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'''Jehan Alain''' (1911-1940)
[[File:Jehan Alain 1938.jpg|thumb|right|Jehan Alain in 1938]]
'''Jehan Alain''' (1911-1940) was a French composer and organist.


''NOTE: this article was automatically generated from an entry submitted to '''wvlist.net'''. You can help add pictures and more information to this article!''
On June 20, 1940, Alain was killed during the battle of Saumur. He was awarded with the ''Croix de Guerre'' for his bravery.
 
Jehan Alain is remembered as one of the first composers to write music suited for the new organs created by the neo-baroque [[Orgelbewegung]] movement.<ref>Schauerte, 9.</ref> He was influenced not only by his studies in counterpoint and composition but by music all around him including Gregorian chant, jazz, and music from around the world.


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== WVlist Notes ==
== Performance Practice ==
<blockquote><nowiki>War Hero. The JA catalogue (including the order and contents of the incipits) is Alain's own catalogue, a facsimile of which is included in, among other publications, AL 29 253, Marie-Claire Alain, "Notes critiques sur l'oeuvre d'orgue de Jehan Alain". Paris: Alphonse Leduc, 2001. Note that this page reproduces Alain's mistake of skipping from number 102 to 113, which was due the tens digit 0 being mistaken for a 1. AWV is another catalogue of Alain's works. Transcribed spelling corrections are welcome.</nowiki><br>-William Rehwinkel, Feb 22, 2022</blockquote>
<blockquote>Jehan Alain abhorred barlines and tempo indications. The only thing that mattered to him was the living pulse of his musical thought. That is why the first drafts of his pieces are often more revealing than later copies. The addition of carlines after the fact often distorted the basis of his rhythm and led him to forget some ties and accidentals. He composed with rare facility; his rough drafts were tossed off with a single stroke of the pen. But then in the course of making the different fair copies, he took pleasure in refining, in seeking delectable contrasts, which often give us contradictory indications for similar passages.
 
-[[Marie-Claire Alain]]<ref>Alain, Marie-Claire (2003), 11.</ref></blockquote>
 
== Works ==
Alain's music has been catalogued numerous times, including:
 
* A [[Jehan Alain: JA Catalogue|catalogue by the composer himself]], stylized "JA"
* A catalogue by Bernard Gavotte in 1945, cataloguing all works known at that time chronologically, stylized using Op. numbers.<ref>Gavoty (1945), 195</ref>
* A catalogue by [[Helga Schauerte]] in 1983, stylized "AWV".<ref>Schauerte (1983), 106-114.</ref>
 
=== Variations sur un thème de Clément Jannequin ===
Alain's work, also called ''Variations Sur "l'espoir que j'ai d'acquérir votre grâce". Chanson de Clément Jannequin'', is mistakenly titled, as it is based on a work that is anonymous.
 
Jehan Alain had access to a 19th-century book ''Échos du temps passé'' compiled by [[Jean-Baptiste Weckerlin]] which contained a piece under this name attributed to [[Clément Jannequin]]. This piece transforms the piece into a solo aria with piano accompaniment which is almost identical to the first variation (theme) in Alain's work.
 
This chanson is found in two publications by [[Pierre Attaingnant]], one in 1529 (in parts) and another in 1531 (reduced to tablature score), both without a composer's name. The attribution to Jannequin is due to a musicological error by Weckerlin, as in 1529 the piece is placed immediately after another work attributed to Jannequin.<ref>Hafner, 268-269.</ref> Previously, musicologists assumed that anonymous pieces found after a piece with a composer's name were all written by that composer; however, this is now known to be an outdated assumption that is not always true.{{Citation needed}}
 
On performance practice, Alain wrote in one of his manuscripts, ''This piece must be played as the Preludes of which Couperin spoke...with freshness and tenderness.''<ref name="Marie-Claire 59">Alain, Marie-Claire (2003), 59.</ref>
 
==== Jehan Alain and Early Music ====
Alain's music has been interpreted as closely analogous to early music that he heard growing up. In several manuscripts, he wrote about how closely the styles of his own compositions and those from the past were connected.
 
<blockquote>It should be possible for a musician of the 20th century to preserve the soul of this old music. The language matters little; only the spirit speaks.<ref name="Marie-Claire 59">Alain, Marie-Claire (2003), 59.</ref></blockquote>
 
<blockquote>Modern music, or at least that which it is convenient to call modern music in 1937, allies itself more directly with old music than with Romantic or Classical music. By the simple game of musical spelling, one ought to be able to pass imperceptibly from one to the other and preserve the freshness and tenderness of music of the 16th century.<ref name="Marie-Claire 59">Alain, Marie-Claire (2003), 59.</ref></blockquote>
 
=== 1er Prélude Profane ===
The first ''Prélude Profane'' by Alain–also called ''Adagio'' or ''Wieder an''–was also written for string quintet (1 violin, 2 violas, 2 cellos).
 
The manuscript copies of this piece written for the organ survives with many variant readings, especially with regards to registrations and what notes are to be played in the pedal. The 1943 edition of the Alain organ works was realized from one autograph copy that was owned by Madeleine Alain which was considered to be the most similar to how Alain played his own work according to the memory of the Alain family. Since then, more manuscripts have been rediscovered by the Alain family. These manuscripts contained different readings, likely based on performing the piece on specific organs.<ref>Alain, Marie-Claire (2003), 91.</ref>
 
Marie-Claire Alain's book on the critical notes of Alain's organ works contains a new edition of this piece based on combining readings from multiple manuscripts to arrive at the most musical solution.<ref>Alain, Marie-Claire (2003), 95-96.</ref>


<blockquote><nowiki>JA Catalogue is ordered according to Alain's hand-written JA list of works.</nowiki><br>-William Rehwinkel, May 10, 2022</blockquote>
=== Smaller Works ===
In addition to grand works like the ''Suite pour orgue'' and ''Trois dances'', or smaller works that were widely circulated and published, such as ''Variations sur un thème de Clément Jannequin'', Alain wrote many small pieces. These pieces are generally short explorations of a distinct musical idea. Many of them were written for specific occasions or due to specific circumstances. They show the way that Alain was constantly improvising and writing down musical ideas and expanding his musical world.


<blockquote><nowiki>Alain works catalogued >JA128 are according to website run by Marie-Claire Alain (website is now down) accessed via https://web.archive.org/web/20160213224757/http://www.jehanalain.com/works.jsp?lang=en</nowiki><br>-William Rehwinkel, Jul 26, 2022</blockquote>
==== Berceuse sur deux notes qui cornent ====
Alain's earliest known organ work was written in 1929, a ''Berceuse'' based on the held notes c# and d#. This was inspired by an incident in which these notes ciphered on the [[Alain House Organ]].<ref>Hafner, 25-33.</ref><ref>Schauerte, 17.</ref>


<blockquote><nowiki></nowiki><br>-Anonymous, Jul 26, 2022</blockquote>
<score><< \new Staff << \relative fis'' { \key fis \major <fis ais>2 <e gis> | <dis fisis> <e gis> } \\ \relative cis'' { <cis dis>1~ | 1 } >> \new Staff \relative dis '' { \key fis \major dis4 ais8 ais cis4 ais | b! ais8 ais cis2 | } >></score>
 
This piece was interpreted by [[Helga Schauerte]] as an example of Alain's ''Humor und Einfallsreichtum'' (=resourcefulness) as a reaction to the circumstances of his life (such as the cipher in the organ), how he managed to translate these life experiences into the atmosphere of his music, and how his composed music was closely tied to improvisation.<ref>Schauerte, 18.</ref>
 
==== Christe eleison/Amen ====
Two improvisatory fragments titled ''Christe eleison'' and ''Amen'', found in a manuscript in the Alain family collection, were included in the afterword of the Leduc organ works in 1943 but omitted from later editions.<ref>Hafner, 287-291.</ref>
 
'''Christe eleison'''
 
<score><< \relative g'' { \time 5/4 <g d'>2.->\fff <fis cis'>4-> <g d'>-> | <gis e'>2-> <g d'>4-> <f! b>2->-\fermata } \\ \relative b' { b2. b4 b | b2 b4 <gis b>2 } >></score>
 
'''Amen'''
 
<score>\relative cis' { \time 7/8 <cis gis'>8(\pp <d fis>4) <cis a'>8( <bis gis'>8 <d fis>4) | <bis gis'>8( <bes d f!>2.) | <b fis'>8( <cis ees>4 <b g'>8 <ais fis'>8 <cis eis>4) | <ais fis'>8( <a cis e>4. <fis ais cis>4.)\fermata }</score>
 
==== Complainte a la mode ancienne ====
In 1932, Jehan Alain composed a 16-measure organ piece titled ''Complainte a la mode ancienne, pour que Poucette joue l'orgue de Valloires'' (on two staves, including fingering indications) for his sister Marie-Claire, who was six years old at the time.
 
The piece is written in the style of a Renaissance song in two voices. It is not known wether the melody is original or if it is based on an older piece, such as in ''Variations sur un thème de Clément Jannequin''; parallels have been drawn between the construction of the melody in both pieces. The piece was published in ''Cinq Pieces Faciles pour Orgue ou Piano'' by Leduc in 1987.<ref>Schauerte, 115.</ref><ref>Hafner, 83-87.</ref>
 
<score>\relative d' { \omit Staff.TimeSignature \time 4/2 \partial 2 d2 | f g a f | bes1 a2 g | f a a g | a2 }</score>
 
==== Chorale Cistercien pour une Élévation ====
Alain's work titled ''Chorale Cistercien pour une Élévation'' was originally titled simply ''Élévation'', named for the [[Elevation]] during the Mass. The name ''Chorale Cistercien'' was created by [[Albert Alain]] to combine the piece with the ''Chorale dorien'' and ''phrygien''.
 
This piece survived in one manuscript which was kept at the Cistercian Abbey of Valloires and was only rediscovered in 1951. It was written by Jehan Alain in April, 1934, but it was not included in his own "JA" musical catalogue.<ref>Alain, Marie-Claire (2003), 121.</ref>
 
== Editions ==
The only publications that were published and reviewed by Jehan Alain during his life were the ''Chorale dorien'' and ''phrygien'', published in [[Le Grand Orgue]] no.57{{Citation needed}}<ref>{{IMSLP|758747}}</ref> and the ''Trois pieces'' (''Variations Sur un theme de Clément Jannequin'', ''Le Jardin suspendu'', and ''Litanies''), published by Alphonse Leduc in 1939<ref>Alain, Marie-Claire (2003), 10.</ref>.
 
After Alain's death, the three-volume edition of complete organ works was compiled by the Alain family, working from manuscripts known to them aided by their own memories of how Jehan Alain played his own works. This edition was republished with corrections and additions based on newly-discovered sources in 1951-52 and 1971. Marie-Claire Alain admitted that the 1971 contained some simplifications in registrations that do not correspond to the sources. These simplifications were intended to make registration changes easier for organists, but by the turn of the 21st century, they were deemed not necessary thanks to modern combination actions.<ref>Alain, Marie-Claire (2003), 10-11.</ref>.
 
Later on, a new edition of Alain's complete organ works was compiled by [[Helga Schauerte]] and published by Barenreiter.{{Citation needed}}
 
== Sources ==
=== Manuscripts in F-Pn ===
The following manuscripts of Alain's works are found in the ''Bibliotheque Nationale de Paris''.<ref>Schauerte, 118.</ref>


== Works ==
{| class="wikitable"
{| class="wikitable"
|-
|-
|JA
! F-Pn Ms- !! Title !! Notes !! Ref.
|1
|Quarante variations
|incipit:<ref><nowiki>\time 2/4 \relative c'' { c16 d f8 c16 bes c8 g16 aes c8 g16 f g8 }</score>
|-
|JA
|2
|Theme et cinq variations
|incipit:<ref><nowiki>\time 5/8 \relative ees' { <eis b' dis>8 <e gis b>4 <ees g> <f a des>8 <e gis>4 <dis b> }</score>
|-
|JA
|3
|Etude sur un theme de 4 notes
|incipit:<ref><nowiki>\key g \major \time 6/8 << \relative fis' { fis4. e d } \\ \relative fis' { fis16 d eis cis d b_\markup{ \bracket { "etc." } }    } >></score>
|-
|JA
|4
|Ecce ancilla Domini
|incipit:<ref><nowiki>\key g \major << \relative e'' { e4 e f d e c d2*1/4 } \\ \relative c'' { r8 c b a r8 d,8 f b r8 a,8 e' g f } >></score>
|-
|JA
|5
|Seigneur, donne-nous la paix éternelle
|incipit:<ref><nowiki>\partial 4 << \relative d'' { <d bes>4 ees8 bes8 4~4 aes bes4 } \\ \relative e' { <e g>4 <ees ges bes>2 <b d fes> <ges des' ges>4 } >></score>
|-
|JA
|6
|Versel
|incipit:<ref><nowiki>\time 3/4 \clef bass \key d \major \partial 2 \relative cis { cis4 e fis dis fis gis e }</score>
|-
|JA
|7
|Berceuse. Transcrip Piano
|incipit:<ref><nowiki><< \relative d''' { d4 a8 a c4 a } \\ \relative c'' { c16 f d a' c, f d a' c, ees d g c, ees d g } >></score>
|-
|JA
|8
|Chanson triste
|incipit:<ref><nowiki>\time 9/8 \key ees \major \relative g' { g4 8~4. fis4.  ees4 8 c2. }</score>
|-
|JA
|9
|Petite Ballade
|incipit:<ref><nowiki>\time 10/4 << \relative d' { d4 a'4. g8 a f g4 b8 c d4 } \\ \relative d' { s4 f8 g f e f d b a g a f } >></score>
|-
|JA
|10
|Etude sur des doubles notes
|incipit:<ref><nowiki>\key g \minor \time 9/8 << \relative g' { \parenthesize r16 \tuplet 3/2 { g8[ a d] } s16 s4. \parenthesize r16 \tuplet 3/2 { g,8[ a d] } } \\ \relative f' { <f bes>8 <g c> <e' a> d a g <f bes>8 <g c> <e' a>  } >></score>
|-
|JA
|11
|Lumiere qui tombe d'un vasistas
|incipit:<ref><nowiki>\time 13/32 \relative des' { des32[ aes' bes c ees des f, aes' c, ees des f, c'] a,! e'! }</score>
|-
|JA
|12
|Petite Rhapsodie
|incipit:<ref><nowiki>\time 3/8 \key ees \major \relative a { a8\noBeam f''16 <ees g> <f bes>8 r8 f16 <ees g> <f bes>8 r8 ees16 <des f> <ees aes>8}</score>
|-
|JA
|13
|Heurenrement la bonne fee sa marraine
|incipit:<ref><nowiki><< \relative bes' { \tuplet 3/2 { bes4 4 4 } c4 c <ees aes,>2 } \\ \relative des' { <des ees f>2 <c d e g> <b cis eis> } >></score>
|-
|JA
|14
|Lamento
|incipit:<ref><nowiki>\time 4/2 \key fis \minor \relative cis'' { cis4 bis e2 cis4 bis a2 cis4 }</score>
|-
|JA
|76bis
|Berceuse pour orgue
|incipit:<ref><nowiki>\relative d'' { d4 a8\noBeam a\noBeam c4 a bes a8\noBeam a\noBeam }</score>
|-
|JA
|15
|Histoire sur des tapis
|incipit:<ref><nowiki>\key ges \major \time 6/4 \partial 2. \relative aes { <aes ees'>4 <f' c'> <ees' bes'>\laissezVibrer r4 r r <aes,, ees'> <fes' ces'> <ees' bes'>\laissezVibrer }</score>
|-
|JA
|16
|Melodie Sandwich
|incipit:<ref><nowiki>\key ges \major \partial 2 \relative bes' { bes4 ces des ces bes ges aes }</score>
|-
|JA
|17
|Des nuages gris a 7 voix
|incipit:<ref><nowiki>\relative dis'' { \time 1/4 dis4 \time 2/4 cis4~8 ais gis16 ais fis8 dis4\laissezVibrer }</score>
|-
|JA
|18
|Canons a sept
|incipit:<ref><nowiki>\clef bass \key b \major \time 8/4 \relative fis, { fis4 cis' gis fis e dis e }</score>
|-
|JA
|19
|Nocturne
|incipit:<ref><nowiki>\time 3/4 << \relative bes' { bes4. aes8 g aes bes c bes4 des\laissezVibrer } \\ \relative c' { c2.~c2. } \\ \relative e' { <e! ges>4 <d f>2 <e ges>4 <d f>2 } >></score>
|-
|JA
|20
|Pour le defrichage
|incipit:<ref><nowiki>\key cis \minor \time 3/4 \relative gis' { r16 gis gis' gis,~gis gis gis' gis,~gis gis gis' gis,~gis g gis'? s16 fis,2 }</score>
|-
|JA
|21
|Togo
|incipit:<ref><nowiki>\time 8/4 \relative b { r8. b16 e8. b16 fis'8. d16 a8. d16 b8. fis16 \tuplet 3/2 { a8 d gis } }</score>
|-
|JA
|22
|En devissant
|incipit:<ref><nowiki>\time 6/2 << \relative c'' { c2~4 b a g f g a2 } \\ \relative c' { s2 c2~4 b a } \\ \\ \relative e' { s2 s2 e2 } >></score>
|-
|JA
|23
|26 September 31
|incipit:<ref><nowiki>\time 3/8  << \relative c''' {\autoBeamOff <c~ e,>8 <c ees,>4 <bes~ d,>8 <bes des,>4 <c~ e,>8 <c ees,\=1(> <dis,\=1) b> } \\ \relative a' {\autoBeamOff <a! c!~>8 <aes c>4 <g bes~>8 <ges bes>4 <a c~>8 <aes c> <fis b,>} >></score>
|-
|JA
|24
|Ballade a Fr. Villon
|incipit:<ref><nowiki>\time 8/4 \relative d'' { d8^-[ f f^- a a^- b b^- f d a' f^- b a^- f b b^-] des,[^- f f^-] }</score>
|-
|JA
|25
|Chorale et variations (a ~Doudon~)
|incipit:<ref><nowiki>\key cis \minor \time 9/4 \relative cis' { cis4 gis'2 \breathe gis4 a b2 a4 }</score>
|-
|JA
|26
|Variations chorales sur sacris solemnis
|incipit:<ref><nowiki>\clef soprano \key d \minor \time 9/4 \relative d' { d4 a' bes a2 a4 b c }</score>
|-
|JA
|27
|Variations pour orgue sur Lucis Creator
|incipit:<ref><nowiki>\time 16/4 \relative g' { g4 a c c c8 b a g c4 d b8 a }</score>
|-
|JA
|28
|Fugue du mode de fa
|incipit:<ref><nowiki>\clef bass \time 3/4 \relative f { f8 g f2 f8 g f2 f8 g }</score>
|-
|JA
|29
|Postlude pour l'office de complies
|incipit:<ref><nowiki>\time 13/8 \relative f'' { f8[ f g f ees f g g f ees f f^-] g[ bes] }</score>
|-
|JA
|30
|un cercle d'argent
|incipit:<ref><nowiki>\time 11/8 \relative e'' { <e c'>8 <ees aes>[ <e c'>] <ees aes>[ <d bes'>] <cis e>[ <b g'>] e,,[ <f' a>] }</score>
|-
|JA
|31
|Romance
|incipit:<ref><nowiki>\time 12/8 << \relative ees'' { ees4. d! c~ \tuplet 2/3 {c8 d} } \\ \relative bes' { r8 bes ges f a f e a! e a,[ e'] }>></score>
|-
|JA
|32
|Grave
|incipit:<ref><nowiki>\clef bass \key cis \minor \relative fis, { fis2 cis4 e a2 g\laissezVibrer }</score>
|-
|JA
|33
|Petite prelude variations et choral pour orgue (written in pencil: Petite piece pour orgue)
|incipit:<ref><nowiki>\time 6/8 \partial 4. \key g \minor \relative g' {  <ges bes ees>8 <aes c f> <ges bes ees> <bes ees ges>4 <ges bes ees>8 <f bes d>4 <ees aes c>8\laissezVibrer }</score>
|-
|JA
|34
|Cantique en mode phrygien
|incipit:<ref><nowiki>\time 8/4 << \relative a' { a8 g a4~2 a8 b c d \tuplet 3/2 { c8 b a } } \\ \relative d' { s2 d8 c d4 <e a,>4 } >></score>
|-
|JA
|35
|O quam suavis (motet) pour baryton
|incipit:<ref><nowiki>\autoBeamOff \key a \major \relative e' { R1 r2 e4 fis8 gis a[ b] } \addlyrics { O quam su -- a __}</score>
|-
|JA
|36
|Mme Husson
|incipit:<ref><nowiki>\key bes \major \partial 2. \relative e' { <ees g bes>4( <f, bes d>) <ees' g bes>( <f a c> <g, bes d>) <bes' d f>( <f a c>) }</score>
|-
|JA
|37
|Chant donne
|incipit:<ref><nowiki>\key e \minor \time 3/4 \relative b' { b2 a4 b2 a4 b2 }</score>
|-
|JA
|38
|Complainte a la mode ancienne (pour [illegible])
|incipit:<ref><nowiki>\time 4/2 \partial 2 \relative d' { d2 f g a f bes1 a2 }</score>
|-
|JA
|39
|Chanson a Gouche fermee
|incipit:<ref><nowiki>\partial 2 \relative g' { g4 a g bes g2~g8 a g a }</score>
|-
|JA
|40
|Une scie!
|incipit:<ref><nowiki>\key des \major \time 5/4 \relative bes' { bes4^- 4^- 4^- bes8^- aes4. c8^- bes2^- }</score>
|-
|JA
|41
|Il pleuvra toute la journie
|incipit:<ref><nowiki>\partial 4 \key g \major \relative cis' { cis16 d cis bis cis e a fis g bes ees c cis[ e!] }</score>
|-
|JA
|42
|sur le mode re me fa sol-flat la-flat, si-flat-flat, do
|incipit:<ref><nowiki>\time 3/4 \partial 4. \clef bass \relative d { \set Staff.keyAlterations = #`((6 . ,FLAT)(6 . ,FLAT) (2 . ,FLAT) (5 . ,FLAT) (1 . ,NATURAL) (4 . ,FLAT)) d8 d ees d4 ees8 f ges }</score>
|-
|JA
|43
|Adagio pour Cello et Piano
|incipit:<ref><nowiki>\key aes \major \time 12/16 \clef bass \relative c { c8.~[ 16 b d] g8 f16 aes8 b16 e4~ }</score>
|-
|JA
|44
|Amen
|incipit:<ref><nowiki>\time 3/4 << {a'2.} \\ \relative e' { e8 f4 e8 d4 } >> \time 4/4 <e' g'>1^\fermata  << \relative a' { a4^"Tres leul" bes4*1/2 } \\ \relative f' { f8 g4 } >></score>
|-
|JA
|45
|un tres vieux motif
|incipit:<ref><nowiki>\time 3/4 \key bes \major \relative ees'' { ees2 d4 bes g a }</score>
|-
|JA
|46
|Postscriptum
|incipit:<ref><nowiki>\relative g' { r4 g bes a c2.\laissezVibrer } \addlyrics { "j'ai" ou -- bie __ }</score>
|-
|JA
|47
|Fantasie pour 3 voix mixtes a gouche fermie
|incipit:<ref><nowiki>\time 8/4 \relative c' { c4 g'2. aes4 bes c }</score>
|-
|JA
|48
|Theorie
|incipit:<ref><nowiki>\relative b { \key d \major \time 3/4 b8 a b4 cis \time 5/4 d8 cis d4 e fis }</score>
|-
|JA
|49
|Le gai liseron
|incipit:<ref><nowiki>\time 3/4 << \relative f'' { f4 d4. c8 b d bes4 } \\ \relative fis' { r4 r4 fis g d } >></score>
|-
|JA
|50
|Sonata
|incipit:<ref><nowiki>\time 4/2 \key d \major << \relative b' { b1 b2 cis d } \\ \relative fis' { fis4 e fis g d g e a b a } >></score>
|-
|JA
|51
|Mephisto
|incipit:<ref><nowiki>\key ees \major \clef bass \time 3/4 \relative g, { g8[ d'] bes'8[ 8] 8[ 8] aes8[ d,] d }</score>
|-
|JA
|52
|La peste
|incipit:<ref><nowiki>\clef bass \key fes \major \time 2/4 \voiceOne \partial 8 aes8 \repeat unfold 3 { <ges des'>8[ <fes ces'>] }</score>
|-
|JA
|53
|Exposition
|incipit:<ref><nowiki>\clef tenor \relative e' { e4 e e a, f'2. e4 d }</score>
|-
|JA
|54
|Sujet
|incipit:<ref><nowiki>\clef tenor \key aes \major \time 3/4 \relative c' { c4 f, des' \time 4/4 c8 bes c4 bes }</score>
|-
|JA
|55
|Comme quoi [les projets les plus belliqueux]
|incipit:<ref><nowiki><< \relative a' { r8 a\noBeam e' a, gis eis] gis[ eis] r8 a\noBeam e' a, } \\ \relative g' { g1 g2 } >></score>
|-
|JA
|56
|Le bon Roi Dagobert
|incipit:<ref><nowiki>\clef bass \key b \major \time 3/4 \relative dis' { dis4 2 cis4 2 }</score>
|-
|JA
|57
|Fugue pour orgue
|incipit:<ref><nowiki>\clef bass \time 1/4 \partial 16 \relative c, { c16 ees f fis a b8. bes16 }</score>
|-
|JA
|58
|Laisse les nuages (F. [Jammes?]) pour Soprano ou Tenor
|incipit:<ref><nowiki>\key des \major \time 2/4 \relative des'' { des4~ \tuplet 3/2 { des8 c bes } des8 c4 } \addlyrics { Lai -- sse les nua -- ges}</score>
|-
|JA
|59
|Histoire d'un hommes
|incipit:<ref><nowiki>\time 7/8 \relative b { r8 b fis'8.[ 16] 8 cis4\laissezVibrer }</score>
|-
|JA
|60
|C'est moi le marchand pous voix de composites
|incipit:<ref><nowiki>\partial 4 \clef bass \relative ges { ges8 8 4 4 4 4 } \addlyrics { c'est moi le mas -- chaud }</score>
|-
|JA
|61
|Canon pour piano et harmonium
|incipit:<ref><nowiki>\time 3/4 \relative a' { a2 bes4 a2 bes4 a2 g4 }</score>
|-
|JA
|62
|de Jules Lemaitre
|incipit:<ref><nowiki>\key ges \major \relative des' { des2. ces4 des2. ces4 }</score>
|-
|JA
|63
|Fantasmagorie pour orgue
|incipit:<ref><nowiki>\key fis \minor \relative gis'' { gis8 fis gis a b4 a8 gis fis eis }</score>
|-
|JA
|64
|"Wieder an" pour piano
|incipit:<ref><nowiki>\key f \major \relative f' { f4 e8 e d8. d16~16 c d bes }</score>
|-
|JA
|65
|"Und jetzt" pour piano
|incipit:<ref><nowiki>\time 16/8 \relative a' { \tuplet 2/2 { a8[ b~] } \tuplet 3/2 {  b8 a b} \tuplet 3/2 { cis4 d8 } cis4. \tuplet 3/2 { b8 cis d } }</score>
|-
|JA
|66
|Intermezzo pour 2 pianos et basson
|incipit:<ref><nowiki>\key aes \major \time 12/8 \partial 4. \relative bes' { r8 bes8 c bes ees c des bes c bes c des }</score>
|-
|JA
|67
|Choral Dorien
|incipit:<ref><nowiki>\time 9/4 \relative g' { g4 a b b2. g }</score>
|-
|JA
|68
|Choral phrygien
|incipit:<ref><nowiki>\clef bass \time 4/2 \relative a { a2 d c a a b }</score>
|-
|JA
|69
|Variations pour orgue
|incipit:<ref><nowiki>\time 5/4 \key ees \major \relative d'' { d4 c ees d c bes4. c8 }</score>
|-
|-
|JA
| 8650 || Grave || || <ref>[http://ark.bnf.fr/ark:/12148/cb428099432 catalogue.bnf.fr], accessed 18 August, 2026.</ref>
|70
|Scherzo pour orgue
|incipit:<ref><nowiki>\key gis \minor \time 2/4 \relative dis' { dis8 d cis bis b ais cis dis }</score>
|-
|-
|JA
| 8651 || Berceuse || || <ref>[http://ark.bnf.fr/ark:/12148/cb428099401 catalogue.bnf.fr], accessed 18 August, 2026.</ref>
|71
|Le jardin suspendu pour orgue
|incipit:<ref><nowiki>R1 << \relative bis' { bes4 a } \\ \relative ees' { ees4 d } \\ {g'2} >> << \relative g' { g4. a8 } \\ \relative c' { <c e>2 } >></score>
|-
|-
|JA
| 8652 || Suite pour orgue || Fragment of first movement || <ref>[http://ark.bnf.fr/ark:/12148/cb428099552 catalogue.bnf.fr], accessed 18 August, 2026.</ref>
|72
|Fantaisie pour illutrer un quatrain d'omar [illegible] pour orgue
|incipit:<ref><nowiki>\time 6/4 \relative d'' { <d f a>1 <gis, cis eis>8 <d' f a>4 <gis, cis e>8 <f b dis>4 }</score>
|-
|-
|JA
| 8653 || Tarass Boulba || || <ref>[http://ark.bnf.fr/ark:/12148/cb42809956d catalogue.bnf.fr], accessed 18 August, 2026.</ref>
|69bis
|Andante varie pour quintette a cordes
|incipit:<ref><nowiki>\time 5/4 \key ees \major \relative d'' { d4 c ees d c bes4. c8 }</score>
|-
|-
|JA
| 8654 || Piece d'orgue || Also called ''Petite Piece'' || <ref>[http://ark.bnf.fr/ark:/12148/cb42809951p catalogue.bnf.fr], accessed 18 August, 2026.</ref>
|73
|Andante pour flute et piano
|incipit:<ref><nowiki>\time 3/4 \partial 2 \key e \major \relative gis'' { gis4 ais b gis fis gis2 }</score>
|-
|-
|JA
| 8655 || Prelude et Fugue || || <ref>[http://ark.bnf.fr/ark:/12148/cb42809953c catalogue.bnf.fr], accessed 18 August, 2026.</ref>
|74
|Allegretto con grazia flute et piano
|incipit:<ref><nowiki>\time 6/8 \key e \major \partial 4. \relative gis' { gis8 8 8 8 fisis b gis g fis }</score>
|-
|-
|JA
| 8657 || Lamento || || <ref>[http://ark.bnf.fr/ark:/12148/cb42809944d catalogue.bnf.fr], accessed 18 August, 2026.</ref>
|66bis
|Intermezzo transail pour orgue
|incipit:<ref><nowiki>\key aes \major \time 12/8 \partial 4. \relative bes' { r8 bes8 c bes ees c des bes c bes c des r8 }</score>
|-
|JA
|75
|Prelude a la fugue en ut No. 10 pour orgue mime cahier No. 57 du catalogue. 1er etat - Definitif a [illegible] avec la fugue
|incipit:<ref><nowiki>\key ees \major \partial 2. << \relative f'' { f4 g4 a8 bes c4. d8 bes2*1/2 \bar "" } \\ \relative des'' { des4 c8 f ees des fis gis e4. d8 } >></score>
|-
|JA
|76
|Nocturne pour piano
|incipit:<ref><nowiki>\key aes \major \time 6/8 << \relative des'' { s2. des4.~4 eeses8 \bar "" } \\ \relative ees' { ees4.~ <ees f>4.~4.\laissezVibrer } >></score>
|-
|JA
|77
|Deux Danses a Agni Yavishta pour orgue [1/2]
|incipit:<ref><nowiki>\time 3/4 \relative b' { b8 d cis d e4 d8 cis d16( cis b8) b cis }</score>
|-
|JA
|78
|Deux Danses a Agni Yavishta pour orgue [2/2]
|incipit:<ref><nowiki>\time 3/4 \partial 2 \relative b { <b d>8( <cis e>) <cis e>( <d f>) <cis e>16( <b d> <cis e>8 <b d>4) r4 }</score>
|-
|JA
|79
|Climat pour orgue
|incipit:<ref><nowiki>\time 6/8 << \relative e'' { e4. d e cis e4 } \\ \relative e'' { e8 f e d e d e f e cis e cis e[ f] } >></score>
|-
|JA
|80
|Monodie pour orgue (written in pencil: 1ere piece: animato / Suite monodique pour piano)
|incipit:<ref><nowiki>\partial 2 \relative g' { g8 c a d bes4 aes8 g f16 g aes8 f e }</score>
|-
|JA
|81
|Andante pour piano (written in pencil: illegible)
|incipit:<ref><nowiki>\key g \minor << \relative f' { f8( d8 d4 g2)  f8\noBeam( d)} \\ \relative bes { bes4 c16 c bes8 c d~4 bes4 } >></score>
|-
|JA
|82
|Chorale majeur pour orgue
|incipit:<ref><nowiki>\time 3/1 \partial 1 \key aes \major << \relative ees'' { ees1~1 c des ees bes\breve\laissezVibrer } \\ \relative c' { c1~1 ees bes c des\breve } \\ \relative aes' { aes1 g\breve~1~\breve f1 } >></score>
|-
|JA
|81bis
|Largo assai ma moldo rubato: Cello
|incipit:<ref><nowiki>\clef tenor \key bes \major \relative f' { f8 d c16 c bes8 c d8~4 \clef bass f,8[ d] }</score>
|-
|JA
|83
|O salutasis de Dugay
|incipit:<ref><nowiki>\key g \major \time 10/2 << \relative g' { g2 b a b c b a2. g4 2 } \\ \relative d' { d2 e1 d2 g4 a b d, e2 d4 c b c } >></score>
|-
|JA
|84
|Quand Marion
|incipit:<ref><nowiki>\key e \major << \relative e'' { e4 dis8 cis b4 b cis dis e b e dis8 cis } \\ \relative e' { e2 2 2 2 2 } >></score>
|-
|JA
|85
|Nous n'irons plus an bois
|incipit:<ref><nowiki>\key ees \major \relative ees' { \partial 4. ees8 g aes bes4 ees bes8 c bes aes }</score>
|-
|JA
|86
|Berceuse pour piano
|incipit:<ref><nowiki>\key fis \major \partial 4 \relative gis' { gis8 gis ais ais b b ais4 gis8 8 }</score>
|-
|JA
|87
|Prelude en ut maj. pour piano
|incipit:<ref><nowiki>\partial 4 \relative c' { s32 c32 d fis a c ees aes c4. c8 \grace bes16 c4. \tuplet 3/2 { bes16 c d } }</score>
|-
|JA
|88
|Chanson pour soprano [Rydyan Kaypling?]
|incipit:<ref><nowiki>\partial 2 \relative gis' { r4 r8 gis8 4~4 \tuplet 3/2 { gis8 8 8 } gis4 } \addlyrics { un soir chau -- re sou -- ris }</score>
|-
|JA
|89
|Monodie pour piano
|incipit:<ref><nowiki>\key g \major \time 8/4 \relative c'' { c2 e,4 fis2 c'}</score>
|-
|JA
|89bis
|Transcript pour orgue de la presidente
|incipit:<ref><nowiki>\time 9/4 \relative c'' { \key g \major r4 c r e, fis r c'2 }</score>
|-
|JA
|90
|Complainte du Jean Rinand (harm. 4 voix)
|incipit:<ref><nowiki>\time 6/8 \autoBeamOff \key fis \minor \partial 4. \relative fis' { fis8 8 8 cis'4 8 e[ d] cis }</score>
|-
|JA
|91
|Pour piano (Tarass Boulba)
|incipit:<ref><nowiki>\time 5/8 \partial 8 \relative e'' { e8 <dis bis> e, e' <dis bis> e, \time 6/8 <aes f>[ b,] }</score>
|-
|JA
|92
|Final sur une Sonatine facile pour piano
|incipit:<ref><nowiki>\key g \minor << \relative g' { g4 d' cis c bes a8 g } \\ \relative g { g8 g' fis g f g ees g d ees c bes }>></score>
|-
|JA
|93
|Barcarolle facile pour piano
|incipit:<ref><nowiki>\time 6/8 \key d \major \relative d'' { d4. d d8. e16 d8 cis d16 e d cis }</score>
|-
|JA
|94
|Invention a 3 voix pour flute hautbois et clarinette
|incipit:<ref><nowiki>\time 12/8 \key ees \major \relative f' { s8 f g aes d, f c aes' bes ces f, aes \bar "" }</score>
|-
|JA
|95
|Vocalia dorienne pour [illegible] et [il.]
|incipit:<ref><nowiki>\relative a' { a2 f' d c d1 \bar "" }</score>
|-
|JA
|96
|Fauxbordon pour le laudate du 6 ton a 3 voix egales
|incipit:<ref><nowiki>\key des \major \time 14/4 \relative des' { <des f aes>\breve <f aes des>4 <ees ges c> <des f des'> } << <ees' aes'>2 \\ { des'4 c' } >></score>
|-
|JA
|97
|Un petit Jesus s'en ra a l'ecole facile pour piano
|incipit:<ref><nowiki>\key des \major \relative f'' { \partial 4 f8 8 4 ees des ees8 8 }</score>
|-
|JA
|98
|O salutaris [illegible] facile pour 2 voices egales a capella
|incipit:<ref><nowiki>\key a \major << { \relative b' { b1~4 a } \addlyrics { O -- sa } } \\ \relative e' { r2 e2 4 4 } >></score>
|-
|JA
|99
|Idee pous improvite
|incipit:<ref><nowiki>\time 5/4 << \relative g'' { <g d'>2. <fis cis'>4 <g d'> <gis e'>2 } \\ \relative b' { b2. 4 4 2 } >></score>
|-
|JA
|100
|Idee idem
|incipit:<ref><nowiki>\time 7/8 \relative gis' { <gis cis,>8 <fis d>4 <a cis,>8\noBeam <gis bis,> <fis d>4 }</score>
|-
|JA
|101
|Noel nouvelle harmonise a 3 voix (scribbled)
|incipit:<ref><nowiki>\key f \major << \relative g' { g4 d' e c d2 bes \bar "" } \\ \relative g' { g4 bes g a bes a g f } >></score>
|-
|JA
|102
|que j'aime ce divin Enfant pour 3 voix
|incipit:<ref><nowiki>\time 3/4 \partial 4 \key g \minor << \relative g' { g4 bes2 a4 g2 d'4 bes2 } \\ \relative d' { r4 r4 d f2 ees4 d2 g4 } >></score>
|-
|JA
|113
|Douvien vient qu'en cette nuitee a 2 voix egales
|incipit:<ref><nowiki>\key d \major \partial 2 << \relative a' { a4. g8 fis4 a g fis } \\ \relative d' { r4 r4 d4. cis8 b4 d } >> \bar ""</score>
|-
|JA
|114
|Noel pour Radicaux a 1 voix
|incipit:<ref><nowiki>\time 6/8 \key g \major \partial 2 \relative b' { b8 4 a8 b4 8 4 8 4 } \addlyrics { A Per No -- el ras -- se ra -- til }</score>
|-
|JA
|115
|Transcript du Ricit de Nazard Clarambault [pour] flute et orgue
|incipit:<ref><nowiki>\time 12/8 \partial 1 \relative d'' { s8 d g a bes\noBeam a g^\trill fis\noBeam \grace fis8 g4 }</score>
|-
|JA
|116
|Vivace - 3a piece du la Suite pour piano
|incipit:<ref><nowiki>\time 10/4 \relative d' { r8 d[ ees ges] aes4\fermata d,8[ ees ges aes] b![ aes ges ees d] c4 }</score>
|-
|JA
|117
|2e Fantaisie pour orgue
|incipit:<ref><nowiki>\key g \major \time 6/8 << \relative fis'' { r4 r8 fis8 gis a b4. a4 gis8 } \\ \relative b' { b2.~4. a } >></score>
|-
|JA
|118
|Variations pour orgue sur theme du Clement Jannequin
|incipit:<ref><nowiki>\key g \minor \relative g' { g2 4 4 f2 g a4 f g a bes2 }</score>
|-
|JA
|119
|Litanies pour orgue
|incipit:<ref><nowiki>\key bes \minor \time 15/8 \relative ees' { ees8[ ees f] ges[ f ees des c] ees[ des f ees gis f] }</score>
|-
|JA
|120
|3 Dances pour orchestre
|incipit:<ref><nowiki>\time 18/6 \clef bass \key bes \major \relative bes, { bes4_> 8~_>4 g8 ces4_> 8 bes_> ces bes r8 g4_> aes8 }</score>
|-
|JA
|120bis
|Dance [illegible] une mimoire heroique
|incipit:<ref><nowiki>\time 9/16 \clef bass \key aes \major \relative f, {  f16 8[ ges] a[ bes] \time 3/4 c8.\noBeam c16\noBeam c8[ des] c[ bes] \bar "" }</score>
|-
|JA
|121
|Marche du St Nicolas pour Clairons tambour et orgue
|incipit:<ref><nowiki>\key bes \major \relative f' { \partial 4 f8. 16 bes2. f8. 16 bes2. f8. 16 \bar "" }</score>
|-
|JA
|122
|Tantum ergo pour 2 voix egales ([illegble])
|incipit:<ref><nowiki>\time 5/4 \relative e' { r4 r4 <e e'>2 4 r4 <dis dis'>4 <cis cis'> <dis dis'> <cis cis'>8 <dis dis'> } \addlyrics { Tan -- tum er -- go ta -- cra __ }</score>
|-
|JA
|123
|Tu es Petrus a 3 voix egales
|incipit:<ref><nowiki>\clef bass \partial 2 \key d \major \relative a { a4 d, b'8[ a] b[ cis] d4 }</score>
|-
|JA
|124
|Messe gregorienne de mariage avec
|incipit:<ref><nowiki>\time 8/8 \relative g' { r8 g[ a] g[ f g] a[ g] } \bar "||" s2</score>
|-
|JA
|125
|Messe de Requiem repla du gregorien a 4 voix mixtes
|incipit:<ref><nowiki>\time 16/8 << { \relative a' { a4. g4 c8 4. d c } \addlyrics { Ky -- - -- ri e  } } \\ \relative c' { c4. d4 e8 e a4 bes8.[ a16 g f] e8[ f] } >></score>
|-
|JA
|126
|Fragment cantata Bach Erchallet ihr Lieder 2 Trompette et orgue
|incipit:<ref><nowiki>\time 3/8 \partial 8 << \relative g' { g8 c8 r c16 d e8 r8 e16 f g8 } \\ \relative c' { c8 e8 r8 g16 g c8 r8 c16 d e8 } >></score>
|-
|JA
|127
|Allegro du concerto en sol majere Handel 2 Trompette et orgue
|incipit:<ref><nowiki>\key g \major \partial 8 \relative g'' { g8 fis e d c b d a d g, a b c }</score>
|-
|JA
|128
|Concerto en si Handel. 2 Trompette et orgue
|incipit:<ref><nowiki>\key bes \major \relative bes' { bes4.^\mordent r16 f bes8. 16 d8. bes16 f'4^\mordent }</score>
|-
|JA
|129
|Lettre à son amie Lola pour la consoler d'avoir attrapé la grippe, for the piano
|incipit:<ref><nowiki></score>
|-
|JA
|130
|Adagio, for the piano
|incipit:<ref><nowiki></score>
|-
|JA
|131
|Variations sur un thème donné de Rimsky-Korsakov, for four voices
|incipit:<ref><nowiki></score>
|-
|JA
|132
|Chant nupital, for baritone and organ
|incipit:<ref><nowiki></score>
|-
|JA
|133
|Fugue sur un sujet de Henri Rabaud, for four voices
|incipit:<ref><nowiki></score>
|-
|JA
|134
|Choral cistercien pour une Élévation, for the organ
|incipit:<ref><nowiki>\key e \minor \time 5/4 << \relative e'' { e4( b cis) e2 } \\ \relative e' { e2.~2 } \\ \relative g' { g4 e2 g } \\ \relative b' { b4 g a b2 } >></score>
|-
|JA
|135
|Monodie, for the organ or the piano
|incipit:<ref><nowiki>\relative ees' { \cadenzaOn ees4. d8 f8[ ees f] g[ f]\laissezVibrer }</score>
|-
|JA
|135A
|Monodie, for the flute
|incipit:<ref><nowiki></score>
|-
|JA
|136
|Messe modale en septuor, for soprano, the alto, the flute and string quartet or the organ
|incipit:<ref><nowiki></score>
|-
|JA
|137
|Prière pour nous autres charnels
|incipit:<ref><nowiki></score>
|-
|JA
|138
|Aria, for the organ
|incipit:<ref><nowiki>\key c \minor \time 7/8 \relative d'' { \partial 4. <d a f>4 <ees b g>8  <c g ees>4 <g ees c> <d' a f> <ees b g>8}</score>
|-
|JA
|139
|L'année liturgique israëlite, for the organ
|incipit:<ref><nowiki></score>
|-
|JA
|140
|Tantum ergo, for soprano, baritone and the organ
|incipit:<ref><nowiki></score>
|-
|JA
|141
|Salve, virilis pectoris, for soprano, tenor and the organ
|incipit:<ref><nowiki></score>
|-
|JA
|142
|O salutaris, for soprano and the organ
|incipit:<ref><nowiki></score>
|-
|JA
|143
|Pièces d'après François Campion, for the organ
|incipit:<ref><nowiki></score>
|}
|}
== See also ==
[[Gerald Woehl Organ, St. Remigius, Viersen]], dedicated to Jehan Alain.
== Bibliography ==
[[Marie-Claire Alain|Alain, Marie-Claire]], ''Critical notes on the Organ Works of Jehan Alain.'' English translation by Dr. Normal Stevlingson. Paris: Alphonse Leduc 29422, 2003.
[[Bernard Gavoty|Gavoty, Bernard]], ''Jehan Alain: musicien français (1911–1940) Avec un choix de lettres et de dessins inédits''. Paris: Éditions Albin Michel, 1945.
{{Grove2|[[Georges Guillard|Guillard, Georges]]|Jehan (Ariste) Alain|1|268-270}}
[[Wilhelm Hafner|Hafner, Wilhelm]], ''Das Orgelwerk von Jehan Alain (1911–1940) und sein Verhältnis zur Französischen Orgelmusik des 20. Jahrhunderts.'' Collection D'Études Musicologiques Sammlung Musikwissenschaftlicher Abhandlungen: Band 92. Baden-Baden: Verlag Valentin Koerner, 2000.
[[Helga Schauerte|Schauerte, Helga]], ''Jehan Alain (1911-1940) Das Orgelwerk: Eine monographische Studie.'' Kölner Beiträge zur Musikforschung 137. Regensburg: Gustav Bosse Verlag, 1983.


== References ==
== References ==
''See notes''
[[Category:Persons|Alain, Jehan]]
[[Category:Persons|Alain, Jehan]]
[[Category:Composers|Alain, Jehan]]
[[Category:Composers|Alain, Jehan]]
[[Category:Organists|Alain, Jehan]]
[[Category:Organists|Alain, Jehan]]
[[Category:WVlist pages|Alain, Jehan]]
[[Category:WVlist pages|Alain, Jehan]]

Latest revision as of 12:13, 26 August 2026

Jehan Alain in 1938

Jehan Alain (1911-1940) was a French composer and organist.

On June 20, 1940, Alain was killed during the battle of Saumur. He was awarded with the Croix de Guerre for his bravery.

Jehan Alain is remembered as one of the first composers to write music suited for the new organs created by the neo-baroque Orgelbewegung movement.[1] He was influenced not only by his studies in counterpoint and composition but by music all around him including Gregorian chant, jazz, and music from around the world.

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Performance Practice

Jehan Alain abhorred barlines and tempo indications. The only thing that mattered to him was the living pulse of his musical thought. That is why the first drafts of his pieces are often more revealing than later copies. The addition of carlines after the fact often distorted the basis of his rhythm and led him to forget some ties and accidentals. He composed with rare facility; his rough drafts were tossed off with a single stroke of the pen. But then in the course of making the different fair copies, he took pleasure in refining, in seeking delectable contrasts, which often give us contradictory indications for similar passages. -Marie-Claire Alain[2]

Works

Alain's music has been catalogued numerous times, including:

Variations sur un thème de Clément Jannequin

Alain's work, also called Variations Sur "l'espoir que j'ai d'acquérir votre grâce". Chanson de Clément Jannequin, is mistakenly titled, as it is based on a work that is anonymous.

Jehan Alain had access to a 19th-century book Échos du temps passé compiled by Jean-Baptiste Weckerlin which contained a piece under this name attributed to Clément Jannequin. This piece transforms the piece into a solo aria with piano accompaniment which is almost identical to the first variation (theme) in Alain's work.

This chanson is found in two publications by Pierre Attaingnant, one in 1529 (in parts) and another in 1531 (reduced to tablature score), both without a composer's name. The attribution to Jannequin is due to a musicological error by Weckerlin, as in 1529 the piece is placed immediately after another work attributed to Jannequin.[5] Previously, musicologists assumed that anonymous pieces found after a piece with a composer's name were all written by that composer; however, this is now known to be an outdated assumption that is not always true.[Citation needed]

On performance practice, Alain wrote in one of his manuscripts, This piece must be played as the Preludes of which Couperin spoke...with freshness and tenderness.[6]

Jehan Alain and Early Music

Alain's music has been interpreted as closely analogous to early music that he heard growing up. In several manuscripts, he wrote about how closely the styles of his own compositions and those from the past were connected.

It should be possible for a musician of the 20th century to preserve the soul of this old music. The language matters little; only the spirit speaks.[6]

Modern music, or at least that which it is convenient to call modern music in 1937, allies itself more directly with old music than with Romantic or Classical music. By the simple game of musical spelling, one ought to be able to pass imperceptibly from one to the other and preserve the freshness and tenderness of music of the 16th century.[6]

1er Prélude Profane

The first Prélude Profane by Alain–also called Adagio or Wieder an–was also written for string quintet (1 violin, 2 violas, 2 cellos).

The manuscript copies of this piece written for the organ survives with many variant readings, especially with regards to registrations and what notes are to be played in the pedal. The 1943 edition of the Alain organ works was realized from one autograph copy that was owned by Madeleine Alain which was considered to be the most similar to how Alain played his own work according to the memory of the Alain family. Since then, more manuscripts have been rediscovered by the Alain family. These manuscripts contained different readings, likely based on performing the piece on specific organs.[7]

Marie-Claire Alain's book on the critical notes of Alain's organ works contains a new edition of this piece based on combining readings from multiple manuscripts to arrive at the most musical solution.[8]

Smaller Works

In addition to grand works like the Suite pour orgue and Trois dances, or smaller works that were widely circulated and published, such as Variations sur un thème de Clément Jannequin, Alain wrote many small pieces. These pieces are generally short explorations of a distinct musical idea. Many of them were written for specific occasions or due to specific circumstances. They show the way that Alain was constantly improvising and writing down musical ideas and expanding his musical world.

Berceuse sur deux notes qui cornent

Alain's earliest known organ work was written in 1929, a Berceuse based on the held notes c# and d#. This was inspired by an incident in which these notes ciphered on the Alain House Organ.[9][10]

<< \new Staff << \relative fis'' { \key fis \major <fis ais>2 <e gis> | <dis fisis> <e gis> } \\ \relative cis'' { <cis dis>1~ | 1 } >> \new Staff \relative dis '' { \key fis \major dis4 ais8 ais cis4 ais | b! ais8 ais cis2 | } >>

This piece was interpreted by Helga Schauerte as an example of Alain's Humor und Einfallsreichtum (=resourcefulness) as a reaction to the circumstances of his life (such as the cipher in the organ), how he managed to translate these life experiences into the atmosphere of his music, and how his composed music was closely tied to improvisation.[11]

Christe eleison/Amen

Two improvisatory fragments titled Christe eleison and Amen, found in a manuscript in the Alain family collection, were included in the afterword of the Leduc organ works in 1943 but omitted from later editions.[12]

Christe eleison

<< \relative g'' { \time 5/4 <g d'>2.->\fff <fis cis'>4-> <g d'>-> | <gis e'>2-> <g d'>4-> <f! b>2->-\fermata } \\ \relative b' { b2. b4 b | b2 b4 <gis b>2 } >>

Amen

\relative cis' { \time 7/8 <cis gis'>8(\pp <d fis>4) <cis a'>8( <bis gis'>8 <d fis>4) | <bis gis'>8( <bes d f!>2.) | <b fis'>8( <cis ees>4 <b g'>8 <ais fis'>8 <cis eis>4) | <ais fis'>8( <a cis e>4. <fis ais cis>4.)\fermata }

Complainte a la mode ancienne

In 1932, Jehan Alain composed a 16-measure organ piece titled Complainte a la mode ancienne, pour que Poucette joue l'orgue de Valloires (on two staves, including fingering indications) for his sister Marie-Claire, who was six years old at the time.

The piece is written in the style of a Renaissance song in two voices. It is not known wether the melody is original or if it is based on an older piece, such as in Variations sur un thème de Clément Jannequin; parallels have been drawn between the construction of the melody in both pieces. The piece was published in Cinq Pieces Faciles pour Orgue ou Piano by Leduc in 1987.[13][14]

\relative d' { \omit Staff.TimeSignature \time 4/2 \partial 2 d2 | f g a f | bes1 a2 g | f a a g | a2 }

Chorale Cistercien pour une Élévation

Alain's work titled Chorale Cistercien pour une Élévation was originally titled simply Élévation, named for the Elevation during the Mass. The name Chorale Cistercien was created by Albert Alain to combine the piece with the Chorale dorien and phrygien.

This piece survived in one manuscript which was kept at the Cistercian Abbey of Valloires and was only rediscovered in 1951. It was written by Jehan Alain in April, 1934, but it was not included in his own "JA" musical catalogue.[15]

Editions

The only publications that were published and reviewed by Jehan Alain during his life were the Chorale dorien and phrygien, published in Le Grand Orgue no.57[Citation needed][16] and the Trois pieces (Variations Sur un theme de Clément Jannequin, Le Jardin suspendu, and Litanies), published by Alphonse Leduc in 1939[17].

After Alain's death, the three-volume edition of complete organ works was compiled by the Alain family, working from manuscripts known to them aided by their own memories of how Jehan Alain played his own works. This edition was republished with corrections and additions based on newly-discovered sources in 1951-52 and 1971. Marie-Claire Alain admitted that the 1971 contained some simplifications in registrations that do not correspond to the sources. These simplifications were intended to make registration changes easier for organists, but by the turn of the 21st century, they were deemed not necessary thanks to modern combination actions.[18].

Later on, a new edition of Alain's complete organ works was compiled by Helga Schauerte and published by Barenreiter.[Citation needed]

Sources

Manuscripts in F-Pn

The following manuscripts of Alain's works are found in the Bibliotheque Nationale de Paris.[19]

F-Pn Ms- Title Notes Ref.
8650 Grave [20]
8651 Berceuse [21]
8652 Suite pour orgue Fragment of first movement [22]
8653 Tarass Boulba [23]
8654 Piece d'orgue Also called Petite Piece [24]
8655 Prelude et Fugue [25]
8657 Lamento [26]

See also

Gerald Woehl Organ, St. Remigius, Viersen, dedicated to Jehan Alain.

Bibliography

Alain, Marie-Claire, Critical notes on the Organ Works of Jehan Alain. English translation by Dr. Normal Stevlingson. Paris: Alphonse Leduc 29422, 2003.

Gavoty, Bernard, Jehan Alain: musicien français (1911–1940) Avec un choix de lettres et de dessins inédits. Paris: Éditions Albin Michel, 1945.

Jehan (Ariste) Alain, "Guillard, Georges," in The New Grove Dictionary of Music and Musicians, eds. Stanley Sadie and John Tyrrell (London: Macmillan, 2001), Volume 1: 268-270.

Hafner, Wilhelm, Das Orgelwerk von Jehan Alain (1911–1940) und sein Verhältnis zur Französischen Orgelmusik des 20. Jahrhunderts. Collection D'Études Musicologiques Sammlung Musikwissenschaftlicher Abhandlungen: Band 92. Baden-Baden: Verlag Valentin Koerner, 2000.

Schauerte, Helga, Jehan Alain (1911-1940) Das Orgelwerk: Eine monographische Studie. Kölner Beiträge zur Musikforschung 137. Regensburg: Gustav Bosse Verlag, 1983.

References

  1. ↑ Schauerte, 9.
  2. ↑ Alain, Marie-Claire (2003), 11.
  3. ↑ Gavoty (1945), 195
  4. ↑ Schauerte (1983), 106-114.
  5. ↑ Hafner, 268-269.
  6. ↑ 6.0 6.1 6.2 Alain, Marie-Claire (2003), 59.
  7. ↑ Alain, Marie-Claire (2003), 91.
  8. ↑ Alain, Marie-Claire (2003), 95-96.
  9. ↑ Hafner, 25-33.
  10. ↑ Schauerte, 17.
  11. ↑ Schauerte, 18.
  12. ↑ Hafner, 287-291.
  13. ↑ Schauerte, 115.
  14. ↑ Hafner, 83-87.
  15. ↑ Alain, Marie-Claire (2003), 121.
  16. ↑ IMSLP758747
  17. ↑ Alain, Marie-Claire (2003), 10.
  18. ↑ Alain, Marie-Claire (2003), 10-11.
  19. ↑ Schauerte, 118.
  20. ↑ catalogue.bnf.fr, accessed 18 August, 2026.
  21. ↑ catalogue.bnf.fr, accessed 18 August, 2026.
  22. ↑ catalogue.bnf.fr, accessed 18 August, 2026.
  23. ↑ catalogue.bnf.fr, accessed 18 August, 2026.
  24. ↑ catalogue.bnf.fr, accessed 18 August, 2026.
  25. ↑ catalogue.bnf.fr, accessed 18 August, 2026.
  26. ↑ catalogue.bnf.fr, accessed 18 August, 2026.
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