Louis Vierne ‒ 3 Nocturnes, Op.34
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- เผยแพร่เมื่อ 8 มิ.ย. 2024
- Louis Vierne (1870 - 1937), 3 Nocturnes, Op.34 (1915 - 1916)
Performed by Georges Delvallée
00:00 - No. 1 La Nuit avait envahi la nef de la cathédrale
09:07 - No. 2 Au splendide mois de mai lorsque les bourgeons rompaient l'écorce
14:47 - No. 3 La lumiere rayonnait des astres de la nuit, le rossignol chantait
After completing the twelve preludes for piano, Vierne returned to a happier and serene style in his music. Composed from December 1915 to January 1916, these nocturnes are the most "Debussy" works by Vierne. As we know, Vierne was never attracted to Debussy's Impressionism. He said: "... not free from genius influences, but his own hand and style magic to do no doubt. This is the man of impressions, but idealized impressions. Creator of vaporous atmospheres of blurred horizons, delicate atmospheres and subtle nuances, he is the most magnificent artist, the most beautiful contemporary nowadays. All his followers are grimacing monkeys. I would not demean their talent but I can however not support the statements in which they are deemed 'genius'." The impressionistic nights are not a reference to Debussy but correspond to a true inner poetry.
In the literature of the nocturne for piano, besides John Field (the creator of the genre), it generally holds that Chopin and Fauré. Certainly Vierne wrote only three nocturnes, but they are of equal quality to the best of Faure (as the sixth and seventh). Again, one wonders why these pieces are seldom played in concert, as they received much praise during their creation.
Nocturne No. 1: Lento in A minor. "The night had invaded the nave of the cathedral ...". The cathedral in question is the Basilica of Saint-Ouen (Rouen) where Albert Dupré (Marcel's father) had taken Vierne December 1, 1915 for an evening to try its magnificent Cavaillé-Coll. Vierne was strongly marked by the nocturnal atmosphere of the building, at least enough to immediately note his thoughts on paper. This vast night thus described the huge vessel of Saint-Ouen with its imposing arches, games of light and shadow, vaults, pillars ... both visual impressions but also because hearing rumble the organ in the distance. We can of course help to bring this piece of Sunken Cathedral Debussy. But the vision of Vierne, less tied to a legend, has a more solemn and grandiose side. A beautiful page that always impressed me by its mysterious atmosphere.
Nocturne No. 2: Adagio cantabile in E major. "In the beautiful month of May, when the buds broke the bark ..." (Intermezzo Heine). This night is very close to the first of Fauré. But where the latter proves impenetrable, Vierne can not hide his feelings and exults in a loving joy. Work of profound poetry, one feels a little happiness around every rating, every sentence, every harmony.
Nocturne No. 3: Larghetto espressivo in D flat major. "The light shone the stars of the night, the nightingale sang ...". In fact, it was a blackbird. Vierne confessed in his memoirs: "I made some bad deeds in my life. Although very scrupulous in matters of copyright, did not I a frustrated day of his poor blackbird in favor of an imaginary nightingale? ". After this anecdote, we listen carefully to this pure masterpiece. A masterpiece the theme of beauty and incredible purity. A masterpiece of generous theatrics. A masterpiece of magical and subtle poetry where the nightingale freely dialogue with the poet. And especially a masterpiece that sings, sings constantly enchanted us, to no end. In short, this is a fine example of one of the most beautiful piece by Vierne, if not the most wonderful.
(Sorry for my poor translation, I tried my best to translate from French) - เพลง
L. Vierne wasn't part of my musical instruction as a youth. I 'discovered' some of his Organ and Chamber Music in my late 30's and have been fascinated for 30 years since.
I just discovered him and am in my late 30s now. His preludes are amazing.
Musique oscillant entre racines classiques et impressionisme moderne et surtout très belle écriture non privée de clarté !
Each nocturne exudes it’s unique and distinct character. Perfection
Kinda random but what piece have you been recently addicted to - you couldent stop listening over and over
no words for the beauty of number one. beautiful combination of the nocturne's ideas and motifs at 6:38 and marvellous texture are colour at 7:20. the second to last chord of the nocturne is also pure bliss. I remember listening to a few of vierne's pieces and not being all that convinced. hearing these I don't understand how that can be. those harmonies hit the spot exactly and the three nocturnes have such wonderful otherworldly and shattered (I don't know why, but many of the crunchier harmonies in these pieces evoke an image of shattered glass in my mind) colours and textures. the pianist also delivers an exceptional and colourful interpretation.
I've played Chopin, Field, and Faure Nocturnes, but these are new to me. Wish I found these sooner. Truly marvelous works!
I recommend Czerny Nocturnes from Op.368 And 604
I recommend Czerny Nocturnes From Op.368 And 604.
Kinda random but what piece have you been recently addicted to - you couldent stop listening over and over
These pieces are really masterworks!!!
+Ernst Kerstner I completely agree. Along with his preludes it really goes to show he was very capable of writing for the piano in addition to organ (and many other genres). Prepare for some more music from him, I'm uploading some now! :)
+Medtnaculus I am looking forward to it!
Wonderful cycle. Each piece has got its own distinctive personality. I'd honestly not share the comments about Debussy influence. I hear more Faure than Debussy, here and - as the other way around - even something that may have served as inspiration to the young Poulenc. However those pieces are truly and genuinely stand-alone masterpieces, extremely personal and independent on any strong influence although, obviously, being children of their time and of the great French early XX century school.
I agree.
I honestly just think anyone comparing debussys contemporaries to debussy only demonstrates their own shallow ability to discern personality in the music. To compare the first of this set to The Sunken Cathedral seems purely due to the aesthetics of the rising chordal theme. Anyone who has taken the time to really enjoy the piece would know it is very unlike the debussy piece after the first section.
THANK YOU. People always rush to compare a "lesser" composer with a big name one, and it can be a surprising question of who really influenced whom.
Vierne's a very great composer -- I hope against hope that the world will finally see this someday. The last great hero of classical symphony and sonata form, his contrapuntal strength rivals Beethoven's. On a good day he's simply unbeatable for inspiration, integrity and originality.
Non li conoscevo stupendi!
no.3 is wonderful!
I... can't understand this music. I've been playing for over 20 years but I consider myself an amateur pianist because I'm not a professional, and I've listened to classical music most of my life since childhood, and played mostly Chopin, Tchaikovsky, Lyapunov, Scriabin, Faure, Liszt, Wagner, Debussy, Kapustin, etc, but this is so unusual to my ears. It's not that I can't listen to more abstract compositions, but these are just so strange to me. Apparently all the people in the comments are much more musically educated than me since they find them so wonderful. I wish I knew what everyone seems to understand that I can't.
Actually the first piece is not too dissimilar from Debussy's La Cathedrale Engloutie albeit with a more epic scope. But I think part of the "strangeness" you perceive is from the sheer frequency of dramatic harmonic change in these works, which can be disorienting. Also, no disrespect to the pianist, but his touch here is a bit heavy for me and destroys any French or Nocturne feel.
What about it can't you understand? That's not meant as a put-down, I'm genuinely curious. Perhaps if you could articulate your frustrations or difficulties with the music, I or others might be able to help.
It’s not about education. It’s about you. Live with it, let it seep in
This is not "classical music" , maybe that is the problem ..?
No problem. I am at odds with Mozart (except his operas - this guy could write for voices, no doubt). So what.
I have been aways curious if Vierne wrote for the piano also. And to my astonishment these pieces also portray his subtle details as he did his organ works. I will look up on his other piano works from now on.
Grande Vierne
Bellissimi
Chef d'œuvre !!!!!!!!!!!!!!!!!
Beautiful music, should indeed be performed in public more often. Thank you for posting this, and by the way your translation from french is very good.
I LOVE it. I haven't heard of Louis Vierne. I wish I had the score to try it. It's a great piece to show-off your ability to play, even better to sight read the piece. It reminds me of many Classical composers, and I don't mean composers from the Classical period, including Poulenc, Satie, Bortkiewicz, scriabin, Liszt and Chopin to name a few. It's the kind of music I like to stretch my small hands (a ninth).
The score is on imslp!
Thank you for the IMSLP Llink. One day I would like to try it.
You may find some scores of classical (or any other genres) on IMSLP. Or try Scribd, it's quite a large doc sharing site, but you wil need to know the exact name of the pieces that you want to look for.
Thanks DityaSanGita, I am a paid subscriber to IMSLP but have lost/ forgotten the knack/ technique of how to download the score. Something always goes wrong.
Perhaps hoj could download it in pdf format and forward it to me. Me. My email address is : perrymkiy. This is at (aol) dot com.
Or perrywillmk and pmwkiy at (gmail) dot com.
Thanks for reminding me.
It sounds very fresh and impressionistic
Kinda random but what piece have you been recently addicted to - you couldent stop listening over and over
Reminiscent of Debussy’s richer works, but with more despair, reminds me of a grieg and rachmaninoff mix
The second one is my favourite. It's the most concise.
these are really nice
Chopins nocturnes are quite easy to understand. Faure's are quite difficult to. These from Vierne are hard to. But all nocturnes from them are jewels of piano literature.
Kinda random but what piece have you been recently addicted to - you couldent stop listening over and over
Bonjour, il semblerait que pour le premier de ces trois nocturne, le premier accord de la mesure 6 main droite, soit des croches et non pas des noires ; ça ne se reproduit plus après.
Last 4 bara of the second nocture :)
i am not sure if the guy understood the first piece
These are beautiful pieces. But to mistakenly claim, as one person erroneously does here, that Claude Debussy "ripped off" Vierne by copying him is nonsense and chronologically inaccurate. Debussy performed in public many of his works, and wrote his Images from 1901 to 1907, that is something like a decade and a half before these pieces by Vierne.
Played mysteriously enough?
15:56 Summer of 42 anyone?
Had no idea that Vierne wrote for the piano
Kinda random but what piece have you been recently addicted to - you couldent stop listening over and over
水漾夢幻
hmm, Vierne knew Debussy, did Debussy kniw Vierne?
They were members of the same stylistic school. They were both under great duress and had difficulties in their lives (including, but not limited to, deaths of immediate family members )It is quite possible that Vierne did know Debussy because the latter wrote a review in a French publication following the premier of his Second Symphonie, Op. 20 calling it "Remarkable."
You are an idiot. Debussy composed, published and performed his Images from 1901 to 1907, about a decade and a half before these were published: he could not have "ripped off" Vierne as you stupidly claim.
@@fflambeauutube what
@@georgemurphy2579 absolutetely not the same stylistic school. Vierne was Frank's student and was part of the last romantic french composer heavealy inspired by wagnerian langage.
@@orgue2999 I'm not here to argue with regards to each of these composer's influences because it can become quite incolved. My statement was more superficial and obvious. I am not bringing opera into this because Franck was trying to counter it with more focus on French instrumental music. Debussy, as were many others who followed, was one of Franck's disciples as well.
Debussy ripped this off!
Lol probably. But I think you mean "Was inspired by..." "Paid tacit homage to..." "Modeled his after..." :D
Get your chronology correct. These were composed in 1915-16, Debussy wrote his preludes almost a decade earlier.