Would you like to learn to play the famous Final from Symphony No. 1 by Louis Vierne?
You can do it much faster with my fingering and pedaling.
I've recorded this piece as part of my DMA recital while doing my doctorate at UNL on the excellent French symphonic style Bedient organ at St Paul's United Methodist church in Lincoln, NE.
Regretfully, I didn't write in fingering at that time, just the pedaling. Therefore, a few days ago I started working on the fingering part and yesterday evening finally I finished it.
50 % discount is valid until December 6. Free for Total Organist students. PDF score (14 pages). Advanced Level.
Last Saturday Ausra taught Harmony seminar at Vilnius University to some 40 church organists from all over Lithuania. I had a pleasure sitting through it and writing in fingering and pedaling for the Dubois Toccata.
At the same time other organists taught classes on church music, Gregorian chant and other subjects relevant to liturgical musicians. In the evening everyone gathered at our church for a joint recital.
Masterclasses "Organ for the Future of Lithuania" were organized by the National Association of Organists.
My friend and student Paulius Grigonis performed at this joint recital. He played the famous "Berceuse" by Louis Vierne.
Incidentally, I had with me my score in which I kept writing in fingering and pedaling. When others saw me writing something in the score, they asked me what I was doing to which I jokingly replied, "I'm writing fingering and pedaling for Paulius so that he could play it tonight."
Actually, this wasn't very far from the truth. Vierne's "Berceuse" sounded towards the end of the program and by the time Paulius' turn had come, I had almost finished the editing process.
I hope you'll enjoy playing this piece yourself from my PDF score (3 pages). I've edited it to be played with pedals and two manuals even though "Berceuse" was originally published on two staves. Here the bottom stave is mostly shared by the left hand and the feet parts.
Let me know how your practice goes.
50 % discount is valid until November 15. This score is free for Total Organist students.
Which composer's music sounds just like the style of the Frenchman Louis Vierne (1870-1937)?
How about Maurice Blazy (1873-1934)? He is mostly remembered for being Louis Vierne's teacher. He was an organist at the church of St Peter of Montrouge and the professor at National Institute for the Blind Youth in Paris. Blazy died in a tragic accident after being hit outside his house by a bus.
The selection of sight-reading for today is Blazy's Allegretto. This charming piece is dedicated to René Vierne (1878–1918) who was a younger brother of Louis Vierne, a talented organist and composer who was killed in WWI.
Allegretto (G major, 3/8 meter) is full of chromatic harmony (all kinds of seventh chords and ninth chords and their inversions) which was the signature style of Louis Vierne. This piece is composed in a ternary ABA form: A (page 1-system 1-measure 1), B (2-2-5), A (4-1-1).
Although the chords mostly are very chromatic, it's possible to notice this tonal plan with cadences in G major (1-2-3), D major (1-4-7), G major (2-1-4), C major (2-1-8), E minor (2-2-4), E minor (2-4-4), B minor (2-5-5), A major (3-1-4), C major (3-2-1), A major (3-3-2), E major (3-3-6), A major (3-4-5), G major (4-1-1), C major (4-2-4), F major (4-2-8), and G major (4-3-4).
From 4-3-4 there is a tonic pedal point with the syncopated G in the pedal part until the end of the piece, creating a feeling of tranquility and completion.
When I was sight-reading Allegretto this morning, I thought some of the more difficult places were:
1. (1-3-3) Chromaticisms in the left hand part
2. (1-3-5) Ornament in the right hand part (play it before the beat)
3. (1-4-1) Leap downward in the right hand part
4. (2-3-3) Increase in the number of voices and passing of the voice from the left hand to the right hand
5. (2-3-4) Sixteenth notes in the right hand
6. (2-3-5) Missing C# in the bottom voice
7. (2-3-6) Movement in all three voices
8. (2-4-4) Preparation for the pedal entry (staccato)
9. (2-4-4 to 2-5-2) Syncopations in the left hand part against the movement in pedals
10. (2-5-4) D in soprano should be finger 5
11. (3-2-1) Change in harmony on the downbeat
12. (3-2-7) Legato in the pedals against repeated note in the tenor
13. (3-3-6) A ninth chord on the downbeat
14. (3-4-2) A simultaneous downward movement in the hand part
15. (3-4-4) Movement in all the parts
16. (3-5-3) Chromatic movement in pedals
17. (4-3-7) A ninth chord on the third beat
18. (4-4-3 to 4-4-4) Change of harmony on the downbeat
If you want to play this sweet Allegretto, here is the score for printing. I recommend you take a very slow tempo at which you can comfortably play these chromatic chords and sixteenth note passages.
If you struggle with playing all parts together, simplify the texture and play hands separately. Employ lots of finger substitutions and aim for a smooth legato (except when it's written otherwise).
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Drs. Vidas Pinkevicius and Ausra Motuzaite-Pinkeviciene
Organists of Vilnius University , creators of Secrets of Organ Playing.
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