Symphonie Dorienne, Op.42 (Van Hoorick, Geert)

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Synthesized/MIDI

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Geert Van Hoorick (2013/10/23)

MP3 file (audio)
Geert Van Hoorick (2013/10/23)

MP3 file (audio)
Geert Van Hoorick (2013/10/23)

MP3 file (audio)
Geert Van Hoorick (2013/10/23)

Performers Digital Performance
Publisher Info. Geert Van Hoorick
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Sheet Music

Scores

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General Information

Work Title Symphonie Dorienne
Alternative. Title Organ Symphony No.3
Composer Van Hoorick, Geert
Opus/Catalogue NumberOp./Cat. No. Op.42
Key D minor
Movements/SectionsMov'ts/Sec's 4 movements
I. Moderato
II. Allegro scherzando
III. Adagio lamentoso
IV. Grave - Allegro
Year/Date of CompositionY/D of Comp. 2010-11
First Publication. 2011
Average DurationAvg. Duration 23 minutes
Composer Time PeriodComp. Period Modern
Piece Style Modern
Instrumentation organ

Misc. Comments

In comparison with the first two organ symphonies, the Organ Symphony No. 3 or Symphonie Dorienne is more intimate and contemplative, its musical language being more subdued and harmonically developed. It is a modern-classical composition that consists of four movements. The 1st one is a solemn and moderately fast prelude based on one flowing theme. The 2nd one is a fast gargoylesque scherzo with a singing pastoral middle section, dominated by the Cornets. The 3rd one is a slow and rather sad movement in sonata form with two contrasting themes (a singing main theme and a choral-like one). The 4th and final movement is characterised by the alternation of a slow and solemn episode and a fast twinkling toccata-like theme, that are both further developed. At the end the toccata-like theme returns one last time in a majestic way, and thereafter a moving solo of the Flûte harmonique (joined by the Montre) brings the symphony to its calm conclusion. Registration indications (based upon the Hauptwerk sound set of the Mutin / Cavaillé-Coll organ of the Notre Dame in Metz) are intended as a help and are mainly notated as in late French romantic organ music (Widor, Vierne). In 2016 I have revised the piece, checking every registration indication and every bar and I can assure now that the piece is entirely playable and that it will sound great if you follow my registration indications. The recording (digital performance in Sibelius 5 with Garritan Personal Orchestra, not Hauptwerk, of the former version of 2011 !) gives, besides the registration indications, a scant indication of the sound I want.