15 products were found matching your search for cavailles in 2 shops:

Two volumes, hardbound, 10-1/4" x 7" overall, 1,534 pages. At no time in its long history has the organ been more thoroughly transformed within a short time than in France during the 1840's. An astounding development was set in motion by the invention of pneumatic devices to assist the manual key touch and the coupling of keyboards. Barker's invention was the crucial ingredient; but it was the young and venturesome Aristide Cavaille-Coll, rather than the established organ builders, who recognized that the little machines provided the key to a new tonal world. Thus, Cavaille-Coll gained a place in history. The extended success of his enterprise relied upon the favorable response of musicians as well as those who controlled the allocation of funds. For this reason, an account of his early years in business includes the reactions of the world about him, and of his own success in exerting control over those reactions. This is not a technical study. No tables of measurements, scales, or other precise data will be found, other than what appear in the letters and contracts included in the archives of the company until 1859. The author presents a chronological account of the influences exerted upon Cavaille-Coll's thought and activity as seen through the documents themselves and the criticisms of his contemporaries. There are also facts concerning musicians in Cavaille-Coll's circle, including new information on his relationship with Cesar Franck and the famous organ at the Church of Ste. Clotilde, Paris. The numerous letters, contracts, and progress reports (all published here for the first time) clear up, once and for all, certain lingering problems about the Ste. Clotilde specification and the registration of Franck's organ works. Author Fenner Douglass (1921-2008) wrote on organ performance and organ music history, most notably this 2-volume set and another book on French organs and music. He taught for many years at the Oberlin Conservatory, then Duke University.

Aristide Cavaillé-Coll (1811-1899) is often referred to as the greatest organ builder of all time. The pipe-organ, being the most complicated musical instrument mechanically and tonally, as well as the most expensive, adds significantly to that world's greatest designation. The talents required to be such a person range far from music-making to advanced physics, architecture, and engineering. That, plus the obvious knack to raise vast sums of money. Cavaillé-Coll's Monumental Organ Project for Saint Peter's, Rome: Bigger Than Them All, by Ronald Ebrecht, is the story of the quest to build the largest-ever mechanical-action organ in the biggest church at the time. Cavaillé-Coll's model for that organ and the book he wrote outlining his proposal are the core of Ebrecht's discussion. Cavaillé-Coll bestrode a century as well as an art-form. His century complicated the project with the most intricate, intractable problems. Saint-Peter's Square, now a part of the Vatican City State, was then part of the newly-united Italy, which had just deposed the pope as ruler of the center of Italy and taken the papal lands. The east end of the basilica facing the square and the Tiber became a much disputed boundary. It was a part of the Italian state so hotly contested that the Italian Republicans would not accept the concept of an organ hanged from the basilica wall, lest it shift. Before, or since, has the music sphere ever provoked such a question that could bring nations to swords?

Aristide Cavaillé-Coll (1811-1899) is often referred to as the greatest organ builder of all time. The pipe-organ, being the most complicated musical instrument mechanically and tonally, as well as the most expensive, adds significantly to that world's greatest designation. The talents required to be such a person range far from music-making to advanced physics, architecture, and engineering. That, plus the obvious knack to raise vast sums of money. Cavaillé-Coll's Monumental Organ Project for Saint Peter's, Rome: Bigger Than Them All, by Ronald Ebrecht, is the story of the quest to build the largest-ever mechanical-action organ in the biggest church at the time. Cavaillé-Coll's model for that organ and the book he wrote outlining his proposal are the core of Ebrecht's discussion. Cavaillé-Coll bestrode a century as well as an art-form. His century complicated the project with the most intricate, intractable problems. Saint-Peter's Square, now a part of the Vatican City State, was then part of the newly-united Italy, which had just deposed the pope as ruler of the center of Italy and taken the papal lands. The east end of the basilica facing the square and the Tiber became a much disputed boundary. It was a part of the Italian state so hotly contested that the Italian Republicans would not accept the concept of an organ hanged from the basilica wall, lest it shift. Before, or since, has the music sphere ever provoked such a question that could bring nations to swords?

Jean Cavailles est l'un des plus grands representants de l'Ecole francaise d'histoire et de philosophie des sciences. Son oeuvre, tot et tragiquement interrompue, a atteint neanmoins un sommet de la pensee. Aussi est-elle douee d'un magnetisme qui l'emporte sur sa difficulte. Cet essai aborde cette oeuvre par son aspect le plus deroutant: l'ardue intrication entre resultats mathematiques ou logiques dans toute leur gangue technique et reflexions ancrees aux sources de la philosophie. Il montre patiemment par quels detours implicites celles-ci se greffent sur ceux-la. Cavailles eut une remarquable intelligence de ce qu'il y avait de neuf et de significatif dans les mathematiques modernes et voulut en informer la conception philosophique de la pensee rationnelle. Il bouleversa le champ de l'epistemologie, majoritairement occupe avant lui par les philosophies idealistes de la conscience. Sa philosophie du concept est une philosophie sans cogito, car la pensee n'est pas une intuition ou une forme du reel, mais elle-meme une realite se manifestant par les modes de production de ses concepts.

L'histoire - note Leon Brunschvicg - est le laboratoire du philosophe . Cette idee nous a semble definir la perspective de l'epistemologie historique qui se developpe dans les annees trente avec Cavailles, Bachelard et Lautman. Il s'agit bien en effet d'une reforme des notions classiques de la philosophie, la conscience, la raison, l'imagination, le rapport entre la pensee et le sensible, la subjectivite et l'objectivite, mise en oeuvre et mise en experience dans une histoire des sciences. Bien que la philosophie en France apres guerre se detache largement de l'histoire des sciences, elle restera marquee par cette reforme philosophique commencee dans les annees trente. C'est du moins ce que nous voulons montrer. Nous nous proposons de presenter les grandes articulations de l'epistemologie historique, autour de Cavailles, d'analyser les operations conceptuelles qu'elle accomplit, pour en suivre le retentissement jusque dans la philosophie contemporaine.

L'histoire - note Leon Brunschvicg - est le laboratoire du philosophe . Cette idee nous a semble definir la perspective de l'epistemologie historique qui se developpe dans les annees trente avec Cavailles, Bachelard et Lautman. Il s'agit bien en effet d'une reforme des notions classiques de la philosophie, la conscience, la raison, l'imagination, le rapport entre la pensee et le sensible, la subjectivite et l'objectivite, mise en oeuvre et mise en experience dans une histoire des sciences. Bien que la philosophie en France apres guerre se detache largement de l'histoire des sciences, elle restera marquee par cette reforme philosophique commencee dans les annees trente. C'est du moins ce que nous voulons montrer. Nous nous proposons de presenter les grandes articulations de l'epistemologie historique, autour de Cavailles, d'analyser les operations conceptuelles qu'elle accomplit, pour en suivre le retentissement jusque dans la philosophie contemporaine.

Spinoza Contra Phenomenology fundamentally recasts the history of postwar French thought, typically presumed to have been driven by a critique of reason indebted to Nietzsche and Heidegger. Although the reception of phenomenology gave rise to many innovative developments in French philosophy, from existentialism to deconstruction, not everyone in France was pleased with this German import. This book recounts how a series of French philosophers used Spinoza to erect a bulwark against the nominally irrationalist tendencies of phenomenology. From its beginnings in the interwar years, this rationalism would prove foundational for Althusser's rethinking of Marxism and Deleuze's ambitious metaphysics. There has been a renewed enthusiasm for Spinozism of late by those who see his work as a kind of neo-vitalism or philosophy of life and affect. Peden counters this trend by tracking a decisive and neglected aspect of Spinoza's philosophy―his rationalism―in a body of thought too often presumed to have rejected reason. In the process, he demonstrates that the virtues of Spinoza's rationalism have yet to be exhausted.

Jean Cavailles, heros de la Resistance fusille par les nazis au debut de l'annee 1944, s'est efforce, dans son travail theorique, de prendre la mesure des avancees et des controverses qui ont determine les mathematiques modernes. Son oeuvre, dont Goerges Canguilhem soulignait le caractere enigmatique, a exerce une influence considerable dans la philosophie francaise d'apres-guerre. Le present ouvrage est un commentaire chronologique et lineaire des principaux ecrits de Cavailles. Il s'agit d'expliquer un appareil conceptuel, mathematique et philosophique, et de restituer dans sa progression un reflexion originale. On suit Cavailles a travers la theorie des ensembles de Cantor, les recherches sur le fondement des mathematiques et la critique des philosophies de la conscience, de Brunschvicg et de Husserl. Ce parcours conduit c la thematisation, derriere la dialectique des concepts, d'une experience mathematique. Il se dessine un rapport d'analogie entre l'epistemologie de Cavailles en tant qu'elle thematise une experience, et l'ontologie du dernier Merleau-Ponty. Par cette analogie, on voudrait donenr un nouvel eclairage sur l'oeuvre des deux philosophes.

Jean Cavailles, heros de la Resistance fusille par les nazis au debut de l'annee 1944, s'est efforce, dans son travail theorique, de prendre la mesure des avancees et des controverses qui ont determine les mathematiques modernes. Son oeuvre, dont Goerges Canguilhem soulignait le caractere enigmatique, a exerce une influence considerable dans la philosophie francaise d'apres-guerre. Le present ouvrage est un commentaire chronologique et lineaire des principaux ecrits de Cavailles. Il s'agit d'expliquer un appareil conceptuel, mathematique et philosophique, et de restituer dans sa progression un reflexion originale. On suit Cavailles a travers la theorie des ensembles de Cantor, les recherches sur le fondement des mathematiques et la critique des philosophies de la conscience, de Brunschvicg et de Husserl. Ce parcours conduit c la thematisation, derriere la dialectique des concepts, d'une experience mathematique. Il se dessine un rapport d'analogie entre l'epistemologie de Cavailles en tant qu'elle thematise une experience, et l'ontologie du dernier Merleau-Ponty. Par cette analogie, on voudrait donenr un nouvel eclairage sur l'oeuvre des deux philosophes.

This engaging book discusses the colorful personalities and beloved music of the French romantic organist-composers. Michael Murray draws vivid portraits of Aristide Cavaillé-Coll (1811-1899), the greatest and most influential organ builder of his time, and of seven other musicians with connections to Cavaillé-Coll and to one another: Camille Saint-Saëns (1835-1921), César Franck (1822-1890), Charles-Marie Widor (1844-1937), Louis Vierne (1870-1937), Marcel Dupré (1886-1971), Jean Langlais (1907-1991), and Olivier Messiaen (1908-1992).The book offers to lovers of French music and culture―and especially to student organists―details of these composers` lives and times and of their styles and techniques. Drawing on his personal acquaintance with Messiaen, Langlais, Dupré, and other famous contemporaries, and on period documents, original accounts, early recordings, and other primary sources, Murray examines the relationship between organ building and musical composition, the nature of romanticism and classicism, and the ever-perplexing question of composer versus interpreter.

Nineteenth-century French organ music attracts an ever-increasing number of performers and devotees. The music of Cesar Franck and other distinguished composers-Boëly, Guilmant, Widor-and the impact upon this repertoire of the organ-building achievements of Aristide Cavaillé-Coll, are here explored through stylistic analysis, the study of the compositional process, and the exploration of how ideas about organ technique and performance practice traditions developed and became codified. New consideration is also given to the political and cultural contexts within which Franck and other French organist-composers worked. Contributors: Kimberley Marshall, William J. Peterson, Benjamin van Wye, Craig Cramer, Jesse E. Eschbach, Karen Hastings-Deans, Marie-Louise Jaquet-Langlasi, Daniel Roth, Edward Zimmerman, Lawrence Archbold, Rollin Smith

The fourth volume in our series of Charles-Marie Widor's Organ Symphonies, performed by Joseph Nolan on the magnificent Cavaille-Coll organ of L'eglise de la Madeleine, Paris. Widor showed early talent for the organ; for decades he was the embodiment of it's might and splendor across the Gallic domain - his 'Organ Symphonies' were genre-defining in their influence. Joseph Nolan is an internationally renowned organist, acclaimed as 'brilliant and such an astute musician' (Gramophone UK).

Gaston Bachelard (1884-1962) was a seminal figure in contemporary French philosophy. Together with Michel Foucault, Georges Canguilhem and Jean Cavaillès, he shaped the 'French epistemological' school of philosophy of science.In France, Bachelard is a towering presence; in the English-speaking world, he is little known. Now, Zbigniew Kotowicz gives us the first English language, in-depth presentation of the entire spectrum of Bachelard's work: epistemology, poetic imagination and temporality. And he explores an old philosophical tradition that Bachelard's thought opens up - atomism - a doctrine that has been almost forgotten and is much misunderstood

Gaston Bachelard (1884-1962) was a seminal figure in contemporary French philosophy. Together with Michel Foucault, Georges Canguilhem and Jean Cavaillès, he shaped the 'French epistemological' school of philosophy of science.In France, Bachelard is a towering presence; in the English-speaking world, he is little known. Now, Zbigniew Kotowicz gives us the first English language, in-depth presentation of the entire spectrum of Bachelard's work: epistemology, poetic imagination and temporality. And he explores an old philosophical tradition that Bachelard's thought opens up - atomism - a doctrine that has been almost forgotten and is much misunderstood

This engaging book discusses the colorful personalities and beloved music of the French romantic organist-composers. Michael Murray draws vivid portraits of Aristide Cavaillé-Coll (1811-1899), the greatest and most influential organ builder of his time, and of seven other musicians with connections to Cavaillé-Coll and to one another: Camille Saint-Saëns (1835-1921), César Franck (1822-1890), Charles-Marie Widor (1844-1937), Louis Vierne (1870-1937), Marcel Dupré (1886-1971), Jean Langlais (1907-1991), and Olivier Messiaen (1908-1992).The book offers to lovers of French music and culture―and especially to student organists―details of these composers` lives and times and of their styles and techniques. Drawing on his personal acquaintance with Messiaen, Langlais, Dupré, and other famous contemporaries, and on period documents, original accounts, early recordings, and other primary sources, Murray examines the relationship between organ building and musical composition, the nature of romanticism and classicism, and the ever-perplexing question of composer versus interpreter.