The Richmond Virginian. (Richmond, Va.) 1910-1920, 1919-02-09

Aaoe4 nv only direct tnf"res'. Ivy -.
1SSe and untu~tty nestected. ~ "a ~
+ 80 be forgotten fhs' fr~heH o' "a
r1fSnsc preceded that % Germany s'iu
- witness Of flne quality at uihs
U1.er the bach family had rs yer
49, no sign CT existence. Az ttle
Snwsv,rfrr Of the ski eenth century
yHSr~ we're published In Franc I'VE
vnl0n~~ Of organ mcste by Fitrrs NJ
sawnant. which ALREADY TroSFa G'S
6fer~N< that musicians were tlrf g.
- IN the resources OF the "TE'Ah' VIZ
yenru later France yroducea y wv,
rener of great merit in the person Oh
Te1,, .st,eyo,ga who vas for Tong
ttnnt. crrarsst nj Rouen, and VT" pc
hrrs can be considered IS ms }oahoo1
~ he French school In the DOMAIN CT
The gravity Of Titelcuze's works
49, taen compared L. AleEauare
<x1ufuar,t 10 the spirit aicN ms me
verks of Frohberger. but the az
belones to "a period later ny lnc7f W.
an wears. and the adv7nce or inc
Ts~nch school must not be over
heaneA. The works Of Titelo~be are
~ merely Archaeological curio* iElss'
they are still WORTHY ~ Interest, oN-
~ to the audaciods character theg
vnvNal fconsider.ng their epotEl) aI1
- the Abundance of the harmonic
resources TO be found IN them Anus
% styfe OF the "Cho'rai Preiuus
yha4 n usually attributed 70 fachei-
~ - already to be round Anu aule"
4gl4nctiy. in the WORKS OF Aa1s ,t
unfortunately for the freacn
1901 OF organ music, there appeared
- : ronsirerar'e ''rre no personality
- the prestige Of rltclouze; 1t seemed
- N c~<Aan music were 10 suffer d
800 eclipse In France. But me
srrAw~ or Louis ~ shed its brtiltahcy
0ver ey~ry form OF French muse men
known to it--operas sYfnpho''-ss
G4ayUctn. organ Perhaps Ho'hp anu
the frequency Of religious ceremonies,
tNe pcver of sacred eIoquence during
sHf epoch. served 10 encourage COM
1872 10 rival orators. for there APP
r1nred a yeritable school or cempos-
aso FOR the organ
Thev we're Poberiay. Nt0hoias =
6awue, the two Francis Gouper'hst
MOI olas de Origny, orsan'st -
Rheims, who's style is even 'oa0F
ronaidered large and poWes' "
Claude DaunIn. who II better hno"h
ff5r HI. clavecf9 music, Landrleuf
ran~~mhault etc Nearly every com
r,euans nj this period WAS dist gulsheG
~ riavecanist and as orGahSt ~
y,aohf be said that tho sacred sno
v,tnfSns STYLES were sotnetfmec mas
fi,r,.tsh, bile and borrowea from each
.ytIserss resources The oman pronteo
~ the suppleneae of the clavecin' ana
the clnvecin learned from the organ
i4rT.er and more expressive atyie j.
later French organ music suffered
41,e rate az all French cIavier music;
nftar 1850 II fell into decay. cfaa p
pfarjng before the invasion Of i'aifan
M r1fc. opera cov1saue and the bonie-
v1Tnement Of the Revolution 1t was
only at the beginning of the nine
fasafh century that an organ corn
i 1pger of any value appeared 70 boeiy
ff91S-lsES), who was ps ssiohsA's :
admirer Of Bach and OF Scariato' M"
v4Snss qualities arc far more those or
! rs.ver ana charming adapter than
~ 4 real creator However, he M o
me merit of infu1ng French organ
rnvpdc with a certain amount or eciat
40 OF pointing out TO the new gene.~
Atm the road they must follow Al
us1N n the same period Lefeoure-
yfoRy ana Ratiste wrote organ rnusic
slaaf yas ssasv and ~icasing Not tack
TT IN IN grandeur. and this s's atis.o
- = lrrx time the taste OF pubic
aposat ~ the vtrtuo ~ or tho opera"
q chat day.
then suddenly French organ music
- the first place uude. Cesar
Nnn1h { fs.7-so). organist ST Saint
1IsM,de and professor Of the organ
= he Conservaiotre IN Paris, In
G. FrAnck organ music FOUND
nan absolutely fitted TO utilize ioA
uonmo Of expression. to renew them
- q carry them To point an
hDWn since Bach
n might almost be said wfShout
- <xayErratton that all Cesar
Msnek', music beam the imprint OF
1a arrnn IN It's religious character
- weu - In it, technique Six
- (isea,, three pienes iS1so. an
n1nntfne f1essl. three choyah
100, and some posthunnnur pieces
q 1f1tu4s the whole Of Franek's or
o music, but It 10 an Immense work.
s.asen OF It's elevation and It's COM
- Rot only has he given the organ
~ p1rahse works OF em"'ioE. gran
~ ard m Incompatible elevation.
91TS h Aas Influenced 4 whole genera
11n a. con, poeers to write for the or
CA1tiIlen. DupArc. Pierne. d1ndy.
Sone<x Chausaon. Pierre de Brcyfiie.
Il - md their SUCCESSOR like Deo-
As ~ 0sveFAc--that Is TO say. some
- Nsa French musicians of the
- 6ss1y ysafA
1 n6nA.0nens with his '-Tros Rhaph-
Gn1a8s and Breton Themes" writ
when he Was . very young man.
n emned Whilst broadening IT,. the
naeiOu Of Bocly and showed In it's
r. ooG1ons IN economy OF means and
III 0gSec4ness which win always re-
gIaan Astonishing. After him came
ome. . pleasing writer OF short
-: 0uiimant whose work has
na above all that Of an exponent
S1G1n editor OF old organ music. Thanks
Y ~ and to Cesar rranck. the taste
- the organ and organ music In
Z nOo has assumed proportions un-
slnwn to II for peaiy two centuries.
4 0xenoh organ muaic still presents
6rnl xfea1 figures. Eugene Gigout
.r4 Charles-Mar'e Wider. both stiIt
n D11n9, the a.rst AT author whose
- are marked by much serenity
- ace particularly we'll adapted to
sOue services: the second the com
81 twelve symphonies which
80 made his name famous through
s&he world and furnished notable
rtmnitie@ outside churches fer
- 81 rNcitaH There are also Leon
{ AMMAN t1Ss.-s7). known also tor
morris for the Siolincel.c and quite
sSe 2tfy Louis yierne, the author of
symphonies Of the first order,
Georges Jacob. whose "Heures
txuignonnes" have introduced the
rFoo0ue into organ music with
taste and tudicious ingenuity
%S l1(heY younger COMPOSERS rival