Die invloed van die Duitse orrelstyl op die orrelsonates van Lemmens en Guilmant

Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2004.The name Lemmens did not only have significance for his students, but also for several critics. Jaak Nikolaas Lemmens (1823-1881) had an enormous impact on the art of the organ music in France in the nineteenth century. The American public knew him as a result of his three Organ sonatas. The works of Bach and other composers like Mendelssohn mainly influenced his performance. Lemmens was seen as a French organist and in the nineteenth century it was not common for a French organist to include works of German composers in concerts due to the mainstream of playing, which was improvisation. He also taught his students on the model of Bach. Hesse introduced Lemmens to the German organ style. One of his students, Alexandre Guilmant (1837-1911), carried on with this tradition. He went on to become one of the great organ-composers of the nineteenth century and was also one of the first to compose a sonata. Guilmant often included the works of German composers in his recitals and had insight into the works of Mendelssohn on his many visits to England. Although both these composers were French, they came under the influence of the German organ tradition. The formal structures, counterpoint and fugues included in their sonatas, are a direct reference to the Trio sonatas of JS. Bach and the organ sonatas of Mendelssohn. In this study, a short introduction to the organ tradition in nineteenth-century France will be given as well as some information about Lemmens and Guilmant. The influence of the German organ tradition on the Three Sonatas of Lemmens and the Eight Sonatas of Guitmant will be shown and it will be proven that indeed the German masters had an influence on the French organ music of the nineteenth century.Master