Daniel Roth biography

Steven Young

Steven Young is a professor of music at Bridgewater State University, Bridgewater, Massachusetts, where he teaches courses in music theory and directs the University’s choral ensembles. He is also organist at St. Martin’s Episcopal Church, Providence, Rhode Island. Young has presented papers and performances for regional and national conventions of the American Guild of Organists, the Organ Historical Society, and the American Choral Directors Association. He research interests focus on late nineteenth- and early twentieth-century French organist/composers, and he has written several feature articles and reviews for The Diapason. He also wrote the liner notes for Christine Kamp’s series of recordings of the organ works of Louis Vierne on the Festivo label. Young has recorded several of the works of Boston organist/composer Henry M. Dunham on the AFKA label.

In October 1926, just a month before his death, Aloÿs Claussmann chatted with an old friend, Claude Nievre, a writer for La Montagne, a newspaper whose office was directly below the apartment where Claussmann lay dying. Nievre had written an article titled “Un grand talent méconnu, Claussmann, musicien et compositeur” (An underestimated talent, Claussmann, musician and composer).¹ Among other things, Nievre made the point that Claussmann’s many years of service to his community of Clermont-Ferrand should be rewarded by naming him to the Legion d’honneur, the highest civilian award given by the country to celebrate accomplishments given in service to one’s country. Claussmann had spent fifty years selflessly serving the musical and religious community of Clermont-Ferrand with little or no thought to promoting his own career as performer, teacher, or composer. Sadly, the award was never granted to Claussmann, despite the efforts of all his friends and colleagues. However, his tireless efforts bore many wonderful fruits in terms of quality students, artistic performances, and respected compositions.

A native of the Alsace region of France, born in Uffholz on July 5, 1850, Claussmann began piano lessons at age 11 with his uncle, a local musician and teacher. Following those lessons, Claussmann studied at the Petit Séminaire de La Chapelle-sous-Rougemont. Between 1868 and 1870, he studied with organ virtuoso Eugène Gigout at l’École Niedermeyer in Paris, during which time he was awarded the premier prix in both piano and organ.

Interrupting his studies, Claussmann returned to Uffholz to perform his military service in the Franco-Prussian War in 1870 and 1871. When Alsace was lost to Germany at the end of the war, Claussmann opted to retain his French citizenship. He returned to Paris to complete his studies, where he distinguished himself as both performer and composer, earning the grand prix de composition in 1872 from l’École Niedermeyer.

In 1873, the position of maître de Chapelle at the cathedral of Clermont-Ferrand became available. Claussmann applied and was offered the position. He accepted it, and remained in Clermont-Ferrand for the entirety of his career, possibly to his professional detriment. Nonetheless, according to one writer, Claussmann wasted no time in establishing himself as a first-rate musician.²

In 1877, shortly after his appointment, the cathedral acquired a new organ with three manuals and forty-eight ranks of pipes, built by the Merklin firm, one of the most respected in France. The dedication program featured Edmond Lemaigre, then titular organist of the cathedral, and Alexander Guilmant, renowned organist. Claussmann participated as well, conducting two motets, including a Salve Regina of his own, newly composed for the event, and performing two organ works, one by François Benoist and another new work, also written by Claussmann, Offertoire.³

Claussmann’s musical work was not limited to his position at the cathedral. In 1881, Claussmann established the short-lived Société Philharmonique. Though enjoying only a brief existence, this may have been the first orchestra to provide written critical program notes for its concerts, attesting to Claussmann’s scholarly inclinations.⁴ Shortly thereafter, in 1886, he assumed position as organist titulaire, following Edmond Lemaigre’s relocation to Paris. It was at this tribune that Claussmann remained until his death in 1926.

During his tenure he composed the majority of his works for the organ (approximately 350 pieces), nearly a hundred for the piano, a fair number of songs, and a few other works for chamber ensembles and orchestra.⁵ Claussmann’s next big success was the premiere performance of his commissioned drame lyrique, Pierre, l’Eremite, composed to commemorate the 800th anniversary of the First Crusade (the text of the work was by the Abbé Raynaud). Written in 1892, the work awaited its premiere for three years. According to the reports, it was a resounding success, performed at least two times (May 15 and 17, 1895). The reviewer, while admitting that one could not analyze such a large work on one hearing, admired its beauty in both composition and performance.⁶ The performance featured an orchestra of sixty, a chorus of 200, and soloists, all led by Claussmann. It must have been quite the tour de force!

In 1909, Claussmann was appointed director of L’École municipal de Musique, and he remained its director until 1918 when he suffered from a serious health crisis that disabled him for nearly three months, at which point he was named honorary director, and Louis Gémont assumed directorship.⁷ The formation of this school was fraught with difficulties. Prior to its founding, there were two competing institutes, the Petit Conservatoire, headed by Jean Soulacroup, and the École de musique, directed by Louis Gémont, both of whom were considered for the position of director of the École nationale de musique. After several years of contentious battles about the school, and once it was decided to move ahead with the formation of a national music school that would align itself with the Conservatoire nationale in Paris, a closed door meeting took place, and Claussmann was named as director to the pleasure of many community members, and the displeasure of others, including the mayor of the city.⁸ Claussmann accepted, but wrote, with apparent jocularity, that if the conservatory were to open as planned, the undertaking would be substantial, and it would force him to cut his annual vacation very short. He did exactly that, and served with distinction for many years.

Little is known of Claussmann’s personal life; there are few letters and no personal papers. In 1877, he married Marguerite Barthélémy, and they had a daughter, Madeleine, in 1878. It is presumed that his wife predeceased him, based on the eulogies given at his funeral.⁹ According to Joseph Desaymard, writer and critic, who was his pupil and friend, Claussmann possessed a gentle spirit, keen intellect, good sense of humor, and youthful attitude.¹⁰ He rode his bike to work every day, and until the final few years of his life, he appears to have possessed good health.

Unfortunately, little is known about the critical reception of his work, at least in France. The local newspaper of Clermont-Ferrand rarely commented on musical events. However, the Société nationale included his Sonate pour violon et piano on a concert in May 1906, and the composition and performance received an extensive review reprinted in the Revue pratique de Liturgie et de Musique sacrée. The reviewer praised Claussmann’s melodic gift, his interesting harmonies, and his well-crafted forms.¹¹ This seems to be the generally held view of Claussmann as a composer.

Claussmann’s vast output of organ works includes music for any number of occasions. The two large collections, Cent pieces pour orgue ou harmonium, opus 34, and Cent pieces pour grand orgue, opus 66, encompass smaller works designed for liturgical usage, such as Entrées, Communions, and Sorties.¹² Undoubtedly he used these pieces himself over his fifty-year career at the cathedral.¹³ Even in these smaller works, Claussmann demonstrates substantial contrapuntal skill. The Entrée in D Minor, which opens opus 66, is only 63 measures long, yet it displays Claussmann’s fascination with counterpoint and with Franck, as the theme appears twice, in related keys, and then, upon returning to the tonic, is subjected to canonic treatment throughout (Example 1). The ninth piece in this set provides further evidence of Claussmann’s meticulous craftsmanship. While only 29 measures long, it has a tripartite form in which the return of the opening A section receives a new accompaniment with the melody moved to the left hand. In terms of larger organ works, Claussmann penned two sonatas, a Suite pour orgue, and several Livraisons containing varying numbers of pieces likely intended for concert use. These include fantaisias, pastorales, marches, toccatas, and many others. In these works one sees Claussmann’s wide-ranging inventiveness with their well-developed themes and solidly crafted counterpoint.

While steeped in the style of the Romantic era, the organ music often displays surprising originality. From the earliest opera, Claussmann combines both French and German styles, which may be the result of his earliest influences in Uffholtz, an area of France that reflected a great deal of Germanic influence due to its shared border with Germany. For example, opus 16 is entitled Orgelstücke rather than Pièces pour orgue. In the music, one often finds well-crafted melodies, a staple of the French tradition, fused with the intricate counterpoint that is intrinsic to German composition, making Claussmann’s organ music unique for its time.¹⁴ Claussmann’s fusion of the aforementioned styles is evidenced in Scherzo in G Major, opus 33, no. 4. While making use of a rather extended model of the scherzo and trio form—ABA′CA′, which resembles more of a Rondo—the typical French scherzo would not make use of the extensive counterpoint found in the fugal exposition that comprises the B section (in B minor). The fourth section, which itself is a small three-part form in the key of E-flat major, has a very lyrical melody for the outer parts and, again, the composer briefly employs some imitative polyphony in the middle portion.

Though Claussmann’s music is influenced by the style of César Franck, as evidenced in the Allegro symphonique, opus 33, no. 2, whose opening recalls Franck’s Pièce heroïque (Example 2), Claussmann often moves into unusual areas of tonality through his inspired use of chromaticism, following on and expanding the chromatic harmonic language of Franck. One even finds an example of progressive harmonic movement in some of Claussmann’s works, such as Pastorale, opus 26, no. 3, which begins in E major and ends in A minor, delivering an unexpected conclusion.¹⁵

In the United States, as early as 1892, one finds references to performances of Claussmann’s music. A concert review in the Indianapolis Journal accorded the Scherzo in A Minor a favorable assessment.¹⁶ (One assumes that the reviewer had heard other Claussmann pieces.) Several of the pieces from opus 26 were dedicated to American organists, including Clarence Eddy and William C. Carl, both former students of Alexandre Guilmant. (It is possible that Guilmant helped make the connection by recommending the works to Carl. Guilmant participated in the dedication of the organ at the Clermont-Ferrand cathedral in 1887 where he would have heard Claussmann’s music. It is also possible that Gigout recommended his music to Carl.¹⁷) The first volume of opus 16 was reviewed favorably by Everett Truette in The Organ, 1893, who wrote, “Three extremely interesting pieces . . . which are written somewhat in the style of reveries, and contain many passages of striking originality.”¹⁸ (It was of this Fantaisie in C Minor that Gigout wrote his praise of Claussmann.¹⁹) It is likely because of the work of Carl and Truette, who published some of this music in The Organ and other collections, that Claussmann’s music achieved some measure of popularity in America. Early twentieth-century newspaper accounts indicate that several of Claussmann’s works were performed quite regularly, especially Easter Dawn and Grand Choeur for organ and his Magnificat for choir.

Among other comments on Claussmann’s works, Pierre Balme linked him to a progressive aesthetic:

In his day, Claussmann had difficulty with being a ‘pioneer,’ even in spite of the example of his co-disciple Fauré, who remained all through to the end of his time, as innovative as younger composers. But why not have others reported rather how much he (Claussmann) was, in his prime, so profoundly ahead of the taste and knowledge of audiences and even music professionals? Twenty years ago, he was not afraid of modifying his composing technique according to the latest developments of the impressionist school.²⁰

Connecting Claussmann to the Impressionist school seems to be a stretch, though examples of augmented triads and unexpected harmonic connections are evident, as is the use of non-functional harmony, as witnessed in the frequent use of the raised fourth and fifth scale degrees, creating the sensation of whole-tone harmony. If this is what Balme refers to, then it is possible to put Claussmann in that category. However, Claussmann’s music is thoroughly steeped in the chromatic harmony of the period, and he often makes unexpected harmonic connections, such as moving between C major and F-sharp major for the middle section of the Fantaisie in C Minor, opus 10. These unexpected relationships may also be seen in the transitional passages of Au Crépusucle from opus 33, where the dominant seventh chord of the tonic G-flat resolves to a D major sonority, which is then repeated whole step below, obscuring any sense of the tonic (Example 3). If this fluidity of key relationships is considered “impressionistic” by the writer, then the term applies.

Overall, Claussmann retains a consistent style throughout his other music; one finds equally challenging tonal relationships in most pieces. Additionally, his treatment of form does not necessarily conform to expectations of his era, but a clear structure is always evident and logical. One might apply musicologist Carlo Caballero’s argument about Fauré, who he claims maintained the consistency of style throughout his works, which Fauré believes was “a crucial property of any music that is truly original,”²¹ and apply that to Claussmann as well. Hervé Desarbre would agree, according to the liner notes to his recording of selected organ works, as he claims that Claussmann’s style did not change much over the years.²² Claussmann retained remarkable consistency in his technical style and tonal language beginning with the major organ works from opus 10 and continuing through the late opera.

Many of Claussmann’s works have been recently republished, some with needed editorial emendations, as the printed editions contain numerous errors (especially clef change indications).²³ As there appear to be no extant manuscripts, it is difficult to know Claussmann’s intentions. Both B-note Musikverlag and FitzJohn Publishing have reproduced many of his works. IMSLP (www.imslp.org) has a reasonable collection available, and France’s Bibliothèque Nationale Gallica site had started to digitize many other works.

Whether Claussmann would have enjoyed the success his contemporaries did had he remained in Paris is a question that can never be answered. He made his choice, apparently without regrets, and enjoyed the respect of the community he served for nearly fifty years. The music of this underestimated talent attests to the mastery of his craft and the fertility of his imagination, and deserves to be re-examined and given a place in the concert repertoire.

Notes

1. Claude Nievre, La Montagne, October 12, 1926, p. 2.

2. Th. Mourgue, “Profil d’artistes: M. Claussmann,” Le Moniteur, June 29, 1892, p. 2.
“. . .il vient s’etabilir chez nous où on ne tarde pas à reconnaitra en lui un musician de premiere ordre.”

3. J. Merklin, Le cathédrale de Clermont-Ferrand et ses orgues, Lyon: Impr. de A.-L. Perrin et Marinet (1878), p. 28. As with others, Offertoire served as a common title for works; Claussmann wrote several.

4. Joseph Desaymard, Avenir du Plateau Central, November 8, 1926, writing Claussmann’s obituary (No page citation as this comes from the Bibliothèque de la Patrimoine of Clermont-Ferrand collection MS 1654). Present research has yet to find concert announcements or programs presented. In 1885, another community orchestra was formed which enjoyed much success, directed by Jean Soulacroup.

5. Cataloguing the works of Claussmann has presented a challenge. Pierre Desaymard made an attempt at this in the 1980s but seems to have missed some pieces. Four of the works from opus 33 do not appear in any listing of his, possibly because they were published by the English firm J. Laudy and Co. See Desaymard, Bibliographie des oeuvres d’Aloys Claussman, Bulletin historique et scientifique de l’Auvergne, vol. 1.90, pp. 305–321 (1981).

6. Le Moniteur, May 16, 1895, p. 2, and May 18, 1895, p. 2. According to Louis Gémont, the work was performed again in 1925 (Le Moniteur, November 11, 1926, p. 2).

7. In a letter to Paul Dukas, Claussmann thought that he was close to death at that time (Bibliothêque Nationale, Paris, W-48).

8. Jean-Louis Jam, “Aux origins d’une succursale provinciale du Conservatoire de Paris,” Bulletin historique et artistique de l’Auvergne, vol. XCIX (1998), pp. 127–156. An excellent and somewhat entertaining chronicle of the events.

9. Le Moniteur, November 11, 1926, p. 2.

10. Joseph Desaymard, “Le Mort de Claussmann,” L’Avenir, Nov. 9, 1926, p. 2.

11. Alexandre Georges on “Aloys Claussmann,” Revue pratique de liturgie at de la musique sacrée, nos. 103–104 (1926), p. 169.

12. These sets appear to be based upon Franck’s L’Organiste, but Claussmann’s pieces are more technically advanced.

13. In one edition of Le Courrier Musical, opus 64 was listed among the pieces that an organist should play.

14. While the fugue was certainly not an uncommon form in French organ music of this period, it was used relatively infrequently. Franck composed one fugue for the organ; he relied on canon and melodic juxtapositioning as his preferred contrapuntal devices. In examining the Widor organ symphonies, with their numerous and varied movements, one finds only two fugues, and those appear in the earliest of the symphonies.

15. This work is dedicated to R. Huntington Woodman, an American organist who studied with César Franck in 1888.

16. Indianapolis Journal, March 11, 1894, p. 8, featured a review of an organ recital by
W. H. Donley. I believe this refers to the Scherzo in B Minor from the Deuxième livre de la première collection, opus 10.

17. Gigout wrote glowingly of Claussmann’s work and was pleased to be the dedicatee of one of his pieces. See Mourgue, op. cit.

18. Everett E. Truette, The Organ, vol. 1, no. 4 (August 1892), p. 95, reviewing the Fantasia in C Minor, First Meditation in B Major, and Andante in D Major.

19. See Morgue, op. cit.

20. Pierre Balme, “Aloÿs Claussmann,” L’Auvergne littéraire, artistique, et historique, January 1926 (vol. 85), p. 15–17.

21. Peter Cirka, A profound identity: evidence of homogeneity in Gabriel Fauré’s thirteen piano Nocturnes. Unpublished DMA paper, Boston University, p. 9, and p. 26 (2015).

22. Hervé Desarbre, Aloys Claussmann Organ Works, Disque Mandala MAN 4927, 1997.

23. An example of the need for good editing appears in the Sérénade for Cello and Piano, opus 49. The cello part and the piano score have completely different notes and keys in places.

John Joseph Mitchell

John Joseph “JJ” Mitchell is a musician and scholar from Arlington, Virginia. He is director of music at Saint John Neumann Catholic Church in Reston, Virginia, where he oversees several musical groups and accompanies liturgies. JJ graduated summa cum laude from Westminster Choir College with a bachelor’s degree in sacred music. He then earned his Master of Sacred Music degree in organ performance from the University of Notre Dame, where he attended on a full-tuition scholarship. He also studied at the Conservatoire à Rayonnement Régional de Toulouse, France, where he practiced and studied on the organs of the Puget family. JJ then earned his Doctor of Musical Arts degree in organ performance from the University of Houston (UH). During this time, he worked as a teaching assistant in the UH Music History Department and served as musician in multiple churches. The article published in this magazine is a cut of his dissertation on the Puget family, which was finished in May 2023.

JJ has served as organist on the music staff of churches such as Christ Church Cathedral, Houston, Texas; the Cathedral of Saint Thomas More, Arlington, Virginia; and the Basilica of the Sacred Heart, South Bend, Indiana. He has performed in these churches and various other churches and concert halls in the United States, Canada, France, and England. In July 2024, JJ will give a lecture recital on the Puget family at the location of one of their instruments in Sydney, Australia. He is the winner of the Nanovic Grant for European Study for Professional Development and was a finalist for the Frank Huntington Beebe Grant. He also won second prize in the graduate division of the Hall Pipe Organ Competition in 2022. JJ’s research on César Franck and his musical influences was published in the Vox Humana organ journal. In September 2020 he was a guest on Jennifer Pascual’s Sounds from the Spires SiriusXM Radio program in which his organ recordings were broadcast. He has played liturgies and concerts for international television audiences on the Salt + Life and EWTN networks. JJ is a member of the American Guild of Organists (AGO) as well as the National Association of Pastoral Musicians (NPM), from which he has received several scholarships. A leader in the field, he has served on NPM’s national publications committee and will serve on the board of the Northern Virginia AGO chapter beginning later this year. He is a member of The Diapason’s 20 Under 30 Class of 2021. JJ’s career goal is to teach sacred music to the next generation. For more information: 
jjmitchellorganist.com.

Editor’s note: Part 1 of this series appeared in the May 2024 issue, pages 12–18.

The progressive era, 1892–1922: Jean-Baptiste Puget

Unlike his older brother Eugène, Jean-Baptiste, the youngest of Théodore’s children, was more interested in science and technology than musical aesthetics. He was a gifted visual artist who designed organ façades such as that of Notre-Dame de la Dalbade and the choir organ of Notre-Dame du Taur, both in Toulouse. He was also different from Théodore and Eugène because he did not study music and had not been tasked with voicing pipes.¹⁰³ Though Jean-Baptiste’s skills were a major asset to the family, he did not have much authority until he assumed leadership of the business following Eugène’s sudden passing in 1892.¹⁰⁴ He married Zélie-Augustine Raynaud, and together they had three children: Maurice, Louis, and Germaine.¹⁰⁵

Enamored with innovation, Jean-Baptiste introduced progressive changes to the company’s organ building style. For example, he favored zinc bass pipes instead of tin due to practicality and low cost.¹⁰⁶ This choice in materials, which was controversial at the time, resulted in a robust sound without having to use as much metal.¹⁰⁷ The use of zinc reflects Jean-Baptiste’s knowledge of English organs, particularly the work of Henry Willis. Eugène’s metal pipes were mostly constructed with tin.¹⁰⁸

Another significant change under Jean-Baptiste’s tenure was the shift from mechanical action to tubular-pneumatic action.¹¹⁰ Organbuilders of the Romantic era through the early twentieth century wanted to modify actions to make their instruments easier to play, employing wind-based solutions to do so.¹¹¹ The Barker lever, which was common on French symphonic organs, was a wind-activated mechanism to lighten mechanical action. Eugène and Jean-Baptiste used Barker levers when building their instruments. The two brothers traveled together to London to study tubular-pneumatic action, in which a pneumatic tube connection takes the place of a tracker in conveying the key action from console to windchest, thereby lightening the key action.¹¹² Eugène typically maintained the status quo of mechanical action with Barker levers, but Jean-Baptiste embraced the new tubular-pneumatic technology.¹¹³

Jean-Baptiste’s professional connections attracted new attention from the scientific community. One prominent ally of the company during Jean-Baptiste’s reign was Dr. Gabriel Bédart, a medical doctor who had an advisory role at the Puget company.¹¹⁴ Penning an opinion in a Toulousian newspaper in 1895, Bédart discussed the benefits of turn-of-the-century advances in organ technology and advocated for the implementation of tubular-pneumatic systems. He praised the work of Jean-Baptiste by citing recently constructed Puget organs.¹¹⁵ Much of what is known about Jean-Baptiste’s organbuilding philosophy comes from Bédart’s writings.

Jean-Baptiste connected with other professionals differently than Eugène, whose relationships with masterful Parisian organists had elevated the family’s status. Jean-Baptiste maintained these connections while devoting much attention to fostering friendships with other organbuilders around the world. At a conference of organbuilders held in 1895 in Paris, Jean-Baptiste established professional relationships with other prominent constructors of the time, including Henry Willis, Samuel Casavant, and Charles Mutin. In 1899 Jean-Baptiste became a member of the jury of the Exposition Internationale Paris-Neuilly.¹¹⁶ Through his professional correspondences and promotion from colleagues, Jean-Baptiste elevated the reputation of the Puget family both nationally and internationally.¹¹⁷ This fame was expanded further when the Pugets constructed an organ at la Cathédrale de Sainte-Cécile d’Albi, hereafter referred to as Albi Cathedral.¹¹⁸

La Cathédrale de Sainte-Cécile d’Albi

Albi is located about fifty miles northeast of Toulouse on the Tarn River. This picturesque city, the home of painter Henri Toulouse-Lautrec, has a distinguished artistic history.¹²⁰ The cathedral, considered to be the largest brick building in the world, is easily identifiable in Albi’s cityscape. The fortress-like structure was constructed in the thirteenth century to suppress the Albigensian heresy and assert the Catholic Church’s dominance. Albi Cathedral’s thick walls, buttresses, and tall windows tower over the surrounding streets.¹²¹

The 1736 Moucherel instrument that preceded the Puget organ at Albi Cathedral had been in disrepair for decades.¹²² In 1841 the Claude brothers, two organbuilders from Mirecourt, tried to romanticize this French Classical organ cheaply. The result was described as a “mutilation” upon its reception, according to one listener.¹²³ Jean-Baptiste was familiar with this instrument since the Puget family had repaired it and made slight adjustments to its specifications in 1875.¹²⁴ In 1902 Jean-Baptiste wrote to the rector of the cathedral and described a proposal for a new instrument. Jean-Baptiste was both persuasive and persistent, arguing for his project to clergy members in Albi four times within one year.¹²⁵ The clergy signed a contract for a new Puget organ in March 1903 and amended it in October of the same year, paying the Pugets 31,650 francs.¹²⁶

Jean-Baptiste designed a gargantuan organ with four manuals and seventy-eight ranks for Albi Cathedral.¹²⁷ He preserved some of the existing pipework while adding much of his own.¹²⁸ Forty-two of the stops were placed behind shades, making it the only organ in France to have so many pipes under expression.¹²⁹ The tonal scheme was diverse, featuring orchestral stops such as a Euphone.¹³⁰ There was also a Clarabella, an English stop that was unusual for a French symphonic organ.¹³¹ The Great division boasted seven stops speaking at 8′ pitch, which provided a plethora of foundational tone for the upperwork. Upon completion, Albi Cathedral contained the largest French symphonic organ outside of Paris. Only two organs exceeded its size in France at the time: the Cavaillé-Coll instruments of Notre-Dame de Paris and l’Église Saint-Sulpice.¹³²

Jean-Baptiste and his team of technicians devised solutions for the challenges of making an instrument of such magnitude to function. Three enormous bellows and four pairs of blowers installed in the cathedral tower powered the Albi organ.¹³³ The entire organ was on tubular-pneumatic action.¹³⁴ This manner of construction allowed the resistance in the keyboards and pedalboard to remain consistent regardless of how many manuals were coupled.¹³⁵ This instrument also featured a crescendo pedal with a dial that indicated which stops were added based on the position of the shoe.¹³⁶ Though the Pugets did not invent tubular-pneumatic action or the crescendo pedal, the builders demonstrated originality in applying these innovations to such a large organ. There was no existing prototype or precedent for constructing a French symphonic organ of this size with these technological innovations.

Adolphe Marty, who was the organ instructor at Institut National des Jeunes Aveugles in Paris at the time, dedicated the instrument on the feast of Saint Cecilia, November 22, 1904. The performance date was significant as Saint Cecilia, the namesake of the cathedral, is also the patron saint of music.¹³⁹ This premiere program by Marty, a former student of César Franck, included works by Bach, Buxtehude, and a new composition of his own specifically for the inauguration of the organ. It was called Sonate héroïque Sainte Cécile and had four movements: “Extase,” “Chant d’Hyménée,” “Entretien et Conversion,” and “Triomphe et Apothéose.”¹⁴⁰ This piece is significant as it represents a contribution to the French symphonic organ repertoire inspired by a Puget organ.

The organ in Albi Cathedral was judged to be the Puget family’s masterpiece. In a review of this concert, the cathedral rector wrote the following week in a local publication that only two organs exceeded the greatness of that in Albi: Notre-Dame de Paris and l’Église Saint-Sulpice.¹⁴¹ A prominent Parisian organist of this era, Albert Perilhou, echoed the sentiment of this review with even more praise. He declared in a message to Puget that the Albi organ was a “deserving rival” of the two massive Paris organs.¹⁴² These testimonies demonstrate awe and respect for Jean-Baptiste’s work ranging from local members of the Albi religious community to two of the most distinguished French musicians at the turn of the century.

In addition to pleasing mid-career professionals at the turn of the century, the Albi instrument also inspired young organists. Léonce de Saint-Martin was born in Albi in 1886 and was the deputy organist at the church by age fourteen in 1900. Four years later, while he still served in this position, the cathedral organ was inaugurated by his teacher, Marty.¹⁴³ In the years after Saint-Martin had moved to Paris, Jean-Baptiste received a letter from him. He described that he spent his holiday vacations playing the Albi organ and told the builder: “I bless the Lord one hundred times to have been so well privileged.”¹⁴⁴ Saint-Martin went on to succeed Louis Vierne as the organist of Notre-Dame de Paris in 1937.¹⁴⁵

For fifty years, the Puget organ filled the expansive nave of Albi Cathedral with music and rarely required maintenance. However, the instrument did not survive into the modern age. Following a recital given by André Marchal in May 1954, musicologist and organist Norbert Dufourcq, who was in the audience, declared that the organ was in disrepair. Speaking metaphorically, he described the organ as having a “vocal illness” and in dire need of a “remedy.”¹⁴⁶ He was describing problems in the instrument’s winding system and the failing tubular-pneumatic action. Dufourcq also bemoaned the organ’s tonal palette, crying for more mixtures and upperwork rather than reeds and 8′ tone.¹⁴⁷ He was a major proponent of Victor Gonzalez’s neo-Classical organs and tended to besmirch the Pugets.¹⁴⁸

A restoration of this instrument would have involved hundreds of hours of meticulous work on the organ’s tubular-pneumatic systems. This type of organ technology had fallen out of style by the 1930s because the thin leather membranes had aged and needed to be replaced.¹⁴⁹ Air leaks that had developed over time impaired the pneumatic system. In 1971 the Puget organ was dismantled and would ultimately be replaced by 1981 with an organ in the neo-Baroque style.¹⁵⁰

The Puget instrument of Albi Cathedral represents both desirable and unpreferable aspects of organbuilding at the turn of the century. One could perceive Jean-Baptiste poorly for choosing low quality materials that risked unsustainability over time. Others may be tempted to pass judgment on Dufourcq’s criticism and Albi Cathedral’s governance for choosing not to restore the Puget organ in the latter part of the twentieth century. Regardless of opinions, the organ of Albi Cathedral was ultimately a product of its time.¹⁵² Jean-Baptiste could not have known the long-term sustainability problems of tubular-pneumatic systems because his decisions were cutting-edge at the time of the organ’s construction. The French Culture Ministry and its commission of Albi Cathedral acted practically when electing to replace the Puget organ.¹⁵³

The neo-Classical era, 1922–1960: Maurice Puget

During the tenures of Théodore, Eugène, and Jean-Baptiste, the family business operated under a rapidly changing French political landscape. The company endured the separation of church and state (1789–1905); the Franco-Prussian War (1870–1871); the Expulsion of the Congregations (1880); the civil unrest following the assassination of the charismatic socialist orator Jean Jaurès, a native Occitanian (1914); and the numerous inefficacious post-Napoleonic governing systems that rose and fell in nineteenth-century France.¹⁵⁵ The Pugets also survived competition against Cavaillé-Coll and managed to establish themselves in the south of France. Though technology had evolved during these years, the family’s instruments up to the 1920s were French symphonic organs indicative of the Romantic era. The external factors of political turmoil, new competition, and changing artistic aesthetics all were challenging factors in Maurice’s career.

Life and works

In his youth, Maurice attended the Toulouse Conservatory and took organ lessons with Georges Debat-Ponsan. During these years, he was awarded medals for his proficiency in solfège, piano, and organ while learning from his father in the family workshop. Young Maurice was the chief voicer of his father’s Albi Cathedral organ, ensuring all seventy-four stops sounded harmoniously.¹⁵⁷ To continue his study in organ performance, he left Toulouse and joined the studio of Adolphe Marty in Paris. After two years he came back to Toulouse to work again with his father and married Elia-Jane Desmons in 1912. His organbuilding career was interrupted when he was conscripted in World War I.¹⁵⁸

During the war, Maurice put his training as an organ technician to use. To trace enemy planes flying in the night sky, a French military captain, René Baillaud, designed a primitive sonar that he named the “Parabaloïde Baillaud.”¹⁵⁹ In order to operate this echolocation device, the user needed to have a keen ear, which Maurice had developed from his years of musical training and labor in the family workshop. He was directed by the French military’s general headquarters to help Baillaud develop the tool further.¹⁶⁰ For his successful work, which helped keep French soldiers and civilians safe during the war, Maurice was awarded the Croix de Guerre.¹⁶¹

Maurice officially took over the family business from his father in 1922, though Jean-Baptiste likely transferred responsibilities to his son gradually in the years prior.¹⁶² The same year Maurice and his wife had a son, Jean, whose descendants are alive today.¹⁶³ Maurice had several apprentices, the most famous of whom was Robert Boisseau.¹⁶⁴ However, neither his son nor any other apprentice succeeded Maurice after his sudden stroke in 1960.¹⁶⁵ By 1965 a central heating company had taken the place of the Puget workshop on Rue de Négreneys.

As Maurice assumed his role as head of the Puget workshop, organbuilding aesthetics in France were shifting. In the early twentieth century, Norbert Dufourcq and André Marchal spearheaded a movement to create eclectic organs. These instruments would have the foundation tone of a French symphonic organ but would also have sounds common to French Classical and German Baroque organs, such as brilliant mixtures, lustrous mutation stops, and soft reeds. Spanish organbuilder Victor Gonzalez, a former employee of both Cavaillé-Coll and Merklin based in Paris, constructed instruments in this style. This type of organbuilding became known as the neo-Classical movement. Shortly after his business was established in 1929, Gonzalez dominated the market with the help of his powerful allies, who included Dufourcq, Marchal, and German organbuilder Rudolf von Beckerath.¹⁶⁶ The Puget family faced more difficulty competing against the Gonzalez firm in post-war France than they did against Cavaillé-Coll at the height of his business’s power.¹⁶⁷

Maurice was aware of the rapid changes occurring in the organ industry and started constructing instruments in the neo-Classical style at least seven years before Gonzalez’s firm was founded. He was a gracious man who made concessions to his clients, though some scholars argue that his acceptance of customers’ neo-Classical demands damaged the reputation of the family. For example, Maurice made modifications to the organ in the Salle Franklin, the opera house in Bordeaux, by adding an 8′ Bourdon made of zinc; a three-rank Mixture, two ranks of which were made with spotted metal and the third plain metal; and a Voix humaine, also made of zinc.¹⁶⁸ After World War I, tin, oak, and other durable materials became even more expensive and scarce than they had been previously. Many critics decried Maurice’s work and reminisced about the organs of Eugène’s tenure.¹⁶⁹

Three notable reconstructions from Maurice’s first decade as head of the workshop include the organs of la Cathédrale Saint-Just et Saint-Pasteur in Narbonne in 1927, la Cathédrale de Perpignan in 1930, and la Collégiale Saint-Salvy d’Albi in 1931. These projects are defined by their Stentor stops and plethora of mutations.¹⁷⁰ Maurice also installed electro-pneumatic systems in his instruments throughout his career, and he altered mechanical blowers by adapting them to electricity. By using the electro-pneumatic system, Maurice was able to create extended and borrowed stops that shared the same rank of pipes. For example, on the organ at Saint-Salvy, there are sixty stops for forty ranks of pipes.¹⁷¹ Maurice constructed his instruments with strong foundation stops, similar to the robust 8′ tone his father designed at Albi Cathedral as well as other French symphonic organs by the family. By voicing his instruments to produce a vigorous sound, Maurice differed from Gonzalez, whose foundation stops were quieter.¹⁷²

World War II wreaked havoc on the Puget dynasty.¹⁷⁴ Materials that were already rare and expensive in France after World War I became even more scarce during the 1940s, which affected organbuilding as well as numerous other industries. The country’s economy was in shambles due to soaring inflation. The Puget family’s net worth was depleted, and clients for new organs were few and far between. French clergy were also lacking money after the separation of church and state, and Gonzalez snatched up whatever major organ projects were available at the time.¹⁷⁵ Cavaillé-Coll’s workshop, which had been succeeded by Charles Mutin and Auguste Convers after Aristide’s passing, closed its doors during this war. The once formidable giant of French symphonic organbuilding throughout the nineteenth century fell victim during these difficult years.

Despite dire circumstances, Maurice had some advantages to keep the family business afloat. First, he had a thorough understanding of organs throughout Occitania. He was a desirable restorer because he had an encyclopedic knowledge of many organs in the south of France. He always approached restoration projects respectfully, voicing organs from different eras in an appropriate, tasteful manner. Maurice also had influential Parisian contacts, continuing in Eugène and Jean-Baptiste’s tradition of professional correspondences.¹⁷⁶ Thanks to his friendships with prestigious organists such as Marcel Dupré, Alexandre Cellier, and Xavier Darasse, he was able to win contracts despite Gonzalez’s grip on the French organ scene. Three of Maurice’s most notable restorations were in the cathedrals of Toulouse in 1947, Monaco in 1953, and Nice in 1958.¹⁷⁷

In both Maurice’s time and the present day, one finds critics of France’s neo-Classical movement. Oftentimes, when builders tried to create eclectic organs with the versatility to perform multiple kinds of repertoire authentically, they produced instruments that could not interpret any single style well. Maurice’s organs were controversial because of their electrification, specification, and materials.¹⁷⁸ However, Maurice’s proficiency in technology, music, and history was never questioned. He brought artistry to neoclassicism with the resources that were available to him.

Maurice was adaptable, enduring several challenges in his environment. Before he succeeded his father, he was forced to sacrifice years of his early career to serve his country in World War I. He built with cheaper materials because those were what was available to him at a price the business could afford. Maurice prioritized his customers’ preferences in his work, which some critics perceived as a detriment. He treated each organ that he restored with a sensitivity to its history and its original construction.¹⁷⁹ Ultimately, by navigating through uncertain, turbulent cultural shifts with minimal resources, Maurice brought honor and prestige to the Puget family. After Maurice passed away, Marcel Dupré wrote a letter of condolence to the family: “I had not only the highest esteem for his value and talent as an organbuilder, and the deepest admiration for his courage and dedication to his art, but a deep friendship for him.”¹⁸⁰

Conclusion

Of the twenty-five largest Puget organs, fifteen were destroyed, typically replaced by neo-Classical instruments of other builders.¹⁸² Of the remaining ten large instruments, three are not functioning but are well preserved; another three are playable but are in need of restoration; and four have been restored.¹⁸³ Over the course of roughly 120 years, the Puget family constructed 350 organs and worked on 742 in total.¹⁸⁴ These instruments were found in churches, salons, theaters, conservatories, and concert halls not only in France but also in other European nations as well as in Asia, Africa, and Australia.¹⁸⁵ The Pugets built thirteen organs in Paris, a city defined by the work of Cavaillé-Coll.

The international demand for Puget organs was a result of the instruments’ caliber. For example, the Taur organ was durable and designed for the comfort of the performer. The Albi Cathedral instrument astonished onlookers with its five tubular-pneumatic systems. With seventy-four stops, there were limitless possibilities of combinations. The organs of the Taur and Albi Cathedral encapsulate the Pugets’ work as masterful technicians and artists.

Puget organs represent the best of Toulousain culture. A historic city, Toulouse has a rich musical heritage that can be traced as far back as the troubadours in the Medieval era. Toulouse also displays a distinct architectural style that, like many European metropolises, contains a variety of buildings both ancient and modern. By choosing local materials and constructing in the symphonic style, the Pugets created a distinct Toulousain organ sound that balanced normative French trends at the national scale with unique developments, such as voicing in a darker tone and consistently placing multiple divisions under expression. Puget façades tastefully reflect the architectural styles of the rooms in which they reside, maintaining aesthetic consistency. In perfecting aural and visual aspects of their instruments, the Pugets created a distinct Toulousain organ identity.¹⁸⁶

The Pugets were unique because of the culture of their workshop in which each of the four heads of family constructed organs differently from one another. They did not feel pressure to always build instruments in a prescribed manner and were quick to make changes. For example, Eugène made radical innovations at the Taur just after assuming control from his father, and Jean-Baptiste stopped building with mechanical actions immediately after he succeeded Eugène in 1892. Though Théodore likely apprenticed with Moitessier and abided by Bédos’s treatise, he was largely self-taught and instructed his sons in the craft of organbuilding. When asked why he preferred Puget organs to those of Cavaillé-Coll, Jean Daldosso said that every Puget organ is a new revelation since the family did not fear unorthodox experimentation.¹⁸⁸

By studying organs of the Puget family, performers can create better informed interpretations. For example, organists may be surprised to learn that on Puget organs, the Hautbois-Bassoon and Voix humaine were both activated by the reed ventil, unlike a Cavaillé-Coll instrument. Though Widor’s Symphonie V was written for his instrument at l’Église Saint-Sulpice, which had a single expressive division, one could deliver a historically informed performance of his work by manipulating the shades of an expressive Positif division like the Puget organ of Notre-Dame de la Dalbade. Jean-Claude Guidarini argued that timbres of mystic organ composers such as Louis Vierne, Charles Tournemire, and Olivier Messiaen are easy to produce on Puget instruments because the composers’ registrations feature somber 8′ foundations with tastefully balanced upperwork.¹⁸⁹ If Cavaillé-Coll’s and Gonzalez’s organs are the sole instruments upon which performers conceive their interpretations, the possibilities for artistry and creativity are constrained. The many testimonials in which generations of formidable French organ composers expressed respect and honor towards the Pugets indicate the validity of the family’s works, which allowed for tasteful interpretations of symphonic organ repertoire. Some compositions inspired by Puget organs include Georges Debat-Ponsan’s Elévation and the aforementioned sonata by Adolphe Marty, written for Albi Cathedral.¹⁹⁰

Organ builders also can benefit from learning about the Puget family. Each head of the family was attuned to the history of instruments, the desires of their clients, current trends in organ building, and how to voice organs in a tasteful manner. As a result, their numerous technical innovations, voicing styles, and materials were always calculated risks. The engineering details of their instruments, such as scalings, pneumatic system components, and façade blueprints are a worthy area of study that can inform organbuilders on different types of approaches to French symphonic organbuilding. Théodore, Eugène, and Maurice were especially considerate of the needs of performers since they were organists themselves.

Musicians and scholars are still seeking further information on the Puget family. For example, little is known about Jean-Baptiste’s organ in the prestigious Théâtre des Champs-Elysées in Paris. It was constructed in May 1913, and the façade is still visible today above the proscenium.¹⁹¹ Léonce de Saint-Martin was appointed as the theater’s organist.¹⁹² At the inauguration of this fifty-two-rank instrument, which had an array of percussive stops, an orchestra was conducted in turn by Claude Debussy, Vincent d’Indy, Paul Dukas, Gabriel Fauré, and Camille Saint-Saëns.¹⁹³ Though some details of the organ’s history are known, the Théâtre des Champs-Elysées did not keep many records on the instrument, and in 2020 the theater petitioned the general public to provide information about the organ so that they could begin a restoration.¹⁹⁴

Many questions about the dynasty puzzle Puget experts today. For example, one wonders if the organ of the Théâtre des Champs-Elysées provided prelude music to audience goers at the premiere of Igor Stravinsky’s Rite of Spring, an infamous disaster in which the performance by the Ballet Russes resulted in a riotous uproar from the audience.¹⁹⁵ There are many questions surrounding Théodore’s life, especially concerning the exact year of his company’s founding. In addition, one wonders when did Eugène discover the possibility of having two expressive divisions, and what organ, if any, inspired him to implement this organbuilding technique at the Taur. For many of the Puget instruments, both surviving and lost, there is a need for further research. I hope that this essay will serve as a springboard that inspires future study of the Pugets and their instruments.

The organs of the Puget family remain relevant in the modern age. Annually, thousands of organists flock to southern France for the festival of “Toulouse Les Orgues” to hear instruments such as the Puget organs of Notre-Dame du Taur and Notre-Dame de la Dalbade in concert. Students at the Conservatoire à Rayonnement Régionale de Toulouse come from around the world to study and perform repertoire on these organs. Many people can describe a Puget instrument they have experienced, but few are able to share information they have learned about the builder.¹⁹⁶ If the Pugets’ legacy is to be celebrated and their organs are to survive, further scholarship is needed. The priceless, masterful works of the Puget family deserve more recognition from the international organ community.

Notes

103. Guidarini, “La Dalbade France 1888, Beethoven, Berlioz, Chopin, Saint-Saëns. . .,” page 74.

104. Bachet, page 17.

105. Guidarini, page 74.

106. Rohan, pages 19, 76.

107. Delmas; Rohan, page 19. Delmas read a letter by Jean-Baptiste saying that zinc pipes were more expensive than tin, but that the organbuilder sought after the material for the sound it produced. Other evidence from Rohan suggests otherwise.

108. Bachet, page 10; Delmas.

109. Archives of the Musée de Lavaur, shared by l’Association Jean-Claude Guidarini.

110. De Lasala, “The Eugène Puget Organ Is Reborn,” page 10.

111. Shannon, page 8.

112. Comments made by Katelyn Emerson, April 26, 2023; Shannon, page 177.

113. Hamilton, page 56. One instance in which Eugène did use the pneumatic system was in the pedalboard of the Dalbade, as previously mentioned.

114. Rohan, page 19. It is unclear just how involved Bédart was with the Puget company. Rohan describes his role as “éminence grise,” which means “gray eminence.” He was influential in the philosophy of the company and its direction without having an official title.

115. Gabriel Bédart, “Les Orgues Tubulaire à Membranes de M. Puget,” L’Art Méridional, July 1, 1895.

116. Rohan, page 19.

117. Guidarini, Les Puget, Une Dynastie de Facteurs d’Orgues à Toulouse, page 4.

118. Albi is a town located northeast of Toulouse in Occitania.

119. Archives of the Musée de Lavaur, shared by l’Association Jean-Claude Guidarini. White-bearded Jean-Baptiste is standing in the center of the image with his arms folded.

120. Justin Postlethwaite, “Albi: The Birthplace of Toulouse-Lautrec,” France Today, August 3, 2022, https://francetoday.com/travel/travel-features/city-focus-albi/.

121. “Albi Cathedral,” World Monuments Fund, December 2020, https://www.wmf.org/project/albi-cathedral.

122. Gérard Terrissol, Les orgues de la Cathédrale Sainte-Cecile d’Albi (Albi: Éditions Grand Sud, 1992), pages 8–16. Several other builders had made minor adjustments to Moucherel’s organ, which was built in 1736.

123. Terrissol, pages 20–22; Chris Van Doodewaard, “Pipe Organs: Albi Cathedral France 1736 Christophe Moucherel,” Pipe Organs (blog), October 20, 2010, http://mypipeorganhobby.blogspot.com/2009/01/albi-cathedral-france.html.

124. Terrissol, pages 20–22; “Composite of Sainte-Cécile,” Organa Reginae Caeli, November 18, 2019, https://organareginaecaeli.wordpress.com/composite-of-sainte-cecile/.

125. Jean-Claude Guidarini, “Le Grand Orgue Jean-Baptiste Puget de La Métropole d’Albi,” Le Dermogloste, March 17, 2009. Accessed January 25, 2022, http://dermogloste.viabloga.com/news/le-grand-orgue-jean-baptiste-puget-de-la-metropole-d-albi.

126. Terrissol, pages 20–22.

127. Guidarini. See Figure 8 for an image of the console.

128. Terrissol, pages 20–22.

129. Guidarini.

130. Guidarini.

131. Brown.

132. Guidarini. In 1932 the organ of Saint Eustache in Paris was expanded significantly, making the Puget organ the fourth largest in all of France.

133. Delmas; Guidarini. The wind pressure on the Albi organ was much higher than a typical French symphonic organ of this time.

134. Guidarini.

135. Shannon, page 72.

136. Guidarini; Terrissol, pages 20–22.

137. Reprinted from Guidarini.

138. Reprinted from Guidarini.

139. J. Lapeyre, “Variétés: Un Orgue et Une Sonate d’Orgue,” La Semaine Religieuse Du Diocèse d’Alby, November 26, 1904, https://gallica.bnf.fr/ark:/12148/bpt6k6390560d. November 22 was also the anniversary of the Dalbade organ dedication.

140. Lapeyre; Adolphe Marty, Sonate Héroïque de Sainte-Cécile (Paris: A. Nöel, 1905); Poliquin.

141. Lapeyre.

142. Guidarini.

143. Jean Guérard, “Leonce of Saint-Martin,” Musica et Memoria, 2016, http://www.musimem.com/st-martin.htm.

144. Ibid.

145. Philip Andrew Smith, “Léonce de Saint-Martin: Organist and Composer” (Doctor of Musical Arts dissertation, Hamilton, New Zealand, The University of Waikato, 2018), https://hdl.handle.net/10289/12116, 82.

146. Delmas; Guidarini; Terrissol, page 22. Dufourcq was a staunch political opponent of the Puget family. He championed organs built by Gonzalez.

147. Guidarini.

148. Delmas.

149. Delmas; Shannon, pages 66–67. Delmas says that pneumatic membrane decay, lead tube corrosion, and lack of maintenance were likely the sources of the problems.

150. Guidarini; Terrissol, pages 20–22; Timothy Tikker, “Albi Cathedral–Moucherel Organ,” Mander Organ Builders Forum, September 3, 2005, https://mander-organs-forum.invisionzone.com/topic/182-albi-cathedral-moucherel-organ/.

151. Neither the Pugets’ organ nor the 1981 instrument altered the existing casework, so Jean-Baptiste’s organ would have looked identical to this one.

152. Guidarini.

153. Delmas; Guidarini. Dufourq’s critiques were not the only red flags concerning this instrument’s condition. Delmas describes a report in the French Ministry of Culture in Paris from 1958, which states what organists Alexandre Cellier and Pierre Cochereau found when they were sent to evaluate the instrument. They claimed that a lack of maintenance and drastic temperature fluxes made the organ unplayable, especially in warm weather. The two recommended electrifying the action, moving the Echo into the Positif case, and swapping one or two stops. Regrettably, no action was taken following this report. At French cathedrals, decisions such as organ projects are made by the French Ministry of Culture and the commissions they assemble for their restoration projects.

154. Mitchell, reprinted from Guidarini, “Compositions Du Quelques Instruments Construits Ou Reconstruits Par La Manufacture Puget de Toulouse.”

155. B. S. Bennet, “19th Century French Politics,” University of Botswana History Department, September 11, 2000. http://www.thuto.org/ubh/ub/h202/fr19p1.htm; Musée protestant. “The Law of 1905.” Accessed April 12, 2023. https://museeprotestant.org/en/notice/the-law-of-1905/.

156. Reprinted from “Histoire et Anecdotes,” Toulouse Les Orgues, accessed April 12, 2022, https://toulouse-les-orgues.org/orgues-2/histoire-et-anecdote/.

157. Guidarini, “La Dalbade France 1888, Beethoven, Berlioz, Chopin, Saint-Saëns. . .,” pages 74–75.

158. Rohan, page 37.

159. Guidarini, Les Puget, Une Dynastie de Facteurs d’Orgues à Toulouse, page 6. Paraboloïde Baillaud was a precursor to flight radar.

160. “L’Inauguration du Grand Orgue,” Le Cri de Toulouse, December 1921, 11ème Année, No. 47 edition.

161. Guidarini, “La Dalbade France 1888, Beethoven, Berlioz, Chopin, Saint-Saëns. . .,” page 75. “Croix de Guerre,” which is a military medal, best translates to “War Cross.”

162. Évrard, page 8.

163. Delmas; Guidarini, Les Puget, Une Dynastie Toulousaine de Facteurs d’Orgues, page 37. Jean, who passed away in 2018, was a career pharmacist. His daughter, Françoise, was born in 1953. She and her son, Nicolas, are living descendants.

164. Vincent Hildebrandt, “Boisseau–Cattiaux–Chevron,” Organs of Paris, accessed April 9, 2022, https://www.organsparisn.vhhil.nl/boiscat.htm. Boisseau and his apprentices built several organs. His son, Jean-Loup Boisseau, restored the organs of la Basilique Saint-Denis, Notre-Dame de Paris, la Cathédrale de Poitiers, and la Basilique Saint-Sernin in Toulouse.

165. Rohan, page 37.

166. Vincent Hildebrandt, “Gonzalez-Danion-Dargassies,” Organs of Paris, accessed March 19, 2023, https://www.organsparisn.vhhil.nl/gonzalez1.htm.

167. Guidarini, Les Puget, Une Dynastie Toulousaine de Facteurs d’Orgues, page 36; Rohan, page 28. One reason Dufourcq wrote scathing critiques about the Albi Cathedral organ when its tubular-pneumatic systems failed was he saw the Pugets as competitors of Gonzalez, with whom he was aligned. Dufourcq did complement the Pugets on their restorations, citing their remarkable knowledge of instruments throughout the south of France.

168. Bachet, page 18.

169. Delmas; Guidarini, “La Dalbade France 1888, Beethoven, Berlioz, Chopin, Saint-Saëns. . .,” page 75. Another struggle Maurice faced came in 1936 when the French government instituted paid holidays. This law did not help organbuilders generate profit.

170. Bachet, page 18; Edward J. Stauff, “Stentor Bombarde,” Encyclopedia of Organ Stops, 1999, accessed March 20, 2023, http://www.organstops.org/s/StentorBombarde.html. Stentor stops were loud stops common on organs in the early twentieth century. A Stentor stop may refer to a Stentorphone, Stentor Octave (sounding at 4′ pitch), or a Stentor Bombarde, which is a penetrating reed.

171. Bachet, pages 18–19.

172. Hamilton, page 62.

173. Joseph Rivel, “Bénédiction & Inauguration Solennelle du Grand Orgue,” Le Bourdon de la Basilique Saint-Just & Saint-Pasteur Narbonne, October 23, 1927, 6ème Année, No. 11 edition, in Organ Historical Society Library and Archives, Villanova, Pennsylvania.

174. World War II was a particularly dark period for pipe organs and organbuilders. Across Europe, thousands of organs were dismantled so that metal pipes could be melted down to make ammunition. Many historic organs were bombed and lost forever. The Pugets were fortunate since their most famous instruments were not destroyed as a consequence of the war.

175. Delmas.

176. Guidarini, Les Puget, Une Dynastie Toulousaine de Facteurs d’Orgues, page 40.

177. Bachet, page 19.

178. Bachet, page 19.

179. Bachet, page 18.

180. Rohan, page 26. Translation by Mitchell.

181. Rohan, page 26. Translation by Mitchell.

182. Guidarini, Les Puget, Une Dynastie Toulousaine de Facteurs d’Orgues, page 40. The dismantling of large organs was common in the neo-Classical era of organbuilding. The instruments of Merklin and other notable builders were also destroyed in similar fashion in the latter part of the twentieth century.

183. Guidarini, “Les Puget, Une Dynastie Toulousaine de Facteurs d’Orgues,” page 40.

184. “Histoire de l’orgue et Concert Lyrique: le Public Conquis,” La Dépêche, March 4, 2015, https://www.ladepeche.fr/article/2015/03/04/2059782-histoire-de-l-orgue-et-concert-lyrique-le-public-conquis.html; Guidarini, Les Puget, Une Dynastie Toulousaine de Facteurs d’Orgues, page 40. It is unclear exactly how many organs were built for their homes outside of France and how many were moved there later. One of the Pugets’ instruments in Sainte-Marie College in Toulouse, built in 1875, was supposed to be transferred to Madagascar. Since Théodore could not oversee its completion in Africa, the organ remained in France and was later moved to Saint Barthélémy Church in Montastruc-la-Conseillère.

185. Delmas; Le Cri de Toulouse; Pastór de Lasala, “A Puget Organ in Sydney: A Fortunate Historical Accident,” OHTA News 44, no. 1 (October 4, 2018): pages 14–21. There was a single cinema organ constructed by the Puget family at Le Royal Cinéma in Toulouse.

186. Rohan, page 17. Because of their unique elements regarding aesthetics, some scholars such as Rohan argue that Puget organs are not comparable to Cavaillé-Coll’s instruments.

187. Reprinted from Guidarini. Addressed to the Pugets, the perimeter of the image lists all the family’s organs that Marty had dedicated up to 1901.

188. Hamilton, page 62.

189. Hamilton, page 62.

190. Rohan, page 30.

191. Delmas.

192. Smith, page 80.

193. Guidarini, Les Pugets, Une Dynastie de Facteurs d’orgues à Toulouse, page 6.

194. Théâtre des Champs-Elysées, “Le Saviez-Vous? L’Histoire de l’Orgue du Théâtre N’Est Pas Évidente à Retracer,” December 2020, YouTube video, 2:41, https://www.youtube.com/watch?v=BxvUGQV3NC8.

195. Delmas. The Puget organ was examined and accepted exactly one week before the Rite of Spring premiere.

196. Simon Thomas Jacobs, “In the Organ Lofts of Bordeaux, Toulouse, and Paris,” The Diapason, volume 105, number 8, whole number 1257 (August 2014), pages 20–24.

 

References

Key:

BNF=Bibliothèque National du France, Paris

OHS=Organ Historical Society Library and Archives, Villanova, Pennsylvania

 

​​Amann, Dominique. Le Facteur d’orgues Frédéric Jungk. France: La Maurinière éditions, 2013. www.la-mauriniere.com.

Les Amis de l’Orgue de Seysses. “L’orgue.” Accessed January 29, 2022. https://www.lesamisdelorguedeseysses.fr/orgue/.

Les Amis de l’Orgue Puget Saint-Antonin-Noble-Val. “Quand Théodore Puget Etait Representant du ‘Milacor’. . .,” 28 mai 2021. Accessed January 29, 2022. https://orguesaintantonin.fr/quand-Théodore-puget-etait-representant-du-milacor.

Art Lyb. “79 L’Orgue à cylindre d’Airvault,” filmed at L’Église Abbatiale d’Airvault dans les Deux-Sèvres. Uploaded October 13, 2017. YouTube, 4:59. https://www.youtube.com/watch?v=JRCDtCXzg8c.

Association Aristide Cavaillé-Coll. “Frequently Asked Questions.” Accessed March 20, 2023. https://www.cavaille-coll.fr/en/frequently-asked-questions/.

Association Jean-Claude Guidarini. “Association Jean-Claude Guidarini–AssoJCG.Org.” Accessed January 25, 2022. https://assojcg.org/.

L’Association Orgues Meridionales. “Orgues Meridionales.” Orgues Meridionales. http://orgues.meridionales.free.fr/.

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Bachet, Philippe, ed. Orgues En Midi-Pyrénées (Toulouse et Région): 15ème Congrès de La FFAO, 13 Au 18 Juillet 1998. Lyon: Fédération Francophone des Amis de l’Orgue, 1998. OHS.

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Micot, Jean-Baptiste. “Rapport Sur Les Orgues de Toulouse,” 1796. Archives of the Musée de Lavaur, shared by l’Association Jean-Claude Guidarini.

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Mitchell, John J. “German Influences on Franck’s Chorale in E Major.” Vox Humana, March 31, 2019. https://www.voxhumanajournal.com/mitchell2019.html.

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Oldham, Guy, and Kurt Lueders. S.v. “Puget.” Grove Music Online, January 20, 2001.

Organa Reginae Caeli. “Composite of Sainte-Cécile.” November 18, 2019. Accessed February 10, 2022. https://organareginaecaeli.wordpress.com/composite-of-sainte-cecile/.

Orgue Aquitaine. “L’Association Pour Le Développement de l’Orgue En Aquitaine.” Accessed February 13, 2023. https://orgue-aquitaine.fr/.

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Postlethwaite, Justin. “Albi: The Birthplace of Toulouse-Lautrec.” France Today, August 3, 2022. https://francetoday.com/travel/travel-features/city-focus-albi/.

Puget, Théodore. “Copie In-Extenso Du Devis Inséré Au Registre Des Délibérations Du Conseil de Fabrique de l’église St-Vincent.” Edited by Conseil de Fabrique de l’église St-Vincent, January 22, 1870. Archives of the Musée de Lavaur, shared by l’Association Jean-Claude Guidarini.

Radio Présence. “Immersion à Notre-Dame Du Taur.” Recorded by Jean-Claude Guidarini and Radio Présence in 2012 in Toulouse. YouTube video, 26:12. https://www.youtube.com/watch?v=Dy69JOvYnsE.

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Rivel, Joseph. “Bénédiction & Inaugration Solennelle du Grand Orgue.” Le Bourdon de la Basilique Saint-Just & Saint-Pasteur Narbonne, October 23, 1927, 6ème Année, No. 11 edition. OHS.

Rohan, Henri de. Th. Puget: Une Famille de Facteurs d’orgues à Toulouse, 1834–1960. Bibliothèque Municipale de Toulouse, 1987. Exhibition catalog, Bibliothèque Municipale de Toulouse, October 1–31, 1987. https://orguesaintantonin.fr/wp-content/uploads/2021/08/Puget-Rohan-catalogue-expow.pdf.

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Shannon, John R. Understanding the Pipe Organ. Jefferson, North Carolina: McFarland & Company, Inc., 2009.

Smith, Philip Andrew. “Léonce de Saint-Martin: Organist and Composer.” DMA diss., The University of Waikato, Hamilton, New Zealand, 2018. https://hdl.handle.net/10289/12116.

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Terrissol, Gérard. Les orgues de la Cathedrale Sainte-Cecile d’Albi. Albi: Éditions Grand Sud, 1992. OHS.

Théâtre des Champs-Elysées. “Le Saviez-Vous? L’Histoire de l’Orgue du Théâtre N’Est Pas Évidente à Retracer.” Filmed in December 2020 in Paris, France. YouTube video, 2:41. https://www.youtube.com/watch?v=BxvUGQV3NC8.

Théodore Puget Pére et Fils 1834–1960, Une dynastie de facteurs d’orgues. Lavaur: Musée du Pays Vaurais, n.d. Exhibition catalog. https://orguesaintantonin.fr/wp-content/uploads/2021/08/plaquette-Lavaur.pdf.

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———. “Histoire et Anecdotes.” Accessed April 12, 2022. https://toulouse-les-orgues.org/orgues-2/histoire-et-anecdote/

​Vallas, Léon. César Franck. Translated by Hubert J. Foss. New York: Oxford University Press, 1951.

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Weigle, Carl G. “Nouvelle construction pneumatique pour les tuyaux d’orgues, d’églises, et de concerts. Paris, 1890.” Archives of the Musée de Lavaur, shared by l’Association Jean-Claude Guidarini.

World Monuments Fund. “Albi Cathedral,” December 2020. https://www.wmf.org/project/albi-cathedral.

Appendix A: Finding aid to selected topics

Organs

Albi Cathedral (la Cathedrale Sainte-Cecile d’Albi): Bachet; Deschamps; Guidarini; Lapeyre; Organa Reginae Caeli; Orgue Aquitaine; Poliquin; Postlethwaite; Rohan; Smith; Terrissol; Tikker; Van Doodewaard; World Monuments Fund.

The Taur (l’Église Notre-Dame du Taur): L’Association Orgues Meridionales; Amann; Bachet; Basilique Saint-Sernin de Toulouse (Site officiel); ECHO-Organs; Guidarini; Guilmant; Gullet; Hamilton; Jacquin; Le Journal de Toulouse: Politique et Littéraire; Poliquin; Masson; Micot; Nayrolles; Radio Présence; Rohan; Théodore Puget Pére et Fils 1834–1960, Une Dynasty de Facteurs d’Orgues; Toulouse Les Orgues.

Puget family

Eugène Puget: Bachet; Évrard; Guidarini; Hamilton; Rohan; Théodore Puget Pére et Fils 1834–1960, Une Dynasty de Facteurs d’Orgues; Toulouse Les Orgues.

Jean-Baptiste Puget: Bachet; Bédart; Évrard; Guidarini; Hamilton; “L’Inauguration du Grand Orgue;” Les Orgues de Paris; Rohan; Théâtre des Champs-Elysées; Théodore Puget Pére et Fils 1834–1960, Une Dynasty de Facteurs d’Orgues; Toulouse Les Orgues; Weigle.

Maurice Puget: Bachet; Évrard; Guidarini; Hamilton; “L’Inauguration du Grand Orgue;” Rohan; Rivel; Théodore Puget Pére et Fils 1834–1960, Une Dynasty de Facteurs d’Orgues; Thomas; Toulouse Les Orgues.

Théodore Puget: Les Amis de l’Orgue Puget Saint-Antonin-Noble-Val; Les Amis de l’Orgue de Seysses; Art Lyb; Bachet; Cicchero; Dufourcq; Évrard; Guidarini; Hamilton; Les Orgues de l’Abbé Clergeau; Orgues en France et dans Le Monde; Ramackers; Rohan; Théodore Puget Pére et Fils 1834–1960, Une Dynasty de Facteurs d’Orgues; Toulouse Les Orgues.

Appendix B: Discography

Albums

Avot, Lionel. Franck: Pièces pour orgue. Toulouse: Hortus, 2011. http://www.musicweb-international.com/classrev/2011/Mar11/Franck_organ_Hortus083.htm.

De Miguel, Matthieu. Symphonic Acclamations and Gregorian Paraphrases. Toulouse: Priory, 2019. https://www.prestomusic.com/classical/products/8716922--symphonic-acclamations-and-gregorian-paraphrases.

Ensemble Vocal Les Élements, Frédéric Desenclos, and Joël Suhubiette. Alfred Desenclos: Requiem. Toulouse: Hortus, 1997. http://www.musicweb-international.com/classrev/2005/oct05/Desenclos_hortus009.htm.

Ensemble Vocal Les Élements, Michel Bouvard, and Joël Suhubiette. Duruflé: Requiem. Toulouse: Hortus, 1999. http://www.musicweb-international.com/classrev/2005/may05/Durufle_requiem_hortus018.htm.

Monin, Virgille. Mulet: L’œuvre pour orgue. Toulouse: FY & Solstice, 2015. https://www.resmusica.com/2015/11/08/lorganiste-henri-mulet-revele-par-virgile-monin/.

Ormières. Clair-Obscur. Toulouse: Priory, 2021. https://www.prioryrecords.co.uk/Ormieres-St-Vincent-Church-Carcassonne-Puget-Franck-Vierne.

Rechsteiner, Yves. Organ recital: Rechsteiner, Yves–Beethoven, L. van, Berlioz, H., Chopin, F., Saint-Saens, C. (L’univers de l’orgue–La Dalbade, France 1888). Toulouse: Alpha, 2011. https://uh-naxosmusiclibrary-com.ezproxy.lib.uh.edu/h5/catalogue/ALPHA652.

YouTube

Bach, Johann Sebastian. Erbarm’ dich mein, O Herre Gott, BWV 721, performed by Mary Prat-Molinier, Albi. 5:52. YouTube, 2019. https://www.youtube.com/watch?v=PoB0t59V6O0.

Bélier, Gaston. Toccata in D Minor, performed by Pastór de Lasala, Sydney. 4:21. YouTube, 2012. https://www.youtube.com/watch?v=27dtjo2asj4&ab_channel=tormus1.

Boëllmann, Léon. Élevation in E-flat Major, performed by Titus Greyner, Sydney. 3:08. YouTube, 2021. https://www.youtube.com/watch?v=uzHK6ES-saU&ab_channel=PepOrgan.

Franck, César. Chorale in E Major, performed by John J. Mitchell, Toulouse. 15:43. YouTube, 2020. https://www.youtube.com/watch?v=Ae-EC8S2J3Y.

Lemaigre, Edmond. Prelude et Cappricio, performed by Pastór de Lasala, Sydney. 3:20. YouTube, 2012. https://www.youtube.com/watch?v=27dtjo2asj4&ab_channel=tormus1.

Vierne, Louis. “Final” from Premiere Symphonie, opus 14, performed by Mary Prat-Molinier, Albi. 6:34. YouTube, 2019. https://www.youtube.com/watch?v=Ri6wJB65d4w&ab_channel=EricCord%C3%A9.

Following her graduation from the University of Michigan in 1971, Franco-American organist Lynne Davis moved to France to study with Marie-Claire Alain, and then Jean Langlais and Maurice and Marie-Madeleine Duruflé. While there, she met her future husband, Pierre Firmin-Didot, and ended up staying thirty-five years. After receiving the Certificat d’Aptitude de Professeur d’Orgue from the French Republic, she served as organ professor at the Conservatory of Music in Clamart and at the National Regional Conservatory in Caen.

In 2006, she was appointed the Robert L. Town Distinguished Professor of Organ at Wichita State University, where she produces and performs in the Rie Bloomfield Organ Series: Distinguished Guest Artists and Wednesdays in Wiedemann. In 2012, she was awarded as a French citizen the distinction of Chevalier de l’Ordre des Arts et des Lettres from the French Ministry of Culture and Communication. After receiving the Excellence in Creativity Award from Wichita State University in 2011, she was honored with the medal of the city of Wichita from Mayor Carl Brewer in 2013. In 2016, she received the Burton Pell award from the Wichita Arts Council and in April 2021 was promoted to full professor at the university. Her unique living and vast working experience and her lineage of study in France makes her an authority in all French organ repertoire, culture, and aesthetics to which she has added work as a translator from French to English. She is represented in North America by Phillip Truckenbrod Concert Artists, LLC.

Lynne Davis Firmin-Didot

This past summer 2022, we witnessed the last musical moments of the great organ at Chartres Cathedral. At the end of August, scaffolding was built to take down the entire instrument—the pipes, the console, all the mechanical elements, and the Renaissance organ case—to leave space for a new instrument that will be built in three to four years. It will be an exceptional time for the organ case, which has never been taken down or restored in its long life. This is all great and wonderful news that will certainly enchant the organ world, both nationally and internationally. This new instrument, to be built by Bertrand Cattiaux and Olivier Chevron of Atelier Cattiaux as well as Manufacture d’orgues Mulheisen, will naturally prolong the life and great renown of the Chartres International Organ Competition, Grand Prix de Chartres, and its International Summer Organ Festival.

Centenary of his birth

We celebrated last year the centenary of the birth of Pierre Firmin-Didot. This tribute we address to his memory is doubly moving since the organ concerts of the summer of 2022 that make up the summer festival, founded by him in 1975, were the last to be heard on this instrument.

Pierre Firmin-Didot was born August 23, 1921, in Mesnil-sur-l’Estrée, Eure, France. On August 24, 1981, he married American organist Lynne Davis. Caroline Firmin-Didot was born April 25, 1983, to Pierre and Lynne. Pierre died January 5, 2001, and is buried in Escorpain, Eure, France.

Didot family dynasty

Pierre Firmin-Didot was a descendant of the famed Didot dynasty of printers and publishers founded by François Didot (1689–1757). The firm gained renown for illustrated editions of the classics as well as inexpensive editions of scholarly texts.

One of the family’s lasting legacies is the Didot family of fonts, designed by Firmin Didot (1764–1836), grandson of the printing house founder. He was the inventor of stereotypography, which refers to the metal printing plate created for the printing of pages, an invention that influences typography to this day. He was appointed by Napoleon as the director of the Imprimerie Impériale type foundry. The family were printers to the kings of France, printers of the Institut de France, and engraved the assignats, paper money used during the French Revolution. Firmin’s statue is found on the upper frieze of the Hôtel de Ville in Paris.

The most famous Didot typefaces were developed between 1784 and 1811. Firmin Didot cut the letters and cast them as type in Paris. His brother Pierre Didot (1760–1853) used the types in printing. The Didot types are characterized by extreme contrast in thick strokes and thin strokes, using hairline serifs, and by the vertical stress of the letters. Firmin was inspired by Baskerville’s typeface, and thirty years later Giambattista Bodoni started creating his own modern typeface. Viewing Baskerville, Didot, and then Bodoni alongside each other shows an important transition into modern typography.

Didot is described as neoclassical and evocative of the Age of Enlightenment. The Didot family was among the first to set up a printing press in newly independent Greece, and typefaces in the style of Didot have remained popular there ever since.

Visit of General de Gaulle

The present organ in Chartres Cathedral was built fifty years ago by Danion-Gonzalez, thanks to the initiative of Pierre Firmin-Didot. The ambition took root in his heart, his spirit, and through his determination. Affected at a very young age by the beauty of the cathedral and the harmony of the liturgy, he told the story of General Charles de Gaulle, then President of the Republic, who was to attend a big ceremony at the cathedral. But the organ was not playable, and an orchestra had to be called upon. The famous minister of culture at the time, André Malraux, told Pierre, “Dear friend, do something! It is a shame that the great organ is silent when there is the President of France who is visiting the cathedral.”

Initial effort to save the organ

For Pierre Firmin-Didot, something indeed had to be done; so in 1964 he started a campaign to save the great organ, raising a bit more than half of the funds necessary for its reconstruction, the other half being provided by the State. This was accomplished through the organization founded by Firmin-Didot, Association pour la Rénovation des Grandes Orgues de Chartres. June 5 and 6, 1971, witnessed the inauguration of the reconstructed great organ of the cathedral, in the presence of and presided over by the President of the Republic, Georges Pompidou, and Mrs. Pompidou. The same year saw the creation of the international organ competition, Grand Prix de Chartres. The association for the rebuilding of the organ was eventually renamed Association des Grandes Orgues de Chartres (AGOC).

Pierre Firmin-Didot surrounded himself always with the great masters of the organ world at that time including Pierre Cochereau, Gaston Litaize, and Norbert Dufourcq. Thus, with the encouragement of these luminaries, the Grand Prix de Chartres would lead to founding the summer festival with organ recitals every Sunday afternoon in 1975.

Chartres—symbol of excellence

Since then, throughout the world, Chartres has become a symbol of excellence in the organ profession. Having regained its voice, it was important for Pierre Firmin-Didot that outside of the liturgy, the great organ of the cathedral should be heard during cultural events destined to promote the international outreach of the cathedral. Chartres from then onwards attracted worldwide attention, alluring the greatest international talents and performers.

Endeavors and dedication

These projects entailed an enormous amount of work, and Pierre Firmin-Didot dedicated all his time to this cause. All this precise organization was aimed at making those unique moments of the competition or a concert in the cathedral truly memorable and of the highest quality. Every Sunday during each summer between 1975 and 2000, Pierre Firmin-Didot welcomed the public to the concerts and presented the artists. One can still see his tall silhouette at the crossing of the transepts or in the central aisle where he sold programs and took the collection, as the admission was always free.

One remembers the Sundays of the final rounds of the competitions: the excitement of the audience when the finalists played, the distinguished international jury members busily taking notes, the presence of a great part of the diplomatic corps in function in France (often the embassies of the countries from which the candidates came, sometimes even sponsoring them), the long rug running the whole length of the central aisle, the tingling excitement of the listeners when the Grand Prix was announced, the place reserved in the choir stalls for the press as they transmitted the fresh news of the competition results directly from the cathedral. The scheduling of this day was always done with the utmost precision, so that everything took place like clockwork.

Dedication and devotion

Pierre Firmin-Didot afforded us many precious moments of shared listening. There were countless times where beauty touched us profoundly, because it was present on all levels: the purity of the architectural lines in the cathedral that uplift and soothe us, the very stones resounding and reflecting the harmonics of the sounds of the pipes, and then the combination of the alliance of light and music in this monument that generates such a holy atmosphere.

Thus during his whole life, he never stopped devoting himself to the distinguished cathedral basilica of Chartres. Driven by this global vision of the universe of Chartres, he also created the Centre International du Vitrail (International Center for Stained Glass) in 1980. This center was inaugurated during a concert in the cathedral of Hector Berlioz’s Requiem, with Colin Davis, director, the orchestra and choir of Radio France, the choir of the Paris Opera, and the brass of the Garde Républicaine, in the presence of and presided over by the President of the Republic, Valéry Giscard d’Estaing, and his wife. Firmin-Didot also created the association Chartres, Sanctuaire du Monde in 1992. Both associations are large-scale and ongoing, in complete service to Chartres and its cathedral.

Pierre Firmin-Didot and Lynne Davis’s charitable work was not limited to Chartres. In 1990, the two worked to form an exhibition administered by the Ville de Paris at the Mairie du 6^e, in addition to recordings produced by the Erato label of twenty of Paris’s organs (Prix du Président de la République). Erato would release Les Orgues de Paris de Couperin à Messiaen, a three-CD set, in 1992. Performers included Lynne Davis Firmin-Didot, Marie-Claire Alain, Pierre Cochereau, Olivier Messiaen, Daniel Roth, André Isoir, Marie-Madeleine Duruflé, and others.

A pioneer

Pierre Firmin-Didot was a pioneer; he brought a modern focus and a new vision to cultural patrimony. Whereas in his day the word patrimony was still considered to be a term reserved for use by notary publics and lawyers regarding one’s estate, he knew that it would become the crusade of our time, that it would embody the question of cultural identity and be transformed into a national cause today, which would embrace the safeguarding and conservation of historical buildings and works of art.

Trust in those around him

Pierre Firmin-Didot always put his trust in the persons engaged in working on and serving this cause. He had a particular talent and pleasure in bringing together such loyal volunteers and esteemed experts in a manifestation of the great French tradition of distinction and friendly spirit. He was constantly striving to promote this cause, touching many lives along the way, so that the universe of Chartres would illuminate those of goodwill on the road to a true and pure light.

Final tribute

Pierre Firmin-Didot died in 2001, the twentieth year of our marriage, and all along the road traveled together, he gave me the opportunity—for an American arriving in France from Michigan just over fifty years ago in September 1971—to see so closely into the marvelous world of the French organ and society and to perceive that special and glorious light that comes so particularly from Chartres.

It is thus that I have wanted to pay tribute to my husband, Pierre Firmin-Didot, a man of duty and honor, with a great heart, to whom the organ world owes a special debt of gratitude for the prestige and perseverance he showed and for the legacy he left to future generations. Noblesse et générosité.

One can still hear him saying, “Chartres, c’est vous!”

The Great Organ at Chartres Cathedral

As early as 1353, the Cathedral of Our Lady in Chartres housed an organ, and Jehan de Châteaudun served as one of the cathedral’s organists. The instrument was installed on a wooden balcony in the second bay along the south wall that is still there today. In 1475, Gombault Rogerie, a novice in the order of Dominicans, was engaged to build an instrument that played up to fifty pipes per note in the treble register in an enlarged case that featured two tall flat side towers separate from the central façade.

Robert Le Filleul rebuilt the organ on its existing chassis in 1542. He caused the case to be richly decorated with numerous scrolls, masks, foliage, and corbels on the large towers, and crowned this filigree with lamps, the work of local craftspeople.

Though the pipework experienced significant reworking over centuries, the size of the organ case remained the same, with the exception of the addition of the Positif division, which was moved further forward in the mid-nineteenth century. In the early part of that century, there was discussion about moving the organ to the rear of the nave. A fire in the cathedral in 1836 rendered the instrument unplayable. In 1846 it was rebuilt and modified from a four-manual to a three-manual organ, and the casework was repainted a dark color. Further projects occurred in 1846, 1850, 1868, and 1881.

The organ was yet again altered in 1911, and by the 1960s it was in very poor condition. In 1964, Pierre Firmin-Didot commenced his work that culminated with the inauguration of a new instrument in 1971, built in the neoclassical style by the firm Danion-Gonzalez. The instrument was modified from three manuals, thirty-six stops to four manuals, sixty-seven stops, and an electro-pneumatic action was fitted.

GRAND-ORGUE (Manual I)

16′ Montre

16′ Bourdon

8′ Montre

8′ Flûte

8′ Bourdon

4′ Prestant

4′ Flûte

2′ Doublette

Grosse Fourniture II

Fourniture III

Cymbale IV

Cornet V (fr tenor G)

16′ Bombarde

8′ Trompette

4′ Clairon

POSITIF (Manual II)

8′ Montre

8′ Flûte

8′ Bourdon

4′ Prestant

4′ Flûte

2-2⁄3′ Nasard

2′ Doublette

1-3⁄5′ Tierce

1-1⁄3′ Larigot

Plein-jeu IV

Cymbale III

Cornet V (fr middle C)

8′ Trompette

8′ Cromorne

4′ Clairon

RÉCIT (Manual III)

8′ Principal

8′ Cor de nuit

8′ Gambe

8′ Voix céleste

4′ Flûte

4′ Viole

2′ Doublette

Sesquialtera II

Plein-jeu IV

Cymbale III

16′ Bombarde

8′ Trompette

8′ Basson-Hautbois

8′ Voix humaine

4′ Clairon

Tremblant

ECHO (Manual IV)

8′ Principal

8′ Bourdon

4′ Flûte

2-2⁄3′ Nasard

2′ Doublette

1-3⁄5′ Tierce

1′ Piccolo

Cymbal III

8′ Trompette

4′ Clairon

PÉDALE

32′ Principal

16′ Montre (Grand-Orgue)

16′ Soubasse

8′ Montre

8′ Bourdon

4′ Principal

4′ Flûte

2′ Flûte

Plein-jeu V

16′ Bombarde

8′ Trompette

8′ Basson

4′ Clairon

Personal remembrances of Pierre Firmin-Didot by Lynne Davis Firmin-Didot

I arrived in France in September 1971 to study with famed organist Marie-Claire Alain. As she had fallen ill, I took lessons with Jean Langlais at the Schola Cantorum in Paris. He was a master visionary and suggested three things that changed the course of my life, one of which was to encourage me during the spring of 1972 to make inquiries about the new international organ competition Grand Prix de Chartres, which had just been founded by Pierre Firmin-Didot. When I called, Pierre himself answered, and I met him before I competed. I didn’t get the prize, but I won the heart of the president!

He was passionate about the pomp and grandeur of the ceremonies at the cathedral and above all by the profound sounds of the organ. He had served as an altar boy under the archbishop, Monseigneur
Harscouët, and always felt a very special connection to the cathedral.

He played the organ in a rather natural kind of improvisatory style. One day, Pierre Cochereau, organist at Notre-Dame, told him, “You even know how to modulate!” Then having met me and throughout my own concerts, he familiarized himself with the subtleties of the organ repertoire. He only liked to listen to the organ, no other instrument.

Although he was very proud of the three centuries of his family’s printing and publishing dynasty, the printing business was not that of his soul; he needed a vision that was between heaven and earth. That is precisely where the organist is placed in the cathedral, and that is what certainly reinforced our own relationship. The cathedral was his great passion, which transcended everything his ancestors did. He became the light of Chartres.

His principal qualities embraced a profound courtesy and a welcoming attitude to all, regardless of their origins. He was kind and the epitome of a gentleman. He had a great sense of organization and managed all events from A to Z. It was he and our daughter Caroline who created the prototype of the great book of donors for the association Chartres, Sanctuaire du Monde, which is kept in the treasury of the cathedral.

Noblesse et générosité (noblesse and generosity) is how his nephew, Charles Firmin-Didot, described him during the ceremony where he was decorated with the Officer of Merit award in June 2000. It was a fitting epitaph.

Remembrances of Pierre Firmin-Didot by friends

Daniel Roth

April 8, 2021

Dear Lynne,

We owe a great debt of gratitude to Pierre Firmin-Didot for all he did for the magnificent Chartres Cathedral and for the creation of the international organ competition at Chartres. All his great work will be passed on to future generations.

He was a man of great kindness with a natural kind of authority, which always greatly impressed me. I preserve a great memory of him.

—Daniel Roth

Grand Prix de Chartres, 1971

Organist at l’Église Saint-Sulpice, Paris, France

George Baker

December 2, 2021

In this centennial year of the birth of Pierre Firmin-Didot, I have the pleasure and honor of writing a few recollections and words of gratitude.

Our first encounter occurred a few weeks after I arrived in Paris in August 1973, at Saint-Severin Church in Paris at an all-Messiaen concert played by organist Charles Benbow, 1972 Grand Prix de Chartres winner. Messiaen and Yvonne Loriod were there, and I was invited to the reception where I met Pierre Firmin-Didot, introduced by my friend, Lynne Davis. He was elegant, kind, charming, and very encouraging when I told him I intended to compete in the competition in 1974.

I’ll always be grateful to Pierre Firmin-Didot. For me, the Grand Prix de Chartres was a defining moment in my life and career. I made my first recording on the Chartres Cathedral organ for which we were awarded not one but two Grand Prix du Disque in 1975. A young, skinny, long-haired dude from Texas sure got lucky in France! All the endless hard work had finally paid off!

At the 2000 post-competition dinner, we were sad to learn of Pierre’s illness. He was not able to attend the competitions, and we were all very sad. I recall that many people at the dinner shared their souvenirs and love of Pierre.

Many years have passed since 1973 and my first meeting with Pierre Firmin-Didot, and twenty years have already passed since he left us in 2001. The time has not diminished my gratitude to and admiration for this unique and great man. Mon cher ami Pierre, we miss you and love you.

—George Baker, DMA, MD, MBA

Grand Prix de Chartres, 1974

Organist and composer

Adjunct associate professor of organ Southern Methodist University, Dallas, Texas

Retired dermatologist

James Kibbie

April 29, 2021

When I won the Grand Prix d’Interprétation at the 1980 Chartres competition, a member of the jury told me, “This will open doors for you; it’s up to you to walk through them.” It was great advice, and I now regard the Chartres competition as the single most important event in my professional development. I had the pleasure of visiting with M. Pierre Firmin-Didot in his magnificent home several times, including when I later served on the competition jury. I also had the honor of playing the sortie for his wedding to my fellow University of Michigan alumna Lynne Davis. Together they extended the Chartres competition with further initiatives to advance French organ music. M. Firmin-Didot’s legacy still shapes the future of the organ in France and beyond. I’m enormously grateful to him for the doors he opened for me and so many others.

—James Kibbie

Grand Prix de Chartres, 1980

Professor and chair, organ department University of Michigan, Ann Arbor

Christophe Mantoux

April 26, 2021

Twenty years ago, already, the premature death of Pierre Firmin-Didot was of great sadness in the organ world. There are many of us all over the world who owe much to him, even though he never promoted himself as such. Simplicity, modesty, selflessness, but also generosity, dynamism, imagination, perseverance: so many qualities brought together in one man to carry out a magnificent enterprise in service to art, the organ, and organists!

Presiding over the competition, Pierre Firmin-Didot was affable, courteous, caring, having conserved his capacity of wonderment, showing a tender and dreamer nature.

Dear Pierre, in this year of the centenary of your birth, we express to you our most profound recognition. You had the rare joy of seeing come to fruition the worldwide reputation of the competition (Grand Prix de Chartres) you created; your work, alive and well today, continues its magnificent vocation of emulation, in the service to excellence in art!

—Christophe Mantoux

Grand prix de Chartres, interprétation, 1984

Professeur d’orgue au Conservatoire régional et au Pôle supérieur de Paris

Organiste titulaire de l’Église Saint-Séverin à Paris

Membre de la Commission nationale des monuments historiques (section des orgues)

Martin Jean

September 1, 2021

Few of us can probably say we met someone who truly changed the world. I feel privileged to claim that I did so by making the acquaintance of Monsieur Pierre Firmin-Didot.

M. Firmin-Didot was a visionary, a leader, and a pioneer. He saw possibilities where others saw defeat, and he built bridges where once there were walls. Firmin-Didot in France is a name of renown that is known today such that a statue of the family patriarch stands in the façade of the Hôtel de Ville in Paris. Only a person of such a reputation and legacy could lead a campaign to build a magnificent organ in one of the great cathedrals of the world, to set out an annual festival around it, and to launch one of the most prestigious organ competitions we have.

In a few days, when it came time for us to meet him, we expected formality, distance, reserve. While we were clearly in the presence of someone truly special, dressed in a gorgeous suit of clothes, with perfect manners and comportment, we were all disarmed by how personable he was. Shaking each of us by the hand, sharing a personal greeting, looking us in the eye with warmth and welcome, I was immediately put at ease. I am convinced this helped me play better.

I stayed in touch casually with M. Firmin-Didot over the years and shared meals with Lynne Davis, his wife, and him on return visits. I can still hear his lyric tenor voice shout, “Cher Martin!,” when he saw me coming up the path. There was no reason that I could think of for him to be so kind and welcoming to me. No reason, except that this was his nature.

Leaders, true visionaries, give to the world, and they give equally to individuals. They set out a view of something really glorious—in the case of Chartres and Pierre, music in a setting of utter holiness. But the ones who really “get it,” whose legacy long outlasts their lives, ensure that their grand picture of the world impacts the individual, the human being. This was certainly true for me.

This is my memory of the great Pierre Firmin-Didot. A man of honor, of courage, and of dreams who did what he did not to set up a legacy for himself, but to ensure that all our lives are changed forever.

Merci pour tout, Pierre Firmin-Didot!

—Martin Jean

Grand Prix de Chartres, 1986

Yale University, New Haven, Connecticut

Eric Lebrun

April 7, 2021

Dear Lynne,

As a young organist, still studying at the Conservatory, I crossed his path during the Grand Prix de Chartres in 1990. I was touched immediately by the very grand elegance, the profound kindness of this sensitive and generous man. It is to him we owe the setting in motion of all the work of restoration, of the enhancement of this magnificent patrimony, which explodes today in front of our eyes.

Men who initiate, who are bold, who book a “ticket with no return” for a beautiful adventure, permit our world to breathe and to hope. With enormous gratitude . . . .

—Eric Lebrun

Organiste de l’Église Saint-Antoine-des-Quinze-Vingts, Paris

Professeur d’orgue au Conservatoire de Saint-Maur-des-Fossés

Professeur honoraire au Conservatoire Royal de Aarhus, Denmark

Susan Landale

April 2021

Pierre was a very special person. I remember his kindness, his sense of humor, and his devotion to Chartres. I also remember the beautiful dresses you wore, Lynne, for your recitals! We still miss him as the captain of the ship!

—Susan Landale

Organist of Cathédrale Saint-Louis-des-Invalides, Paris

E. Power Biggs Professor of Organ, Royal Academy of Music, London

Colette Morillon

April 2021

Pierre Firmin-Didot, an exceptional president!

Thanks to Pierre Firmin-Didot, the grand-orgue of the cathedral regained its voice in 1970, and it was important subsequently for him that it be honored by creating an organ competition of international magnitude to reflect the stature of the cathedral itself. It was important also that outside of the liturgy, the grand-orgue should be heard during cultural manifestations destined to further the universal outreach of the cathedral.

His goals were achieved:

—Reveal and promote young organ talents in France and elsewhere in the world. We always promoted the artist’s career, and to win the Grand Prix de Chartres became a dream of every organist. Past winners acknowledge that it helped them to begin an international career. Likewise, most of the recitalists of the summer festival attest to the privilege of being able to “make the stones of the cathedral sing.”

—Organize events of prestige in Chartres Cathedral, contributing thus to its universal cultural outreach. What was thrilling was the organization of quality events, the global dimension of the activities, the contacts with all the greatest organists, the discovery of young talents, and the partnerships with associations and festivals worldwide.

With Pierre Firmin-Didot, thanks to his numerous connections, which he mobilized for the benefit of Chartres, everything was always at the highest level. The Association des Grandes Orgues de Chartres also was present in Paris through other prestigious events they held to raise funds: two Soirées de bienfaisance (charity balls) at the residence of the U.S. ambassadeur to France in the presence of important personalities and with the support of the president of the United States, Ronald Reagan, who had also made a personal gift.

Pierre Firmin-Didot was really a president of exception!

—Colette Morillon

General secretary of the Association des Grandes Orgues de Chartres

Jean-François Lagier

April 2021

Firmin-Didot is the name of a French family who lived during three centuries in service to books and publishing. Pierre Firmin-Didot (1921–2001) belongs to the ninth generation of “Didot, printer and publisher.” Altar boy at Chartres Cathedral, he was impressed by the pomp of the great Roman liturgy. Through his faith and his fondness for splendid religious ceremonies was born his veneration for the universe of Chartres.

From a very young age, I experienced a sort of rapture when, as a young altar boy, guided by the luminous figure of Monseigneur Harscouët (archbishop), I served the Grand-Messe at Notre Dame of Chartres. The love of God certainly carried me, but it was magnified for the little one I was. Everything around me radiated beauty: the harmony of the liturgy, the chants, the ornaments, the perfume of the flowers and the incense, the magic light from the stained glass windows, which brought forth so many apparitions of familiar personages from Biblical history, and finally as if embracing and inflaming all of this, the powerful majesty of the organ, capable of bringing us the trembling of a Dies Irae summoning the blessed vision of the Lamb of God.

Pierre Firmin-Didot was a pioneer: he wore the modern “vision” of cultural heritage. When during his time “patrimony” was only a notary public term, he knew that it would become the crusade of our times, that it would incarnate the question of cultural identity, and that it would be transformed into a national cause, today, which embraces the preservation and conservation of art and historical structures, like the safeguarding of the natural environment and buildings.

He anticipated this movement in Chartres through all his actions, born of a mindset that wasn’t simply nostalgic of things past, a “folklorization” of cultural heritage, with a content that one would have stripped of all meaning: it is the living cathedral, which he saw as a beacon of Western Christianity, that which incarnates a worth of continuous value, the cathedral that Proust upheld, which affirmed that the religious vocation of the monument was the guarantee of its artistic beauty.

—Jean-François Lagier

President de Chartres, Sanctuaire du Monde

Directeur du Centre international du Vitrail

Trésorier de l’Association des Grandes Orgues de Chartres

Chartres cathedral website: chartrescathedral.net

Chartres competition website: orgues-chartres.org