Wolfgang Rübsam - Vierne: Complete Organ Music (2022)
BAND/ARTIST: Wolfgang Rübsam
- Title: Vierne: Complete Organ Music
- Year Of Release: 2022
- Label: Brilliant Classics
- Genre: Classical Organ
- Quality: flac lossless (tracks) +Booklet
- Total Time: 09:37:37
- Total Size: 2.07 gb
- WebSite: Album Preview
Tracklist
01. Pièces en style libre, Op. 31 livre I: I. Préambule
02. Pièces en style libre, Op. 31 livre I: II. Cortège
03. Pièces en style libre, Op. 31 livre I: III. Complainte
04. Pièces en style libre, Op. 31 livre I: IV. Épitaphe
05. Pièces en style libre, Op. 31 livre I: V. Prélude
06. Pièces en style libre, Op. 31 livre I: VI. Canon
07. Symphony No. 1 in D Minor, Op. 14: I. Prélude
08. Symphony No. 1 in D Minor, Op. 14: II. Fugue
09. Symphony No. 1 in D Minor, Op. 14: III. Pastorale
10. Symphony No. 1 in D Minor, Op. 14: IV. Allegro vivace
11. Symphony No. 1 in D Minor, Op. 14: V. Andante
12. Symphony No. 1 in D Minor, Op. 14: VI. Final
13. Symphony No. 2 in E Minor, Op. 20: I. Allegro
14. Symphony No. 2 in E Minor, Op. 20: II. Choral
15. Symphony No. 2 in E Minor, Op. 20: III. Scherzo
16. Symphony No. 2 in E Minor, Op. 20: IV. Cantabile
17. Symphony No. 2 in E Minor, Op. 20: V. Final
18. Triptyque, Op. 58: II. Communion
19. Triptyque, Op. 58: I. Matines
20. Triptyque, Op. 58: III. Stèle pour un enfant défunt
21. Symphony No. 3 in F-Sharp Minor, Op. 28: I. Allegro maestoso
22. Symphony No. 3 in F-Sharp Minor, Op. 28: II. Cantilène
23. Symphony No. 3 in F-Sharp Minor, Op. 28: III. Intermezzo
24. Symphony No. 3 in F-Sharp Minor, Op. 28: IV. Adagio
25. Symphony No. 3 in F-Sharp Minor, Op. 28: V. Finale
26. Allegretto in B Minor, Op. 1
27. Communion, Op. 8
28. Pièces en style libre, Op. 31 livre I: VII. Méditation
29. Pièces en style libre, Op. 31 livre I: VIII. Idylle mélancolique
30. Pièces en style libre, Op. 31 livre I: IX. Madrigal
31. Pièces en style libre, Op. 31 livre I: X. Rêverie
32. Pièces en style libre, Op. 31 livre I: XI. Divertissement
33. Pièces en style libre, Op. 31 livre I: XII. Canzona
34. Symphony No. 4 in G Minor, Op. 32: I. Prélude
35. Symphony No. 4 in G Minor, Op. 32: II. Allegro
36. Symphony No. 4 in G Minor, Op. 32: III. Menuet
37. Symphony No. 4 in G Minor, Op. 32: IV. Romance
38. Symphony No. 4 in G Minor, Op. 32: V. Final
39. Verset fugué sur 'in exitu Israël'
40. Marche triomphale du centenaire de Napoléon I, Op. 46
41. Pièces en style libre, Op. 31 livre II: XIII. Légende
42. Pièces en style libre, Op. 31 livre II: XIV. Scherzetto
43. Pièces en style libre, Op. 31 livre II: XV. Arabesque
44. Pièces en style libre, Op. 31 livre II: XVI. Choral
45. Pièces en style libre, Op. 31 livre II: XVII. Lied
46. Symphony No. 5 in A Minor, Op. 47: I. Grave
47. Symphony No. 5 in A Minor, Op. 47: II. Allegro molto marcato
48. Symphony No. 5 in A Minor, Op. 47: III. Tempo di scherzo ma non troppo vivo
49. Symphony No. 5 in A Minor, Op. 47: IV. Larghetto
50. Symphony No. 5 in A Minor, Op. 47: V. Final
51. Pièces en style libre, Op. 31 libre II: XVIII. Marche funèbre
52. Pièces en style libre, Op. 31 libre II: XIX. Berceuse
53. Pièces en style libre, Op. 31 libre II: XX. Pastorale
54. Pièces en style libre, Op. 31 libre II: XXI. Carillon sur la sonnerie du carillon de la chapelle du château de longpont (Aisne)
55. Pièces en style libre, Op. 31 libre II: XXII. Élégie
56. Pièces en style libre, Op. 31 libre II: XXIII. Épithalame
57. Pièces en style libre, Op. 31 libre II: XXIV. Postlude
58. Symphony No. 6 in B Minor, Op. 59: I. Introduction et allegro
59. Symphony No. 6 in B Minor, Op. 59: II. Aria
60. Symphony No. 6 in B Minor, Op. 59: III. Scherzo
61. Symphony No. 6 in B Minor, Op. 59: IV. Adagio
62. Symphony No. 6 in B Minor, Op. 59: V. Final
63. Messe basse, Op. 30: I. Entrée
64. Messe basse, Op. 30: II. Introït
65. Messe basse, Op. 30: III. Offertoire
66. Messe basse, Op. 30: IV. Élévation
67. Messe basse, Op. 30: V. Communion
68. Messe basse, Op. 30: VI. Sortie
69. Messe basse pour les défunts, Op. 62: I. Introït
70. Messe basse pour les défunts, Op. 62: II. Prélude
71. Messe basse pour les défunts, Op. 62: III. Offertoire
72. Messe basse pour les défunts, Op. 62: IV. Élévation
73. Messe basse pour les défunts, Op. 62: V. Communion
74. Messe basse pour les défunts, Op. 62: VI. Défilé
75. Prélude funèbre, Op. 4
76. 3 Improvisations: I. Cortège
77. 3 Improvisations: II. Marche épiscopale
78. 3 Improvisations: III. Méditation
79. Pièces de fantaisie suite No. 1, Op. 51: I. Prélude
80. Pièces de fantaisie suite No. 1, Op. 51: II. Andantino
81. Pièces de fantaisie suite No. 1, Op. 51: III. Caprice
82. Pièces de fantaisie suite No. 1, Op. 51: IV. Intermezzo
83. Pièces de fantaisie suite No. 1, Op. 51: V. Requiem aeternam
84. Pièces de fantaisie suite No. 1, Op. 51: VI. Marche nuptial
85. Pièces de fantaisie suite No. 2, Op. 53: I. Lamento
86. Pièces de fantaisie suite No. 2, Op. 53: II. Sicilienne
87. Pièces de fantaisie suite No. 2, Op. 53: III. Hymne au soleil
88. Pièces de fantaisie suite No. 2, Op. 53: IV. Feux follets
89. Pièces de fantaisie suite No. 2, Op. 53: V. Clair de lune
90. Pièces de fantaisie suite No. 2, Op. 53: VI. Toccata
91. Pièces de fantaisie suite No. 3, Op. 54: I. Dédicace
92. Pièces de fantaisie suite No. 3, Op. 54: II. Impromptu
93. Pièces de fantaisie suite No. 3, Op. 54: III. Étoile du soir
94. Pièces de fantaisie suite No. 3, Op. 54: IV. Fantômes
95. Pièces de fantaisie suite No. 3, Op. 54: V. Sur le rhin
96. Pièces de fantaisie suite No. 3, Op. 54: VI. Carillon de Westminster
97. Pièces de fantaisie suite No. 4, Op. 55: I. Aubade
98. Pièces de fantaisie suite No. 4, Op. 55: II. Résignation
99. Pièces de fantaisie suite No. 4, Op. 55: III. Cathédrales
100. Pièces de fantaisie suite No. 4, Op. 55: IV. Naïades
101. Pièces de fantaisie suite No. 4, Op. 55: V. Gargouilles et chimères
102. Pièces de fantaisie suite No. 4, Op. 55: VI. Les cloches de Hinckley
Organ works account for only 17 of Vierne’s 62 opus numbers, and yet no one would now question his status as the organ’s greatest symphonist after Franck and Widor. His six symphonies stand at the pinnacle of the 20th-century literature for the instrument: the six-movement First Symphony with its fugue and celebrated Final (‘my Marseillaise’, as he referred to it); the Second, his masterpiece, with its scintillating scherzo; the Third, the shortest and most concise; the Fourth, whose tortured outer movements are in sharp contrast to the buoyant Menuet and sumptuous Romance; the Fifth, the longest, and in many respects the most elevated; his Sixth and last, the most harmonically advanced and psychologically complex, rising from the depths of despair to ebullience in its rampant Final.
In complement to the symphonies, Vierne composed several suites of pieces ‘in a free style’, as wekk as more impressionistically conceived sets of fantasy pieces. Music specifically designed for the llturgy includes a pair of organ masses – one of them a requiem – and a triptych of meditations. Whether reflective and deeply etched with chromaticism or ebullient and thunderous, all of Vierne’s output for his own instrument is conceived with the sound and tonal variety of Cavaillé-Coll’s organ’s in mind – one of the largest of all being the organ at Notre Dame in Paris, where Vierne occupied the post of titular organist for many decades.
The German-American organist Wolfgang Rübsam has himself been counted among the finest living organists for many decades, internationally known through over a hundred highly acclaimed albums of organ repertoire from the Baroque and Romantic periods including recent Bach recordings on the lute-harpsichord for Brilliant Classics: ‘These lovely performances memorably showcase Rübsam’s sensitive and poetic side’ (Classics Today). Rübsam has chosen an instrument with the full palette of tonal colours required to do justice to Vierne’s unique style, and he invests the music with the improvisational spirit and creative passion which lay behind its original conception.
Louis Vierne (1870-1937) is one of the most important French romantic composers for the organ. He used the instrument as a means to perform ‘symphonic’ music, inspired by the new possibilities of the new organs built at the time, for instance by Aristide Cavaillé-Coll.
The blend of styles in his organ music is unique. It contains aspects of Romanticism combined with an impressionistic ‘pastel-like’ quality. Like many of his contemporary colleagues Vierne felt a strong fascination with Wagnerian chromaticism.
An admirer and pupil of César Franck at thirty, the virtually blind Vierne was appointed organist at the Paris Notre Dame. Among many other pieces for organ he wrote six symphonies, which became standard organ repertoire. Franck inspired him in the use of cyclical elements and harmonic refinement, whereas Widor’s influence is clear in the use of the organ and the classical forms.
This recording contains the complete organ works by Louis Vierne, including the 6 Organ Symphonies and numerous character pieces called “Pièces en style libre” (pieces in a free style).
Wolfgang Rübsam is internationally known through over a hundred highly acclaimed recordings of organ repertoire from the Baroque and Romantic periods including recent Bach recordings on the lute-harpsichord. He gives frequent recitals and masterclasses in the United States and Europe and has served on the juries of the most prestigious international competitions.
01. Pièces en style libre, Op. 31 livre I: I. Préambule
02. Pièces en style libre, Op. 31 livre I: II. Cortège
03. Pièces en style libre, Op. 31 livre I: III. Complainte
04. Pièces en style libre, Op. 31 livre I: IV. Épitaphe
05. Pièces en style libre, Op. 31 livre I: V. Prélude
06. Pièces en style libre, Op. 31 livre I: VI. Canon
07. Symphony No. 1 in D Minor, Op. 14: I. Prélude
08. Symphony No. 1 in D Minor, Op. 14: II. Fugue
09. Symphony No. 1 in D Minor, Op. 14: III. Pastorale
10. Symphony No. 1 in D Minor, Op. 14: IV. Allegro vivace
11. Symphony No. 1 in D Minor, Op. 14: V. Andante
12. Symphony No. 1 in D Minor, Op. 14: VI. Final
13. Symphony No. 2 in E Minor, Op. 20: I. Allegro
14. Symphony No. 2 in E Minor, Op. 20: II. Choral
15. Symphony No. 2 in E Minor, Op. 20: III. Scherzo
16. Symphony No. 2 in E Minor, Op. 20: IV. Cantabile
17. Symphony No. 2 in E Minor, Op. 20: V. Final
18. Triptyque, Op. 58: II. Communion
19. Triptyque, Op. 58: I. Matines
20. Triptyque, Op. 58: III. Stèle pour un enfant défunt
21. Symphony No. 3 in F-Sharp Minor, Op. 28: I. Allegro maestoso
22. Symphony No. 3 in F-Sharp Minor, Op. 28: II. Cantilène
23. Symphony No. 3 in F-Sharp Minor, Op. 28: III. Intermezzo
24. Symphony No. 3 in F-Sharp Minor, Op. 28: IV. Adagio
25. Symphony No. 3 in F-Sharp Minor, Op. 28: V. Finale
26. Allegretto in B Minor, Op. 1
27. Communion, Op. 8
28. Pièces en style libre, Op. 31 livre I: VII. Méditation
29. Pièces en style libre, Op. 31 livre I: VIII. Idylle mélancolique
30. Pièces en style libre, Op. 31 livre I: IX. Madrigal
31. Pièces en style libre, Op. 31 livre I: X. Rêverie
32. Pièces en style libre, Op. 31 livre I: XI. Divertissement
33. Pièces en style libre, Op. 31 livre I: XII. Canzona
34. Symphony No. 4 in G Minor, Op. 32: I. Prélude
35. Symphony No. 4 in G Minor, Op. 32: II. Allegro
36. Symphony No. 4 in G Minor, Op. 32: III. Menuet
37. Symphony No. 4 in G Minor, Op. 32: IV. Romance
38. Symphony No. 4 in G Minor, Op. 32: V. Final
39. Verset fugué sur 'in exitu Israël'
40. Marche triomphale du centenaire de Napoléon I, Op. 46
41. Pièces en style libre, Op. 31 livre II: XIII. Légende
42. Pièces en style libre, Op. 31 livre II: XIV. Scherzetto
43. Pièces en style libre, Op. 31 livre II: XV. Arabesque
44. Pièces en style libre, Op. 31 livre II: XVI. Choral
45. Pièces en style libre, Op. 31 livre II: XVII. Lied
46. Symphony No. 5 in A Minor, Op. 47: I. Grave
47. Symphony No. 5 in A Minor, Op. 47: II. Allegro molto marcato
48. Symphony No. 5 in A Minor, Op. 47: III. Tempo di scherzo ma non troppo vivo
49. Symphony No. 5 in A Minor, Op. 47: IV. Larghetto
50. Symphony No. 5 in A Minor, Op. 47: V. Final
51. Pièces en style libre, Op. 31 libre II: XVIII. Marche funèbre
52. Pièces en style libre, Op. 31 libre II: XIX. Berceuse
53. Pièces en style libre, Op. 31 libre II: XX. Pastorale
54. Pièces en style libre, Op. 31 libre II: XXI. Carillon sur la sonnerie du carillon de la chapelle du château de longpont (Aisne)
55. Pièces en style libre, Op. 31 libre II: XXII. Élégie
56. Pièces en style libre, Op. 31 libre II: XXIII. Épithalame
57. Pièces en style libre, Op. 31 libre II: XXIV. Postlude
58. Symphony No. 6 in B Minor, Op. 59: I. Introduction et allegro
59. Symphony No. 6 in B Minor, Op. 59: II. Aria
60. Symphony No. 6 in B Minor, Op. 59: III. Scherzo
61. Symphony No. 6 in B Minor, Op. 59: IV. Adagio
62. Symphony No. 6 in B Minor, Op. 59: V. Final
63. Messe basse, Op. 30: I. Entrée
64. Messe basse, Op. 30: II. Introït
65. Messe basse, Op. 30: III. Offertoire
66. Messe basse, Op. 30: IV. Élévation
67. Messe basse, Op. 30: V. Communion
68. Messe basse, Op. 30: VI. Sortie
69. Messe basse pour les défunts, Op. 62: I. Introït
70. Messe basse pour les défunts, Op. 62: II. Prélude
71. Messe basse pour les défunts, Op. 62: III. Offertoire
72. Messe basse pour les défunts, Op. 62: IV. Élévation
73. Messe basse pour les défunts, Op. 62: V. Communion
74. Messe basse pour les défunts, Op. 62: VI. Défilé
75. Prélude funèbre, Op. 4
76. 3 Improvisations: I. Cortège
77. 3 Improvisations: II. Marche épiscopale
78. 3 Improvisations: III. Méditation
79. Pièces de fantaisie suite No. 1, Op. 51: I. Prélude
80. Pièces de fantaisie suite No. 1, Op. 51: II. Andantino
81. Pièces de fantaisie suite No. 1, Op. 51: III. Caprice
82. Pièces de fantaisie suite No. 1, Op. 51: IV. Intermezzo
83. Pièces de fantaisie suite No. 1, Op. 51: V. Requiem aeternam
84. Pièces de fantaisie suite No. 1, Op. 51: VI. Marche nuptial
85. Pièces de fantaisie suite No. 2, Op. 53: I. Lamento
86. Pièces de fantaisie suite No. 2, Op. 53: II. Sicilienne
87. Pièces de fantaisie suite No. 2, Op. 53: III. Hymne au soleil
88. Pièces de fantaisie suite No. 2, Op. 53: IV. Feux follets
89. Pièces de fantaisie suite No. 2, Op. 53: V. Clair de lune
90. Pièces de fantaisie suite No. 2, Op. 53: VI. Toccata
91. Pièces de fantaisie suite No. 3, Op. 54: I. Dédicace
92. Pièces de fantaisie suite No. 3, Op. 54: II. Impromptu
93. Pièces de fantaisie suite No. 3, Op. 54: III. Étoile du soir
94. Pièces de fantaisie suite No. 3, Op. 54: IV. Fantômes
95. Pièces de fantaisie suite No. 3, Op. 54: V. Sur le rhin
96. Pièces de fantaisie suite No. 3, Op. 54: VI. Carillon de Westminster
97. Pièces de fantaisie suite No. 4, Op. 55: I. Aubade
98. Pièces de fantaisie suite No. 4, Op. 55: II. Résignation
99. Pièces de fantaisie suite No. 4, Op. 55: III. Cathédrales
100. Pièces de fantaisie suite No. 4, Op. 55: IV. Naïades
101. Pièces de fantaisie suite No. 4, Op. 55: V. Gargouilles et chimères
102. Pièces de fantaisie suite No. 4, Op. 55: VI. Les cloches de Hinckley
Organ works account for only 17 of Vierne’s 62 opus numbers, and yet no one would now question his status as the organ’s greatest symphonist after Franck and Widor. His six symphonies stand at the pinnacle of the 20th-century literature for the instrument: the six-movement First Symphony with its fugue and celebrated Final (‘my Marseillaise’, as he referred to it); the Second, his masterpiece, with its scintillating scherzo; the Third, the shortest and most concise; the Fourth, whose tortured outer movements are in sharp contrast to the buoyant Menuet and sumptuous Romance; the Fifth, the longest, and in many respects the most elevated; his Sixth and last, the most harmonically advanced and psychologically complex, rising from the depths of despair to ebullience in its rampant Final.
In complement to the symphonies, Vierne composed several suites of pieces ‘in a free style’, as wekk as more impressionistically conceived sets of fantasy pieces. Music specifically designed for the llturgy includes a pair of organ masses – one of them a requiem – and a triptych of meditations. Whether reflective and deeply etched with chromaticism or ebullient and thunderous, all of Vierne’s output for his own instrument is conceived with the sound and tonal variety of Cavaillé-Coll’s organ’s in mind – one of the largest of all being the organ at Notre Dame in Paris, where Vierne occupied the post of titular organist for many decades.
The German-American organist Wolfgang Rübsam has himself been counted among the finest living organists for many decades, internationally known through over a hundred highly acclaimed albums of organ repertoire from the Baroque and Romantic periods including recent Bach recordings on the lute-harpsichord for Brilliant Classics: ‘These lovely performances memorably showcase Rübsam’s sensitive and poetic side’ (Classics Today). Rübsam has chosen an instrument with the full palette of tonal colours required to do justice to Vierne’s unique style, and he invests the music with the improvisational spirit and creative passion which lay behind its original conception.
Louis Vierne (1870-1937) is one of the most important French romantic composers for the organ. He used the instrument as a means to perform ‘symphonic’ music, inspired by the new possibilities of the new organs built at the time, for instance by Aristide Cavaillé-Coll.
The blend of styles in his organ music is unique. It contains aspects of Romanticism combined with an impressionistic ‘pastel-like’ quality. Like many of his contemporary colleagues Vierne felt a strong fascination with Wagnerian chromaticism.
An admirer and pupil of César Franck at thirty, the virtually blind Vierne was appointed organist at the Paris Notre Dame. Among many other pieces for organ he wrote six symphonies, which became standard organ repertoire. Franck inspired him in the use of cyclical elements and harmonic refinement, whereas Widor’s influence is clear in the use of the organ and the classical forms.
This recording contains the complete organ works by Louis Vierne, including the 6 Organ Symphonies and numerous character pieces called “Pièces en style libre” (pieces in a free style).
Wolfgang Rübsam is internationally known through over a hundred highly acclaimed recordings of organ repertoire from the Baroque and Romantic periods including recent Bach recordings on the lute-harpsichord. He gives frequent recitals and masterclasses in the United States and Europe and has served on the juries of the most prestigious international competitions.
Year 2022 | Classical | Discography | FLAC / APE
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