Sarah Bieber Handbell Soloist - Be Still, My Soul Arr. Christine Anderson

In the Organ Lofts of Paris

In the Organ Lofts of Paris is the title of a 1923 book by Frederic B.Stiven, erstwhile Professor and Director of the School of Music at the University of Illinois (now reprinted with photos). It is a series of vignettes of the various organs he visited during a study-year in Paris in 1910-11. I've been using chapters of this book as a kind of "bedtime story" for our students. What is fascinating is how few things in the organ world of Paris have changed since the 1920's, especially the tradition of inviting visitors into the organ loft to observe the organist during a service. Such was the case this evening when Sophie-Veronique Cauchefer-Choplin invited us into the loft of St-Sulpice for the 6:45 p.m. mass. We all gathered around the massive console to watch her set the registration for her prelude, a movement from Diptyque Liturgique by Jean-Jacques Grunenwald, successor to Marcel Dupre at St-Sulpice. After she played this piece, she offered a stylistic improvisation as the clergy gathered for the mass, to be said in the choir of this famous church. When she finished, we repaired to the "Widor Room" behind the organ for conversation while the mass progressed. This is also tradition. The grand orgue in the rear gallery is only used for the prelude and postlude (sortie) of the mass as well as the Offertory (offertoire) and improvisation during communion. At the appointed time, we all moved back to the organ console to observe Sophie-Veronique for the aforementioned events. Because everyone is so far up and behind organ pipes and some drapery, it is possible to converse softly while the mass is progressing, discussing registration of the organ and the music that is being used. This, too, is tradition, even to talk to the organist when she or he is playing! It was awe-inspiring to listen to the creative improvisations and musical interpretations of Sophie-Veronique on this fine Cavaille-Coll organ while observing the faithful at mass far below in this stunning church. Merci Sophie-Veronique!

Earlier in the day we enjoyed the Protestant service at the American Church where expert church musician Fred Gramann, Music Director at ACP, played the Bach Prelude and Fugue in A minor and the Prelude in E minor (Wedge). We sang with the full congregation to his spirited hymn playing and enjoyed his choir. He graciously invited Sarah Bieber '12 to perform a handbell solo, Be Still My Soul, arr. by Christine Anderson as part of the morning's musical offerings. Thank you Fred! Sarah offered her music with elegance and conviction, drawing "Amens" from the congregation and also a few tears. What a great representation of Luther's music program! Also, it was fun for me to see the pew donated by the Old South Church in Boston and to meet up with Megan Staley who was a charter member of the Old South Ringers that I formed in 1998. Megan is currently working in Paris and it was fun to reminisce about our days at OSC. I so enjoy the connections that we make and maintain around the world! If this weren't enough, we also took in the weekly organ recital at St-Eustache including works of Bach, Liszt and Alain. A full and satisfying day. We are so privileged to do this, hanging out in the organ lofts of Paris! --GP

Tintinnabulation: A Paris Debut

One may wonder how a non-organist such as myself was granted the opportunity to travel with the Luther College organ seminar this January term. It was not my organ appreciation or my page turning skills that allowed me a spot on the trip--it was my solo handbell ringing abilities. Since the spring of 2010, Dr. Peterson has been in contact with Fred Gramann of the American Church in Paris. Fred is a renowned organist and composer of handbell music. During the Luther Ringers concert in the spring of 2010, the ringers performed "Change Ring Prelude on Divinum Mysterium." This piece beautifully illustrates the allusion of change ringing patterns in the opening measures. The type of sound produced by change ringing has no melody or harmony and, in fact, little musical significance given that it is based on mathematical sequence. This contemporary work gives musical credit to the origin of the handbell as it evolved from change ringing. Fred’s work is unique in that it allows you to hear the way handbell music was played in the past.

By taking this course, I was given the opportunity to work with Fred Gramann and perform a handbell solo at the American Church in Paris. This morning I performed Christine Anderson's arrangement of "Be Still, My Soul" for solo handbells. Fred Gramann accompanied my performance and it was well received by the Parisian community. The choir members and early church goers applauded my rehearsal prior to the service. I was in awe to see that listeners were brought to tears by my playing. Seeing the way my performance of handbell music touched the audience members made my own musical experience that much more wonderful. These musical moments truly feed the soul. Upon seeing and hearing my handbell skills, a pianist I was formerly introduced to asked to see the piano score. Along with her praise and thanks for my performance, Nathalia asked if she could keep the music. I happily told her to keep the music and she in turn handed me her personal card. Nathalia is a 1er prix concert pianist from the Conservatoire de Paris. She was so impressed with my performance that she wanted to accompany me in the future. If I ever consider touring Europe as a handbell soloist I am to get in touch with her. Thank you Dr. Peterson for giving me this wonderful opportunity. My Paris debut was a success!

An epic journey with many characters

     It is difficult to think realistically about our time in Paris, France. I have to continue to remind myself that this is J-term. It is noticeable when GP must keep up on e-mails pertaining to the music department. Otherwise, I don't feel restricted by time at all. I do not know what day it is, when we are going where, etc. It just comes each day and I am thankful to walk out onto the street where you look up and know you are in Paris by what you see. In addition to this, our foraying through the Paris Organ World (which we are often admonished to enjoy) keeps yielding incredible returns on our earnest investments. This, it seems to me is directly because of the personality of each building and instrument we experience. But, it is the people who show us the instruments whose passion and loving way of sharing music and tradition makes this journey one that will be difficult to come down from, and one you may be interested in reading more of.

     Visiting Maurice and Madame Marie Duruflé's apartment, playing at Notre-Dame d'Autueil, and having reign over Messiaen's organ loft at Sainte-de-la-Trinité are experiences that leave me eagerly anticipating what comes next. This is because they were such intimate glimpses into famous composer and organist's lives and work as well as pedagogical gold. Frederic Blanc, as GP explained so eloquently, gave us a lesson in spirituality. He talked about how the veranda of the Duruflé's apartment offered a view of the stone, mechanical city of Paris sprawling below-- which makes up less than 50% of perception. Big as Paris is, the glorious sight is dominated by the sky (which was particularly blue) which Frederic explained as a chiefly spiritual element of living here. The following day he extended the lesson into an impromptu masterclass where he reflected his former teacher's severity. While each of us played he would wrinkle his nose, raise his eyebrows, and scoff before stopping us to fix something (all in good humor). He made us realize that impersonal, technical playing "kills the organ." We need music and personality to prevail over difficult notes and virtuosity or every organist will sound the same and people will no longer attend organ recitals and the organ's power in worship is diminished. 

      Yesterday we discovered Olivier Messiaen, the man and the music, all day long. I was to prepare a brief overview of Messiaen's contributions, which was the first thing on the schedule. Then Chris Murray (Decorah native) arrived to graciously share his doctoral research on Messiaen's habitual and unique way of reusing music in new ways. He took us towards Messiaen's church near the Opera Garnier. We ate at a restaurant across the street aptly named "Entr'acte" where we enjoyed good wine and a view of Garnier's stunning façade. I was greatly anticipating the experience of la Trinité because I spent gobs of time learning the third movement of L'Ascension suite (Transports de joie) for a lesson during the last day of finals so I could continue work at home. Perhaps I should mention my appreciation to those I live with-- Ben, Tom, Paul, Mom, Dad, Jake, and others-- these people know some sections of this piece as well as I do! Thomas (toe-ma) Lacôte is one of three current Titular organists at la Trinité. He demonstrated the marvelous Cavaillé-Coll instrument which Messiaen added stops to in 1935 and 1967 respectively. Then it was time for me to play. This became what seemed to me like an intimate, personal coaching of how to navigate space, gesture, registration, and technique. GP was standing close, observing and visibly mentally taking note so we can start with new perspective come February. I loved hearing the piece fill the room and feel the electric connection between my fingers and the keys. It was an immense but appropriate sound for the "Outburst of joy from a soul before the Glory of Christ which is its own glory." I don't know what other people thought, but for me I was engaged in a way that felt like I was alone in an empty cave-- making noise that penetrates the whole purpose of coming here. There is still a lot of work to be done before I can offer this piece at auditions in the weeks to come, but this was "very special" as Thomas continually remarked. He said that not everything is written on the page-- the room is part of the instrument, thus deserves to be notated in the music. We try to think this way even in our lowly Sundt studio, and the CFL, but here it was clearly evident.

     I liken all this to some epic novel which continues to unfold and urges you to turn pages. Some characters come and go, some stay. Brad is probably experiencing culture shock as he heads for Jackson, MN, and Chris will continue with us for a few days. I am eager to travel to Chez Dupré. I can't wait to see Versailles thinking fondly of the French Revolution scenes in Mel Brook's History of the World Part I ("Don't get saucy with me Bearnaise!")  I am also excited to welcome art savvy Ann Sponberg Peterson. Auntie Ann will bring much joy to our merry band and we expect will make our visits to L'orangerie and Musée d'Orsay well- informed. 

Thanks for reading, be well, hear good organ music! 

Thomas Lacôte navigating the stops at Messiaen's organ (console new in the late 60's) while demonstrating some "very special" passages with distinct character only found on this organ in the "Serene Alleluias" (mvmt. 2, L'ascension). One unique sound was the combination of a 4' flute, tierce (1 3/5'), and 1' piccolo which sounds more like tubular chimes than wind pipes.

Auguste Rodin's Le Penseur (doing what we're doing). We all enjoyed the sculpture garden (seen in Midnight In Paris) and Sarah and I enjoyed the temporary exhibition of nude drawings.

Nave of la Trinité, from the second level right of the organ balcony.

Believe in Yourself

Today was a day of transformational learning for our group. We began with an improvisation workshop at the American Church Paris, taught by Peter Bannister, Associate Artistic Director and Composer-in-Association, SOLI DEO GLORIA Inc., and an associate musician at ACP. Peter was a patient, gracious teacher and spent time with each of the students individually, working on improvising in a given context, exploring chords while listening carefully, maintaining rhythm and not being afraid to develop musical ideas. The church's 1988 tracker organ by the Hamburg builder, Rudolph von Beckerath (3/47) was an amiable partner with its beautifully voiced combinations and eclectic specification. It was good to experience sounds that are different from the various, large Cavaille-Coll organs that we have been playing and listening to during the past week. All of the class did very well, even some who said "I've never improvised before" and everyone had something musically interesting to contribute. Thank you Peter for sharing your gifts and encouraging us to develop ours!

At 1:30 we were again hosted by Frederic Blanc, Artistic Director of the Durufle Association and the organist of Notre-Dame d'Auteuil in the 16th district, where he graciously invited us for an extensive visit. This lesser-known church across the street from a house where Moliere once lived houses an exquisite example of Aristide Cavaille-Coll's work, a three-manual organ begun in 1884. It is in pristine condition and sings in the generous, long acoustic of the sturdy, Romanesque eglise d'Auteuil. Monsieur Blanc is a gifted improviser and put the grand instrument through its paces, demonstrating the sheer beauty of the individual stops, especially the flutes (flutes, flutes!) and the thundering power of the grand-choeur (full organ) with the pedal bombardes. He then offered an interpretation master class allowing each student to "have the pleasure [of playing]" this special organ. Everyone played beautifully and accepted Monsieur Blanc's spirited critiques and suggestions with interest and grace. He is a natural teacher. In order the repertoire played was Piece Heroique (Trois Piece) by Cesar Franck, La Cathedrale (Pieces de Phantasie) by Louie Vierne, Placare Christi Servulis (Le Tombeau de Titelouze, Op. 38) by Marcel Dupre, Toccata in b minor by Eugene Gigout, Variations on a Theme of Clement Jannequin by Jehan Alain and Prelude, Fugue and Variation, Op. 18 by Franck. I was very proud of our students! It isn't easy to sit down cold at a big instrument and make music, but each of them did. Monsieur Blanc is passionate about making music and admonished each of the students to "believe in yourself!" Everyone of them has a musical personality to be heard. "Let us hear even more of what I know is inside you," he said enthusiastically. "You are already an artist!" The afternoon sun through the windows and the gift of time in a sacred space with a gorgeous instrument all contributed to an emotional experience of beauty, sound and aesthetics that will remain with these students (and their teacher) forever. Merci Monsieur Blanc! -- GP

Paris Organ J-Term: A study in beauty...

At Espace Dali, Montmartre. This museum holds around 300 original drawings and sculptures by Salvador Dali. Sara and I visited briefly today. The artist saw himself as 'soft time' in this unsuspected self-portrait sculpture. Notice the tilt to help see the mouth and nose with a tear running off. He depicted melting watches because time is both fleeting and noble in the Surrealist perspective.

Monsieur Frederic Blanc, curator and resident of the Durufle apartment. He treated us to a special afternoon considering beauty, musicality, spirituality in music and of the city of Paris, and demonstrating the Durufle's distinguished house organ.

At the steps below Sacre-Coeur on Montmartre. The domes are beautiful and impressive. The horse statues are at left Saint-Louis (Louis IX, King of France) and Joan of Arc at right.

The hall at Cite de la musique. This is adjacent to the present Paris Conservatoire. We heard three premieres and another piece of contemporary music.

Napoleon I lies within having been moved from his island of exile (St. Helena), surrounded by vigilant statues with laurels. He lies directly beneath the gilded dome. The design of the crypt is strikingly similar to the tomb of Ulysses S. Grant in New York City.

The spectacular interior of the Dome Church at Hotel-des-Invalides (inspired by St. Peter's Basilica in Rome). A place for war veterans to live built by Louis XIV, later converted to house the remains of Napoleon and other French generals.

Back gallery of the nave, with cross-rib vaulted ceiling, wonderful arches, and Cavaille-Coll's first major commission.

Rose window in the North transept. (The matching South transept window was missing its glass.)

The nave of St-Denis. Marie Antoinette and Louis XVI are in the crypt (among others), which some of us saw.

"In this church, Tuesday, September 13, 1429 Joan of Arc prayed before God for Paris in homage to St-Denis, offering her army." (our best translation of the stone on the door of St-Denis)

A little time to relax...

Tuesday we all had a free day to explore Paris at our own leisure - an opportunity that some of us took to accomplish some personal goals for the trip. While some shopped, met with friends, and did other things in the city, a few of us made our way North on the subway to the suburb of St. Denis. The town is named for the basilica of the same. The church is the first ever example of a Gothic-style church and is an incredible sight to behold. The imposing facade, though missing one of its beautiful towers and marred by war and revolution, is an elaborate work of art that pays homage to the incredible labor it must have taken to build the church in the 7th century.
Inside the church the spectacle continues to become more elaborate. The altar is beautiful and two fold; the first altar is functional, accompanied by the tomb of Dagobert, erroneously thought to be the king that built the church, and the second is reserved for the clergy, housing the relics of St. Denis. Joan of Arc also prayed here. Sadly, I forgot my camera, so you'll have to wait for John to post pictures to see all of these beautiful things I'm describing. Besides the altar, one is impressed by the enormous organ that looms over the rear gallery. It is the first organ that Aristide Cavaille-Coll built and its continued presence and use is testament to his ingenuity and craftsmanship.
The church is perhaps most famously the resting place of the kings and queens of the French throne since the time of Charlemagne. Though he himself is not buried there, his father, Pepin the Short, is. Along with Pepin, the French monarchy, right down to the unfortunate Louis XVI and Marie-Antoinette, are buried in the crypt underneath the altar. Sadly, the actual bodies of the royalty, save those in the crypt proper, are no longer present - during the 1789 Revolution, the tombs were opened and the bodies removed and destroyed in a ditch nearby. However, those buried since the revolution and those inside the underground crypt, such as Louis XIV, the Sun King, are still housed inside the church.
After we all returned from our various exploits, we gathered together in the evening to attend a concert of new music performed by Ensemble Intercontemporain at the Cite de la Musique in Paris. It was an interesting concert, including one world premiere by Unsuk Chin. Overall, the concert received mixed reviews from members of our group - some enjoyed it while some were not so fond. However, it was an interesting experience nonetheless and an excellent opportunity to hear what is happening in the world of new music, because, as the American Composer's Forum says, "all music was once new."
This morning we all made our way past myriad metro stops on our way to Montmartre - the mount of martyrs. It is the hill that forms the high point of Parisian topography and is the place where St. Denis became a martyr. Since 1914, it is where one can find the Basilica of Sacre Coeur (Sacred Heart). It is a towering, domed white stone building with an impressive facade and many, many steps. Inside the church, mass was being said so we could not take any pictures or tour the dome, but it was nonetheless stunning. There are beautiful mosaics punctuated with goldleaf all over the walls, especially behind the altar. Because of the mass our tour was cut short, but we were all nonetheless impressed by the beauty of the space. After this we all went our separate ways, some going to the Salvador Dali museum, others going to the Moulin Rouge, and others just retiring home.
After we had all reconvened, we took an afternoon tour of the apartment of Maurice and Marie-Madeleine Durufle. Our host was Frederic Blanc, the organist of Notre Dame d'Auteuil and owner of the apartment. He was a friendly and very good humored man who had been a favorite and last pupil of Madame Durufle. His knowledge of the famous musical couple was extensive and he was obviously a great devotee of their music and memory. After he gave us a detailed account of their lives and influences, he led us up to the 8th floor of the building to the apartment. It was a small, curious place with an enormous house organ and a spectacular view of the surrounding city. Monsieur Blanc graciously and skillfully demonstrated the organ and all of its colors and capabilities through a series of varying improvisations. After which, we were each invited to try out the organ one at a time. After GP told Monsieur Blanc that many of us had sung Maurice Durufle's setting of Ubi Caritas, he wowed us all by showing us the original manuscript of the piece which had been left behind in the apartment when he had inherited it from Madame Durufle - a treat indeed!
Tonight we had a lovely dinner at the apartment as we have done a few times now - an easy way to keep our food costs down without resorting to eating crepes and panini for every meal (popular Parisian street food). Tomorrow we make our way to the American Church for an improvisation workshop with Peter Bannister and will meet up again with Monsieur Blanc to see the organ at the church for which he plays. We are excited to finally have another opportunity to do some more playing of our own! But for now, we're winding down, eating ice cream and getting ready for bed. Our days have been long and exhausting, but always worth it!