Dandrieu: Premier livre de Pièces d'orgue

This video presents the Premier livre de Pièces d’Orgue, containing six suites of pieces in differing church tones, each with a sequence of versets suitable for performance under the canticle Magnificat.

Composer: Jean-François Dandrieu
Artists: Pieter-Jan Belder (organ)

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While the Magnificat verses have a logical sequence, the other movements in the suites are somewhat haphazardly planned. Even setting aside the Pascal hymn in the Premier Suite, the remaining pieces have no apparent order, perhaps reflecting a desire to make the publication as generally useful as possible. The first suite’s two fugues are the only cantus firmus pieces in the collection and are based on the hymn Ave Maris Stella and the Pascal proclamation Exultet coelum laudibus (CD 1: 3 and 4). Like the remaining fugues, which are independent, the style is serious: each is marked Majestueusement [sic] and follows the prescriptions of several composers’ prefaces from the late 17th and early 18th centuries. While no fugues from this epoch are as carefully crafted as those of the Rouennais organist Jehan Titelouze (Paris, 1623 and 1626), their placing within organised organ masses and hymns, often as the second verset of a Kyrie, Gloria or hymn, demonstrates an underlying association between genre and rhetoric. We see similar associations with the opening movements of each Magnificat set, but they work on two levels. They are austere and reserved solely for a plein jeu combination of stops: foundation stops from 16 feet to both mixtures but without reeds. According to André Raison they are to be played solemnly with absolute finger legato. A second rhetorical association is the link between registration and text. It has been mentioned that fugues were often used as the second verse of hymns and in mass sections, and a similar association between a plein jeu and the first Kyrie, Gloria or Sanctus, or the first verse of a psalm or canticle exists in nearly every organ composer’s publication until late into the 18th century. This is not by accident since associating sounds and text would help guide congregants – many of whom were neither literate nor conversant with Latin – through the complexities of the ceremony. Indeed, such an association is well within the ceremonials’ inclusive philosophies.

Tracklist:
0:00:00 Ofertoire pour le jour de pâques, o filii & filae

Première suite:
0:06:38 I. Ofertoire
0:11:08 II. Fugue sur l’hymne ave maris stella
0:13:18 III. Fugue sur l’hymne des apôtres exultet &c.
0:14:55 IV. Basse de cromorne
0:16:18 V. Duo sur la trompète

Magnificat:
0:18:20 I. Plein jeu
0:20:13 II. Duo
0:21:36 III. Trio
0:22:53 IV. Basse de trompète
0:24:21 V. Flûtes
0:25:50 VI. Dialogue

Deuxième suite:
0:27:43 I. Ofertoire
0:32:52 II. Duo, en cors de chasse sur la tromp.
0:33:59 III. Trio avec la pédale
0:35:24 IV. Duo sur la trompète

Magnificat:
0:37:04 I. Plein jeu
0:38:40 II. Duo
0:39:41 III. Trio
0:40:42 IV. Basse et dessus de trompète
0:41:59 V. Flûtes
0:43:58 VI. Dialogue

Troisième suite:
0:45:23 I. Ofertoire
0:48:35 II. Fugue
0:50:40 III. Fugue
0:52:49 IV. Trio
0:54:21 V. Cromorne en taille
0:56:14 VI. Duo sur la trompète

Magnificat:
0:57:58 I. Plein jeu
0:59:23 II. Duo
1:00:38 III. Trio
1:02:12 IV. Basse de cromorne
1:03:37 V. Recit de nazard
1:05:14 VI. Dialogue

Quatrième suite:
1:07:00 I. Ofertoire
1:10:28 II. Tierce en taille
1:12:53 III. Muzète

Magnificat:
1:14:39 I. Plein jeu
1:16:03 II. Duo
1:16:58 III. Trio
1:18:36 IV. Basse de trompète
1:20:22 V. Flûtes
1:22:02 VI. Dialogue

Cinquième suite:
1:23:54 I. Ofertoire
1:26:41 II. Fugue
1:28:45 III. Fugue
1:30:58 IV. Trio avec la pédale

Magnificat:
1:32:29 I. Plein jeu
1:34:04 II. Duo
1:35:28 III. Trio
1:37:09 IV. Basse et dessus de trompète
1:38:28 V. Recit de trompète…
1:40:46 VI. Dialogue

Sixième suite:
1:42:55 I. Ofertoire
1:46:39 II. Muzète
1:48:35 III. Tierce en taille
1:51:22 IV. Duo sur la trompète

Magnificat:
1:52:43 I. Plein jeu
1:54:17 II. Duo
1:55:25 III. Trio
1:56:56 IV. Basse et dessus de trompète
1:58:26 V. Flûtes
2:00:01 VI. Dialogue

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