Jean Langlais Suite Medievale Pdf 21
as for the fifth movement, vespers, langlais wanted to write a shorter composition for his ordinary service. so, as in the kyrie trope movement, langlais had to write a movement for his ordinary service. in the vespers movement, langlais uses the kyrie trope again to write a very short movement, 1:53, which he transcribed from the kyrie trope written by the dutch composer nicolaes van der meer (1637). langlais concludes the movement with an appearance of the christe trope and with a final appearance of the kyrie trope. langlais explained that at this time, langlais had to write a new work for his ordinary service, and, in order not to be encumbered with the usual anthem, he wanted to compose for organ, and invented the theme of the kyrie to serve as a canticle. the movement concludes with a change to the ritardando tempo.13
langlais was an educator and an administrative secretary for the french department of the dijon music conservatory. he was also a prolific composer, publishing more than sixty works in five different musical genres. he was a prolific composer, publishing more than sixty works in five different musical genres. in addition to his organ mass and suite mdivale, langlais composed numerous liturgical works, like fête-dieu for soloists, choir, and organ, and l’heure saint-joseph for choir, piano, and organ. langlais was also a proficient pianist who played in almost all of the major european cities. langlais provided the music for st. pauls, the first parish church in the city of toronto. he also composed the music for the first mass celebrated in the new building of st. pauls, and he composed the liturgical music for his own funeral in 1991.
charles tournemire mentored only a few private students who showed the greatest promise. one of these students was jean langlais. earlier langlais had studied organ with andr marchal at the national institute for blind students, then with marcel dupr at the paris conservatory. upon graduation from the conservatory, langlais continued improvisation studies with tournemire and served as his assistant at sainte clotilde.
v. acclamations- jean langlais was originally written in two separate movements, v. acclamations and v. at the conclusion of v. acclamations, the addition of a second v. followed. langlais, a student of the composer and organist at the basilique saint-denis, gave the work the dedication: “to my beloved master, monsieur fougeron.”11 as composer and organist, langlais was likely influenced by the organist fougeron, known as the “organist of the king.”12 langlais’ intention was to create a program of music that was a complement to the hymns used at the low mass.13 an aspect of the work that sets it apart from many of its contemporaries is the frequent change in time signature.14 the second movement in this suite, v. acclamations, opens with a warm sonata form, with a slow introduction followed by the introduction and opening theme in a repeated pattern. the first theme is a low-register sonority that develops into a lofty and bright middle section. the second theme is a gradual ascent to the top of the keyboard, and then to the upper register. the third theme returns the material to the second theme in an extended period of tonal motion. this movement is followed by a transition that makes the return of the first theme possible. this movement ends in a fugue that begins with a slow introduction and continues in an upward pattern. the second movement, v. the first movement of v. acclamations is followed by a transition that is marked by a processional. in the processional, the high voices are heard simultaneously, each singing a separate phrase that then resolves into the next phrase. the high voices are also heard in the fugue, but this time with the lower voices at the bottom of the score. the second movement of v. acclamations is followed by a transition that leads to the final movement, v. agnus dei.
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