Скачать или смотреть Prelude N° 8 (Matthias van den Gheyn) by Scott Allan Orr

Præludium VIII Matthias van den Gheyn (1721--1785)
Van den Gheyn was a Flemish composer, carillonneur, and organist. He was a descendent of the bell-founding dynasty bearing the same name, which—in the context of bell founding—first appeared in Mechelen in 1506, and continued into the 19th century and beyond to the last century through the foundry activities of van Aerschodt and Sergeys. His uncle was the well known carillon 'fixer' Andreas Josef van den Gheyn, who spent a great deal of his active career retuning the attempted carillons of his contemporaries. Early in his life Matthias did not wish to continue the family activities of bell founding; instead he established himself as a competent musician, becoming the organist at St. Peter's Church in Leuven in 1741, at the age of 20. Four years later, he successfully gave a recital and was unanimously declared as the new stadbeiaardier [city carillonneur], having easily outperformed the other four candidates. He was widely regarded as a carillon for his virtuosic playing and lively improvisations.
His ten preludes for carillon, usually annexed with the Prelude Coucou, represent a rare insight into the carillon music of the eighteenth century, an era from which few manuscripts have been preserved. These works are typical of keyboard music from the transitional period between baroque and classical styles (ca. 1730--1760), a time in which composers sought dramatic effects, striking melodies, and clearer textures. Additionally, van den Gheyn's preludes interweave effects idiomatic to carillon bells, such as rapid chromatic passages, appropriate use of the heavier bells, and broken-chord structures in alternating hands. Van den Gheyn was well aware of taking advantage of the inherent inner harmonic qualities of carillon bells, most notably the prominent minor third overtone: the diminished seventh chord (a stack of 3 minor third intervals) appears in every one of his carillon preludes. Although some of the preludes were copied and published by his biographer Xavier van Elewyck in 1862, these editions contained many errors, which were not be properly corrected until a manuscript (clearly written in Matthias' own script) was discovered in 1999.
The eighth prelude is a fiery driven piece set in A minor making full use of the aforementioned characteristics of van den Gheyn's music, but also heavily featuring imitation and coupled repetitive passages enhanced by terraced dynamics. The entire piece builds up to a brief cadenza commencing on the major dominant, and terminates with a cadenza-like passage of ostinato dominant pedals in octaves.