From Couperin to Vierne: Liturgical and Stylistic Connections between the French Baroque and French Romantic Organ Mass

Persistent Link:
http://hdl.handle.net/10150/613259
Title:
From Couperin to Vierne: Liturgical and Stylistic Connections between the French Baroque and French Romantic Organ Mass
Author:
Leightenheimer, Douglas Blair
Issue Date:
2016
Publisher:
The University of Arizona.
Rights:
Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.
Abstract:
The alternatim practice is one of the oldest and longest observed liturgical practices in the French Catholic Church. With the gradual addition of the organ to the practice beginning in the fifteenth century, the organ came to play an important liturgical function that exists to this day. Organ improvisations in the liturgy gave rise to composed organ masses such as those of François Couperin (1668-1733). Composition of the Baroque organ mass continued through the Classical period and into the nineteenth century. Liturgical and musical changes through the decades of the nineteenth century, however, led to a gradual cessation of the composition of organ masses. These same changes gave birth to a new type of liturgical mass that, while not performed in the traditional alternatim style, displayed stylistic and liturgical influences from the Baroque organ masses of the preceding centuries. Messe, op. 4, of Camille Saint-Säens (1835-1921) was composed in 1856 in the midst of nineteenth-century changes and reforms. This mass is the pivotal event between the masses of the preceding generation and those that were to follow, notably those of Charles-Marie Widor (1844-1937) and Louis Vierne (1870-1937). Because the viva-voce presentation of this document featured a performance of Louis Vierne's Messe solennelle, op. 16 using a solo organ edition of the work, Appendix A includes considerations for the work as well as an overview of four solo editions.
Type:
text; Electronic Dissertation
Keywords:
Charles-Marie Widor; Francois Couperin; French Baroque Organ Mass; French Romantic Organ Mass; Louis Vierne; Music; Camille Saint-Saens
Degree Name:
D.M.A.
Degree Level:
doctoral
Degree Program:
Graduate College; Music
Degree Grantor:
University of Arizona
Advisor:
Chamberlain, Bruce B.

Full metadata record

DC FieldValue Language
dc.language.isoen_USen
dc.titleFrom Couperin to Vierne: Liturgical and Stylistic Connections between the French Baroque and French Romantic Organ Massen_US
dc.creatorLeightenheimer, Douglas Blairen
dc.contributor.authorLeightenheimer, Douglas Blairen
dc.date.issued2016-
dc.publisherThe University of Arizona.en
dc.rightsCopyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.en
dc.description.abstractThe alternatim practice is one of the oldest and longest observed liturgical practices in the French Catholic Church. With the gradual addition of the organ to the practice beginning in the fifteenth century, the organ came to play an important liturgical function that exists to this day. Organ improvisations in the liturgy gave rise to composed organ masses such as those of François Couperin (1668-1733). Composition of the Baroque organ mass continued through the Classical period and into the nineteenth century. Liturgical and musical changes through the decades of the nineteenth century, however, led to a gradual cessation of the composition of organ masses. These same changes gave birth to a new type of liturgical mass that, while not performed in the traditional alternatim style, displayed stylistic and liturgical influences from the Baroque organ masses of the preceding centuries. Messe, op. 4, of Camille Saint-Säens (1835-1921) was composed in 1856 in the midst of nineteenth-century changes and reforms. This mass is the pivotal event between the masses of the preceding generation and those that were to follow, notably those of Charles-Marie Widor (1844-1937) and Louis Vierne (1870-1937). Because the viva-voce presentation of this document featured a performance of Louis Vierne's Messe solennelle, op. 16 using a solo organ edition of the work, Appendix A includes considerations for the work as well as an overview of four solo editions.en
dc.typetexten
dc.typeElectronic Dissertationen
dc.subjectCharles-Marie Widoren
dc.subjectFrancois Couperinen
dc.subjectFrench Baroque Organ Massen
dc.subjectFrench Romantic Organ Massen
dc.subjectLouis Vierneen
dc.subjectMusicen
dc.subjectCamille Saint-Saensen
thesis.degree.nameD.M.A.en
thesis.degree.leveldoctoralen
thesis.degree.disciplineGraduate Collegeen
thesis.degree.disciplineMusicen
thesis.degree.grantorUniversity of Arizonaen
dc.contributor.advisorChamberlain, Bruce B.en
dc.contributor.committeememberSchauer, Elizabethen
dc.contributor.committeememberCockrell, Thomasen
dc.contributor.committeememberChamberlain, Bruce B.en
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