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COMPOSERMULET, HENRI
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PERFORMERFriedhelm Flamme
Mulet: Complete Organ Works / Friedhelm Flamme
- CPO
- September 7, 2018
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RELEASE DATESeptember 07, 2018
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UPC761203504022
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CATALOG NUMBER555040-2
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LABELCPO
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NUMBER OF DISCS2
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GENRE
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No. 1. Nef
Composer: Henri Mulet
Performer: Friedhelm Flamme
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No. 2. Vitrail
Composer: Henri Mulet
Performer: Friedhelm Flamme
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No. 3. Rosace
Composer: Henri Mulet
Performer: Friedhelm Flamme
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No. 4. Chapelle des Morts
Composer: Henri Mulet
Performer: Friedhelm Flamme
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No. 5. Campanile
Composer: Henri Mulet
Performer: Friedhelm Flamme
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No. 6. Procession
Composer: Henri Mulet
Performer: Friedhelm Flamme
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No. 7. Chant funèbre
Composer: Henri Mulet
Performer: Friedhelm Flamme
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No. 8. Noël
Composer: Henri Mulet
Performer: Friedhelm Flamme
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No. 9. In Paradisum
Composer: Henri Mulet
Performer: Friedhelm Flamme
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No. 10. Tu es petra et portæ inferi non prævalebunt adversus te
Composer: Henri Mulet
Performer: Friedhelm Flamme
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Méditation religieuse
Composer: Henri Mulet
Performer: Friedhelm Flamme
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Angélus
Composer: Henri Mulet
Performer: Friedhelm Flamme
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Petit offertoire
Composer: Henri Mulet
Performer: Friedhelm Flamme
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Sortie douce
Composer: Henri Mulet
Performer: Friedhelm Flamme
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Prière
Composer: Henri Mulet
Performer: Friedhelm Flamme
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Offertoire funèbre
Composer: Henri Mulet
Performer: Friedhelm Flamme
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Offertoire pour la fête du très Saint Rosaire
Composer: Henri Mulet
Performer: Friedhelm Flamme
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Carillon-Sortie
Composer: Henri Mulet
Performer: Friedhelm Flamme
Featuring ⌄
Product Details ⌄
Works ⌄
Henri Mulet was born in the immediate vicinity of the Sacré-Coeur Basilica in 1878 and studied organ with Charles-Marie Widor and Louis Vierne at the Paris Conservatory. Vierne ranked his student with the “most brilliant of musical personalities” and described him as “an outstanding virtuoso and a very fine improviser.” From 1923 to 1931 Mulet was a professor at the Schola Cantorum in Paris; Camille-Saint-Saëns was one of his colleagues, and Gabriel Fauré merits mention as one of his first students. Mulet’s oeuvre focused first and foremost on the organ, and the Esquisses byzantines composed from 1914 to 1919 and published in 1920 has continued to be his most frequently performed collection of pieces. While the rhythms and meters in most of his pieces – the “quadrature of the compositional structure” castigated by Richard Wagner – were rather conventional, the harmonies negotiating between Debussy, Wagner, and Vierne are very appealing.
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