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Livre d'orgue

Composer: Raison André

Instruments: Organ Harpsichord

Tags: Piece

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Messe du Premier Ton. Kyrie. 1. Premier Kyrie - Plein jeu PDF 0 MBMesse du Premier Ton. Kyrie. 2. Autre Premier Kyrie - Trompette en taille PDF 0 MBMesse du Premier Ton. Kyrie. 3. Second Kirie (Basse et dessus de trompette) PDF 0 MBMesse du Premier Ton. Kyrie. 4. Christe - Trio PDF 0 MBMesse du Premier Ton. Kyrie. 5. Quatriesme Kyrie - Duo PDF 0 MBMesse du Premier Ton. Kyrie. 6. Dernier Kyrie - Dialogue PDF 0 MB
Messe du Premier Ton. Gloria. 1. Et in terra pax - Plein jeu PDF 0 MBMesse du Premier Ton. Gloria. 2. Benedicimus te - Fugue sur toute sorte de jeux. PDF 0 MBMesse du Premier Ton. Gloria. 4. Domine (Récit de cromorne) PDF 0 MBMesse du Premier Ton. Gloria. 5. Domine Deus Agnus - Trio PDF 0 MBMesse du Premier Ton. Gloria. 6. Qui tollis (Dialogue de cromorne et cornet avec écho) PDF 0 MBMesse du Premier Ton. Gloria. 7. Quoniam tu solus (Basse de trompette) PDF 0 MBMesse du Premier Ton. Gloria. 8. Tu solus altissimus (Dialogue de cornet et cromorne) PDF 0 MBMesse du Premier Ton. Gloria. 9. Amen - Dialogue (sur les grands jeux) PDF 0 MB
Messe du Deuziesme Ton. Kyrie. 1. Premier Kyrie - Plein jeu PDF 0 MBMesse du Deuziesme Ton. Kyrie. 2. Second Kyrie - Fugue grave sur la Trompette ou Cromorne PDF 0 MBMesse du Deuziesme Ton. Kyrie. 3. Christe - Trio en passacaille PDF 0 MBMesse du Deuziesme Ton. Kyrie. 4. Quatriesme Kyrie - Fugue pour une basse et dessus de trompette PDF 0 MBMesse du Deuziesme Ton. Kyrie. 5. Dernier Kyrie - Dialogue PDF 0 MB
Messe du Deuziesme Ton. Gloria. Gloria - 1. Et in terra pax - Plein jeu PDF 0 MBMesse du Deuziesme Ton. Gloria. 2. Benedicimus te (Récit de cornet) PDF 0 MBMesse du Deuziesme Ton. Gloria. 3. Glorificamus te (Récit de cromorne) PDF 0 MBMesse du Deuziesme Ton. Gloria. 4. Domine (Dialogue) PDF 0 MBMesse du Deuziesme Ton. Gloria. 5. Domine Deus Agnus - Trio PDF 0 MBMesse du Deuziesme Ton. Gloria. 6. Qui tollis - Duo PDF 0 MBMesse du Deuziesme Ton. Gloria. 7. Quoniam tu solus (Dialogue) PDF 0 MBMesse du Deuziesme Ton. Gloria. 8. Tu solus altissimus - Fugue pour une basse de Trompette ou Tierce PDF 0 MBMesse du Deuziesme Ton. Gloria. 9. Amen - Dialogue PDF 0 MB
Messe du Premier Ton. Autres parties. Sanctus - Plein jeu PDF 0 MBMesse du Premier Ton. Autres parties. Second Sanctus - Récit de 2 dessus de tierce PDF 0 MBMesse du Premier Ton. Autres parties. Benedictus (Voix humaine) PDF 0 MBMesse du Premier Ton. Autres parties. Élévation - Trio à 3 claviers PDF 0 MBMesse du Premier Ton. Autres parties. Agnus Dei (Plein jeu, dialogue) PDF 0 MBMesse du Premier Ton. Autres parties. Second Agnus - Duo PDF 0 MBMesse du Premier Ton. Autres parties. Deo gratias - Plein jeu PDF 0 MB
Messe du Troisiesme Ton. Gloria. Gloria - 1. Et in terra pax - Plein jeu PDF 0 MBMesse du Troisiesme Ton. Gloria. 2. Benedicimus te (Récit de Tierce) PDF 0 MBMesse du Troisiesme Ton. Gloria. 3. Glorificamus te - Duo PDF 0 MBMesse du Troisiesme Ton. Gloria. 4. Domine - Trio PDF 0 MBMesse du Troisiesme Ton. Gloria. 5. Domine Deus Agnus (Récit de Cornet) PDF 0 MBMesse du Troisiesme Ton. Gloria. 6. Qui tollis (Basse et dessus de Trompette) PDF 0 MBMesse du Troisiesme Ton. Gloria. 7. Quoniam tu solus (Récit de Cromorne) PDF 0 MBMesse du Troisiesme Ton. Gloria. 8. Tu solus altissimus (Dessus et basse de Voix humaine) PDF 0 MBMesse du Troisiesme Ton. Gloria. 9. Amen - Dialogue Petit et Grand jeu PDF 0 MB
Messe du Troisiesme Ton. Autres parties. Sanctus - Plein jeu PDF 0 MBMesse du Troisiesme Ton. Autres parties. Second Sanctus - Trio de Cromorne et de Cornet séparé ou d’Éco PDF 0 MBMesse du Troisiesme Ton. Autres parties. Benedictus - Trio à trois claviers ou à deux à l’ordinaire (2 versions) PDF 0 MBMesse du Troisiesme Ton. Autres parties. Élévation en a mi la beccarre PDF 0 MBMesse du Troisiesme Ton. Autres parties. Agnus Dei (Dialogue) PDF 0 MBMesse du Troisiesme Ton. Autres parties. Second Agnus (Basse de Trompette ou de Tierce) PDF 0 MBMesse du Troisiesme Ton. Autres parties. Autre Second Agnus - Dialogue PDF 0 MBMesse du Troisiesme Ton. Autres parties. Deo gratias PDF 0 MB
Messe du Sixiesme Ton. Gloria. 1. Et in terra pax (Plein jeu) PDF 0 MBMesse du Sixiesme Ton. Gloria. 2. Benedictus (Récit de Cornet) PDF 0 MBMesse du Sixiesme Ton. Gloria. 3. Glorificamus te - Trio en Dialogue PDF 0 MBMesse du Sixiesme Ton. Gloria. 4. Domine Deus Rex cælestis (Basse et dessus de Trompette) PDF 0 MBMesse du Sixiesme Ton. Gloria. 5. Domine Deux Agnus PDF 0 MBMesse du Sixiesme Ton. Gloria. 6. Qui tollis - Trio PDF 0 MBMesse du Sixiesme Ton. Gloria. 7. Quoniam tu solus (Voix humaine) PDF 0 MBMesse du Sixiesme Ton. Gloria. 8. Tu solus altissimus - Récit (en dialogue) PDF 0 MBMesse du Sixiesme Ton. Gloria. 9. Amen - Dialogue PDF 0 MB
Messe du Deuziesme Ton. Autres parties. Sanctus - Plein jeu PDF 0 MBMesse du Deuziesme Ton. Autres parties. Second Sanctus - Récit de 2 dessus de Tierce PDF 0 MBMesse du Deuziesme Ton. Autres parties. Benedictus - Fugue pour un Cromorne ou Voix humaine en taille PDF 0 MBMesse du Deuziesme Ton. Autres parties. Élévation (Voix humaine) PDF 0 MBMesse du Deuziesme Ton. Autres parties. Agnus Dei - Plein jeu PDF 0 MBMesse du Deuziesme Ton. Autres parties. Dernier Agnus - Dialogue PDF 0 MBMesse du Deuziesme Ton. Autres parties. Deo gratias - Plein Jeu) PDF 0 MB
Messe du Huictiesme Ton. Gloria. 1. Et in terra pax - Plein jeu PDF 0 MBMesse du Huictiesme Ton. Gloria. 2. Benedicimus te - Petit plein jeu PDF 0 MBMesse du Huictiesme Ton. Gloria. 3. Glorificamus te - Cornet et Eco PDF 0 MBMesse du Huictiesme Ton. Gloria. 4. Domine - Trio en Gigue PDF 0 MBMesse du Huictiesme Ton. Gloria. 5. Domine Deux Agnus PDF 0 MBMesse du Huictiesme Ton. Gloria. 6. Qui tollis - Dialogue - Suitte PDF 0 MBMesse du Huictiesme Ton. Gloria. 7. Quoniam tu solus - Récit de Cromorne PDF 0 MBMesse du Huictiesme Ton. Gloria. 8. Tu solus altissimus - Duo PDF 0 MBMesse du Huictiesme Ton. Gloria. 9. Amen - Dialogue PDF 0 MB
Messe du Sixiesme Ton. Autres parties. Sanctus - Plein jeu PDF 0 MBMesse du Sixiesme Ton. Autres parties. Second Sanctus - Récit de tierce PDF 0 MBMesse du Sixiesme Ton. Autres parties. Benedictus - Trio PDF 0 MBMesse du Sixiesme Ton. Autres parties. Élévation - Cromorne ou Tierce en Taille PDF 0 MBMesse du Sixiesme Ton. Autres parties. Agnus Dei - Plein jeu PDF 0 MBMesse du Sixiesme Ton. Autres parties. Second Agnus - Duo PDF 0 MBMesse du Sixiesme Ton. Autres parties. Deo gratias - Petit plein jeu PDF 0 MB
Messe du Huictiesme Ton. Autres parties. Sanctus - Plein jeu PDF 0 MBMesse du Huictiesme Ton. Autres parties. Second Sanctus - Récit de 2 dessus de Tierce PDF 0 MBMesse du Huictiesme Ton. Autres parties. Benedictus - Dessus et Basse de Voix humaine PDF 0 MBMesse du Huictiesme Ton. Autres parties. Élévation en C-Sol Ut bemol PDF 0 MBMesse du Huictiesme Ton. Autres parties. Agnus Dei (Plein jeu, dialogue) PDF 0 MBMesse du Huictiesme Ton. Autres parties. Second Agnus - Trio avec Reprise PDF 0 MBMesse du Huictiesme Ton. Autres parties. Deo gratias - Tierce en Taille PDF 0 MB
Messe du Sixiesme Ton. Kyrie. 1. Premier Kyrie - Plein jeu PDF 0 MBMesse du Sixiesme Ton. Kyrie. 2. Second Kyrie (Basse et dessus de trompette) PDF 0 MBMesse du Sixiesme Ton. Kyrie. 3. Christe - Trio en Chaconne PDF 0 MBMesse du Sixiesme Ton. Kyrie. 4. Quatriesme Kyrie - Duo PDF 0 MBMesse du Sixiesme Ton. Kyrie. 5. Dernier Kyrie - Dialogue PDF 0 MB
Messe du Troisiesme Ton. Kyrie. 1. Premier Kyrie - Plein jeu PDF 0 MBMesse du Troisiesme Ton. Kyrie. 2. Second Kyrie - Fugue grave sur la Trompette PDF 0 MBMesse du Troisiesme Ton. Kyrie. 3. Christe - Duo PDF 0 MBMesse du Troisiesme Ton. Kyrie. 4. Quatriesme Kyrie (Basse et dessus de Trompette) PDF 0 MBMesse du Troisiesme Ton. Kyrie. 5. Dernier Kyrie - Dialogue PDF 0 MB
Messe du Huictiesme Ton. Kyrie. 1. Premier Kyrie - Plein jeu PDF 0 MBMesse du Huictiesme Ton. Kyrie. 2. Deuziesme Kyrie - Imitation en Trio sur les petits et grands jeux PDF 0 MBMesse du Huictiesme Ton. Kyrie. 3. Christe - Duo PDF 0 MBMesse du Huictiesme Ton. Kyrie. 4. Quatriesme Kyrie - Basse et Dessus de Trompette PDF 0 MBMesse du Huictiesme Ton. Kyrie. 5. Dernier Kyrie - Dialogue PDF 0 MB
Messe du Deuziesme Ton. Kyrie. 3. Christe - Trio en passacaille PDF 0 MB
Messe du Huictiesme Ton. Gloria. Gloria, Amen PDF 0 MB
Messe du Deuziesme Ton. Autres parties. Second Sanctus, Récit de 2 dessus de Tierce PDF 0 MB
Messe du Deuziesme Ton. Kyrie. 2. Kyrie du deuxième Ton. Fugue sur la Trompette ou Cromorne PDF 0 MB
Messe du Premier Ton. Kyrie. 2. Kyrie du premier ton pour un plein jeu accompagné d'une Pedalle de Trompette en Taille PDF 0 MB
Wikipedia
André Raison (c. 1640 – 1719) was a French Baroque composer and organist. During his lifetime he was one of the most famous French organists and an important influence on French organ music. He published two collections of organ works, in 1688 and 1714. The first contains liturgical music intended for monasteries and a preface with information on contemporary performance practice. The second contains mostly noëls (variations on Christmas carols).
The exact date and place of Raison's birth are unknown. He was born in the 1640s, possibly in or near the town of Nanterre (today a suburb of Paris). He was educated there at the seminary of the Church of St. Geneviève (today a commune of Paris). Raison's later life was evidently greatly influenced by the experiences at St. Geneviève. Writing in 1687 or 1688 (in the preface to his Premier livre d’orgue, published in 1688) the composer mentioned that he found the purpose of his life while studying at the seminary. Around 1665–66 Raison was appointed organist of the Abbey of St Genevieve in Paris, another place connected to St Genevieve and one that owned the land on which the Nanterre church stood.
In Paris Raison first lived in a room in "The Guardian Angel", a house in Rue Saint Etienne des Grez, two city blocks away from the abbey. Apparently this was a very modest accommodation, yet Raison remained there for more than twenty years. After 1687–88 he moved to a much larger house at the intersection of the Rue Saint Etienne des Grez and Cholets. His life was improving steadily, and a tax register of 1695 places him in the top rank of Parisian organists, along with François Couperin, Jean-Henri d'Anglebert, Nicolas Gigault, Nicolas de Grigny, and Louis Marchand. Finally, Raison's Second livre d'orgue, published in 1714, indicates that at that time he worked as organist at the church of the Jacobins at Rue St. Jacques in Paris. He died a few years later in 1719, and was succeeded at the Jacobins church by his most illustrious pupil, Louis-Nicolas Clérambault. Clérambault's Premier livre d'orgue (1710) was dedicated to Raison.
Although Raison was somewhat interested in politics (at least twice he produced pieces inspired by political events: an offertory from Premier livre d'orgue is dedicated to Louis XIV's entrance into the city hall on 30 January 1687, and several pieces in Second livre d'orgue commemorate the "long desired peace" that followed the Treaty of Utrecht). As far as the circumstances of his life are known, he seems to have been an exceptionally private and pious person. No record of Raison travelling or acting as organ consultant survives. His Premier livre d'orgue contains extensive instructions for inexperienced church musicians. He apparently never played at court and was not known by the associations there. His contacts with other organists were probably limited, and he was not mentioned in Évrard Titon du Tillet's famous Le Parnasse François, a 1732 book of biographies of famous French musicians. The Lettres sur les hommes célèbres du siècle de Louis XV, a similar book by the son of organist and composer Louis-Claude Daquin, also does not contain any mention of Raison, even though Raison's pupil Clérambault is given due praise.
The first collection, Premier livre d'orgue of 1688, consists entirely of liturgical music: five masses (in order of appearance, in the first, second, third, sixth and eighth modes) and an offertory in the fifth mode. The offertory has a subtitle "Vive le Roy des Parisiens" ("Long live the King of Parisians"), referencing Louis XIV's entrance into the city hall on January 30, 1687. The collection features a long preface in which Raison explains that Premier livre d'orgue was composed to assist the musicians of secluded monasteries; for them he provides important instructions concerning style, ornamentation, registration and other aspects of performance practice. He also mentions that, since no pieces of the collection employ plainchant melodies, they can also be used as 15 Magnificat settings. A much quoted passage instructs the performer to carefully observe the tempo of each piece to understand which dance is implied by the texture.
All five masses follow the same standard scheme: 5 versets for Kyrie, 9 for Gloria, 3 for Sanctus, one Elevation, 2 Agnus Dei versets and a Deo Gratias. There are only minor variations: the first mass has an alternate version of Kyrie 1, the third provides one for Agnus 2, and the titles of Gloria settings are slightly changed in the 6th tone mass. The individual pieces are short versets in various typical forms of the French organ school: duos, trios, dialogues, fugues, récits, etc.; some are expressly labelled as such, others are not. Somewhat unusual for French music of the era are two ostinato variations – a passacaglia (Christe of the Messe du Deuxième ton) and a chaconne (Christe of the Messe du Sixième ton). Both are much shorter than their German and Italian equivalents. Some 20 years later Johann Sebastian Bach used the bass from Raison's passacaglia for his famous Passacaglia and Fugue in C minor, BWV 582 (the bass from Trio en chaconne was also possibly used by Bach for the same piece).
Many of the pieces are notable for their consistent employment of imitative counterpoint: for example, the Fugue grave of the third mass is fully imitative, a strict four-voice fugue, and even the passacaglia begins with an imitative passage. Other notable pieces include Gloria: Tu solus altissimus from the Messe du Sixième ton, which is a Cromorne-Cornet dialogue alternating between 3/4 and common time, and Autre Kyrie from Messe du Première ton, which is a five-voice piece. Willi Apel describes the overall style thus: "In their melodious, dance-like character these pieces follow Lebègue; others of a more organ-like and ecclesiastic approach are similar to Nivers'." An interesting feature, indicative of Raison's meticulous attention to detail, is the early use of double dotting in French music of the period.
The Deuxième livre d'orgue, published in 1714, commemorates the Treaty of Utrecht (or possibly the Treaty of Rastatt). To this end, the collection begins with a setting of Da pacem Domine and a fugue on the same subject. Some more fugues and preludes follow, an offertory, an Ouverture du Septième en d, la, ré, an Allemande grave and a number of noël (French Christmas carols) variations. This collection was only discovered in the 20th century (whereas Premier livre d'orgue surfaced in 1897).