Gilles Jullien

Gilles Jullien (c. 1651/1653 – 14 September 1703) was a French Baroque composer and organist. He is credited with bringing the style of French organ music then current in Paris to Chartres.[1] Almost nothing is known about Jullien's life or training. His burial certificate indicates he was 50 or slightly younger when he died, so he must have been born between 1651 and 1653. It is assumed that he became organist of the Chartres Cathedral on 6 December 1667. The date is questionable, but the fact that Jullien was appointed organist of the cathedral while still very young is indisputable. He occupied this position until his death in Chartres in 1703. He was succeeded at the cathedral by his eldest son, Jean-François Jullien. All of Jullien's surviving music is contained in his Premier Livre d'orgue (Paris, 1690). It consists of around 80 pieces (most influenced by Nicolas Lebègue's work), organized into eight organ suites in the eight church modes. According to the preface, these works were intended for liturgical use, but the only link to the liturgy is a fugue on Ave maris stella.[2] The suites also contain several four- and five-voice fugues that reflect Jullien's studies of counterpoint, but, like most French composers of the time, he was not particularly apt at complex polyphony, and both his fugues and his grasp of chromatic writing have been deemed primitive.[2] The préludes and récits de dessus have been considered the most successful pieces.[3] Jullien's Premier Livre d'orgue has a number of interesting features. One of these is that in the preface Jullien claims to have invented five-voice genres, even though such pieces appeared earlier, in collections by Nicolas Gigault and André Raison, published in the late 1680s. Furthermore, the collection concludes, very unusually, with a choral piece, Cantantibus organis. Another vocal work by Jullien, La Crèche de Bethléem, is known by name only, and the second organ book was apparently planned, but never appeared.[2] Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.

baroque baroque or early french Classical early music



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Basse de Trompette
Dessus de Voix humaine
III. Trio a trois claviers
Fugue Grave t
X. Dialogue
VII. Duo
VI. Duo
VI. Dessus de Cromhorne
VI. Cromhorne en taille
IX. Tierce en taille
III. Fugue grave
IV. Dessus de Tierce ou de Cromhorne
IV. Basse de Trompette
VI. Dessus de Tierce ou de Cornet
Suite du premier ton: XII. Prélude
V. Trio pour une Elevation
Suite du premier ton: VIII. Duo
Suite du premier ton: VI. Cromhorne en taille
Suite du premier ton: I. Prélude
XI. Dialogue
Suite du premier ton: IV. Fugue
Suite du premier ton: XIII. Trio
VII. Prelude
Suite du premier ton: XI. Dialogue
Suite du premier ton: V. Basse de trompette
Suite du premier ton: II. Duo
Suite du premier ton: IX. Fantaisie chromatique
Dialogue
Motet de Sainte Cecile
X. Fugue sur Ave Maris Stella
VIII. Prelude
Livre d'orgue: Dialogue
Suite du deuxième ton: II. Duo
Suite du deuxième ton: VIII. Dialogue
Suite du troisième ton: VIII. Dialogue
Suite du troisième ton: VII. Basse de Trompette
Suite du deuxième ton: VI. Fugue renversée
Suite du troisième ton: III. Duo
Suite du deuxième ton: IX. Prélude
Suite du deuxième ton: VII. Dessus de Cromhorne ou de trompette
Suite du troisième ton: II. Fugue
Suite du premier ton: X. Fugue sur Ave Maris Stella
Suite du premier ton: VII. Prélude
Suite du premier ton: III. Trio
II. Trio
Livre d'orgue: Prélude
Livre d'orgue: Fugue renversée
Premier Livre d'orgue: Grand plein jeu à 5 parties
Suite du troisième ton: IX. Prélude
Suite du cinquième ton: I. Prélude à cinq parties

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