Cavaillé-Coll in Oberlin June 12-15, Oberlin College

Paris Week, July 2-9, 2001

by Kay McAfee

Kay McAfee is professor of organ and music history at Henderson State University in Arkadelphia, Arkansas, where she also serves as organist for First United Methodist Church.

The ninth biennial seminar attracted 80 participants who assembled in Paris anticipating the first week of playing time on the great instruments, lessons and classes with master teachers, participants' recitals, and the hospitality of our gracious hosts. At the Paris Conservatory, director Christina Harmon introduced co-director Marie-Louise Langlais, who received a warm round of applause. Participants introduced themselves and greeted old friends from previous seminars. Two student scholarship winners were announced: Josh Melson of Cherry Hill, New Jersey and a student at Centenary College in Shreveport, Louisiana; and Victor Johnson, a student at the University of Texas at Arlington and organist/composer-in-residence at Hamilton Park Baptist Church in Richardson, Texas.

 

The seminar always includes discourses about the instruments, improvisations by resident organists, and playing time for participants at the Schola Cantorum, Notre Dame de Paris, Les Invalides, Saint-Roch, La Madeleine, Sainte-Clotilde, La Trinité, Notre-Dame-des-Champs, Saint-Severin, Saint-Etienne-du-Mont, and Saint-Sulpice. The itinerary this year added visits to Notre Dame d'Auteuil, Saint-Augustin, Saint-Vincent-de-Paul, Saint-Eustace, and Dupré's home at Meudon.

Group and private lessons took place throughout the week with instructors Yanka Hekimova (Saint Eustace), Naji Hakim (La Trinité), Françoise Levechin (Saint-Roch), Lynne Davis (American Cathedral), François Espinasse (Saint Severin), Susan Landale (Les Inva-lides), and Marie-Louise Langlais (Sainte-Clotilde).

Participants who had contributed to the student scholarship fund were treated to a lovely wine and cheese reception at the apartment of Daniel and Odile Roth. Roth led everyone to his basement studio which houses a two-manual organ and a grand piano. The walls are filled with posters, memorabilia, and photographs, including those of Schweitzer, Widor, Bach, Franck, and Conrad Bernier. Letters and musical quotes from Kodály, Widor, Schmitt, Messiaen, Guilmant, and Deutilleux overlook the study. Later in the week, Roth, titular organist at Saint-Sulpice, would give the history of the instrument, improvise, and spend nearly six hours assisting participants to play.

Paris Conservatory

At the Conservatory, Jean-Charles Robin, 19-year-old student of Mme. Langlais, improvised on the tune "National Hymn" (God of Our Fathers), given an interesting twist by David Erwin who submitted it. Mme. Langlais solicited literature and performers for the participants' recital at St-Roch.

Saint-Augustin

Saint-Augustin, within short walking distance of the Paris Conservatory, was Gigout's church. He was titulaire there from 1863 until his death in 1925. Assistant organist Didier Matry played Gigout, a Cochereau improvisation, and his own improvisation.

Saint-Roch

Sylvie Mallet, David Erwin, and Mme. Langlais assisted for the recital at St-Roch. Advertised in the Paris weekly publication for arts events, the program attracted a great number of listeners. Eighteen participants played the marvelous four-manual, 53-stop, 1770 Clicquot instrument which was restored and enlarged by Cavaillé-Coll from 1840 to 1862. It boasts reeds which are among the most powerful in Paris. Literature included works by de Grigny, du Mage, François and Louis Couperin, Clérambault, Hakim, Vierne, Honegger, Langlais, Salomé, Widor, Sejan, and Lanquetuit. Performers included Mary Milligan (Denver, Colorado), Yolanda Yang (Irvine, California), Jay MacCubbin (Providence, Rhode Island), Helen Van Abbema Rodgers (Fairhope, Alabama), Shinook Lee (New York City), Josh Melson, Thomas Hanna (West Palm Beach, Florida), Jack W. Jones (Palm Beach, Florida), Esther Wideman (Philadelphia, Pennsylvania), Kay McAfee (Arkadelphia, Arkansas), Carl Schwartz (Silver Spring, Maryland), Eunice Ford (Huntsville, Alabama), David Erwin (Alexandria, Virginia), John Walko (San Francisco, California), Barbara Reid (Dallas, Texas), Lois Holdridge (Fullerton, California), Angela Kraft Cross (San Francisco), and Randy Runyon (Oxford, Ohio).

La Trinité

Naji Hakim, titular organist at La Trinité, was protégé and designated successor of Messiaen. New seminar participants as well as returning veterans enjoy the devotion of Parisian organists to the heritage of their instruments and the tribute paid their predecessors. None is more enthusiastic than Hakim. Guilmant's heritage at La Trinité includes the story of his horror at returning from America to find his instrument dismantled and destroyed. Cavaillé-Coll rebuilt the organ and today it exists as the instrument best suited for Messiaen's music.

Hakim played the outer movements of Messiaen's Messe de la Pentecôte. He spoke of Messiaen's improvisation and how he freely moved within many styles: Classical, Mendelssohn, Widor. The Livre du Saint Sacrement exploits Messiaen's improvisatory gifts. Hakim played his newest composition, The Last Judgement, which incorporates plainsong melodies: "Dies Irae," "In Paradisum," Alleluia of the Epiphany, and Gloria from Missa de Angelis. He improvised on "The Star Spangled Banner" since this group was there on July 4.

Notre-Dames-des-Champs

Marie-Bernadette Dufourcet, titular organist at Notre-Dame-des-Champs, treated participants to the sound of the 90% original Cavaillé-Coll design and disposition. It contains one of the most beautiful harmonic flutes and rich montres.

Saint-Vincent-de-Paul

At Saint-Vincent-de-Paul, where Léon Boëllmann served as titular organist, Marie-Louise Langlais introduced Pierre Cambourian, the current titulaire, who played the 1849 Cavaillé-Coll choir organ. Its action and stops have remained untouched and it enjoys exquisite balance of foundations, mutations, and reeds. Of three manuals with a short Récit, it has a beautiful harmonic flute, vox humana, and 16' basson on the Récit. The church was designed in the Neo-Classical style, after La Madeleine. The four-manual Cavaillé-Coll Grand Orgue, originally comparable to the La Madeleine organ, is now of Neo-Classical design, refurbished by Gonzalez in 1970, and nothing plays on the fourth manual. It is of 66 stops, although 91 were originally planned. Participants enjoyed generous playing time.

Saint-Louis des Invalides

In the evening the entire group gathered at Église Saint Louis des Invalides to hear informative discussion and playing by Susan Landale, who is one of three organists for the church. The Thierry family built the first instrument, a four-manual organ, from 1679 to 1687. The Clicquot family (who were also in the champagne business) looked after it. Louis XIV's architect, Jules-Hardouin Mansart, designed the case with its gilded sculptures. Some pipework remains from Thierry: the cromorne, fonds, bourdon and doublette in the Grand Orgue, and Positiv nazard and 2'. In 1843 a full-scale restoration was ordered. Three firms submitted proposals: Cavaillé-Coll, Ducroquet, and the winner of the contract, Gadault. Gadault built a third-rate Romantic organ, completely destroying the Classical organ of Thierry. There are, however, very fine reeds in the Swell. The Gadault organ was dedicated in 1853.

In 1942, Bernard Gavoty, a pupil of Dupré and a respected and feared music critic, was appointed organist at Les Invalides. He moved within elegant Parisian circles, and was the right person to collect money for a rebuild of the organ. In 1955, it was decided to engage the Beuchet-Debierre firm, which was instructed to build a Neo-Classical instrument. The console was electrified and the compass of manuals and pedals extended. The chamades were added in 1979.

According to Landale, the principal miscalculation of the Neo-Classical movement was the idea that if there were mixtures one could play Bach. It didn't matter if the mixtures didn't fit well with the foundations. The other problem was cramming a large amount of pipes into a small space (the original case) in order to get more ranks. As a result, the scaling went smaller and the sound was thinner. But to consider the music of Tournemire, Duruflé, Messaien, and Langlais from 1930 to 1970 is to hear music which was influenced by the Neo-Classical sound.

The last overhaul of cleaning and tuning the organ was in 1980. There are plans for another overhaul in 2003 which will include rewiring the organ. The organ contains 61 stops, including cornets on both the Great and Swell.

Ms. Landale discussed Tournemire, his work and his legacy, and played two of the improvisations: Ave Maris Stella and Te Deum. These improvisations had been recorded at Sainte-Clotilde to wax discs in 1913. Duruflé transcribed the improvisations in the 1950s. Besides the two Tournemire improvisations, Ms. Landale played a piece by Petr Eben, who followed Tournemire's lead in the prodigious use of Gregorian chant.

Sainte-Clotilde

The entire group assembled at Sainte-Clotilde to hear Marie-Louise Langlais discuss the organ, to hear participants play, and to enjoy a demonstration and improvisation by Jacques Taddei, titular organist of Sainte-Clotilde and director of the Paris Conservatory. Mme. Langlais met the group outside to talk about the history of the church.

The parish was wealthy and Cavaillé-Coll was engaged to build the organ. The organ is 46 stops, small by Cavaillé-Coll standards. Franck served as organist here from 1859-1890. Pierne served from 1890-1898, Tournemire from 1898-1939, and Langlais from 1945- 1987. Mme. Langlais mentioned that she tried to get Langlais to retire in the mid-1980s, as he really was not able to climb the steps to the loft. He declared that he was determined to "stay one year longer than Tournemire," and he did.

Tournemire was a devotee of Baroque music, both German and Spanish. He tried to transform the Sainte-Clotilde organ to accommodate these styles. In 1933, he enlarged the Positiv by adding mutations and he also directed enlargement of the Swell. This changed the balance of the organ. More changes were made by Langlais in 1962. With Jacques Taddei and Marie-Louise Langlais as consultants, the organ is currently undergoing yet another restoration. The goal is to return it as much as possible to the original Cavaillé-Coll voicing and disposition while maintaining the tonal design for playing also the music of Tournemire and Langlais. The organ builder in charge is Bernard Dargassies, who also has worked at Saint-Augustin, La Madeleine, and Saint-Étienne-du-Mont. Restoration of the original wind pressure, addition of a second motor for the blower, and restoration of the stop action is in process. The organ, and especially the 8' foundation ensemble, sounds more powerful, while the reeds have remained unchanged. At this point, the organ is as close to the original Cavaillé-Coll since the restoration by Tournemire in 1933.

David Erwin played the Franck E Major Choral using exclusively the Franck stops including signature stops of great beauty: vox humana, Swell trompette and hautbois combined, and the solo harmonic flute. Mme. Langlais played part of the Seven Words of Christ by Tournemire, and Angela Kraft Cross played "La Nativité" from the Poèmes Évangéliques by Langlais.

Mme. Langlais introduced Jacques Taddei, who demonstrated the solo and ensemble stops of the organ: 1. Positiv and Grand Orgue flutes in a scherzo; 2. The Récit gamba and celestes with the beautiful Positiv clarinet (really a cromorne); 3. Grand Orgue trumpet with fonds of the Récit; 4. Positiv cromorne with cornet of the Grand Orgue; 5. Ensemble of fonds of the Grand Orgue and Positiv and fonds of the Swell including oboe; 6. Flutes of the Grand Orgue and Récit which have been restored as harmonic flutes; 7. Restored larigot and 1', added by Tournemire in 1913, are now more integrated into the organ. Taddei then improvised on two themes submitted by Mme. Langlais: a Breton folk song and the hymn "If thou but suffer God to guide thee."

For the July 8 Sunday Mass at Sainte-Clotilde, six seminar participants were invited by Mme. Langlais to present musical offerings during the service. Literature included: Improvisation on Ave Maris Stella (Tournemire), Louise Bass (Albuquerque, New Mexico); Grand Jeu (Corrette), John Walko; Choral Dorien (Alain), Jack Jones; "Mon âme cherche un fin paisable" (from Nine Pieces, Langlais), John Walko; "Communion" (from Suite Médiévale, Langlais), Kay McAfee; Variations on a theme of Janequin (Alain), Jill Hunt (Evanston, Illinois); "Final" (from Symphonie I, Vierne), Angela Kraft Cross.

Saint-Sulpice

At Saint-Sulpice, a massive Roman style church with rounded interior arches, tourists are dazzled by the huge paintings in its side-chapels, two of them by Delacroix. The imposing case of the Grand Orgue, designed by the 18th-century architect of the church, Monsieur Chalgrin, matches the enormity and weight of the interior. Organists at Saint-Sulpice have included Guillaume Nivers, Clérambault, Lefébure-Wély, Widor, Dupré, Grunenwald, and presently, Daniel Roth. Clicquot built the first instrument in 1781. That organ was of five manuals: Half-Récit, Half-Echo, Récit, Bombarde, Grand Orgue, and Positiv. In 1835, a proposed restoration by Callinet was begun but was abandoned; 60,000 francs and twenty years later, Cavaillé-Coll undertook the project. At the time there were three organs in the church, the Grand Orgue, a Choir organ, and a smaller instrument owned by the Dauphin. Cavaillé-Coll restored all of them, and the choir organ survives today. The grand orgue is of 102 stops, including the original Clicquot pipework which Cavaillé-Coll carefully preserved. At the completion of the work in 1862, the dedication featured César Franck, Camille Saint-Saëns, Alexandre Guilmant, and Gaylord Schmidt (the titulaire at the time). In 1863 Lefébure-Wély was appointed organist, and when he died six years later, Cavaillé-Coll recommended Widor as titulaire. Because of Widor's youth (26) and the observation that "he plays like a German," many letters of protest were written. However, Widor was named "provisional" organist and remained for 63 years. Further maintenance of the organ occurred in 1903 (Mutin, Cavaillé-Coll's successor) and in 1991 (Renaud).

Neither Widor nor his successor Dupré (1933-1971) allowed any major changes in the pipework at Saint-Sulpice through the Orgelbewegung and neo-classic movements of the 20th century. Widor supervised cleaning of the organ three times and in the 1920s an electric blower was added. Dupré had the organ cleaned and repaired in the 1950s. The unbroken tenure of over 100 years by these two organist-composers effected the presence of a largely unaltered example of Cavaillé-Coll's tonal design.

Notre Dame d'Auteuil

At Notre Dame d'Auteuil in a quiet, upscale neighborhood close to the southwest boundary of Paris, Frédéric Blanc, who was one of the last students of Marie-Madeleine Duruflé, introduced Mme. Duruflé's sister, Elaine Chevalier. She is a member of the parish and head of the new Duruflé Foundation. Blanc, a gifted musician, has been titular organist here for 21⁄2 years. The organ is very special because it is an unaltered 1885 Cavaillé-Coll. Widor and Dallier played the inauguration. Mutin restored the organ in 1912 and again in 1937-38 under the direction of Vierne and with approval from Duruflé and Dupré. An electrified console was added.

The organ was virtually ignored through the Neo-Classical movement and managed to remain untouched, primarily because the organist who preceded Blanc was there for fifty years, and the instrument remained "closed." It is of three manuals and 53 stops with both Récit and Positiv under expression.

Blanc then conducted a session concerning the tradition of improvisation practiced by French organists who study the art from the time they are young children. Improvisation is always a mix of composition and freedom. Control is necessary, with effective use of stop combinations: flutes and fonds, solo stops with celestes, and with a mixture of counterpoint and chordal harmonies. Blanc: "Start simply. Control the harmony according to theoretical principles. A chosen theme should have both melodic and rhythmic interest. In preluding for the service or providing meditation for communion, there should be a plan for the shape of the form." He talked about how ideas come quickly for the good improviser and that those ideas have to be molded quickly. The time spent practicing improvisation will result in the tools for being free with those ideas that come quickly.

Saint-Étienne-du-Mont

Across from the Pantheon and near the beautiful Luxembourg Gardens is located Saint-Étienne-du-Mont, the church where Maurice and Marie-Madeleine Duruflé served for over 50 years. There was an organ here first in 1633 to which François Clicquot contributed. Today only the magnificent case survives along with some of the original Clicquot pipes. Randy Runyon, French professor at Miami of Ohio University, introduced and translated for Vincent Warnier, the talented young winner of the Grand Prix International d'Orgue de Chartres in 1992, who assumed the post of titulaire here upon the death of Mme. Duruflé.

Warnier related the history of the organ, which evolved very differently than other Parisian instruments. In the 19th century, when the romantic and symphonic sound was valued, Cavaillé-Coll was asked to restore the organ, the work for which was completed in 1863. He added many Romantic voices--fonds, harmonic flute, an expressive Récit with voix celeste--and a Barker machine.

In 1930, at age 28, Duruflé was named titlular organist. He arrived to find the organ virtually unplayable, and with Vierne and Dupré, they envisioned a restoration. But WWII intervened. Duruflé had to play a choir organ of only 12 stops for 25 years. In 1955 the organ was finally restored. Duruflé had been Vierne's assistant at Notre-Dame and he very much wanted to recreate that organ here. The 48 ranks became 90, and the new electrified console was placed to the right of the instrument.

Because the original case was small, the pipes were spread out. Above the west entrance doors, pipes are visible with some placed on their sides. The Echo manual is completely to the side of the original case, and gives a sense of mystery to the tonal palette. This is not an historical restoration, but the dynamic range is enormous, with impressionistic colors and an impressive tutti. In 1989, Mme. Duruflé enlisted the Dargassies firm to restore the organ. At that time the console was further modernized, mixtures were revoiced, and fonds and an en chamade were added. Today the organ is an eclectic instrument.

La Madeleine

At La Madeleine, François Henri-Houbart, titular organist for the past 22 years, related the history of the colorful musicians and composers who have served this most civic and visible of Parisian churches. During Lefébure-Wély's era in the early 19th century, the church was considered "an annex of the Opéra Comique," because the music heard was often of the salon and theatrical varieties. When Houbart arrived, the organ was in a poor state of repair. Houbart oversaw a restoration of the windchests, the restoration of the wind pressure as prescribed by Cavaillé-Coll, and the modification of the newer stops so that they integrate well within the original pipework.

The organ (1845-46) is Cavaillé-Coll's second large instrument after Saint-Dénis and Notre-Dame-de-Lorette. This instrument, originally of 48 stops, represents the transition to the Romantic-symphonic ethos of Cavaillé-Coll. The fonds, reeds, and plein jeu provide a Classic foundation (after Dom Bédos). There is no cromorne or cornet. The Récit is the same as Sainte-Clotilde but without the voix celeste. The organ has a large quantity of flutes, especially harmonic flutes, representing Cavaillé-Coll's transition to the orchestral organ. Today the organ has 58 stops, with 46 from the original instrument.

The organ underwent a restoration in 1927 for which Widor played the dedicatory recital. The program included his Suite Latine, which was written for the occasion. The console was electrified in 1971. The heritage of organists include Fessy, Lefébure-Wély, Saint-Saëns, Dubois, Fauré, Dallier, and Demes-sieux. Fauré was first the choir organist and he assisted Saint-Saëns. When Fauré became titulaire, Nadia Bou-langer was his assistant. Clara Schumann, Franz Liszt, and Anton Rubenstein frequented the organ loft.

The choir organ was also built by Cavaillé-Coll. At first it had only one keyboard, but he added another to encompass 20 stops. It was restored in 1997. The bassoon, oboe, and clarion are original stops. Houbart's fine improvisation included demonstration of the Cavaillé-Coll stops, then of the newer stops, then all together. Houbart related that once every three years he plays an all-Lefébure-Wély Mass, which he would do that evening at 6 pm, Sunday at 11 am, and Sunday evening at 6 pm. For participants who wanted to attend, about ten people at a time could visit the organ loft. He mentioned that Lefébure-Wély  wrote a number of excellent anthems and choral music for the Mass, and that Saint-Saëns, who was a detractor, actually admired his improvisations.

Schola Cantorum

At the Schola Cantorum, Mme. Langlais told of the school and its Mutin organ (Mutin took over the firm after Cavaillé-Coll's death). Founded in 1896 by Charles Bordes, Alexandre Guilmant, and Vincent d'Indy, it was established for the study of the restoration of Gregorian chant after Solesmes and to re-introduce the Grand Orgue. The Schola was not as competitive as the Conservatory. A temple of "non-official" music, teachers included Guilmant, Vierne, the Duruflés, Grunenwald, Langlais, Satie, Martin˚u, and Turina. Students included Milhaud, Roussel, and Debussy.

One of Mme. Langlais's students, Verouchka Nikitine, played a fine recital which included Vierne, "Allegro et Cantilene" (Symphonie 3); Widor, "Allegro" (Symphonie 6); Langlais, "Communion" (Suite Médiévale); and Jean-Louis Florentz (b. 1947), two movements from Laudes. Participants enjoyed a light buffet supper prepared by Mme. Langlais and her daughter Caroline.

Participants chose among several churches to attend Sunday morning. The afternoon event was a recital at Notre-Dame-de-Paris which consisted of music of Mendelssohn and Bach. The church was full and pleasantly respectful as the recital proceeded. The organist experienced difficulty with registration changes, and it was somewhat disappointing to hear an all-German recital on this, the largest instrument in Paris. Playing time was allowed after the cathedral closed its doors to the public.

Saint-Étienne, Caen, Chartres

Participants boarded a bus for the 200 kilometer drive through the lovely countryside to Normandy and the city of Caen. Saint-Étienne houses a large Cavaillé-Coll instrument which is a-mong the three finest and largely unaltered organs of the builder. The others are at Saint-Sulpice and at Saint-Ouen in Rouen. Phillip Klais, president of the Klais firm of Bonn, Germany, introduced tonal director Heinz-Gunter Habbig. Habbig studied with the last voicer of the Cavaillé-Coll tradition, and he has made extensive studies of the organs at Saint-Ouen, Saint-Omer, Saint-Sulpice, and Saint-Sernin. Habek has directed several Cavaillé-Coll restorations, and his presentation of this instrument and discussion of the Cavaillé-Coll ethos was filled with reverence for the work of such a master craftsman.

The Abbey Church of Caen was a famous center of art education in the Middle Ages, but there is no record of an organ until the 15th century. In May of 1562, Protestants ransacked the church and ruined the organ. 200 years later, in 1737, the monks engaged a builder in Ouen and that organ's oak case, from 1741, its towers crowned with flower pots, remains today. On February 10, 1745, the organ was completed, a remarkable 18th-century specimen with five manuals and 61 stops. The first three manuals had a compass of 53 notes, a first in France, and the pedal was complete with a 16' and cornet.

The organ was endangered during the French revolution but suffered only neglect. In 1859 there was a restoration, and by 1877 more repairs were needed, and Cavaillé-Coll was asked to give an opinion. It was decided, with approval of Guilmant, that the old case and old façade pipes would be retained, with an addition of 8 stops. New wind chests and blower, new action, and new pipework were built in one year; the manual compass was increased to 56 notes. On March 3, 1885, Guilmant played the dedication recital. Repairs were needed in 1899 and the organ was given excellent care through to 1944. In January of 1975, the Secretary of Culture placed the instrument on the National Register of Historic Monuments. In 1998-99 there was another restoration.

Lynne Davis, a native of Michigan who has lived in France for 30 years, has for five years been Professor of the National Regional Conservatory at Caen. She studied with Marie-Claire Alain, Jean Langlais, and the Duruflés. Her studio of 20-25 students is privileged to practice and take lessons at Saint-Étienne and also to play the choir organ which is a Baroque instrument. After speaking of her immense affection for this great instrument, Ms. Davis played "Nef" and "Rosace" from Byzantine Sketches by Mulet, Cantabile by Franck, and Toccata by Vierne. Participants were then allowed generous playing time.

Part of the group continued on to Chartres to hear assistant organist Laurent Bois play and then all had the opportunity to play the great 1971 Danion-Gonzalez organ of 69 stops.

Participants returned to Paris and prepared to depart for Alsace for the second week of the French Organ Music Seminar.

(A report on the Alsace week will appear in a later issue of The Diapason.)

by Larry Palmer

Larry Palmer is a contributing editor of THE DIAPASON.

A concert of music for organ and orchestra featured the outstanding Oberlin Orchestra, comprising undergraduate students, conducted by Paul Polivnick.  Soloists were Haskell Thomson and David Boe, the current organ faculty members.

 

Rain, persistent earlier in the week, had given way to an achingly beautiful, dry and crisp fall day, perfect weather for celebration. Nature's affirmation of life's beauty made even more moving an added opening tribute to the victims of the September 11th terrorist attacks, the quietly noble "Nimrod" from Edward Elgar's Enigma Variations, followed immediately by a passionate rendition of our national anthem, which allowed the first hearing of the new organ.

The planned program began with Robert Sirota's In the Fullness of Time, a celebratory noise of organ, brass and percussion, and the ubiquitous "Organ" Symphony (the third) of Camille Saint-Saëns, with Boe at the keyboards. He got the hush of the quiet organ entrance just right, revealing immediately a warmth of sound to complement the patina of the stately mahogany case, the central and lower parts of which came from the chapel's original organ, E. M. Skinner's opus 230 (1915).

The "other" keyboard part, played by pianist Isadora Pastragus (and assisted in the several four-hand measures by Aymeric Dupré la Tour), was spot on. Balances were well-conceived throughout. The horns had a rough night. In the second part of the concert, Haskell Thomson gave a thoroughly satisfying performance of Joseph Jongen's virtuoso Symphonie Concertante, showcasing the organ's many colors with unerring fingers and feet.

Oberlin's traditional foot-stomping ovation, much more collegial than a standing one ever could be, vibrated the floor of the Chapel gallery, evoking for me memories of such enthusiastic demonstrations at concerts heard in years long past. It was exactly 45 years ago that I came to Oberlin as a freshman, to be shaped and nurtured by such exemplary teachers as organists Leo Holden and Fenner Douglass, as well as choral conductor Robert Fountain, whose St. John Passion here had been accompanied by a violent thunder storm, underlining the musical drama even further. Another unforgettable mentor was Robert Melcher, truly a "virtuoso" theory teacher, always in attendance at artist recitals in this hall: concerts such as those by baritone Gérard Souzay, pianists Glenn Gould (Bach's Goldberg Variations) and Van Cliburn (whose signature rendition of The Star Spangled Banner caused consternation, and a delayed patriotic standing, among those who mistook its downward major triadic opening for the first bar of the program-opener, Beethoven's Appassionata Sonata, which begins with a similar descending figure, but in the minor). And, perhaps most memorable of all, an appearance by the 20th century's most commanding composer, Igor Stravinsky, who crowned a week's residency at Oberlin by hobbling onto the stage to conduct a soaring, incandescent performance of his Symphony of Psalms.

Back in the present it was not ghostly figures from Oberlin's illustrious past, but a large group of living alumni who joined others from the capacity audience to congratulate the performers, comment on the new organ, and revel late into the night at the open reception following the concert.  Set in the spacious Root Room of the former Carnegie Library, now the Admissions Center for the College, the festivities were graced by a striking ice sculpture of the new organ, tables of elegantly presented food, and those all-important reunions with classmates and friends, many not seen for far too many years.

Formal dedication ceremonies for the Kay Africa Memorial Organ were scheduled for Saturday morning. Senior organ major Daniel Sullivan opened the proceedings with a splendid, assured and memorized performance of the Duruflé Toccata from Suite, opus 5. Robert Dodson, Dean of the Oberlin Conservatory, introduced the two professors of organ, both of whom made brief, graceful remarks of gratitude to the donors who had made the new organ possible. Steven Dieck, president of C. B. Fisk, presented Boe and Thomson each with a symbolic key to the new organ, and noted the more than 40,000 hours of building and voicing time accomplished by the Fisk staff, one-third of whom were in attendance.

Dieck also acknowledged the work of acoustician Dana Kirkegaard, whose recommendations for improvements to Finney Chapel's acoustics were accepted not only by the school's musicians, but by the administration and Board of Trustees, as well. Bringing the organ fourteen feet forward of the former instrument's placement allowed it to speak in front of the proscenium arch, directly into the Chapel. Hardening the walls behind the instrument as well as the ceiling of the first two bays directly above the organ helped in projecting a more vibrant sound with better bass response, as has the addition of thicker glass to the windows nearest the organ. More could still be done, of course, to increase reverberation time in the building, and it is to be hoped that funds will be available to continue the treatment of the remaining sections of ceiling as a first step toward this goal.

In her gracious remarks Oberlin's president, Nancy S. Dye, noted that 54 of the organ's 4,014 pipes had been "endowed" by specific donors. She reminded her listeners that many opportunities to contribute to this funding remained.

Karen Flint, a member of the Board of Trustees, presented her former organ teacher, Fenner Douglass of Oberlin's class of 1942, for the honorary degree, Doctor of Music, which was conferred on him by President Dye. Mr. Douglass, Professor Emeritus of Music from Duke University, holds additional degrees from Oberlin: the Bachelor of Music in 1943 and Master of Music in 1949. His scholarly contributions to our knowledge of the historical organ include his books The Language of the Classical French Organ: A Musical Tradition Before 1800 (Yale University Press, 1969, revised edition, 1995) and Cavaillé-Coll and the Musicians: A Documented Account of His First Thirty Years in Organ Building (Sunbury Press, 1980; republished in a newly formatted edition as Cavaillé-Coll and the French Romantic Tradition, by Yale University Press, 1999). Together with Grigg Fountain, Oberlin's other "young Turk" of the 1950s, Douglass charted a course for acquiring historically-informed organs and harpsichords for the Conservatory. Additionally, he was instrumental in obtaining the Kay Africa bequest for Oberlin, a bequest that contributed the major initial funding for the planning and building of the Fisk organ. At this ceremony Mr. Douglass was moving slowly, the result of a recent fall from the walk board of an organ for which he was serving as consultant. There was, however, no diminishing of the wit and mental agility for which he has long been known, as he demonstrated by his address to the assembly.

Introducing this lecture by his former faculty colleague, David Boe noted that Oberlin's most recent previous honorary degree to a member of the organ community had gone to Dutch organ builder Dirk Flentrop in 1968. (Not quite true: the College conferred an honorary doctorate on E. Power Biggs in November 1974.) Now aged 91 and unable to be present to honor his longtime friend and colleague, Dr. Flentrop sent a congratulatory message to be read at the ceremony. Dr. Douglass also received an honorary key to the organ from the Fisk firm.

In his wide-ranging address "Glancing Back to Shape the Future" Professor Douglass traced much of the history of Oberlin's commitment to music, as the first American college to hire a music professor, in 1841, not all that long after the founding of the institution in 1833; its acquisition of a separate Conservatory of Music in 1866 through the purchase (for $1800, including two turtledoves!) of an independent music school founded the previous year; and its confirmation of academic status for the discipline in  1903, when the first music degrees were approved (previously Oberlin had awarded only diplomas in music).

A commitment to organ study began with the appointment of organ professor George Whitfield Andrews, age 21, in 1882. During his 49-year tenure the three-manual Roosevelt organ in the old Warner Concert Hall and the four-manual E. M. Skinner instrument in Finney Chapel were installed. The Warner Hall instrument was enlarged by E. M. Skinner, then rebuilt in the late 1940s by Walter Holtkamp to bring it more in line with changing tastes in organ design, while the Finney Chapel instrument, too, was rebuilt by the Aeolian-Skinner Organ Company in the style of the American "organ reform" movement.

Oberlin's first Flentrop mechanical-action organ, a one-manual Positiv, was acquired by the Conservatory in 1956. (I remember well trying to practice even trio sonatas on this incredibly responsive and beautifully voiced musical instrument!) Nine Flentrop practice and studio organs were ordered for the new Conservatory building, completed in the early 1960s, followed by the masterful 44-stop, 3,400-pipe instrument in the north German style installed in the new Warner Concert Hall by the Flentrop firm in 1974. Appropriately this instrument was dedicated to the memory of Dr. George W. Andrews, in honor of his lifetime devotion to Oberlin Conservatory. A smaller 12-stop instrument in an early 17th-century style inspired by German builders Gottfried Fritzsche and Friedrich Stellwagen was placed in Fairchild Chapel by John Brombaugh and Company in 1981.

Now Oberlin has completed a trio of major period instruments with the installation of its organ in the French symphonic style of Aristide Cavaillé-Coll. All three instruments are situated within easy walking distance, around Oberlin's central Tappan Square! More organological riches are to be found in Oberlin's churches--also close at hand: two-manual instruments by Flentrop at Christ Episcopal, Brombaugh at First Methodist, Bedient in the Lutheran Church, and soon, it is hoped, a new mechanical-action instrument will be built for Oberlin's First Church (Congregational), founded in 1834. Douglass compared Oberlin's organ "museum" to the rich 20th-century gems of architecture found in another small community, Columbus, Indiana.

A comparison of two organ departments, Oberlin and the Eastman School of Music of the University of Rochester, New York, occupied much of the remainder of Douglass' talk. Oberlin's ongoing commitment to historic instruments and its wealth of organs was contrasted with the lack of historically-styled instruments at Eastman.

As a direction for the future, Douglass urged Oberlin to consider establishing an institute for advanced organ studies modeled after the Göteborg Organ Academy, and noted that the appointment of Göteborg's Hans Davidsson to the Eastman School organ faculty and the devising of a master plan to endow that institution with a comprehensive collection of period keyboard instruments could lead to a mutually beneficial cooperation.

An unscheduled afternoon allowed the opportunity to wander about the campus, enjoying again the various architectural strata represented by Oberlin's buildings, from solid late 19th-century Victorian landmarks to the Italian Renaissance-inspired creations of 20th-century Cass Gilbert, the classic modernist simplicity of Wallace Harrison's small mid-century auditorium, and the concrete "radiator Gothic" of Minoru Yamasaki's Conservatory buildings. Oberlin has long made a virtue of architectural eclecticism, and by choosing not to have every building on campus look alike, the school has developed its own unique style: a unity of diversities. The center of the campus, both physically and emotionally, is a large, forested square, where at this particular time student reaction to our recent national tragedy was to be seen at a large rock, normally painted with bright colored announcements of campus events, now black and surrounded by memorial flowers, placed there in remembrance and sorrow.

Saturday evening's events revolved around the solo recitals played by David Boe and Haskell Thomson. The patriotic and memorial themes were continued with the dedication of the program to the victims of the September 11th terrorist attacks, and the singing of the hymn America the Beautiful as an opening invocation.

Boe offered literal readings of the Final from Symphonie I (Vierne), La Vallée du Béhorléguy au matin from Paysages euskariens (Ermend Bonnal), and Grande Pièce Symphonique (Franck). The organ provided an exquisitely balanced Hautbois with the Swell Foundation stops; a distinctive, singing Positif Clarinette; beautiful Swell Strings suitably supported by the 32-foot Pedal Soubasse; and a rousing final movement Grand Choeur, complete with Octaves Graves at the end. For this concert I exchanged my front row balcony seat of the previous evening for a fifth row "center orchestra" one on the main floor. Here the organ had much more presence and the hall seemed more reverberant.

After intermission Thomson played Variations on Veni Creator (Duruflé) with the intervening chants sung by four organ students (David Kazimir, Thatcher Lyman, Timothy Spelbring, and Jared Stahler); the Andante sostenuto from Symphonie gothique (Widor) gave an opportunity to revel in the creamy orchestral solo voice of the Flûte harmonique; Communion: The birds and the springs and Sortie: The wind of the Spirit from the Pentecost Mass (Messiaen) proved to be the outstanding music making of the evening, during which Messiaen's ecstatic bird calls elicited an echoing whistle from a wandering avian fancier outside the chapel; Choral in A minor (Franck), where, for once, Franck's specified opening registration made sense; and finally, to show off the Orage (Thunder) pedal of the organ, Scène pastorale (for the inauguration of an organ) by L.J.A. Lefébure-Wély. Quel orage indeed!

Before this lengthy concert Roger Sherman moderated a panel presentation by Steven Dieck and David Pike of C. B. Fisk and Dana Kirkegaard, the consulting acoustician for the organ project. Background information on Cavaillé-Coll and the type of sound his organs produced (a "cantabile whine" according to Charles Fisk), the almost pure (95%) tin content of many pipes in the new organ (rather than Fisk's more usual 70-75%) as an attempt to emulate Cavaillé-Coll's even higher tin proportion; the more favorable forward placement of this organ and acoustical treatment of parts of the chapel that resulted in improved bass response and a subsequent enhancement of the reverberation time by 1/3 second were among the topics discussed.

Following the program Oberlin organ alumni and friends were treated to a wine and cheese reception in venerable Peters Hall (1885/87), where current organ students made a presentation of signed and framed dedication-event posters to their hard-working professors.

Finally, on Sunday the consoles of all three of the major Oberlin organs were made available to visiting alumni. The new instrument sounded spectacular in the now-empty Finney Chapel. I am happy to report that, with the help of student host David Kazimir, the French ventil system was negotiated smoothly (a simple pushing of the "Mode" button converts the organ from its multi-level American piston system to the wind-on-and-off French system of Cavaillé-Coll with the stops available on the ventils indicated by red printing, rather than the usual black, on their stop knobs). Fisk's adaptation of the 19th-century Barker Machine, the Servo-Pneumatic Lever allows tension-free playing of the coupled manuals, as well as the employment of the mechanical 16-foot coupler, the Octaves Graves (which operates on the Grand Orgue and any keyboards coupled to it). As for voicing, refinement and beauty of sound remain in the memory, as does the elegant differentiation among the 8-foot Principals of each division of the organ, the stops cohesive, yet each with its individual character.

Thus the "progression to the past" of the previous half-century has borne rich fruit in this very special educational setting. But is it not fair to remind ourselves that, had Oberlin kept its own earlier instruments by Roosevelt, Skinner, Holtkamp and the Christ Church Johnson, its character as an American center for organ study would have been enriched with unique period instruments from our own historic past? Hindsight is always easier than foresight, of course, but a wistful remark from longtime Oberlin music professor W. K. Breckenridge, commenting on the seemingly obligatory European organ study of the post World War Two period, seems to have been perfectly accurate. "No wonder," he said, "that all the young ones go off to Europe to see old organs. All the ones here have been replaced."

As a product of those off-to-Europe years I am delighted to see (and hear) the results of our heightened interest in historic and stylistic matters. I only hope that succeeding generations will grant that we "got it right."  Whatever the verdict, surely an ability to perform the organ music of the 19th-century French symphonists on such an appropriate instrument cannot fail to add a valuable further dimension to the musical experience at Oberlin. Gregory Bover, Fisk's project manager for opus 116, wrote, "We commend this instrument to the present and future faculty and students . . . as an avenue to France in the late 1800s."  It is commended, as well, to those devotees of the organ who will make their way, not to Europe, but to the remarkable organs of this small college town west of Cleveland.

Sources consulted:

* Publications of Oberlin College:

Celebrate: The Program of the Kay Africa Memorial Organ Dedication Events, September 28-30, 2001.

Gail Taylor: A Symphony of Old and New--Oberlin's C. B. Fisk Organ. Oberlin Conservatory Magazine, Spring 2001.

Oberlin College Conservatory of Music presents The Dedication and Inaugural Recital of the George Whitfield Andrews Organ, Friday, November 22, 1974. (The program contains unsigned articles about Flentrop, Biggs, Andrews, and "A Brief History of Warner Hall Organs").

9.11.01: Oberlin Reflections [On the Events of That Day]. Published by the Office of College Relations, 2001.

* The American Organist, July 2001:

Cover Feature: Oberlin's C. B. Fisk Organ. (Contains Statements from the Organ Faculty, Haskell Thomson and David Boe, and from the Organbuilders, written by Gregory Bover.)

* The Diapason, November 1962

"Oberlin Realizes a Dream" (Pictures and specifications of the new practice and studio organs for the Conservatory of Music).

Special thanks to Oberlin historian and organ department friend Richard Lothrop for anecdotal and historical information, as well as for his hospitality during the Fisk dedication weekend.

Fisk Opus 116

Finney Chapel, Oberlin College, Oberlin, Ohio

GRAND ORGUE (Manual I)

                  16'          Montre

                  16'          Bourdon

                  8'             Montre

                  8'             Gambe

                  8'             Flûte harmonique

                  8'             Bourdon

                  4'             Prestant

                  4'             Octave

                  2'             Doublette

                                    Grande Fourniture II

                                    Petite Fourniture V-VIII

                                    Dessus de Cornet V

                  16'          Bombarde

                  8'             Trompette

                  4'             Clairon

POSITIF (Manual II, enclosed)

                  16'          Quintaton

                  8'             Principal

                  8'             Salicional

                  8'             Unda maris

                  8'             Cor de Nuit

                  4'             Prestant

                  4'             Flûte douce

                  22⁄3'      Nasard

                  2'             Doublette

                  13⁄5'      Tierce

                  11⁄3'      Larigot

                  1'             Piccolo

                                    Plein jeu IV

                  16'          Cor anglais

                  8'             Trompette

                  8'             Clarinette

RÉCIT (Manual III, enclosed)

                  16'          Bourdon

                  8'             Diapason

                  8'             Viole de Gambe

                  8'             Voix céleste

                  8'             Flûte traversière

                  8'             Bourdon

                  4'             Dulciane

                  4'             Flûte octaviante

                  2'             Octavin

                                    Plein jeu IV

                  16'          Basson

                  8'             Trompette

                  8'             Basson-Hautbois

                  8'             Voix humaine

                  4'             Clairon

PÉDALE

                  32'          Montre (ext)

                  32'          Bourdon (ext, Soubasse)

                  16'          Contrebasse

                  16'          Montre (G.O.)

                  16'          Violonbasse

                  16'          Soubasse

                  8'             Flûte

                  8'             Violoncelle

                  8'             Bourdon

                  4'             Flûte

                  32'          Contre Bombarde

                  16'          Bombarde

                  8'             Trompette

                  4'             Clairon

                                    Pédales de combinaison

                                    Hook-down pedals

                                    (available in Mode français)

                                    Tirasse Grand Orgue

                                    Tirasse Positif

                                    Tirasse Récit

                                    Copula Positif/Grand Orgue

                                    Copula Récit/Grand Orgue

                                    Copula Récit/Positif

                                    Grand Orgue sur la machine

                                    Octaves graves Grand Orgue

                                    Anches Pédale

                                    Anches Grand Orgue

                                    Anches Positif

                                    Anches Récit

                                    Trémolo Récit

                                    Trémolo Positif

                                    Effet d'orage

                                    Coupler drawknobs above Récit

                                    (available in American Mode)

                                    Grand Orgue/Pédale

                                    Positif/Pédale

                                    Récit/Pédale

                                    Positif/Grand Orgue

                                    Récit/Grand Orgue

                                    Octaves graves G.O.

                                    Récit/Positif

                                    Récit Trémolo

                                    Positif Trémolo

by Martin Jean

An important project is happening in Göteborg, Sweden. In August, 1998, along with about 100 organists from all over the world, I attended the International Organ Academy of GoArt: Göteborg Organ Art Center, at Göteborg University, Sweden. This has become a major center of research, organ-building, teaching and performing. A recent visit there last year was the occasion to observe progress on the building of a four-manual, 54-stop, mean-tone organ after the style of the late-17th century in North Germany. The organ will be unveiled at the biennial International Organ Academy in Göteborg, August 5-18, 2000. For the background and purposes of GoArt, see the article by Pamela Ruiter-Feenstra (The American Organist, July, 1996) and their Web-page (URL: www.hum.gu.se/goart/organac.htm); here I will summarize briefly.

 

 

The Göteborg Organ Art Center is the brainchild of Hans Davidsson, a GU music faculty member and brilliant young organist and musicologist, working under the inspiration of Jacques Van Oortmersson and Harald Vogel. It was begun in January 1995 as an inter-disciplinary center for organ research and performance bringing together the strengths of the Göteborg University Musicology Department and the School of Music. It is now an independent center in the GU administrative structure. An international panel of musicians advises GoArt, including Jean Boyer, Pieter Dirksen, Frederick K. Gable, Ludger Lohmann, André Marçon, Kimberly Marshall, Hans van Nieuwkoop, Jacques Van Oortmersson, William Porter, Pamela Ruiter-Feenstra, Kerala Snyder, Axel Unnerbäck, Joris Verdin, and Harald Vogel.

GoArt's stated objective is to cover the entire spectrum of the art of the organ by linking the efforts of musicologists, performers, and organ builders, in order to study historic instruments, documents, music and performance practice issues. This blurring of traditional lines has led to a center that is bursting with energy and creativity and whose impact on the organ world is already keenly felt.

This multi-disciplinary approach has produced a number of tangible outcomes:

* the establishment of archives containing musical sources on micro-film, photographs and other media;

* education and research, with the emphasis on historically informed and discerning music-making;

* a wide-ranging collection of instruments, drawing inspiration from the many golden ages of organ playing;

* in-depth studies of the relationships between organ art and history, aesthetics, ideology and liturgy;

* dedicated well-rounded artistic training aimed at producing musicians who are able to balance intuition with intellect;

* the reconstruction of instruments on scientific principles which will serve as primary sources of information about performance practice.

The current six-year long project is entitled "Changing Processes in North European Organ Art: 1600-1970 - Integrated Studies on Performance Practice and Instrument Construction." This integration of performance, literature, and musicological research is linked together by the instruments--the hallmark of GoArt--valued as an indispensable research tool in the organ performance. This collection of organs in various styles includes a mean-tone organ by John Brombaugh in the Haga Church (2 manuals and pedal; 21 stops); a 19th-century French style organ built by the Dutch builder Verschueren (3 manuals and pedal; 43 stops, featured in the 1998 GoArt Organ Academy) housed in the recital hall of the School of Music; a "Father" Henry Willis organ built in 1871 housed and in the Örgryte Church (3 manuals and pedal, 31 stops); an instrument inspired by the Swedish Baroque style built by Gustavsson (2 manuals and pedal; 16 stops); and a pedal clavichord reconstructed by Joel Speerstra after the Gerstenberg instrument in Leipzig. (This is used to explore the connections between clavichord and organ techniques.)

Housed in the Örgryte Church, the organ currently in production is the aforementioned North German style mean-tone organ, using the work of Arp Schnitger as a primary model but also incoporating aspects by earlier builders such as Scherer and Fritzsche. Visually, it uses as a model the now defunct Schnitger organ of the Lübeck Dom. Tonally, the new organ is inspired by the organ of St. Jakobi, Hamburg, but also incorporates aspects of the organs of the Aa-Kerk, Groningen and St. Cosmae, Stade.

Some of the most sophisticated research into historic organ-building methods is being carried out and put into practice jointly by scientists of the Chalmers Institute of Technology in Göteborg and Master Organbuilders at GoArt (Hans Van Eeken, head draftsman; Mats Arvidsson, responsible for construction of the organ, excluding organ pipes; and Munetaka Yakoto, research and organ pipe production). The collaboration among these scientists and artisans has yielded new thoughts and discoveries in air-flow, acoustics of the room and the organ chamber, and materials and pipe construction.

One of the most interesting achievements of this project has been the retrieval of pipe making methods that were used until the time of the Industrial Revolution. The scientists at the Chalmers Institute were able to ascertain the formula for many metal alloys used by Schnitger and others. Organologists explored church records and the annals of builders of the time in order to re-construct the method of casting pipe metal on sand. This affects the cooling process of the pipe metal, thereby affecting the molecular structure, and ultimately the quality of the metal and the sound. Quite possibly this is the first time these techniques have been used since the early 18th century, and the people at GoArt are convinced that this old technique is, in part, responsible for the special sound quality of historic organs. More information on the North German organ, including the stop-list and a description of the church in which it is housed can be found on the GoArt web site: http://www.hum.gu.se/goart/w3b.htm#ngorp.

But all of this research could be mere mental gymnastics were it not brought to life by a vital and informed faculty in performance best displayed at the biennial GoArt conferences. In order to promote the next International Organ Academy, allow me to recall a few events from 1998.

This two-week course had several themes: one week devoted to "Aristide Cavaillé-Coll and the French Symphonic Organ," another to "The North German Organ" with special emphasis on the chorale fantasia, and an extended weekend symposium on "The Organ and Liturgy." The schedule was grueling yet rewarding, especially if you were willing to participate fully. Sessions began usually at 9 am and carried through until the late evening. It was not possible to attend everything, but a mere perusal of the program tells one of the richness of our legacy. Four primary kinds of meetings call the academy together (98% of which are done in English): master-classes, lectures, workshops, and recitals. Among some of the more engaging pedagogical experiences of the last academy were a session on Froberger by Ludger Lohmann of Stuttgart, a class on Alain by Jacques Van Oortmerssen (Amsterdam), an exploration of Franck's chorales by Jean Boyer (Lyon), and a class on Italian Baroque music by André Marçon (Bern).

The workshops were a cross between master-class and lecture and allowed listeners to focus on specific aspects of research as it relates to performance practice. Kimberly Marshall devoted two of her sessions to the genesis of early liturgical music for the organ and the music of Jeanne Demessieux. Pamela Ruiter-Feenstra unveiled some of her latest discoveries in the pedagogy of improvisation in the late 18th century. André Marçon led a detailed analysis of Frescobaldi's "Fiori Musicali" and alternatim practice in Baroque Italy. William Porter gave an insightful workshop on "Generating Principles of the Late 17th-century North German 'Praeludium'."

The lectures are too numerous to list but were nonetheless provocative and memorable. Jesse Eschbach, on the verge of the publication of his new book on Cavaillé-Coll, discussed the organ builder's thoughts on modernizing Classical and Post-Classical organs. Jean Ferrard discussed Cavaillé-Coll's relationships with Lemmens, Loret and Franck. Pieter Dirksen (a brilliant young musicologist who has recently published a book on the keyboard works of Sweelinck) spoke about Lübeck and Bruhns and the final stages of the North German chorale fantasia. Kerala Snyder explored Bach and the Lutheran liturgy and the unlikely topic of the connections between the French tradition and Buxtehude. Fenner Douglas gave a withering and yet very accurate appraisal of the neo-classic renovations that happened to historic French organs in the 1950s-70s.

And now to the heart of the matter--performance. Were it not for this aspect, GoArt may be little more than a meeting for musicologists. But in these two weeks, I heard fine organ playing on beautiful instruments.

In the Haga Church (Brombaugh mean-tone organ) André Marçon opened the academy with a moving performance featuring music of the Italian baroque. While the instrument is built in the North German style, the transparent colors of the principals admirably revealed the subtle singing quality of this repertoire. Marçon is steeped in this period, and displays his acumen beautifully through intelligent, colorful and expressive articulation and phrasing.

One of the great moments of the entire Academy was to hear William Porter on the same instrument, this time playing music of 17th-century North Germany. Two variation sets of Scheidt ("Vater Unser" and "Io son ferito lasso") were among the highlights of this program. Porter's playing of this music is rivaled by few others. Gauging each tempo correctly, using old fingering practices to expressive ends, discovering the beauty of the simplest of registrations, and knowing the architecture of this music are among the reasons why his playing is so remarkable. The program closed with a riveting performance of the Bruhns "Praeludium in G," but not before he improvised a chorale fantasy on "Gelobet sei Gott" that made one think it was Buxtehude at the organ!

The French symphonic organ was a featured instrument at this year's academy. Generous in scaling and voicing, even though the Verschueren organ is housed in a recital hall of limited acoustic, the organ is nonetheless colorful and brilliant without being overwhelming to the listener. The sounds of the montres and strings were particularly convincing. Jean Boyer's performance of Messiaen's La Nativité was one of the memorable moments of these two weeks. Boyer is an extremely intelligent man (as he displayed to us in his teaching and lecturing), and this intelligence is wedded to a musical soul. Ludger Lohman gave a stellar performance of the Vierne Fifth Symphony and Kimberly Marshall gave a wonderful overview of some of the great works of Demessieux. I regret missing a performance by Hans-Ola Ericsson of Livre du Saint Sacrament of Messiaen (the recital BEGAN at 11pm!!) but reports from reliable sources the next day glowed with unanimous approval. Apparently the audience was spellbound for the 21/2 hours of this event.

Director of GoArt, Hans Davidsson, apparently possesses all of the important gifts of the complete artist/teacher: intellect, creativity, vision and musicality. These were demonstrated throughout the conference but particularly as he was featured in a recital of the Third Part of Bach's Clavierübung, in the Bethlehem Church. This performance revealed a deep understanding not only of this great music, but also of the theology that lay behind it. It was a profoundly moving event.

Curiously, the recitals that seemed to encourage the most discussion afterwards were not organ recitals at all. Joris Verdin, harmonium player and organist from Belgium, completely amazed everyone by his subtle and expressive playing on the GoArt French harmonium. While this instrument was well-known and used by French organists in the 19th century it has since fallen out of use, especially in the United States where the harmonium uses a different wind system than the European version. The subtle nuances that he was able to achieve with this instrument were nothing short of miraculous and brought to life music which sounds little more than hum-drum on the organ. Equally noteworthy was an evening spent in the Gunnebo Castle in nearby Molndal. It was a marriage of sensations: there the audience sat in an 18th-century home listening to a music of the period played on a replica of an 18th-century double clavichord. The featured performers, Joel Speerstra and Ulrika Davidsson, played music of late 18th-century Germany while Pamela Ruiter-Feenstra improvised a charming sonata in late 18th-century style using the principles she had discussed only days before in her lecture. Here was a real unity of architecture, sound, music and knowledge that exemplified what GoArt is able to achieve.

GoArt is currently engaged in a number of publications, perhaps the most significant being a massive tome called The Organ as a Mirror of Its Time, edited by Kerala Snyder. This book, which will be available in the Fall 2000, traces the significance of the organ in western culture, particularly as building styles were affected by and helped shape liturgical practice, improvisation, and the secular music aesthetic. The specific foci include the organs of the North German Masters, Swedish organ-building practices and the French and German organs in the 19th century. Chapters on the organ reform movement and the latter-day performance practice movement are also included. Among the contributors are the current GoArt planning board and faculty.

Information on the upcoming GoArt International Organ Academy (August 5-18, 2000) may be found at http://www.hum.gu.se/goart/w-100b.htm. The focus will, of course, be the North German Baroque Organ and the conference will unveil the new instrument currently being finished. Performers and clinicians will include Harald Vogel, Daniel Roth, Ludger Lohmann, David Yearsley, Rudolf Kelber, Yuko Hayashi, Lynn Edwards, Pieter Dirksen, Paul Peeters, William Porter and many others. Contact information: Organ Academy, School of Music, Box 210, SE-405 30 Göteborg, Sweden; ph +46-31-773 52 11 or -773 52 06; fax +46-31-773 52 00; e-mail [email protected]

http://www.hum.gu.se/goart/w-109.htm#fee

In a time when the organ seems to be on the periphery of musical performance, and as awareness of the instrument even among the musically informed is at an all-time low, the Göteborg Organ Art Center has positioned itself to be a catalyst in the midst of this crisis. Their solution does not provide a single-style agenda, nor a bag-full of tricks meant simply to "thrill" audiences. Rather, its broad base reminds us of the richness of the legacy that has been given us and calls our attention again to the depth and breadth of the largest of all instrumental repertoires.

 

by Kay McAfee

The Eighth Biennial French Organ Music Seminar attracted 60 registrants for a commemoration of the centennial of the death of Aristide Cavaillé-Coll. Hearing, playing, and studying the music written for the great instruments of Paris, Rouen, and Toulouse formed the focal point of the two-week schedule. French Classical and modern instruments at Versailles, Chartres, Bordeaux, Cintegabelle, and Albi rounded out the itinerary. Five recitals and three masterclasses by and for participants climaxed the events. The legacy of Cavaillé-Coll's work and influence was made vivid especially for those experiencing the instruments for the first time--from the first large-instrument contract for Saint-Denis (1841), the transitional La Madeleine organ (1845), to the late Saint-Ouen instrument (Rouen, 1890). His respect for the work of predecessors such as Thierry, Dom Bedos and Clicquot is reflected in the preservation of pipework for instruments restored after the damage left behind during the French Revolution. Cavaillé-Coll's close relationship with the premier organist/composers of his generation who were inspired by his instruments was made apparent many times over.

 

Even the finest recordings pale when compared to the experience of being present within the acoustical environments of these magnificent instruments.  The initial experience of hearing the Grande Orgues of Paris played by their artist-curators--the effect of the near-Positiv and distant Récit, the solid depth of bass voices, the reverberation through the vast naves--was moving beyond description.

Prior to and during the seminar, participants studied improvisation and repertoire both privately and in groups with master teachers including Marie-Louise Langlais, Daniel Roth, Susan Landale, Naji Hakim, and Marie-Bernadette Dufourcet. Lectures on the history of each church and its instrument were followed by a demonstration and improvisation by the titulaire organist. Participants also enjoyed hearing a wide variety of examples of French Romantic and Classical literature from one another. Generous playing time was allowed at each venue.

At the Paris Conservatory organ recital hall, Dallas flutist Debra Johnson played a virtuosic new work for flute and piano by Naji Hakim, accompanied by the composer. Marie-Louise Langlais introduced François Espinasse, titulaire organist at Saint-Severin, who conducted the first masterclass which addressed French Classical music. His comments focused on correct registration and the careful and sensitive employment of the French manner. Mme. Langlais gave to the participants an extensive handout on registration and interpretation.

Saint-Roch was the next stop for a recital by David Erwin who played works by Clérambault, Balbastre, and Langlais. Lefébure-Wély, at age 15, assumed the organist position there in 1832. The instrument dates from 1751 with several rebuilds, including one by Cavaillé-Coll 1840-1862.

At Notre-Dame-de-Paris, the group gathered in the organ loft for Philippe Lefebrve's demonstration of the famous Cavaillé-Coll in this most famous of churches. Lefebrve's exciting improvisation began with employment of Clicquot pipework--a Grand Plein Jeu with pedal en chamade. Next, an Adagio with variously the Voix humaine, Doublette, Cromorne, Hautbois, Strings, and double pedal. A Flute Scherzo with Vox Humana countermelody in the pedal was followed by a lively march with Trompette long-note melody in the pedals. The stirring finale was built from Fonds+Reeds+Cornets to full organ with pizzicato pedal sprinkled throughout.

In the loft at La Trinité, titulaire organist Naji Hakim, protégé of Langlais, and Messiaen's chosen successor, told of Guilmant's collaboration with Cavaillé-Coll for the 1871 instrument. Hakim, a charming man, successful composer, and virtuoso organist, spoke with great reverence of his predecessor, Olivier Messiaen. He played two unpublished early Messaien works, Offrande and Prélude, which showed influence of Fauré and Debussy. Amid telling delightful stories and putting off the vacuum-cleaner-wielding sexton, he played portions of his own Sinfonia and a new piece, Chant de Joie. He then assisted participants in trying the organ.

The first participants' recital, open to the public at Saint-Roch, featured nine performers in a program of Clérambault, Boëllmann, Balbastre, Dupré, de Grigny, Widor, Langlais, and Saint-Saëns.

Notre-Dame-des-Champs was Ca-vaillé-Coll's parish church. Today the two-manual mechanical action organ, with Barker machine and Appel lever, is 90% original Cavaillé-Coll pipework. Titulaire organist Marie-Bernadette Dufourcet demonstrated the beautiful Flûte Harmonique and rich Montre of the Grand Orgue division and improvised on Fonds and Anches. She played portions of pieces by seminar director Christina Harmon, herself, her husband Naji Hakim, and René Vierne, who was organist at the church before his death in WWI.

At The American Cathedral of the Holy Trinity (Episcopal), Ned Tipton, organist of the cathedral, explained the varied history of the 1845 Cavaillé-Coll organ and later rebuilds and additions by Mutin, Henry Willis, and others. The west-gallery 1970 neo-Baroque organ, added as an aid to congregational singing, was eventually revoiced and brought into compliance with the chancel instrument. To demonstrate the diversity of the organ, Mr. Tipton played works of Bach, Sowerby, and Duruflé. A masterclass followed, conducted by Lynne Davis, with participants playing works by Franck, Vierne, Dupré, Widor, and Tournemire. Miss Davis' succinct comments focused primarily on tempo, phrasing, articulation, and delineation of form. Following the masterclass, David Wilson, retired professor of music history and early-music ensemble director at Dalhousie University in Halifax, presented a lecture on the French Romantic Organ School.

The historically rich Schola Cantorum, located in what was an English Benedictine monastery, was founded by Guilmant in 1896 for the restoration of Gregorian chant after Solesmes, and for fostering the heritage of the organ in that tradition. A temple of "non-official"  music, it nurtured students such as Debussy, Milhaud and Roussel. Teachers have included Vierne, the Duruflés, Grunenwald, and Langlais. The organ, designed by Guilmant, who played the inaugural recital, is a 1902 three-manual Mutin after Cavaillé-Coll. Mutin worked for Cavaillé-Coll and took over the company after Cavaillé-Coll's death. Participants were treated to a fine recital by Lázló Deák, competition-winner and student of Mme Langlais.  Repertoire included works of Guilmant, Vierne, Duruflé, Grunenwald, Messiaen, Litaize, and Langlais.

Also at the Schola Cantorum, Marie-Louise Langlais conducted a master class on the Franck Choral in E Major and Cantabile, Duruflé Veni Creator Variations, Widor Salve Regina, Langlais Fantasie, and Vierne Prélude from Symphony #1. Besides telling of the rich history of the school's site and heritage and the attributes of the organ, she wove stories and anecdotes of Franck, Sainte-Clotilde, Messiaen, Duruflé, Litaize, and Langlais for performers and audience.

The Sainte-Clotilde Cavaillé-Coll was demonstrated by Jacques Taddei, titulaire organist and current director of the Paris Regional Conservatory. After playing the Franck B-minor Choral he demonstrated the colors of the organ beginning with Grand Plein Jeu (of Baroque influence from Dom Bedos) the Positiv Clarinet (Cromorne) which was moved to the Récit by Tournemire but later moved back to the Positiv, Fonds 8¢ with Oboe, Great and Positiv Trompettes, all reeds together, solo reeds Oboe, Vox Humana, Trompette; and the  Grand Orgue, Récit, and Positiv Harmonique Flûtes. He improvised on two melodies: Amazing Grace and the refrain of  Battle Hymn of the Republic--chosen by Marie-Louise Langlais for all of the Americans present. It is among the "sweetest" of Cavaillé-Coll instruments (1859), reworked by Beuchet-Debièrre in 1933 and 1960 and Barberis in 1983. The console was electrified after WWII. The assertive unenclosed Positiv, forward in the case, contrasts greatly with the recessed Recit, a factor affecting registration of Franck's music on American organs. We would return to Sainte-Clotilde to play the organ and hear an impressive participants' recital of music by Franck, Boëllmann, Tournemire, Dubois, Guilmant, Vierne, and Langlais.

Michel Chapuis was the host at the Palace of Louis XIV at Versailles.  In the royal apartments he demonstrated an 18th-century harpsichord (Blanchet) and chamber organ. The highlight of the visit was his demonstration of the magnificent organ in the chapel. After his presentation, members of the group were able to play briefly.

Philippe Brandeis, titulaire organist at Sacre-Coeur and co-titulaire at Les Invalides, demonstrated the organ at the beautifully resonant chapel at Les Invalides (Church of the Dome). The chapel, built in 1675 by Louis XIV, is now reserved for military events and services and is the seat of the bishop of the military. An organ was finished in 1687 (Thierry) and LeBegue played there for the king. The organ had a checkered history throughout the 19th and 20th centuries, and in 1957 was reconstructed after Sainte-Clotilde, though the present instrument is considered neo-classic with only one stop left of the original. Brandeis played the Duruflé Sicilienne and The World Awaiting the Savior by Dupré.

The noble chestnut trees of the cloister of Saint-Severin welcomed us to the architecturally eclectic church in the heart of the Latin Quarter of Paris. A walk from the West end pillars to the apse ambulatory columns and new stained glass designs is for the eye a short journey from the 13th to the 20th century. François Espinasse, titulaire organist, demonstrated the 1964 Kern (case from the original 1745 instrument) with flutes, cornets, and Basse de Trompette. Assisted by Espinasse and David Erwin, participants played Bach, Couperin, LeBegue, Raison, and deGrigny.

Our next stop, Saint-Sulpice, a mammoth Roman-style church with interior arches and huge paintings, boasts a Cavaillé-Coll of five manuals and 102 stops. Daniel Roth, titulaire organist, presented an excellent history of the organ. Its original Cavaillé-Coll mechanical-action console and preserved pipework are due in large part to the legacy of two organists, Widor and Dupré, whose combined, unbroken tenure there spanned 100 years. Despite protests that he "played too much like a German," Widor was appointed "interim" organist at Saint-Sulpice at age 26 upon the strength of Cavaillé-Coll's recommendation. He stayed for 63 years. Cavaillé-Coll retained the 1781 Clicquot pipework from the instrument which miraculously escaped desecration during the Revolution. Roth played an extended recital including Guilmant First Movement from Sonata #5, Widor Scherzo and a Fugue in A Minor. After demonstrating the Grand Jeu and other combinations, he concluded with an improvisation to demonstrate all the solo colors, strings, flutes, and tutti. Ample opportunity for all to play this great instrument was provided later in the week, with M. Roth assisting on the bench.

François-Henri Houbart, 20 years the titulaire organist at La Madeleine, discussed the considerable visibility of the church and its 1845 Cavaillé-Coll in terms of its history of celebrity organist-composers: Saint-Saëns, Fauré, Nadia Boulanger, Gigout, Dallier, Jeanne Demessieux, and Odile Pierre, and of the state occasions observed there. Many great musicians played the organ, including Frederick Chopin, Clara Schumann, and Anton Rubenstein. The organ was Cavaillé-Coll's second large instrument after Saint-Denis and is reminiscent of the French Classical design, with Plein jeu principals after Dom Bedos. There is no cromorne or cornet. The voix celeste is in the Positiv rather than in the Récit, and the Positiv is placed above the Grand Orgue. Its four-manual console is electrified, and 46 of the original 48 stops are preserved. Houbart demonstrated the organ with a long improvisation, delighting and amusing his audience, on the theme from "Dallas." Afterwards he assisted participants for playing time.

The visit to Chartres, site of renowned international organ competitions on the Danion-Gonzalez reconstructed organ of 1969-71, proved more than just the opportunity to hear and play the organ. This Queen of Gothic Cathedrals stands above all others as witness to and testament of the Age of Faith. Malcolm Miller, who has made a career studying and lecturing on the Chartres Cathedral, gave a guided tour especially for FOMS participants. Its 400 stained-glass windows, unparalleled in beauty, and the 4000+ sculptures which adorn the exterior capture and mesmerize all who journey there. Tourist traffic has failed to destroy its atmosphere and radiance.

 On the northern environs of Paris, titularie organist Pierre Pincemaille was our host at the ancient basilica church of Saint-Denis, the place of coronation and burial for centuries of French kings. It was here where the influential Abbot Suger instructed his architect to open up the apse ambulatory to light and space. The resulting gothic arches and provision for walls of colored glass realized Suger's belief that God can be known through beauty on earth. The nave is wide and "open." The 1841 Cavaillé-Coll instrument, his first in Paris and first to use the Barker lever, was restored in 1987 by Boisseau.

On Sunday morning, participants had opportunity to hear our French hosts improvise and preside from their organ lofts: Lefebvre for hundreds of tourists at the Notre Dame Gregorian Mass, Espinasse at Saint-Severin, Pincemaille at Saint-Denis, Taddei at Sainte-Clotilde, Dufourcet at Notre-Dame-des-Champs, Fréderic Blanc at Notre Dame d'Auteil, and Roth at Saint-Sulpice.

At St-Etienne-du-Mont, Maurice Duruflé's church, titulaire organist Thierry Escaich demonstrated the 1863 Cavaillé-Coll. The four-manual organ of 89 stops has been rebuilt and electrified by Beuchet-Debierre (1956), and rebuilt again by Gonzalez (1975) and Dargassies (1991).

The group traveled to Rouen to hear the spectacular 1890 Cavaillé-Coll organ at the abbey church of Saint-Ouen, a site with a history of bishops dating to the 7th century. The present flamboyant Gothic-style church's cornerstone is dated 1318, and the nave was finished in the 16th century.  Organist George Baker, describing his passion for the instrument, mentioned that it was the last organ which Cavaillé-Coll personally supervised. Widor played the dedication recital in 1890. The four-manual organ has one of the most spectacular of cases, with five figures crowning the towers: the central one is Christ, with King David, Saint Cecilia, and two angels on either side. Marcel Dupré's father Albert was titulaire organist at Saint-Ouen from 1911-1940. The organ was demonstrated first by titulaire organist Marie-Andrée Morriset with trumpeter Michel Morriset, in works of Vierne and Morriset. George Baker and Fréderic Blanc treated the group to a lengthy recital which included music of Vierne, Duruflé, and Widor. Dale Peters, Professor of Organ at the University of North Texas, played the Toccata by Lanquetuit which was dedicated to Albert Dupré.

From Rouen the group arrived late in the afternoon at the Regional Conservatory of Rueill-Malmaison. Professor, organist, and musicologist Susan Landale treated the group to her recollections of Marchal, Messiaen, and Langlais. A student of André Marchal in the 1950s and early 60s, she played several recordings of performances by these master teachers and discussed their relationships with one another through many interesting anecdotes and stories.

The next portion of the seminar itinerary took us to the south of France, first arriving in Bordeaux to visit the 14th-century Gothic Cathedral of Saint-André and its Gonzalez organ of neo-classical design. Our organist-host played the Final from Symphonie II by André Fleury. Bordeaux was the birthplace of Charles Tournemire, who was  organist there at Saint Michel. After playing-time at the cathedral and lunch, the bus drove towards Toulouse through the heart of wine country with a short stop at the picturesque, ancient Roman town of St. Emilion.

Continuing on to Toulouse, traveling through the beautiful countryside, we arrived in this beautiful city ready for the two days of events scheduled there. Most participants were attracted to the south of France because of the promise of experiencing the great organ at Saint-Sernin, but many other delights awaited. Two churches were on the first-day agenda. First, Église de la Duarade ("golden" from the gold mosaics that once decorated the interior), a Roman-style church with rounded arches with varied past of pagan, Moorish, and eventually Christian dominance. The organ, an 1864 Poirer and Lieberknecht, is typically Romantic, including a lovely free reed Euphone. Lefébure-Wély dedicated the instrument. Participants had ample time to play, with the assistance of François Espinasse and Sylvie Mallot, assistant director of FOMS. The choir organ, by Puget, was a jewel of an instrument with its Baroque case. A walk past the Garonne river took us to Église de La   Dalbade, a Gothic interior with familiar brick exterior common in this city and region. The organ of three manuals and 50 stops is an 1888 Puget. Espinasse played Messiaen's Dieu parmi nous. The voix celeste was particularly beautiful and the reeds assertive.

The Basilica of Saint-Sernin, a magnificent Romanesque church with spectacular spire, houses one of the most powerful of Cavaillé-Coll's instruments. Built in 1887-88 and restored in 1996, its three-manual console retains the original mechanical action. The reputation of the 54-stop organ comes partially from the presence of Pedal 32¢ Principal and 32¢ Bombarde, Grand-Orgue 16¢ Montre, 16¢ Bourdon, reeds from Bombarde 16¢ to 2¢ Clairon-doublette, and Trompette and Clarion en chamades 8¢ and 4¢. The Positiv is unenclosed. The fifteen performers for the third participants' recital prepared repertoire by Dupré, Langlais, Widor, Guilmant, Gigout, Boëllmann, Vierne,  and Franck.

The second day in Toulouse commenced at the Musée d'Augustine for a recital on a neo-Baroque organ by Arendt (1981). Housed in what was the impressive Gothic chapel of a monastery, the instrument was built upon recommendation of Xavier Durasse, an advocate for organ restoration in the region, who felt that Toulouse needed a modern instrument of this type. The first event held there was a Bach competition. Tuned in Werckmeister III, the organ has three manuals, 30 stops and a beautiful case with side door-panels.

The Cathedral church of Saint-Etienne houses an organ restored by Cavaillé-Coll in 1849. It was restored again by Puget between the World Wars and by Kern in 1976 to become a neo-Baroque instrument of four manuals with an echo manual. François Espinasse played works of deGrigny, Marchand, and Bach. This organ is placed so high on the wall, with access to the loft so difficult, that one of the titulaire organists there was forced to resign because of acrophobia.

The last day brought visits to three towns: Cintegabelle, Albi, and Lavaur. Tiny, picturesque Cintegabelle boasts a Roman-style church of Moorish influence and a large French-Baroque instrument built by Boulbonne which was moved to the church from a nearby 17th-century monastery. Its magnificent case dominates the building. Of three manuals and 36 stops, the organ has the French pedalboard of short keys. Participants practiced for the fourth recital of the seminar for works by Couperin, Roberday, Dandrieu, d'Aquin, and deGrigny.

In the city of Albi, with its magnificent and imposing cathedral church of Sainte-Cécile, participants visited the fabulous Toulouse-Lautrec museum (he was born in Albi) across from the church and then returned for the fifth participants' recital. The French-Baroque organ by Moucherel was restored to its original voice in 1971-1981 by the firm of Formentelli. The recital, including works by Clérambault, de Grigny, Le Begue, and Corrette, was enjoyed by many ambulating tourists.

Lavaur, a peaceful town with its church of Saint-Étienne, was the last stop of the seminar. Like many places in the region, Lavaur suffered during the Albigensian Crusade in the early 13th century, a legacy of terror and destruction. Today the river Agoût flows peacefully along its edges and beautifully sculpted gardens welcome the visitor to the church. The organ is an 1876 Cavaillé-Coll, whose case resembles La Madeleine in Paris.  Within the quiet surroundings, participants again heard the Romantic sound of Lefébure-Wély, Franck, Chausson, and Tournemire.

Directors Christina Harmon and Marie-Louise Langlais and their associates planned the schedule for maximum use of time, and the seminar fulfilled its purpose as an educational experience and delight for the ear. The gracious hospitality of our hosts included a dinner at the home of Naji and Marie-Bernadette Dufourcet Hakim, a garden reception at the Schola Cantorum prepared by Mme. Langlais and her daughter Caroline, and two group dinners at private rooms in fine restaurants, one of which was for celebration with song and gifts on Mme. Langlais' birthday.

The first French Organ Music Seminar in 1987 attracted six students who spent five days studying with Philippe Lefebvre at Notre Dame in Paris. The eighth tour, with 60 students from age 16 to 75, provided experience of a wide variety of instruments and invaluable personal interaction with fine scholars and teachers.  

Concours Internationaux de la Ville de Paris

Kenneth Matthews

Kenneth Matthews is Director of Music at Old First Presbyterian Church in San Francisco.

The City of Paris 5th International Organ Competition took place June 1-9, 2004. The Paris Concours d'Orgue, which occurs biannually, has grown in importance each year. One reason for its popularity is no doubt the generous prize money:

Interpretation Competition

1st Grand Prize of the City of Paris: Euros: 9000

2nd Grand Prize, offered by the Academy of Beaux-Arts of the Institut de France: Euros: 6000

3rd Prize: Euros: 2500

Improvisation Competition

1st Grand Prize of the City of Paris (dedicated to the memory of Pierre Cochereau): Euros: 5000

Prize for the best performance of the 6th Concerto for Organ and Orchestra op. 68 of Jean Guillou (commissioned by Musique Nouvelle en Liberté), offered by the Academy of Beaux-Arts of the Institut de France: Euros: 1500

Prize for the meilleur espoir (most promising young artist), offered by SACEM: Euros:1500

Of the 250 organs in Paris, some 130 belong to the City of Paris itself, including many historically important and significant instruments. It was recognition of this great diversity and richness that led to the creation in 1994 of the first Concours d'Orgue, part of the series Concours Internationaux de la Ville de Paris. For the 5th Concours, 57 candidates applied to the recorded pre-selection elimination round, and 39 candidates of 17 nationalities were accepted for the Concours.

One of the principal characteristics of the Paris Concours is that each round of the competition is held on a different organ, the various organs being those most appropriate for the literature being played (for instance, Couperin at the Chapelle Royale, or Franck at Sainte-Clotilde). At the same time, candidates are required to adapt quickly to instruments that are often quite different from each other.

Members of the jury were Michel Chapuis, president, France; José Enrique Ayarra Jarne, Spain; Martin Haselböck, Austria; James Higdon, USA; François-Henri Houbart, France; Leo Krämer, Germany; Roman Perucki, Poland; Ville Urponen, Finland; Yang-Hee Yun, Korea.

For one reason or another, four candidates elected not to attend (one each from Australia, France, USA, and Korea). For the original round 33 interpretation candidates (three of whom were also improvisation candidates) and two more improvisation candidates (for a total of five improvisation candidates) participated, representing 17 countries.

First round of interpretation finals:

Conservatoire supérieur de Paris-CNR

The initial interpretation elimination round was held at the Conservatoire supérieur de Paris-CNR on the rue de Madrid, Tuesday and Wednesday, June 1-2, and consisted of two movements of a Bach trio sonata, and one of the 11 Brahms chorale preludes. The organ at the Conservatoire is a three-manual of 32 stops built by the German builder Gerhard Grenzing working in Spain, and was completed in 1996. At the end of the second day, the jury selected nine candidates of the 33 (listed in order of performance). The playing was all of a high level of excellence, worthy of an international competition (although one or two candidates had an off day). Paolo Oreni (Italy) was the only candidate to play the required Bach and Brahms pieces from memory.

Douglas O'Neill, USA

Yevgenia Semeina, Russia

Kirsten Eberle, Germany

Ekaterina Kofanova, Belarus

Elke Eckerstorfer, Austria

Els Biesemans, Belgium

Ghislain Leroy, France

Henry Fairs, UK

Paolo Oreni, Italy

Second round of interpretation finals / First round of improvisation finals:

Saint-Ferdinand-des-Ternes

The second round of interpretation finals and the first round of improvisation finals began on Friday, June 4, at Saint-Ferdinand-des-Ternes. The church, in a Romano-Byzantine style with cupolas, was designed in the 1930s and completed in 1957. In the 1990s, the choir was redesigned according to Vatican II ideas, and a new organ incorporated in a new organ tribune. Following an international competition, the new organ was built in 1995 by Pascal Quoirin, who also designed the organ tribune. The organ contains 34 stops on three manuals of 56 notes and a pedal of 30 notes. The specification of the organ is described as “suitable for classical or baroque music.”

Candidates for both the second round of interpretation finals and the first round of improvisation finals were required to play two works of J. S. Bach: one of three Leipzig chorales, Schmücke dich, O liebe Seele, BWV 654; Nun komm, der Heiden Heiland, BWV 659; An Wasserflüssen Babylons, BWV 653; and either the “Dorian” Toccata, BWV 538, or Pièce d';Orgue, BWV 572, or ?Fugue in G Major, BWV 577.

The acoustic of the church is somewhat vast, and candidates were challenged in finding appropriate registrations. The chorale preludes were registered differently of course but every registration I heard was thoughtful and interesting. A preferred approach was accompaniment on an 8 ft. principal, with solos on various mutation combinations.

I found the pedal lightweight in effect except when the 16 ft. reed was engaged (which, when it occurred, was during the middle section of the Pièce d'Orgue), and I suppose it is characteristic of this style of instrument. The French seem to have arrived at a common denominator for a “Bach organ,” as evidenced by the organs at the Conservatoire and at Saint-Ferdinand-des-Ternes. It seems rather dated when one compares it to work in this country by such builders as Paul Fritts & Co., Richards, Fowkes & Co., or Taylor & Boody Organbuilders.

La Madeleine

The second round of interpretation finals continued on Saturday, June 5, at 8:00 pm at the Church of the Madeleine, home of Cavaillé-Coll's landmark organ of 1841-46. Containing 48 stops on four manuals and pedal, the organ remained more or less intact until 1971, when the firm of Danion-Gonzalez electrified the action and recast the organ in a neo-classic form. Since 1988, organbuilder Bernard Dargassies has made some changes in order to return more closely to the original sound. Recently, he added a chamade, “a stop planned for but not included in the original organ.”

For this round, candidates selected pieces by two composers from the following list of works:

Marcel Dupré

Prelude and Fugue in F Minor, op. 7;

Symphonie Passion (first movement, Le Monde dans l'attente du Sauveur)

Symphonie Passion (second movement, La Nativité)

Evocation (Final)

Cortège et Litanie

Louis Vierne

2nd Symphonie (1st movement, Allegro)

2nd Symphonie (2nd movement, Choral)

3rd Symphonie (Finale)

4th Symphonie (4th movement, Romance)

4th Symphonie (Finale)

Charles-Marie Widor

5th Symphonie (1st movement, Allegro vivace)

5th Symphonie (2nd movement, Allegro cantabile)

6th Symphonie (1st movement, Allegro)

Symphonie gothique (2nd movement, Andante sostenuto)

Symphonie romane (3rd movement, Cantilène)

From these required pieces, we heard quite a bit of the Dupré Evocation, the Cortège et Litanie, and the first movement of the Widor 5th Symphonie. So some of the less frequently chosen pieces took on a bit of added interest: Els Biesemans's playing of the Dupré La Nativité; Ghislain Leroy';s Dupré F-Minor Prelude & Fugue, and then the last two players, Henry Fairs and Paolo Oreni, who offered contrasting versions of the Andante sostenuto of Widor's Symphonie gothique.

Saint-Étienne-du-Mont

The first improvisation series took place on Sunday, June 6, at Saint-Étienne-du-Mont. Improvisation candidates were given a theme, a response for the Office of Tierce (“Inclina cor meum Deus in tabernacula tua”) and asked to improvise a triptych lasting around fifteen minutes. Saint-Étienne-du-Mont is famous for being the church of the Duruflés and the 1956 Beuchet-Debierre, which Duruflé had built for his tonal ideas. (The organ, rebuilt by Victor Gonzalez in 1975 and then by Bernard Dargassies in 1991, is the fourth largest organ in Paris, with 83 stops on 4 manuals and pedal).

None of the candidates had any problem treating the theme (or at least the head of it, which is what most of them used) for 15 minutes and using a wide variety of registrations and improvisation skills. However, only one of them, Noël Hazebroucq, was able to communicate (to my listening skills, at any rate) the stated requirement of a triptych. It was almost as if the other players were unwilling to quit playing for even a moment in order to clearly delineate sections of their improvisation. I suppose it would be possible to have a triptych where the sections flow into each other (I am thinking of the Adagio and Choral variations of the Duruflé Veni Creator, which are connected without pause; even so, the diminuendo to a single stop, followed by the plainsong statement on principal choruses, serves as a marker between the two sections). As a result, with the other players, it was not possible to say where sections might have been. One player, for instance, began an adagio on flutes, progressed to fonds, played a mf statement of the theme in canon, followed by a slow crescendo to ff reeds, with the plainsong theme in the pedal, followed by a decrescendo to Gemshorn Celeste plus 32' with quick decorated bits of the theme, followed by a crescendo to fonds, then staccato reeds, then a vivace section on swell reeds, followed by a short toccata figure, followed by a chordal full organ statement of the theme.

Hazebroucq, by contrast, began with a scherzo with the theme in canon, followed by a quick outburst on tutti, followed by the original scherzo with theme in canon, again followed by a short outburst on tutti. Section two began with flutes and bits of the theme, colored by high bell effects; followed by fugal bits on fonds and reeds, then an ornamented version of the head of the theme in dialogue on the cromorne and clarinet stops. The third section began with fast statements on the theme, and subsided into bits on the theme on various piano stop combinations.

Following the improvisation round at Saint-Étienne-du-Mont, the candidates for the Finale were announced; for interpretation: Els Biesemans, Belgium; Henry Fairs, UK; Ghislain Leroy, France; Paolo Oreni, Italy; and for improvisation: Noël Hazebroucq, France; Robert Houssart, The Netherlands.

Finale

Chapelle Royale du Château de Versailles

The first round of the Finale was held at the Chapelle Royale du Château de Versailles on Monday, June 7, at 2:30 pm. Interpretation candidates were required to play:

François Couperin, extracts from the Messe pour les Paroisses:

Plain Chant du premier Kyrie, en taille

Dialogue sur les trompettes et tierces du Grand Clavier et le bourdon avec le larigot du Positif

4th couplet, Tierce en taille

6th couplet, Offertoire sur les Grands jeux

or

Nicolas de Grigny, extracts from La Messe:

Premier Kyrie en taille, à 5, qui renferme le chant du Kyrie

Cromorne en taille à 2 parties

Trio en dialogue

Dialogue sur les Grands jeux

or

Louis-Nicolas Clérambault, Suite du deuxième ton:

Plein Jeu

Duo

Trio

Basse de cromorne

Flûtes

Récit de nasard

Caprice sur les Grands jeux

The organ case at the Chapelle Royale at Versailles originally contained a Robert Clicquot. This organ was rebuilt in turn by Louis-Alexandre and then François-Henri Clicquot, then by Dallery, Abbey, and Cavaillé-Coll, before being replaced in 1938 by an organ by Gonzalez. It took until the end of the 20th century to recreate the famous Clicquot, work entrusted to the builders Boisseau and Cattiaux. The present specification comprises 37 stops on three manuals and a pedalboard à la française. Its tuning (A=415) refers to the time of Louis XIV, and the temperament is meantone. Some of the most famous of French organists have been named to the Chapelle Royale: Guillaume-Gabriel Nivers, Nicolas Lebègue, Louis Marchand, Jean-François Dandrieu, François Couperin. The current organist is Michel Chapuis.

For the round at Versailles, Biesemans and Oreni played the required Couperin pieces, while Fairs and Leroy played the required de Grigny pieces. (Due to a missed train connection, I had to listen to Ms. Biesemans through the door.) It was interesting hearing the subtle differences between two players, each playing the same literature.

Basilique-Sainte-Clotilde

The second round of the Finale was held at the Basilica of Sainte-Clotilde on Tuesday, June 8: first that for interpretation, then for improvisation on the very famous organ of the basilica, built originally by Cavaillé-Coll for César Franck. At the moment, it seems impossible to consider the sound of the organ at Sainte-Clotilde apart from recent developments there. I was quite surprised to discover that the console of the organ at Sainte-Clotilde had been relocated from one of the most celebrated of organ tribunes to the choir balcony. Also, according to Les Orgues de Paris (Paris: Délégation à l'Action Artistique de la Ville de Paris, [c. 1991]) and descriptions I have seen of the stoplist, the organ at Sainte-Clotilde has 61 stops. The official handbook of the Concours d'Orgue 2004, published under the signature of M. Jacques Taddei (M. Taddei is the current titulaire of Sainte-Clotilde), describes the organ as having 68 stops. It appears that stops are in the process of being added. (One wonders what they are and if they are there yet.) The work is being done by organbuilder Bernard Dargassies.

The Sainte-Clotilde organ sounds different from the neo-classic 1962 Langlais rebuild of the organ. The Récit seems louder, both the Hautbois and the Trompette sounding considerably louder than before. The Hautbois no longer “disappears” beneath the fonds of the organ, as had been the case, robbing the organ of an effect with which generations of organists had been familiar. The volume of the Récit Trompette seems equally upset, more definitively coloring every registration with which it is used. Now the Positif seems frequently louder than the Grand-Orgue, and the movement from Positif to Grand-Orgue is either minimized (fonds) or seems actually inverted (reeds).

Interpretation candidates were required to play:

any one of the three Chorals of César Franck

and one of the following:

Jehan Alain: Scherzo (Suite)

Maurice Duruflé: Scherzo

Jean Langlais: Arabesque sur les flûtes (Suite française)

Olivier Messiaen: Alleluias sereins d';une âme qui désire le ciel (L';Ascension)

Els Biesemans played the second Choral and the Duruflé Scherzo. Henry Fairs played the first Choral and the Messiaen Alleluias sereins. Paolo Oreni played the second Choral and the Messiaen Alleluias sereins. Ghislain Leroy played the third Choral and the Duruflé Scherzo.

The playing was quite good, even if the organ left something to be desired. One wished for more expressive playing in the Franck from virtually all the players (the exception being Oreni, who phrased very musically). Players were less than scrupulous in following the various crescendi and decrescendi, which are so important to Franck's music. It was interesting hearing the paired linkings of the Duruflé and the Messiaen. I regretted not having had the opportunity to hear Jean Langlais's Arabesque sur les flûtes at Sainte-Clotilde.

Next followed the section for improvisation. Candidates were given a literary text for their improvisation at Sainte-Clotilde: verses from the Apocryphal Prayer of Azariah, additions to the book of Daniel between 3:23 and 3:24. The verses were not in strict order and I was only able to note verse numbers, but the following is a close if perhaps not exact English version of the text given to the improvisation candidates:

52 Let the earth bless the Lord: let it sing praise to him and highly exalt him forever

37 Bless the Lord, you angels of the Lord . . .

60 . . . all people on earth . . .

43 . . . all you winds . . .

44 . . . fire and heat . . .

45 . . . winter cold and summer heat . . .

47 . . . nights and days . . .

56 . . . you springs . . .

57 . . . you whales and all that swim in the waters . . .

52 Let the earth bless the Lord: let it sing praise to him and highly exalt him forever.

Noël Hazebroucq and Robert Houssart approached the text from different viewpoints. Hazebroucq, who was first, chose not to approach the text as an opportunity for tone painting, but as the basis for an improvisation with many sections of contrasting effects, linked by a disjunct 4-note motif, closing with a very busy few minutes at the end where all creation seemed to be called to praise. In his improvisation, Houssart seemed to be trying to reflect the various text passages (vivace swell flutes for the angels, ascending and descending chordal passages for the winds, etc).

Saint-Eustache

Wednesday, June 9 found us at Saint-Eustache for the required performances of Jean Guillou's 6th Organ Concerto, opus 68, commissioned by the Concours under the aegis of Musique Nouvelle en Liberté. The administration of the Concours had decided, before the Concours began, to make a cut in the Concerto for Organ and Orchestra (in the interests of time, it was said) of a little less than 200 measures out of a total of 413 measures. Hence, what we heard was a portion of the work Guillou composed. The orchestra was that of the Conservatoire supérieur de Paris-CNR under the direction of Pierre-Michel Durand; the orchestra and M. Durand also participated in the final concert of laureates Wednesday evening, when the organ concerto was heard one more time.

We heard the two improvisation candidates, Hazebroucq and Houssart, perform the concerto first. As improvisation candidates, they were required to insert two (the entire score called for three) cadenzas. These were followed by the four interpretation candidates, who were required to perform a cadenza written by Guillou.

The organ at Saint-Eustache, built by the Dutch firm Van den Heuvel, with 101 stops on five keyboards and a pedalboard, is the third largest in the City of Paris (after Notre-Dame, 112 stops, and Saint-Sulpice, 102 stops). Van den Heuvel may be Dutch, but the plan sonore of the organ is unquestionably French. All candidates played the console placed in the nave, with its electrical transmission.

Again, the playing was of a uniformly high level. What was interesting (albeit somewhat fatiguing) was six sequential hearings of the same piece: each player managed to bring some personal approach to the piece, even though the broad registrational outlines were indicated. Some elected for a slightly smaller, chamber approach (if one can approach 101 stops as any sort of chamber instrument!), while others used the full declamatory powers of the massive tutti with its five 32 ft. stops.

About 4:30 pm we heard the last required performance. Those attending were invited to either remain or return at 8:00 pm for the awarding of the prizes and a concert by the laureates. I suspect most of us elected to retire to various bars and cafés to pass the time.

Awarding of prizes and concert of laureates

Saint-Eustache, 8:00 pm

First, the members of the jury were presented to the audience by Michel Chapuis, the president of the jury. Following the presentation of the jury, the prizes were awarded.

The SACEM prize for meilleur espoir (most promising young artist) was awarded by the jury to the 21-year-old Russian organist Yevgenia Semeina.

The jury also awarded a "Special Mention" to Italian organist Paolo Oreni.

Third prize for interpretation was awarded to 25-year-old Els Biesemans of Belgium. Second prize for interpretation went to 28-year-old Henry Fairs of the United Kingdom. First prize for interpretation was won by 22-year-old Ghislain Leroy of France.

First prize for improvisation (dedicated to Pierre Cochereau) was awarded to 24-year-old Noël Hazebroucq of France.

The jury also awarded a “Special Mention” to Robert Houssart.

The prize for best interpretation of the 6th Concerto for Organ and Orchestra went to Henry Fairs.

Following the awarding of the prizes, we heard a concert of the laureates. Noël Hazebroucq was given two themes for improvisation: the Salve Regina, and Salut à la mère de la miséricorde. Ghislain Leroy played the Duruflé Scherzo, followed by the first movement, allegro vivace, of the Widor 5th Symphonie.

The concert was then to conclude with Henry Fairs and the orchestra of the Conservatoire supérieur de Paris-CNR, under the direction of Pierre-Michel Durand, in the seventh (abbreviated) performance of the day of the Guillou Concerto for Organ and Orchestra.

While the orchestra was assembling for the performance, Jean Guillou, organiste titulaire of Saint-Eustache, took advantage of the opportunity to extend a welcome to Saint-Eustache, and to speak for a moment about the concerto he had been commissioned to write. He said that he had not been asked about the substantial cut the administration had elected to make in his piece. He pointed out that he had fulfilled the terms of the commission regarding the length of the piece. Since something like half of the piece was omitted, he pointed out that it was not the concerto that he had written that we were hearing, but rather a “denatured” (or perhaps “diluted”) version. He did not wish any of the candidates any ill will, but felt compelled to make his objections known.

M. Jacques Taddei, the director of the Concours, attempted to explain the reasons for the modification, but his remarks were met with booing. In spite of this, Henry Fairs, Pierre-Michel Durand, and the orchestra of the Conservatoire supérieur de Paris-CNR presented the seventh (abbreviated) and last performance of the day of the Guillou Concerto for Organ and Orchestra to general acclaim.

So ended nine days of one of the most interesting of competitions (although one not unmarked by strife and controversy), and the opportunity to hear many of the most gifted young organists of the present day.

by Herbert L. Huestis

When an organ builder creates an instrument for his alma mater, the stage is set for a career achievement and the conception of a work of art. Such was the case when Charles Fisk built his masterpiece at Stanford University. In the same spirit, Paul Fritts created the magnificent opus that was the centerpiece of an International Symposium entitled "The Organ in the New Millennium" at Pacific Lutheran University, Tacoma, Washington.

This symposium was jointly sponsored by the Westfield Center and Loft Recordings of Seattle, Washington. It attracted organists and organ enthusiasts from all over the world. Scheduled events included four daily concerts, most of which were held at Lagerquist Hall in the new Mary Baker Russell music center at Pacific Lutheran University, Tacoma, Washington.

"The Organ in the New Millennium" embraced multiple efforts to approach a fairly difficult subject. The participants had at their disposal an organ of the highest excellence, but no crystal ball. However, they proceeded to present their views of the transition between millennia in a series of panel discussions which served as a framework for the symposium.

Brainstorming

As one might suspect, predictions for the future were plentiful and to some extent, easy come, easy go. Despite the more predictable questions and answers, only a few panelists and participants had the courage to say they didn't know what the future might hold, and even fewer had the fortitude to admit that they couldn't be sure what the organs of the 21st century might be like. All seemed to agree that the artistic expression of the organ builder's art was here to stay and that quality far outweighed quantity as a worthy goal. Roberta Gary of the University of Cincinnati exemplified the spirit of the conference when she recalled a "5 star experience" as she discovered the John Brombaugh organ at Ashland Avenue Baptist Church in Toledo, Ohio. Martin Pasi described the first time he experienced the revival in American organ building at the Fairchild Chapel in Oberlin, Ohio. It was plain to see that a well deserved "lifetime achievement award" was in the making for John Brombaugh.

How often the wisdom of elders comes out in storytelling. John Brombaugh related, in somewhat hilarious detail, learning to sing as a child. With characteristic nonchalance, he claimed that he "never quite made it to soloist," because he "couldn't make his voice wiggle." However, he learned that the art of singing is the art of music, that the organ is a musical instrument, first and foremost, and that the organ must sing if it is to be musical. All agreed that "making pipes sing was much more important than making them hum." Hopefully, the reader will note that this was not a dry discussion of "historically informed" musicology, but a spirited outpouring of what the organ meant to these major players and builders of our time, mirth notwithstanding.

Music making

During the four-day course of the event, some seven recitals and fifty-four compositions were played on the three-manual, 54-stop Fritts organ. (See the June issue, pp. 1 and 19 for description and specification.) The presentation of this instrument, along with important organs of John Brombaugh in Tacoma, and Martin Pasi in Lynnwood, Washington, provided proof positive that outstanding organ building is alive and well in Washington State. Quentin Faulkner of the University of Nebraska at Lincoln commented that, "the Pacific Northwest builders are in the process of creating a new organ type that will not merely incorporate, but will fuse the previous organ styles that feed into it, and thus will transcend all of them." He stated that "There is of course an element of risk in such an undertaking, but also an immense amount of excitement and adventure . . . in leading the organ into a new age!"

What will the organ of this new age be like? This concentration of recitals gave the symposium participants a preview of the new directions a historically derived organ might take. In this case, the sum of the concert series seemed to be greater than each part. Far from being worn down, this listener attained new heights of perception with each recital and most fortunately the last concert was as fresh as the first. The scope of musical styles was panoramic. There was an almost symphonic element to the progression of concerts as it continued over this four-day period. David Dahl's opening recital served as an overture to the week's events with an exposition of the organ's considerable capabilities. Professor Dahl's 30-year career at Pacific Lutheran University is obviously capped by the installation of this magnificent organ. His opening recital gave him the opportunity to breathe life into the week's events with a highly varied program that included "A diverse suite" of some 13 composers, spanning time periods from 1583 (Frescobaldi) to the present (Cindy McTee and the late William Albright). It is interesting to note that Dahl has served as advisor for more than 30 pipe organ projects in the last 40 years and on the eve of his retirement was able to bring about the installation this superb instrument in his own university.

Hatsumi Miura, organist of Yokohama Mirato Mirai Hall in Japan, presented a program of 20th-century music which developed the theme of "new directions" and demonstrated the broad capabilities of this organ. She began symbolically enough, with A Prophecy for Organ, by Daniel Pinkham and ended with the cheerful Salamanca of Guy Bovet.

Margaret Irwin-Brandon, organist of the Unitarian Universalist Society in Springfield, Massachusetts, broadened the palette with fantasias and baroque transcriptions that introduced the listener to the lyric qualities of the instrument. She seemed to play the organ like a violin, rather than a Steinway and encouraged the audience to listen with their whole attention. To heighten their awareness of the sound of the organ, she invited listeners to move about the hall at will, throughout the concert program--a fairly brave thing to do, when you consider the sight of somber "ghost walkers," slowly treading from nook to cranny of the room. Her final presentation of Arvo Pärt's Annum per Annum was thwarted by the failure of one of the power supplies in the organ. This necessitated some quick thinking on her part to save the piece. It turned out that the rapid-fire computerized pyrotechnics of the "sequencer" overwhelmed a 5 cent fuse. Such is the irony of high technology when applied to an ancient form.

An organ for all seasons--a new organ type?

After these diverse presentations of organ literature, Peter Sykes, organist of First Congregational Church in Cambridge, Massachusetts, gave a bravura performance of the Poulenc Concerto in G Minor and Maurice Duruflé's Requiem. This vocal repertoire brought additional awareness of the musical qualities of the organ. Rather than competing with the orchestra and choir, it seemed to expand tonal sonorities. Of particular note was the effectiveness of the Kellner temperament in providing a foundation for orchestra and choir. The pure chords underlying the choral passages of the Requiem hushed the audience and heightened the sanctity and depth of the music. Throughout this performance the listener was introduced to a kind of feminine nobility that few organs possess. Beyond power, this organ has profundity and lyricism.

Craig Cramer, of Notre Dame University, presented Bach's partitas, trios and chorales and revealed more of the intimate qualities of the organ and the hall. Again, the listener could not ignore the fact that the organ wanted to be played like a violin, rather than a mega-piano. And ever mindful of the possibility of finding the best seat in the house, this lowly scribe positioned himself behind a chair that is permanently reserved for the donor of the hall, Mary Baker Russell. An amazing discovery was a sharp slap echo that could heard there and nowhere else. Could it be that she has the worst seat in the house?

By the sixth recital, one would think that every stop in the organ would have been heard once, twice or even thrice. Nevertheless, William Porter of the New England Conservatory scored a direct hit with his improvisation on O dass ich tausend Zungen hätte (Oh, that I Had a Thousand Tongues). Yes, he played the thousand tongues of the rich reed choruses of the organ which, in this writer's opinion, take their place amongst the best reeds in any organ, anywhere. There simply are not enough superlatives to describe the perfection embraced in these reeds. John Brombaugh once remarked that the best reeds contain both fire and ice--that the blaze of sound has to include some measure of restraint or reserve as well as bravado. Paul Fritts has achieved this quality in his reeds.

The stage was set for the last movement in this symphony of concerts. Martin Rost is organist of the 1659 Stellwagen organ in St. Mary's Church, Stralsund, Germany, which provided  the inspiration for this organ. The Stellwagen and Fritts organs share the same lofty structure and noble authority--the Stalsund casework is enhanced with enormously imposing even magisterial statues, while the Fritts carvings display busty gargoyles, introverted sculptures and a few insects and other artifacts of the Pacific Northwest. Rost proferred a freshly revised concert featuring the music of Scheidemann, Ritter, Köhler, Brahms and Mendelssohn. He hushed the audience with the softest stops on the organ and rendered the Brahms Chorales with magic as well as spirituality. He closed the symposium concerts with the Mendelssohn Sonata in C minor, giving an air of restraint and modesty, like a Mozartean cadence. The crowd went wild with a standing ovation.

An overview

One must make the inevitable comparison with the Westfield Center sponsored "Historical Organ in America" at Tempe, Arizona in 1992. (See reports in The Diapason, June, 1992, pp. 10-12, by Herbert L. Huestis, and July, 1992, pp. 12-13, by Rudolf Zuiderveld.) What were the similarities and differences between these two gatherings? The Arizona conference featured the documented work of a dozen organ builders and opened up the lines of technical communications in an entirely new way. Trade secrets gave way to genuine "help lines" from one organ builder to another. This meeting was collegial and convivial in the same way as the Arizona conference, but lacked the documentation that was presented by the same group of organ builders seven years ago. Despite presentations made by such luminaries as Christopher Kent of the University of Reading, England and Hans Davidsson of the University of Göteborg in Sweden, there seemed to be more opinion than hard data.

However, the sheer number of concerts provided the opportunity for the organ literature to speak for itself as it related to this splendid Paul Fritts organ. An incredible variety of organ music was played during this session. It seemed that the organists who presented recitals took great care with the literature they brought to the organ. Few if any compromises were made, and almost all the music that was played worked well on the organ. (One cannot help but note the exception of César Franck.)

It seemed like a good opportunity to look at just how wide a range of music could be played on an organ that was built on a historical "platform," but was obviously an instrument of tremendous flexibility. In the space of four days, seven recitals were presented with a total of 54 selections drawn from 400 years of organ literature. It is interesting to note that of all the music performed, thirty percent was from the 17th century, another 30 percent from the 18th century, 7 percent from the 19th century and an astounding 26 percent from the 20th century. Two of the seven concerts featured music that was exclusively contemporary. This organ speaks to our own time with the same authority as the age of J.S. Bach. This is no small accomplishment and demands a very broad flexibility in both voicing and tonal development. Another aspect of interest was the unique ability of this organ to accompany choir and orchestra. The tonal palette of the organ was every bit as varied as any orchestral color and the Kellner temperament provided a resonance that is unknown in most orchestra halls.

This symposium provided absolute proof that historically inspired organs can attain tremendous flexibility for the performance of the repertoire. The Fritts organ was not at all restrictive, as an analysis of the recital content will show. It is capable of playing a very big slice of organ literature, very well.

"Off-campus" concerts

Three events occurred off campus, in "must see" venues that provided some of the most inspiring music and worship experiences of the symposium. Mark Brombaugh of the United Church on the Green, New Haven, Connecticut, presented a recital on the milestone organ built by his brother John at Christ Church in Tacoma, Washington. David Dahl has spent his long career at Christ Church along with his post at Pacific Lutheran University. To a very great extent, the sublime achievement of Paul Fritts at PLU can be directly linked to the inspiration provided by John Brombaugh's milestone organ at Christ Church. It is an understatement to say that they are cut of the same cloth. Mark's recital was dedicated to his father Burlin Brombaugh, who was present at the symposium. The central feature of this recital was a commissioned work on his father's favorite Spanish Hymn in honor of his 90th birthday.

A joint recital by Melvin Butler and Roger Sherman, both of St. Mark's Cathedral in Seattle, provided the opportunity to hear Messiaen and Franck, among other composers, in the newly renovated cathedral space. The 1965 Flentrop organ illustrates the long lasting values acclaimed at the symposium. In his opening remarks, Roger Sherman recounted the time that the cathedral vestry was presented with two proposals for a new organ by Dirk Flentrop. The organ builder had suggested a modest organ as an alternative to the lofty instrument that now stands in the cathedral. The dean's reasoning for selecting the magnificent organ that has provided a musical legacy to the city for the last 30 years: they didn't have the money for either one!

A final event was the participation of the symposium group in worship at Trinity Lutheran Church in Lynnwood, Washington. This solid, working class church is the home of a new organ recently built by Martin Pasi of Roy, Washington. Rodney Gehrke, organist of St. Mark's Lutheran Church in San Francisco, presided at the organ for the service and was assisted by a vocal quartet from Pacific Lutheran University. The symposium participants were enthusiastic to be sure and were matched by parishioners note for note and word for word as they fervently sang the hymns and service music. One could not help but observe that "richening up" the music worked so much better than "dumbing it down!" The performance of all this music suggested that the impact of this symposium was not so much its forecast for the future, but the presentation of what was possible in the organ music of the 21st century. The panel discussions were infused with humor as well as platitudes and serious presentations and readings of papers. Perhaps the greatest impact was provided by the "who," as well as the "what," and "why." The closing of the international circle of organ builders was amply demonstrated in the remarks of two European organ builders present, John Mander of London and Kristian Wegscheider of Dresden. It was clear that they felt the Americans, in their revival of the historic organ, had taken knowledge gained from the European masters to new heights and that here at Pacific Lutheran University "a circle of learning" was completed when they took this information back to the continent.

All that aside, the raconteurs carried the day when it came to preparing for the new millennium. The subject of "Cincinnati" had come up in John Brombaugh's remarks, and Roberta Gary quoted that city's most revered citizen, Samuel Clemens, who said that if the end of the world came in his lifetime, he wanted to be in Cincinnati, because everything happened ten years later there. Could it be, that like the celebrated Mark Twain, organ builders will always seek values that last longer than the fashion of the day? If this meeting is any indication, the future of the organ is in good hands in the 21st century.