Sixth French Organ Music Seminar

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The seventh French Organ Music Seminar took place in Paris and Marseilles with daily lectures, master classes, coaching sessions and private lessons. Side trips to Meudon, Rueil-Malmaison, Aix-en-Provence, Aubagne, Saint-Maximin, Roquevaire, and Cotignac, with opportunities to play the historic instruments of those cities, were also included for the sixty-five participants. The seminar had three principal leaders: Christina Harmon of Dallas, Texas, the organizer of the seminar;  Marie-Louise Langlais, noted teacher at the National Regional Conservatory of Paris and the Schola Cantorum, and widow of the composer-organist Jean Langlais; and Robert Martin, organist at the Basilica of Notre-Dame de la Garde in Marseilles. Assisting Harmon as seminar secretary was Cliff Varnon of Dallas.

The seminar began in Paris with an introductory meeting held in the Hotel Lorette, not far from the church of Notre-Dame-de-Lorette where César Franck had served as organist before going to Sainte-Clotilde. Madame Langlais guided the group to the church of Notre-Dame-des-Champs, the parish church of organ builder Aristide Cavaillé-Coll, where we were greeted by its titulaire Marie-Bernadette Dufourcet.  Dufourcet, wife of Naji Hakim, organist at  La Trinité, introduced the group to the two-manual Cavaillé-Coll from 1877 in a recital of her own compositions and works by Olivier Messiaen, Naji Hakim, Jean Langlais, Augustin Barié, Vincent d'Indy, and René Vierne, a former titulaire and brother of Louis Vierne. FOMS participants were invited to try the instrument themselves; many took advantage of their first of many opportunities to play a Cavaillé-Coll organ. Madame Langlais invited the group to join her at the church of Saint-Gervais in evaluating the organ built in the 17th century and played by members of the Couperin family from 1653-1826.  Many listeners heard--for the first time--the sounds of a real French Classic instrument in music by François Couperin and Nicolas de Grigny.    Even though the organ was in  a state of disrepair, the opportunity to hear the historic reeds, cornets, and plein jeu was unforgettable. The group spent the evening with Naji Hakim at the church of La Trinité. Hakim's demonstration of the organ, once presided over by such luminaries as Alexandre Guilmant and Olivier Messiaen, followed by an exciting symphonic improvisation, brought the first day to an end.

Day two began at the church of Saint-Augustin with a recital by its titulaire of over fifty years Suzanne Chaisemartin, a former student of Marcel Dupré and an instructor at Paris's École Normale de Musique. Since the grand Barker/Cavaillé-Coll organ, once presided over by Eugène Gigout and his assistant Léon Boëllmann, was being repaired, Madame Chaisemartin and FOMS participants played the choir organ. Built by Mutin/Cavaillé-Coll in 1899 with additions by Gonzalez in 1973, many consider it to be the most brilliant choir organ in Paris. Never far from the console, Chaisemartin offered helpful comments to players about interpretation and registration. The next stop was the National Regional Conservatory of Paris and an opportunity to hear and play the new Grenzig organ in the recently-completed organ recital hall. Madame Langlais and several of her students demonstrated the organ, teaching the group about the proper interpretation, registration,  and performance style  of French Baroque music.  FOMS participants then made their way to the Basilica of Sainte-Clotilde for an introduction to the organ of César Franck, Gabriel Pierné, Charles Tournemire, Joseph Ermend-Bonnal, and Jean Langlais. Madame Langlais and her students demonstrated the famous Cavaillé-Coll instrument of 1859, and playing time was available to those who wished to climb the outside stairs to the organ gallery.  The experience of playing music composed by Franck and Langlais for this particular organ was unforgettable and revealing, as no recording does justice to the sound of this majestic instrument. The evening was spent with Olivier Latry at Notre-Dame Cathedral. Latry, one of the three titulaires, was joined in the gallery by choir organist Yves Castagnet for a demonstration of the vast instrument.  Group members were invited to play this instrument made famous by such musicians as Louis Vierne, Marcel Dupré, and Pierre Cochereau.  Some FOMS group members played works by those composers on this instrument, even though many tonal and mechanical changes have been made to it in the past few decades, changing significantly the tonal palette known by Vierne and Dupré. Olivier Latry closed the evening with an improvisation and a thrilling performance of Vierne's "Carillon de Westminster."

The schedule for the third day included visits to three different locations, each with its own distinctive organ. Beginning at the fashionable church of La Madeleine, FOMS participants were introduced to François-Henri Houbart and the elegant four-manual Cavaillé-Coll organ from 1846. Titulaire since 1979, Houbart follows in a line of noted organists such as Camille Saint-Saëns, Gabriel Fauré, Théodore Dubois, and Jeanne Demessieux. Those who wished to play the organ climbed the stairs to what was at one time known as the  most famous organ-loft in the world. Stories of Saint-Saëns and celebrated musicians, artists, and literary figures who visited his tribune on Sundays were endless. From La Madeleine, the group traveled to the church of Saint-Roch and heard its three organs: the one-manual instrument built in 1830 by the Abbey firm; the choir organ built in 1865 by Cavaillé-Coll; and the tribune organ, which evolved  from its original installation in 1751 by the Lesclop firm, through  rebuilds by Clicquot in 1770 and by Cavaillé-Coll from 1840-1862,  to its most recent restoration in 1992 by Renaud. Masterful demonstrations by the present titulaire Françoise Levinchin introduced the group to the organs played by her predecessors Claude Balbastre, Louis-James-Alfred Lefébure-Wély, and Pierre Cochereau.   Madame Levinchin graciously assisted and coached members who wished to play the tribune organ. The group traveled by train to Meudon for an introduction to the organ in the former home of Marcel Dupré. The four-manual instrument, once owned by Alexandre Guilmant, was expertly demonstrated by the charming Pascale Mélis, a former student of Marie-Louise and Jean Langlais and Rolande Falcinelli, and the titular organist at the church of Saint-Cloud in Paris where she has served for fifteen years.  As some group members played the Cavaillé-Coll organ, others investigated the many treasures in the  salon d'orgue decorated with historic woodwork given to the Duprés in 1926 by their friend Claude Johnson, then President of Rolls-Royce. That evening, many in the group took advantage of an improvisation class taught by Naji Hakim at La Trinité.

FOMS participants began the next morning with a visit to the Schola Cantorum, the institution founded by Alexandre Guilmant and Vincent d'Indy. The Schola's list of organ professors through the years includes Guilmant, Louis Vierne, Abel Decaux, Olivier Messiaen, Maurice Duruflé, Jean-Jacques Grunenwald, Jean Langlais, Gaston Litaize, Michel Chapuis, André Fleury, Naji Hakim, André Isoir, and Marie-Louise Langlais.  The group was treated to a demonstration/recital in the concert hall by two students of Madame Langlais, one a seventeen-year-old wonder who played the "Allegro vivace" from the Fifth Symphony of Widor, the Dupré Prelude and Fugue in g minor and the Duruflé Toccata. Members of the group also had the opportunity to perform on the 1902 Cavaillé-Coll.   The next musical encounter was at Saint-Sulpice, the church of such former titulaires as Louis-James-Alfred Lefébure-Wély, Charles-Marie Widor, and Marcel Dupré. Present organist Daniel Roth lectured about the history of the parish, the church, the organ, and his musical predecessors. An added treat was the opportunity to visit the crypt to view the final resting place of  Widor. The group returned to Sainte-Clotilde for a lecture by Madame Langlais on the music of César Franck, with a master class specifically concerning his Chorale in b minor. That evening, the group returned to Saint-Sulpice, this time treated to a grand improvisation by Daniel Roth, followed by playing time for group members on the well-preserved five-manual instrument. Playing music of Widor and Dupré on this organ provided exciting experiences for the group, as the instrument has changed little since the masters' tenures.

The seminar continued the following day with a trip to the Basilica of Sacré-Coeur in the Montmartre district. As the basilica is a site of perpetual prayer and adoration of the sacrament, group playing time was not possible. The titulaire, Philippe Brandeis, demonstrated the 1898 Cavaillé-Coll with an extended prelude to the Friday noon mass by playing Franck's Grande Pièce Symphonique and the "Andante sostenuto" from Widor's Symphonie Gothique. The group returned once again to Sainte-Clotilde for playing time assisted by Madame Langlais, who actually coached each player with a mini-lesson on each individual's chosen piece. Throughout the week, Madame Langlais and several of the other master teachers offered private lessons to individuals who desired a deeper understanding of the French organ and its literature. Their insightful comments and affirming compliments were greatly appreciated by those who chose to spend extra time learning.

Saturday began with a trip to the Conservatory at Rueil-Malmaison and lectures by the eminent teacher Susan Landale. Her lectures on Louis Vierne and Charles Tournemire were full of thought-provoking insights into the lives, careers, and influences upon the two composers. The evening was spent at the Parisian church of Saint-Etienne-du-Mont as guests of Thierry Escaich, the present titulaire and successor of Maurice and Marie-Madeleine Duruflé. A master improviser, Escaich demonstrated the organ containing pipes made as early as 1633, and which has been altered through the centuries by such builders as Clicquot, Cavaillé-Coll, and Gonzalez.

On Sunday morning, FOMS participants were welcomed to the tribunes of Notre-Dame, Saint-Sulpice, La Trinité, and Saint-Eustache to observe the Parisian organists at work making music to enhance the celebration of the Mass. These experiences were not only educational, but were personally inspiring to the Americans who eagerly  watched and listened intently.

Following the morning of hearing thrilling improvisations and the playing of standard literature, FOMS participants departed Paris--some by plane, others by train--for the south of France and their destination of the Mediterranean seaport of Marseilles.

The group was greeted in Marseilles by Madame Langlais, several of her students from Paris, and Robert Martin, organist of the Basilica of Notre-Dame de la Garde. FOMS participants were shuttled through Marseilles to Notre-Dame de la Garde located at the top of a mountain overlooking the Mediterranean, where the nuns had prepared a hearty welcome meal for their guests; the view from the church was magnificent. After a long day, the Americans were glad to see the Hotel Tonic, headquarters for the next few days. 

On Monday morning, the group drove to the ancient city of Aix-en-Provence for a tour of its historic organs. Led down cobble-stone streets, past sprinkling fountains, the old clock tower, open-air markets, and beautiful gardens, the first stop was in the Cathedral of Saint-Sauveur, whose carved doors date from the 16th century. The cathedral organ of three manuals, originally built by Isnard in 1743, has undergone rebuilds by such firms as Cavaillé-Coll and Merklin. Group members played the historic instrument before moving on to the Reformed Temple to see the one-manual organ dating from the time of Louis XVI. At noon, a delightful reception in honor of FOMS participants was given by the Archbishop of Aix-en-Provence. The next stops were the churches of Saint-Esprit and La Madeleine, whose organs provided the group with opportunities to play three-manual instruments from the 17th and 18th centuries. In the early evening, a public recital was held at the Cathedral featuring music of Nicolas de Grigny, Jean-Adam Guilain, Jean-Jacques Grunenwald, Théodore Dubois, Maurice Duruflé, Louis Vierne, and Jean Langlais performed by FOMS participants Polly Brecht, Matthew Samelak, Anita Werling, David Erwin, Peter DuBois, Yun Kim, and Jeff Binford. Following the recital, the group dined in one of the many intimate restaurants in the old city.

Tuesday was spent in Marseilles, hearing and playing a wide range of historic and modern instruments. The first order of the day was a visit to the abbey church of Saint-Victor, whose four-manual organ blends stops from the 17th and 18th centuries with those of the 20th century. Next, the group was introduced to the Grignan Temple, a Reformed Church in which Madame Langlais had served as organist. The two-manual Kern organ of 1982 was designed by Madame Langlais. At noon, the group went to the city hall to be welcomed by the mayor of Marseilles at a lavish reception. The three-manual instrument at the church of Saint-Joseph was heard next; the organ and its impressive case, built in the 19th century, had its most recent restoration in 1988. The afternoon was spent at  the Basilica of Notre-Dame de la Garde. The Romanesque and Byzantine church crowns a 162-meter rocky mountain that dominates the city of Marseilles. Topped by a huge gilt statue of the Madonna and Child, and covered with mosaics, the basilica has become a symbol  of the Good Mother to the people of the city. The basilica contains a one-manual choir organ built by Merklin in 1925, a transept organ of two manuals built by Grenzig in 1978, and the tribune organ which was originally built by Merklin in 1926 and revised in 1981.  All of these instruments were masterfully demonstrated by the basilica's titulaire, Robert Martin. Martin is a noted authority on Cavaillé-Coll and the author of a definitive tome on the historic instruments built by Isnard. After a ride along the Mediterranean coast, the group returned to the basilica for dinner and many opportunities to take photographs of the city and the sea from high atop the mountain.

The last day of the seminar began with a trip to the town of Aubagne to play the 1784  instrument of three manuals in the church of Saint-Sauveur. After driving to the small town of Roquevaire, the group visited the church of Saint-Vincent in which an imposing instrument was in the process of being built. With pipes taken from the old church organ and using the studio organ of Pierre Cochereau as a base, this new five-manual instrument will be one of the largest and most important in France. A unique situation exists here, in that the people of this peaceful town have made numerous sacrificial gifts to pay for this particular organ; plans are already underway for an extensive concert series which will bring the world's greatest organists not to Paris, but to a small town in the heart of Provence. The group was welcomed to Roquevaire by the town's mayor with an elaborate reception at which  FOMS participants took up a collection to purchase a pipe to be inscribed and used in the new organ. The seminar continued in the town of Saint-Maximin and a visit to the Basilica of Sainte-Marie-Madeleine to hear and play the Isnard organ built in 1772.  Pierre Bardon, the titulaire, demonstrated the marvelous instrument and graciously invited FOMS participants to play. Madame Langlais and Bardon assisted players in the proper selection of stops for the French Baroque literature they played, and offered additional registration possibilities. The four-manual instrument of forty-three stops provided the organists with a step back in time to hear the actual sounds of a true French Classic instrument. As a festive end to the 1997 FOMS, the group was invited to an elegant evening of dinner and relaxation deep in the heart of Provence, near the town of Cotignac. The journey into the quaint French countryside brought the group to the beautiful home of our host and hostess, Gonzague and Christiane de Bayser. Great supporters of the arts in southern France, the couple planned an unforgettable evening that included a typical Provencale wedding feast served in their perfectly landscaped back yard. The meal consisted of broiled fish and squid with aioli sauce from the region, boiled potatoes, steamed carrots and cauliflower, boiled eggs, and cheese. When the dinner dishes were cleared, Madame de Bayser surprised the group with a huge chocolate cake decorated to look like an American flag with the words "Welcome to Cotignac" piped on top. Musical entertainment followed dessert in the music room, provided by group members. All in all, this was the perfect way to end what had been an unforgettable seminar for all the participants.

The group departed Marseilles early the next morning; many returned to the United States, while others journeyed by train to London for a brief seminar on British organ music.

While in London, the group heard and played the organs in several historic churches. James O'Donnell demonstrated the organ of Westminster Cathedral and assisted seminar participants who wished to play; he also lectured the group about the Westminster Cathedral choral tradition. At Westminster Abbey, Martin Neary talked about the Abbey musical tradition, and allowed for playing time by the group. Paul Stubbings demonstrated the organ at St. Martin-in-the-Fields, assisted those who wished to play, and gave a lecture on the music of Sir Edward Bairstow. John Scott invited the group to Choral Evensong at St. Paul's Cathedral and demonstrated the organ, as the group walked through the vast space. Richard Townend played a recital at St. Stephen, Walbrook, delivered a lecture on 18th-century English voluntaries, and demonstrated the organ at St. Margaret, Lothbury. The group was treated to a special evening in the home of London Times music critic Felix Aprahamian; dinner was served  followed by a recital played on Aprahamian's house organ by the young blind organist David Liddle. Other lectures by Nicholas Plumley and John Norman, with recitals by Malcolm Rudland and Martin Neary, rounded out the rest of the brief seminar in London. After many group members departed for the United States, several participants journeyed to York for a visit with Dr. Francis Jackson at York Minster. For the participants in the French Organ Music Seminar and the British Organ Music Seminar, opportunities for musical growth, performance, and inspiration were too numerous to count.    Those attending would agree that these types of hands-on seminars are of untold value in their development as musicians. Many thanks must be extended to Marie-Louise Langlais, Robert Martin, and Christina Harmon for their tireless efforts in making the seminars totally successful.

Paris Week, July 2-9, 2001

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

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

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

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

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

Paris Conservatory

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

Saint-Augustin

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

Saint-Roch

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

La Trinité

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

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

Notre-Dames-des-Champs

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

Saint-Vincent-de-Paul

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

Saint-Louis des Invalides

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

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

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

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

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

Sainte-Clotilde

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

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

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

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

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

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

Saint-Sulpice

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

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

Notre Dame d'Auteuil

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

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

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

Saint-Étienne-du-Mont

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

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

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

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

La Madeleine

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

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

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

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

Schola Cantorum

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

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

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

Saint-Étienne, Caen, Chartres

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

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

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

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

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

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

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

Christina Harmon resides in Dallas, Texas, where she is organist at Park Cities Baptist Church. She is a graduate of Oberlin Conservatory of Music and Southern Methodist University and has done doctoral study at Union Theological Seminary and the University of North Texas. Her teachers include Robert Anderson, Robert Baker, Dale Peters, Garth Peacock, Guy Bovet, Bernadette Dufourcet, Naji Hakim, Daniel Roth, and Jean and Marie-Louise Langlais. She is founder of the French Organ Music Seminar. Since 1989, an outgrowth of the seminar has been the production of videotapes in France. These videotapes cover French organs and organ music history and include Langlais playing and teaching at his home and at the Schola Cantorum, Marie-Louise Langlais teaching at the organ of Sainte Clotilde, and Daniel Roth teaching and playing at the organ of Saint Sulpice. The videos and one DVD are available for sale through the Organ Historical Society.

The fifth British Organ Music Seminar, led by Christina Harmon and Cliff Varnon, took place in England and Wales from June 24–July 3. With John Hosking, noted British concert organist, as guide, the group of 14 organists and their friends and spouses visited and played organs and attended Evensongs in London, Exeter, Truro, Wells, Bristol, Wales, Chester, Birmingham, and Blenheim. Well-known British organists Richard Townend, Daniel Cook, Andrew Millington, Robert Sharpe, Matthew Owen, Philip Rushforth, and Duncan Middleton served as hosts and teachers to the group along the way for extended two-hour or more playing sessions at each organ. In addition to spending a whole day studying British and French music with John Hosking at the St. Asaph’s Cathedral organ in Wales, the group was treated to a full afternoon of playing the Klais organ in the Birmingham Concert Hall. On July 3 the group took the Eurostar to Paris where they were joined by 32 additional organists and their spouses and friends to begin the French Organ Music Seminar, led by Marie-Louise Langlais and Sylvie Mallet. That afternoon the group enjoyed a recital at Notre Dame Cathedral by Angela Kraft-Cross, former participant of FOMS, and in the evening a session with Philippe Léfebvre at the Notre Dame organ.
Monday the group visited the Temple du St. Esprit with Kurt Lueders, then went to St. Etienne-du-Mont for a demonstration by Vincent Warnier, co-titulaire, followed by Christina Harmon’s performance of “Agnus Dei” by Thierry Escaich. This piece was commissioned by FOMS member Bruce Westcott and dedicated to another FOMS member, his brother Michael Westcott. A long afternoon of playing this famous organ of the Duruflés followed the performance, assisted by Mr. Warnier.
On Monday night, FOMS participants Lois Holdridge, Terry Flanagan and Colin Lynch joined Swiss organist Tobias Willi and Langlais students Beatrice Piertot and Chung-A Hong at the church of St. Eustache to present a concert of works by Guillou and Florentz to a large audience, with Jean Guillou in attendance, who provided personal remarks to the program. After the concert FOMS participants joined Mr. Guillou for dinner at a nearby restaurant.
Tuesday, July 5, at noon, FOMS participants Jason Farris, Jay MacCubbin, Samuel Gaskin, Tim Lyons, Colin Lynch, David Erwin, John Walko, Julia Walton, Jill Hunt, Mark Scholtz, Jeremy Tarrant, and Marko Petricic played a recital at the church of St. Roch. The afternoon and evening were spent in small groups with Marie-Bernadette Dufourcet and François Espinasse at the organs of La Trinité and St. Severin. On July 6 the group gathered in the morning at the Schola Cantorum for a panel discussion on the works of Franck with Kurt Lueders and Mmes Langlais and Mallet. A masterclass on Franck followed, with organists Barbara Reid, Jill Hunt, Marko Petricic, and Samuel Gaskin. In the afternoon group members Jason Branham, Samuel Gaskin, Louie Brewer, Bryan Jepson, Sean McCarthy, and Ray Peebles presented a concert on “The New Bach Organ for Paris”—the Aubertin organ at Eglise St. Louis en l’Isle. Afterwards, members of the group either stayed to play on the Bach organ, accompanied Kurt Lueders on a special tour to play lesser-known Cavaillé-Coll organs of Paris, or went with Mme Langlais for a group lesson.
On July 7, groups alternated to study with either Frédéric Blanc at Notre Dame d’Auteuil or Sophie Choplin at St. Sulpice. Scholarship contributors enjoyed a special lunch at the Langlais apartment. Later, participants in small groups received instruction and were treated to brilliant improvisations by Naji Hakim at La Trinité, while others gathered at the apartment of Maurice and Madeleine Duruflé. At night we gathered again at St. Sulpice for Daniel Roth’s lecture and concert.
On July 8 groups again alternated between playing at Les Invalides and St. Sulpice, while others studied privately and in small groups at the Regional Conservatoire with Langlais and Mallet. The evening was spent with Pierre Pincemaille at the St. Denis Basilica.
On July 9, Saturday, we boarded a bus to go to the Cathedral of St. Ouen in Rouen, hosted by Christophe Mantoux. Several people were able to play. On return Mantoux offered a special improvisation class for those who were interested; others had private lessons in Paris.
From July 10 through July 16 Mmes Langlais and Mallet took a smaller group to Burgundy and Switzerland, where we were hosted in Burgundy by Maurice Clerc, organist of Dijon Cathedral, and played many wonderful organs, including the Dijon Cathedral organ. We continued to Romainmôtier, where we spent the afternoon playing the Alain organ.
The group spent a large part of one day at the beautiful organ of the Tonhalle in Zurich. Designed by Jean Guillou, this contemporary organ is one of the most spectacular in Europe.
Another wonderful day was spent in Lucerne with Wolfgang Sieber, organist of the Hofkirche in Lucerne, who presented the group with an incredible crowd-pleasing concert, including his show-stopping arrangement of “Bridge Over Troubled Waters,” complete with organ effects guaranteed to win over even the many organ purists among us. With his virtuoso arrangements and theatrical gymnastics, coupled with the amazing organ of the Hofkirche, he attracts full houses at his concerts in Lucerne. Plans are underway for the 2007 British and French Organ Music Seminars, with a special celebration in France in honor of the 100th birthday of Jean Langlais, which will include choral as well as organ events. Information will be available beginning in July, 2006, at .

James Hammann is organist and choirmaster at the Chapel of the Holy Comforter in New Orleans, teaches at the University of New Orleans, and operates a small organ maintenance firm. He has made recordings on historic organs and is president of the New Orleans chapter of the Organ Historical Society.

Seventeen organists and music lovers gathered in Paris from
July 24-31 to study, play, and learn about nineteenth-century
Cavaillé-Coll organs and Baroque-era Clicquot instruments. The tour was
led by Marilyn Mason, chair of the University of Michigan organ department and
university organist. Because there were several of Dr. Mason's former students
in the group, and because of the wealth of information at her fingertips after
a lifetime of teaching, the tour took on the aura of a giant studio class with
all of Paris as the studio. An eighty-five page handbook with specifications,
histories, and other pertinent information helped make this an educational
experience of the highest order.

The first two organs served as bookends for our study of
Cavaillé-Coll instruments. We first traveled to Saint-Denis to play one
of the earliest (1840) organs by this builder, and the next morning traveled to
Saint-Ouen in Rouen where there is a late example (1890) of his work. At St-Denis,
the stop knobs pull out by the yard, and even though equipped with an early
Barker machine on the grande orgue, the action feels deep and heavy. At Rouen
all is refined and although still unrestored functions flawlessly.

The next day took us to Saint-Eustache where the firm Van
den Heuvel has built a completely new organ except for the case and a few stops
which were reused. This organ has two consoles, the second of which is located
on the main floor of the church, and when not in use is housed in a plate glass
case. There was ample time for everyone to play and for the host organist to
perform a superb improvisation.

In the afternoon we had an appointment at Saint-Sulpice
where Sophie-Veronique Cauchefer-Choplin shares the bench with the organist titulaire,
Daniel Roth. Ms. Cauchefer-Choplin improvised a set of variations showing the
tonal resources of the instrument and had the registrations announced before
each variation, giving a wonderful tonal picture of the instrument. She
followed the improvisation with a hair-raising performance of the famous
Toccata from Widor's Fifth Organ Symphony. All were then invited to try the
instrument. Her sunny disposition, and welcoming manner, "Daniel and I
just love when Americans visit," won the hearts of the entire group.

On Sunday morning many of the group returned to
Saint-Sulpice to hear Daniel Roth accompany mass and play an all-Bach
post-service recital. In the afternoon we gathered at the American Church to
inspect and play the large three-manual, mechanical action Von Beckerath organ
in an acoustical setting that had more in common with America than France. It
was a good opportunity to compare and contrast tonal styles. Following a
performance of an Orgelbüchlein
chorale prelude Dr. Mason  gave an
impromptu lesson on how the two principal themes in "In dir ist
Freude" relate to one another and how to master those pesky pedal trills
in the final few measures.

We left the city and journeyed to Chartres Cathedral on
Monday. Our tour guide of the cathedral was the respected author and lecturer,
Malcolm Miller, who has spent forty-four years researching, writing, lecturing,
and leading tours of this magnificent edifice. Following the tour, Robert
Luther, Isaac Brunson, Robert Zanca, James Hammann, Marijim Thoene, William
Gudger, and Marilyn Mason presented a recital on the 1971 Gonzalez organ that
is the focal point of the famous organ competition held there every three
years.

Returning to Paris we stopped at Saint-Gervais, church and
organ of the Couperin dynasty. Juliette Grellety graciously let us play on this
remarkable instrument which still is largely Clicquot and has the last
eighteenth-century organ keyboards in Paris. We then traveled to the top of
Montmartre, for a look at the beautiful Basilique du Sacré Coeur, and
then dinner at La Mère Catherine.

Another trip into the country on Tuesday to the village of
Houdan let us inspect and play the 1734 Clicquot in the village church. Another
special extra of the tour was the presence of Susanne Diederich, a German
musicologist and organist whose thesis concerns the "hand in glove"
relationship between French composers and organ builders of the seventeenth and
eighteenth centuries. Her remarks and insights provided yet more perspective on
these organs and what they teach us about playing this literature.

Returning to Paris, our last stop of the tour was at La
Trinité, where Guilmant served as organist from 1871-1901, and Olivier
Messiaen was organist from 1931-1992. The present organist titulaire, Naji
Hakim, let us all play and then demonstrated the organ with a portion of the
Pentecost Mass by Messiaen, followed by a movement from his own latest work, Agapê
style='font-style:normal'>. This new work was commissioned by American organist
John Roberts. Carolyn Shuster Fournier who presides at the choir organ then
played that instrument and let us all try it.

It was a whirlwind week, though with time for shopping and
visits to famous landmarks, and oh yes, French food! Thanks to Colin Travel, Jan
Nas, our European tour representative, and especially Marilyn Mason for a truly
memorable study tour.

--James Hammann, DMA, AAGO

British Organ Music Seminar

July 25–29, 2013

The ninth British Organ Music Seminar was held for four days in London, beginning on July 25. The seminar began with a train ride to Cambridge to visit the chapel of Emmanuel College, with its three-manual 1988 Kenneth Jones tracker instrument, which used the case and some of the pipework of the original Father Smith instrument of 1688. Colin Walsh, organist laureate of Lincoln Cathedral and a visiting organ teacher at the University of Cambridge, was our host. He conducted a workshop on liturgical improvisation with several reluctant volunteers followed by a session of various British organ works, performed by members of the group.

On July 26, we visited the French Church of Notre Dame de France, where we attended classes all day. The church, which serves a large French population in London, is located near Leicester Square and dates back to 1861. The organ was originally built by August Gern, who had worked with Cavaillé-Coll. It has undergone several rebuilds, most recently by B. C. Shepherd & Son in 1986. Duncan Middleton, the organiste titulaire at the church since 1989, had studied liturgical and concert improvisation in Bordeaux and Lourdes; he led us in the opening session on improvisation. In the next masterclass, participants played British organ works with John Hosking, assistant organist of St. Asaph Cathedral in Wales. In the afternoon session, Dame Gillian Weir conducted an exciting masterclass on French and German works, played by members of our group. Later in the day we attended Evensong at Westminster Abbey, which was sung by a visiting choir from Breda Cathedral in the Netherlands. Following the service, Peter Holder, organ scholar of the Abbey, talked to the group about the history of the organ and gave a demonstration of the stops. The organ was originally built in 1727 by Schrider & Jordan, with several rebuilds by William Hill in the 19th century and most recently by Harrison & Harrison. Afterwards, participants were given the chance to play the instrument. 

We then went across the street to Central Methodist Hall. The organ, with its imposing 32-foot façade, was built by Hill & Son in 1912 and was later rebuilt by Rushworth & Dreaper in 1970. A major rebuild by Harrison & Harrison in 2011 was based on the original Hill scheme. Gerard Brooks, the director of music, is associated with French repertoire and has recorded the complete works of Gigout. His class for the evening was on the organ works of Gigout (other than the well-known Dix Pièces), along with works of Saint-Saëns.

On July 27, we traveled to Peterborough Cathedral to play one of the finest William Hill organs in the country. Built in 1894, Hill, one of the two most celebrated organ builders of the nineteenth century, incorporated the existing pipework in his four-manual organ masterpiece of 86 stops. Its last restoration took place after a fire in 2001. Like other Hill instruments of this period, the organ is set considerably sharper than modern concert pitch. David Humphreys, assistant director of music of the cathedral, gave a brilliant demonstration, after which participants had ample playing time on the instrument. In the afternoon, we traveled to Cambridge for some free time, shopping in the local music store, and having afternoon tea. In the evening we attended Evensong at Ely Cathedral, followed by a demonstration of the organ by assistant organist Jonathan Lilley. The organ was first built in 1685 by Renatus Harris. Elliot and Hill installed a new organ with existing pipework in 1831, with William Hill doing restoration work in 1850. In 1908, Harrison & Harrison built a mostly new organ, using pipework from the previous instruments, with a restoration in 1974–1975 supervised by Arthur Wills, who was then the cathedral organist.

The final day of the seminar was Sunday, so participants attended services at various churches, including St. Paul’s Cathedral. In the afternoon we visited All Soul’s Langham Place, which is a familiar landmark at the end of Regent Street. In 1913, Alfred Hunter installed a new instrument in this church, replacing the original organ built by Bishop in 1824. This Hunter instrument was rebuilt and enlarged by Henry Willis III in 1951, with the most recent restoration by Harrison & Harrison in 1976. Gerard Brooks conducted a masterclass, played by the members of our group. Later in the afternoon, participants could attend recitals at St. Paul’s Cathedral, Westminster Abbey, or Westminster Cathedral. The seminar ended with a visit to Westminster Cathedral, just down the street from the abbey. It contains the Apse Organ built by T. C. Lewis prior to World War I and the Grand Organ, which is one of the two heroic instruments built by Henry Willis III, the other being the Liverpool Anglican Cathedral. Peter Stevens, the assistant master of music, talked about the history of the instrument, gave a fine demonstration of the organ, and assisted participants as they played this magnificent instrument, which made a spectacular end to an eventful seminar.

—Cliff Varnon

French Organ Music Seminar

July 29–August 7, 2013

“If you listen, you will learn.” 

—Thomas LaCôte, La Trinité, Paris

Organ builder Aristide Cavaillé-Coll listened to the sounds in his head before he started building the romantic organ. Louis Robilliard of Lyon told us that if there had been no Cavaillé-Coll, there would be no romantic organ music.

When Widor sat at the Cavaillé-Coll, he listened, and came up with ideas for his symphonies. Vierne and Guilmant listened and did the same. A stunning reminder to the organist: the dream organ came before the compositions. Here’s a dream: to travel back in time, attend a concert at the Palais du Trocadéro, and listen to the now-extinct Cavaillé-Coll as Widor conducts his Third Symphony with Vierne at the organ!

Thanks and appreciation are due to Christina Harmon, Dallas organist, teacher, and composer who led this group of American organists. Through her well-established FOMS program, we are privileged to experience the French tradition. Additional indispensable co-directors this year were Cliff Varnon and Masako Gaskin. All three worked hard to keep this group of organists, organ students, and organ lovers happy and informed. For more information and notice of future events, see www.bfoms.com. 

Participants varied from virtuosos with ever-expanding organ repertoire to lifelong students who treasure their favorite pieces and still look for interpretation ideas from close connections to the source. In addition to masterclasses, there were classes in improvisation and ample opportunities for private lessons. Our youngest organist was 15 and the oldest 83!

How fortunate for this group that there are still essentially unaltered romantic organs in existence that we are able to touch and play. The first on this trip was the Cavaillé-Coll in Lyon at St. Francois de Sales, the Widor family parish, where Charles-Marie was baptized and later first performed Symphony V.

July 29–30: Lyon and Chambéry

The perfect warm-up act to the frenzied pace of Paris was the time spent in Lyon and the Alps, organized by the organist of Chambéry Cathedral, Thibaut Duret, with the help of François Espinasse, professor of organ at the National Conservatory of Lyon. Françoise Webb, the charming French native who spent her youth in Reims, assisted with the preparations and organization. Our first day was spent with Louis Robilliard at the great Cavaillé-Coll organ of Saint-François-de-Sales. Built in 1880, it was restored in 1964 and is still in its original and unaltered state.

Time spent with François Espinasse and Thibaut Duret and two concerts on the marvelous 1847 Augustin Zeiger organ at Chambéry Cathedral allowed each of us a performance turn, followed by a third inspiring performance by our regional host Thibaut Duret. Duret is a brilliant young organist and improviser who studied with François Henry Houbart at Rueil Malmaison and with François Espinasse and Loïc Mallié at the Lyon Conservatoire, where he received a master’s degree in organ. With the Alps as backdrop, we spent Wednesday and Thursday playing the organs in St. Pierre d’Albigny, Manigod, Thônes, Grand Bornand, and Annecy. Each organ had a particular charm, and more information is available about each of them on the FOMS website (www.bfoms.com).

August 2: Dole and Dijon

On Thursday, after a 2½-hour bus ride, we arrived in Dijon. While there we played the much-restored Daublaine-Callinet organ at the Cathèdrale St. Bénigne in Dole and the particular highlight: the untouched, undusted, very much in tune 1754 Karl Riepp organ at the Collégiale Notre Dame de Dole. With a Louis XV oak case, this was the largest organ in provincial France, with 45 stops over four manuals and pedal and a 32′ Montre in the Grand-Orgue. In 1860 the 32′ Montre was moved to the pedal and in a 20th-century renovation it made its way back to the Grand-Orgue, the organ now being five manuals with 73 stops. One room on the way to the organ gallery housed a museum that traced its fascinating history.

August 3: Reims

By Saturday, August 3, we were in Reims, where we played the Cathédral Notre-Dame de Reims organ. Unfortunately, on our way that morning we received a call from Benjamin Steens, our excellent host in Reims, who told us a fire had broken out in the organ of St-Remi (Cattiaux, 2000), where we were to spend the afternoon. A visit to the famous champagne caves helped us to cope with our disappointment at not being able to play at the basilica.

August 4–7: Paris

In Paris we visited the always-amazing organ at St. Sulpice (suffering from the unusual heat of Paris in August), as well as the Cavaillé-Coll of Notre-Dame des Champs, Aristide Cavaillé-Coll’s own parish, built in 1877. This organ was extensively altered by Schwenkedel, although, fortunately, the Barker action was retained. Thanks to Cavaillé-Coll, who was on the building committee for the church, also built in 1877, the acoustics for the organ are some of the best in Paris. 

At Notre-Dame des Champs, we had stimulating masterclasses with Sophie-Véronique Cauchefer-Choplin, Beatrice Piertot, and Yannick Merlin. In the masterclass with Dupré expert Cauchefer-Choplin, three participants enabled us to delve into segments of the Symphonie-Passion, the composer’s Wanamaker improvisation that he later wrote down after returning to France. Cauchefer-Choplin said Dupré loved the sound of the gambe alone because it was mysterious.

Stimulating duo-organ performances and masterclasses by upcoming organists Beatrice Piertot and Yannick Merlin also took place at this church during the week in Paris. These two brilliant young organists also helped in this year’s planning and gave classes at the beautiful, unaltered Merklin organ at the church of St. Laurent.

Daniel Roth entertained and enlightened us at St-Sulpice with historical anecdotes about the organ and stories of Franck, Widor, and Dupré that organists never tire of hearing. Cavaillé-Coll kept more than 40% of the 1781 Clicquot organ pipework, never intending to make an exclusive change to a romantic organ. In fact, Widor’s colleague Albert Schweitzer said the organ was great for baroque music. Roth clarified that the transition from Baroque to Romantic was abrupt in Germany, whereas in France, it was gradual. To see more of Roth’s mesmerizing history of French organ music and organs, you can find numerous DVDs of Roth’s St-Sulpice lectures and performances on YouTube, all produced by Christina Harmon. Better still, break down and buy the DVDs from the Organ Historical Society! 

It still takes my breath away to sit in the loft with Olivier Latry at Notre Dame during Mass. His playing for four Sunday services allowed all 29 organists and students a chance to be at the organ, complete with a console containing the latest organ technology and design.

Classes and playing time were offered by Thomas LaCôte at La Trinité (the organ of Messiaen), at Sainte-Clotilde with Nicolas Pichon, La Madeleine, with Andy Dewar at the American Cathedral, and at Notre Dame d’Auteil with Frédéric Blanc (living conduit to the music of Duruflé). LaCôte told us Messiaen liked the sound of ice and crystal, 16′ & 2′ (Messe de la Pentecôte). 

Blanc told us that Duruflé was not a man for big chords, but rather the musical line. He favored flutes and celestes. He also told us that the famous story of Duruflé not liking his Toccata was not necessarily true, but that at the time he was very tired and had composed this piece during a very stressful period in his life.

Our last day was spent with Jean-Baptiste Robin in Versailles and included a concert by him on the Clicquot organ (modified by Cavaillé-Coll) at the Versailles Cathedral, a masterclass at the church of Notre Dame des Armées of Versailles, and playing at the Royal Chapel organ of Versailles Palace. The palace organ was originally built by Robert Clicquot in 1710. After severe damage during the French Revolution it was rebuilt as a two-manual organ by Cavaillé-Coll in 1873. In 1936 it was sold to the seminary in Châteaugiron and later to St. Martin Church in Rennes, where a reconstruction was attempted by Victor Gonzalez. In 1995 a completely new instrument was made by the firms of Boisseau and Cattiaux, which not only reconstructed Robert Clicquot’s creation but also reconstructed the additions of Louis-Alexander and Francois-Henry Clicquot as well. This result was amazingly successful and stands today in the Royal Versailles Chapel as a proud tribute to Clicquot’s genius. 

As a protégé of Marie-Claire Alain, Jean-Baptiste Robin gave an intense class on Jehan Alain. Robin told us that after the trauma of World War I, artists turned to the past, and Alain was the first to go to early music, layering it with orientalism and with jazz that had been brought by Americans during the war. Alain was fascinated by the cornet, a sonority he explored extensively. Tutti, or massive sound, is seldom found in Alain’s music. Our day ended with palace organist Robin demonstrating French Classical music on the beautiful chapel organ of the palace. Participants were actually able to play the chapel organ! Robin is one of four titular organists. The others are Michel Bouvard, François Espinasse, and Frédéric Desenclos, with Michel Chapuis serving as honorary titulaire.

To be in France and therefore in the center of the vital and enduring influence of the world’s greatest organ tradition is as fascinating and transforming as ever. The spirits of Widor, Vierne, Messiaen, et al. continue to permeate the sensibilities and ethos of this beautiful part of the world through the brilliant French artists of the present. There is no more amazing experience, or better pilgrimage, for an organist. Teach us to listen, and learn…

—Helen VanAbbema Rodgers