French Organ Music Seminar

Masako Gaskin and David Erwin

Submitted by Masako Gaskin, BFOMS co-director, and David Erwin, director of music at Ladue Chapel Presbyterian Church, St. Louis, Missouri.

The British and French Organ Music Seminar (FOMS) took place in London, Paris, and Alsace, July 4–18, 2019. Founded by Christina Harmon in 1986, FOMS has taken place biennially since.

London

Thirty-seven organists and friends began the seminar with a Fourth of July celebration at Saint Paul’s Cathedral, London. The group was treated to Evensong and a concert by Ken Cowan on the Henry Willis organ (1872), originally built by Bernard Smith (1697). Afterwards, our host Simon Johnson demonstrated the instrument and invited participants to play.

The following morning the group traveled to All Saints Church, Tooting, to visit the 1904 Harrison & Harrison organ, hosted by Mark Pybus. Then on to Notre Dame de France for a masterclass in improvisation with Duncan Middleton on the organ tonally reconstructed and enlarged by B. C. Shepherd & Son of Edgware (1986). The afternoon was spent at St. George’s Hanover Square, hosted by Simon Williams. The organ, built by Richards, Fowkes & Co. (2012) inside the old case used for the first organ of 1725 by Gerald Smith, nephew of the builder of Saint Paul’s Cathedral organ, is the first American-built organ in London. That evening some members of the group attended vespers at Westminster Cathedral before the demonstration of its Henry Willis III organ (1922) and free playing time hosted by Peter Stevens.

Saturday, July 5, started at Chelmsford Cathedral, with James Davy as host for the group as they visited the Mander organs (nave and chancel). The second stop was at Saint Edmundsbury Cathedral hosted by James Thomas, playing the Harrison & Harrison organ (2010). Next was Cambridge, with Evensong conducted by Stephen Cleobury, who performed his final organ recital.

The final day in England was Sunday, July 6, and group members went to worship at churches of their choice. In the afternoon, one could attend a recital at Westminster Abbey or Westminster Cathedral. The final playing session on a two-manual George Pike England organ took place at Saint Margaret Lothbury, a church designed by Christopher Wren, with host organist Richard Townend.

Paris

On Tuesday, July 8, forty-four organists and friends converged in Paris at St-Augustin. Titulaire Didier Matry demonstrated the organ and allowed participants to try it out. The first full day of the seminar began with an emphasis on French classical music with visits to St-Sevérin and St-Gervais. François Espinasse led a masterclass at St-Sevérin, and he talked about the importance of singing and dancing in one’s playing. At St-Gervais, the Couperin family church, Elise Friot demonstrated one of the ancient instruments in Paris, with reportedly the oldest keyboards still in use in the city. That evening featured a concert by the Duo Merlin at Notre-Dame-des-Champs, parish church of organbuilder Aristide Cavaillé-Coll. The Duo Merlin consists of Yannick Merlin and his wife Béatrice Piertot, who specialize in organ music for four hands. They did much of the work in organizing FOMS from the French side, securing venues and recruiting faculty.

On Wednesday, July 9, Susan Landale lectured and led a masterclass on the works of Louis Vierne at Église St-Louis des Invalides. Then, several in the group walked to Ste-Clotilde to hear and play the organ, hosted by Olivier Penin. The next day saw a return to Notre-Dame-des-Champs for playing time, followed by a masterclass on works of Jean Langlais by Béatrice Piertot. This was followed by a class led by Jean-Baptiste Robin. That evening we visited the auditorium at Radio France, with its 2016 Gerhard Grenzing organ (IV/87). We were welcomed by M. Grenzing, and then each person in the group was able to play from the main stage console.

A trip to Auvers-sur-Oise (the village where painter Vincent Van Gogh spent his final days) was scheduled for the next day. A short train ride from Paris, Auvers is home to Église Notre-Dame d’Auvers-sur-Oise, which Van Gogh immortalized in a painting. The church has a newer organ built in the neo-Baroque style by Bernard Hurvy, demonstrated by M. Hurvy and the titulaire Jean-Charles Gandrille. Playing time for the group followed, while some explored the village.  In the evening we visited St-Étienne-du-Mont, Duruflé’s church known for its elegant ornate rood screen. Titulaire Vincent Warnier welcomed us.

On Saturday, July 13, we had an early morning visit to Sacré-Coeur, where we had permission to play the organ. Titulaire Gabriel Marghieri explained to the group how plans for work on the organ have been drawn, funding has been secured, yet approval is tied up in the French bureaucracy. So in the meantime M. Marghieri must deal with severe winding issues, which does not permit him to use the Récit division at all. That afternoon featured a masterclass on works of César Franck led by Béatrice Piertot at the Church of St-Laurent where she is titulaire. Mme. Piertot shared some of her recent research into Franck’s organ works, including observations about tempi. That evening finished with a session at St-Eustache, with co-titulaire Baptiste-Florian Marle-Ouvrard playing the Van den Heuvel (V/101) organ.

On Sunday morning, July 14, participants had the choice of visiting several organ lofts in order to watch the work of the titulaires up close. The group then met up that afternoon at La Trinité where titulaire Loïc Mallie demonstrated the organ of Guilmant, Messiaen, and Hakim, and then gave very helpful comments as group members played for him. Many in the group rushed back to St-Eustache to hear Baptiste-Florian give a Bastille Day recital prior to evening Mass. This day concluded at St-Sulpice. Following a pontifical Mass (St-Sulpice is currently being used for large episcopal services that would have normally taken place at the cathedral) with a brilliant sortie improvised by Sophie Choplin, the church was ours for the next few hours as the building was locked and nighttime fell.

The final day in Paris, Fréderic Blanc hosted us at La Madeleine, talking about the history of this early Cavaillé-Coll instrument and then demonstrating it. Group members spent the remainder of the morning trying out this organ. The group moved to the chic Champs-Elysées neighborhood for a visit to St Pierre-de-Chaillot, where titulaire Samuel Liégeon presented an improvisation. On the way back to the métro we stopped at the American Cathedral to meet organist Andrew Dewar. The next event was a visit to the Duruflé apartment, where host Fréderic Blanc demonstrated the organ and spoke of Maurice and Marie-Madeleine Duruflé. The final event was a session with Blanc at his church, Notre-Dame-d’Auteuil, where the organ was recently renovated.

Alsace

Tuesday, July 16, began with an express train from the Gare de l’Est to Strasbourg. Daniel Roth joined us and shared insights of the heritage of his native Alsace. The afternoon was spent visiting two churches in the old part of this city. St-Pierre-le-Jeune Protestant (the church has been Lutheran since 1524) is home to an instrument built in 1780 by Johann Andreas Silbermann. This was followed by a visit to St-Pierre-le-Jeune Catholic Church, a massive nineteenth-century domed edifice built in the neo-Romanesque style. The present organ in this church is the work of Manufacture d’orgues Koenig from Sarre-Union, which incorporates some pipework of the earlier organ. After dinner, the group met at the church of St-Paul that was originally built for members of the military, but since 1919 has been part of the Protestant Reformed Church of Alsace and Lorraine. The church contains a notable Walcker organ (III/87) from 1897 in the gallery (the largest instrument in Alsace) and an eighteen-rank instrument (1976) built by Garnier Facteurs d’Orgues of Niiza in the chancel.

The next day we traveled to the village of Erstein, where we were welcomed by the mayor and tried out the 1914 instrument by Edmond-Alexandre Roethinger. This organ is a synthesis of French and German styles, which is typical for Alsatian organs. The city then hosted a reception for us and some members were interviewed for the local newspaper, which ran a story about FOMS the following day. The day continued with a visit to the abbey at Ebersmunster, a magnificent building in the high-Baroque style with an organ by André Silbermann (1730).

The final day for FOMS 2019 began at the Protestant Church of St-Martin in Barr. This Lutheran church boasts a Stiehr-Mockers organ from 1852. We then headed up in the mountains above Pfaffenheim for a luncheon of traditional Alsatian foods at the religious community of Schauenberg. The afternoon consisted of a visit to our final church, St-Martin, with its 1839 Callinet Brothers organ. After the demonstration of the organ, some members of the group remained to prepare for the evening’s recital, while others enjoyed a visit to a family-run chocolatier and a tasting of local Alsatian wines. FOMS concluded with a recital played by several members.

The following day, a smaller group that had originally registered for an extension to play at Notre-Dame de Paris, sadly devastated by the tragic fire of April 15, was hosted by Notre-Dame titulaire Johann Vexo in his charming hometown of Nancy. Eighteen organists and friends enjoyed the Dupont organ (modified later by Cavaillé-Coll) at Cathédrale Notre-Dame de Nancy and the Dalstein & Haepfer organ at Église St-Sébastien.

In addition to Yannick Merlin, Béatrice Piertot, and Daniel Roth, Christina Harmon was assisted by co-directors David Erwin, Masako Gaskin, and Cliff Varnon. Plans are already underway for the next FOMS, which will take place in July 2021. Look for announcements at www.bfoms.com for updates.

Photo: Jean-Baptiste Robin with seminar participants at Notre Dame-des-Champs, Paris, France (photo credit: Masako Gaskin)

Sally Gordon-Mark

Born in New York City, Sally Gordon-Mark has French and American citizenships, lives in Europe, and is an independent writer, researcher, and translator. She is also a musician—her professional life began in Hollywood as the soprano of a teenage girl group, The Murmaids, whose hit record, Popsicles & Icicles, is still played on air and sold on CDs. Eventually she worked for Warner Bros. Records, Francis Coppola, and finally Lucasfilm Ltd., in charge of public relations and promotions, before a life-changing move to Paris in 1987. There Sally played harpsichord for the first time, thanks to American concert artist Jory Vinikour, her friend and first teacher. He recommended she study with Huguette Dreyfus, which she had the good fortune to do during the last three years before Huguette retired from the superieur regional conservatory of Rueil-Malmaison, remaining a devoted friend until Huguette passed away.

During Sally’s residence in France, she organized a dozen Baroque concerts for the historical city of Saint-Germain-en-Laye, worked as a researcher for books published by several authors and Yale University, and being trilingual, served as a translator of early music CD booklets for musicians and Warner Classic Records. She also taught piano privately and at the British School of Paris on a regular basis. In September 2020 she settled in Perugia, Italy. In May 2023 Sally will be the guest editor of the British Harpsichord Society’s e-magazine Sounding Board, devoted entirely to the memory of Huguette Dreyfus. For more information: www.sallygordonmark.com.

Read Part 1 here.

You had to be crazy to want a career. It was impossible to see what the possibilities were.

—Huguette Dreyfus¹

In 1950 Huguette Dreyfus was finding it difficult without a harpsichord of her own, a situation making it expensive to practice—a crucial problem in her case, since, like others in her generation, her training had been on the piano. She had just discovered the harpsichord in her first year (1949–1950) of Norbert Dufourcq’s music history class at the Paris Conservatory, then located on rue de Madrid. That year, he focused on the music of Johann Sebastian Bach, and Pleyel loaned him a harpsichord for his classroom. He also created an unofficial harpsichord class at the conservatory, taught by his former student, Jacqueline Masson. To practice, Huguette rented a rehearsal room upstairs in the Salle Pleyel concert hall, at 8:00 a.m. several days a week.²

During Ruggero Gerlin’s summer classes at the Accademia Chigiana in Siena, which she attended from 1953 through 1959, Huguette was always among the few students who were invited to perform a short program in the end-of-term concerts in September. Finding time to rehearse on the class harpsichord, a contemporary one with pedals by an obscure Italian maker named Cella, was difficult because it was shared by all of Ruggero Gerlin’s students, so Huguette resorted to practicing discreetly during the Italian siesta from 2:00 to 4:00 p.m.³

Huguette conferred with her mother Marguerite and her brother Pierre, knowing that it would be too expensive for the now fatherless family⁴ to purchase a new harpsichord. Her brother asked a friend who frequented auction houses to let him know if a double-manual harpsichord ever came up for sale. Nothing happened for a long time. Then in late 1957, Pierre found what was purported to be an original eighteenth-century Nicolas Blanchet double-manual harpsichord in a shop specializing in eighteenth-century French antiques—probably Maurice Bensimon’s at 5 rue Royale in Paris. Little was known about the instrument, except that it had once been in the collection of Raymond Russell. It was sold at a Sotheby’s auction in June 1956 to Pelham Galleries in London, and according to the gallery owner’s son, Alan Rubin, Bensimon was a client of Pelham’s.⁵

On January 16, 1958, Huguette flew to London to accompany violinist Madeleine Massart in a concert the next day at the French Institute. She may have met with Raymond Russell, because his address is noted in her agenda. Before flying home on January 25, she went to see the instrument collections at Fenton House and the Victoria & Albert Museum, for which Russell had recently written the catalogs. It is not known when her harpsichord was delivered or from where, but her agenda reveals that in March she was frequently in touch with Marcel Asseman, the harpsichord technician for Pleyel, Erard, and the Salle Gaveau. He worked on the instrument, but it is not known what he did.⁶ In an interview, Huguette admitted that when she first touched its keys, after having played Pleyel and Neupert harpsichords, she wondered how she would ever be able to play “the beast.” It had plectra made of plumes, making for a different attack. Huguette adapted to it: “This historical instrument was a good teacher for me. It completely changed my touch.”⁷

Huguette entered the international music competition in Geneva, Switzerland, in March 1958, and soon after gave her first radio interview on a French program, La Discothèque classique, which aired on July 29. She went to Siena as usual for her summer classes with Ruggero Gerlin at the Accademia Chigiana, and from there went directly to Geneva. 

The 14th Concours d’exécution musicale opened on September 20, 1958. Huguette arrived there alone and exhausted, and she could not speak at all as she had laryngitis. Seven harpsichord contestants had signed up—four women, three men. The first round was on stage with no audience. The players were separated by a curtain from the jury, composed of Isabelle Nef, Ralph Kirkpatrick, Thurston Dart, Ruggero Gerlin, Aimée Van de Wiele, Eta Harich-Schneider, and Eduard Müller. (With the exception of Dart and Müller, with whom Gustav Leonhardt had studied for a year, all had been students of Wanda Landowska.) The players were instructed to remain still and silent. Jill Severs, also a contestant, remembers that one of the men wore velvet slippers for playing the pedals. Huguette played a Bach prelude and fugue on a Neupert. Its sonority disturbed her, and she realized during the fugue that a coupler had been left only halfway in position. But, by listening to the music and playing with total concentration, Huguette maintained her composure.

The second round took place on October 1 at 2:00 p.m. in the conservatory auditorium. Huguette, the only remaining contestant, played before a paying audience a program of obligatory pieces by Bach, Scarlatti, and Rameau, finishing with three Mikrokosmos pieces by Bartók. The last round, a public recital, took place on October 3 in Victoria Hall:

Miss Dreyfus (France), harpsichordist, opened the round with the Concerto in G Major of Haydn, which seemed Lilliputian in the nave of Victoria Hall. Meticulous performance, faultless register, sometimes too weak given the surroundings, and a little prosaic over all.⁸

There was no winner in the harpsichord competition that year, but Huguette did receive a silver medal. Nonetheless, she was invited to perform in a concert of laureates in her hometown of Mulhouse on October 10, 1958. She received 10,000 francs for her performance of the Haydn Concerto in G. The fact that she did not win first prize did not diminish the attention that her distinction in the competition brought her. In her biography, the silver medal eventually metamorphosed into a gold one or a first prize, possibly at the insistence of her record labels because of the crucial importance given to credentials in France. 

Huguette continued traveling to Siena for summer lessons with Gerlin through 1959. On September 13, 1955, she and Jill Severs, who, like Huguette, had been coming since 1953, performed a four-hand piece written by Ferenc Sulvok, a Hungarian composition student at the Academy that summer. Another classmate was Kenneth Gilbert; the three became lifelong friends. Normally, the courses were limited to four summers, but on July 16, 1957, Gerlin wrote to Huguette, “Two words quickly to let you know that I obtained authorization from the Academy to bring back my former students to continue taking my courses for an unlimited number of times!”⁹ He invited her and Sylvie Spycket to attend and said he was happy to have acquired a Neupert harpsichord for Bach’s music, which delighted the students, too, because the Cella had been a difficult instrument to play expressively due to its hard touch.¹⁰

At the time, the important harpsichordists in France were Pauline Aubert, Marcelle Charbonnier, Marcelle Delacour, Marguérite Roesgen-Champion, Aimée Van de Wiele, and Robert Veyron-Lacroix, who played Pleyel or other contemporary harpsichords. Copies of historical harpsichords were not being made then in France. In October 1959, Huguette started meeting regularly with Michel Bernstein, founder of Valois Records and later Astrée, which specialized in early music played on period instruments. It was her former professor of musical aesthetics, Alexis Roland-Manuel, who had told Bernstein about Huguette. She invited Bernstein to her apartment so she could play her own harpsichord for him. Bernstein was dazzled; he had never heard a period harpsichord before. He asked her to sign a contract with Valois, one of the first record labels—along with Erato, Harmonia Mundi (France), and Archiv—founded after the first vinyl LP record had been invented in 1948.¹¹

There were reservations on Huguette’s part as to whether she was ready to record, but Gerlin encouraged her to go ahead and would help her by giving her extra lessons in Paris. On February 3, 1960, Huguette gave her first solo performance on the radio in the ensemble Norbert Dufourcq created, Histoire et Musique, composed of interested musicians and former students. With an immense and inspiring enthusiasm, Dufourcq presented the program: 

We and our young artists are hunting for early music manuscripts, hidden among thousands of documents, to get them published. What a joy it is for us! . . . I have tried to impart to my students the noble objective of reconstituting and reviving this music from texts that we have to transcribe.¹²

This is exactly what Huguette did; she played six pieces by D’Agincourt, which had not been published since 1733. 

Between April 26 and 28, 1960, Huguette recorded her first LPs for Valois in Copenhagen on a Bengaard harpsichord with pedals, which was felt by Michel Bernstein and Huguette to have the closest sound to a period one. François Couperin’s Pièces de clavecin, Livre II, sixième et onzième ordres (Valois, MB 798) was released in 1962 and received the prestigious Grand Prix du Disque de l’Académie Charles Cros, the first of many prizes her albums would receive.

Nouvelles Suites de Pièces de Clavecin by Jean-Philippe Rameau (Valois, MB 920) followed that year. The LP received a favorable review in one of France’s leading newspapers:

On an excellent modern harpsichord of Danish fabrication, Huguette Dreyfus plays the Nouvelles Suites de pièces written for the harpsichord by J.-P. Rameau. Huguette Dreyfus is one of the rare contemporary virtuosos who know how to draw out of the harpsichord all its resources of sound and plunge the listener into the true atmosphere of compositions from the past.¹³

Huguette made her first appearance on national French television, resplendent in an eighteenth-century dress and wig, on March 30, 1961. In the program, Voyage au pays de la musique, she played La Poule by Rameau.¹⁴ Soon afterwards, Huguette played her first solo recital on April 7, 1961, in Lyon’s Salle Witkowski and received an enthusiastic review in a local newspaper:

Miss Huguette Dreyfus gave to her audience (more numerous than had been hoped for) a beautiful harpsichord recital (of music by Chambonnières, François Couperin, J. S. Bach, and Scarlatti). . . . Miss Dreyfus revealed herself as the most exquisite and energetic of harpsichordists. Faultless technique, quivering sensitivity, elegant style, and continual accuracy.¹⁵

In 1962 she met a harpsichord maker from Grasse, Claude Mercier-Ythier, who had just opened a shop and studio in Paris specializing entirely in the sale and rental of harpsichords, À la corde pincée, the first of its kind in France since the French Revolution. It was a pivotal meeting for both, as their amicable professional association would last over forty-five years. At the time, he represented the harpsichord manufacturer Neupert, a competitor of Pleyel that gradually stopped making harpsichords by the early 1960s. Claude restored a 1754 Henri Hemsch that would become Huguette’s favorite performing instrument for concerts, summer workshops, and recordings. When Huguette toured in Europe, he often traveled with her, bringing an instrument, as Huguette never traveled with her own. Claude enjoyed telling the story of having saved Huguette on tour, when the man next to her grabbed her skirt under the dinner table and would not let go when she got up to leave.¹⁶

Huguette’s career was blossoming that year; she was concertizing in France and abroad, and her first records were successful. During her long and rich career, Huguette would tour the United States, Canada, South America, the United Kingdom, South Africa, Japan, and most of Europe. She would perform in concerts and on recordings with other illustrious artists and conductors, including friends and former students: András Adorján, Marie-Claire Alain, Olivier Baumont, Nadia Boulanger, Pierre Boulez, René Clemencic, Alfred Deller, Ruggero Gerlin, Marie-Claire Jamet, Christian Lardé (with whom she recorded twelve albums), Lily Laskine, Yannick Le Gaillard, Maxence Larrieu, Gaston Maugras, Eduard Melkus (ten albums), Yehudi Menuhin, Pierre Pierlot, Rafael Puyana, Jean-Pierre Rampal, Luciano Sgrizzi, Henryk Szeryng, Luigi Fernando Tagliavini, and Blandine Verlet.

The ensembles she performed in regularly included the Quatuor Instrumental de Lutèce with flautist Jacques Royer, oboist Emile Mayousse, and cellist Jean Deferrieux; Norbert Dufourcq’s ensemble, Musique et Histoire; the Paul Kuentz Orchestra; and the other principal Parisian orchestras: L’Orchestre Lamoureux, Le Collegium Musicum de Paris, directed by Roland Douatte, the bassoonist Fernand Oubradous’ chamber orchestra, and an ensemble that gave private concerts, Fiori musicali, created and conducted by Robert Dalsace.

On May 24, 1962, she and Christian Lardé played with Yehudi Menuhin in an ensemble directed by Nadia Boulanger,¹⁷ in a performance for the Singer-Polignac Foundation.¹⁸ It may be that Irene Kedroff, whose vocal class Huguette had accompanied for several years at the Ecole Normale de Musique, had recommended Huguette; she had been the soprano in a quartet directed by Nadia Boulanger for many years before World War II. On another occasion, in an undated letter to Huguette from her office in the Fontainebleau castle, Miss Boulanger invited her to perform in a tribute to architect Louis Le Vau by the Institut de France: “It would give me a particular pleasure to organize this concert with the gracious participation of a small group of eminent artists.”¹⁹

Huguette’s collaboration with orchestra conductor Paul Kuentz (in his 90s, he is still conducting his orchestra in Paris) gave another boost to her career—over a period of ten years, she was a featured soloist in his orchestra, going on her first tour in 1962. They performed throughout France and Belgium. The Festival Franco-Allemand de la Jeunesse took them to Cap d’Ail on the Côte d’Azur for three days in December. While Paul Kuentz’s orchestra was rehearsing, Jean Cocteau was decorating the outdoor amphitheater. In a friendly gesture, Cocteau designed the cover of their program and posed for a photograph with the orchestra.²⁰

In 1952, a Dominican priest named Henri Jarrié²¹ was appointed chaplain to the artists’ colony in Nice, where he knew Pablo Picasso, Jean Cocteau, Henri Matisse, and others. His love of music would have significant consequences for Huguette’s career in the 1960s. Being an amateur musician and composer, he supported the Fédération internationale des Jeunesses musicales by helping to organize concerts, such as those by the Kuentz Orchestra, and conference-concerts. In 1961, Father Jarrié became vicar of the Dominicans living in Saint-Maximin-La-Baume. The thirteenth-century Basilica of Saint Mary Magdalene in Saint-Maximin is home to a magnificent and historic organ with 2,692 pipes, constructed in the late eighteenth century by Jean Esprit Isnard, a Dominican brother, and his nephew, Joseph. Father Jarrié and Dr. Pierre Rochas undertook raising the funds necessary for its restoration. Philippe Bardon, one of the students in Huguette’s final class at the Conservatory of Rueil-Malmaison, now holds the title of organist at the basilica in Saint-Maximin.

The convent²² had been put up for sale by the Dominicans, and during the period in which it remained unsold, Father Jarrié opened its buildings to a summer academy and concerts. Dr. Rochas and others created the l’Académie d’été de l’orgue classique français, and Father Jarrié, with the collaboration of Bernard Coutaz, the founder of the record label Harmonia Mundi (France), created a series of concerts in the cloisters, which evolved into the annual festival, Les Soirées de musique française, the first opportunity for the modern French public to hear Baroque music.²³ Huguette regularly performed there, as did Eduard Melkus, Christian Lardé, Marie-Claire Jamet, and other eminent artists. In the audiences were intellectuals and artists who flocked to the convent every year, and this certainly helped her and others become known in the 1960s. Alfred Deller, signed to Harmonia Mundi, and Huguette performed a program of English Baroque music one year. In 1971, Father Jarrié left the priesthood to become a music teacher, giving Huguette a harpsichord piece that he had composed for her, Trois plaisanteries.²⁴

In 1963, Huguette and the Kuentz orchestra toured Canada and the eastern United States, performing mostly for universities. In the orchestra the year before, she had met flautist Christian Lardé, and they formed a trio with Jean Lamy on viola da gamba. They performed in concerts and recorded for Valois, with frequent appearances on radio and television. Their LP, Pièces de clavecin en concerts by Rameau (Valois, MB 798), released in 1963, received the Grand Prix de l’Académie du Disque Français and the Grand Prix des Discophiles in 1964. By then, Huguette had already recorded fifteen albums released on the labels Valois, Erato, and Harmonia Mundi, the latter two acting as distributors for Valois.²⁵

In 1965 Huguette met Eduard Melkus²⁶ during her first summer of teaching at the Summer Organ Academy of Classical French Music²⁷ in Saint-Maximin-La-Baume, which also offered workshops in harpsichord, flute, and chamber music. During the 1950s, the Viennese violinist had been one of a group of Austrian musicians and composers who, under the influence of Josef Mertin, professor at the Vienna Musikhochschule, created the Originalklangbewegung or “original sound movement.” This group also included René Clemencic, founder of the ensemble Musica Antiqua in 1958. The movement would influence Gustav Leonhardt, then a professor at the Vienna Music Academy, and Nikolaus and Alice Harnoncourt, all of whom Melkus, also a professor at the Academy, introduced to Mertin. 

Eduard had come to Saint-Maximin with his friend Lionel Rogg; the two were recording an LP together, Sonates galantes, for Harmonia Mundi, which had a recording studio in the convent. Huguette passed by during a rehearsal, they introduced each other, and she and Eduard ended up improvising. Out of this spontaneous combustion came a professional partnership that spanned over forty years and a close friendship that would last for the rest of Huguette’s life. They would regularly perform together in France, Austria, and abroad. She would often be a guest soloist with his chamber orchestra, the Capella Academica Wien, performing in Vienna’s prestigious Albertina Museum concert hall. Among the thirteen albums they recorded together were the “Mystery Sonatas” by Biber and award-winning LPs of Haydn trios that were recorded in Vienna, Huguette playing a historic fortepiano from Paul Badura-Skoda’s collection.²⁸

In 1967, the head of Valois Records, Michel Bernstein, launched a promotional campaign for his agents, announcing:

Since the artist’s career is becoming more and more international, and (her) records have received excellent reviews everywhere and are retransmitted on national radio, we are organizing a month of a Promotion Huguette Dreyfus, which will last from May 1st until the 31st 1967. Everyone knows Huguette Dreyfus counts among the four or five greatest harpsichordists in the world, alongside Kirkpatrick, Puyana, Malcolm and Ružicková. And on a purely national level, there’s no artist her equal.²⁹

That year, Huguette’s career was soaring, but the happiness that its success brought her was shattered by the sudden premature death of her beloved brother Pierre on May 2. He was only forty-six, and they had been very close. A surgeon, he had a sudden heart attack during an operation. Six months later, her mother passed away at the age of sixty-five. Huguette carried on with her busy schedule, but it took a long time for her to recover from her grief. She would spend the rest of her life in the apartment on Quai d’Orsay by Pont Alma that her father had purchased for the family in 1949.³⁰ At some point, she made the difficult decision not to marry, convinced that marriage was incompatible with a career, perhaps impossible if she were to have children.

The 1970s would be the apogee of the harpsichord renaissance in France. “Standing room only” was commonplace. People would wait two hours in line and still be content if they could stand in the back when all the seats were taken.³¹ The City of Paris hosted the annual Festival Estival de Paris and the semi-annual Concours international pour clavecin. In 1974, the Forum international du clavecin, sponsored by the Festival Estival, took place in Paris, featuring harpsichord makers and artists; among the soloists were Huguette, her former student Blandine Verlet, and Rafaël Puyana.³² Huguette sat on the jury of the concours many times, along with other distinguished harpsichordists like Kenneth Gilbert, Zuzana Ružicková, Scott Ross, and Rafaël Puyana.

In 1971 she left Valois Records to sign with Archiv, Eduard Melkus’s record label, which had released their recording of the Biber sonatas. He encouraged her to do so. One of her motives was her belief that she would have the chance to record Bach’s keyboard pieces in their entirety.³³ But it was her friend Zuzana Ružicková who had been given that opportunity by Erato.³⁴ Michel Bernstein would always remain bitter about what he considered her betrayal.³⁵ Huguette maintained that she had not abandoned him, that it was a reasonable decision in light of the evolution of her career. Valois, a small company, did not have its own distribution network and could not afford her the same benefits as Archiv, the early music division of its parent company, Deutsche Grammophon Gesellschaft, Deutsche Grammophon being its classical division.

In May 1973, Huguette performed in the Fifth International Harpsichord Festival in Rome. It was a prestigious event; its concerts in the Basilica of Saint Cecilia were given by some of the twentieth century’s greatest harpsichordists: Huguette, William Christie, Gustav Leonhardt, Colin Tilney, and Kenneth Gilbert. The following year, Henryk Szeryng personally telephoned Huguette to invite her to go on tour with him in Italy in May. Because Szeryng was an international celebrity, Huguette was billed as his accompanist, and his agent accordingly booked her into an inferior hotel. Szeryng was outraged and covered the expense himself for her to have a room in his own hotel.³⁶

Huguette’s student and eventual close friend, Yannick Guillou, was on holiday in Venice then, and they all enjoyed meals and museum visits together. The last day, Guillou went to the hotel to say goodbye while Huguette and Szeryng were preparing to leave for Rome. Someone at the reception desk told Guillou that Szeryng wanted to see him: “I went up and found this master whom I’d venerated since my youth (. . .) dressed only in his shoes, black socks, underpants, and a towel around his neck.”

Szeryng dictated a press release to him, announcing that the City of Venice had made him a Commanditore, telling him to deliver it the next morning. Time was passing, and an irritated Huguette knocked impatiently on the door to remind Szeryng that they had a train to catch. When Guillou, peeking around the door, said she could not enter the room because Szeryng was in his underwear, she replied, “I saw worse horrors during the war,” pushed the door wide open, and strode in.³⁷ They would perform together on many other occasions and record an album of Handel and Corelli. Szeryng told Melkus that he considered her the best harpsichordist in France.³⁸

Huguette and Szeryng were invited to play in the seventy-fifth anniversary concert season at Wigmore Hall in London along with Arthur Rubinstein, Elisabeth Schwarzkopf, Julian Bream, and other illustrious performers. In June 1977, they performed a program of Bach sonatas; she played Bach’s Partita Number 2 for her solo. Lionel Salter in a review for The Gramophone, wrote: “Her phrasing is musical, her touch varied, and her registration, while subtly varied, is an object lesson to harpsichordists with fidgety feet or who are afraid to let the music speak for itself!”³⁹

Huguette was considered France’s pre-eminent harpsichordist. In 1978 Alfred Deller wrote to Huguette, asking if she would be interested in their performing together in a duo, to which she responded enthusiastically. Over the years, they had concertized and recorded together, and he had joined her in Saint-Maximin to give masterclasses. Deller proposed a ten-day tour in the 1979–1980 season.⁴⁰ Unfortunately this project never came to fruition; he passed away on July 16, 1979.

The Japanese flautist Miwako Shirao Rey made Huguette’s acquaintance while studying with Christian Lardé at the academy in Saint-Maximin. In the summer of 1978, Huguette called on her for assistance when the director of the group Tokyo Solisten came to Paris to discuss Huguette’s agreement to perform in concert with them in Japan the following year. Miwako acted as translator and helped to make the arrangements.⁴¹ The invitation had originated with Mariko Oguino Oikawa, soloist in the ensemble, a friend of Miwako’s and Huguette’s first Japanese student. She had come to her for private lessons between 1971 and 1974, while studying at the Paris Conservatory with Robert Veyron-Lacroix. Mariko accompanied Huguette to Japan in 1979 to assist her.⁴² The concert with Huguette and the Tokyo Solisten took place on April 23, and Huguette gave a solo recital the next day. On April 29 Huguette and the Tokyo Solisten recorded three concerti of Johann Christian Bach for Columbia Records; the CD was released by Denon. 

Huguette returned to Japan in 1981 to give a concert on April 10. A reviewer remarked: “Elegant and audacious, and full of liveliness at each moment, her music satisfied us with the charming sound of the harpsichord.”⁴³

In 1982 Huguette signed a contract with the Tokyo-based Denon label for whom she would record over thirty LPs and CDs.⁴⁴ She stayed for a month in 1983, spending time with the Oikawa couple and their child Reine, who later studied intermittently with Huguette and is now a harpsichordist in Japan.⁴⁵

Sometimes in her travels and concerts, the inevitable mishaps that plague every traveling artist occurred. Once on a makeshift stage when she stood up to take a bow, she found that one of her spiked heels had caught in the planks. Smiling, she slipped her foot out, took her bow, and walked off stage, with one foot on tiptoe. Another time, during a performance of a Bach concerto for four harpsichords, the page turner of the player next to her turned the page too soon, causing the player to lose her place and stop. With presence of mind and a practiced gift for improvisation, Huguette played her colleague’s part while maintaining her own until the woman could resume playing. When Huguette traveled to meet Eduard Melkus, his favorite gift from her was cheese, a gift that Zuzana Ružicková and her husband, composer Victor Kalabis, also appreciated. So Huguette never left home without a selection of fine French cheese. Once, however, her suitcase got lost by the airlines, and she had to wait a couple days in fear that her one evening gown would turn up, reeking of rancid cheese. Fortunately when the suitcase arrived, she found that the cheese had been successfully shrink-wrapped, so her gown was safe.⁴⁶

Huguette continued to give concerts until, for reasons of health, she stopped in January 2009, after seventy years of performing in public, something she had loved to do since childhood. The day of a concert, if she was out of town, she would visit a museum. Otherwise, she would devote her attention to the upcoming concert and rehearse in the morning.

I believe a lot in the relationship between music and other forms of beauty and of art. If it is possible, before a concert, I stop concentrating on the technical execution for a moment and look outside the music for other sources of beauty—an art exhibit, architecture, a landscape, contemplation that is good for the soul and for musical interpretation. It is like giving water to a flower for it to bloom easily.⁴⁷

When she stepped onstage, she could immediately feel if the audience was receptive to her or not, or just indifferent. “The artist has to make contact without forgetting the music.”⁴⁸ When she did make contact, she rejoiced in the “success of love” even if she was dissatisfied with her performance.⁴⁹ As she told harpsichordist Richard Siegel, “If you touch someone in the audience, that’s what counts.”⁵⁰ Love, on many different levels, was what she wanted to communicate when she played. It was as if she were on fire, as if she could hardly contain the music’s energy inside her. You knew she was not thinking of individual notes when she played; she had already studied the music thoroughly, mastering its complexities, its style. It was as if she were the conduit for electric, irrepressible currents of music, flowing from a distant inexhaustible source. Whether Huguette played a Scarlatti sonata rapidly and energetically or pieces by François Couperin—La Ménetou in a measured and tender way, and Les Lis naissans very delicately—her performance was always expressive.

Expression is essential no matter what the period of music—expression that touches the soul. Expression in early music approaches speech, the expression
of language.⁵¹

She could play expressively because she was entirely present in whatever she did, giving her total attention. This stemmed from the love and respect she had for life, its creatures, and creative expression . . . a mentality that would also make her an extraordinary teacher.

To be continued.

Notes

1. Huguette Dreyfus, radio interview, Musiciens pour demain, France Musique, July 1979. 

2. Agendas, Bibliothèque nationale de France (BnF), Site Richelieu, VM FONDS 145 DRE-3 (5).

3. Huguette Dreyfus, interview by Denis Herlin, December 8, 2008.

4. Huguette’s father, Fernand Dreyfus, was struck and killed by a car in front of their apartment building on October 10, 1951. (Interview with Françoise Dreyfus, July 25, 2016.)

5. Alan Rubin, email to author, March 14, 2021.

6. Jean-Claude Battault, interview with author, Cité de la Musique, Paris, March 9, 2022. 

7. Huguette Dreyfus, radio interview, France Musique, July 29, 1996. 

8. Journal de Genève, No. 232, October 4–5, 1958.

9. Ruggero Gerlin, BnF, VM FONDS 145 DRE-1 (16).

10. Jill Severs, interviews with author, August 8, August 24, and September 6, 2022.

11. Michel Bernstein, Qobuz e-magazine, Les souvenirs de Michel Bernstein (VII), “Être toujours à la pointe,” https://www.qobuz.com/be-fr/info/magazine-actualites%2Fchers-disparus%2Fles-souvenirs-de-michel-bernstein32073.

12. Norbert Dufourcq, Concerts de Paris, radio program, March 31, 1960, Inathèque de France (INA), BnF, site Mitterand, Paris.

13. Colette Arnould, La Libération, Friday, May 12, 1961. 

14. Inathèque de France (INA), ID Notice CPF86642589, BnF, site Mitterand, Paris.

15. Le Dauphiné Libére, April 12, 1961.

16. Claude Mercier-Ythier, interview with author, August 5, 2016.

17. BnF VM FONDS 145 DRE-1 (19). Nadia Boulanger was one of the founding members in 1921 of the American Conservatory of Fontainebleau and its director from 1948 until her death in 1979.

18. Concert program in author’s collection. The Princess of Polignac was born Winnaretta Singer. Her father, Isaac Merritt Singer, the sewing machine manufacturer, bequeathed her a fortune, and she became the predominant patron of the most important creative people in Paris, primarily musicians, before her death in 1943. The foundation still sponsors concerts, symposiums, and other cultural events.

19. BnF VM FONDS 145 DRE-1 (19).

20. Paul Kuentz, interview by author, Paris, France, 2017. 

21. Arcade Provence-Alpes-Côte d’Azur, October 2007. https://www.yumpu.com/fr/document/read/5783360/henri-jarrie-arcade-paca. 

22. The convent is now a hotel. The term “convent” applied originally to the structure that housed priests in orders—not monks who lived in monasteries—and nuns. It is only in recent history that the meaning changed, applying only to nuns.

23. The festival in Aix en Provence had been created in 1948, but there was no emphasis on early music.

24. Conserved in the departmental archives of the Var region, No. 64 J 1-171-64 J 25.

25. “Huguette Dreyfus, Complete Discography,” compiled by Sally Gordon-Mark, https://www.dolmetsch.com/huguettedreyfusdiscography.htm.

26. In his nineties at the time of publication of this article, Eduard is still conducting his orchestra in concert.

27. The Academy summer workshops still exist, but only organ classes are given. 

28. Eduard Melkus, conversations with author from 2016 to 2022. 

29. BnF, site Richelieu, VM FONDS 145 DRE-3 (12). 

30. Françoise Dreyfus, op. cit.

31. Mario Raskin, interview with author, October 17, 2022.

32. Information from programs in the author’s collection.

33. Eduard Melkus, op. cit.

34. Ružicková was the only harpsichordist to have recorded Bach’s work in its entirety. A box-set of all the discs was released by Warner Classics in 2016.

35. Michel Bernstein, Qobuz, op. cit. 

36. Eduard Melkus, op. cit. 

37. Yannick Guillou, letter to author, March 2, 2017.

38. Eduard Melkus, op. cit.

39. Lionel Salter, The Gramophone, BnF, VM 145 FONDS DRE-5 (3).

40. Alfred Deller, letter to Huguette Dreyfus, BnF VM FONDS DRE-1 (3).

41. Miwako Shirai Rey, email to author, October 21, 2022.

42. Miwako Shirai Rey, phone interview by author, August 16, 2022. 

43. Shigeru Oikawa, interviews by author and written account, dated September
25, 2017.

44. “Huguette Dreyfus, Complete Discography,” op. cit.

45. Aozawa Tadao, Ongaku-no-Tomo. April 1981.

46. Anecdotes related by Huguette Dreyfus to the author.

47. Huguette Dreyfus, interview, Corriere dell’Umbria, February 18, 1999. Translated from Italian to English by the author.

48. Huguette Dreyfus, interview, France Musique, July 29, 1996.

49. Huguette Dreyfus, interview, 1979, op. cit. 

50. Richard Siegel, phone interview, summer 2021. 

51. From author’s notes of conversations with Huguette Dreyfus.

Jesse Eschbach

Jesse Eschbach is a graduate of Indiana University, Bloomington, and the University of Michigan, Ann Arbor, where he was a student of Robert Glasgow. He completed his formal education during a five-year residency in Paris as a student of Marie-Claire Alain, specializing in early French music in her conservatory class at Rueil-Malmaison where he was awarded both a Prix d’Excellence and a Prix de Virtuosité. As one of the last students of Marie-Madeleine Duruflé-Chevalier, he studied the complete organ works of her husband, Maurice Duruflé, as well as much of the French symphonic repertoire.

Since 1986, Eschbach has served on the faculty at the University of North Texas, Denton, as professor of organ, instructing performance majors at all levels. Eschbach has several CDs to his credit, including a disc recorded at the Cathédrale de Perpignan entitled Music of the Second Empire and Beyond, released in 2003. Also released in 2003 was his 800+ page book, Stoplists of Aristide Cavaillé-Coll, detailing the original stoplists of the majority of organs constructed by this French organbuilder, based extensively on the Lapresté collection. This research is still in progress, and an expanded second edition will be released in the next few years.

Due to focal dystonia in the right hand, his career was sidetracked for more than ten years, but due to the efforts of Dorothy Taubman and Sheila Paige, he has begun resuming his performance career. He has been a juror for several competitions, including the American Guild of Organists national competition, the Canadian International Organ Competition, and the Fort Wayne national competition.

On July 27, 2018, my dear colleagues and friends, Yannick Merlin and Béatrice Piertot, introduced me to Pierre Labric at his residence southwest of Paris in Dreux. Labric is perhaps best remembered in this country for recording the complete organ symphonies of both Widor and Vierne on the legendary Cavaillé-Coll instruments of St-Ouen, Rouen (Widor), and St-Sernin, Toulouse (Vierne). These recordings were marketed in the United States by The Musical Heritage Society after 1971 and introduced my generation to not only the symphonic style of Widor and Vierne, but also the sound universe of Aristide Cavaillé-Coll.

After spending a delightful two and a half hours with Mr. Labric and speaking at great length about his mentor Jeanne Demessieux and his brilliant friend and colleague at the Paris Conservatory, Jean-Claude Touche, I asked Yannick and Béatrice on our return trip to Paris if Mr. Labric might consent to a written interview on the life and achievements of Jeanne Demessieux. Yannick Merlin received an enthusiastic response, and I drafted twenty questions, intending to explore Demessieux’s short but highly eventful life.

Mr. Labric, as the reader will soon observe, was most generous with his responses. He was never limited with any constraints suggested by a particular question, but “improvised” freely in his responses.

Only one question failed to elicit a direct response: I asked if Pierre Labric could confirm what Marie-Madeleine Duruflé-Chevalier recounted years earlier. An incisive attack and release was the core of her legendary virtuosity,¹ and she attributed this to her study with Jeanne Demessieux, most especially what Mme Duruflé called the “deuxième mouvement,” or release of a note, which must have at least as much energy and clarity as the attack. This concept goes to the core of brilliant, virtuosic playing, sometimes forgotten today in France and the United States. Both Demessieux and Duruflé were capable of extremely brilliant tempos, yet every note was clearly heard and energetic, regardless of the acoustic. Regrettably, Mr. Labric seems not to have discussed this topic with Jeanne Demessieux, but confirmed, “M-M Duruflé was formed exclusively by Jeanne Demesssieux. In class, Dupré told us with the greatest admiration, ‘My children, see how Jeanne Demessieux is getting results from Marie-Madeleine.’ Yes, it was true.”²

The inevitable question did arise during our meeting in 2018 concerning the traumatic rupture between Dupré and Demessieux. I knew better than to launch “head-on” into this sad story with a French gentleman of Mr. Labric’s generation, always highly discreet. I did repeat what Marie-Madeleine Duruflé confided years earlier, and this elicited a broad smile and unmistakable twinkle of the eye. Given that direct descendants of the principal parties are still with us, and since the cause of the saga can never be proved, I can only repeat what others have said: Jeanne Demessieux was utterly blameless, and Dupré was foolishly victimized and manipulated by individuals in his entourage who intended to overthrow Demessieux to suit their own agenda. It was a veritable plot originating from near unparalleled, despicable jealousy that nauseated everyone in the French organ world and well beyond. Seventy-five years later, condemnation of the injustice perpetrated on the young Jeanne Demessieux continues to resonate. Marcel Dupré enjoyed almost complete authoritarian control of the French organ world and was more than capable of destroying, or otherwise compromising, a promising career.³

Mr. Labric, born in 1921, grew up in the Rouen area and received his early training from Marcel Lanquetuit before admission to Dupré’s class at the Paris Conservatory. His career was largely devoted to recording, resulting in releases of the complete organ symphonies of Widor and Vierne, the complete organ works of Jeanne Demessieux, sonatas of Mendelssohn, preludes and fugues of Saint-Saëns, the major organ works of Liszt, and the Promenades en Provence of Eugène Reuchsel. He was Demessieux’s suppléant at the Madeleine, and also assisted Pierre Cochereau at Notre-Dame Cathedral. As he approaches his centennial, it seemed especially appropriate to begin collecting some of his indelible memories of one of the most eventful epochs in the history of our profession.

Jesse Eschbach: If I remember correctly, Jeanne Demessieux was Marcel Dupré’s assistant in the organ class [at the Paris Conservatory] towards the end of the war. Was it at this time that you met Jeanne Demessieux for the first time? How did she prepare you for the organ class? Technique, repertory, interpretation, counterpoint, harmony, improvisation?

Pierre Labric: Yes, Jeanne Demessieux replaced Dupré in the organ class during the week of May 14–21, 1946. I’m transcribing the themes she had us work on [in improvisation]: What beautiful themes!

That day, she worked quite awhile with me. It was the year I was first runner-up. I believe I remember that she was happy with my improvisation. I attended her overwhelming competition for her unanimous first prize on June 6, 1941. The entire audience broke the law of silence: frenetic and long applause reflected the general enthusiasm. That day, our contact started.

How long did you work with Jeanne Demessieux?

I worked all my life, and I owe everything to Jeanne Demessieux.

At the end of your studies at the conservatory, did you remain in contact with Demessieux?

Yes, and after her appointment to the Madeleine, she asked me to play services in her place. I always remained in cordial contact with her and her dear mother after she became a widow. During a lesson, I asked her if, in the vast nave of a cathedral, one had to moderate tempo a little bit because of the reverberation. “No,” she replied, “It is necessary simply to articulate.”

What repertory did you undertake with Demessieux? Bach, Buxtehude, old French music, Liszt, Franck?

She had me work on her (Six) Études with great interest. They made me progress enormously. I started with the octave study, which I perfected during all of the school year 1948. I played it for her in May, and with her advice I worked on it during [summer] vacation. I played it for her again in September. She was happy with my work, and encouraged me to put it on my program on October 15 at St-Godard, Rouen. I was happy and . . . proud! I got her precious advice for the big Vierne works. I recorded all of them later, observing everything scrupulously. She had me work for part of the afternoon. Madame Demessieux prepared for us, delicately, a delicious snack that we savored with one of my friends who accompanied me to my lesson—she, too, has since passed! All of this downed with a cup of coffee for which I could never replicate the flavor.

“Mama has her little secrets,” Jeanne told us! My modest repertory was Liszt, Franck, Widor, Guilmant, Vierne, Duruflé, very little Litaize, very little Langlais, Jean-Claude Touch, Jean Guillou. A pirated version of my recording of his Toccata from one of my concerts at Saint-Ouen de Rouen is on the internet.

What preparatory studies did the teacher Demessieux want in place before taking a student?

She required a serious piano technique with etudes of Chopin or Liszt.

Did she ask for repertory studied at lessons be memorized?

No. I played all of my lessons with the text.

Could you describe the legendary memory of Demessieux?

For the magazine Étude (April 1950), the editors asked Jeanne Demessieux for an article on Dupré. She wrote fifteen sublime pages in which appeared not a shade of vengeance, not a trace of the least bitterness. The writing has the limpidity of the entire truth. What a marvelous lesson Jeanne Demessieux gave to Dupré.

The Rouen Philharmonic Society, directed by an excellent musician-pianist Pierre Duvauchel, was always running a deficit. Demessieux, who came for a sou, filled the coffers: a half hour before the concert, there wasn’t a chair left in the immense nave!

A poor priest had difficulties keeping his school afloat. He dared to ask Jeanne, then at the top of her international glory, if she would accept to give a concert for a rather low fee. Her secretary responded, “Miss Demessieux asks me to inform you she will offer a free recital for your school. A date has to be found according to her possibilities.” I have read the letter.

You recounted a beautiful anecdote concerning a trip Demessieux made to Normandy, around Deauville, I think. A priest from a little village asked her to visit his parish the day after the concert. What happened when she tried out the organ?

Jeanne Demessieux had given a concert in Deauville on August 27, 1956. You have the review written by Guy Bouchaux, which deserves to be read by everyone.

Verbal program notes were given by the Canon Leprieur, priest of Beuzeville about twenty kilometers away. Demessieux was to return to Paris by car with M. Haerpfer, the builder of the organs in Deauville and Beuzeville, which has a smaller organ.

Abbot Leprieur had invited Demessieux to visit the organ in Beuzeville the next day on her way back to Paris. The grapevine having done its work, about twenty from the audience of the day before greeted Demessieux when she got out of the car. Abbot Leprieur led her to the gallery, followed by the would-be listeners. She got to know in very little time the modest instrument of sixteen stops. She didn’t even need much more time for the giant consoles during her American tours. She went through each stop attentively and was getting ready to leave the keyboards. Abbot Leprieur then said suddenly, “Mademoiselle, would you play the Alain Litanies for us?” Without hesitating, Demessieux gave us a brilliant interpretation of the Litanies. After that, Galérant (in the photo) asked her for the Second Choral of Franck; another asked her for the “Toccata” from the Fifth Symphony of Widor; another suggested a Noël of D’Aquin. “Which one?” she asked simply. After, a gentleman I didn’t know asked for the “Carillon de Westminster.” Others requested several Bach pieces. All of these pieces were at random and not on the program from the day before. She played for two consecutive hours, responding with a perfect humility to the requests of each with the single aim of pleasing. There is the perfect example of a concert “requested by the audience.”

What happened when she tried the organ, you ask me? Nothing!

Jeanne was very reserved, always in perfect control, and also in control of her company. She never felt the need to ask questions. For her, all the problems were worked out ahead. If someone explained to her the reason for something because of this, because of that, she listened very politely, without feeling the need to open her mouth. She remained silent. She was like the diamond who never sought to shine, but was made to shine. She played the organ at Beuzeville most naturally, before several subjugated and privileged people, enthusiastic and astonished by such natural facility.

Jeanne was radiant taking leave of her improvised admirers. And we went to lunch at the rectory, as the photo attests, taken by the young curate of the parish when we arrived. Sixty-two years ago! Jeanne made a very quiet “impact,” yet strongly powerful, felt by everyone around her. Her rich personality radiated naturally without being conscious of it, so it seemed.

Monsieur Albert Dupré, father of the Dupré in question, was organist of the magnificent Cavaillé-Coll of Saint-Ouen de Rouen—“Orgue à la Michel-Ange” according to the famous estimation of Widor who came to inaugurate it. On the occasion of the first concert of Jeanne’s at Saint-Ouen, hearing about it, Dupré supposedly exclaimed, “Imagine, she dared play Papa’s organ!” The clumsy remark eventually got back to Jeanne Demessieux who spontaneously retorted, “Oh, Papa had nothing to complain about!”

She was very humorous.

I don’t think we have many recordings of Demessieux’s improvisations. Could you tell us about her style in improvisation? Did she often improvise in established forms such as sonata-allegro, fugue, double fugue, lied, variations, passacaglia, etc., or was she rather free?

During her concert tours in America, Miss Murtagh⁴ called Jeanne Demessieux, pointing out a day when Jeanne wasn’t on time. She scolded her on the telephone like a little girl. With her usual calm, her natural distinction, her nobility of a great lady, Jeanne Demessieux responded simply with, “Madam, I always⁵ do what I want,” cutting off any response. Many organists do what they can, starting with me! At the keyboard, Demessieux always did what she wanted. Her magnificent recordings are the proof!

As for her improvisations, if they were always inspired (again, she did what she wanted), they all were adapted to the character of the given theme. I heard her improvise many a time, the very first being her conservatory competition on June 6, 1941. The luminous cadenzas of the first two concertos of Handel were improvised before being written down and recorded on the Decca label. The first one astonished Guy Bouchaux at her concert in Deauville on August 27, 1956, as well as her improvisation on In Paradisum.

I recall yet today her extraordinary symphonic fresco on the Kyrie Orbis factor given to her by Fr. Boulzy at the end of her concert on November 7, 1953, at Saint-Eustache. She finished with a prodigious fugue. The large audience, which filled the nave, was cosmopolitan: French, Italians, Germans, English, Americans, Japanese applauded discretely when she came down from the gallery.

Examples are numerous and deliciously fascinating. I’ll limit myself to several: I heard Demessieux improvise at Saint-Ouen. For her, to improvise was to abandon herself to her rich and inspired imagination at the end of a concert. The mind free, on a magnificent instrument she loved, developing a very beautiful theme given to her by Maurice Duruflé, I remember elegant variations faithfully ornamenting the theme under the sumptuous sonorities of the “Cavaillé-Coll à la Michel-Ange,” which she knew how to transfigure like no one else.

To your question, I don’t know about recordings of her improvisations with the exception of the one on the Hamburg CD, The Legendary Jeanne Demessieux, done in several churches in Hamburg: St-Sophiekirche, St-Michaelskirche, St-Christianskirche on the label Festivo, 6961-862. Many years ago, I was fortunate to hear her splendid improvisations during her legendary concerts in the Netherlands.

M. Van der Oter, deceased, and his colleague Mr. Herman van Vliet, an excellent organist, played for me a magnificent improvisation in Masslouis, which I would ardently like to hear again, and another one, in the Netherlands, the given theme of which lended itself to rondo form, three refrains and three couplets. This quarter hour of true music was so perfect that it made me think of the truly vivid “Rondo Final” of the magnificent Fifth Symphony of Louis Vierne. Regrettably, I never heard either one again!

I found in the archives of Norbert Dufourcq a detailed study of the Madeleine organ written in 1965 by Jeanne Demessieux. This document attests to the fact that Demessieux had a great deal of expertise in organbuilding and especially on the style of Cavaillé-Coll. Dupré, as far as I know, didn’t teach these things to his students. How did Demessieux acquire this knowledge?

To your inquiry, I am going to offer the truest, most exact, most pertinent, the simplest response there is, that of Jeanne Demessieux herself:

I wrote to the periodical L’Orgue that I was waiting and hoping for the organ of the twentieth century:⁶ an intelligent synthesis, yet original in its audacity, of instruments from the past. In the absence of which, the promoters of neo-classicism will be burdened with the heavy responsibility of having implicitly condemned all⁷ organ repertory from Bach to the present. The works of Messiaen, Langlais, and others call for a complete radiance in sound where everything is possible.

These thoughts, harbingers of light and wisdom, are a veritable gospel of truth and for all time. And here is a striking aspect of Jeanne Demessieux.

Appointed titular organist of the beautiful Cavaillé-Coll of the Madeleine in 1962, where she succeeded Edouard Mignan, she was keenly interested in the preservation of her instrument. She watched jealously over its esthetic. Her keen awareness of eclecticism, fed by multiple experiences collected over all continents, gave her the ability to compare organs of different characters—following faithfully the evolution of building, with prudence and especially wisdom, while strongly opposing certain displeasing trends.

Her searching spirit always involved a curious look towards the future, without denying the lessons from the past. Her perfectionist and innovative spirit researched unceasingly balance and truth. Her art was enriched with a lofty spirituality. Her enthusiastic listeners perceived her marvelous message with a quieted serenity while others, more receptive, caught a glimpse of her in the light.

Did she have American students? I know that Frank Speller8 went to study with her, but did she have others?

I don’t know.

You mentioned her Te Deum. If I understood you correctly, this work was finished in Demessieux’s mind well before she wrote it down?

Your assertion is absolutely exact. The brutal and sudden rupture with Dupré, never understood by poor Jeanne Demessieux, necessarily accentuated her timidity and humility that were already the basis of her exceptional personality. “I never talk about my plans,” she responded to an overly gushing interlocutor.

At her concert in Deauville, I asked her discretely if she would soon give us the joy of a new work. “Yes,” she answered spontaneously. “I am thinking of writing a work in the spirit of the chorals of Franck on the Te Deum.” Overwhelmed, I didn’t push further, being content with this detail, so affectionately confided, I being one of the rare individuals—if not the only—to know the gestation of the most beautiful of the Te Deums. No reference concerning what I knew to be a serious confidence would be brought back to her, at least coming from me.

The streets of Rouen were all decked out with giant posters as if to announce the visit of the Queen of England: “Jeanne Demessieux on her return from America.” She returned from a big concert tour, during which she had played her Te Deum, not yet published, but for which I didn’t know the reason. It was on the program for April 30, 1958. That’s when I heard it for the first time, next to her, in the afternoon. I was astonished by the grandeur and the beauty of the work. It is impossible to find more moving accents to praise God. I asked her if she would consent to loaning me her manuscript. “But no, dear Pierre, I haven’t yet had time to write it down!” My eyes popped out of my head before such prowess that I never would have imagined. I remained speechless.

In matters of interpretation, did she use rubato or rather subtleties of touch, or a combination of both?

Jeanne Demessieux had an incredible phrasing. In the chorale preludes of Bach, she used two different cornets, which offered an agreeable echo effect. She played certain works with a surprising slowness, but never gave the impression of dragging.

She played quick tempos with an absolute mastery, a ravishing lightness. Listen to her in the delicious scherzo of the Grande Pièce Symphonique of César Franck where she excelled, in order to be convinced of the perfection found in her recording of the complete organ works of Franck, which came out in 1961.

Jeanne Demessieux never stopped being a pianist. She had her [first] prize when she was 17. She brought her extraordinary technique to the organ. At one of her concerts I attended with my friend Marie-Claire Alain, at the end Alain told me, “You know, it’s magnificent! One really feels she’s a first prize in piano!” I responded, “It’s obvious. I agree with you.” Such was my total approbation.

The complete works for organ of César Franck recorded at the Madeleine in 1959 reveal interpretations where virtuosity is often highlighted. I’m thinking, for instance, of the allegros in the Grande Pièce Symphonique. As far as I know, only her student Marie-Madeleine Duruflé-Chevalier played Franck like that. More than fifty years after these recordings first appeared, metronomic indications written by Franck himself were discovered in a letter addressed by Franck to an American organist,⁹ which tends to demonstrate that such virtuosity wasn’t at all scorned by César Franck. Jeanne Demessieux, it would seem, was right. Did she talk about these interpretations and her very personal ideas on the subject of Franck’s music?

Jeanne Demessieux revealed Franck like no one else, a recording of reference. What can I add?

Mr. Labric, you are perhaps the last to have often played the authentic Cavaillé-Coll of Notre-Dame, Paris,10 before the reconstruction and electrification in the 1960s. I would like very much if you would talk about this legendary instrument before the transformations occurred.

“My alter ego,” said Vierne speaking about his Cavaillé-Coll at Notre-Dame, Paris. Nothing better than these words could translate the nature of the emotional attachments that bound together one to the other. This was affirmed by Bernard Gavoty. Gavoty continued, “as the flower breaks loose from its sheath, the song swells and spreads forth. With his hands, the musician sculpts his work in a sonorous clay of which nothing can evoke the voluptuous richness. The entire organ seems to stir in contact with this soul that brings it to life.”

The organ of Notre-Dame de Paris was the absolute masterpiece of Cavaillé-Coll. In the fingers of Vierne, it offered a unique splendor. A musician from Rouen, André Haumesser went from time to time to the gallery of Notre-Dame to hear Vierne. He mixed in with the regulars, and at the instant Vierne was preparing to improvise, one of them said, “Let us listen to the word of Saint Thomas d’Aquin.”

I had the good fortune to often play the magnificent Cavaillé-Coll, admired throughout the world. I remember my first contact which left an indelible feeling. Léonce de Saint-Martin,11 a very distinguished and courteous man, welcomed me one evening after the cathedral closed, allowing me to play the second symphony of Vierne. From the first chord, I was veritably transported in the instant in an ethereal world by this river of sound that flowed under my fingers. The solo stops were ravishing in the following movements up to the sparkling “Final” in which the unique tutti of the instrument seemed indeed to want to explode the shell of the cathedral, as Gavoty wrote. But this prodigious power had nothing of any harshness. Rather, it was part of the incomparable splendor of the organ.

One Sunday of the Holy Trinity, Saint-Martin let me play Dogme, the fourth movement of Méditation sur le Saint-Esprit of Jeanne Demessieux, at the end of vespers. I was happy. This was still at the time of the old [mechanical] console.

Later, I gave Sunday concerts on the new electric console of Jean Herman, which worked very well. It was worthy of the consoles of Beuchet-Debierre. This console permitted me later to record very conveniently the Six Études of Demessieux, which require a perfectly regulated pedalboard.

I had the joy of playing six Sundays, the substitute for Pierre Moreau,¹² a very courageous man, recovering from surgery. I arrived Saturday evening. I had almost three hours. For my pleasure alone, I played the six symphonies of Vierne on the instrument that had inspired them. What an unforgettable emotion. Léon Bloy called the royal Cavaillé-Coll, “The organ of eternity.”

I took advantage of these occasions that came my way, I can say by chance, to play at the closing voluntaries, a finale from the Vierne symphonies for the greatest joy of a group of young musicians gathered around the console.

§

As Pierre Labric approaches his centennial, I am certain my American colleagues join me in wishing Mr. Labric every joy and happiness. He is, after all, one of the last remaining figures to have witnessed the joys, triumphs, trials, and tribulations of the legendary organ class at the Paris Conservatory during the post-war period. His recollections help us approach those years with a far deeper understanding of the legendary names that shaped my generation and beyond. Thanks, Pierre Labric, for sharing your pristine memory and impressions of an era that now seems so very distant to most of us. Most of all, thanks for transmitting the legacy of the legendary Jeanne Demessieux to future generations.

Notes

1. Derived from the traditional French harpsichord and piano “schools” where the fingers do most of the work. Arm weight, and arm movements in general, were not introduced at the conservatory until after World War II, although some French pianists were very aware of (and advocated) arm weight and arm movements before 1946.

2. Visit www.organ.music.unt.edu for a video of Mme Duruflé at the University of North Texas auditorium console filmed in February 1992, playing a segment of the Vierne Naïades and a Handel concerto. Although she never knew or consulted Dorothy Taubman, the core of Mme Duruflé’s virtuosity is derived in large part from the same precepts learned by and passed on through the great technician who was Dorothy Taubman: long fingers moved from the short extensor muscles, and very subtle forearm rotations, up-down movement, in-out movements, and lateral shifting of the arm when required by the music.

3. Lest the reader assume that I have migrated to the almost rabid, anti-Dupré groups prominent in France today, such is not the case. My students perform probably more Dupré works than any other studio in North America. My admiration for Dupré as a virtuoso and composer is unbounded, but from what I have learned from his students and others, he was a bit of a dictator and often poorly advised by members of his entourage. Jeanne Demessieux was not the only artist whose career was almost sabotaged by Marcel Dupré.

4. Lilian Murtagh (1907–1976) originally managed concert organists and others for the LaBerge and Colbert agencies before purchasing the organ division from Henry Colbert and forming her own management for organists in 1962. In 1976, her organization merged with Karen McFarlane to create Murtagh-McFarlane Artists Management. Jeanne Demessieux’s three North American tours (1953, 1955, 1958) were organized by Lilian Murtagh.

5. Underscored by Labric.

6. Underscored by Demessieux.

7. Underscored by Demessieux.

8. Frank Speller (1938–2017), former professor of organ at University of Texas for more than forty years, studied with Jeanne Demessieux in Paris sometime during the 1960s. He was one of the few American organists to study with her.

9. Rollin Smith, “César Franck’s Metronome Marks: From Paris to Brooklyn.” The American Organist, September 2003, 58–60.

10. Aristide Cavaillé-Coll finished his 86-stop masterpiece in 1868, inaugurated March 6 of that year by Franck, Chauvet, Guilmant, Widor, Saint-Saëns, Durand, and Loret. The organ was rebuilt and electrified in the 1960s.

11. Léonce de Saint-Martin (1886–1954) succeeded Louis Vierne as titular organist of Notre-Dame de Paris in 1937.

12. Pierre Moreau (1907–1991) served at Notre-Dame de la Gare, Paris, before his appointment to Saint-Marcel, Paris, 1935–1985, and was Saint-Martin’s suppléant at Notre-Dame. Under Pierre Cochereau, Moreau was promoted organiste adjoint, retiring in 1986. He studied with Charles Tournemire for five years and was awarded a first prize in organ in 1938 at the Conservatoire Royal de Bruxelles.