André Raison (c.1640-1719) - Messe du 3º Ton

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Composer: André Raison (c.1640-1719)
Work: Messe du 3º Ton
Performers: Jеan-Patricе Brossе (1950-2021, orgue); EnsеmbIe Vox Cantoris

Messe du 3º Ton
1. Kyrie 0:00
2. Gloria 11:42
3. Offertoire 27:49
4. Dialogue de la Preface 29:43
5. Preface 31:51
6. Sanctus 33:00
7. Guédron 37:31
8. Elevation 41:03
9. Agnus Dei 44:58
10. Ite Missa est 49:04

Painting: Jacques de La Joue II (c.1687-1761) - Allegory of Winter

Further info: https://www.amazon.es/Messes-d%C2%92O...
Listen free: No available

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André Raison (c.1640 - Paris, 1719)

French organist, composer and teacher. He was educated at the seminary of Ste Geneviève, Nanterre. From about 1665 he was organist at the royal abbey of Ste Geneviève, Paris; later he became organist at the church of the Jacobins (rue St Jacques). A tax register of 1695 places him in the top rank of Parisian organists, along with François Couperin, D’Anglebert, Gigault, Marchand and Grigny. He taught L.-N. Clérambault, who dedicated his Premier Livre d’orgue (1710) to Raison. Raison’s Livre d’orgue constitutes a major portion of the extant organ mass repertory. The masses follow the usual pattern of short organ versets for alternatim performance of the Kyrie, Gloria, Sanctus and Agnus Dei. Genres used include the traditional plein jeu, duo, trio, récit, basse de trompette, fugue and grands jeux. Raison made no use of a plainchant cantus firmus, but this was not unusual. These organ masses were intended for use in convents and monasteries that had their own contemporary mass chants (messes musicales); hence, the lack of plainchant made the book more versatile and enabled Raison to claim that the five masses could also be used to form 15 Magnificat settings. His Deuxième Livre d’orgue commemorates the Treaty of Utrecht (1713) with a setting of the Da pacem; this is followed by a fugue on the same theme, several preludes and fugues, an offertory and an overture. The remainder of the volume consists of an allemande and many noëls with variations. Raison’s music is characterized by rhythmic vitality, consistent use of imitative counterpoint and imaginative use of registration, often requiring the full resources of a four-manual French Baroque organ. Since Raison designed his first Livre d’orgue to assist secluded monastic musicians, its preface contains a wealth of valuable information about performing practice. His advice about observing the metre of each piece to determine which dance movement is implied is often quoted; however, it should not be inferred that Raison used dance rhythm more than his contemporaries, or that his music is unusually ‘secular’ in nature. The book contains detailed information on registration, ornamentation, notes inégales and fingering. A striking example of Raison’s didacticism and attention to detail is his early use of the double dot in the French overture-style offertory. Raison’s influence is clear in Clérambault’s organ works; further it seems that J.S. Bach borrowed the theme of his ‘Christe: Trio en passacaille’ (Messe du deuxième ton) for his Passacaglia in C minor.