Alexandre Pierre François BOËLY (1785-1858)


Œuvres complÈtes pour orgue

PBM 32.01-SMF19 05.05/2014   Volume I. The Offertories 55,00 €

A volume 225 x 310 (landscape format). 116-page. Edition Nanon Bertrand, Henri de Rohan-Csermak and Georges Lartigau.
Foreword Brigitte François-Sappey. Presentation and Editorial notes in French, English.

› 4 Offertories op. 9, Offertory from the Mass for Christmas Day op. 11, Offertory for Holy Thursday op. 40, Offertory for Easter Sunday op. 38, Easy Offertory op. 12, Short Offertory op. 41.

The present volume is the first text covering the complete Offertories of Boëly, and as such is an important collection in the history of a genre which has its moment of glory in the 17th and 18th centuries.

Offertory for Easter Sunday

PBM 33.01   Volume II. The Christmas Pieces 55,00 €

A volume 225 x 310 (landscape format). 148-page. Edition N. Bertrand, H. de Rohan-Csermak and G. Lartigau.
Foreword B. François-Sappey. Presentation and Editorial notes in French, English.

Mass for Christmas Day op. 11, including all the plainsong necessary for executing the mass in the context for what it was written.

14 Preludes on the Cantiques de Denizot: Seigneur Dieu ouvre la porte, D'où vient qu'en cette nuitée, Chantez mes vers ce jour, Esprits divins, Réveillez-vous pastoureaux, Quel étonnement, Ici je ne bâtis pas, Sus qu'on se réveille, Le vermeil du Soleil, Lyre ce n'est pas en ce chant, Voici la première entrée, Muses sœurs de la peinture, Sus bergers en campagne, Mon âme dormez-vous?

› 7 "Noëls": Une bergère jolie, Grâce soit rendue, [Untitled], Noël suisse, Vous qui désirez sans fin, Ô jour ton divin flambeau, Le roi des cieux vient de naître.

› 3 chorales: Bin ich gleich von dir gewichen, Ermuntre dich mein schwacher Geist, Was mein Gott will das g'scheh' allzeit.

While the pieces which make up the volume may seem rather varied, their common style provides us with such a strong sense of unity that is easy to believe that they were written with a view to one day forming the present collection presented here.

Rentrée de procession

Cantique de Denizot VI

Choral "Ermuntre dich mein schwacher Geist"

PBM 35.02   Volume III. Opus 18 55,00 €

A volume 225 x 310 (landscape format). 120-page. Edition N. Bertrand and H. de Rohan-Csermak.
Foreword B. François-Sappey. Presentation and Editorial notes in French, English.

› 12 Pieces for Organ or Pedal Piano : Andante con moto, Prelude d'orgue a 2 claviers separes et pedale obligee, Andante a 2 claviers, Canon perpetuel double a l'octave, Prelude d'orgue avec pedale obligee, Fantaisie and Fugue, Allegro non troppo in F minor, Fantasia in G, Scherzo a 5 voci, Allegretto in B minor, Canone all'ottava in E minor, Allegro moderato.

Published by Richault two years before Boëly's death, op. 18 is a collection of the longest and most accomplished works that the composer wrote for this instrument. The source material shows that the pieces are of diverse origins both regarding for which instrument (Organ or Pedal Piano) they are intended and as to their dates of composition.

Fantaisie and Fugue

Allegro non troppo8

PBM 37.04-SMF19 04.01   Volume IV. The Pieces for expressive or harmonium 55,00 €

A volume 225 x 310 (landscape format). 104-page. Edition N. Bertrand and H. de Rohan-Csermak.
Foreword B. François-Sappey. Presentation and Editorial notes in French, English.

› 12 Morceaux op. 14, Prelude and 2 Fantasias op. 57.

Rousseau says that “music, in imitating the variety of accents and sounds, should imitate the intensity or the calm nature of words, speaking softly at times, loudly at others and sometimes in a subdued voice”. The style of the pieces op. 14 is rather more of a compromise between piano abd organ idiom. The “expressive” dimension is is taken taken to great lengths in the Fantaisies, containing many indications of dynamics, accents and even crescendo markings on held notes.


PBM 45.08-SMF19 08.11   Volume V. The Opus 10 et 12 55,00 €

156-page. Edition N. Bertrand, with the collaboration of É. Lebrun.

Recueil Contenant quatorze Morceaux pour l'Orgue Qui pourront servir pendant l'Office divin op. 10.
› Sur les grands jeux, La voix humaine avec le tremblant doux, Main droite sur le hautbois, Grand Chœur, Prélude sur les jeux de fonds, Hymne du 3e ton Pange Lingua, Grand Chœur, Fuga, Récit de hautbois, Trio à claviers séparés, (Dernier Kyrie), Les claviers séparés, Quatuor à deux claviers séparés et pédale obligée, Duo de Cornet de Récit et Trompette du positif, Flûtes de 8.

Vingt-quatre Pièces Composées pour l'Orgue Avec les principaux mélanges des Jeux et des Claviers op. 12.
› Grand Chœur, Dialogue de Hautbois et Cromorne à 3 Claviers et Pédale obligée, Duo de Cornet de Récit et Trompette du Positif, Fughetta. Grand Chœur, Sur les jeux de fonds, Récit de Hautbois, Trio sur deux Claviers séparés, Les Claviers séparés (Tierce en taille), Fughetta sur Urbs Jerusalem, Quatuor sur deux Claviers et Pédale obligée, Suite de cinq Pièces pour un Magnificat en ut majeur, Fuga. Grand Chœur, Sur les jeux de Fonds, Duo, Récit de Flûte, Trio, Grand Chœur, Sur les Jeux de Fonds avec le Cromorne, Grand Chœur, Offertoire d'une exécution facile

This volume gathers together two collections of 14 Pieces (op. 10) and 24 Pieces (op. 12), which close the cycle of works published during Boely's lifetime.
Boëly is fifty-seven years old when opus 9, 10 and 11 appear in 1842 with the publisher Canaux, then the opus 12 in 1843 with Mme Vve Canaux. Many of these pieces are dated from the previous decade, a period during which Boëly was deputy at the Church of Saint-Gervais.
The opus 10 consists of short pieces which because of their conciseness can easily be integrated into the liturgy. One finds elegant “Récits” “which are not uninviting by their severity”, Duos, Trios, Fugues and one Quartet, all registered with great care in the colours of the French Classical Organ.
In this opus 12, the organist-composer offers a new set of pieces in the spirit of the French classical style and as previously, registered in great detail and grouped by tone. In this opus, one will find the ultimate “récit de tierce en taille” for the organ repertoire, a piece emblematic among French composers...


Quatuor à 2 claviers séparés et pédale obligée

PBM 47.08-SMF19 08.13   Volume VI. Les auto-transcriptions. La Toccata op. 43/13 posthume. 55,00 €

One volume 225 x 310 (landscape format). 220 pages. Edition N. Bertrand.
Presentation in French and English.

“[Boëly] once told me: ‘All of this, after my death, will be sold to a grocer; nobody will want to publish it or play it’”, Romary Grosjean deplored in a letter sent on February 16th, 1859 to the newspaper La Maîtrise (15th August 1859).

“He left more than three hundred new compositions, which his family and anonymous friends endeavoured with pious zeal to make entirely available. Their publication was carried out by Richault under the overall title Collection of posthumous works by A.P.F. Boëly. It spanned the two years 1859 and 1860, bringing up to 57 the number of works by the musician. The chronological order of his manuscripts was more or less followed” (Michel Brenet, La Revue musicale S.I.M., 1st May 1914).

Boëly, heir to the tradition, mentor of young generations, is an essential hinge between classicism and romanticism, inspiring Franck, Saint-Saëns, Widor, Guilmant...

Bach's pupil equalled his model — Saint-Saëns himself says it.

› 1804: “Modern Style” in E major op. 44/15: organ; Adagio for two violins, alto and cello.
› 1805: Fuga in F # minor op. 43/9: organ; Fuga in F # minor op. 31/1: piano.
› 1805 (ca): Fuga in D major op. 43/10: organ; Fuga in D major op. 31/11: piano.
› 1817: [Piece without title] in B major op. 43/6: organ; [Piece without title] in B major op. 50/6: piano.
› 1817: “Modern Style” in C op. 44/7: organ; All° moderato in C op. 50/7: piano.
› 1825 (ca): “Modern Style” in G major op. 43/12: organ; “N° 19” in G major op. 6/19: piano.
› 1828: “Modern Style” in C # minor op. 43/8: organ.
› 1828, 14th April: “34” in C minor op. 13/34: piano.
› 1830 (ca): Canone all'ottava in F # major op. 43/4: organ; Canone all'ottava in F # major op. 47/1: piano.
› 1831: Scherzo a 5 in B major op. 18/9: organ; Scherzo a 5 in F major: piano.
› 1833: Allegretto moderato in E b major op. 18/12: organ; [Piece without title] in E b major: piano.
› 1834: Récit de hautbois-Christe eleison in C minor op. 10/9: organ
› [1840]: Récit de flûte-Christe in E major op. 12/19: organ; Récit de la main gauche sur le jeu de tierce in G major op. 12/8: organ; 3 Mélodies pour le Violoncelle avec accompt. d'Orgue expressif.
› 1857: Andante non troppo lento in C # minor op. 45/14: organ.
› 1857, 20th-26th August: Sarabande Larghetto in C # minor op. 56/4: piano.
› 1858, 23rd July: Prélude pour le Piano avec basse de pédale in B minor op. 43/13: organ or pedal-piano; Toccata in B minor op. 56/9: piano.


Style Moderne, op. 44/7

Style Moderne, op. 43/8

Prélude pour le piano avec basse de pédale

PBM 46.08a/b-SMF19 08.13a/b   Off print of vol. VI. 3 Melodies for Cello and Expressive Organ 9,50 €

Off print. A volume 230 × 310 (portrait format).
Score 12 pages + Cello part 8 pages.

These Three Melodies, dedicated “To the Marquis de Corberon”, have already been presented in their Great Organ version in vol. V of our collection, Opus 10 & 12.

The first corresponds to op. 10/9, Récit de hautbois. The second refers to op. 12/19, Récit de Flûte, which, according to ms 169 kept in the Bibliothèque municipale in Versailles, is also the Christe from a Messe de Dumont [1st mode]. As for the third, it is the replica of the Récit de la main gauche sur le Jeu de Tierce du Grand Orgue (Tierce en taille) op. 12/8.

It would be pointless to try to find out whether the Three Melodies were written prior to the organ pieces or the other way round. If we consider that a corpus of Douze Pièces pour orgue expressif op. 14, published in 1846, is dedicated to the same Marquis de Corberon, the three Melodies for cello and expressive organ can be dated between 1834 and 1845.


N° 3

N° 5

PBM 46.08-SMF19 08.12   Messe solennelle pour l'Orgue extraite de plusieurs auteurs anciens 27,00 €

A volume 225 x 210 (landscape format). 52-page. Edition N. Bertrand.
Presentation E. Lebrun.
Works by Bach, Boëly, F. and L. Couperin, Händel, J. Kirnberger.

We find the Messe solennelle on the manuscript ms. 169, preserved at the Bibliothèque Municipale at Versailles. This constitutes triple evidence, at the same time invaluable and moving, because it shows the singular course of the musician; he proposes an elegant “Faux-bourdon” on the Plainsong Mass “Cunctipotens”, imparted to the tenor voice, giving us a modern example of the interpretation of early music in 1830. This mass is built on the principle of alternation, so dear to French composers of the 17th and 18th centuries and which was still in use during many subsequent decades. The odd verses are played on the organ while the even verses are sung by the Choir. (after E. Lebrun)



PBM 51.11-SMF19 11.15   O Salutaris for 4 voices SATB and Organ 12,00 €

A volume 230 x 310 in French format. 16 pages.
Special prices for choirs.

Yet unpublished, Boëly's liturgical vocal work is not really abundant: two masses for three voices with organ accompaniment, one mass a cappella, some motets a cappella, three motets with accompaniment, three small motets for solo voices with accompaniment. For the most part, these pieces can be found among the manuscripts kept in the Bibliothèque municipale in Versailles.

In 1840, Boëly, who had previously been deputy of St Gervais, is appointed Organist of the Royal parish of the Louvre, St Germain l'Auxerrois. The parish employs a choir, for which Boëly writes “functional” and “easy” to perform pieces. It is in this context that he composes in 1841 this O salutaris hostia.

O salutaris is made up by the 5th and 6th stanzas of the anthem Verbum supernum, for the celebration of the Blessed Sacrament. A degree of closeness with J.S. Bach cannot be missed in this O salutaris: the polyphony is based on four voices, at the same time fluent, dancing and compact. The duality between the voices and the organ contributes, in a continuously vigorous motion, to strengthen the praise.


O Salutaris - Ms 172

In progress:

Œuvres complètes pour orgue — Volume VII. Les messes, les versets de messes.
Œuvres complètes pour orgue — Volume VIII. Les hymnes, les antiennes, les proses.
Canticles and motets for one voice and accompaniment, three voices with accompaniment of organ or pianoforte. Each canticle or motet in separate fascicle. Special prices on quantities. Please consult us.

* Rates from January 1st, 2016