Kimberly Marshall plays the Ciacona in E Minor by Dieterich Buxtehude on the Paul Fritts & Company Opus 12 organ (1991) at Arizona State University, Tempe, Arizona; two manuals and pedal, 28 stops, 36 ranks. 
http://www.frittsorgan.com/opus_pages/galleries/opus_12/photo_gallery.html 
https://musicdancetheatre.asu.edu/about/venues-facilities/organ-hall

Kimberly Marshall currently holds the Patricia and Leonard Goldman Endowed Professorship in Organ at Arizona State University and the Hedda Andersson Visiting Professorship at the Malmö Academy of Music.

See Kimberly Marshall’s artist spotlight: 
https://www.thediapason.com/artists/kimberly-marshall

See http://www.kimberlymarshall.com/ or visit https://www.facebook.com/KimberlyMarshall.organist.

Kimberly Marshall is known worldwide for her compelling programs and presentations of organ music. Her distinguished achievement in organ performance and scholarship was recognized by the Royal College of Organists in 2022 with their highest award. She is an accomplished teacher, giving master classes internationally. She currently holds the Patricia and Leonard Goldman Endowed Professorship in Organ at Arizona State University and the Hedda Andersson Visiting Professorship at the Malmö Academy of Music.

Marshall has performed and presented her research at 11 national conventions of the AGO.  A review of her recital in Washington, D.C., in July 2010 praised her as “a multi-faceted musician” who “pushed the organ to its limit with her virtuosic demands in playing and registration….This was a royal performance by one of our royalty!” During the summer of 2013, she appeared in Amsterdam, Seoul and Sweden; in 2014, she was a featured artist on performance series in England, Germany, France, New York and San Diego. A highlight of 2015 was Marshall’s concert on the earliest surviving instrument in the Netherlands, built in 1511. In 2016, she played recitals in Philadelphia, Bolivia, Amsterdam and Vienna, while her engagements in 2017 included the opening recital for the AGO regional convention in Salt Lake City and an inaugural recital of the new Fritts organ for the Basilica at the University of Notre-Dame. In July 2018, she was chosen as the organ soloist with orchestra for the final concert of the AGO national convention in the Kauffman Center, Kansas City, where she was extolled for “the ease and facility” with which she performed the “virtuosic pedal cadenza.” (The American Organist, October 2018).

In 2019, Kimberly Marshall inaugurated the new Klais organ in St. Petri Cathedral, Malmö, the largest instrument in Scandinavia.  She appeared at the Boston Early Music Festival and gave the opening concert for the national convention of the Organ Historical Society in Dallas. Her expertise in early Spanish and Italian repertoire was acknowledged by invitations to perform on the Spanish baroque-style organ at Oberlin Conservatory and the Italian-baroque inspired organ at Christ Church Cathedral, Cincinnati. She performed and taught at the Göteborg International Organ Academy in 2020, 2021 and 2022, opening the Malmö Organ Festival in May 2022. In the same month, she gave the first guest concert at Washington National Cathedral since the pandemic, to an enthusiastic audience.

Performer, scholar, and educator, Kimberly Marshall is a committed advocate of the organ.  She works to promote the instrument in both local and global communities. She is regularly consulted by churches searching for organists and music directors, as well as by institutions seeking advice on instrument installations.  She is the advisor on organs for the Musical Instrument Museum (MIM) in Phoenix and has made videos in Guanajuato (Mexico), Toulouse (France), and Florence (Italy) for their exhibits.  An authority on the organ’s rich history over the past 2000 years, she is devoted to continuing this tradition of artistic ingenuity into the next millennium.

See http://www.kimberlymarshall.com/ or visit https://www.facebook.com/KimberlyMarshall.organist.

 

Schantz Organ Company, Orrville, Ohio; 150 years of Schantz organs

This year, the Schantz Organ Company is proud to celebrate its 150th anniversary. Since our 1873 founding, five generations of Schantz family members have led our staff of artisans and musicians. More than 3,000 pipe organs have been built and installed across the United States as well as Australia. They have been installed in churches of every denomination, as well as concert halls, hospital chapels, Masonic temples, sanatoriums, synagogues, orphanages, residences, and even a penitentiary chapel. 

This article will examine some of the details of how different mechanisms were developed and used, how tonal designs changed over the years, and the wide range of visual designs that can be found in our instruments. 

Evolution of Schantz action

Abraham John Tschantz¹ (1849–1921) started his company in 1873 to build “Ohio Beauty” reed organs. An unknown number of instruments were built, starting on the family farm and moving quickly to a shop in Orrville. We know of seven surviving “Ohio Beauty” reed organs, ranging from fully restored to unusable. 

After assisting with the installation of a Votteler pipe organ in 1872 (which we still care for), Abraham decided to grow his company to build pipe organs. Early records are unclear, but Schantz was building tracker pipe organs by 1891. By 1903, we began the transition to tubular-pneumatic action. In this style of mechanism, a lead tube runs from every key, pedal, and drawknob back to the chests. Pressing a key will de-pressurize the tube, which causes the chest to play a note. Most remaining contracts from this time refer to an “individual compartment for each stop” in the chest, i.e., ventil chests. Initially this was used only for pedal stops, while the manual key action remained tracker. A fine example of this is the 1904 instrument still standing in Second United Church of Christ in Tiffin, Ohio. By 1906, tubular-pneumatic key action with ventil windchests had become our standard. Trackers continued to be built until at least 1908; tubular-pneumatic actions were built until at least 1926. We built approximately 100 organs using this mechanism, and we still care for several of these instruments.

Victor A. Schantz (1885–1973) was part of the second generation, and he spent eighteen months working for Wurlitzer in North Tonawanda, New York. There he learned about building dependable electro-pneumatic chest action. In 1918, we built our first electro-pneumatic action for First Baptist Church in nearby Seville, Ohio. This was followed by electrifying two organs during the process of relocating them. By 1923, electro-pneumatic chests were our standard mechanism. This style of chest offers fast and reliable key action. It also allowed us to offer moveable consoles—quite an exciting development at the time. We continue to build pitman chests today, with subtle improvements since 1923. One important development was the Schantz cross-top pitman chest, built of laminated yellow poplar toeboards running perpendicular to the ranks of pipes. Leather gasketing between the toeboards allowed for plenty of expansion in the summer and contraction in the winter in the northern climates where most pre-World War II Schantz organs were installed.

Albert Imhoff (1898–1994) was a long-time employee who made several important mechanical developments during his time at Schantz. Indeed, we still regularly use several tools that he designed to ease production of pipes and chests. His most enduring contribution might be the tremolo device that he patented in 1959, which we still use today.

In 1980, Schantz rebuilt the 1892 Roosevelt organ at the Cathedral of the Immaculate Conception in Syracuse, New York, using slider chests purchased from Organ Supply Industries.² In the mid-1980s Schantz went further, and experimented with building tracker-action instruments again. However, we decided to continue our focus on electro-pneumatic instruments.

When Burton K. Tidwell took on the role of tonal director in 1988, he encouraged the company to explore building slider chests with electro-pneumatic key action. And so in 1993, Schantz built its first “Blackinton-style” slider chest for the Great division at the United Methodist Church in Painesville, Ohio. To maximize space efficiency and tuning stability, these chests often have pipes laid out in an M-M (or tierce) configuration. Speech is also subtly affected by the single valve and common tone channels, which operate just like a tracker. We are proud to continue to build both pitman and slider chests for clients today. 

In addition to building our own instruments from raw lumber, our team has also successfully restored historic instruments from many builders throughout the country. Major restorations include the four-manual, 94-rank Skinner built in 1929 for Severance Hall in Cleveland, Ohio.³ More recently, six months ago we completed a restoration of the two-manual, 22-rank Aeolian-Skinner that was built in 1963 for the Metropolitan Opera in New York City.⁴ 

Tonal designs

As musical tastes have changed over the course of history, the tonal design of instruments has also changed. Comparing stoplists of organs built in the 1920s and 1960s by any company in the country would show a change in musical design. While some companies made dramatic shifts, Schantz was more subtle. 

Looking at stoplists from our first and second generation, an abundance of 8′ flue ranks will be seen. Upper work usually begins with a 4′ Octave and a 4′ Flute d’Amour. If the organ included a reed, it was most often a Vox Humana. The Swell would include two strings: an 8′ Aeoline and an 8′ Salicional—but no celeste to pair with them. The language used for stop names reflected an English influence with names like Open Diapason and Melodia. Often these instruments would also have a “hidden octave” to allow the effective use of super-couplers.

John Schantz (1920–2013) studied organ under Arthur Poister at Oberlin Conservatory (interrupted by military service in World War II), and visited instruments in Europe in 1950. When he took on the role of tonal director, his stoplists reflected these experiences and the Orgelbewegung (Organ Reform movement). Chorus structures included more upper work, and nomenclature reflected various national schools. Scale sizes (diameters) of principal pipes decreased slightly to increase the brightness of the sound, and wind pressures were lowered as far as 2.5 inches in a water column. All of this allowed the cut-up of the pipe mouth to be kept slightly lower. Languids and lower lips were nicked less, yielding some subtle initial “chiff” in pipe speech not found in earlier—or current—Schantz organs. Reed pipes also tended to be smaller scale, with chorus reeds primarily using parallel shallots.

Schantz has built wooden pipes in-house since we started building pipe organs. But initially, metal pipes were sourced from suppliers (Gottfried, Durst, and Schopp), as many builders do today. Shortly after World War II, Jack Cook joined the staff. A former Skinner/Aeolian-Skinner employee, Cook helped us design a pipe shop addition that was built in 1966 to allow us to efficiently make our own metal pipes, a practice that continues today. 

Following John Schantz’s retirement, Burton K. Tidwell served as tonal director from 1988–1996. Under his leadership, Schantz organs started to retreat from neo-Baroque narrow scaling and over-use of upperwork.⁵ Tidwell, an accomplished organist and church musician, insisted on spending significant time onsite doing tonal finishing. This allowed our voicers to carefully maximize the musicality of each instrument by addressing pipe speech and balance. 

It should be noted that Tidwell also designed clever unit organs for clients with limited space and budgets. These small instruments have some ranks that share bottom and top octaves to maximize budget and space, but their middle range is independent to maximize musicality. Nearly twenty of these instruments have been built.

Jeffrey Dexter joined Schantz in 1993, and quickly followed Tidwell as our tonal director. He is also a practicing church musician who continues to move us toward even more broadly voiced instruments that play a wide range of repertoire effectively. 

Visual designs

In the company’s early years, Abraham Tschantz was responsible for all design aspects of his organs, including visual design. By 1893 there were at least nine instruments by other builders within a short buggy ride of the shop that could potentially inspire his case designs. Contracts from this early time period can be subtly amusing to read:

Case of Oak or other native woods, varnished and polished, all front pipes richly decorated in gold and colors. Width about 12 feet 00 inches; depth about 6 feet 00 inches; height about 13 feet 00 inches. Style of case in harmony with the interior architecture of the Church.⁶  

Abraham’s son Edison was interested in both architectural and tonal design, and the case designs between the World Wars are likely his. 

After World War II, as Schantz became a truly national builder, Bruce Schantz (1913–2007) took on the role of foreman. One of his many developments was to establish an engineering department of three men: Chester Gable, Wilbur Herr, and Bob Romey. In addition to producing the hundreds of engineering drawings required during the post-war boom years of the 1950s and 1960s, each man developed his skills as a visual designer. 

Many instruments were installed in chambers of churches during this time, with little or nothing to be seen. But late in the engineers’ long careers, Schantz clients became more interested in seeing as well as hearing the organs they were commissioning. Bruce Schantz responded to the demand by seeking the advice of Reverend Arnold Klukas, an art historian who had taught at Oberlin College and Smith College. Klukas provided guidance for the Schantz engineers as they designed their cases. The Schantz cabinet shop began building the sort of cabinetry that had not been a mainstay at the company for decades. Our 1989 instrument at Trinity Episcopal Church in Ambler, Pennsylvania (III/49), was our first modern, free-standing case.⁷ 

In 1991 Romey, Gable, and Herr were nearing retirement.⁸ For the first time Schantz looked outside the company for one of its engineers and hired Eric Gastier, a registered architect and organist. He was mentored by Wilbur Herr and quickly designed his first case for Painesville (Ohio) United Methodist Church.⁹ With Gastier, Schantz made the transition from drafting boards and tracing paper to AutoCAD. That move was soon followed by the installation of the company’s first CNC router, a machine that allows the efficient production of casework, pipe shades, console cabinet carvings, mechanical parts, and even metal pieces to solder into new pipes. 

Anniversary celebrations

We are looking forward to celebrating our 150th anniversary over the course of the entire year. You can follow our Facebook page for some historic photos. A highlight will be our open house on Saturday, April 29, from 10:00 a.m. until 3:00 p.m. Our team will also be present at other local events—including sending a reed organ on a float through Orrville’s Independence Day parade! And we are proud to look to the future by sponsoring scholarships with both the Akron and Cleveland chapters of the American Guild of Organists. 

Notes

1. The spelling of the family name was officially changed in 1899 to ease pronunciation as the business was growing. Other branches of the family retained the original spelling.

2. It should be noted that Schantz provides chests, consoles, and pipes, as well as Zephyr organ blowers to almost every organbuilder in North America.

3. Featured as the cover instrument for The American Organist, January 2001, page 52.

4. For more information, see “New life for the Metropolitan Opera’s organ,” by Craig Whitney, The Diapason, November 2022, page 12.

5. For more information about his tonal design, see his article, “The Small Church Organ: A Rationale Towards Integrity,” The American Organist, April 1990, pages 95–98. 

6. From the contract for the 1903 instrument built for Grace Reformed Church in Tiffin, Ohio.

7. Featured as the cover instrument for The American Organist, October 1990, page 66. 

8. It should be noted—with deep appreciation—that many long-term employees at Schantz would “retire” to become part-time employees.

9. Featured as the cover instrument for The American Organist, October 1994, page 44. 

—Luke D. Tegtmeier, Jeffrey D. Dexter, Eric J. Gastier

www.schantzorgan.com

Jonathan Bezdegian

Jonathan Bezdegian received his Doctor of Musical Arts degree from the University of Washington in March 2018. He works at Assumption University in Worcester, Massachusetts, as campus minister for liturgical music and mission trips, lecturer in music, and instructor of organ. He is the past dean of the Worcester Chapter American Guild of Organists.

The “Toccata” from Louis Vierne’s 24 Pièces de Fantaisie was composed in Paris in December 1926. It was published as the final composition in the “Deuxième suite,” opus 53, in September 1927 by Lemoine. “Toccata” is dedicated to Alexander Russell,¹ the director of music for the Wanamaker store in New York City and the first Frick Professor of Music at Princeton University. He also served as Vierne’s eastern manager for his 1927 American concert tour. 

As Vierne’s American concert manager, it seems obvious that Russell would bring Vierne to Princeton University as part of his American concert tour. However, this was not the case. There is no mention of a concert or of Vierne even visiting Princeton in university documents or publications. Rollin Smith makes a definitive statement after compiling this information, “Obviously Vierne never came to Princeton.”^{2, 3} Regardless, Vierne’s visit to America was of paramount importance to his organ compositions, especially his 24 Pièces de Fantaisie. 

Regarding “Toccata,” many do not realize the significance of a unique detail in its registrational scheme. Vierne calls for the addition of super couplers (octaves aiguës) in measures 148 (via the Récit) and 156 (via the Positif); it was his way of paying homage to American organ building.⁴ This is the first time Vierne calls for the use of these couplers in his 24 Pièces de Fantaisie. More importantly, the specification of the 1868 rebuild of the Cathedral of Notre Dame organ by Aristide Cavaillé-Coll in Paris did not have super couplers—there were only sub couplers (octaves graves) on all five manuals.⁵

While super-octave couplers were not yet used by organbuilders in France at the time, American organbuilders incorporated these couplers and other novelties in their consoles. Vierne experienced these features during his American tour and was quite impressed.⁶ Thus, it seems only fitting that he wanted the performance of his music to adequately showcase instruments constructed by American builders. 

Compositional matters in “Toccata” require particular attention. Close study of this popular and intense work reveals an abundance of sequential material, the combination of Gregorian modes with modes of limited transposition, and more structured use of harmony when compared to other works from 24 Pièces de Fantaisie. Analysis of Vierne’s organ music is certainly a challenge. The “Toccata” reveals many strange situations that require a unique understanding of modes and functional harmony. The goal of this article is to aid in the clarification of these situations.

The toccata’s form is ABA′ with coda. Throughout the composition, Vierne uses B-flat and D minor scales, C-sharp Phrygian mode, and modes 1, 2, and 3 from the modes of limited transposition. Vierne was not an advocate of structured harmonic writing. When studying his organ works, one is immediately struck by the characteristics of intense chromaticism and moving from one chord (or scale/key center) to another with virtually no warning or apparent methodology—that is the point. This attribute makes his organ music spontaneous, organic, and exciting. For Vierne, freeing himself from the bonds of structured compositional practices allowed him to make music in a natural, more musical way.⁷

The first two pages of the score present a relatively straightforward analysis using the B-flat (melodic) minor scale (note the copious use of G- and A-naturals throughout).⁸ The first three pages outline the A theme.⁹ Below is an analytical chart of measures 1–23. The chart below contains the measure, scale, and chord found in each:

Measures 1–4, B-flat minor i

5 VI7-i

6 i-III+

7–8 VI6

9 iiØ7

10 IV7

11–12 vii°7/V (dom. pedal)

13 V

14–15 i

16–17 VI7

18 bII7

19 iiØ7

20–23 vii°7/V (dom. pedal)

The next seven measures contain a descending chromatic sequence. Measures 24–26 are the first part of the sequence. Measure 27 contains a vi°7/V (V designating a dominant pedal) that connects this sequence to its repeat in measures 28–30. The chords are the same, but they are revoiced, and the pedal/bass part is now in eighth notes. Due to the chromaticism, it is virtually impossible to label measures 28–30 with our current Roman numeral system—at least in a sensible way. This is a common issue when analyzing Vierne’s organ works. 

However, measures 31–36 present a strange problem. Our relatively standard analysis quickly falls apart as the sonorities encountered do not coincide with B-flat minor at all. This is the first introduction of a mode of limited transposition: mode 3, transposition 3 (M3, T3). Vierne uses this mode seamlessly due to the common tones found between the B-flat minor scale and the preceding sequential measures. (Be cognizant of enharmonic equivalence when studying Examples 1a and 1b.)

When comparing the M3, T3 scale to the measures in question (reduced to the outer voices), one encounters some non-scale tones. The B-natural in the upper voice in measures 31–32 can be argued as a continuation of the downward chromatic sequence. The D-sharp in the bass is a passing tone. Lastly, the G-naturals in the upper voice and in the bass in measure 34 are also passing tones. This is evident when they are viewed as a connection to measures 35 and 36 where the key of B-flat minor (and Roman numeral analysis) continues. Consult the chart below for the analysis. Note that measures 36–38 contain another sequence.

Measure 35, B-flat minor v6, V6

36 i(9), IV7

37 VII7, III7

38 VI7, bII7

39 V

40–41 i

In measures 42–49, the key of D minor emerges, reached via a fully diminished vii chord achieved by common tone with B-flat minor (D-flat/C-sharp enharmonic equivalent).¹⁰ The recurring A dominant pedal point keeps the listener locked onto the new key until reaching a segue to the new B theme.

Measures 42–43, D minor vii°7/V

44–45 i

46 i7, viØ7

47 i

48 IV7, i7

49 viØ7

The segue to the B theme is in measures 50–55. The notes are derived from mode 2, transposition 2. Below is a replication of the segue and the M2, T2 scale for comparison. The non-scale tone of C in measure 50 (the seventh note in Examples 2a and 2b) is a passing tone.¹¹

This meandering material forms an ostinato that accompanies the new, B theme in C-sharp Phrygian. It is first encountered in the bass in measure 60.¹² 

The B theme is first introduced in the pedal in measures 60–76. The theme is seventeen measures long and in two parts. The first spans eight measures and is clearly in C-sharp Phrygian. The second portion is more chromatic. Both the C-sharp Phrygian scale and theme are demonstrated in Examples 3a and 3b. 

While the first eight measures are clear to understand regarding the Phrygian mode, the second, chromatic portion is rather perplexing. However, the accompaniment that begins in measure 68 (where the second portion of the B theme starts) is another descending chromatic sequence. Thus, Vierne is able to blend the C-sharp Phrygian mode with these chromatic, non-scale tones seamlessly.

In measure 76, the B theme moves to the soprano. It is an exact repeat of its first statement. However, this time the accompaniment contains non-C-sharp Phrygian tones from mode 3, transposition 2—this mode and transposition will take over in measure 92. Pay close attention to another descending chromatic sequence beginning in measure 84. 

The B theme undergoes a miniature development in measures 92–115. A fragmented version of the B theme returns to the bass (still in C-sharp Phrygian) while juxtaposed with new rhythmic patterns in the accompaniment from M3, T2. The constant resurgences of a D-natural in the accompaniment are from the C-sharp Phrygian mode (Examples 4a and 4b). 

By measure 100, the remaining portion of the B theme is in M3, T2. Ultimately, in measure 104, the theme devolves to a pedal point on F—the dominant of B-flat minor. Measures 104–115 serve as a decoration of the vii°7 chord from B-flat minor (respelled for ease of reading: A-flat, B, D, F). The diminished chords are linked by chromatic scales that rise in pitch and create tension and anticipation before reaching the recapitulation in measure 116 (Example 5). 

The recapitulation is not an identical repeat; much of the material is reharmonized, thus the A′ designation. The recapitulation spans from measure 116 to measure 147. Measures 116–128 are charted below.

Measures 116–117, B-flat minor i

118 i, ii°

119 i

120 VI

121 iv

122 ii°7

123 V

124 ii°7

125 III

126 ii°7

127 III

128 ii°7

Measure 129 is rather unusual. If one follows the original A theme, this is the point where the key of D minor is reached via a fully diminished seventh chord (vii°7). The pitches in measure 129 indicate a seventh chord, but the addition of a G-sharp prevents the sonority from being fully realized.¹³ The new C-sharp minor seventh chord adds richness and color and seems to foreshadow what is yet to come—a sudden arrival of the B theme (in the bass) in measure 132, this time in mode 1, transposition 2 (Examples 6a and 6b). 

The accompaniment contains whole-tone scales from T2 and is connected via a viiØ7 chord from B-flat minor in measures 136–137. Note the presence of another descending chromatic sequence in measures 140–147. While this sequence is a bit different in presentation (especially with the meandering repetitions in measures 145–147), the effect is the same for harmonizing the chromatic second portion of the B theme (Example 7).

The coda begins in measure 148. The initial auditory response at the arrival of this measure is one of “sensory overload” as Vierne employs Mode 2, T2 over an F-sharp pedal point.¹⁴ Vierne will alternate transposition 2 and transposition 3 from mode 2 until the downbeat of measure 156, where he will retain transposition 2 and switch to an F pedal point. The ensuing scales contain passing tones not found in mode 2, transposition 2—they are approached and left by step.¹⁵ Below is a chart analyzing measures 148–159 by mode and transposition.

Measure 148, Mode 2 T2

149 T3, T2

150–151 T3

152 T2, T3 (last 2 16ths)

153 T2, T3 (last 2 16ths)

154–159 T2

The F pedal point in measure 156 serves as an anchor to the dominant of B-flat minor, which re-emerges in measure 160. Vierne uses the augmented III chord and dominant-seventh chord above the opening seven-note group heard in the beginning of the “Toccata,” thus creating a relentless, closing section of the coda. Measures 160–179 are charted below.

Measure 160, B-flat minor III+, V7

161 i

162 III+, V7

163 i

164–168, descending chromatic 

  chords

169–179, B-flat minor

The Toccata’s final page contains a descending chordal passage from measures 164–168. The bass gains momentum and rises chromatically in a rapid succession of sixteenth notes. One encounters a return of the opening seven-note group heard at the beginning of the “Toccata” in measure 169. Finally, the constant arpeggiation of the tonic chord (eight measures!) brings the piece to an abrupt close (the last piece of material the listener encounters before the close is the seven-note group heard in the bass). Because of the absence of a normal ritardando—Vierne specifically indicates senza ritardando—this piece often leaves the listener with a sense of bewilderment and uneasiness. 

Not to create a whimsical comparison, but the feeling of bewilderment is also common when attempting an analysis of Vierne’s music! Analyzing music is no easy task, and Vierne’s music is no exception. “Toccata” reveals many peculiar situations that require a different way of analytical thinking. These situations involve various uses of sequential material, Gregorian modes, and the modes of limited transposition. Vierne seamlessly combines all of these elements, resulting in a mesh of chromaticism and thematic material. It is this combination that gives his music its signature sound and character. Understanding the various elements of Vierne’s unique harmonic language is paramount in unlocking the mysteries behind the sound of his music. Hopefully, the information presented in this article will aid in the discovery of new analytical techniques for enthusiasts and disciples of Vierne’s oeuvre.

Notes

1. Rollin Smith, Louis Vierne: Organist of Notre-Dame Cathedral (New York: Pendragon Press, 1999), 416.

2. Ibid.

3. During Vierne’s American concert tour in 1927, Princeton University’s chapel and Skinner Organ Company organ were not yet completed. Completion came the following year. See: https://chapel.princeton.edu/chapel/history and https://chapel.princeton.edu/chapel/chapel/mander-skinner-organ. If Vierne had come to Princeton, he would have played the four-manual Aeolian organ installed in 1916 in Procter Hall. That organ no longer exists. See: https://www.princeton.edu/~gradcol/album/picsphall.htm.

4. Louis Vierne, Pièces de Fantaisie in quatre suites, Livre II, op. 53, ed. Helga Schauerte-Maubouet (Kassel: Bärenreiter-Verlag, 2008), XXII.

5. See Smith, 346–349, for the 1868 Notre-Dame stoplist and console layout.

6. Vierne was very attracted to the ease of use and versatility of American organ consoles. The availability of Unison Off and sub- and super-couplers in the manual divisions was of particular interest to him, so much so that he desired an American-style console for Notre-Dame. He began designing one on his return to France after his American tour concluded in 1927. Rollin Smith devoted an entire chapter in his book on this matter. See endnote 1: “Vierne on Organ Design,” Smith, 356–365.

7. Vierne constantly reflects on his struggles with structured theory practices in his memoirs (Souvenirs). This was particularly evident during his formative years at the Institution Nationale de Jeunes Aveugles. His beginning studies in harmony with Julien Héry were particularly problematic: “He helped us with a host of practical suggestions . . . . But on the artistic side he was rather limited, for he went strictly by the rules. After three years of this instruction we wrote correctly . . . but without the flexibility and freedom that make harmony an art. Later I had to work extremely hard to acquire a ‘pen’ in the modern sense of the word, and especially to enable me to teach in a really musical way.” Smith, 21.

8. The best approach to reading this article (and the subsequent study of the “Toccata”) is to have a recently published (or corrected) score available for consultation. The musical charts and examples in this article can be compared to the score for clarification.

9. Be aware that the opening seven-note group is an important identification mark throughout the composition:

10. The D melodic minor scale is used for this part of the analysis. Note the B-naturals and C-sharps throughout measures 42–49.

11. One views a key signature change at the halfway point of the segue—yes, this key signature has the same accidentals found in C-sharp Phrygian. However, one should be prudent when analyzing Vierne’s music. Just because a key signature is relatable does not guarantee that the composition in question is in the implied mode or key. (Obviously, this section is not in F-sharp minor or A major.) One should analyze carefully to justify their findings.

12. During the statement of the B theme, one encounters a non-scale tone in the ostinato in measures 58–59, 62–63, and 66–67—the F-sharp in the lower voice may cause a bit of confusion. However, one should note that F-sharp is present in the C-sharp Phrygian mode, thus allowing it to occur rather seamlessly.

13. D minor is reached in measure 132, but in name only as the forthcoming sonorities are not relatable.

14. Not only does Vierne’s use of mode 2 contribute to the unsettling arrival of measure 148, but the registration (full organ) also adds to the passage’s brutality.

15. Vierne switches between transposition levels of mode 2 by chromatic movement, which the listener has experienced many times in this toccata via the use of sequences. At this point, there is nothing that seems terribly out of place by these constant chromatic maneuvers.