Registration Suggestions for Massenet--Marie-Magdeleine

[myorgan]

In a few weeks, I'm going to be playing for the orchestra/choral performance of Massenet's Marie-Magdeleine.
The organ is used only in the last several measures of the third
movement. Where the choir finishes singing: Christ est vivant! Christ est ressuscité!



At the rehearsal mark, the tempo is marked alla brève (in 2), and then
the organ comes in. There are absolutely no registration markings
that I can see except Grand Choeur (which I know <u>is</u> a registration marking).

Here's
the question: The piece obviously grows until the end, until on
the last chord which is held until the end, it gives the instruction animez jusqu'a la fin. How one would animate a held chord, I'll never know!</p>

At
what point in the movement should I add 16', Mixtures, Anches (Reeds),
etc.? Would this be Grand Choeur avec reeds and mixtures ou
sans? Should I just trust the crescendo? Where should I add
the 32' pedal--right from the start, or at the end only?

</p>

Thanks in advance for your help.</p>

Michael</p>

P.S.
I'm using an Allen ADC-6000, and it only has 1 16' stop (on the
Choir). So much for French literature, eh? I'll probably
use an alterable to get the extra 16' stops I need.

</p>

[soubasse32]

Re: Registration Suggestions for Massenet--Marie-Magdeleine



Some musings...</P>


I found only the piano reduction - I'd feel better advising if I could see the full score.</P>


Regarding the animez jusqu'a la fin - I'm assuming this is a cautionary indication, so the organist isn't taken by surprise when the orchestra speeds up. [:)]</P>


Grand chœur is indeed a registration marking - since this is a composition of the romantic era, I would tend to 'pull out all the stops' - including reeds, mixtures, 16' manual stops and 32' flue stop(s). If it were a pipe organ Imight leave out the softer stops.</P>


As far as the 32' reed stop is concerned, it is entirely at the discretion of the performer. That's true of any other stops that might be distracting or out of character for the style of music, such ashigh-pitched mixtures or a very loud Tuba.</P>


I feel a bit more free to use full organ if the choir has finished singing. If they are singing I might leave off the Great reeds and close all boxes.</P>


That's all I can think of, for now. [8-|]</P>

[myorgan]

Re: Registration Suggestions for Massenet--Marie-Magdeleine



[quote user="soubasse32"]Some musings...[/quote]</P>


Yer too modest!!! Your musings are far better that some people's advice! [;)] I <U>knew</U> I could count on a thoughtful response from you.</P>


Thanks for the reminder about the animez. I'm sure by that time, the choir will be winded, and the conductor will be counting in 1, so that could result in some issues.</P>


I read somewhere that before ca.1860 that Grand Chœur did NOT include the reeds or mixtures, but began including themafter that approximate date. I wasn't sure if Massenet had incorporated that practice or not in his works.</P>


I've noticed something interesting about the music, which I've also noticed in Saint-Saëns' 3rd Symphony (Organ). When holding a half note or whole note chord (often tied to a previous measure), they add on a tied 8th note directly following. Would this be so that the organist wouldn't let the chord up too early, or did they actually want the organ to carry past the orchestra cutoff? It's something quite curious that I've never seen in other organ literature--including French literature. I plan to ask the conductor about it when I find out who he is this time. I hope he knows his score well. Note: Our conductor resigned for personal reasons last fall, and we're using a different guest conductor each concert while we conduct a search.</P>


Thanks again for your thoughtful response, SB32.</P>


Michael</P>

[soubasse32]

Re: Registration Suggestions for Massenet--Marie-Magdeleine

I read somewhere that before ca.1860 that Grand Chœur did NOT include the reeds or mixtures, but began including themafter that approximate date. I wasn't sure if Massenet had incorporated that practice or not in his works.

Thedifference was that the Baroquegrand chœur used reeds, cornets, and the 4' Prestant. The reasoning for this was not so much artistic as it was to avoid wind supply problems.Even ifthis piece was written in a transitional period I would lean more towards the Romantic style, since the music is Romantic. We knowyour instrumentdoesn't have windsupplyissues. [:)]</P>


Regarding the extra eighth note - this is commonly found in choral literature, especially works from the U.K. I would take it to mean that you should hold the note for its full value, but do cut off with the orchestra. [:)] I'd be curious to see if this is in the other orchestral parts.</P>