Composer

:

Charles Tournemire

Genre

:

Keyboard

Style

:

Chorale

Compose Date

:

1935

Average_duration

:

53:56

Movement_count

:

7

Movement ....

Charles Tournemire's 'Chorals-Poèmes (7), Op. 67' is a collection of seven pieces for organ, composed in 1930. The work was premiered by Tournemire himself at the Basilique du Sacré-Cœur in Paris, on May 25, 1930. The seven movements of the 'Chorals-Poèmes' are based on traditional Lutheran chorales, which Tournemire treated with his characteristic harmonic and rhythmic freedom. Each movement is a meditation on the text of the chorale, expressed through a variety of moods and textures. The first movement, 'Nun komm, der Heiden Heiland', is a solemn prelude in the style of a French overture, with a majestic opening theme followed by a fugal section. The second movement, 'Wie schön leuchtet der Morgenstern', is a lively toccata with a sparkling, virtuosic figuration in the right hand and a pedal line that imitates the chorale melody. The third movement, 'O Lamm Gottes, unschuldig', is a somber and introspective meditation, with a haunting melody in the right hand and a pedal line that evokes the tolling of a funeral bell. The fourth movement, 'Christe, du Lamm Gottes', is a gentle and lyrical pastorale, with a delicate interplay between the hands and a pedal line that provides a gentle accompaniment. The fifth movement, 'O Mensch, bewein dein Sünde groß', is a dramatic and intense meditation, with a powerful opening theme that builds to a climax before subsiding into a mournful chorale melody. The sixth movement, 'Jesu, meine Freude', is a joyful and exuberant fugue, with a lively subject that is passed between the hands and pedals. The final movement, 'Wachet auf, ruft uns die Stimme', is a grand and majestic finale, with a triumphant opening theme that is developed through a series of variations and a fugal section. The movement ends with a brilliant coda that brings the work to a thrilling conclusion. Overall, the 'Chorals-Poèmes' is a masterful example of Tournemire's unique style, which combines the traditional forms and techniques of organ music with a highly personal and expressive language. The work is a testament to Tournemire's deep understanding of the organ as an instrument capable of conveying a wide range of emotions and moods, and it remains a beloved and frequently performed work in the organ repertoire.

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