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Deux Pièces - No. 1. Marche Nuptiale

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Furtwängler & Hammer Imperial Cathedral Königslutter - A Kingly Instrument for a Royal Worship Space

Furtwängler & Hammer, No. 286 - A Masterpiece Saved!!!The grand organ in the Kaiserdom,&nb...

Uploaded by: Agnus_Dei (10/11/13)
Composer: Wachs, Paul
Sample Producer: Milan Digital Audio
Sample Set: Notre Dame de Metz Mutin/Cavaillé-Coll
Software: Hauptwerk
Genre: Romantic
Description:
The French composer Étienne-Victor-Paul Wachs (1851-1915) deserves more attention than he gets today. He was an organ student of Francois Benoist and Cesar Franck at the Paris Conservatoire, where he won the Premier Prix for organ in 1872. He later became organist at the church of Saint-Merry in Paris, succeeding his father, Frédéric. He wrote several organ pieces, including these two, that were published posthumously by Hamelle in 1917. and wrote organ pieces. He is remembered today (slightly) for a series of very well crafted piano salon pieces. His works capture as well as any the atmosphere of 'La Belle Époque'.

I confess again that I have been looking for literature "of the period" to play on the ALMOST done Wirsching organ. While these two works may not be to the taste of all, I think there is a sincerity about them that prevents them from being "corny", and what they may lack in depth, I hope that they make up in appeal.

"Deux-pièces pour Orgue" were published posthumously by Hamelle in 1917. The first of the two, "Marche Nuptiale" is in D major, and is a "slow fanfare" with a VERY memorable theme. The middle section is more lyrical, and is played here on the Fonds of the Postitf. I first heard this piece at a Catholic church in London where a wedding was taking place. It made an impression that I have never forgotten. Published during World War One, there seems to be an air of sadness even in the fanfare-march section. Maybe it's just my imagination.

The second, "Cantilene" is in the key of E-flat, and uses the typical French sonoroties of the Voix celeste, the Fonds of the Grand Orgue, and the Gambe of the G.O. played as a solo in the tenor register.

These were recorded with the "real" and "non-extended" veriosn of the sample set, so, NO 32' reed at the end... ;-)
Performance: Live
Recorded in: Stereo
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