https://www.cpdl.org/wiki/index.php?title=Marcel_Dupr%C3%A9&feed=atom&action=historyMarcel Dupré - Revision history2024-03-29T10:04:27ZRevision history for this page on the wikiMediaWiki 1.39.4https://www.cpdl.org/wiki/index.php?title=Marcel_Dupr%C3%A9&diff=1671863&oldid=prevBarryJ: Text replacement - "\<\!\-\- \'\'\'Aliases\:\'\'\' \-\-\>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==Life==</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==Life==</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''Born:''' 03.05.1886</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''Born:''' 03.05.1886</div></td></tr>
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</table>BarryJhttps://www.cpdl.org/wiki/index.php?title=Marcel_Dupr%C3%A9&diff=1239651&oldid=prevClaude T: Text replacement - "
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 16:18, 20 November 2020</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>From 1947-1954, he was director of the [[American Conservatory]], which occupies the Louis XV wing of the [[Château de Fontainebleau]] near Paris. In 1954, Dupré succeeded Claude Delvincourt as director of the [[Paris Conservatoire]], where he remained until 1956. He died in 1971 in [[Meudon]] (near [[Paris]]) at the age of 85.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>From 1947-1954, he was director of the [[American Conservatory]], which occupies the Louis XV wing of the [[Château de Fontainebleau]] near Paris. In 1954, Dupré succeeded Claude Delvincourt as director of the [[Paris Conservatoire]], where he remained until 1956. He died in 1971 in [[Meudon]] (near [[Paris]]) at the age of 85.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>As a composer, he produced a wide-ranging oeuvre of 65 opus numbers, and also taught two generations of well-known organists such as [[Jehan Alain]] and [[Marie-Claire Alain]], [[Jean-Marie Beaudet]], [[Pierre Cochereau]], [[Jeanne Demessieux]], [[Rolande Falcinelli]], [[Jean Guillou]], [[Jean Langlais]], [[Carl Weinrich]] and [[Olivier Messiaen]], to name only a few. Aside from a few fine works for aspiring organists (such as the ''79 Chorales'' op. 28) most of Dupré's music for the organ ranges from moderately to extremely difficult, and some of it makes almost impossible technical demands on the performer (e.g., ''Évocation'' op. 37, ''Suite'', op. 39, ''Deux Esquisses'' op. 41, ''Vision'' op. 44). </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>As a composer, he produced a wide-ranging oeuvre of 65 opus numbers, and also taught two generations of well-known organists such as [[Jehan Alain]] and [[Marie-Claire Alain]], [[Jean-Marie Beaudet]], [[Pierre Cochereau]], [[Jeanne Demessieux]], [[Rolande Falcinelli]], [[Jean Guillou]], [[Jean Langlais]], [[Carl Weinrich]] and [[Olivier Messiaen]], to name only a few. Aside from a few fine works for aspiring organists (such as the ''79 Chorales'' op. 28) most of Dupré's music for the organ ranges from moderately to extremely difficult, and some of it makes almost impossible technical demands on the performer (e.g., ''Évocation'' op. 37, ''Suite'', op. 39, ''Deux Esquisses'' op. 41, ''Vision'' op. 44).</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>His most often heard and recorded compositions tend to be from the earlier years of his career. During this time he wrote the ''Three Preludes and Fugues'', Op. 7 (1914), with the First and Third Preludes (in particular the G minor with its phenomenally fast tempo/figurations and pedal chords) being pronounced unplayable by no less a figure than Widor. Indeed, such is their difficulty that Dupré was the only organist able to play them until several years later. </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>His most often heard and recorded compositions tend to be from the earlier years of his career. During this time he wrote the ''Three Preludes and Fugues'', Op. 7 (1914), with the First and Third Preludes (in particular the G minor with its phenomenally fast tempo/figurations and pedal chords) being pronounced unplayable by no less a figure than Widor. Indeed, such is their difficulty that Dupré was the only organist able to play them until several years later.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>In many ways Dupré may be viewed as a 'Paganini' of the organ - being a virtuoso of the highest order, he contributed extensively to the development of technique (both in his organ music and in his pedagogical works) although, like Paganini, his music is relatively unknown to musicians other than those who play the instrument for which the music was written. A fair and objective critique of his music should take into account the fact that, occasionally, the emphasis on virtuosity and technique can be detrimental to the musical content and substance. However, his more successful works combine this virtuosity with high degree of musical integrity, qualities found in works such as the ''Symphonie-Passion'', the ''Chemin de la Croix'', the ''Preludes and Fugues'', the ''Esquisses'' and ''Évocation'', and the ''Cortège et Litanie''. </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>In many ways Dupré may be viewed as a 'Paganini' of the organ - being a virtuoso of the highest order, he contributed extensively to the development of technique (both in his organ music and in his pedagogical works) although, like Paganini, his music is relatively unknown to musicians other than those who play the instrument for which the music was written. A fair and objective critique of his music should take into account the fact that, occasionally, the emphasis on virtuosity and technique can be detrimental to the musical content and substance. However, his more successful works combine this virtuosity with high degree of musical integrity, qualities found in works such as the ''Symphonie-Passion'', the ''Chemin de la Croix'', the ''Preludes and Fugues'', the ''Esquisses'' and ''Évocation'', and the ''Cortège et Litanie''.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>As well as composing prolifically, Dupré prepared study editions of the organ works of [[Johann Sebastian Bach|Bach]], [[Handel]], [[Mozart]], [[Liszt]], [[Felix Mendelssohn|Mendelssohn]], [[Robert Schumann|Schumann]], [[César Franck]], and [[Alexander Glazunov]]. He also wrote a method for organ (1927), 2 treatises on organ improvisation (1926 and 1937), and books on harmonic analysis (1936), counterpoint (1938), fugue (1938), and accompaniment of Gregorian chant (1937), in addition to essays on organ building, acoustics, and philosophy of music. As an improviser, Dupré excelled as perhaps no other did during the 20th century, and he was able to take given themes and spontaneously weave whole symphonies around them, often with elaborate contrapuntal devices including fugues. The achievement of these feats was partially due to his unsurpassed genius and partially due to his hard work doing paper exercises when he was not busy practicing or composing.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>As well as composing prolifically, Dupré prepared study editions of the organ works of [[Johann Sebastian Bach|Bach]], [[Handel]], [[Mozart]], [[Liszt]], [[Felix Mendelssohn|Mendelssohn]], [[Robert Schumann|Schumann]], [[César Franck]], and [[Alexander Glazunov]]. He also wrote a method for organ (1927), 2 treatises on organ improvisation (1926 and 1937), and books on harmonic analysis (1936), counterpoint (1938), fugue (1938), and accompaniment of Gregorian chant (1937), in addition to essays on organ building, acoustics, and philosophy of music. As an improviser, Dupré excelled as perhaps no other did during the 20th century, and he was able to take given themes and spontaneously weave whole symphonies around them, often with elaborate contrapuntal devices including fugues. The achievement of these feats was partially due to his unsurpassed genius and partially due to his hard work doing paper exercises when he was not busy practicing or composing.</div></td></tr>
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</table>Claude Thttps://www.cpdl.org/wiki/index.php?title=Marcel_Dupr%C3%A9&diff=1068273&oldid=prevCarlos: Text replacement - "'''Biography'''<br>" to "'''Biography'''
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''Died:''' 30.05.1971</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''Died:''' 30.05.1971</div></td></tr>
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<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Marcel Dupré was born in [[Rouen]] ([[Normandy]], France). Born into a musical family, he was a child prodigy. His father Albert Dupré was organist in Rouen and a friend of [[Aristide Cavaillé-Coll]], who built an organ in the family house when Marcel was 14 years old. Dupré entered the [[Paris Conservatoire]] in 1904, where he studied with [[Louis Diémer]] and [[Lazare Lévy]] (piano), [[Alexandre Guilmant]] and [[Louis Vierne]] (organ), and [[Charles-Marie Widor]] (composition). In 1914, Dupré won the Grand [[Prix de Rome]] for his [[cantata]], ''Psyché''. In 1926, he was appointed professor of organ performance and improvisation at the [[Paris Conservatoire]], a position he held until 1954.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Marcel Dupré was born in [[Rouen]] ([[Normandy]], France). Born into a musical family, he was a child prodigy. His father Albert Dupré was organist in Rouen and a friend of [[Aristide Cavaillé-Coll]], who built an organ in the family house when Marcel was 14 years old. Dupré entered the [[Paris Conservatoire]] in 1904, where he studied with [[Louis Diémer]] and [[Lazare Lévy]] (piano), [[Alexandre Guilmant]] and [[Louis Vierne]] (organ), and [[Charles-Marie Widor]] (composition). In 1914, Dupré won the Grand [[Prix de Rome]] for his [[cantata]], ''Psyché''. In 1926, he was appointed professor of organ performance and improvisation at the [[Paris Conservatoire]], a position he held until 1954.</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Although his emphasis as composer was the organ, Dupré's catalog of musical compositions also includes works for piano, orchestra and choir, as well as chamber music, and a number of transcriptions. Some works initially published by HW Gray and now out of print have begun to be reissued by Crescendo Music Publications.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Although his emphasis as composer was the organ, Dupré's catalog of musical compositions also includes works for piano, orchestra and choir, as well as chamber music, and a number of transcriptions. Some works initially published by HW Gray and now out of print have begun to be reissued by Crescendo Music Publications.</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Although his emphasis as composer was the organ, Dupré's catalog of musical compositions also includes works for piano, orchestra and choir, as well as chamber music, and a number of transcriptions. Some works initially published by HW Gray and now out of print have begun to be reissued by Crescendo Music Publications.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Although his emphasis as composer was the organ, Dupré's catalog of musical compositions also includes works for piano, orchestra and choir, as well as chamber music, and a number of transcriptions. Some works initially published by HW Gray and now out of print have begun to be reissued by Crescendo Music Publications.</div></td></tr>
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</table>CHGiffenhttps://www.cpdl.org/wiki/index.php?title=Marcel_Dupr%C3%A9&diff=336189&oldid=prevClaude T: Text replace - ' ' to ' '2012-02-07T10:59:38Z<p>Text replace - ' ' to ' '</p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''Biography'''<br></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''Biography'''<br></div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Marcel Dupré was born in [[Rouen]] ([[Normandy]], France). Born into a musical family, he was a child prodigy. His father Albert Dupré was organist in Rouen and a friend of [[Aristide Cavaillé-Coll]], who built an organ in the family house <del style="font-weight: bold; text-decoration: none;"> </del>when Marcel was 14 years old. Dupré entered the [[Paris Conservatoire]] in 1904, where he studied with [[Louis Diémer]] and [[Lazare Lévy]] (piano), [[Alexandre Guilmant]] and [[Louis Vierne]] (organ), and [[Charles-Marie Widor]] (composition). In 1914, Dupré won the Grand [[Prix de Rome]] for his [[cantata]], ''Psyché''. In 1926, he was appointed professor of organ performance and improvisation at the [[Paris Conservatoire]], a position he held until 1954.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Marcel Dupré was born in [[Rouen]] ([[Normandy]], France). Born into a musical family, he was a child prodigy. His father Albert Dupré was organist in Rouen and a friend of [[Aristide Cavaillé-Coll]], who built an organ in the family house when Marcel was 14 years old. Dupré entered the [[Paris Conservatoire]] in 1904, where he studied with [[Louis Diémer]] and [[Lazare Lévy]] (piano), [[Alexandre Guilmant]] and [[Louis Vierne]] (organ), and [[Charles-Marie Widor]] (composition). In 1914, Dupré won the Grand [[Prix de Rome]] for his [[cantata]], ''Psyché''. In 1926, he was appointed professor of organ performance and improvisation at the [[Paris Conservatoire]], a position he held until 1954.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Dupré became famous for performing more than 2,000 organ recitals throughout Australia, the United States, Canada and Europe, which included a recital series of 10 concerts of the complete works of [[Johann Sebastian Bach]] in 1920 ([[Paris Conservatoire]]) and 1921 (Palais du Trocadéro), both performed entirely from memory. The sponsorship of an American transcontinental tour by the John Wanamaker department store interests rocketed his name into international prominence. Dupré's "Symphonie-Passion" began as an improvisation on [[Philadelphia]]'s [[Wanamaker Organ]].</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Dupré became famous for performing more than 2,000 organ recitals throughout Australia, the United States, Canada and Europe, which included a recital series of 10 concerts of the complete works of [[Johann Sebastian Bach]] in 1920 ([[Paris Conservatoire]]) and 1921 (Palais du Trocadéro), both performed entirely from memory. The sponsorship of an American transcontinental tour by the John Wanamaker department store interests rocketed his name into international prominence. Dupré's "Symphonie-Passion" began as an improvisation on [[Philadelphia]]'s [[Wanamaker Organ]].</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>From 1947-1954, he was director of the [[American Conservatory]], which occupies the Louis XV wing of the [[Château de Fontainebleau]] near Paris. In 1954, Dupré succeeded Claude Delvincourt as director of the [[Paris Conservatoire]], where he remained until 1956. He died in 1971 in [[Meudon]] (near [[Paris]]) at the age of 85.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>From 1947-1954, he was director of the [[American Conservatory]], which occupies the Louis XV wing of the [[Château de Fontainebleau]] near Paris. In 1954, Dupré succeeded Claude Delvincourt as director of the [[Paris Conservatoire]], where he remained until 1956. He died in 1971 in [[Meudon]] (near [[Paris]]) at the age of 85.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>As a composer, he produced a wide-ranging oeuvre of 65 opus numbers, and also taught two generations of well-known organists such as [[Jehan Alain]] and [[Marie-Claire Alain]], [[Jean-Marie Beaudet]], [[Pierre Cochereau]], [[Jeanne Demessieux]], [[Rolande Falcinelli]], [[Jean Guillou]], [[Jean Langlais]], [[Carl Weinrich]] and <del style="font-weight: bold; text-decoration: none;"> </del>[[Olivier Messiaen]], to name only a few. <del style="font-weight: bold; text-decoration: none;"> </del>Aside from a few fine works for aspiring organists (such as the ''79 Chorales'' op. 28) most of Dupré's music for the organ ranges from moderately to extremely difficult, and some of it makes almost impossible technical demands on the performer (e.g., ''Évocation'' op. 37, ''Suite'', op. 39, ''Deux Esquisses'' op. 41, ''Vision'' op. 44). <del style="font-weight: bold; text-decoration: none;"> </del></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>As a composer, he produced a wide-ranging oeuvre of 65 opus numbers, and also taught two generations of well-known organists such as [[Jehan Alain]] and [[Marie-Claire Alain]], [[Jean-Marie Beaudet]], [[Pierre Cochereau]], [[Jeanne Demessieux]], [[Rolande Falcinelli]], [[Jean Guillou]], [[Jean Langlais]], [[Carl Weinrich]] and [[Olivier Messiaen]], to name only a few. Aside from a few fine works for aspiring organists (such as the ''79 Chorales'' op. 28) most of Dupré's music for the organ ranges from moderately to extremely difficult, and some of it makes almost impossible technical demands on the performer (e.g., ''Évocation'' op. 37, ''Suite'', op. 39, ''Deux Esquisses'' op. 41, ''Vision'' op. 44). </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>His most often heard and recorded compositions tend to be from the earlier years of his career. <del style="font-weight: bold; text-decoration: none;"> </del>During this time he wrote the ''Three Preludes and Fugues'', Op. 7 (1914), with the First and Third Preludes (in particular the G minor with its phenomenally fast tempo/figurations and pedal chords) being pronounced unplayable by no less a figure than Widor. <del style="font-weight: bold; text-decoration: none;"> </del>Indeed, such is their difficulty that Dupré was the only organist able to play them until several years later. <del style="font-weight: bold; text-decoration: none;"> </del></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>His most often heard and recorded compositions tend to be from the earlier years of his career. During this time he wrote the ''Three Preludes and Fugues'', Op. 7 (1914), with the First and Third Preludes (in particular the G minor with its phenomenally fast tempo/figurations and pedal chords) being pronounced unplayable by no less a figure than Widor. Indeed, such is their difficulty that Dupré was the only organist able to play them until several years later. </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In many ways Dupré may be viewed as a 'Paganini' of the organ - being a virtuoso of the highest order, he contributed extensively to the development of technique (both in his organ music and in his pedagogical works) although, like Paganini, his music is relatively unknown to musicians other than those who play the instrument for which the music was written. A fair and objective critique of his music should take into account the fact that, occasionally, the emphasis on virtuosity and technique can be detrimental to the musical content and substance. However, his more successful works combine this virtuosity with high degree of musical integrity, qualities found in works such as the ''Symphonie-Passion'', the ''Chemin de la Croix'', the ''Preludes and Fugues'', the ''Esquisses'' and ''Évocation'', and the ''Cortège et Litanie''. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In many ways Dupré may be viewed as a 'Paganini' of the organ - being a virtuoso of the highest order, he contributed extensively to the development of technique (both in his organ music and in his pedagogical works) although, like Paganini, his music is relatively unknown to musicians other than those who play the instrument for which the music was written. A fair and objective critique of his music should take into account the fact that, occasionally, the emphasis on virtuosity and technique can be detrimental to the musical content and substance. However, his more successful works combine this virtuosity with high degree of musical integrity, qualities found in works such as the ''Symphonie-Passion'', the ''Chemin de la Croix'', the ''Preludes and Fugues'', the ''Esquisses'' and ''Évocation'', and the ''Cortège et Litanie''. </div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* ''La France au Calvaire'' op. 49 for soli, choir, organ and orchestra (1953)</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* ''La France au Calvaire'' op. 49 for soli, choir, organ and orchestra (1953)</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* ''Deux motets'' op. 53 for soprano and choir (1958)</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* ''Deux motets'' op. 53 for soprano and choir (1958)</div></td></tr>
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</table>Claude Thttps://www.cpdl.org/wiki/index.php?title=Marcel_Dupr%C3%A9&diff=253387&oldid=prevCHGiffen: (unhosted)2010-10-06T15:34:07Z<p>(unhosted)</p>
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