César Franck: 2° Choral / Orchestration: Benoît Mernier / La Monnaie Symphony Orchestra
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- Опубліковано 3 лис 2024
- César Franck (1822-1890): Choral II in B Minor (CFF 39)
Transcription for organ and orchestra: Benoît Mernier (2020)
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La Monnaie Symphony Orchestra
Benoît Mernier, organ
Alain Altinoglu, conducting
Concert live recording, 20.09.20, Bozar, Brussels (sound engineer: Philippe Paque)
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Commissioned by La Monnaie/De Munt
Score published by XXI Music Publishing - www.21music-pu...
Orchestra: 2.2.2.2 - 4.2.2.1 - Timp. - symphonic organ - 12.10.8.6.4
Organ of Henry Leboeuf Hall in Bozar: built by G. & A.Westenfelder, O. Robert, B. Hurvy, D. Debrunner (2017) - Maintenance & tuning: Pieter Vanhaecke
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The 3 Chorals for Organ (1890) by César Franck is the last of the composer’s works to be published after his death. Despite being generally regarded as his testamentary work, his 3 Chorals in fact marked the start of a creative frenzy that the composer was indeed destined to take further with his String Quartet (1889-1890) and opera Ghiselle (1888-1890). Sadly, Franck only ever orchestrated the 1st act of this last work, passing away on 8 November of the same year. Franck’s 3 Chorals sit at the crossroads between symphonic and chamber music: an intriguing quality that prompted the creation of this new version of the second component of the trilogy.
The orchestration presented in this edition seeks to amplify both the symphonic and expressive veins of this remarkable work. Franck was clearly influenced by an ancient form (the Passacalia), however completely renewed the genre by inventing his own exceptionally dramatic creation. The purpose of the orchestral handling is not to transform the Chorale into a Concerto for organ, but rather to express a personal interpretation. As such, various tempo markings have been added, as have several metronome markings, enabling the players to make the work resonate in a way that is somewhat novel yet still anchored to a traditional form. My intention was to treat Franck’s second Chorale with his own orchestral sound (as heard in his Symphony in D minor for example), whilst introducing orchestration techniques seldom used by the composer and organist, e.g. doublings and articulation in the strings, notably at the end of the work.
This orchestration is functional. And by this, I mean that it attempts to define the form and phrasing alluded to in the original work. To a certain extent, it plays on a dialogue between the Organ and Orchestra whilst creating a sort of sound continuum: the orchestra amplifies the organ and vice versa so as to create a feeling of fluidity. In this sense, it’s more of a Fantaisie concertante than a Concerto movement.
Benoît Mernier
Thank you! I'd been hoping for this for a long time. Very successful enrichment of the choral. Hope you do more.
Magnifique revisitation de ce chef d'oeuvre! Merci Benoît, Franck Besingrand
Bravissimo, signor Mernier. Viva Franck :-)
Grazie!
Grazie!
Very nice transcription!
Cette composition a certainement grandi avec la transcription - plus que jamais liturgie personnelle du coeur qui a souffert du mal d'amour pendant des décennies.
Thanks!
Un superbe travail, les couleurs sont de toute beauté, son esprit est là, palpable. Félicitations Benoît!
Merci cher Louis!
Playing orchestral music on the organ isn't always a great success, but when a orchestra plays organmusic one can hear that several organcomposers made their pieces with the orchestra in mind. Beautiful! We want more!
Thank you!
Wat een prestatie dit, en het resultaat volkomen overtuigend als orkestwerk.
Bravo, vraiment ! Quelle merveille !
Merci pour ces mots!
C'est SUBLIME ! Parfait musicalement et stylistiquement. Transcendant !
I enjoyed this, but have to say that it's cheating to do an orchestral transcription which still includes a part for organ!
Pointless having the organ in this.
Pauvre Franck...
Horrible !