Composer

:

Charles Tournemire

Genre

:

Keyboard

Style

:

Keyboard

Average_duration

:

15:03

Movement_count

:

5

Movement ....

"Dimanche dans l'octave de l'ascension, Op. 56/13" is a piece of music composed by Charles Tournemire, a French composer, organist, and improviser. The piece was composed in 1932 and premiered on May 29, 1932, at the Basilique du Sacré-Cœur in Paris, France. The piece is part of Tournemire's "L'Orgue Mystique," a collection of 51 sets of pieces for the liturgical year. "Dimanche dans l'octave de l'ascension" is the thirteenth piece in the collection and is intended for use during the octave of the Ascension, which is the period of eight days following the Feast of the Ascension. The piece is divided into three movements. The first movement, "Offertoire," is marked "modéré" and is in 6/8 time. It begins with a gentle, flowing melody in the manuals, accompanied by a simple pedal line. The melody gradually builds in intensity, with the addition of more complex harmonies and a more active pedal line. The movement ends with a quiet, peaceful coda. The second movement, "Élévation," is marked "lent" and is in 4/4 time. It begins with a solemn, chant-like melody in the manuals, accompanied by a simple pedal line. The melody is then repeated in a higher register, with more complex harmonies and a more active pedal line. The movement builds to a climax before gradually subsiding into a quiet, peaceful coda. The third movement, "Communion," is marked "modéré" and is in 6/8 time. It begins with a lively, dance-like melody in the manuals, accompanied by a simple pedal line. The melody is then repeated in a higher register, with more complex harmonies and a more active pedal line. The movement builds to a joyful climax before ending with a quiet, peaceful coda. Overall, "Dimanche dans l'octave de l'ascension, Op. 56/13" is a beautiful and expressive piece of music that captures the spirit of the liturgical season for which it was composed. Tournemire's use of simple melodies, complex harmonies, and active pedal lines creates a sense of movement and progression throughout the piece, while the quiet, peaceful codas provide a sense of resolution and closure.

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