1629/ ) Arithmetic proportion and Harmonic proportion. Arithmetic Middle, Harmonic Middle, Geometric Middle. Theory of Consonances and Dissonances Chords Theory of Degrees Diatonic Genre, Chromatic Genre, Enharmonic Genre. Equal divisions Theory of Modes The Guillaume-Gabriel Nivers Harmonic system ( ) Theory of Degrees and Intervals : from harmony of numbers towards harmony of relations Theory of Modes. Final, Mediant, Dominant Theory of Mode s Transposition Modes by Dominant The Joseph Sauveur s Harmonic system ( ) Fixed Sound. Vibrations. Beatings Fundamental sound. Harmonic sounds Theory of Intervals. Complement to octave. Sub-Intervals Diatonic, Chromatic, Enharmonic systems Tempered system. Merids, Eptamerids, Decamerids The Saint-Lambert s Harmonic system (1702, 1707) Theory of Intervals. Fundamental sound Tonal Modes. Tonic Note Perfect Chord. Reduction of Numerated Chords to Perfect Chord The Jean-Philippe Rameau s Harmonic system ( ) Fundamental sound. Mixed principle of Octave. Harmonic sounds Principle of Double comparison Theory of Inversions and Reductions Perfect Diatonic system. Chromatic system Diatonic Genre, Chromatic Genre, Enharmonic Genre. Composed Genres. Geometric proportion. Temperament Theory of Intervals Chords Arithmetic proportion and Harmonic proportion. Harmonic Middle. Perfect Major Chord. Perfect Minor Chord Chords of seventh

3 Chord Inversions Theory of Modes. Major and Minor. Tonality Functionality Conclusion Principles of Musical Form Polyphonic forms Counterpoint and Harmony Rhetoric and Musical Form Metric Extrapolation phenomenon in the French Baroque era Periodical forms Period. Simple Periodical forms, composed Periodical forms Variations Rondo Rondo-Sonate. Sonate Suite. Forms of Organ Liturgical Suite Pictorial effects. Program forms Free (improvised) forms. Prelude. To Prelude Chronological Table Evolution of French Baroque Organ Music. Periodisation Findings Chapter III French Baroque Organ building: Organ Dispositions and Sound aesthetic The Renaissance Organ in France: background and establishment of the French Baroque Organ Organ building in the 14 th and 15 th centuries The Organ of the church of St. Michel, Bordeaux ( ) The Organ of the church of St. Vivien, Rouen (1515) The Organ of the Royal Chapel, Dijon (1560) The Organ of the Cathedral of Notre-Dame, Reims (1570) The Organ of the church of St. Sulpice, Fougères (1594) General principles and evolution of Organ building during the Renaissance era in France The Organ of the church of St. Gervais and St. Protais, Gisors (1580) as a prototype of the French Baroque Organ Findings The French Baroque Organ: establishment of Organ Disposition-Type and principles of its evolution Organ building in the first decades of the 17 th century. The Organ of the church of St. Godard, Rouen (1632) Organ builder Organist Composer The Marin Mersenne s Organ building theory (1629/ ) Proportions of Lengths and Intervals Diapasons and Temperaments Types of keyboards Organ Dispositions Organ building in the 1640s and 1650s

4 3.2.5 The Organ of the church of St. Germain-des-Près, Paris (1663) The Organ of the church of St. Louis-des-Invalides, Paris ( , 1687) The Organ of the church of St. Gervais, Paris (1628, 1649, 1684) The Organ of the Cathedral of Notre-Dame, Rouen (1689) The Joseph Sauveur s Organ building theory ( ) Fixed Sound in the Organ buiding system of Joseph Sauveur Structure of Organs Organ Dispositions The Organ of the Basilica of St. Quintin, Saint-Quintin ( ) The Organ of the Cathedral of Notre-Dame, Saint-Omer (1715) The Organ of the Cathedral of Notre-Dame, Paris ( ) The Organs of the Abbey of St. Étienne, Caen ( ) and the Basilica of St. Martin, Tours (1761) The Organs of the Royal Convent, Saint-Maximin ( ) and the Cathedral of St. Cécile, Albi ( , 1747, ) The Organs of the Priory of St. Pierre and St. Paul, Souvigny (1783) and the Cathedral of St. Pierre, Poitiers ( ) The dom François Bedos de Celles Organ building theory ( ) The 1 st, 2 nd and 3 rd Organ Dispositions The 4 th, 5 th and 6 th Organ Dispositions The 7 th, 8 th and 9 th Organ Dispositions The 10 th, 11 th and 12 th Organ Dispositions The Concert and Residence Organs The Organs of the Palace of Versailles as type and exception The Organ of the Third Royal Chapel ( ) The Organ of the Fifth Royal Chapel ( ) Restorations of the Organ of the Fifth Royal Chapel in the 18 th century as expression of evolution of the French Baroque Organ building The problem of contemporary restoration of a French Baroque Organ according to the historical concept Evolution of French Baroque Organ building. Periodisation Findings Chapter IV French Baroque Organ Performance: Methods and Fashions About specificity of Organ Performance Registration. Registrations-Types. Registrations-Genres Registration in France in the Renaissance era: Instruction pour le jeu de l Orgue (ca. 1510) Creation of the categories Plein jeu and Grand jeu Jean Titelouze (1624, 1626) Marin Mersenne (1629/ ) Louis Couperin ( ) Guillaume-Gabriel Nivers (1665) Nicolas Lebègue (1676) André Raison (1688) Jacques Boyvin (1690)

5 François Couperin (1690) Joseph Sauveur (1702) Gaspard Corrette (1703) Michel Corrette (1737) Louis Claude Daquin (1757) Dom François Bedos de Celles (1755/1770) Michel Corrette (1787) Decomposition of the French Baroque Registration principles Jean-Jacques Rousseau (1750/1766) Encyclopédie méthodique (1791, 1818) Evolution of French Baroque Registration principles. Periodisation Findings Movement, Tempo, Character, Bar, Beat René Descartes (1618/1650/1668) Jean Titelouze (1624) Marin Mersenne (1629/ ) Louis Couperin ( ) Guillaume-Gabriel Nivers (1665) Nicolas Lebègue (1676) André Raison (1688) Étienne Loulié (1696) Joseph Sauveur (1701) Sébastien de Brossard (1701) Saint-Lambert (1702) Gaspard Corrette (1703) François Couperin (1716) Jean-Philippe Rameau (1722) Michel Corrette (1737) Jean-Jacques Rousseau (1750/1766) Dom François Bedos de Celles (1755/1770) Michel Corrette (1787) Toucher, Manner, Technique of Performance, Articulation About terminology Guillaume-Gabriel Nivers (1665) Nicolas Lebègue (1676) André Raison (1688) Gaspard Corrette (1703) François Couperin (1716) Dom François Bedos de Celles ( ) Michel Corrette (1787) Inequal Notes About terminology Accents. Jean Titelouze (1624) Guillaume-Gabriel Nivers (1665) André Raison (1688) Étienne Loulié (1696) Sébastien de Brossard (1701) Saint-Lambert (1702) Gaspard Corrette (1703) Jacques Martin Hotteterre (1707)

6 François Couperin (1716) Michel Pignolet de Montéclair (1736) Jean-Jacques Rousseau (1750/1766) Dom François Bedos de Celles (1778) Ornamentation Jean Titelouze (1624, 1626) Marin Mersenne (1629/ ) Guillaume-Gabriel Nivers (1665) Nicolas Lebègue (1676) André Raison (1688) Jacques Boyvin (1690) Gaspard Corrette (1703) Jean-François Dandrieu (before 1738) Michel Corrette (ca. 1740) Dom François Bedos de Celles (1778) Evolution of French Baroque Organ Performance. Periodisation Findings Chapter V Theory of Proportions in France in the 17 th and 18 th centuries and French Baroque Organ Art Organ building Performance Music Theory of Proportions in the context of evolution of French Baroque Organ Art Findings Conclusion Misical Examples Tables Bibliography Table of Contents Copyright Natives

Active learning will develop attitudes, knowledge, and performance skills which help students perceive and respond to the power of music as an art.

Active learning will develop attitudes, knowledge, and performance skills which help students perceive and respond to the power of music as an art. Music Music education is an integral part of aesthetic experiences and, by its very nature, an interdisciplinary study which enables students to develop sensitivities to life and culture. Active learning