Summer Institute for French Organ Studies 2009

Timothy Huth holds a master’s degree and doctor of musical arts in organ performance from the University of Michigan. He is currently organist at First Presbyterian Church in Dearborn, Michigan, and a nationally certified massage therapist and cranial sacral therapist.

Led by Marilyn Mason and Gale Kramer, the University of Michigan Historic Tour LVI began on the Mediterranean in sunny Barcelona, then traversed southern France to Bordeaux on the Atlantic coast via Toulouse and Carcassonne. From there we followed Conques, Poîtiers, Angers, Orléans, Chartres, the Chapelle Royale at Versailles, and finally Paris itself. Historic churches and cathedrals with organs in the Catalan, French classic, and French symphonic traditions graced our way, and frequently our host organists would improvise, lecture, and assist tour members at the console. Several visits to museums and historical sites as well as sampling the local cuisines along the way complemented much music making.

Barcelona
Barcelona, the capital of Catalonia, is a vibrant cosmopolitan port city with ancient roots, with fine museums and architecture spanning centuries. Catalan organ building flowered here in the 16th century, taking a different path from that in Castile and central Spain, where organ building reached its peak in the 17th century. Linked by trade and geography to continental Europe, Catalonian builders were influenced by the Flemish, North Germans, and French. The organs usually have several reeds, although in Catalonia reeds never became as numerous or prominent as in the rest of Spain. Trompetas and Baixons (Clarins) are powerful and bright, and the organs are rich in mutations, cornets, and mixtures (Pie, Simbalet). Often there are colorful solo reeds on secondary divisions. Catalan cases are flat, narrow, and usually tucked into a small space. Even on smaller instruments there is usually a horizontal Trompeta or two, which affords economy of wind and space. Frequently there is a smaller Cadireta or Chair Organ suspended behind the organist (sometimes behind and under the organ bench), with a small chorus, mutations, and reed (Regalia, Cromorne, sometimes Trompetas).
As in baroque France, the music determined the registration—for example: Nazardo combinations using Nazardos and Quincenas; Lleno; Flautado; Campana (bell: unisons and Cymbalet). Rossignol, tympani, and bird stops are common. Often Iberian organ registrations were incorporated into builders’ contracts. Stops were divided for maximum flexibility of solo/accompaniment registration. The Principal (Cara 8′) would usually be of wood. Unique to Catalonian and Majorcan organ building, manuals divide between b2–c3 (in Castilian organs, c3–c#3).

Santa Maria del Mar
On the first day, we walked through Barcelona’s medieval city to Santa Maria del Mar (St. Mary of the Sea), where we met Neal Cowley, parish organist and a historian of Spanish organs. This vast basilica, built by Catalonian merchants and traders in the 13th century, has a history of important organs, beginning with Bernat Pons in 1393, and later instruments of 1464 and 1691. Lost in the Spanish Civil War were the 1797 ‘large organ’ by Jean-Pierre and Dominique Cavaillé (Aristide’s father and grandfather built several large organs in Barcelona) and the ‘small organ’ (1495, 1672, for accompanying chant). The current organ, the ‘small organ’, is a 17th-century instrument by an unknown builder from the convent in Vic. There are two manuals, a large 14-stop Orgue Major (II), and a 6-stop Cadireta (I). Using casework and pipes found in an antique shop and rescuing bellows and keyboards from an old farmhouse near Vic, Gerhard Grenzing rebuilt this instrument following the tradition of the period and by studying the few remaining period instruments. Particularly notable is the powerful warmth of the Cara, the blossom of the flutes, and impressive ensemble, able to fill the large Gothic space. The parish plans for a new ‘large organ’ to replace the lost Cavaillé.

Recitals—Barcelona Cathedral
At the Barcelona Cathedral (completed in 1298), eleven of our tour prepared for a late afternoon concert of Spanish music on the 1538 Pere Flamech organ (IV/58), with its casework by Antoni Carbonel towering over the San Ivo door near the apse. One of four major organs by Flamech, it has been significantly modified over the years. The ‘Batalla’ organ (IV) of Trompeta Magna 16′, Trompeta Real and Clarins Clars 8′, Baixons and Clarins Alts 4′, and Violetes 2′ (all horizontal reeds) resonated through this vast space scented with candles and incense and alive with thousands of pilgrims and visitors.
Academia a l’Orgue Barroc
Later that week, tour members performed at the ‘Academia a l’Orgue Barroc’ at La Poble de Cérvoles, where our hosts were Maria Nacy, the Academia founder, with three of her enthusiastic young students. The Academia’s organ hangs on the mid-front right wall of the parish church. It is a stunning restoration by Wilfried Praet of a 2-manual/8′ Pedal 1752 Anton Cases organ, with a 3-stop Cadireta Interior added by Joseph Cases/Soler in 1784. Another very fine Praet reconstruction was at St. Jaume, Ulldemolins. This 2-manual instrument with full choruses, bright reeds, and lovely Cara featured painted case doors of the Annunciation by an anonymous female artist. An El Greco painting behind the altar and Catalan icons completed the space. The organ, brought to the church via an enthusiastic priest and funded by parish and town, is a source of regional pride. Back in Barcelona, Gerhard Grenzing welcomed us to his workshop, where we saw several works in progress. Grenzing’s repertoire of over 170 organs includes significant European restorations and new instruments (e.g., Brussels Cathedral IV/60).

Cathedral de Santa Maria, Castello d’ Empúries
On our last day in Catalonia we saw the great Gothic Cathedral de Santa Maria, Castello d’Empúries, originally with an 11th-century instrument by Pere Granyera. The 51-stop, 4-manual gallery instrument (Scherer circa 1600/Grenzing 2004) combines Spanish and classical French characteristics with an expanded 16′ Pedal and stops of Spanish and continental nomenclature (e.g., Alemanya IV on the Orgue Major, Oboe, but also Trompeta Batalla and Magna). This is one of the great organs of this region of Spain and France.
Following a visit to Salvador Dalî’s seaside home and his fantastical museum at Figueras, the rolling hills and meadows of France welcomed us to the Abbey of Sainte-Marie, Fontfroide. Following Cistercian tradition, this vast Romanesque abbey church never had an organ; the Offices and Mass were all chanted a cappella.

Basilica of SS. Nazarius and Celsus, Carcassonne
Many great (now former) monasteries and churches are along ancient pilgrim and trade routes. In the walled city of Carcassonne, the Basilica of SS. Nazarius and Celsus has a Romanesque nave around which, in 1269, a Gothic cathedral was built. Fourteenth-century stained glass illumines the 1522 organ case. The instrument combines a 1679 organ by Jean de Joyeuse (III/24), with renovations and an 8-stop Récit added by Jean-Pierre Cavaillé in 1775 (III/32). Fomentelli integrated the two instruments in 1985 (IV/40). Here is an example of the late French classic style, with cornets on every manual, Grand Cornet, and powerful bombardes. Unique to the Carcassonne organ are two Positif divisions (Positif Intérieur and Positif de dos), in addition to the Récit and 28-note Pédale. The upraised faces of tourists and pilgrims toward the loft attested to this captivating instrument as Marilyn Mason gave an impromptu lesson on de Grigny.
A visit to L’église Sainte Marie de Cintegabelle brought us to Moucherel’s splendid 1741 instrument, restored in 1989 by Boisseau & Cattiaux, with its sparkling Plein Jeu, voluptuous Grands Jeux, and stunning wide and shallow case topped by golden angel musicians.

Toulouse, Languedoc, Dordogne
In Toulouse, organist Jean-Claude Guidarini led us to Saint-Pierre des Chartreux, where high over the former Dominican choir area in the large apse presides the 1683 Delauney (IV/51) instrument, restored by Joseph Cavaillé-JB Micot in 1783, and Grenzing 1983. Several hours later we walked to Saint-Sernin and the towering Cavaillé-Coll organ of 1889, with pipework from Daublaine-Callinet (1845). Following Guidarini’s brilliant improvisation, our group enjoyed hours of playing in the empty basilica.
At Albi in Languedoc, Mary Prat-Molinier met us high in the loft at the red brick fortress of the Cathédrale Sainte-Cécile, built at the end of the Albigensian crusade (13th century). Built in 1735 by Christophe Moucherel as a 43-stop organ, Lépine added a Bombarde manual in 1747, and Formentelli restored it in the mid 1970s, incorporating many remaining pipes. Each division has a Cornet séparé, and the Voix humaine is new, after that of Cintegabelle. Next door we enjoyed the Toulouse-Lautrec museum in the former bishop’s palace.
At Sarlat-la-Canéda in the Dordogne valley, near a lively public market in this medieval city, Henry Jullien, a former pupil of Susan Landale, improvised and shared console time on a unique 37-stop Jean-François Lépine organ of 1750, restored by Cattiaux in 2005, in the Cathedral of Saint-Sacerdos. From a family of builders, Lépine (who built for Saint-Roch in Paris) was a pupil of Dom Bedos, who inspected this instrument. The organ is 80% original, with drawings and clues in the gallery floorboard greatly aiding in the reconstruction of the action, chest layout, and winding system.

Bordeaux
The next day at Sainte-Croix Abbey in Bordeaux, we heard Daniel Tappe (a graduate of Oberlin, now at the Musik Hochschule at Hanover) in a recital of Clérambault, Froberger, Bach, and Kerll on Dom Bedos de Celles’ masterpiece. The 18th-century verdigris case with golden filigree and 16′ Montre glistened as the room filled with the sound of brilliant, powerful trompettes and cornets, full flutes, and the gravitas of the 32′ Bourdon and Grand Plein-jeu XIII of the Grand Orgue. One of the hallmarks of every great organ that we saw were the foundation stops, which, given the materials and acoustics of the churches, provided a richness and warmth supporting the tonal edifice. In the restoration, Pascal Quoirin of Carpentras followed Bedos’ 1766–78 L’Art du Facteur d’Orgues and used early inventories of the instrument as well as extant pipes, including the battered façade. With a full complement of couplers, reeds on all manuals, manual bombardes, and the ability to create terraced dynamics, the organ is capable of a more diverse repertoire and is clearly along the road toward the new symphonic style.

Poitiers
Following the Loire valley, we arrived at the Cathédrale Saint-Pierre in Poitiers. A lack of money prevented Aristide Cavaillé-Coll’s planned rebuild of François-Henri Clicquot and son Claude-François’ masterpiece, a 16′ ‘Grand Orgue’ of four manuals, 44 stops, and 28-note Pedale, with its original temperament including four perfect thirds. Organist Jean-Baptiste Robin pointed out that while of classical disposition, the organ carries the power and presence of later organs and is capable of a more diverse repertoire. Later in the week at St. Godard in Rouen, titular organist Nicholas Pien conversely spoke of their 1885 Cavaillé-Coll (III/38) and its ability to perform Vierne as well as French Baroque pieces. Widor, who dedicated the St. Godard organ, called it ‘Raphael’ to distinguish it from the Cavaillé-Coll in St. Ouen, which he called ‘Michelangelo’. With its piquant Swell Gambe and powerful intense reeds, it has an immediate presence in this smaller Gothic structure with wooden floor and ceiling. A Cavaillé-Coll choir organ (II/16) graces the apse.

Loire Valley
In the Loire Valley, we toured Fontevrault Abbey, a former monastic community of men and women under an abbess (later a prison where the author Jean Genet spent time), and the burial place of Eleanor of Aquitaine. That afternoon, following the Loire River, we came to the Cathédrale Saint-Maurice in Anjou province. The carved neo-Gothic staircase to the gallery matched the spired towers of the 1879 Cavaillé-Coll, containing earlier pipework, including a 1742 Positif. Restoration after World War II included electrification and additional stops.

Chapelle Royale at Versailles
Our gateway to Paris was the gilt and marble Chapelle Royale at Versailles, with its IV/37 instrument in the musicians’ gallery over the high altar. François Couperin premiered the Etienne Enocq/Robert Clicquot organ in 1711, and Gonzalez rebuilt it in 1936 (Widor wanted to keep the earlier 1873 Cavaillé-Coll rebuild). Recently, Boisseau et Cattiaux scrupulously restored the 1710 organ, keeping the 1736 (Louis-Alexandre Clicquot) and 1762 (Francois-Henri Clicquot) additions. Its console has features of the Poitiers organ, and it is also a 16′ instrument.
Paris, La Madeleine
We arrived in Paris to play the 1847 Cavaillé-Coll organ at the church of La Madeleine (IV/46). Here is Cavaillé-Coll’s first Voix Céleste and first reverse console (now electrified). Planned-for 8′ and 4′ Trompettes-en-Chamade have been added. Organiste-Titulaire François-Henri Houbart improvised à la Dupré, starting from the wide breadth of the Flûte Harmonique and colorful solo stops through waves of mixtures and reeds to full organ and powerful choruses anchored by the Bombarde. It was a thrill to play the Tournemire Te Deum in this grand space on this venerable instrument.

Saint-Gervais
Our last few days in Paris saw visits to still more instruments. The final Sunday of the tour found some of our group in the loft with Jean-Paul Leguay at Notre-Dame Cathedral, some at Saint-Eustache, and others at Mass at Saint-Sulpice with the sublime improvisations and service playing of Daniel Roth. That afternoon at Saint-Gervais where eight generations of Couperins worked, Elise Frist, an assistant organist, ably demonstrated the organ (V/41, 1628 Thierry, 1768 FH Clicquot, 1843 LP Dallery, 1974 Gonzalez, 2003 Muhlrisen). Indeed, the Couperins’ music fitted the organ well, with its balanced ensembles and clarity of voicing evoking that of Lépine, Delauney or Clicquot. Much original pipework remains, and the console has the oldest keyboards in Paris. The original pedalboard is mounted on the rear case, which is also embellished with etchings and photos of the many organists who have played and worked there.

Sainte-Marguerite and
Notre-Dame de Chartres
Sunday evening found us again in recital, this time featuring music of Widor, Tournemire, Dupré, and improvisations at the church of Sainte-Marguerite, built in 1624, and where the young Dauphin Louis XVII is buried. The organ is an 1878 installation by Stoltz Frères of Alsace.
A side trip to Notre-Dame de Chartres found us in the gallery with headphones on to be able to properly hear the instrument (IV/68, Relevage Jean-Marc Cicchero 1996). Without them we were surrounded by sounds of the Pédalier.

L’Église Saint-Antoine des Quinze Vingts
At l’Église Saint-Antoine des Quinze Vingts we found a unique 1894, 48-stop Cavaillé-Coll originally built for the Baron de l’Espée, who wished to play Wagner in his personal hotel on the Champs-Élysées. A purely symphonic instrument, it was moved to the church and enlarged in 1907.

Notre-Dame d’Auteuil and
Sainte-Clothilde
The Grand-Orgue of Notre-Dame d’Auteuil (Cavaillé-Coll 1884, Gloton-Debierre 1937–38) is a shining example of Cavaillé-Coll’s mature work. Dedicated by Widor in 1884, its sound evoked that of Saint-Sulpice. It is one of the most glorious instruments this organist has ever experienced. The 1938 renovation, under the auspices of a committee with Tournemire, Vierne, Duruflé, and Dupré, preserved the entire organ (III/52), enlarged and enclosed the Positif, and added pedal and manual mixtures. Josef Franck, the brother of César, was organist here, and in 1884 Widor and Dellier played the dedication. Its full flutes, generous fonds, and bombardes of great gravitas are well balanced and perfectly blended in the room. This was a favorite organ of the Duruflés and much of Paris; Marie-Madeleine Duruflé attended Mass here in her later years. Titular organist Frédéric Blanc told us that the original instrument intended for the church was loaned to the French government, whereupon Cavaillé-Coll enlarged it and installed it in the Trocadéro, which opened in 1878. At Sainte-Clothilde, assistant organist Olivier Penin improvised on the 1859 Cavaillé-Coll, renovated by Dargassies in 2004. It was a thrill to also play the instrument of Langlais, Pierné, Franck and Tournemire.

La Trinité
The La Trinité organ was built by Cavaillé-Coll in 1869 and reconstructed after the Paris Commune in 1871. Merklin rebuilt it in 1901, and in 1934 Pleyel-Cavaillé added combination action, batteries of reeds and mutations, and mixtures. It was again rebuilt in 1965 by Beuchet-Debierre, with further alterations and additions in 1984 and 1992. Messiaen referred to the remaining older pipework as the most admirable sounds on the instrument and considered the instrument a masterpiece.

Saint-Étienne-du-Mont and
Saint-Roch
Our final afternoon found us at Saint-Étienne-du-Mont, with organist titulaire Vincent Warnier improvising in the style of Duruflé, after which we spent several hours at the console. In 1930 when Maurice Duruflé was appointed here, the ailing 1873 Cavaillé-Coll (a rebuild of a 17th-century organ with original case) was renovated in consultation with Tournemire and Dupré. Work resumed after World War II (Marilyn Mason recalled her lessons on the front choir organ shortly after the war). Now electrified and enlarged, the main organ has been transformed and still possesses many pipes from all of its incarnations. Its brightness and color complement the wonderful late flamboyant Gothic sunlit nave of the church and indeed the music of Maurice Duruflé.
The last church we visited was Église Saint-Roch and its III/54 Cavaillé-Coll (1840, 1862), restored by Renaud in 1992, including the mechanical action with Barker levers on the Grand Orgue. At Saint-Roch, Cavaillé-Coll used pipework from previous organs dating to 1751. That evening, the group celebrated our final dinner near Sacré-Coeur Basilica on Montmartre.
Historic Organ Tour LVI showed us many treasures of the organ world from Catalonia and France. These instruments and the music written for them become vibrantly alive when yet again the organist places hands on those historic keys. From the camaraderie of our tour group to the magnificent organs of the Catalonian Renaissance and French classical and symphonic traditions, to the food and wine enjoyed on terraces in the warm evenings, our venture was a fun and enlightening two weeks.

Tour members
Betsy Cavnar
Jeffrey Chase
Christine Chun
Joanne Vollendorf Clark
John Clark
Ronald DeBlaey
Richard Ditewig
Bela Feher
Janice Feher
Esther Goh
Steven Hoffman
Timothy Huth
Jerry Jelsema
Gale Kramer
Evelyn Lim
Rose Lim
Marilyn Mason
Enid Merritt
Paul Merritt
Mary Morse
Winnifred Pierce
Jean Savage
John Savage

Almar Otjes (tour guide)

Annie Laver is pursuing her DMA in organ at the Eastman School of Music. She developed an interest in historical organs while studying for a year in Amsterdam and has continued to nurture the interest at Eastman by giving performances and initiating concert series on the school’s 18th-century Italian Baroque organ and by serving as the graduate assistant for the Eastman Rochester Organ Initiative (EROI). Laver completed her bachelor’s degree at Brown University and MM in organ at Eastman; she presently resides in Wisconsin, where she is organist at the First English Lutheran Church in Appleton.

For two weeks this past summer, a handful of American organists participated in the Summer Institute for French Organ Studies, a biennial educational seminar run by Gene Bedient, president of Bedient Pipe Organ Company, and Jesse Eschbach, professor at the University of North Texas. The small group of participants, including Daryl Robinson, Elaine Mann, Laura Edman, Katherine Meloan, and Annie Laver, sought out the institute in order to gain hands-on experience on historical organs and further their understanding of French organ music from the baroque and romantic periods.
The institute commenced in Poitiers, France on May 28, where participants were allowed exclusive access to the 1789 organ built by François Henri Clicquot in the Cathedral of St. Pierre. During the week, Gene Bedient gave lectures on aspects of Classical French organbuilding, including the development of wind systems, key action, temperament, and pipework. He frequently guided the group through the inside of the case, in order to reinforce the concepts discussed in lectures. Professor Eschbach complemented the lectures on organbuilding with presentations on the historical context for French baroque music as well as performance practice issues such as inegalité and registration in the music of 17th- and 18th-century France. François Guichard and Jean-Baptiste Robin also offered demonstrations and masterclasses. The focus of the week was François Couperin’s Mass for the Parishes of 1690. Each participant presented a portion of the work for the daily performance seminars and public concert on Friday, June 1.
After a weekend free for individual excursions, the group reconvened in the heart of champagne country on June 4 for the second half of the institute, a seminar devised around an instrument completed in 1869 by Aristide Cavaillé-Coll for the Church of Notre-Dame in Epernay. In addition to this well-preserved three-manual instrument, the group was allowed access to a second three-manual Cavaillé-Coll organ of 1889 vintage in the neighboring Church of St. Pierre and St. Paul. The use of these two exceptional instruments concurrently allowed the group to discuss the development of Cavaillé-Coll’s building style and the surrounding musical context in the 19th century. During the week, the group examined Cavaillé-Coll’s Barker levers, discussed the evolution of the absolute legato style in France, and learned how to maneuver ventils and couplers, among other things. The final concert included Louis Vierne’s Symphonie III and César Franck’s Choral in B Minor.
The group was enthusiastic in its praise for the institute, citing the organized and informative presentations, and the rare opportunity to prepare for performances on the historical instruments daily. The next Summer Institute for French Organ Studies will take place in the summer of 2009. For more information, visit <www.bedientorgan.com&gt;.

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.  

Jean-Louis Coignet is organ expert and Advisor for the City of Paris.

Two years ago, a storm was suddenly triggered on the Internet: the Sainte-Clotilde organ was being “vandalized” . . . “impure hands were ravaging the Cavaillé-Coll masterpiece” that Jean Langlais had so respectfully preserved . . . Jacques Taddéi, titular organist of Sainte-Clotilde, was deemed responsible for the “sack of a sacred heritage” and put in the stocks. This turmoil spread in the United States with that fine sense of moderation that characterizes some organ circles; it did not arouse much interest in France except from a few quarters where Taddéi is hated for various reasons.
What remains of the storm now? Merely a feeling of ridiculous agitation as it has become obvious that this thermonuclear bomb was a non-event perpetrated by mythomaniacs, and that the real motives of the agitators had little to do with their supposed respect for the Sainte-Clotilde organ. In order to separate lies and fantasms from the truth, it is helpful to sketch the history of this instrument.
When the organ was inaugurated on December 19, 1859, its specification was as follows: three manuals (C1–F5: 54 notes): Grand-Orgue, Positif, Récit; Pédale (C1–D3: 27 notes).

GRAND-ORGUE

16’ Montre
16’ Bourdon
8’ Montre
8’ Bourdon
8’ Viole de gambe
8’ Flûte harmonique
4’ Prestant
4’ Octave
22⁄3’ Quinte
2’ Doublette
Plein-Jeu VII
16’ Bombarde
8’ Trompette
4’ Clairon

POSITIF

16’ Bourdon
8’ Montre
8’ Bourdon
8’ Salicional
8’ Unda Maris
8’ Flûte harmonique
4’ Prestant
4’ Flûte octaviante
22⁄3’ Quinte
2’ Doublette
Plein-Jeu III–VI
8’ Trompette
8’ Cromorne
4’ Clairon

RÉCIT

8’ Bourdon
8’ Viole de gambe
8’ Voix céleste
8’ Flûte harmonique
4’ Flûte octaviante
2’ Octavin
8’ Trompette
8’ Basson-Hautbois
8’ Voix humaine
4’ Clairon

PÉDALE

32’ Soubasse
16’ Contrebasse
8’ Flûte
4’ Octave
16’ Bombarde
16’ Basson
8’ Trompette
4’ Clairon

Pédales de Combinaisons

Orage
Tirasse Grand-Orgue
Tirasse Positif
Anches Pédale
Grand-Orgue 16
Positif 16
Positif/Grand-Orgue 16
Anches Grand-Orgue
Anches Positif
Anches Récit
Positif/Grand-Orgue
Récit/Positif
Trémolo Récit
Expression Récit
It should be noted that certain items of the specification are still debatable: Was there a Gambe 8’ or an Unda Maris 8’? Was there a Flûte octaviante 4’ or an Octave 4’ on the Positif? Was there an “appel Grand-Orgue” among the “pédales de combinaisons”? There is at least one point that is no longer questionable, namely, concerning the Récit/Pédale coupler: During examination of the original console in Flor Peeters’ music room, I noted several changes that had been carried out on the “pédales de combinaisons.” There was no longer any “pédale d’orage” as it had been replaced by the “tirasse Grand-Orgue.” Thus the original “tirasse Grand-Orgue” became “tirasse Positif” while the original “tirasse Positif” became “tirasse Récit.” When did this change happen? Probably during one of the “relevages” that Tournemire mentions in the “notice d’inauguration du Grand Orgue” published in 1933. In a letter to Daniel-Lesur, Tournemire wrote that he had the “tirasse Récit” added to the organ. Still, he mentions a “tirasse III” in the “notice . . . ” under the title “Dispositif de l’ancien orgue (1859) . . . ” Historical accuracy was probably not his strong point.
After César Franck’s death, Pierné was appointed in 1890, then Tournemire in 1898. The organ was enlarged in 1933 under Tournemire’s direction: 10 new stops and many new “pédales de combinaisons” were added, while the manuals were extended by 7 notes to reach a 61-note key compass and the pedal by 5 notes to a 32-key compass. These modifications made it necessary to provide a new console. A Cornet V was added to the Grand-Orgue; the Positif Cromorne was transferred to the Récit and renamed Clarinette; a Tierce 13⁄5’ and a Piccolo 1’ were added to the Positif; the Unda Maris gave way to a Gambe 8’.
The most important changes were made on the Récit: a new windchest was installed as well as five additional stops (Quintaton 16’, Bombarde 16’, Nazard 22⁄3’, Tierce 13⁄5’ and Plein-Jeu IV). The Récit enclosure was enlarged to accommodate the new elements. A Soubasse 16’ and a Quinte 51⁄3’ were added to the Pedal, and a Flûte 4’ replaced the Octave 4’. Fourteen new “pédales de combinaisons”—“octaves aigües” and “appels et retraits de jeux”—were added to the existing ones. The expression pedal was centered.
In the “notice d’inauguration,” Tournemire attempts to justify these changes: “These improvements were carried out to better serve the Art of the Organ from the 13th century to the present day.” Even if we do not agree with him, we have to admit that no irreversible changes were perpetrated at that time. All of the Cavaillé-Coll structures of the organ were still there: mechanical action with Barker levers, winding with double-rise bellows, etc. I remember having visited and heard the organ in the 1950s; its sound effect (excepting the “octaves aigües”) was still quite typical of a large Cavaillé-Coll organ.
After Tournemire’s tragic death in 1939, Ermend Bonnal was appointed titular organist. The organ underwent no changes during his tenure. Jean Langlais succeeded him in 1945. Soon afterwards he had part of the organ ceiling removed and replaced by a raised roof in particleboard in an attempt to improve sound egress from the Récit. This modification, carried out in the 1950s, was acoustically efficient, albeit visually very ugly indeed. (Photo 1)
The organ underwent substantial further modifications in 1960–62. The Barker levers, the trackers, and the stop action were removed and replaced with electro-pneumatic transmissions. The Grand-Orgue and Positif reservoirs were also removed and replaced by spring-regulators; the winding of the instrument underwent big changes as did its general balance (along the then-fashionable neo-classical trends). A new Pédale windchest was installed in front of the Récit box to accommodate the Soubasse 16’ as well as three new stops (Bourdon 8’, Prestant 4’ and Doublette 2’). A Flûte 4’ took the place of the Octave 4’ on the Grand-Orgue; the Positif Gambe 8’ was replaced by a Larigot 11⁄3’; a Principal Italien 4’ and a Clairon 2’ were added to the Récit; a new console (the third one) was installed; the “pédales de combinaisons” were reorganized and a combination system, with 6 general and 18 individual pistons, was installed at the back of the organ. Beuchet-Debierre executed these extensive modifications under the direction of Jean Langlais. It cannot be seriously asserted that these were merely superficial, cosmetic alterations. In fact the sound effect of the organ was grossly modified. Whether it sounded better or not is a matter of taste, but obviously the sound was no longer that of Cavaillé-Coll. Jean Guillou faithfully summed up a fairly widespread feeling: “ . . . it is a faucet for lukewarm water!”
Jacques Barberis performed another “relevage” in 1983; the Clarinette 8’ was moved back to the Positif at this time and a few small changes were made among the couplers.
Soon after his appointment as titular organist in 1987, Jacques Taddéi first complained of the limitations of the combination system, then of the lack of wind, quite evident when heavy registrations and 16’ couplers were used. This was by no means surprising as neither Tournemire nor Langlais had ever taken care of this: many stops and couplers had been added to the original organ, an electro-pneumatic action for both notes and stops had replaced the original action, and many reservoirs had been removed when, on the contrary, new ones should have been provided to feed these multiple additions. Worse, in the late 1990s the wiring inside the console had deteriorated to the point where it became dangerous to use certain console controls; e.g., the crescendo pedal had to be disconnected as posing a fire hazard. As far as the instrument’s tonal aspects are concerned, Jacques Taddéi felt that the instrument lacked “guts” and was not responsive enough. This was clearly the result of the drop in the wind pressure that afflicted most divisions, especially the Pédale.
At this point, I drew up a program of repairs aiming at a largely sufficient wind supply by mending the reservoirs and wind trunks, adding a new blower and new primary reservoir to the existing ones, and replacing the electro-pneumatic slider motors (leaking, noisy and very cumbersome) with electric slider motors. To avoid all fire risks, it was decided to upgrade the key and stop action with solid-state transmissions and an electronic combination system. At the same time, Jacques Taddéi requested some tonal modifications that were described in the March 2002 issue of The Diapason: “With Jacques Taddéi 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 Manufacture Vosgienne de Grandes Orgues was entrusted with these tasks. Due to financial restrictions by the civic administration, they were staggered over many years. At the beginning of 2004, as the final phase was being carried out, Jacques Taddéi received a gift from a significant donor, the Bettancourt Schueller Foundation, to pay for several additions and changes that he was eager to have worked out: adding mutations in the 16’ series, a horizontal Trompette 8’, a Bombarde 32’, and moving the console from the second to the first gallery.
Soon after this, a conflict emerged among Jacques Taddéi, his assistant Marie-Louise Langlais, and the latter’s assistant, Sylvie Mallet. I was not aware of that dispute until Christina Harmon called my attention to the fight that, in fact, seems to have begun soon after the appointment of Nicolas Pichon as new assistant. (In fact, during various meetings concerning the organ, Marie-Louise Langlais used to say nothing but “Jacques is right! . . . ”)
Here are some extracts of my reply to Madame Harmon (May 24, 2004):

I am dumbfounded indeed to hear of a disagreement between Madame Langlais and Monsieur Taddéi concerning the organ of Sainte-Clotilde. At meetings before and during the works, Madame Langlais had the opportunity to voice her concerns, but she did not. She could also have phoned the Bureau des Monuments, or me, if she did not care to express her disapproval during the meetings; she did not. . . . I am very sorry to hear of the dispute between Madame Langlais and Monsieur Taddéi; I thought that they were close friends, but conflicts are SO COMMON in the organ world that I wonder whether they are not the result of a genetic programming. . . . Anyhow it is a rule for me never to interfere in that kind of affair.
. . . Personally I am quite conservative towards organs; I was among the first (more than forty years ago!) to deplore the changes that French organs have endured along the years and centuries. If Monsieur Taddéi’s predecessors had acted more respectfully toward the Sainte-Clotilde organ, we still should be able to hear and play Franck’s organ.
An orchestrated flood of false “news” and delirious scoops was then spread on the Internet, which, according to Claude Imbert (in Le Point, April 14, 2005), “swarms with insane rumors and pillories.” Together with the organists’ verbal “grapevine,” this generated a campaign of considerable misinformation. The limits of absurdity were indeed reached many times, not least when someone launched the report that “The keyboards [of the new console] are repulsive . . . ” when, in fact, these keyboards are simply those of the Beuchet-Debierre console.
Reason clearly has no place in such polemics, and I do not wish to waste my time—and that of serious readers—in analyzing and refuting all of the crazy assertions that appeared here or there; it would give too much importance to mythomaniacs. Nevertheless, there is a point that needs to be clarified: Marie-Louise Langlais claimed that the “Monuments Historiques” [the official body dealing with historic organs] had not approved the work ordered by the City of Paris. This is fundamentally untrue. On June 14, 1999, the office in charge of organs at the City of Paris sent a letter to the “Direction des Affaires Culturelles d’Ile de France,” asking permission to carry out the proposed work on the Sainte-Clotilde organ. In a letter of June 27, 1999, the “Conservateur Régional des Monuments Historiques d’Ile de France” replied that there was no objection.
In order to put an end to the crazy allegations that were circulating, the ministry of culture entrusted Eric Brottier, advisor for historic organs, with the inspection of the Sainte-Clotilde instrument. He visited it in 2004 and acknowledged what every sensible person already knew: that the organ had been significantly and detrimentally altered in 1960–62, and that—far from damaging it—the recent works had on the contrary given it more coherence. The administration clearly understood that the organ had been and was being used as hostage in a private conflict. Consequently all planned-for work on Parisian organs has been cancelled.
The present specification of the organ follows: three manuals, 61 notes (C1–C6), Grand-Orgue, Positif, Récit; Pédale, 32 notes (C1–G3).

GRAND-ORGUE

16’ Montre
16’ Bourdon
8’ Montre
8’ Bourdon
8’ Viole de gambe
8’ Flûte harmonique
4’ Prestant 4
4’ Flûte
22⁄3’ Quinte
2’ Doublette
Plein-jeu VII
Cornet V
16’ Bombarde 16
8’ Trompette
4’ Clairon
8’ Chamade

POSITIF

16 Bourdon
8’ Montre
8’ Bourdon
8’ Flûte harmonique
8’ Salicional
8’ Unda Maris
51⁄3’ Quinte
4’ Prestant
4’ Flûte octaviante
31⁄5’ Tierce
22⁄3’ Quinte
22⁄7’ Septième
2’ Doublette
13⁄5’ Tierce
11⁄3’ Larigot
1’ Piccolo
Plein-jeu III–VI
8’ Trompette
8’ Clarinette
4’ Clairon
Trémolo

RÉCIT

16’ Quintaton
8’ Flüte harmonique
8’ Viole de gambe
8’ Voix céleste
8’ Bourdon
4’ Principal italien
4’ Flûte octaviante
22⁄3’ Nazard
2’ Octavin
13⁄5’ Tierce
1’ Octavin
Plein-jeu IV
16’ Bombarde
8’ Trompette
8’ Basson-Hautbois
8’ Clarinette
8’ Voix humaine
4’ Clairon
Trémolo
8’ Chamade

PÉDALE

32’ Soubasse
16’ Contrebasse
16’ Soubasse
8’ Flûte
8’ Bourdon
4’ Flûte
4’ Octave
2’ Flûte
32’ Bombarde
16’ Bombarde
16’ Basson
8’ Trompette
4’ Clairon
8’ Chamade
4’ Chamade

Combinaison électroniques
Coupure de pédale
Crescendo ajustable
Tirasses 8, 4
Octaves graves aux claviers
Accouplements manuels 16, 8

Conclusion

What does the future hold for the Sainte-Clotilde organ? It is indeed debatable: some strongly advocate recreating the original 1859 instrument; others think that the evolution should follow its course, according to Tournemire’s personal opinion (from “Notice d’inauguration”): “En outre, je ne me suis pas interdit de songer aux possibilités futures . . . ” (Moreover, I have not ruled out any reflection on future possibilities . . . ).

Translation of French terms:

Tirasse – pedal coupler
Anches – reed (ventil)
Octaves graves – 16' coupler
Octaves aigües – 4’ coupler
Relevage – overhauling
Orage – storm effect. A pedal that, on depression, draws down successively six or seven notes from the bottom of the pedalboard upwards.

Ronald Ebrecht researches French music from 1870–1940 both for performance and publication. He has performed his reconstruction of the original versions of Duruflé’s organ works in Austria, Belarus, China, France, Germany, Lithuania, Mexico, Russia, and across the U.S. He is University Organist of Wesleyan University, Middletown, Connecticut.

Some scholars define French Impressionist composers as those born up to 1902 rather than 1900. This allows for the significant talent of the Debussy of the organ, Maurice Duruflé, who by the mid-20th century contributed to the musical world organ works that define Impressionistic virtuosity—and its most notable Gregorian-based Requiem, with an Impressionistic orchestral accompaniment.
Duruflé is Impressionist in his use of form, harmony, rhythm, and registration. Though organists are thought to favor counterpoint and there are contrapuntal movements, free forms predominate. He emulated his teacher Paul Dukas (1865–1935) not only in compositional style, but also like Dukas he left conspicuously little music for posterity. Beyond the beauty of his compositions, this scarceness may contribute to their being prized, for they are both rare and perfect, and, like the last of anything, especially delicious.
The music is consistently challenging and always rewarding. The melodies, harmonies, rhythm, registration—all grow more loved as they become more familiar, in part because long practice hours are necessary to learn these masterworks. The Suite, Opus 5 of 1934, sets performance demands that have not been exceeded—for the insight to interpret the subtle “Sicilienne,” or the technique necessary for the daunting “Toccata.” His scores are the pinnacle of organ writing, yet in all this remarkable complexity there is never a superfluous note. Duruflé regularly revised the pieces in later life. Of the major works, the Suite, Opus 5, had the fewest revisions from its first publication until the final version. The closing “Toccata” was, however, often the subject of his self-critical eye. He regularly disparaged the piece in masterclasses, never recorded it, advocated cuts, and eventually re-wrote the closing cadenza.
His continual reassessment of his works, his reticence to compose once he began teaching harmony at the Conservatoire National (Supérieur) de Musique in 1943, and his quiet, unassuming manner would have left his music on the shelf were it not for his marriage in 1953 to his brilliant, effusive student Jeanne Marie-Madeleine Chevalier (1921–1999). Her vividly remembered performances and recordings are public testament of her devotion to her husband; her care for him in his infirmity was her private testament. From her début to her final recitals, she performed his works with insight and verve.

Ties that bind:
Opus-to-instrument links in the first editions of the major organ works

The premise
Performance practice studies of other French composers such as Franck or Messiaen investigate connections between their music and the specifications and tone of the organs of which they were titulaire. For Duruflé, information gleaned from masterclasses and suggestions made to private pupils of the composer and of his wife have constituted the basis for performance. Though interesting, this advice given decades after the composition of the works was already stale. Many are unaware that the versions of the scores currently in print were changed from the originals because, unlike most composers who are eager to extend the copyright of their works, Duruflé never renewed his even when pieces such as the Scherzo and “Adagio” from Veni Creator were substantially altered.
For performance today, a careful re-examination of the Duruflé first editions and of the instruments at his disposal when the works were written suggests subtle yet important links between two organs and the compass and registration of the pieces. From 1926 to 1934, the years of his most active organ composition, he regularly played four instruments: in his home town Louviers, the parish church Notre-Dame; and in Paris, the cathedral Notre-Dame, and parishes Sainte-Clotilde and Saint-Étienne du Mont. Of these, he could only play his compositions using his indicated registrations on the organs of the churches he served as titulaire, Louviers and Saint-Étienne. Those where he assisted his Parisian teachers—Tournemire at Sainte-Clotilde then Vierne at the cathedral—were perhaps idealized but are not referenced in the registrations he suggests. These famous instruments are further precluded by their restricted compass.

The background
After a few years of piano and solfège lessons in Louviers, where his father was an architect, in 1912 Maurice went to study in the provincial capital, Rouen. After 1914, he was organist of two Rouen parishes: Saint-Sever and Saint-André, neither with interesting organs. In 1916, his father did design work for the country estate of conservatoire history professor Maurice Emmanuel. After an audition in Louviers, Duruflé began commuting to Paris for lessons with Tournemire to prepare for his entrance into the conservatoire. Emmanuel was a classmate, lifelong friend, and scholar of Claude Debussy. Emmanuel recounts an event he attended in 1887. Théodore Dubois, professor of harmony at the conservatoire, accompanied some verses of the Magnificat at the organ with the then “new” harmonies à la Debussy, using unresolved successions of ninths, elevenths, and thirteenths. Perhaps Emmanuel, a great raconteur, regaled the impressionable conservatoire-bound Duruflé by retelling this incident, or demonstrating the process at the organ, which we certainly hear in Duruflé’s writing.
Once admitted to the conservatoire, he won all the coveted prizes: premier prix in organ with Eugène Gigout in 1922, harmony with Jean Gallon in 1924, and accompaniment with Abel-César Estyle in 1926. That year he wrote his Scherzo to enter the composition program under Charles-Marie Widor. Widor was eventually officially replaced by Dukas, who may have been substituting for him. Duruflé obtained the premier prix of counterpoint, fugue and composition in 1928. In the next two years, he won the improvisation and playing competitions of the French organists’ association, Les Amis de l’Orgue. These dates—1926, 1929, 1930—are critical, for at this time Opus 2 and his two larger works Opus 4 and Opus 5 were in progress on that desk at which he notoriously used the eraser more than the pencil.
The Scherzo, Opus 2, a charming yet intimidating miniature, can be played on a much smaller organ than the large-scale works. The registrations were later changed by Duruflé to a more Neoclassic æsthetic, and the “da capo” was revised. The sonata-rondo form of this piece is exceptional for a scherzo, particularly because of the abrupt changes of tempo. The most remarkable textual variation from the modern version occurs in the da capo, or final reprise of the main scherzo theme. In the 1929 edition, Duruflé quotes the ascending chords from the third theme on the Grand Orgue between each phrase of the scherzo theme. These vignettes were removed in 1947.
The original registrations are more subtly linked to the themes, and sections of the piece are less abruptly demarcated. The effects such as multiple unison stops with Voix humaine, trémolo and sub-couplers are certainly luxurious. Throughout, the ample, embracing original registrations and less pronounced solos reinforce the Impressionistic atmosphere. (See Example 1.)
In addition to registrations, the Scherzo is linked to Louviers by its dedicatee: “A mon cher Maître Charles Tournemire, Hommage reconnaissant.” Tournemire performed the concert for the rededication of the Louviers organ in 1926, at which Duruflé also participated. Perhaps the Scherzo was then played, if only privately. Opus 2 specifies the quiet Récit flute as “Cor de nuit.” Louviers and organs from his Rouen period such as his teacher’s house organ were the ones he knew in 1926 with a Récit flute thus termed. A stop of this name is curiously absent from Duruflé’s monumental specification for Saint-Étienne du Mont of 1956.
Another piece that requests the Cor de nuit is the “Sicilienne” of the Suite, Opus 5, linking it to the Scherzo. In addition to stipulating “Cor de nuit,” the Scherzo and “Sicilienne” require the same manual and pedal compass. Although by 1926 Duruflé was quite familiar with the Sainte-Clotilde organ, its pedal compass precludes that organ. The “Sicilienne” explores a modal, proto-folk melody in the characteristic Sicilian rhythm. The solo appears first in the soprano using Hautbois and Cor de nuit, then in the tenor using Cor de nuit, Clarinette, and Nasard. The second statement is accompanied on the Positif with Bourdon and Dulciane 8'. The “Sicilienne” is further linked to the 1926 specification of Louviers by the request for two 8' strings and a 4' Dulciana on the Grand Orgue, which of all the organs known to him, only Louviers had. In the “Sicilienne,” the Récit “Oboe” is called “Hautbois,” while in the “Prélude” of the Suite, “Basson.” Some may argue that the names are synonyms, but are perhaps unaware that at Sainte-Clotilde, Notre-Dame de Paris, and Saint-Étienne du Mont, the Oboe is called “Basson” or “Basson-Hautbois,” while at Notre-Dame de Louviers, on the house organ of Jules Haelling, and at Saint-Sever, Rouen, the Récit stopped flute is “Cor de nuit” and the Oboe, “Hautbois.” These facts give evidence that the “Sicilienne” may be earlier than the other movements from the Suite and confirm that both works were conceived with Louviers as reference.
Two examples of nonfunctional harmony from the Scherzo and the “Sicilienne” can provide a synopsis of the many stylistic similarities between these two pieces. (See examples 2 and 3: Scherzo measures 181–190, and “Sicilienne” measures 57–61).

Two works linked to Saint-Étienne, as rebuilt in 1928
In 1930 when Prélude, Adagio et Choral varié sur le thème du “Veni Creator,” Opus 4, won the composition prize of Les Amis de l’Orgue, Duruflé was but recently named to Saint-Étienne du Mont, where he had been substituting previously. This was not an instrument such as the monumental, hundred-stop Cavaillé-Coll at Saint-Sulpice played by his fellow Norman Marcel Dupré. Cavaillé-Coll’s Saint-Étienne rebuild of 1873 was succeeded by another in 1883. Renovations were continued by Théodore Puget in 1902 and in 1911 when the Récit was completed with a bass octave. Another rebuild was undertaken beginning in 1928 by Paul-Marie Koenig. This work continued for a time during Duruflé’s tenure, but was abandoned in April 1932. Though mechanically unreliable and unsatisfactory in other ways, Koenig provided 56-note manuals and a 32-note pedal, standard couplers, and a new manual order with the Grand Orgue on the bottom. The only known recital given in these years was by the blind organist Gaston Litaize in March 1931. After 1931 the organ went from bad to worse and ceased functioning sometime before it was dismantled for a rebuild by Debierre in April 1939. From then until 1956, Maurice Duruflé played the Puget choir organ.
The Prélude, Adagio et Choral varié sur le thème du “Veni Creator” is the first work using Duruflé’s familiarity with the organ of Saint-Étienne as reference. A tenor register solo of Récit Clarinette 8' with Nasard is requested. Though the organ did not yet have one in 1928, the replacement of the Cor with a Clarinet was intended as shown in the composer’s specification for Beuchet in 1938, which rebuild would have been with electric action and super-couplers.
On most French organs of the time, pieces like the “Final” of Opus 4 and “Prélude” and “Toccata” of Opus 5 that conclude at the top of the keyboard and request the use of super-couplers in those passages would actually have had no pipes in that range because there were no chest extensions. Therefore, when Duruflé was making requests for super-couplers he had never actually heard them. Perhaps his real-life experience in 1943 of super-couplers with chest extensions at the Palais de Chaillot for the premier of Prélude et Fugue sur le nom ALAIN, Opus 7, convinced him to omit requests for them from the blazing finale of that fugue. One wonders why the sub- and super-coupler indications in Opus 4 and Opus 5 were not among his revisions.
Among many connections linking Opus 4 and Opus 5 to Saint-Etienne are registrations that request Positif at 8' “Principal,” “Bourdon,” and “Salicional” and 4' “Prestant” rather than the generic French names. Saint-Étienne is the only organ he knew offering this precise combination.
Before the introduction of combination action, ventils were used to produce a crescendo. The reeds and mixtures stop knobs were drawn, but the ventil kept them from speaking until a foot lever (appel) was activated. Saint-Étienne was not equipped with a ventil for the Positif because of mechanical limitations. The Opus 4 “Final” begins with Récit mixtures and reeds, Positif foundations, Grand Orgue and Pédale foundation stops with “Anches et Mixtures préparés.” The crescendo calls first for the Positif mixture then separately the reed, followed at Largemente by Grand Orgue and Pédale reeds and mixtures. The drawing of Positif single stops is facilitated by rests in the manual parts, while rests in the pedal allow the use of the appel for the Grand Orgue and Pédale. Because both Notre-Dame de Paris and Saint-Clotilde had a Positif appel, Duruflé’s suggestions in contradiction of standard practice seem clearly intended for Saint-Étienne. Comparison of compass added to the analysis of composite registrations and specifications reinforces the pairings of Scherzo and “Sicilienne” to Louviers and Veni Creator and Suite to Saint-Étienne.
Opus 4 (Veni Creator) was substantially altered in August 1956, and the revised version was issued by the publisher from 1957 onward. There are extensive revisions of the climax, which though treating the same theme, has a much more rhythmically complicated and technically difficult accompaniment. Passages bear a very striking similarity to accompanimental figures in the orchestrated version of the Scherzo. As in the rewriting of the Scherzo da capo, the rewriting of the Adagio climactic section includes removal of interruptions to the crescendo, showing Neoclassic motivation. Tempo and registration revisions seem calculated to make the effect of the piece more homogenized.
A second enclosed division (Positif or Grand orgue) is another curiosity. There was an enclosed Grand orgue on the Haelling studio organ in Rouen where he had lessons in his youth, but he never had one on any organ of which he was titular nor any he designed. Yet, he suggests an enclosed Grand Orgue by a crescendo in the “Prélude” of Opus 4 and a decrescendo in the “Prélude” of Prélude et Fugue sur le nom d’ALAIN, Opus 7.
Although theoretical aspects of the compositional structure of the organ works may exceed the space limitations of this article, similar to the cadence preference of Duruflé in his choral works, third modulations are important. This is clearly demonstrated through the key relationships of the movements of the Suite, which progress by major thirds. The “Prélude” is in E-flat minor, the “Sicilienne” is in G minor and the “Toccata” is in B minor.

In conclusion
The examination of the original registrations of the pre-war works makes clear that when writing them, Duruflé’s model organ was highly influenced by nineteenth-century instruments with strings, celestes and harmonic flutes. His registrations are sometimes generic, such as “Anches” or “Fonds”; however, when specific—“Principal,” “Dulciana 4,” “Cor de nuit,” “Hautbois”—they have been shown to be references to two instruments: Louviers in 1926 and Saint-Étienne in 1928. The composite of the original registrations of the four major works requires 49 manual stops: four 16' flues, thirteen 8' flues, two 16' reeds and six 8' reeds. In the nineteenth century, Barker machines were used to divide the chest between foundations and the reeds/mixtures, which could be controlled by ventils. Cavaillé-Coll and other builders of the late nineteenth century used Barker lever-assisted playing action. The placement of the Positif manual below the Récit and above the Grand Orgue is consistent in all editions of the major works.
Tempo indications were altered in the printed versions. Tempo markings are generally less contrasting in revisions than in original versions. The composer’s ability to update the Scherzo while changing so few notes is quite adept, but the vignettes in the final statement recall the slower themes and intensify his original whimsical concept. The revisions of Opus 2 and Opus 4, and tempo changes, especially taken together with the less warm registrations, lead to this conclusion: in later life he wished them to sound more reserved and matter-of-fact. These “homogenizations” appear to have Neoclassic motivation.
Thus, in many ways, the first edition version of the organ works sounded quite different to his ears and those of his contemporaries when played on instruments of the period with their original Romantic registrations. Their tone and voicing was smooth. Their power was derived from reeds that were rich in fundamental. Unfortunately, most of the instruments Duruflé knew in 1919–1934 have been altered beyond recognition.
In his style there is nothing especially progressive, as one encounters in Stravinsky or Schoenberg. Duruflé was able to manipulate his Ravelian harmonies, Gregorian-like melodies, and contrapuntal textures to go to the very core of the listener’s life. For his is a music that eschews tantalizing the intellect but, in the interest of art, above all pleases the ear. To the end, Duruflé retained the same principles of creativity, which excluded nothing of human warmth. The organs of the turn of the century can inform the performer. The links are too close and too numerous to be coincidental. These are the ties that inextricably bind the works, both the last and the summit of Impressionist organ music, to the late Romantic organ tone for which they were written.

Notre-Dame, Louviers, John Abbey 1887/Convers 1926
I Grand Orgue (54 notes)
16' Montre
16' Bourdon
8' Montre
8' Flûte harmonique
8' Violoncelle
8' Gambe
4' Prestant
4' Dulciana
2' Doublette
Cornet
Plein jeu III
16' Basson
8' Trompette
4' Clairon

II Positif (54 notes)
8' Flûte
8' Bourdon
8' Salicional
8' Unda maris
4' Prestant
4' Flûte douce
22⁄3' Nasard
2' Doublette
8' Clarinette
8' Trompette

III Récit (54 notes)
8' Flûte
8' Cor de nuit
8' Gambe
8' Voix céleste
4' Flûte 4
22⁄3' Quinte
2' Octavin
13⁄5' Tierce
1' Piccolo
16' Cor anglais (free reed)
8' Trompette
8' Hautbois
8' Voix humaine

Pédale (32 notes)
16' Contrebasse
16' Soubasse
8' Flûte
8' Bourdon
16' Bombarde
8' Trompette

Saint-Étienne du Mont, Paris, Cavaillé-Coll 1883/Puget 1911/Koenig, 1928

I Grand Orgue (56 notes)
16' Montre
16' Bourdon
8' Montre
8' Bourdon
8' Flûte harmonique
8' Gambe
8' Flûte creuse
4' Prestant
2' Doublette
Plein-Jeu VI
Cornet V
16' Bombarde
8' Trompette
4' Clairon

II Positif (56 notes)
8' Salicional
8' Unda Maris
8' Bourdon
8' Principal
4' Prestant
4' Bourdon
22⁄3' Nazard
2' Doublette
Fourniture III
Sesquialtera II
8' Cromorne
8' Trompette

III Récit expressif (56 notes)
16' Quintaton
8' Cor de Chamois
8' Flûte
8' Gambe
8' Voix céleste
4' Flûte
4' Salicet
22⁄3' Nazard
2' Octavin
13⁄5' Tierce
Plein-Jeu III
8' Trompette
8' Cor
8' Basson-Hautbois
8' Voix humaine
4' Clairon

Pédale (32 notes)
32' Soubasse
16' Soubasse
16' Contrebasse
10' Quinte
8' Dolce

8' Flûte
4' Flûte
Carillon III
16' Bombarde
10' Trompette-Quinte
8' Trompette
4' Clairon

Saint-Étienne du Mont, proposed specification of 1938

I Grand Orgue
16' Montre
16' Bourdon
8' Montre
8' Flûte harmonique
8' Bourdon
5' Gros Nasard
4' Prestant
4' Flûte
22⁄3' Quinte
2' Doublette 2
Plein jeu II
Plein jeu IV
Cornet V
16' Bombarde
8' Trompette
4' Clairon

II Positif
8' Principal (timbre flûté)
8' Salicional
8' Bourdon
4' Prestant
4' Flûte à cheminée
22⁄3' Nasard
2' Quarte de Nasard
13⁄5' Tierce
Fourniture III
Cymbale III
8' Trompette
8' Cromorne
4' Clairon

III Récit expressif
16' Quintaton
8' Diapason
8' Flûte ouverte
8' Cor de nuit
8' Gambe
8' Voix céleste
4' Flûte
22⁄3' Nasard
2' Octavin
13⁄5' Tierce
1' Piccolo
Plein jeu IV
16' Bombarde-acoustique
8' Trompette
8' Clarinette
8' Basson-Hautbois
8' Voix humaine
4' Clairon
IV Écho expressif
8' Quintaton
4' Principal italien
2' Doublette
Terciane II (Tierce 13⁄5' et
Larigot 11⁄3')
Cymbale III
8' Hautbois d’Écho
4' Chalumeau

Pédale
32' Bourdon
16' Principal
16' Bourdon (ext)
10' Quinte
8' Principal
8' Flûte
8' Bourdon
4' Principal
4' Flûte
Grand Fourniture V
16' Bombarde
8' Trompette
4' Clairon

Composite of registrations of the Scherzo, Opus 2 (III 54/30) and “Sicilienne,” Opus 5b (III 54/31)

I Grand Orgue exp
8' Montre
8' Flûte
8' Flûte harmonique
8' Gambe
8' Salicional
4' Dulciane
III/I, II/I
III/I 16'

II Positif exp (middle manual)
8' Flûte harmonique
8' Flûte douce
8' Bourdon
8' Dulciane
4' Bourdon

III Récit exp
8' Flûte
8' Cor de nuit
8' Gambe
8' Voix céleste
4' Flûte
22⁄3' Nasard
2' Octavin
8' Hautbois
8' Clarinette
8' Voix humaine
Trémolo

Pédale
32' Soubasse
16' Soubasse
16' Bourdon
8' Flûte
8' Bourdon
III, II, I/Péd

Comparison of composite registrations derived from first editions of Veni Creator, Opus 4, and “Prélude” and “Toccata” from the Suite, Opus 5.

Opus 4         Opus 5
56/30           58/31

I Gd. Orgue        I Gd. Orgue
Montre 16           Fonds 16
Bourdon 16
Montre 8             Fonds 8
Bourdon 8
Fl. harm. 8
Prestant 4             Fonds 4
Quinte
Fond 2
Mixtures               Mixtures
Anches 16, 8, 4     Anches 16, 8, 4
                            (Bombarde 16)
III/I, II/I 8, 4         II/I, III/I 8, 4
III/I 16                 III/I, II/I 16

II Positif exp         II Positif
Bourdon 16
Fonds 8
Principal 8          Principal 8
Salicional 8         Salicional 8
Flûte 8

Bourdon 8           Bourdon 8
Prestant 4            Fonds 4
Fond 2
Mixtures             Mixtures
Anches 8, 4         Anches 8, 4
Clarinette 8
III/II                 III/II

III Réc. exp         III Réc. exp
Fonds 16
Fond 8                 Fonds 8
Flûte 8
Bourdon 8             Bourdon 8
Gambe 8
Voix céleste
Fond 4                 Fonds 4
Flûte 4
Nasard
Fond 2
Octavin
Mixtures                Mixtures
Anches 16, 8, 4
Trompette 8         Tpt douce 8
Hautbois 8            Basson 8
Clarinette 8
V. humaine 8
Clairon 4
Trémolo

Pédale                 Pédale
Fonds 32
Flûte 32
Bourdon 32
Fond 16               Fond 16
Flûte 16
Soubasse 16         Bourdon 16
Fond 8                 Fond 8
Flûte 8
Bourdon 8           Bourdon 8
Flûte 4                Flûte 4
Anches 32–4        Anches 32–4
                        (Bombarde 32)
I,II,III/Péd         I,II,III/Péd
II,III/Péd 4         II,III/Péd 4

Alsace Week, July 10-14, 2001

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.

For four days, the group would travel the length and breadth of this beautiful region rich in agriculture and vineyards, nestled in the Rhine valley between the French Vosges mountains and the Rhine river. Its villages and towns, between Mulhouse in the south, Strasbourg in the north, and Colmar at the center, boast over one thousand organs in its many lovely churches.

Predigerkirche, Basel

Upon arrival in Mulhouse, Marie Louise Langlais and Sylvie Mallet directed everyone across the border into Basel, Switzerland to visit two churches. We arrived at the Predigerkirche (Catholic) where Mme. Langlais introduced Emmanuel Le Divellec and Brigitte Salvisberg, young husband and wife who are both former students of Mme. Langlais. Divellec is organist of the French church in Bern and teaches at the Bern Conservatory. He told of the church, which originally housed a 13th-century Dominican monastery on the site. The organ was built by Johann Andreas Silbermann in 1766. It had one manual and 14 or 16 stops. Silbermann built a Rückpositiv in 1768, bringing the total to 28 stops.

In 1875 the instrument was enlarged, but it became difficult to play and was neglected until 1974. The firm of Metzler reconstructed the original organ in 1978, adding a flute 4' and larigot to the Positiv and prestant and fourniture to the Pedal. Tuning is Werckmeister, and the disposition is French "with a German accent." Divellec played several parts of the Guilain 2nd Suite: Plein jeu, Tierce en taille, Cromorne en taille, Basse de trompette, Cromorne and Flûtes; and Caprice sur les Grand Jeu from the Clérambault 2nd Suite. Participants were given playing time.

Then Brigitte Salvisberg discussed the choir organ which is mounted above the choir on the north side. At the time of the restoration of the church in 1975, an imprint of the original organ was found on the wall. The contract from a Johannes Tugy and a description of this organ from 1487-1493 were also found. In 1985, the Netherlands builder Bernhard Edskes reconstructed the instrument of two manuals with short compass. Manual I has principal, gedeckt, octave 4' and 2' and a hornle, which is a sesquialtera-type stop. The second manual contains a regal and a 4' and 2'. Salvisberg played O dulcis Maria by Hofhaimer, three Renaissance dances by Hans Neusiedler, and the "Fortuna" variations by Scheidt.

For participants, the change from the large cathedral churches of Paris, Caen, and Chartres during the previous week of the seminar was striking and refreshing. Most of the churches we visited here seat from 200 to 800 people.

St. Josephkirche

Next we were transported to St. Josephkirche to hear an exquisite 1904 instrument built by the firm of Kuhn. Organist Willy Kenz ushered us into the 1902 neo-Baroque church, where the membership has been multicultural. Near the end of the 19th century, Catholic immigrants from Germany and Italy moved to Basel to work, and this was their church. The organ is of 43 stops of three manuals and is a historic treasure. Manual I has a 16' bourdon, four 8' stops including gemshorn, a cornet, flûte harmonique 4', octav 4' and 2', quint, mixture, and trompete. Manual II has a 16' nachthorn, geigen, flute, viola, dolce, quintaton, gemshorn, transverse flute 4', waldflöte 2', sesquialtera, zimbel, and English horn. The Swell contains gedeckt 16' and 8', two strings and a voix celeste, flute and string 4', plein jeu, flute 2', oboe, and schalmei. The Pedal has four 16' stops, two 8', and posaune 16'. In 1934 four stops were added, and in 1992 the Kuhn firm rebuilt the instrument. The tuning is low: A=435.

In this resonant room, the music is stunning. The Swell box is very effective, and the organ is perfect for German Romantic music. Kenz played a Kodály Introit, "Andante" from Mendelssohn's 6th sonata, Karg-Elert's Nun danket alle Gott, and Brahms' Schmücke dich. Participants eagerly climbed to the rear gallery to play. Afterwards, the church staff prepared a fine meal for all.

Elisabethkirche

The evening brought a concert at the Elisabethkirche, a Protestant church. The organ is from 1861 by the Belgian firm of Merklin, which was a rival of Cavaillé-Coll. Originally of two manuals (with a third of only one stop) and 29 stops, the present case is the original one of 1864. The primary manual had 16' and 8' principals, salicional, octav and flöte 4', 22/3', and cornett 8'. The second manual had only an 8' gedeckt. Manual III featured flute 16' and two 8' flutes, flute 4', cymbel 1', and oboe. The Pedal had three 16' and two 8' stops. The firm of Zimmermann added four new stops in 1899 and rebuilt the organ in 1913. Theodor Kuhn replaced the Merklin reeds in 1937. It is definitely a French instrument.

Two of Mme. Langlais's former students, Emmanuel Le Divellec and Suzanne Kern, demonstrated the organ. Kern, who studied with Scheidegger, Bovet, and Marie-Louise and Jean Langlais, is the current organist of the church. She played the 4th Sonata of Mendelssohn, Chant de Fleur from Prière to the Virgin by Florentz, and Tournemire improvisation on "Victimae paschali laudes." Divellec played the Franck Cantabile, Alain Le jardin suspenu (with lovely strings and very effective pp-ppp dynamics), and Pièce solennelle by Jacques Ibert.

Saint-Jean, Mulhouse

The next day the group traveled to Mulhouse to the Protestant Saint-Jean Temple. This is a special place for Marie-Louise Langlais as it was her first professional appointment. The organ is an Alfred Kern (1972) reconstruction of a 1766 Johann-Andreas Silbermann organ of three manuals. The beautiful case is from the 18th-century instrument. The church is small, seating perhaps 150 people. The Rückpositiv is very close to the pew aisles which face the pulpit and are perpendicular to the organ. There are 26 stops, with mutations on each manual--Grand Orgue, Echo, and Positiv de dos.

Sylvie Mallet demonstrated the solo stops of the organ by playing a Tierce en taille, the beautiful positiv cromorne, an 8' and 22/3' (there is a nasard on each manual), the plein jeu, and the reeds and cornet, with an 8' and 1' echo. She demonstrated the tremolo by playing the Grand Orgue vox humana, montre 8', and Positiv 8' and 1'. When the organ was dedicated in 1972, Jean Langlais wrote and played his Suite Baroque for the occasion. The organ plays both French and German music well. Participants played Langlais, Bach, and Soler.

Saint-Étienne

The Gothic-style Catholic church of Saint-Étienne was a short walk away. The organ is a late-period Cavaillé-Coll with a neo-Baroque Positiv by Roeth-inger. The reeds of the Swell are as powerful as at Saint-Ouen and Saint-Étienne in Caen. Several participants played pieces which demonstrated the various colors of the organ.

Organ building in Alsace

Daniel Roth, a native of Mulhouse in Alsace, assumed leadership as our guide into the small towns and villages of Alsace. He was accompanied by Pierre Chevreau, organist at Saint-Martin in Masevaux. Within the 170 km of the wine route are nestled 100 towns. All of the instruments the group was privileged to hear and play represent the combination of German and French influence in organbuilding. Rheinberger, Buxtehude, and Bach sound well as does the music of the 18th-century French Classical composers.

The first stop was the little village of Oltingue and the Church of Saint Martin. M. Roth gave a historical background of the region and the import of its history upon the development of organ building in Alsace. Occupied by the Romans in 58 B.C., Alsace eventually came under the rule of the Allemandes (407 A.D.) and the Holy Roman Empire (870 A.D.). At that time the Vosges mountains formed the French border with Germany and Switzerland. The French desired to stretch the border to the Rhine, and finally took the land in 1648. In 1870 Alsace again came under German rule. After WWI, France again ruled. In 1939 the Nazis captured Alsace, and after WWII it again became part of France. In Strasbourg, the organ builder Edmund Roethinger (1866- 1953) saw Alsace change nationalities four times. Alsatian culture has taken the best from the culture of France and Germany. It is true also with organ building. Alsatians demonstrate a great love of music and of the organ.

In 1792 Alsace listed 300 organs. In 1844, the number had doubled to 600, and after 1980, 1004 instruments, many of them historically significant, were to be found in this small region. In the 1870s, when Alsace was under German rule, there were many active German organ builders, but Alsatians resisted the German tonal ideal--a hard sound, loud mixtures, and high wind pressures. At the end of the 19th and in the early 20th century, there was an Alsatian organ reform, with the desire being to rediscover the organs of Silbermann. The Alsatian Albert Schweitzer was important in this movement. Schweitzer loved French organs, and this was revealed especially in his trips to Paris to study the instruments of Cavaillé-Coll.

This movement was not the Orgelbewegung, which came later and was even more radical. Many Romantic organs were destroyed in the zeal to build organs with little fundamental tone, high-pitched mixtures, and absence of gambas. The French manifestation of this revolution occurred partially in the Neo-Classical movement of the 1930s.

In the 1950s, there was a Baroque-reform movement in Alsace, which reacted against the Neo-Classical movement in other parts of France. Alfred Kern's 1963 instrument at Saint-Séverin in Paris is an example of a tonal design from this reform movement. Kern's family were builders from Strasbourg in Alsace. The participants in this movement sought a better understanding of the old instruments and to make possible the playing of Bach and other German music as well as Classical French music. The 1970s then saw the revival of interest in the Romantic organs.

Saint-Martin, Oltingue

The Oltingue church of Saint Martin is of neo-Baroque style. The organ was built in 1843 by Joseph (1795-1857) and Claude (1803-1874) Callinet, sons of François Callinet (1754-1820) who began the family business. The organ was cleaned in 1941, and in 1978 Gaston Kern of Strasbourg rebuilt the façade pipes and restored the blending of the French and German influences of Callinet. It features a bourdon 16', montre 8', and sifflet 1', with fourniture, a beautiful cornet, and trompette 8' and clairon 4' in the Grand Orgue. The Positiv has bourdon 8', flûte 8', a flûte 4' which plays at 8' in the lower range, and a basson-hautbois which is a free reed. There is also a gamba (Roth noted that Silbermann did not build gambas). The ophicleide in the pedal is also a free reed, which Roth said makes "an odd noise." Roth improvised for us and then participants were able to play.

Église de Masevaux

We traveled east to Masevaux to visit the church of our co-host, Pierre Chevreau. Église de Masevaux (St. Martin) is a modern building, as the previous building with its Callinet organ burned in 1966. Alfred Kern built the gallery organ in 1975. It has 40 stops distributed over four manuals and a dramatic case which spreads completely across the wide gallery. The disposition is Grand Orgue with 16', 8' montre, flûte 4', prestant, gemshorn 2', cornet, fourniture, cymbale, trompette, and clarion. The Oberwerk has flûtes 8', 4', 2', larigot, cymbale and chalumeau. The Echo (42 notes) has flûtes 8' and 4', cornet and voix humaine (the only stop that is enclosed). The Positif de dos has viole and bourdon, flûte 4', prestant, 22/3', 13/5', 2', 1', fourniture, cromorne, and voix humaine. The Pedal includes flûtes 16', 8', prestant, cor de nuit 2', fourniture, posaune 16', trompette, and cornet 2'. There is also a two-manual choir organ by Curt Schwenkedel (1972) which of the German Baroque style. It features brilliant mixtures which are loud and harsh.

Pierre Chevreau is artistic director for an international organ festival here. 2001 was the 25th year for the event, with recitals during July, August, and September.

Ebersmünster

We traveled north to Ebersmünster, a town that is east of the north-south motorway and still in the valley. On the way we saw high in the hills to the West Koenigsburg Castle and Chateau de Kentsheim, two imposing structures that can be seen from great distances and which complement the picturesque scenery. Across from the church, we caught sight of one of the many man-made stork nests (occupied with parents and chicks) for which Alsace is famous. The towers of this Baroque church crown a beautifully-proportioned building. Once a Benedictine abbey, the choir was completed in the 17th century. In 1709 the towers were added. Nave and transepts were finished 1725-27, and in 1730-73, Andreas Silbermann placed the organ in the west gallery; the organ case is spectacularly beautiful. Silbermann (1678-1734) established the Strasbourg firm and after studying his craft with Thierry in Paris, settled in Alsace. His sons Gott-fried (1683-1753) and Johann Andreas (1717-1766) carried on, but Gottfried moved back to Saxony.

The specification is almost French Classical. Only the bombarde 16' in the Pedal is different. This was added to French instruments in the late 18th century and only to those which were the largest. The Pedal originally had flûtes 8' and 4' with trompette and clarion. The clarion was added in 1732, as was the Swell trompette. Today the organ is of 29 stops, three manuals with Echo (25 notes), Positif de dos, and Grand Orgue (each with 49 notes). In 1782, Johann Hosias Silbermann added a new pedalboard and bellows. In 1857, Martin Wetzel, a Strasbourg builder, added the bombarde. A cleaning was done in 1921, and in 1939 Roethinger added another new pedalboard, altered the voicing, and changed the bombarde and trompette. In 1998-2000, a complete restoration was undertaken in an attempt to restore the Silbermann voicing.

Protestant Temple, Barr

We journeyed next across the valley and into the foothills of the Vosges mountains to one of the wine villages, Barr, where we arrived at the Protestant Temple, which is Lutheran--unusual because most of the Protestant churches here are Calvinist. There is no nave and no transepts. The pulpit is the focal point of the church with pews arranged in front and on the sides. The church was built in 1852, but the tower is from the 12th century and was restored and made higher in the 15th century.

The first organ here was placed by the Silbermann family in 1739. The present organ, from 1852, is exceptionally large for the building. It was built by Stierh, a family of organists first headed by the father and then by his three sons: Joseph (1792-1867), Ferdinand (1803-1872), and Savier (1806- 1873). The firm added an associate--Mockers--and together they placed this instrument. There are four manuals: Positif de dos, Grand orgue, Echo expressif, and Grand Orgue (suite)--trompette and clairon only. There are three 16' stops and three 4' stops in the G.O. The fugara 4' is a German gamba. The Pedal features a wooden 16' basson and violincello 8'. The Positif has a cor des alpes 8' which is a conical reed. The voix celeste 4' is not a celeste but only a narrow-scaled string stop. The Echo, under expression, was very unusual for that time. It contains a basson-hautbois and voix humaine. There were restorations in 1895, 1924, and 1948. In 1977, Gaston Kern undertook the last restoration. M. Roth demonstrated the gambas 16', 8', and 4' of the G.O., the montre 8', and the plenum and reeds, and then  played a passacaglia by Rheinberger (Sonata #8). Then participants were allowed to try the organ.

Saint Martin, Erstein

We traveled back into the valley, across the motorway, and arrived at Erstein and the Romanesque-style church of Saint Martin. Welcoming us was an official of the regional council as well as a representative of the mayor's office. The organ is a historic monument. In 1905, there was creation of a separation of church and state in France. All of the organs now belong to the towns. This one, recently restored, is under the auspices of a regional council.

The organ of 1914 was built by Edmond-Alexandre Roethinger of Strasbourg. As with other instruments, its specification represents a combination of French and German traditions. The flûte of the Grand Orgue, the geigen principal of the Positiv, the principal 8' of the Swell, and the posaune of the Pedal are all under high wind pressure, which was typical of German organ building at the end of the 19th century. The stops are designated by the word "Starkton-" indicating their higher wind pressure. The bombarde and trompette of the swell are of French voicing. The harmonia aetherea of the swell is a 3-rank mixture of string pipes, and there is an unda maris on the Positif. The Récit and Positif are both under expression. This organ's 64 stops make it the largest instrument heard thus far in Alsace. There are seven 8' stops on the Grand orgue and Positif and eight 8' stops on the Récit.

M. Roth improvised and then demonstrated individual stops. The clarinet on the Positif is especially beautiful. He conducted a masterclass with Barbara Reid, Jill Hunt, and Angela Kraft Cross performing Franck, Pièce Héroïque; Dupré, B-major Prelude; and Widor, Allegro from Symphonie VI.

Saint-Thomas, Strasbourg

We traveled to Strasbourg for the last day, arriving first at Saint-Thomas Protestant cathedral, dating from 1740-41. The organ, over the entrance door, is by Johann-Andreas Silbermann. Its beautiful oak case is of wonderful proportions. The rounded central tower of the Grand Orgue is of unusual design. There is a matching rounded tower in the Positif de dos. The organ comprises three manuals and 31 stops and is tuned at low pitch, but in equal temperament. In 1790 a trumpet was added to the Echo manual, and in the 19th century Wetzel added some Romantic stops, including a salicional. More changes occurred in 1860. In 1979, Alfred Kern, a specialist in the aesthetic of Silbermann, restored the original, but he left the romantic stops in the Echo division. Albert Schweitzer established a tradition of playing an all-Bach recital each July 28, the anniversary of Bach's death. The tradition carries on today.

The Positif plenum, jeu de tierce, and cromorne are original Silbermann pipes as are those of the entire Grand Orgue and Pedal. The Echo division recalls the Romantic period. The only 16' flue in the Pedal is a soubasse. The montre of the Grand Orgue is especially beautiful and singing. French Classical music sounds well here, but so does Bach, Buxtehude, and the other German Baroque composers. M. Roth first improvised. Participants played such works as Buxtehude, Prelude, Fugue and Chaconne; Bach, G-minor Fantasie, D-minor Toccata, and chorale preludes Nun komm der Heiden Heiland and O mensch bewein. The tremolo is especially beautiful.

Notre-Dame Cathedral, Strasbourg

We proceeded to the great Notre-Dame Cathedral of Strasbourg. The church, begun in 1015, has a Romanesque choir from the 11th and 12th centuries. The Gothic nave is from 1275. The spire of the west façade was finished in 1439. The organ hangs high on the triforium gallery near the west entrance, about two bays away. Christoph Mantoux, Professor of organ at the Strasbourg Conservatory, played a French Classical suite. The vox humana is especially beautiful.

The opportunities afforded by the biennial British and French Organ Music Seminars are evident in both the number of people who return to them and to the growing diversity of participants. Not only do these events attract professional organists who desire to play the great instruments of England and France, but there are those who are self-taught aficionados of the organ and those of other professions who love the organ and its music. Investment brokers, art historians, physicians, and computer programmers are part of these groups. Organ historians among the participants provide excellent outlines ahead of the seminars chronicling the timelines of British and French organists, composers, builders, and British influence on American organ building. Organists of all levels of experience--beginners to professionals--are allowed equal access to the instruments and to gifts of the faculty.