| 释义 |
‖ plein jeu, advb. phr. and n. Mus.|plɛ̃ ʒø|
[Fr. ‘full play’.]
A. adv. phr. As a direction: with full power; spec. in organ playing: without reeds.
1837J. A. Hamilton Dict. 2,000 Terms (ed. 4) 54 Plein jeu.., full organ. 1938Oxf. Compan. Mus. 670/2 Plein jeu, French for ‘Full to Mixtures’ (without reeds). Ibid. 739/1 Plein jeu (Fr.) ‘full play’, i.e. the whole power of the organ (or harmonium). 1954Grove's Dict. Mus. (ed. 5) VII. 102/1 In the course of a piece it [sc. the term organo pleno] means the same as the French term plein jeu. 1960Times 26 Apr. 16/2 The emotional stops are playing plein jeu in Erwartung. 1968A. Niland Introd. Organ vi. 93 Bach writes at the beginning of several pieces, pro organo pleno (for full organ). This was undoubtedly the equivalent of the French plein jeu.
B. n. A type of mixture stop on the organ; music written for the full organ. Also fig.
1855E. J. Hopkins in Hopkins & Rimbault Organ ii. 328 The Madelaine [sic], at Paris... Clavier du Grand Orgue, 12 Stops... Plein-Jeu, X ranks. 1880Grove Dict. Mus. II. 601/1 The scheme of Ducroquet's French organ stood as follows:—Great Organ. 10 stops... Bourdon..Prestant..Plein jeu. 1898J. Matthews Handbk. Organ ii. 29 Such compound stops are variously termed, Full, Grave, Acute or Sharp Mixture,..Fourniture, Plein Jeu, Cymbal, etc. 1919G. A. Audsley Organ of 20th Cent. iii. 87 The largest Plein-Jeu known to us is that of ten ranks in the Grand division of the Organ in the Madeleine, Paris. 1944W. Apel Harvard Dict. Mus. 588/1 Plein-jeu.., full organ. Also name for pieces written for the full organ. 1952W. L. Sumner Organ x. 297 The plein-jeu is a large true mixture with sub-unison and unison ranks in the treble. 1958Times 30 Sept. 3/5 He begins to draw out more stops in Siegfried..though reserving his plein jeu, so to speak, for a later date. 1963Clutton & Niland Brit. Organ i. 38 Unlike the Germans, the French did not use their ‘plein jeux’ much for polyphonic music. 1975New Yorker 28 Apr. 133/1 In addition, further pistons can bring on or silence the mixtures, the reeds, the Plein Jeu, the Grand Jeu, and ‘Tutti’. 1978Gramophone June 90/1 By the nature of the organs, many of the most effective pieces are dialogues between a group of reeds (the trompeteria) and the plein jeu. |