Ars Musica Chicago

Enrique Alberto Arias

Enrique Alberto Arias has a Ph.D. in musicology from Northwestern University. He is currently associate professor at DePaul University, School for New Learning, and is president of Ars Musica Chicago. The present article results from his study of the relationships between the Vincentian community and French sacred composers of the later 19th century. For information on obtaining the scores discussed in this article, contact .

Vincentian priests are known as missionaries and educators, but not as composers. Franciscans and Jesuits, on the other hand, employed music as part of their agendas and occasionally produced gifted composers and theorists. Padre Martini, the celebrated teacher of Mozart as well as an impressive theorist and composer, was a Franciscan. Athanasius Kircher, a Jesuit scientist and theorist, wrote the Musurgia Universalis (1650), one of the most imposing musical treatises of the Baroque. However, some Vincentian priests of the late 19th century, as this article will show, were talented composers who wrote cantatas for important Vincentian occasions.

During a trip to France in the summer of 2001, I visited the motherhouse of the Vincentians in Paris, which includes an archive. In addition to a rich series of materials regarding the history and work of the community (the preferred term to order), I found a significant number of musical compositions written by Vincentians to celebrate the founder of the community, St. Vincent de Paul, and other Vincentian saints. In addition, I found a connection between Jules Massenet and the Vincentians that will be discussed later in the article.

The Vincentian Community

St. Vincent de Paul (1581-1660) grew up in a simple farming home and was ordained in 1600. The Vincentian community was founded by St. Vincent de Paul in 1625 and was confirmed by Pope Urban VIII in 1632. Also known as Lazaristes (after their ancient motherhouse St. Lazare), the Vincentians or the Congregation of the Missions quickly became known for their charitable efforts. Although a humble parish priest, Vincent soon attracted the attention of the nobility. Vincent de Paul became chaplain and tutor to the household of Philip Emanuel de Gondi; and it was through this connection that he gained influence at the court of Louis XIII. Indeed, Vincent de Paul heard Louis XIII’s deathbed confession. Vincent de Paul was canonized in 1737, with his feast celebrated on September 27.

As chaplains to the royalty, the Vincentians quickly gained influence. The Vincentian community and the Daughters of Charity, co-founded in 1633 by Vincent de Paul and Louise de Marillac, ministered to the poor and performed all types of charity work. The community flourished throughout the 18th century; but with the French Revolution of 1789, all Vincentian houses were closed and the property confiscated. The Concordat signed between Napoleon and the Catholic Church in 1801 reestablished the community. Little is known about the composers whose works are found in the Vincentian motherhouse, for only brief biographies of the priests in the community were maintained. These records include essential information: birth and death dates, date of ordination, and where the priest did his work. Nothing is stated about where these priests studied music or which other works, in addition to those found in the archives, the priests may have composed. However, from the circumstances of their compositions and other secondary data, it is possible to state that these priest-composers were active at the end of the 19th and the beginning of the 20th centuries. They worked in Paris or in smaller cities in France and were probably parish musicians who never aspired to important musical careers.

The Vincentians in the 19th century

With the suppression of the Jesuits in 1767, the Vincentians became active in the Far Eastern missions. Nicolas Raux (1754-1801) led the Vincentians to the Orient, but it was the martyrdoms of François Clet (1748-1820) and Jean-Gabriel Perboyre (1802-40) that focused attention on the Vincentians’ missionary zeal and service to the French. Jean-Gabriel Perboyre went to China in 1835 as a missionary, inspired by the example of François Clet. In 1840 he was arrested, tortured, and crucified. Beatified by Pope Leo XIII in 1889, Perboyre was canonized by Pope John Paul II in 1996 and now is considered a major Vincentian saint.

Jean-Baptiste Étienne (1801-1874) reformed the Vincentians during his generalate (1843-1874). Through his single-minded emphasis on a return to the original values of the community, the Vincentians achieved, by the end of the 19th century, a unity lacking after the French Revolution. Edward R. Udovic, C.M. writes:

The figure of Jean-Baptiste Étienne (1801-74) dominates the postrevolutionary, pre-Vatican II, history of the Congregation of the Mission and the Company of the Daughters of Charity. Excepting their founder, Saint Vincent de Paul (1581-1660), no other person determinatively shaped such a significant portion of the community’s history. Thus, Étienne’s traditional, if controversial, title as their ‘second founder’ seems to be fitting.1

The Perboyre beatification was strongly supported by Étienne, who saw it as an important part of his agenda of restoring the prestige of the Vincentian community.

But during the term of office of the superior general Antoine Fiat (1878-1914), the Vincentians again faced hardships because of the anticlericalism following the Franco-Prussian War; thus the beatification of Perboyre in 1889 and the attendant ceremonies highlighted the community’s importance to France at a time of flagging national spirit. As will be discussed later, a number of cantatas by Vincentians celebrate Perboyre’s beatification.

Church and state in late 19th-century France

Throughout the 19th century, the Vincentians played a powerful role in French religion and politics. Thus to understand their importance requires an understanding of the complex interconnections between church and state during this fascinating period. The history of Catholicism in France during the 19th century was influenced by the changing status of the Church. With the French Revolution of 1789 and the ensuing Reign of Terror of the 1790s, religious institutions were closed, organs destroyed, and Catholic church music no longer composed.

Many of the major writers of this period, such as the now little-read Joseph de Maistre (1753-1821), insisted on the power of the church to restore order. Furthermore, Maistre held the Enlightenment to have been a dangerous social movement that destroyed Catholicism. French Romantic authors, particularly François René Chateaubriand and Victor Hugo, were equally conservative and supported the royalist cause. Mankind was naturally sinful and only through the intervention of the Church could humanity progress. As Isaiah Berlin notes, “It is the powerful reaffirmation of this Pauline and Augustinian doctrine that is the sharpest single weapon on the root-and-branch attack on the entire Enlightenment by the French counter-revolutionary Maistre, Bonald, and Chateaubriand at the turn of the century.”2

François-René de Chateaubriand’s La génie du Christianisme (1802) emphasized orthodoxy. Up to about 1824 Chateaubriand was a Royalist who espoused the connection between conservative Catholicism and a stable monarchy. Similarly, Joseph de Maistre’s Du Pape (1817) argued for the infallibility of the pope and the need for a return to an orthodox and unquestioning Catholicism. Alphonse de Lamartine (known to musicians because of Liszt’s evocative piano compositions based on the Méditations poétiques [1820]) wrote a defense of political moderation entitled Histoire de Girondins (1847).

Major developments occurred for the Vincentians as well during this tumultuous period. Antoine-Frédéric Ozanam (1813-53) was an imposing intellectual figure in France during his lifetime. Suave and personable, Ozanam studied and later critiqued the socialist writings of the Comte de Saint Simon and was during his Paris years (up to 1836) in the orbit of Chateaubriand; thus he was influenced by the kind of conservative Romanticism alluded to previously. Ozanam, however, believed in Christian democracy, and, after the 1848 Revolutions, increasingly turned to social causes. In 1833, he founded the Society of St. Vincent de Paul in order, as he himself stated, “to insure my faith by works of charity.” This society’s benevolent program of social reform, still active to this day, had wide influence. Ozanam, although not a Vincentian priest himself, was devoted to Vincentian ideals. La civilisation chretienne chez les Francs (1849), Ozanam’s most characteristic work, reveals a fine grasp of French history. Ozanam was beatified by Pope John Paul II in 1997.

Throughout the 19th century, however, the Vincentians were beset by internal troubles because of the tension between the French community and those living in other parts of Europe, particularly Italy and Spain. Gallicanism, or the concept going back to the 14th century of a French church free from most papal intervention, was rife. Because of the Vincentian connection to the Bourbon regime and consequently conservative, royalist politics, the changing political situation from the end of the French Revolution of 1798 to the Franco-Prussian War of 1870-71 also impacted the community. By the mid-19th century, the community was threatened by deep rifts, and it was only thanks to the administration of one of the Vincentians’ most brilliant leaders that these problems were solved.

Church music in France during the 19th century

With the restoration of the monarchy in 1819, church music was again composed in France. Luigi Cherubini, who spent his later career in France and was a favorite composer of Napoleon and admired by Beethoven, wrote many Masses and Requiems. Alexandre-Étienne Choron (1771-1834), an influential teacher, promoted Gregorian chant. The Méthode de plain-chant (1815), for all its shortcomings, introduced a series of writings whose purpose was the dissemination of Gregorian chant in French parishes. Abraham Louis Niedermeyer (1802-1861) followed with the Méthode d’accompagnement du plain chant (1855), which, as the title implies, addressed the practical need to provide accompaniments to chants. Choron and Niedermeyer were furthermore involved in the creation and development of one of the most important musical educational institutions in France.

In 1817, Choron founded the Institute Royale de Musique classique et religieuse. After a period of economic difficulty during the reign of Charles X, the institution was opened again in 1853 under the direction of Niedermeyer and was called the École Niedermeyer. Niedermeyer, who had studied piano with Ignaz Moscheles, continued Choron’s love of early music and his passion for Gregorian chant. This institution affirmed the value of church music, and Vincentian composers perhaps studied here to learn the rudiments of liturgical composition. The École soon produced famous students, most notably Gabriel Fauré, whose Requiem (1877) perhaps reflects his studies at this institution.

In 1892, Charles Bordes, the great musicologist, created the Chanteurs de St-Gervais for the performance of early music, with a particular emphasis on such masters as Palestrina and Victoria. This establishing of institutions devoted to liturgical music culminated in 1894 with the foundation of the Schola Cantorum under the direction of Vincent d’Indy, Alexandre Guilmant, and Charles Bordes. Composers of the period, above all Claude Debussy, came to the Schola to hear chant and earlier church music, including medieval polyphony (which indeed was a rarity at the time).

Equally influential, the Benedictine abbey of St. Pierre at Solesmes in France, founded in the early 11th century, was reopened in 1833. Solesmes became the center for a renewed study of the original sources of Gregorian chant. The publication of the Paléographie musicale in 1889 under the direction of Dom Mocquereau began the systematic study of Gregorian chant’s origins and development, but it also placed France at the forefront of research into medieval sacred monody.

Earlier in the century, François-Joseph Fétis (1784-1871) began his landmark series of writings on the history of music. For all their flaws and historical misconceptions, these books, particularly the Biographie universelle des musiciens (1835-44), inspired an awareness of the great tradition of Catholic church music. This valuable source often provides unique information on the French performers and composers of this period, including some who intersected with the Vincentians.

Where did these Vincentians study music and what kinds of careers did they have? French priests of the later 19th century received basic instruction in the singing of chant and music reading skills. A few more talented priests were allowed to go on to more advanced musical studies, but the nature of their priestly work would not have allowed them to seek personal fame and glory. Musical Vincentians perhaps studied at the Paris Conservatory, but some possibly studied at the École Niedermeyer, which had a tradition of teaching Gregorian chant and emphasizing religious music.3 This institution’s emphasis on the practical use of Gregorian chant with accompaniment would have attracted the attention of the Vincentians.

The development of the organ in France parallels the interest in historical studies. Although many organs in France were destroyed during the Revolutionary period, by the end of the 19th century France was the center of organ construction, and Aristide Cavaillé-Coll (1811-99) its central figure. In 1833, Cavaillé-Coll went to Paris, where he constructed the organs for St. Denis and the Madeleine. His organs were notable for their wide range of color and symphonic sonorities. It is partly because of the development of the Cavaillé-Coll organ that composers such as César Franck, Charles-Marie Widor, and Louis Vierne wrote impressive organ symphonies that called on the full resources of this type of organ.

A composer-organist who worked at St. Vincent de Paul Church in Paris offers a glimpse into the careers of church musicians of this time. Léon Boëllmann (1862-1897) was educated at the École Niedermeyer and studied with Eugène Gigout (1844-1925), who had himself studied at the École Niedermeyer with Camille Saint-Saëns. Gigout and Boëllmann were related by marriage, and the two families later shared the same household. In 1877, Boëllmann succeeded Henri Fissot (1843-1896) as organist at St. Vincent de Paul church in Paris, where there was a large Cavaillé-Coll organ. During his years at this church (run by diocesan priests, not Vincentians) Boëllmann composed his still-popular organ works, such as the Suite gothique (1895).

Jules Massenet, Clément Vidal, and Perboyre cantatas

While doing the research in the Vincentian archives mentioned at the outset, I was particularly struck by a series of compositions for the 1889 beatification of Jean-Gabriel Perboyre. Perboyre, it will be remembered, was martyred in China and known for his sanctity. Because of his beatification, the Vincentians came into contact with Jules Massenet, now famous because of his operas, but who also composed many sacred works.

Partly in response to Perboyre’s beatification and for reasons to be discussed later, Jules Massenet composed a Cantate en l’honneur du Bienheureux Jean Gabriel Perboyre Missionaire Lazariste. Massenet’s Perboyre cantata was published by Georges Hartmann, Massenet’s chief publisher and tireless promoter. No date of publication is given, though it is dedicated to the superior-general of the Vincentian community, Antoine Fiat. This interesting and unknown work was probably composed shortly after the beatification in 1889, or about 1890 since the title and the text of this cantata refer to Perboyre as “bienheureux” or “blessed.” The text’s author is unnamed, but it was most likely a Daughter of Charity, for, as we will see, a number of works by Vincentian composers used texts written by Daughters of Charity.

Although little information exists on this now-forgotten work by Massenet, documents in the archives of the Vincentian motherhouse in Paris shed some light on its origins. It seems a Vincentian composer named M. Clément Vidal composed a cantata on the same text as Massenet’s, as is explained in anonymous annotation to a brief biography of Massenet held by the archive:

Massenet is the one who composed the Cantata au Bienheureux Perboyre. Someone asked him to review a cantata that had already been written. After reading the work, he preferred to compose another of his own. Massenet’s Memoirs are now being published (1912). The beatification of Perboyre took place in 1889.

P.S: It was Mr. Clément Vidal, member of the Vincentian community, who composed the first cantata. One had to be certain that his work was good; Mr. Bettembourg who knew Mr. Massenet personally, gave the cantata to him. Massenet made some corrections but Mr. Vidal got upset about it. Then, Massenet, who found the subject interesting, decided to compose a cantata himself. He would even have been willing to come to the motherhouse to conduct it; but, due to the discontent of Mr. Vidal, it did not seem a good idea to invite Massenet to come. This story was reported to me by Mr. Bettembourg.4

This annotation makes clear that Vidal took umbrage at Massenet’s criticism and blocked the performance of Massenet’s Perboyre cantata.

A brief biography for Vidal exists in the registry at the motherhouse.5 Clément François Vidal was born in Soulié, which was part of the diocese of Montpellier in southern France. He entered the Vincentian order in 1883 and took his vows as a priest in 1889. He died in Montpellier in 1935. Accordingly, Vidal was 25 when he wrote his Perboyre cantata, or the same year that he was ordained as a priest. No information is given as to when or where he studied music and what kind of professional career he may have had. But if one assumes that he completed his basic studies for the priesthood about the same time as he concluded his musical education, he probably studied composition in the early 1880s.

Other Perboyre works

In addition to Massenet’s Perboyre cantata, other composers, all members of the Vincentian community, likewise composed cantatas inspired by Perboyre’s beatification.

There are five Perboyre compositions by Vincentians that I have located in the archives.

1. Hymne au Bienheureux, Poésie et Musique de Ch.M. (It is unclear who Ch.M. was since there were many Vincentian names with these initials. The composer wrote the hymn he set himself.)

2. Cantate au Bienheureux J.B. Perboyre. A 4 Voix égales, sans Accompagnement by Clément François Vidal. (This is a simple four-part setting of the same text used by Massenet and perhaps the work he criticized.)

3. Cantate en l’honneur du Bienheureux Jean-Gabriel Perboyre. By C.V. (meaning Vidal) P.D.L.M (Prêtre de la Mission). (This is also on the same text as that used by Massenet and found in the previous cantata, but this is longer than the previous cantata. Perhaps the work written in response to Massenet’s critique, this cantata is far more elaborate in texture and more demanding than No. 3 and similar in many regards to Massenet’s cantata.)

4. Cantate en l’honneur du Bienheureux par un Prêtre de la Mission. By F. (Ferdinand or François) Dellerba. (This is a quite interesting setting for soprano, alto, two tenors, bass, and piano. In harmony and texture this is the most complex of all the “Perboyre” works. Although the text begins the same as that for Nos. 2 and 3, it varies thereafter.)

5. Chant de Triomphe en l’Honneur du Bienheureux Jean Gabriel Perboyre. Musique de Mr. C.V. (Clément Vidal), Paroles de Sr. J., Fille de la Charité. (This is for organ and three higher voices in equal range, suggesting it was sung by the Daughters of Charity. This is a small-scale strophic work with a refrain.)

6. Hymne à Martyre!!! [sic] (This is a setting for three high voices without accompaniment of Cantique No. 3. [See the listing of these later in the article.] This work is printed but the publisher is not given. The frontispiece is from the stained-glass window at St. Stephan Church at Sapiac, Montauban, where Perboyre studied as a seminary student.)

Of these six works, three are cantatas in several contrasting sections, while the other three works are on a smaller scale. The emphasis on male voices for some of these works implies the participation of Vincentian seminarians, while the inclusion of female voices and texts by the Daughters of Charity suggests their occasional participation. The level of difficulty of the longer works requires professionally trained musicians, while the shorter works could have been performed by a regular church choir.

All these works, including the Massenet cantata, reflect the conservative liturgical style found in many French sacred works of the period. The harmonic spectrum is somewhat limited, with chromaticism playing a purely coloristic role. Simple accompaniments for piano or organ support undemanding voice parts. That these works were printed and published, with the exception of Vidal’s simpler setting for four voices, suggests a greater permanency than usual for the many ephemeral church compositions of the day. Given the importance of the occasion, the Vincentians may have paid for the publication costs themselves.

The Cantiques en l’Honneur du Bienheureux Jean-Gabriel Perboyre are especially interesting. The frontispiece of this collection of pious poetry provides useful background information. We read that a triduum was conducted on 24, 25, 26 October 1890 in celebration of Perboyre’s beatification for which these cantiques were written. This triduum was preached by Jourdan de la Passadière, Bishop of Rosea, and it was presided over by Archbishop Thomas of Rouen.  This event was held at Le Havre, the port from which Perboyre embarked for China on 21 March 1835. The texts for the cantiques were written by the Daughters of Charity.

A triduum is, as the Latin name implies, a religious observance that lasts three days and is devoted to some particular religious theme, in this case Perboyre’s beatification. Often a triduum prepared for a saint’s feast and offered its participants a renewed sense of the sacraments of penance and holy communion. Sermons and prayers devoted to a particular theme emphasized spiritual ardor. Given the special celebratory nature of the Perboyre triduum, music probably played a significant role. The beatification of Perboyre in 1889 was the perfect occasion for such a triduum, which both celebrated Perboyre and the missionary role of the Vincentians.

Massenet’s and Vidal’s Perboyre cantatasp>

But let us return to Massenet’s and Vidal’s Perboyre cantatas. Striking parallels exist between Massenet’s and one of Vidal’s two cantatas for the beatification of Perboyre in 1889. Both set the same text, and both are scored for men’s voices with ad. lib. organ or piano. This allowed the cantata to be performed by the Vincentians themselves in their rather small chapel at the motherhouse. The inclusion of a dramatic narrative in the text occasioned solos in both cantatas, resulting in striking similarities of structure and texture.

The text narrates Jean-Gabriel Perboyre’s martyrdom:6

O Choir of the Blessed, O divine choruses

Favor us with your celestial voices and songs.

Celebrate with us the praises of Perboyre,

Join in our joyous celebrations.

 

Let us sing, Let us sing to the Blessed Martyr,

 

Let us sing of Christ’s courageous athlete,

 

Who on this beautiful day has earned a royal conquest:

 

A heavenly and immortal crown.

 

For his entire life his heart was ineffably

 

Attracted to the virtue of holy humility.

 

O Gabriel, tell us the marvelous secrets

 

Of your noble career.

While he lived among us

 

He passed his days quietly and unobtrusively.

 

But the One who from heaven knows what is deep within us

 

Called his disciple to the greatest of destinies.

He turned his gaze to infidel China,

 

He desired above all to carry the cross of God the Savior there.

 

He wanted, he wanted with all the ardor of his soul

 

To live and die at this post of honor.

To this apostolic man’s sublime desire

 

Heaven responded: “Depart!”

 

Intoxicated by a holy zeal

 

He left. This soldier of the gospel left.

 

He is eager to sacrifice his life and death.

A holy tenderness filled his beautiful soul;

 

He tried to comfort his cherished brothers in their misfortune,

 

He was always happiest when he could serve others

 

With a heavenly love.

It was in vain, it was in vain, proud mandarin that

 

In your blind rage you attacked this apostle of Christ.

 

The threat of tortures only strengthened his courage.

 

For Jesus remained Gabriel’s source of strength.

In their inhuman fury these tyrants said to him:

 

“Trample under foot this cursed cross,

 

Renounce its errors, and your vain belief,

 

and embrace the laws of our gods.”

“What! Renounce my God, my treasure and life!

 

Renounce my God and fall at your feet!

 

Never! Never! Death but not apostasy.

 

My Savior has done nothing but good for me.”

 

“My God! My God! In this extreme peril

 

I place myself in your hands like a timid child.

 

Do not abandon me at this my supreme hour!

 

God, sustain me in these my last struggles!”

The tyrant was filled with fury at his words

 

His innocent neck received the cruel attack.

 

The fatal knot is tightened, it is done. He dies.

 

Gabriel gains his eternal reward.

O you, whom we call our Father,

 

From heaven remember us.

 

Give us a share of your ardor for the divine battle.

 

In our struggles watch over us, our Father, watch over us.

This text, created from conventional phrases and images, falls into three sections. The first introduces the theme: the divine choirs are asked to participate in Perboyre’s victory. Perboyre is Christ’s athlete and hero. The second part narrates Perboyre’s trip to China and his martyrdom at the hands of cruel and faithless Chinese. The climax occurs when Perboyre is asked to abjure the cross of Christ, but he refuses, preferring death to renouncing his savior. The Vincentians are depicted at the end of the hymn as brothers who participate in Perboyre’s divine battle and victory.

 

A closer reading reveals several implications typical of France during this colonial period. Christians are fighting a war and the Chinese, naturally cruel, are the enemy. The poem calls for all French Christians to join in this holy war. A Vincentian victory is also a French victory over the Chinese; thus Perboyre serves as a symbol for all European Christians.

 

As suggested previously, Massenet’s cantata was probably not performed during the Perboyre celebrations nor perhaps even during the composer’s lifetime. But it is a masterly work, fully worthy of the great Massenet. It begins in D major in a march-like style. The chorus of the blessed are asked to participate in praising Perboyre, who has won the crown of martyrdom. (Example 1)

 

At R4 the tonality changes to G major, in a section that is more legato and cantabile. Thereafter the mode quickly and dramatically shifts to G minor at the narration of his trip to China and Perboyre’s wish to die as a martyr. (Example 2) At R8 the tonality again changes to C major and the style returns to a vigorous Allegro molto brillante. (Example 3) Parlando phrases are tossed from the two upper to the two lower voices.

 

At R10 an Allegro feroce appears in A minor, which details Perboyre’s refusal to trample the cross of Christ. (Example 4) This reaches a climax at R12, where the role of the men’s voices changes from that of the Vincentian brothers to the Chinese.

 

At R13 a baritone solo appears. Here Perboyre answers the Chinese, followed by a dialogue between the Chinese and Perboyre. At the end of this section Perboyre asks God to sustain him during his torture. At R18 the narration of Perboyre’s death resumes. (Example 5) At R20 the opening idea returns on a text that calls on Perboyre to guide and protect. (Example 6) The men’s voices again have the role of the Vincentians, who ask Perboyre to grant them the ardor to continue their divine war.  The work reaches an impressive conclusion as the Vincentians request Perboyre to watch over them in battle.

 

This cantata, about ten minutes long in performance, falls into three sections, defined by the changes of text and underlined by the tonal organization. Massenet’s cantata brings the “Vincentian” message alive through deft contrasts of texture and the introduction of the baritone solo. The return of the opening musical material defines the structure but also affirms the essential message of the work: to ask Perboyre to strengthen his Vincentian brothers in their missionary toil.

 

Two cantatas were written by Vidal for the Perboyre beatification: one that is short and simple and other that is strikingly like Massenet’s. The first, scored for two tenors, baritone, and bass without accompaniment, emphasizes a homophonic style throughout and employs a restricted harmonic vocabulary. (Example 7) One of the most effective moments of the score is the point where Perboyre answers his Chinese captors. A tenor solo appears over the rest of the chorus humming. (Example 8) As might be expected from the general limitations of the work, the text is treated in a narrative rather than dramatic fashion. On the other hand, despite its obvious limitations, this charming cantata, about five minutes long in performance, would have been appropriate for the triduum for which it was conceived.

 

The other setting by Vidal of the Perboyre text is more elaborate, falling into several sections and musically highlighting the changes of text. Like Massenet’s setting, this is scored for men’s voices alone, in this case for two tenors, baritone, and bass; however, the accompaniment is independent, providing a brief introduction and contrasting figuration at key points of the score. (Example 9) Although this work begins with the same harmonic progression as Vidal’s simpler setting, the general harmonic range is broader, moving to B major and G-sharp minor in the central parts of the cantata.

 

The order of composition of these cantatas is problematic. Given that one Vidal cantata for Perboyre’s beatification is quite simple, while the other is more complex, I suggest the following scenario. Vidal submitted the simpler setting to Massenet, who criticized it, with specific corrections in the score. Then Massenet, attracted by the poem and even more by its narrative, set the text himself. Vidal, in turn and despite the anger he felt because of the criticism, composed a work that perhaps incorporated Massenet’s corrections, causing the similarities to Massenet’s cantata.

 

The general layout and articulation of the text is similar to Massenet’s cantata, suggesting that Vidal benefited from advice on how to realize the text. At several points of the score, solo voices are called forth. Most importantly, a solo recitative for the tenor is heard at the dramatic climax. (Example 10) Not only is this similar to Massenet’s handling of this section of the hymn, but the response “Il dit . . .” is treated as a unison in both cantatas. At this point the text differs slightly because of the phrase “Des enfants de Vincent.” In contrast to Massenet’s setting, this work ends quietly, with the accompaniment playing an effective role. (Example 11)

 

In conclusion, the Cantate en l’honneur du Bienheureux Jean-Gabriel Perboyre Missionaire Lazariste connects Massenet to the Vincentians at a time of changing fortunes for the community. The participation of the Daughters of Charity as poets and performers sheds further light on the artistic activities of the Vincentians. Ultimately, the Massenet-Vincentian relationship inspired Massenet to write a fine cantata, but this strange incident connected to Blessed Perboyre’s beatification of 1889 also provides a glimpse into the musical accomplishment of a forgotten Vincentian composer.  n

Enrique Alberto Arias, 63, died on December 1, 2004, at Weiss Memorial Hospital, Chicago. Survived by close friends and colleagues, there are no immediate family survivors. A musicologist, Dr. Arias was associate professor at DePaul University's School of New Learning, and president of Ars Musica Chicago.

The son of Enrique (the Consul General of Panama in Chicago) and Jeanne Arias, Enrique Arias was born April 26, 1941 in Chicago. He received a bachelor of music in piano performance from the DePaul University School of Music, a master of arts in musicology from the University of Chicago, and in 1971, a Ph.D. in music history and literature from Northwestern University. Dr. Arias was a faculty member, and later president, of the Chicago Conservatory of Music. He then served as chairman of Humanities and Graduate Studies at the American Conservatory of Music, and in 1993 began his tenure at DePaul. Arias was also a member of the American Musicological Society, and throughout his career he was a keynote speaker at numerous conferences on Latin American music.

As a researcher and writer, Dr. Arias traveled yearly to churches, archives and libraries around the world. His many publications include The Masses of Sebastian de Vivanco (circa 1550-1622): A Study of Polyphonic Settings of the Ordinary in Late Renaissance Spain (University Microfilms, 1971), Alexander Tcherepnin: A Bio-Bibliography (Greenwood Press, 1989), and Comedy in Music: A Historical Bibliographical Resource Guide (Greenwood Press, 2001). He was one of four editors of Essays in Honor of John F. Ohl: A Compendium of American Musicology (Northwestern University Press, 2001), and one of his most significant publications was the edition of Three Masses by Sebastian de Vivanco (A-R Editions, circa 1978). Arias also had numerous articles published in music journals, including Music Review, Tempo, Perspectives of New Music, Anuario Musical, Lituanus (The Lithuanian Quarterly), and the Latin American Music Review. His final two articles were "Maps and Music: How the Bounding Confidence of the Elizabethan Age Was Celebrated in a Madrigal by Weelkes" (published in the winter 2003-04 edition of Early Music America), and "Jules Massenet, French Cantatas for a Martyr, and Vincentian Composers" (published in the September 2004 issue of The Diapason).

As a pianist, Arias was most active in the 1970s and 1980s, performing regionally at many venues including Preston Bradley Hall, and internationally with the late soprano Dahlia Kucenas at concert halls throughout Asia, Eastern and Western Europe, and South America. He also served as president of Ars Musica Chicago, an early music ensemble, a position he held since 1988.

A memorial service took place December 12, 2004 at St. Vincent de Paul Church, Chicago, and a concert was given in his memory on January 9, 2005, also at St. Vincent de Paul Church. Contributions may be made in his memory to Ars Musica Chicago, P.O. Box  A-3279, Chicago, IL 60690.

Lois Rhea Land, 88, long-time teacher, composer, author, and mentor to many music educators throughout Texas, died December 9, 2004, of complications from a fall a year and a half ago that left her paralyzed. Born in Milton, Kansas, she was a child prodigy in piano and received music degrees from Northwestern University, Evanston, Illinois. From 1945 to 1964 she taught music in the Corpus Christi, Texas public schools, and served as a judge and clinician throughout the southwest. A founding member of the Texas Choral Directors Association in 1950, she also collaborated with many conductors and singers as accompanist for the Texas All-State Choir in the 1950s and 1960s.

In 1964 she joined the music faculty at Southern Methodist University, where she taught music education and supervised the graduate music education division until 1980. From 1980-88 she served as adjunct professor of music education at Texas Christian University in Ft. Worth. A church organist from an early age, she served Dallas congregations as organist and choir director, including Northaven and Munger Place United Methodist Churches, and Holy Trinity Episcopal Church in Rockwall.

Her numerous choral compositions were published by Plymouth, Southern Music, Bourne, Edwin Morris, Mark Foster, and Lawson-Gould, and was the co-author of numerous college and choral music textbooks. Most recent publications include several volumes of sight-reading materials and techniques published by Alliance Music Company in Houston, and A Cappella Songs Without Words (AMC).

She is survived by one daughter, Christina Harmon, of Dallas, Texas, and three grandchildren. A memorial service was held at Perkins Chapel, Southern Methodist University, December 27, 2004.

Charles Wilson McManis died December 3, 2004, in South Burlington, Vermont, after suffering a fall at his home the evening before. He was born March 17, 1913, in Kansas City, Kansas, and was preceded in death by his first wife, Charlotte Bridge McManis, an elder brother and a younger sister. He is survived by his second wife, Judith Fisher McManis of South Burlington, two sons and a daughter.

Mr. McManis grew up in a musical family. At age three, sitting in church with his mother (his father was choir director), he was fascinated by the sounds of the organ, and remembered humming its very high pitches. At age twelve he experimented with making wood and metal organ pipes from fruit crates and coffee cans. As a teenager he constructed an organ with four ranks of pipes that he installed in the family's finished attic. He completed studies at the University of Kansas in 1936 with a BA degree, specializing in theoretical courses useful to an organbuilder. Following this, in 1937, was a bachelor of music degree in composition and organ performance. While at the university, he apprenticed during vacations with an organ factory representative, repairing, voicing and tuning organs. On graduation he set up shop in Kansas City, Kansas, building or rebuilding half a dozen organs before Pearl Harbor and WWII halted U.S. organbuilding.

In April, 1942, he enlisted in the U.S. Army. After basic training at Camp Roberts, California, he was retained to teach organists of the nine regimental chapels, and was assigned to 11th Regimental Chapel. The following year he was shipped overseas with the 221st General Hospital to Chalon-sur-Marne, France, ninety miles east of Paris. At war's end, he returned to Kansas City, where he married Charlotte Bridge on June 9, 1946.

At McManis Organs, Charles and his staff would build, renovate or restore more than one hundred thirty-five organs for churches, homes and universities throughout the USA over the next five decades. Because of his musical training, he was one of the first organbuilders who could actually play much of the literature written for the organ. His passion was to design and voice instruments suited to play this great variety of music. Even his smallest organs encouraged exploration of the rich and colorful repertoire available.

His ability at pipe voicing was legendary among his peers. Over the years, he wrote extensively, mentored younger organbuilders and conducted several clinics to teach others about his voicing "secrets." He was a founding member of the American Institute of Organbuilders.

Retiring (theoretically) in June, 1986, McManis moved to the San Francisco Bay Area with his wife, Charlotte, who died of cancer four months after their arrival. He stayed on in California, occasionally tuning and repairing organs, and hiking in Yosemite and the Sierras. In July 1989, a Connecticut tornado that heavily damaged the McManis organ at St. John's Episcopal Church, Waterbury, Connecticut, took Charles McManis out of retirement, calling him east to replace 35 of 60 ranks in his Opus 35, first installed in 1957. Due to the extensive damage to the building, as well as the organ, several parishioners were appointed to coordinate a variety of repair programs, including Judith Fisher who was to oversee the organ restoration. After working together for eighteen months, she and Charles were married November 2, 1991. He continued working with organs in Connecticut, acting as consultant and overseeing the installation or restoration of several instruments in the area. He served as curator of the organ at St. John's for just over 10 years.

In 2001, Charles and Judith moved to Vermont. He was able to complete work on his autobiography just days before his death. A "Celebration of Charles' Life" took place January 8 at The Cathedral Church of St. Paul (Episcopal) in Burlington. Donations may be made to the Music Ministry of St. Paul's.

by Enrique Alberto

The name Arthur C. Becker was familiar to the readers of THE DIAPASON in the period of the 1930s to the 60s because of his many articles and frequent notices of his activities. In addition to his accomplishments as an organist and college administrator, Dr. Becker was an able composer who composed much organ and liturgical music for St. Vincent de Paul Church in Chicago, where he was organist and music director from 1918 to 1973. That he was so long associated with this church gave him ample opportunity to create music not only to demonstrate his own virtuosity as an organist but also to support the services of the church.

Background

Arthur C. Becker (1895-1976) was the founding dean of DePaul University's School of Music and served as organist and choirmaster at St. Vincent de Paul Church from 1918 to 1973. Born in Louisville, Kentucky on September 20, 1895, Becker soon evidenced talent for playing the organ. After holding a number of positions in the Louisville area, Becker moved to Chicago in 1918, where he received a Bachelor of Music and later a Master of Music degree from the Sherwood Conservatory. Among his teachers were Wilhelm Middleschulte and Gaston Dethier in organ and Josef Lhevinne in piano. In 1918 Becker organized DePaul University's School of Music and began his position at St. Vincent de Paul Church. In 1922 Becker went to Paris to study organ with Charles-Marie Widor and Marcel Dupré, and composition with Albert Roussel. In 1942 he received an honorary Doctor of Music degree from The Chicago Musical College. Because of his distinguished service, Becker became an affiliate of the Vincentian order in 1964 and was awarded the Via Sapientiae, DePaul University's highest honor, in 1966. He died in 1976, one of the most respected members of the Chicago musical community and the leading Catholic church musician of the city.

In general, Becker's music is conservative, with the strong influence of the French school of the late Romantic period much in evidence. His organ study in France and his composition studies with Albert Roussel fostered a love for the French repertory. In addition, Becker's own manner of organ performance was decidedly in the French tradition.

Sonus Epulantis

The purpose of the present article is to consider the Sonus Epulantis for organ, one of his finest compositions. What I assume to be an earlier work, Prelude to a Sacred Drama (no date), is the basis for Sonus Epulantis. The differences between the two are few: Prelude to a Sacred Drama begins with slightly fuller harmonies, and there are some differences in dynamic indications. Other than these slight details, the two compositions are the same, though the manuscript style for Sonus Epulantis is smaller and neater.

At this time little is known about the date and the reason for composing this work. My impression, as we shall see, is that it is a late work. The title is both curious and enigmatic. The literal translation is "the sounds of one rejoicing." The key to the title's meaning is found within the work itself. There is a musical quotation from the opening of the Gregorian sequence for Easter, Victimae Paschali. The opening lines of the sequence read:

Victimae paschali laudes immolent Christiani. Agnus redemit oves: Christus innocens Patri reconciliavit peccatores.

May Christians bring praise as the sacrificial offering to the Paschal Victim. The Lamb redeems the sheep. Innocent Christ reconciles sinners to the Father.

I interpret the title to relate to this sequence, for the "sounds of one rejoicing" are in truth the sounds of rejoicing at the Paschal feast. Easter, after all, celebrates the resurrection of Christ and the birth of spring. This is, therefore, the most joyful season of the liturgical year; thus Becker's Sonus is actually an Easter work, one that relates the Latin text of the sequence to the title. As far as I know, the title is Becker's own--it neither seems to be quotation or the title of some hymn.

There are two melodic ideas that dominate Sonus: the Gregorian quotation (Example 1), and another short melody that likewise seems to be derived from the Gregorian repertory (Example 2). Thus far I have not been able to identify the Gregorian chant, but I suspect this haunting melody is Becker's own. Does not this melody relate to the work's title? But for a composition that is supposed to be joyful, Sonus is strangely subdued. Again I interpret, but my impression is that Sonus reflects a deeply felt joy, one that is suffused with tranquility and introspection.

Structural features

Let us turn to the work itself. In general, Sonus is marked by linear counterpoint that creates friction between the lines and quartal harmonies. (Example 3)  Peculiar harmonic inflections are also common. (Example 4) The general structure results from the cantus firmus treatment of the two melodic ideas mentioned above. Becker's own melodic idea is presented as an ostinato and becomes the most striking feature of the work. (Example 2)

The work opens with a sustained D in the bass. Quartal harmonies with dissonance are here featured, creating a prelude from mm. 1 to 30. An Allegro maestoso begins at m. 31. Here the ostinato is introduced, with fragmentation and variation. Increasingly chromatic harmonies and active rhythms provide intensity. The texture clears and there is a return to D as the tonal center. At m. 76 the opening of the Victimae paschali is quoted and then treated as a cantus firmus against active figuration. At m. 93 the ostinato is presented against the opening of the Victimae Paschali. A change to 6/4 meter and D major appears at m. 108, introducing a free variant of the sequence and veiled references to the ostinato. At m. 121, D minor returns with active rhythm and a combination of the two melodic fragments. At m. 139, the Adagio tempo returns with the final appearance of the ostinato pattern used as the cadence.

Stylistic features

There are a number of features of Sonus Epulantis that imply it is a later work of Becker's. The harmonies are frequently dissonant. The enigmatic title and the haunting melody used as the ostinato are also unusual. Was this work composed for some special Easter occasion? I rather suspect that it was, for it could well have been featured as an interlude during one of those grand Easter services that Becker was so famous for. Although Sonus Epulantis is carefully composed, it reflects Becker's mastery as an improviser. Each section leads into the next, creating contrast and climaxes but always referring to the two thematic ideas.

The score includes registration suggestions and manual designations and is intended for a large romantic organ of three manuals and pedal. The registrations include both general and specific instructions. For example, the work opens with the registration: Sw: Soft Strings, Gt: Foundations, Ch: Dulciana, Ped: 16¢ and 8¢, and the dynamic is piano. Within the first 15 measures the music crescendos to fortissimo, presuming the use of the crescendo pedal or carefully worked out general and divisional piston changes. Five measures later, the score indicates piano. Later instructions include such indications as "Gt and Sw Full" and "Gt Diapasons to Full Sw," along with crescendo to full organ. The middle section indicates Sw: Diapason and Ch: Clarinet; and later Sw: Solo Stop (Trompette) and Ch: Soft Flutes; later still Sw: Flutes and Strings 8¢, 4¢. Another crescendo in measures 117 to 128 builds to full organ, achieved with the crescendo pedal or numerous piston changes. After a climax on V2 of iv, the piece ends quietly on the Swell Voix Celeste and the Great soft Flute. Performance requirements include a thorough control of legato touch, octaves in the manuals and pedal, brilliant 16-note figuration, and numerous manual and registration changes. Two enclosed divisions are intended.

 

Summary

 

Unfortunately, Becker's music has fallen into oblivion. A concert of his music on the 125th anniversary of St. Vincent de Paul church on November 5, 2000 revealed a composer with a solid technique and profound commitment to religious expression. Of all the compositions on this program, Sonus Epulantis was the most expressive and most beautiful. It reflects the emotions of a man who had lived a long life in church music and wished to express the spiritual satisfaction that life had given him. Its transcendence suggests it was one of the last compositions Becker wrote and that it was a kind of opus ultimum--a final statement of his life and purpose.

Becker bibliography

"Who's Who Among American Organists," The Diapason, October, 1925, p. 10.

"Arthur Becker appointed director of the chorus of the Illinois Club for Catholic Women," The Diapason, July, 1930, p. 46.

"Catholic Church Music: Three New Masses of Interest," The Diapason, August, 1932, p. 23.

Arthur C. Becker, 1/4 page display ad, Concert Management McNab & Gressing, The Diapason, September, 1933, p. 7.

"Arthur C. Becker broadcasts recitals in university course," The Diapason, April, 1936, p. 20.

"Arthur C. Becker, A.A.G.O., dean of the school of music of DePaul University, Chicago, and organist and choirmaster of St. Vincent's Church, completed his thirty-third broadcast of organ music from station WGN . . .," The Diapason, July, 1938, p. 17.

"Becker and School to Mark Anniversary: serves a quarter century," The Diapason, April, 1943, p. 7.

"Dr. Arthur C. Becker on April 5 observed his 36th anniversary as organist and choirmaster of the Catholic Church of St. Vincent de Paul," The Diapason, May, 1954, p. 6.

"Dr. Arthur C. Becker, dean of DePaul University's school of music, is shown at the console of the three-manual Moller organ donated anonymously to the school," The Diapason, April, 1957, p. 1.

"Arthur C. Becker celebrates 40th anniversary," The Diapason, April, 1958, p. 6.

"Dr. Arthur C. Becker will retire as dean of the school of music at DePaul University, Chicago, after 48 years as its head," The Diapason, March, 1966, p. 26.

"Arthur C. Becker celebrates 50 years at St. Vincent de Paul Church," The Diapason, May, 1968, p. 2.

"Arthur C. Becker will observe his 52nd anniversary as organist and choirmaster of St. Vincent de Paul Church," The Diapason, April, 1970, p. 8.

"Nunc Dimittis," The Diapason, April, 1976, p. 11.

Arthur C. Becker Work List

Organ

Brünnhilde's Awakening and Finale from Siegfried-Richard Wagner, arranged for organ by Arthur C. Becker, February 12, 1933.

Four Antiphons of the Blessed Virgin Mary Choral-Paraphrased for Organ (1948?).  Alma Redemptoris Mater, Ave Regina Caelorum, Regina Coeli, Salve Regina. Published by McLaughlin & Reilly Co., Boston, M&R Co. #1590-20, copyright MCMXLVIII.

Miniature Suite for Organ (August 4, 1962), dedication:  "To René Dosogne." I Con Moto, II Moderato, III Moderato, IV Con Moto. Unpublished manuscript.

Music for Low Mass (no date), Suite for Organ. Introit-Effusum est, Offertory-In virtute tua, Elevation-Benedictus-Mass XI, Communion-Religio munda, Post-lude-Alleluia. Unpublished manuscript.

Prelude to a Sacred Drama (no date). Unpublished manuscript. Note: This piece reworked into "Sonus Epulantis" listed below.

Retrospection (February 11, 1969). Unpublished manuscript.

Scherzando (August 22, 1966). Unpublished manuscript.

Second Sonata for Organ (no date), dedication:  "To my friend and colleague Herman Pedtke." I Larghetto, II Lively, III Andante, IV Moderato. Unpublished manuscript.

Sonus Epulantis for Organ (no date). Unpublished manuscript.

Three Sketches for Organ (June 25, 1969). I Andante, II Andante, III Allegro  Maestoso. Unpublished manuscript.

There was also a First Sonata for Organ written in the 1920s. The manuscript for this has been lost. Two of the movements had been arranged for brass sextet. Paean for brass sextet [New York] Remick Music Corp., ©1938. Library of Congress Call # M657.B4 P3. Romance for brass sextet [New York] Remick Music Corp., ©1938. Library of Congress Call # M657.B4 R6.

Organ and Piano

Concert Overture (April 16, 1941). Unpublished manuscript. Probably written for performance with his wife Barbara S. Becker.

Choral

Published Works

Alleluia-Choral Part for the Toccata from Organ Symphony No. 5 by C.M. Widor.  Published by McLaughlin & Reilly Co., Boston, copyright MCMLV.

Ave Maria (early 1930s?), a cappella, Latin. Published by McLaughlin & Reilly Co., Boston, copyright MCMXXXV, "In the Caecilia (June, 1935)."

Creator of the Stars of Night, Sacred Chorus for Mixed Voices, S.S.A.A.T.T.B.B. a cappella, Published by Hall & McCreary Co., Chicago, copyright 1940.

Mass in Honor of St. Vincent de Paul, "Dedicated to my sister Lucile," SSAATTBB and organ, Latin, Boston, McLaughlin & Reilly Co., ©1937. There are also string parts (in manuscript) for this Mass-V1, V2, Vla, VC, DB.

Mass in Honor of the Holy Name, SATB Voices and Organ, Latin, dedication:  "To Msgr. Charles N. Meter, S.T.D., Mus.D., and the Cardinal's Cathedral Choisters, Chicago, Ill." Published by McLaughlin & Reilly Co., Boston, copyright MCMLIX.

Mass "Lord God, Heavenly King," English Mass for Congregation and Choir of Four Mixed Voices with Organ. Published by Gregorian Institute of America, Toledo, Ohio, copyright 1966.

Mass of the Sacred Heart, SATB Voices and Organ with Congregation ad lib. Published by Gregorian Institute of America, Toledo, Ohio, copyright 1966.

One Is Holy, SATB a cappella. Published by McLaughlin & Reilly Co., Boston, copyright MCMLXIX.

Arrangements

Bless the Lord, O My Soul, Mikhail Ippolitov-Ivanov (1859-1935), arranged for S.A.T.B. by Arthur C. Becker. A cappella. Published by GIA Publications, Chicago, copyright 1970.

Come Holy Spirit, Orlando Gibbons, arranged for SATB Voices with Organ. Published by GIA Publications, Chicago, copyright 1970.

The Lord Bless You, J.S. Bach, arranged by Arthur C. Becker. Text: "From the concluding prayer of a Commissioning Service. Freely Translated by A.C.B."  S.A.T.B. a cappella. Published by GIA Publications, Chicago, copyright 1970.

Unpublished Works

Adore Te Devote (no date), for soprano, alto, tenor, bass and organ, Latin.

Ave Maria (no date), SATB a cappella, Latin. (This is different from the published Ave Maria listed above.)

Blessed Be God The Father (October 11, 1969), for mixed voices, 2 trumpets, 2 trombones and organ, English.

Cantate Domino-Come, let us sing to the Lord (no date), SATB and organ, English.

Domine Deus (April, 1958), "To St. Vincent Choir," SATB with organ, Latin.

Have Mercy On Me (May 2, 1967), SATB with organ, English.

I Will Delight in Your Commands (February 4, 1970), SATB and organ, English.

Mass in Honor of St. Barbara (no date), for mixed choir, congregation and organ, "In Memory of my Beloved Wife, Barbara."

Mass (Untitled) (May 20, 1970), "To St. Vincent de Paul Church Choir," SATB with organ, English.

Missa Brevis (no date), SATB, organ (ad libitum), Latin.

O Lord, I Am Not Worthy (May 8, 1966), SATB a cappella, English.

Our Father (December 28, 1965), SATB a cappella, English.

Panis Angelicus (no date), SATB, organ, Latin.

Rejoice unto the Lord (July 17, 1966),  "Respectfully Dedicated to Rev. Charles E. Cannon, C.M., Pastor of St. Vincent de Paul Church, Chicago Illinois," SATB with organ, English.

Yours Is Princely Power (January 4, 1969), Scriptural Response Christmas Midnight Mass, SATB with organ, English.

Arrangements

Agnus Dei, Kalinnikoff, arranged with Latin words by Arthur C. Becker, soprano solo, alto solo, S.S.A.A.

Hymn-Accept Almighty Father, four part chorus of mixed voices.

Hymn-At That First Eucharist, arranged for solo, mixed choir and congregation.

Hymn-Crown Him with Many Crowns.

Hymn-For All The Saints, R. Vaughan Williams.

Hymn-Forty Days and Forty Nights, arranged for 4 voices and organ.

Missa Plebs Dei, David Kraehenbuehl, arranged for 4 voices.

Missa Regina Pacis, Albert J. Dooner, English arrangement of  Latin mass.

Send Forth Thy Light, Balakirev (?), alto solo, SATB solos and mixed choir with organ.

Miscellaneous

DePaul University "Fight Song," Published by DePaul University Press, 64 East Lake Street, circa early 1930s.

by Rudolf Zuiderveld

Rudolf Zuiderveld is Professor of Music and College Organist at Illinois College, Jacksonville, Illinois, and organist of First Presbyterian Church, Springfield, Illinois.

Wednesday, June 12

Acoustics dominated the discussion with David Pike of C.B. Fisk and acoustician Dana Kirkegaard, who has made modifications to the stage area, with handsome wood structures to improve the acoustical environment for performing musicians, and enhancing the ceiling area over the stage--work that can be carried further in the future, and perhaps (if the building is equipped with air conditioning) address the acoustically transparent windows. More reverberation time and better bass response would be a desirable result.

Improvising in a predominantly homophonic French-Romantic style, William Porter demonstrated the peculiar qualities of slotted Cavaillé-Coll principals alone (as they are seldom employed) and combined with strings and flutes, producing subtle tonal variety that added up to more than the sum of its parts. The blended ensemble sounds of the French Romantic organ form the true criteria that make a Cavaillé-Coll "symphonic" rather than "orchestral"--as heard in early 20th-century American organs with their highly individual, un-blending voicing using electric actions. Like Cavaillé-Coll's organs, the Fisk retains the classic air-channel, slider windchest, but, rather than using Barker-lever machines to manage the heavy touch, employs a "servo-pneumatic" aid, in which the action follows the motion of the key exactly in attack and release.

It must have been a pleasure for Professors David Boe and Haskell Thomson to introduce the Fisk organ to over 170 registrants, repeating the dedicatory recital from last September (reviewed by Larry Palmer in The Diapason, January 2002, pp. 18-19), playing another historically-informed "period organ" at Oberlin, which joins John Brombaugh's 1981 organ in Fairchild Chapel and the comprehensive Flentrop organ in Warner Recital Hall, enabling students to study organs authentic to the Renaissance, Baroque, Romantic, and Modern eras.

David Boe opened with an exciting performance of the Final from Vierne's First Symphony, followed by a subtly impressionistic "La Vallée du Béhorléguy, au matin" from Paysages euskariens by Ermend Bonnal, and Franck's Grande Pièce Symphonique, op. 17. Organ and performer combined to give a true sense of the large-scale architectural proportions of the work; Boe's strong, rhythmically vital playing, with nuance expressing sentiment (not sentimentality), projected an overall sense of unity to Franck's masterpiece.

Haskell Thomson followed with later music of the French repertoire, conveying many refined tonal subtleties: Duruflé's colorful Veni Creator variations, the strings and soaring harmonic flute in the "Andante sostenuto" from Widor's Tenth Symphony, and the piquant, picturesque sounds of "birds and springs" in the Communion of Messiaen's Pentecost Mass. The Fisk's power was again demonstrated in the Sortie from the Mass--more clearly heard in the relatively dry acoustics of Finney Chapel than in the wash of sound in an immense stone cathedral. In the conclusion of Franck's Third Choral, it was difficult to hear the thematic quality of the manual figuration when combined with the chorale theme, all over a thundering pedal (which perhaps masked the figuration). A programmed, entertaining encore, Scène pastorale by Lefébure-Wély, complete with twittering birdsongs (Messiaen's musical ancestor?), drew smiles, and a comment that, by comparison, Franck's Pastorale is an "art of fugue"!

A gracious reception hosted by Oberlin Conservatory, with time to visit with colleagues from far-flung places, concluded a rewarding day.

Thursday, June 13

Thursday morning's lecture by Jean Boyer showed thorough knowledge of keyboard performance practice in 19th-century France, based on contemporary piano technique as illustrated in common piano methods, illuminating "Legato matters through Franck's organ works." This is not the place to review these insightful lectures; rather, one hopes that papers by Boyer, Near, Ericsson, Peeters, Porter, and Peterson will be made available in print. The panel-of-experts discussions following each lecture/paper produced varied insights, such as the lesson procedure followed for American students in France: literature first, then the maître's works.

John Near's outstanding scholarly editions of Widor's organ works for A-R Editions will soon be supplemented by a biography on this influential and authoritative "Napoleonic commander" of the French musical world from 1870 to 1937. (Perhaps it is only historically coincidental that Widor became titulaire at St. Sulpice in 1870, just as Pope Pius IX was promulgating the doctrine of papal infallibility in matters of faith and doctrine at Vatican I.) A photo and sample scrawled signature of "Widor" confirmed the point. Near spoke about Cavaillé-Coll as a "poet architect of sounds," an inspiration to Widor and the further development of the French organ symphony.

In a late Thursday afternoon session, versatile improviser William Porter played the marvelously colorful collection of 12 stops in John Brombaugh's 1981 organ in little Fairchild Chapel. Having just heard the Fisk's great variety of subtle stop combinations, it became clear how individual stops can be voiced with strong character, like the surprisingly stringy spitzflute, richly colorful regal and trumpet, and singing "vocale" praestant (so different from the amalgam of stops that comprise an "instrumentale" French "fonds"). Also, equal temperament produces a kind of evened-out blandness in the Fisk's warm Romantic sound, compared to the kaleidoscopic harmonic colors and degrees of harmonic tension heard in the ensembles of the small meantone organ. "In te Domine speravi" of Samuel Scheidt made a grand impression in a plenum that reached greater brilliance (shimmering "zing" in the mixture) than in the attenuated top of the full French Romantic organ sound.

Two masterful artists concluded Thursday's schedule. Martin Jean gave a superb performance of Vierne's Fifth Symphony, in honor of his teacher Robert Glasgow who was present. Jean played with control, refinement and grandeur, demonstrating fine technique and superb musicianship. The third movement scherzo was delightful in using some of the high-pitched aliquots (a "carillon" can be synthesized using Positiv mutations 13/5', 11/3', and 1' registers). Robert Glasgow's championing the French symphonic repertoire was amply rewarded in this virtuosic, profoundly satisfying performance.

Hans-Ola Ericsson of Sweden played an interesting group of Olivier Messiaen's organ works, surveying music from 1932 to 1984. With the performer playing in a darkening chapel, with immense control, occasionally conducting himself, the recital became a kind of spiritual experience in the hands of this devoted Messiaen interpreter. Messiaen's repertoire of organ effects included extended birdsong (Chant d'Oiseaux from Livre d'Orgue), rhythmically free plainsong-like monody (including the two-page Monodie of 1963), the adaptation of ordinary meters into timeless unending rhythmic reveries, plus extreme dynamic contrasts. The overwhelmingly loud held last chord of Verbe et Lumière from the Holy Trinity meditations produced a mental hallucination (a bit like seeing flashes of light with one's eyes closed)--near the threshold of aural pain. Ericsson created a totally entrancing musical tableau in his powerful performance.

Friday, June 14

 serious, thoughtful manner characterized Hans-Ola Ericsson's lecture the next morning, focusing on the special characteristics of Cavaillé-Coll's organ at La Trinité in Paris during Messiaen's tenure. Addition of stops so useful to Messiaen's coloristic musical effects created a kind of "North-German concept." The organ's comprehensive restoration (perhaps prompted by the mid-1950s poor-sounding recordings made by Messiaen), showed the improviser/composer's close connection to the special beauties of his La Trinité organ (not that he did not favor adapting his music to other organ styles). Ericsson proved to have many insights to share, having spent a great deal of time with Messiaen in his last years.

Musicologist Paul Peeters, former editor of the Dutch journal Het Orgel, now working at the Göteborg GOArt project in Sweden, shared a wealth of information about Belgian/French Romantic organ culture, based on a deep and wide knowledge of the instruments, for example the existence of carillon registers in Dutch organs a century before the French Romantic organ incorporated them. Varied, rather than standardized, registration was his theme--as in the different ways to compose a "fond d'orgue" sound, depending on the disposition of a particular organ. (On the Fisk the fonds with its integral oboe sounded at one point like a harmonium--perhaps the intention.) It was during the following discussion that Jesse Eschbach pointed out that St. Clotilde's organ (built with Franck's advice, as he was already titulaire) had both a classic mixture in its Great plenum for the required traditional improvised Kyrie registration (Plein Jeu plus pedal trumpet), and a novel "progressive, harmonic" mixture on the Positif for the new symphonic organ music (intended for concert rather than liturgical music?).

The following panel discussion was moderated by Fenner Douglass, recently awarded a well-earned honorary doctorate from Oberlin, and for whom the new Fisk represents the culmination of a dream in a career devoted to solid research into French organ culture. He was present to enjoy his accomplishments in the company of many grateful students and admiring colleagues.

Again as a welcome foil to all things French and Romantic, Haskell Thomson gave a demonstration of the 1974 Flentrop organ in Warner Concert Hall, and William Porter demonstrated the Brombaugh organ of First Methodist Church, adjacent to the campus. Professor Thompson gave a comprehensive demonstration of the "all-purpose" Flentrop--less authentically "Dutch" in the sound of its flues than the specification and visual design implies, with brighter principals and choruses than typical in Dutch historic instruments, but very pleasing nevertheless, and a good match for the pleasant daytime-light-filled ambience of the modern concert hall. Revised reeds, including solid, North-German style pedal reeds by Taylor and Boody, and a wonderfully full sounding colorful Bovenwerk trumpet revised by Oberlin's organ curator Hal Gober, give the organ a more authentically Dutch/German character.

The 1974 Brombaugh 18-stop organ of First United Methodist Church gave proof to the idea that North-German/Dutch style organs are tonally appropriate in a typically dry American sanctuary acoustic. Although the organ was not in perfect condition, given the un-air-conditioned hot and humid June weather, it was effectively demonstrated by William Porter in congregational music, culminating in a rousing rendition of Cwm Rhondda.

Jean Boyer's recital on Friday evening was spectacular in his brilliant performance of Widor's Sixth Symphony. Played a bit more quickly than usual (perhaps responding to the relatively dry acoustics), the outer movements were especially effective in their driving rhythms with Boyer truly "playing" spontaneously with the music. The Final, indeed the entire Symphony, proved an exhilarating tour de force in Jean Boyer's bravura performance.

Saturday, June 15

In a closely reasoned paper, William J. Peterson, adapting French scholar F. Sabatier's three-part scheme in Cavaillé-Coll's stylistic development--(1) Classic (1841-58), (2) Romantic (1858-75), and (3) Symphonic (1875-98)--considered ten organs built between 1870 and 1898. These included some of the builder's most famous organs: at the Trocadéro in Paris, St-Étienne in Caen, St-Sernin in Toulouse, and St-Ouen in Rouen. Cavaillé-Coll seems to have returned to classical precepts in his late-period organs (such as dropping the progressive mixture in favor of the more historically traditional breaking mixtures). Oddly, it was an introductory recording of the Caen organ that proved revealing: its clearly heard fiery French-style bombarde/trompette/clarion reeds produced typical Grand Jeu timbres evident in both 17th/18th-century classic-period organs and surviving in the Romantic Cavaillé-Colls, but not so apparent in the smoother reed choruses of the Oberlin Fisk. The big Fisk reeds seem more like those at St-Sernin in Toulouse, where their sound needs to travel down an extremely long and relatively narrow nave. Perhaps Barbara Owen spoke to this point in the stimulating panel discussion that followed, describing the Fisk organ as an "English Town Hall Organ."

In further discussion, David Pike emphasized the "symphonic," "sounding together" ensemble character of the organ, necessitating a mindset in organ builders (especially voicers) that goes beyond naive, simplistic ideas of copying historic instruments. Steven Dieck, giving candid insight into how the Fisk company continues to grow artistically, made an interesting point about approaching compromise of a Fisk ideal that an organ breathe "with a single breath," related to the necessity of employing double-pallet, divided windchests at Oberlin. Paul Peeters, commenting on the size of the proposals for the Antwerp O.L.V. Cathedral organ in 1888, recalled that Pierre Schyven proposed 87 stops, Walcker 100 stops, and Cavaillé-Coll only 75--"build as many as needed, as few as possible" was Cavaillé-Coll's recommendation. The Belgian Schyven firm got the contract.

Saving some of the most intriguing music for last, two distinguished performers shared a remarkable program. Christa Rakich opened with Jeanne Demessieux's Repons pour le Temps de Pâques, a brilliant toccata/fantasy (comparable to Touremire's improvisation, transcribed by Duruflé) employing the "Victimae Paschali" chant, followed by four chorale preludes from Demessieux's Opus 8--each a gem, beautifully realized on the Fisk's refined individual stops and small combinations, concluding with a thrilling Veni Creator Spiritus toccata. A little known "Nocturne" by Germaine Tailleferre (1892-1983) (a member of "Les Six," explained Christa Rakich in her engaging verbal program notes), proved to a be a gentle lullaby, a song without words. Marcel Dupré's famous Opus 7 Preludes and Fugues closed Rakich's half of the recital, but she effectively played No. 3 first, then No. 2, on the organ's warm fonds, and concluded with the carillon effects of No. 1. Sitting at various places in the chapel for the recitals, it was obvious from the palpably shaking pews under the rear balcony that the Fisk was producing plenty of bass sound. The instrument speaks with authority!

Westfield Center president Susan Ferré concluded the recital and the conference with music by Tournemire, Alain, and Langlais, completing a wide-ranging survey of French Romantic organ music performed during the conference, perhaps surprising, given the Center's more usual focus on early music. Two excerpts from Tournemire's Opus 67 masterpiece, Sept Chorals-Poemès d'orgue pour les Sept paroles du Xrist (which had 39 people at its St. Clotilde premiere in 1937), "Eli, Eli, lamma sabacthani" and "Consummatum est," proved to be  some of the most powerfully moving music of the entire conference. The organ's fonds (with the harmonic flute giving a rich, pervasive sound), the smooth clarinet, the pleading vox humana, the serene flute harmonique solo, and the piercing jabs of the full organ--all sounded perfectly authentic on the Fisk, contributing to Susan Ferré's spiritually moving performance. In Jehan Alain's Variations on "Lucis Creator," a trumpet solo accompanied by a full Swell, delicate flutes, and Plein Jeu plus cantus firmus trumpet demonstrated additional Fiskian Cavaillé-Coll aural authenticity. Jean Langlais' turbulent, abrupt and tragic Chant Héroïque, dedicated to the memory of Jehan Alain, was followed by the pastiche and sentimental simplicity of Boystown (1961). A refreshing (Neo-Baroque?) Trio (1957) concluded the Langlais group. Gregorian chant and birdsong-like motives incorporated into the Paraphrase-Carillon from Tournemire's In Assumptione B.M.V. (1928), showed the connection to Messiaen's inspiration, and ended the recital and an entire conference that had managed to touch on most of the major organist-composers of the French Symphonic School. (Guilmant was mentioned but not heard.)

Serious scholarship presented in stimulating lectures and panel discussions, perfection in performance on authentic organs, and convivial collegiality combined to make the Oberlin conference one of the most informative, entertaining, and inspiring in recent memory.

Near the end of the conference, the double CD "September 28, 2001 Inaugural Concert" recorded live in Finney Chapel was released. The program opens with The Oberlin Orchestra, conducted by Paul Polivnick, performing Elgar's Nimrod variation from Enigma Variations with loving tenderness, a moving memorial to the tragedy of September 11, followed by the audience joining in singing a thrilling Star Spangled Banner. David Boe is soloist in Oberlin graduate Robert Sirota's organ concerto In the Fullness of Time, which incorporates Bach's "Es ist genug" into a colorful, lyrical and dramatic work for organ with a large virtuoso orchestra. The outstanding undergraduate student orchestra also performs two chestnuts of the symphony plus organ repertoire, Saint-Saëns' Third Symphony, with David Boe, and Joseph Jongen's Symphonie Concertante, the latter brilliantly performed with Haskell Thomson, organ soloist. Both are impassioned, professional-level performances, played with the extra edge of a live event--all in all, a spectacular concert and CD!

A special feature on the recording is another Oberlin graduate, Michael Barone, giving a musical guide to organs at Oberlin. David Boe plays H. Praetorius on the Brombaugh, Andrew Fredel plays Rheinberger on the first Holtkamp "Martini," and Christopher Harrell plays Hakim on the Warner Flentrop. So listen for yourself to the superb music making found at one of America's leading undergraduate colleges! It is available for $25 (plus shipping) from Oberlin Music and Cafe, an outstanding source for obtaining high quality organ music, books, and CDs, operated by Oberlin graduate James Dawson (; ph 440/774-9139; fax 440/774-8430) who also sponsored the coffee breaks during the conference.

Spain and France, May 1-12, 2003

Te-Min Ong and Don Baber

Te-Min Ong is an engineer and organist. He is a student of Dr. Evelyn Lim at Methodist School of Music, Singapore, and a former student of Dr Marilyn Mason. Don Baber is parish musician at Faith Lutheran Church, Sarasota, Florida

This year's tour, number 49 led by Marilyn Mason, chair of the organ department at the University of Michigan, brought us to new and unexplored regions of Spain and France. We had the opportunity to sample the rich organ heritage of the Basque region, a place where both Spanish as well as French organ traditions melded, as evidenced by the presence of numerous Cavaillé-Coll organs.

The organists on this tour presented a total of six recitals, the first of which was in Pamplona on the splendid Spanish baroque organ in the Church of the Dominicans. The local government extended their hospitality by providing transport to the church and an English-speaking tour guide. The organ was fascinating with several en chamade ranks and a full complement of efectos including tambores (drums) and pájaros (nightingales). There were knee levers for turning on and off the reed stops as well as a cadereta, which was probably a later addition to this organ.

The group played the second recital in the village of Biarritz, France. The Church of St. Martin is home to a 32-stop organ built by Gonzalez in 1975. The next day it was on to Pau where we had our third recital at the Church of St. Jacques on another three-manual Gonzalez. Performers stayed on to practice at this church while the rest of the group proceeded to the Cathedral of St. Martin to try out the organ there.

After this we traveled back into Spain to the beach resort town of San Sebastián where we stayed for four nights. Our fourth recital was held at the organ in the Basilica of Santa Maria del Coro, the most well preserved Cavaillé-Coll organ outside France and subject of numerous recordings. This monumental instrument was built in 1862 and follows closely the design principles of Franck's organ at St. Clothilde in Paris. It was truly a privilege to be able to play this organ.

The next recital was at the Church of Santa María la Real in Azcoitia. This organ--as does the one at the Basilica of St. Ignatius of Loyola--features horizontal stops which are not present on any of Cavaillé-Coll's organs in France. Cavaillé-Coll used Spanish stop nomenclature and measurement units (i.e., palmos instead of feet) as an acknowledgement of his Spanish heritage. Professor Elizondo, an authority on Spanish organs, shared his expertise on the unique Basque instruments.

The final recital was held at the Church of Santa Maria in Tolosa on an 1885 Stoltz Frères organ. This was followed by a reception held in a 17th-century palace by the Friends of the Organ in Tolosa, a relatively young organization dedicated to promoting awareness of the town's organ heritage. The next night was spent at the Parador Argomaniz where we had an opportunity to go visit Vitoria before returning for the farewell dinner in the ancient dining hall of the hotel. After an additional night in Bilbao, the American and Singaporean contingents went their separate ways.

-- Te-Min Ong

On May 1, Marilyn Mason led a merry band of 32 organists and music lovers on an overnight flight to Frankfurt, where we boarded another flight for Bilbao, a city in the Pyrenees of Spain. Our plane was met by Carlos Calvente of Madrid, who had planned the locations and hotels for us, and who stayed with us throughout the trip, acting as guide and interpreter. After a rest in our hotel, we ventured out to San Jacques Cathedral where we enjoyed playing the 2-year-old classical Pellerin-Up organ of 38 stops from DAX of France.

On May 3, we visited the Guggenheim Museum with its works of modern art. Taking an elevator to the top, we worked our way down via the curving walkway. That evening the group enjoyed a welcome dinner at our hotel. The following day we drove to Pamplona on a modern tour bus and walked the street where the bulls run each July. Tour members played a wonderful Spanish baroque organ in Santo Domingo Church. Built in 1660, it was restored in 1991 by Les Franqueses del Vallies of Barcelona. It boasts a powerful horizontal trumpet, or battle trumpet, as the Spanish call it. We learned that the Spanish organbuilders, not the French, were the first to build horizontal trumpets.

The members of our group who were to play a recital on this organ that evening stayed to practice. The rest walked to the Cathedral of Santa Maria where we played the 3-manual Cavaillé-Coll style organ build by the Spanish builder Roques around 1890. It is in this Cathedral that Charles III, King of Navarre, and his wife are buried in front of the high altar.

On May 5 we crossed the border (now an open border due to the E.U. agreements) into France and on to St. Jean de Luz, where we registered at our hotel. Then we then drove to Biarritz where we played the 1973 Danion Gonzalez 3-manual romantic organ built in the style of Cavaillé-Coll. Several members played a recital here in the evening. The organ is placed to the side of the west gallery, rather than spread across the west wall.

May 6 found the group in Lescar. The Cathdral of Notre Dame, a 12th-century church, has a 3-manual, 54-rank, 32-stop organ built in 1760 by Dom Bedos. It was rebuit in 1869 by Wenner. After lunch we drove to Pau to the Church of San Jacques. Here we played the French neo-classic organ built by Merklin in 1872 and modified by Victor Gonzalez in 1971. Some stayed to practice for the recital that evening. The rest toured the Chateau de Pau, which was built in the 14th century and became the residence of the King of Navarre at the end of the 15th century. During the recital that evening, an interesting addition to the organ music was the chirping of a bird that had gotten into the building.

On the morning of May 7, we visited St. Jean Baptiste Church, a Basque church with tiers of galleries on three sides of the church, dating from the Middle Ages. All Basque churches have galleries, where the men sat during Mass; the women sat on the main floor in the pews. The original organ, built in 1740, was destroyed during the French revolution; however, the case was not destroyed and remains today. In 1875 Venner built a Cavaillé-Coll style romantic organ here. From there we drove back over the border into Spain and checked into our five-star hotel in San Sebastian, where we would stay for the next three nights.

On May 8, we visited the Basilica Santa Maria del Coro in San Sebastian, where some of the group were to play a recital that evening on the Cavaillé-Coll organ, a 3-manual with 44 stops, built in 1863, and restored in 1972. It has remained an authentic Cavaillé-Coll and is much the same as the organ Franck played at St. Clotilde in Paris, and has been featured on many recordings because of its authenticity. Those not playing in recital that evening also visited San Vicente Church near the Basilica and played a less interesting Cavaillé-Coll organ built in 1868. The city government hosted a reception for the tour group at the City Hall before the concert that evening. Wine flowed freely and we were treated to Spanish tapas (much like our hors d’oeuvres).

May 9: We left early for Bergara, where we played the Stoltz Frères of  Paris 1889 organ at the church of San Pedro. We wondered why we were visiting so many romantic organs and were told that other parts of Spain tend to have classic instruments. Cavaillé-Coll built 36 organs in Spain, and 24 of these are the Basque area, where we were. The Stoltz brothers were competitors of Cavaillé-Coll. This organ (3 manuals and 36 stops) was on the side of the west gallery, like the ones Cavaillé-Coll built, and sounded much like his.

We then drove on to Aranzazu for lunch, where we were served by the Franciscan Order in their complex isolated in the mountains. Located here are the church, monastery and retreat house, with a very large dining room. The church was built in the 1950s when Franco was in power. There was much objection to the church, as it was built in a strange modern style, and the Vatican was called in to support the plans. Our lunch consisted of several courses including wine, bread, vegetable stew, fried squid and other things. Dessert was huge slices of heavily iced cake and ice cream. There were many pilgrims making retreats there.

After lunch, we drove to the Church of Santa Maria la Real in Azkoitia, where we left the recital crew to practice for the evening concert. The rest of the group went on to Loyola and visited the Basilica of Loyola and the House of Ignatius, the founder of the Jesuit Order. The Basilica has an 1899 Cavaillé-Coll organ of 3 manuals and 36 stops, which we played. The recital in the evening was on the 1898 Cavaillé-Coll in Azkoitia, which features a trompette-en-chamade and 72 stops. This was the last large organ built by Cavaillé-Coll which is still in original condition. We were treated to a reception afterward by the city government.

May 10: This morning we visited an ancient historic church sitting in splendid isolation on the very top of a mountain. Santa Maria de Zumarraga was once a Roman building, made of stone with wood ceiling. There are galleries around in the Basque style. The church is used only for special events, such as weddings. At San Martin Eliza Church in Zumarraga, we played a Spanish organ built in 1761—it was a delight. There is a wonderful horizontal trumpet and a single divided keyboard with an octave of pedal tabs. The Basque builder Arragola restored the organ to original condition, only adding a modern keyboard.

We then drove to Santa Maria Church in Tolosa to play the 3-manual 36-stop romantic organ by Stoltz Frères of Paris. For the evening concert a video screen was set up in front of the altar so the audience could see the performers as they played from the west gallery. We were again given a reception, this time by the Friends of the Organ of Santa Maria Church.

May 11: Some of us attended Mass at San Sebastian Cathedral. After lunch we drove to the Parador du Argomaniz, where we would spend the night. We spent the afternoon enjoying a nearby town, Victoria. Everyone, it seemed, was on the streets walking and visiting, and the bars were full of people socializing. We had a farewell dinner that night.

May 12: We drove to Bilbao and checked into a hotel not far from the airport for our 7 am flight to Frankfurt the next day. The hotel was in a country setting. It had been used originally as a seminary.

May 13: We were up at 4 am. At 7 am our plane departed for Frankfurt, and after a four-hour wait we began our overseas flight to the U.S. We were a very congenial group, with ages from 16 up to late 80s. We came home with many happy memories of wonderful historic organs, beautiful scenery in the Pyrenees, new friends and gratitude to Dr. Mason who made it all possible.

--Don Baber, CAGO, Mus.M

Performers in the recitals included Melissa Goh, Nicholas Leow, Evelyn Lim, Robert Luther, Marilyn Mason, Chet Wei Ng, Te-Min Ong, Julia Watson, Helga Weichselbaum, and Ellena Yeo.