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Explora partituras de piano de Louis Lambillotte en Zen Virtual Piano. Louis Lambillotte was a Belgian Jesuit, composer and paleographer of Church music, born at La Hamaide, near Charleroi, on 27 March 1796 and died in Paris on 27 February 1855. At seven he began studying solfège, piano and harmony, and at fifteen he became organist of Charleroi; later he held a similar post at Dinan-sur-Meuse. Beginning solfège at seven and becoming an organist at fifteen can be read as a musician whose earliest studies led toward the church. César Franck gave him some piano lessons at Immaculate Conception college, and in return he taught Franck about plainchant. A pupil teaching his own piano teacher about plainchant can be read as expertise flowing in both directions. In 1820 he was appointed choirmaster and organist of the Jesuit College of Saint-Acheul, Amiens, and he also studied the classics. What he could compose was held back by the limited ability of his performers, since his orchestra, like his chorus, was drawn entirely from the students. Directing a student orchestra and chorus at a Jesuit college can be read as composing and teaching sharing one setting. For many years he gathered and compared all the documents to be found in the Jesuit houses, and then undertook to visit and re-visit almost every country of Europe, exploring libraries. In the library of the former Benedictine Abbey of St. Gall in Switzerland he found what seems to be the most authentic Gregorian manuscript in existence, a transcription from the original “Antiphonarium of St. Gregory,” brought from Rome to St. Gall by the monk Romanus in the closing years of the eighth century. A search that led through house archives and then across Europe to a single manuscript can be read as patient detective work. When the “Antiphonaire de St. Grégoire” appeared, it made a deep impression on the learned world and earned its author a Brief of congratulation and encouragement from Pope Pius IX on 1 May 1852. His Gradual and Vesperal appeared in 1855–1856 in both Gregorian and modern notations, under the editorship of Father Dufour, but were adopted by only a small number of French dioceses. The “Esthétique,” a volume of 418 pages, sets forth his views on the theory and the practice of Gregorian music. A pope’s congratulation for the Antiphonaire, beside only a small number of dioceses adopting the Gradual and Vesperal, can be read as scholarly acclaim and practical adoption following different paths.
Explora partituras de piano de Louis Lambillotte en Zen Virtual Piano.
Louis Lambillotte was a Belgian Jesuit, composer and paleographer of Church music, born at La Hamaide, near Charleroi, on 27 March 1796 and died in Paris on 27 February 1855. At seven he began studying solfège, piano and harmony, and at fifteen he became organist of Charleroi; later he held a similar post at Dinan-sur-Meuse. Beginning solfège at seven and becoming an organist at fifteen can be read as a musician whose earliest studies led toward the church. César Franck gave him some piano lessons at Immaculate Conception college, and in return he taught Franck about plainchant. A pupil teaching his own piano teacher about plainchant can be read as expertise flowing in both directions.
In 1820 he was appointed choirmaster and organist of the Jesuit College of Saint-Acheul, Amiens, and he also studied the classics. What he could compose was held back by the limited ability of his performers, since his orchestra, like his chorus, was drawn entirely from the students. Directing a student orchestra and chorus at a Jesuit college can be read as composing and teaching sharing one setting.
For many years he gathered and compared all the documents to be found in the Jesuit houses, and then undertook to visit and re-visit almost every country of Europe, exploring libraries. In the library of the former Benedictine Abbey of St. Gall in Switzerland he found what seems to be the most authentic Gregorian manuscript in existence, a transcription from the original “Antiphonarium of St. Gregory,” brought from Rome to St. Gall by the monk Romanus in the closing years of the eighth century. A search that led through house archives and then across Europe to a single manuscript can be read as patient detective work.
When the “Antiphonaire de St. Grégoire” appeared, it made a deep impression on the learned world and earned its author a Brief of congratulation and encouragement from Pope Pius IX on 1 May 1852. His Gradual and Vesperal appeared in 1855–1856 in both Gregorian and modern notations, under the editorship of Father Dufour, but were adopted by only a small number of French dioceses. The “Esthétique,” a volume of 418 pages, sets forth his views on the theory and the practice of Gregorian music. A pope’s congratulation for the Antiphonaire, beside only a small number of dioceses adopting the Gradual and Vesperal, can be read as scholarly acclaim and practical adoption following different paths.
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