Louis-James-Alfred Lefébure-Wély, lithograph

4 No 388 | THE ORGAN | SPRING 2019 Louis-James-Alfred Lefébure-Wély A sesquicentenary assessment

Michał Szostak

2019 marks the 150th anniversary of the death of this greatly significant figure in the Cavaillé-Coll (1811-1899) and his instru - development of 19th-century French organ music. In this major article, Dr Szostak ments built in the spirit of symphonic considers a number of important factors in the life and work of this remarkable style. musician. Another important factor at this time was the enlargement of the Prologue said that new music – in the spirit of orchestra, an area enabling composers This year sees the 150th anniversary of developing Romanticism – began to to create larger and larger symphonic the death of an interesting and import- appear in French organ music in the works, where such factors as crescendi ant figure for the French organ and ’30s and ’40s of the 19th century. This and diminuendi played a more expressive organ music world of the 19th century, phenomenon was closely related to the and important role. Louis-James-Alfred Lefébure-Wély appearance in in 1833 of Aristide It must also be remembered that (1817-1869). He was called by his con - temporaries the “prince of ”, a “notability”, a ”dandy”, the “Auber of organ” and even – this is the very word of – ”the most significant, the greatest and timeless of ”. 1 Anniversaries are good opportunities to recall characters who – although forgotten today – played an important role in their field in their time. This article presents facts from the life of this musician, and sheds light on the realities in which he lived.

Historical context The cultural and moral plight that reached France during the Great Revol- ution (1789-1799) and the subsequent decades of the 19th century reflected a significant turning point in the whole culture of the country, but also – more significantly from our standpoint – in organ music. The period marked a temporary closure of the organ class at the Paris Conservatory; on the one hand, completing the work of the “old” classi - cal era and, on the other, the arrival of the “new” romantic era. Organists of the so-called Golden Age left without leav - ing successors who would cultivate the Baroque (classical in the French sense) organ-playing technique. In this case, there was no natural transition for the old techniques into new ones. It can be Lefébure-Wély’s father’s workplace: the organ in the Saint Jacques du Haut, Paris

SPRING 2019 | THE ORGAN | No 388 5 Collection of 34 Noëls (1805-1823). Autograph of Antoine Lefébure-Wély. Source: Bibliothèque nationale de France.

even up to the end of the 1860s, there viewpoint, it must be admitted that organist was at the comparatively was a relaxed atmosphere in the French such things are often performed with insignificant church of Saint Jacques du churches – far from contemplative piety, talent. In response to my astonishment Haut Pas in Paris. From 1802, he had as we know it. Whilst women naturally over this, I was told that the clergy as been a substitute organist in Saint-Roch entered churches wearing hats, men did well as the congregation expected light- – close to the Tuilleries Garden and the also, and the congregations would often hearted music.”3 Palais Royal – and in 1805, after a vividly react to the music they heard by These elements, as well as others, contest between Nicolas Séjan, Gervais- turning to face the organs, and the were important factors in creating one François Couperin and Isaac-François- works that were liked were applauded. 2 of the most original characters in the Antoine, he became organist in this When Adolph Hesse visited Paris in organ world of 19th century France. prestigious church in the city centre of 1844, he observed that “organ playing in Paris with its fine classical organ by France was generally irreverent, alth - Louis-James-Albert’s father Clicquot. After this, he changed his ough occasionally a significant talent The first natural and musically import - name from Isaac-François Lefebvre to came to my attention within this ant person in the life of Louis-J ames- Antoine Lefébure-Wély, which combin - irreverence. Not infrequently a light Alfred was his father, Isaac-François- ed the original English surname of his pastorale heard during a church service, Antoine Lefebvre. He was born in 1756 wife to give him more noble character. would turn into a thunderstorm before and lived all his life in Paris. He was an He began to publish his works in 1778 closing with a sort of operatic grand organist, a master of the harpsichord and continued to do so throughout his finale in free style. Given that this is not and the newly-invented pianoforte and life. As well as much religious music and aligned with the German religious also a composer. 4 His first position as an compositions for the organ, we also find

6 No 388 | THE ORGAN | SPRING 2019 Collection of 34 Noëls (1805-1823). Autograph of Antoine Lefébure-Wély. Source: Bibliothèque nationale de France.

within his oeuvre occasional comic ber 13, 1817 in Paris. He was musically wrote down music for his son to play. operas (“Agèes Bernau”, “Labyrinth”), precocious and a natural organist; it Young Alfrede substituted his father for sonatas for harpsichord and violin, a was said he learned musical notes the next five years until his father’s large-scale “Sonata for the piano-forte” before the letters of the alphabet. The death in June 22, 1831, at which time the (1808) and the “Fantasy for piano and manuscript of his father’s unpublished 14-year-old boy, thanks to the generous harmonium”. 5 In his organ com pos it - Mass bears the note: “This Mass was protection of Queen Marie-Amélie de ions, in the form of airs, marches, played Easter Tuesday 1826 by my little Bourbon-Siciles (1782-1866), succeeded récitatifs, fugues, Noëls, sorties – written boy Alfrede, aged eight years and four him as organiste titulaire. in the classical French style – we can months, on the organ of Saint-Roch to The next steps in his life were the also find examples of uncomp licated the satisfaction of everyone present. He happy consequences of the protection music, with simpler clear structures, retained throughout the Mass an extra - and flowering of his musical talent. easy to grasp but also full of charm. All ordinary presence that surprised the Louis-James-Alfred Lefébure-Wély’s these features will be found later in the people who were near him at the organ.” 6 first pub lished composition (created art of his son, Louis-James-Alfred, to A year and a half later, his father when he was 13 years old) was whom (as we have indicated) he was suffered a stroke, paralysing the left side announced in the “Journal Bibliographie both the loving father and the first of his body and, in the days before de la France” in their issue of August 27, proud teacher. disability insurance and empl oyee bene - 1831 – entitled “Rondo composé pour le fits, it was imperative that the father be piano-forte, œuv. 1”. His early life substituted by the son. Through out In 1832, Lefébure-Wély entered the Louis-James-Alfred was born on Novem - those years, Antoine Lefébure-Wély Paris Conservatoire and studied comp -

SPRING 2019 | THE ORGAN | No 388 7 8 No 388 | THE ORGAN | SPRING 2019 Specification The Cavaillé-Coll organ, La Madeleine church, Paris (1846)

I. Grand-Orgue (C-g3) III. Bombarde (C-g3) 1 Montre 16’ 1 Soubasse 16’ 2 Gambe 16’ 2 Flûte harmonique 8’ 3 Montre 8’ 3 Flûte traversière 8’ 4 Salicional 8’ 4 Basse 8’ 5 Flûte harmonique 8’ 5 Flûte 4’ 6 Bourdon 8’ Jeux d’Anches Jeux d’Anches 6 Octavin 2’ 7 Prestant 4’ 7 Bombarde 16’ 8 Quinte 2 2/3’ 8 Trompette 8’ 9 Doublette 2’ 9 Clairon 4’ 10 Fourniture V r. 11 Cymbale V r. IV. Récit-expressif (C-g3) 12 Trompette 8’ 1 Flûte harmonique 8’ 13 Cor anglaise 8’ 2 Flûte octaviante 4’ 3 Basson-Hautbois 8’ II. Positif (C-g3) 4 Voix humaine 8’ 1 Montre 8’ Jeux d’Anches 2 Viole de gambe 8’ 5 Bombarde 16’ 3 Flûte douce 8’ 6 Trompette 8’ 4 Voix céleste * 8’ II 7 Clairon 4’ Jeux d’Anches 8 Trémulant 5 Prestant 4’ 6 Dulciane 4’ Pédale (C-f1) 7 Octave 2’ 1 Quintaton 32’ 8 Trompette 8’ 2 Contrebasse 16’ 9 Musette 8’ 3 Flûte 8’ 10 Clairon 4’ 4 Violoncelle 8’ * first use of this stop in Jeux d’Anches church organ ever 5 Bombarde 16’ 6 Basson 16’ 7 Trompette 8’ 8 Clairon 4’ Couplers: Positif/G.O., Bombarde/G.O., Récit/G.O., Bombarde/Positif, Récit/Positif, Récit /Bombarde, Tirrasses: G.O., Positif, Bombarde, Récit, Appels d’anches: G.O., Positif, Bombarde, Récit, Pédale, d’Orage

Source: Le Moël Michel, “Les Orgues de Paris”, Délégation à l’action artistique de la ville de Paris, 1992.

SPRING 2019 | THE ORGAN | No 388 9 Autograph Fantaisie pour Poïkilorgue avec accompagnement de piano. Source: Bibliothèque nationale de France.

osition under Henri Montan Berton for the or gan world – not only in France ions and friendship between Lefébure- (1767-1844), Jacques Fromental Halévy – is in no doubt (see: “An appreciation of Wély and Cavaillé-Coll were on profess - (1799-1862) and Adolphe Adam (1803- Aristide Cavaillé-Coll on the 120th ional and private grounds. Their 1856), organ under François Benoist anniversary of his death”, in: “ The cooperation began immediately when (1794-1878) and Louis Nicolas Séjan Organ ”, No 387, February-April 2019). Aristide Cavaillé-Coll, a 21-year old (1786-1849) and piano under Pierre- This innovative organ maker was a great organ builder from Toulouse, who, in Joseph-Guillaume Zimmermann (1785- admirer of various French and Belgian 1833, moved to Paris and – within a 1853). Three years later (1835) he left the organists, whose talents helped him to matter of days – was awarded contracts Conservatoire with first prizes in piano introduce and develop the symphonic to build organs for the Royal Basilica of and organ.7 organ to the wider organ world. Among Saint-Denis and for the Church of Notre Lefébure-Wély quickly established this group of preferred organists were: Dame de Lorette. Cavaillé-Coll had a his reputation as a virtuoso on the César-Auguste Franck (1822-1890), practical admiration for the 16-year- piano, organ, pédalier, harmonium, Nicolas-Jacques Lemmens (1823-1881), old Lefébure-Wély: he valued his harm onicorde, melodium, poïkilorgue Charles-René Collin (1827-1911), Henri- musical skills as much as his ability to and on virtually any other new key - Victor Tournaillon (1832-1887), Félix- sell an organ. In 1839 Lefébure-Wély board invention that would spread his Alexandre-Amédée Guilmant (1837- demonstrated poïkilorgue two hours a fame or, perhaps more significantly in 1911), Henri Messerer (1838-1923) and day, four days a week, for the Exposition the circumstances, fill his purse. 8 Charles-Marie Widor (1844-1937). But of Industry in Paris. He did the same the highest and the most solid place during the following Exhibitions of 1844 Significant Friends and Colleagues was taken by the oldest person in this and 1849 playing the organs installed The significance of Aristide Cavaillé-Coll group, Lefébure-Wély. The close relat - there by Cavaillé-Coll, and was

10 No 388 | THE ORGAN | SPRING 2019 Autograph Fantaisie pour Poïkilorgue avec accompagnement de piano. Source: Bibliothèque nationale de France.

rewarded with medals for his playing of Church organist found the first newly built symphonic these innovative instruments. Lefébure-Wély was appointed the instrument of Cavaillé-Coll (see: For many years Lefébure-Wély was titular or ganist of a number of the most “Evolution of Cavaillé-Coll’s symphonic always the first to be asked by Cavaillé- prestigious Parisian churches: at first, organs”, in: “ The Organ ”, No 384, May-July Coll (and also other organ builders) to Saint-Roch (1841-1846) located at the 2018). Its resources, until then ignored, demonstrate and inaugurate their new city centre, 10 then in the newly built were destined to put within his power instruments. Lefébure-Wély did so – La Madeleine (1847-1857) and finally the the realisation of his creative inspir - alone or with other organists – for some largest instrument of Cavaillé-Coll in ations. With great ardour, and extra - of the most prestigious and most Saint-Sulpice (1863-1869) which was ordinary skill, he assisted the impulse important organs in France, including during that period the only five-manual given to organ-building at this times. the Parisian churches of Notre-Dame- instrument to emerge from the Cavaillé- By physical science, and constant de-Lorette (1838), Saint-Denis (1841), Coll workshop. Lefébure-Wély became application he acquired the arts of diff - Saint-Roch (1842), La Madeleine (1846), renowned for his mastery of instru - erent combination stops, extra ordinary Saint-Vincent-de-Paul (1852), Saint- ments that were so powerful, more and taste, alongside an inexhaustible variety Louis-d’Antin (1858), Sainte-Clotilde more entering into the spirit of the of sonorous effect with his virtuosity. He (1859), Versailles (1863) and the great symphonic organs and the increasing found, in this church, musically select, French cathedrals of Saint-Brieuc (1848), amount of music that was being written delicate, and impressionable listeners, Toulouse (1852), Saint-Omer (1855) and for them. who respond ed to his natural inclin - Carcassonne (1860), 9 as well as On being appointed organist to ations and the originality of his playing, instruments abroad, (for example, that the Madeleine, in 1847 (succeeding and who were transfixed by his brilliant of Saint-Nicolas in Gent, Belgium). Alexandre-Charles Fessy, 1804-1856), he exhibition of extempore playing.11

SPRING 2019 | THE ORGAN | No 388 11 As organist of La Madeleine, Lefé - newly rebuilt (1862) Cavaillé-Coll great say that I can play polkas only!” He was bure-Wély had occasion to play import - organ at Saint-Sulpice succeeding a profound harmonist, and no one was ant ceremonies. For example, he Georges Schmitt (1821-1900). In his new more capable of coming back to his per form ed organ music – between position, he found himself exposed to melody, by a series of chords, sometimes works played by orchestra with soloists the jealousy of his rivals, and to a fresh astonishingly daring. On other occas - – for instance during the funeral of outburst of criticism. The principal ions, a simple modulation sufficed to Frédéric Chopin in 1849. His organ charges against him were the want of carry him away from his original theme. performance of chosen Chopin’s religious character in his ideas, but that, Yet, such was his love for art, that he preludes “produced a profound sen - however, constituted a great part of the neglected nothing which could contri - sation and went straight to the hearts of secret by which he achieved success in a bute to expand and embellish and then the audience”.12 church – the services of which he extemporised according to the sense He relinquished as church organist in undoubtedly distinguished. He could and character of the words. Ought not 1857 (his successor was Saint-Saëns) not bring himself not to shine, not to every good organist to do the same? His and started then to work on his comic please, and for this he tended to extempore playing was, indeed, the opera Les recruteurs , which was prem - sacrifice seriousness. The intellectual accentuated re-echo of his nervous iered 1861 in Paris but never achieved side of his art, the style of the fugue, disposition. He entranced and carried great success. But he continued to parti - damped his dashing nature. away even those who did not like his cipate in public organ inaugurations of Not that he ignored or did not manner. strictly church instruments. appreciate these things; far from it. In His activity as a church organist was Lefébure-Wély was at the height of his notebook for May 1865, he wrote: generally speaking not ‘standard’. He his reputation, when, in the month of “I extemporised today an interminable occasionally did anything for an effect: April, 1863, he took possession of the fugue for them; I hope they will not now for example, he asked church wardens

12 No 388 | THE ORGAN | SPRING 2019 Interior, Saint Roch

to turn down the gaslights during his for those learning to play harmon ium particularly of music that contemporary rendition of a “storm” or he would run and poïkilorgue was, until the appear - society liked to hear in operas and at back and forth between the great organ ance of the organ school of Lemmens concerts – music that was accessible, on the loft and a harmonium in the (1862), the only French-lang uage set of full of imagination, and rhythmic. At front of the church at the solemn organ rules in a new rom antic style and that time, secular works of operatic closing of the Month of Mary, before the a new way of execution which required provenance were often heard in 5,000 plus congregation of Saint- constant legato and homophonic churches, with drunken songs becoming Sulpice13 (for a description of the differ - thinking. Lefébure-Wély emphasises in subject to liturgical improvisations. ent sources of inspirations for the his work that learning how to play the Rolls and galops were played during performer see: “Instrument as a source harmonium is a great introduction to Offertories, and hunting songs used as of inspiration for the performer”, in: “ The learning to play the organ by permitting substitutes for Sequences. Clergy even Organ ”, No 386, Fall 2018). Rossini once the student to become familiar with the demanded this type of music from said to Lefébure-Wély, justly: “People majority of performance problems that organists, believing that it attracted like you much more for your faults than occur in organ playing. Due to the small people to churches. 15 The only figure for your good qualities”. size and the affordable price of the who stood out from this background harmonium, the publication was a great was Lefébure-Wély, who could find the As Author success for the practitioners of this new compromise between demands from In 1845, as an organist at Saint-Roch instrument at that time.14 people and good taste with elegance. church, Lefébure-Wély published (at His admirers called on him many Costallat et Cie Editeurs in Paris) his As Improviser times to adopt the ‘religious style’. “Méthode Théoretique et Pratique pour Lefébure-Wély was equally known and However, he had his habits and his harmonium” which, although intend ed valued for his organ improvisations, preferences and above all his ‘clientele’.

SPRING 2019 | THE ORGAN | No 388 13 Also, even though his contemporaries a genuine funeral symph ony (compare popular organ works which had been were unanimous in their admiration for “Marche funebre” from “Meditaciones played by many organists in England his improvisations, he often seems to religiosas”, op. 122, 1857) and the sortie and had made his name not only have taken the easier alternative, the a great, beautiful funeral march. familiar, but famous.” 22 immediately accessible option, music Lefébure-Wély shows what a great artist Among about 200 compositions Lefé - that doesn’t ask any questions. An he is on the solemn occas ions. All the b ure-Wély wrote works for piano, harm - important Parisian organist at the time, orchestras in the world cannot equal, on ium, organ, choir, chamber ensemble, Auguste Bazille (1828-1891), described for liturgical purposes, a symphony symphony orchestra and opéra- his improvisations as “endowed with a played by Mr. Lefébure on my organ”. comique. His compositions for organ charming imagination”. He knew how to Thanks to his improvisational skills, include (in chronological order): “Six show off the organ’s different timbres. 16 Lefébure-Wély was the best-known and offertoires”, op. 34 (ca. 1857); another He captivated musicians as well as the most respected French organist in “Six grands offertoires”, op. 35, comp - laymen. Rossini attended one of his Europe.18 osed for his son (c. 1857); “Meditaciones recitals, at Saint-Sulpice on Easter religiosas”, op. 122, dedicated to ‘À sa Monday, 1864, and was ready to leave As Composer majesté la reine Doña Isabel II’ (1858), after hearing Lefébure-Wély’s Offertoire Lefébure-Wély’s organ compositions – where we can find pieces of organ music in F and Bach’s Fugue in E Major, but he accor ding to reported comments by in different character – from Sortie and changed his mind when the organist Saint-Saëns’s – did not match his Marche with great power up to sweet started to perform a storm. Rossini said: improv isations. Lefébure-Wély was the flute cantilenas and adorable “Choir de ‘A storm! I always enjoyed those. I will first of a new generation of romantic Voix Humaines”; “L’Office catholique. stay’. And de did 17 (to have the notion symph onic organists in the homophonic 120 Morceaux divisés en dix suites how a storm could sound under the trend – alongside Fessy and Charles composés pour l’harmonium ou l’orgue fingers of Lefébure-Wély, see his “Scene Simon (1788-1866) – who grew up in à tuyaux”, op. 148, which was the pastorale pour une inauguration d’orgue opposition to the ‘old’ classical organ Hommage à Monseigneur de la ou une messe de minuit”, No 1 in school, with Alexandre Pierre François Bouillerie, Évêque de Carcassonne, “L’Organiste modern”, 9e Livrasion, Boëly (1785-1858), Félix Danjou (1812- published by Régnier-Canaux (1861); 1867). Saint-Saëns described Lefébure- 1866) and Benoist as their represent- “Six morceaux pour l’orgue”, op. 36, Wély’s organ technique as typical of the ative. 19 Five years younger, César Franck contained 3 Marches and 3 Élévations, period, “his style is better adapted to the was a great admirer of Lefébure-Wély’s published by Graff (1863); the famous piano than to the organ and his pedal composit ions and improvisations 20 “Boléro de concert”, op. 166, published playing similar that of the other French (compare Franck’s “Andantino”, op. 25, by Régnier-Canaux (1865), composed for organists” (we may compare such a composed in 1858, which looks like it harmonium but executed on organ with comment with the pedal parts of was based upon music of Lefébure- great popu larity; “L’organiste mod - Franck’s organ works). Wély). erne. Collection de morceaux d’orgue Lefébure-Wély’s playing was virtu - As a composer, Lefébure-Wély was dans tous les genres. En 12 livraisons”, osic, and as a performer he was rated an enthusiastic purveyor of light, ele - Hommage à Mr. l’Abbé Hamon, Curé de above eminent contemporaries includ - gant and successful music – witty trifles St. Sulpice – these pieces are based on ing César Franck. Cavaillé-Coll preferred that combined sparkling melodic verve improvised motifs during Offices at St. Lefébure-Wély’s music and his relation - with simplistic rudimentary composit - Sulpice (1867–69); “Vade-mecum de ship with an audience more than those ional techniques. 21 The organ ist of Leeds l’Organiste”, op. 187, contains Entrées et of Franck. Cavaillé-Coll in a letter, dated Town Hall described Lefébure-Wély as Sorties de Chœur, Versets, Préludes pour November 15, 1857, wrote his impress- “undoubtedly one of the most clever Amen, Élévations et Communions, ions after a funeral played by Lefébure- organists of the day. He wrote some very Offertoires, Marches brillantes pour Wély at La Madeleine: “The prelude was attractive pianoforte pieces and many Processions (1869). 23

Lefébure-Wély shows what a great artist he is on the solemn occas ions. All the orchestras in the world cannot equal, for liturgical purposes, a symphony “played by Mr. Lefébure on my organ”

14 No 388 | THE ORGAN | SPRING 2019 Interior, Saint Sulpice

SPRING 2019 | THE ORGAN | No 388 15 enemy of everything trivial and com - monplace. Possessing, like all men upon whom fortune smiles when they are young, a very strong opinion of himself individually, and never neglecting an opportunity of declaring his own merit, such, with well-directed activity, and exceeding versatility of humour, is the complete physiognomy of Lefébure- Wély, whose reputation extended to foreign countries, especially Germany.” 26 The afore-mentioned organist of Leeds Town Hall, on describing Lefébure-Wély’s personality, said: “I never met with a more genial, kind- hearted Frenchman. He was the beau ideal of a gentleman. I hope I have said sufficient to show that Wély was no ordinary character, but a genius of which the musical world is justly proud.” 27 Lefébure-Wély married a noted sop - rano (to whom Charles Gounod in 1855 dedicated his popular song “Sérénade”), who gave him two daughters, Marie and Émilie (both played duets with their father), and a son (who lived in Germany). Marie Lefébure-Wély had fallen deeply in love in 1864 with Pablo Autograph of the “Final”, op. 21, of C. Franck with dedication to L.J.A. Lefébure-Wély. Sarasate (1844-1908), the Spanish violin Source: Bibliothèque nationale de France. virtuoso; after a three year courtship they were engaged to be married, but when Sarasate returned from a concert Because of the changing tastes of dedicated his works mainly to those tour he found his beloved engaged to 19th century audiences Lefébure-Wély’s clergy who appreciated his talent, or someone else. 28 The second daughter, compositions are less substantial than who were in charge of the churches and Émilie Lefébure-Wély, was married to those of Franck and others. They have important organs where he played; he Paul Brunet in September 1870; the not held such a prominent place in the also dedicated his works to those ceremony took place in La Trinité repertory since his death; but his music members of the aristocracy who supp - church, with music by Alexandre in the years following continued to orted his musical activities financially. Guilmant performed on the Cavaillé- appear in programmes on the Continent Coll organ; Ambroise Thomas was the and at the Leeds’ Town Hall (a pastoral As a Person whiteness of the bride.29 fantasia) 24 and in Edinburgh on the The operatic composer Ambroise renovated organ in St Paul’s Episcopal Thomas (1811-1896), called Lefébure- Last moments Church. 25 Wély “a sure, devoted, and faithful Nothing lasts forever and the joyful life The mutual respect in which Leféb- friend; endowed with cutting frankness, of Lefébure-Wély began to decline. “The ure-Wély was held among musicians is tempered, however, by a large amount Musical World” described his last demonstrated by the works dedicated to of kindness; an amiable companion; moments with these words: “A blade so him. Franck did so for his “Final”, op. 21, generous with the calculating spirit thoroughly tempered, naturally wore composed in 1860-1862, while Saint- peculiar to musicians; witty and caustic out the scabbard. On the organ at St. Saëns did the same for the series of “Six like a real child of Paris, as he was, and, Sulpice, requiring a great deal of duos pour harmonium et piano”, op. 8, moreover, a spoilt child of Paris; of physical strength, Lefébure, whose composed in 1858. Lefébure-Wély naturally distinguished manners, an health during the last years of the 1860s

16 No 388 | THE ORGAN | SPRING 2019 was already much shaken, expended his was draped with a long ies’; some pieces comp - energies with an ardour that acceler - and wide black crepe, By the death of osed expressly for the ated his end. He was eaten up by fever; dotted with silver stars. this great Mustel Harmonium; a his extempore playing revealed his In the nave a con greg - fantasia entitled ‘Titania’, state. He seemed to fear, the other day, ation of artists headed by virtuoso, for piano; the ‘Duo symp - that he would not have sufficient time Ambroise Thomas and “ athique’, dedicated to his to sing, in his own harmonious lang - Charles Gounod; among aristocratic two daughters. At the uage, all the melodies in his soul. The the people of the world and elegant opéra-comique, he moment arrived, however, when he was who had come to say a brought out a work, ‘Les compelled to beg Mr. André Louis last goodbye to their Paris has lost its recruteurs’, in which Dessane, the organist of the choir, to favour ite organist, were Capoul [Joseph Victor take his place ‘up there’; when he was the most elegant faithful own particular Amédée (1839-1924), compelled to trust his reputation to that of Faubourg, Saint-Ger - organist. French lyric tenor] made gentleman, as distinguished as modest, main and Chaussée- his first appearance. It is whom, during his life time, he d’Antin. Lefébure-Wély’s body but a few days since that, designated as his successor. It was only was laid to rest in a grave at the Père- with a hand already struck by death, he with great difficulty that Lefébure could Lachaise cemetery not far from the traced his last compos itions: ‘Le chant now ascend the steep stairs leading to Chopin monument. At the request of du Cygne’, a melancholy reverie, for the organ loft. One day, he promised to Ambroise Thomas, Victor Baltard (1805- pianoforte and harmonium, in which perform at a marriage, and he wished to 1874), the chief architect of the City of we perceive very plainly the keep his word. He was, therefore, Paris, took charge of the drawings for presentiment of his approaching death. laboriously making his way up, when the funeral monument of Lefébure- He has left some posthumous works. In suddenly the Swiss gave the sign with Wély and a friend of the family, H. all that he composed we must always his halberd, announced the commence - Chevalier, executed the sculpture. 32 admire the grace, the good taste, the ment of the ceremony. In less time than purity of the style. He has left works, is required to write down the fact, the In memoriam noble in character, and elevated in gallant artist, ran up forty steps, and, As Ambroise Thomas proclaimed, at the sentiment, which will bear evidence of bathed in perspiration, and suffering tomb in his lengthy funeral oration: “By his passage among us, and of the from a cough which brought blood- the death of this great virtuoso, influence he must have exerted. This tinged foam to his lips, he placed his aristocratic and elegant Paris has lost its valiant and sincere artist has left his hands upon the keyboard. He was never, own particular organist. I mean, that mark. In the gallery of organists of perhaps, grander. It was his last piece of one among contemporary organists, Saint-Sulpice, in which Nivert extempore playing; the farewell of the whose talent was a more faithful represents correctness; Cléram bault organist to the organ, the strains of expression than that of any one else of majesty; Couperin, religions unct ion; which are like an echo of the Infinite.” 30 a class of persons of the present epoch, Nicolas Sejan, elevated thought; Louis Lefébure-Wély passed away on New who pursue the road to Heaven with Sejan, elegance of form; and Georges Year’s eve, December 31, 1869. Because every possible regard to their own Schmitt, impetuosity, and brilliancy; it was at night, some sources show 1870 comfort. This favour, this reputation, Lefébure-Wély may claim many of the as the year of this death. He left two was something he saw spring up and qualities of his prede-cessors, adding daughters, a son, beloved wife – herself grow without much effort on his part, the radiant charm of melody, and the an eminent artist, who appreciated him for he simply obeyed his artistic tem - scintillations of a most charming fancy. so well – and many sympathetic friends. perament, and followed the impulses of Lefébure-Wély had taken his place Information about the death of a lively disposition, and of an extra - among the most eminent organists, not Lefébure-Wély spread around Europe ordinarily fertile imagination; it placed of his time, but of all ages, of all schools! fast. Just nine days after the tragic him at the head of a new school, which This is a great justice rendered by a situation the London based, “The possessed the secret of com bining, in great musician, organist himself, to a Musical World”, said: “M. Lefébure-Wély, due prop ortions, melody and sentiment virtuoso-improviser who had not feared the well-known French organist and with science. Lefébure-Wély wrote a to take in-hand the destinies of the composer for the organ, fell dead, a few great deal for his instrument, for the modern organ illustrated by Cavaillé- days since, at the foot of his organ, in harmon ium and for the voice. I will cite Coll. But what could this innovator have the church of St. Sulpice, Paris”. 31 merely his ‘Cantiques’, which are been without the genius of approp - The funeral took place at Saint- exceedingly well known; a remarkable riation of Lefébure-Wély? For it was not Sulpice church, where the great organ ‘O Salutaris’; a collection of ‘Offer-tor - one of the least merits of this organist

SPRING 2019 | THE ORGAN | No 388 17 that this ardent zeal, desirous to interpreted by several basses in more worldly qualities of strongly exp - produce the new inventions, to bring unison.”34 essed and exciting emotions, and in them up to him. Without the immense Also in London, “The Musician” in the cessant brilliant action. On the other and versatile talent of this virtuoso, do issue from February 19, 1870 said: hand, these men have in a certain the harm onium, the melody and the “English Church musicians have, for the direction, and with the aid of modern harmonichord exist today as instru - most part, their own view of the de - mechanical improve ments of an orch - ments of concert? It is doubtful, ceased French organist. Although both estral tendency, succeeded in adding to Lefébure had made school there; many as composer and executant he exercis - the number of organ effects by building imitators followed his path, but none ed a not inconsiderable influence in the upon orchestral methods. The organ could match him. Always in progress, formation of the modern French organ music of this school is but one more Lefébure marked for each year a new school, it may be questioned whether illustration of the craving for high path. Who does not remember in recent his labours really advanced the true colouring in all branches of modern art. times his beautiful symphonic sketches interests of art. Lefébure-Wély and his In breadth of conception, and in a performed on the Mustel organ. Was it fellows are a creation of circum stances certain large method of handling his not a new transformation of style and which do not affect us in England. The material, such as it was, Lefébure-Wély execution, that great art applied to brilliant and dramatic masses and other probably surpassed most, if not all, of small organs? We will no longer hear service music of the Roman Catholic his peers. However, some of his music him, but there will still be a consid - Church of modern times have long had borders upon the limits of vulg arity. He erable number of written works from the effect of indisposing the wor - had, however, to a considerable extent, him. In some of these light works, one shippers of that faith to listen to the the precious gift of tune, a strong sense must always admire grace, taste, and strict organ music of Bach and Mendel - of rhythm, and an appreciable grasp of purity of style; others a noble character, ssohn; and thus has arisen a demand form and proport ion. His harmonies are a high feeling, which will bear witness for a more orchestral and dramatic at times characteris ed by chromatic to his passage and the influence he was handling of the king of instruments. The crudeness, though occasion ally he to exercise. Valiant and sincere artist, he question propounded to themselves by attained boldness and weight. The has left his mark and must be the late Lefébure-Wély and his followers offertories, graduals, comm unions, and unanimously regretted. A reliable, was not how they could sustain organ other organ works of this writer are, for devoted and faithful friend, he leaves in music in its special dignity and purity, the most part, well known in England. our hearts a sweet and tender memory so much as to how they could supply He also laboured in other branches of which will never be erased!” 33 organ voluntaries which should satisfy the art – notably as an arranger. His Many churches where Lefébure-Wély popular cravings; by relying upon the adaptation, for instance, of the famous inaugurated new instruments organised a funeral service in his memory. A memorial ceremony took place in the church of Saint-Sernin on Thursday, Madeleine, Paris January 20, 1870 as the “Journal de Toulouse” reported: “This eminent and much lamented artist inaugurated the organs of the principal churches of our city: St Jerome, St Nicolas, St Sernin, la Dalbade, Saint Etienne, la Daurade and Jesus; more than these he will be remembered so much for his remark - able talent which has given him a place among us, and it is for: that the artists of Toulouse want to associate, in the same feeling, to offer him a testimony of unanimous and sympathetic regrets. Artists, music lovers, and all friends and admirers of the famous organist are invited. Mass will be sung in Gregorian chant; at the Offertory, the ‘Recordare’ composed there by M. Massis and

18 No 388 | THE ORGAN | SPRING 2019 old air of Stradella’s for The virtuosity music or heralded ass - possibilities of symph onic organs violincello and piano, um ptions in the field of (i.e.: great con trasts, colouristic has enjoyed much pop- of the effect, agogics, dynamics, artic - diverse sets of solo, possibilities of ularity on the continent, a reflection of ulation; 3. study the dynamic expression), its perform - as an eff ective piece “ source scriptures and ances were directed more towards of chamber concert a bourgeois treatises that reflect the the express ion flowing from the music.” 35 spirit of a given epoch instru ment than to the expression The wide knowledge society, is (literature about 19th flowing from the comp osition.41 of his talent is confirmed century French organ when the London-based almost the music is extensive and Epilogue journal, “The Musical essence of the easy to accessi). In this Again, using the words of Ambroise World”, informed its way, the performer, eq - Thomas: “The organ, that sublime inst- readers that “the sum art of Lefébure- uipped with theoretical rument with a powerful voice and subscribed towards a know ledge and the rec- infinite riches, was not to participate in monument in honour of Wély. og nised historical context, the prodigious movement of musical art Lefébure-Wély” reached can – in a historically in the 19th century. Lefébure-Wély took 5,877 francs by the day of April 3, 1870. 36 oriented way – proceed to the imple - his glorious place among the most mentation of the studied assumptions eminent organists. If his instinct refused Executive style pract ically on an instru ment. him to follow the too philosophical Lefébure-Wély’s music today has been The executive pract ice of Lefébure- tendencies of his time, he was and he the subject of incr easing interest. It may Wély’s works, which is the resul tant of remained simply a great virtuoso, a not be comparable to the wide esteem his compositional style and echoes of great musician. It is left to others to enjoyed by Franck, Guilmant or Widor, the era, is characterised by the following recall this marvellous execution, this however, the composer’s character is features: profound science of combinations, this unmistakeable and his compositions 1. Smooth changing of fingers on the exquisite choice, this happy mixture of appear more frequently in today’s organ key to keep legato; so many different timbres, this in ex- recital programmes. Several publishers 2. Shortening the value of notes (by haustible variety of effects and sounds, (e.g., Cramer Music Ltd.) have issued inserting pauses) to separate the and finally those beautiful improvis - revivals of chosen Lefébure-Wély’s harmonic divisions in live narration; ations which were uniting charm, organ comp ositions and we can find 3. Combining common notes in elegance, clarity, often greatness.” 42 new CD recordings devoted – sometimes different voices; Lefébure-Wély had an exact sense of entirely – to his works (such as that 4. Using pauses in the parties of one the sound space of the organ. He performed by Richard Lea on the organ hand to change the registration, 38 understood perfectly well, as his father of Liverpool Metropolitan Cathedral, 5. Use of distinct rhythms (e.g. cheerful had of the harpsichord to the piano; Ben Van Oosten on the organ of the pastorals, marches, polkas, waltzes), 39 that the organ of classicism had evolved Parisian La Madel eine, and Ursula 6. Using live temp and accelerandi and for the symphonic world. His art is that Hauser on the Ladegast organ of ritardandi to emphasise the of the orchestra of the 19th century, or Schwerin Cathedral). narration in the work; the piano executed on the organ, and in What is the executive style of 7. Focus on the effect that music this he prodigiously advanced the Lefébure-Wély’s works? The performer would give – spectacular examples literature of his instru ment. Make no who wants to interpret his organ music here are imit at ions of nature scenes mistake, in his steps, in the meditations in a historically oriented way should (storm,40 battle scenes, scenes from of his elevations, he opened the door to perform a number of preparatory the life of village communities); the new universe that will quickly actions before proceeding (or in parallel) 8. Unusual musicality; encompass Franck and Widor. And if the to work on the instrument. 37 As exam- 9. The use of chromatic scale, reduced latter brings a new technical virtuosity ples: 1. become acquainted with the chords and seventh chord seq - to the organ, it is because he learned it instruments that the composer had at uences; in Germany, in a world still based on the his disposal, or had in mind at the time 10. Manual texture drawing from piano polyphonic variation of the chorale, a of creation (for Lefébure-Wély it will be technique; virtuosity which Lefébure-Wély then the following Paris ian instru ments: 11. Relatively poor – though independ- César Franck seem well to have utilised Saint-Roch, La Made leine, Saint- ent – pedal part usually playing the in their composition for the pipe Sulpice); 2. get to know the comp oser’s role of a bass base; instrument. The virtuosity of the effect, views on the imple ment ation of his 12. Regist ration using all the colour a reflection of a bourgeois society, is

SPRING 2019 | THE ORGAN | No 388 19 almost the essence of the art of Prince of Organists”, in: “The 37me anne, No 6, Paris, p. 45. Lefébure-Wély. The art of Lefébure-Wély American Organist”, September 12. Smith Rollin, “Saint-Saëns and the is not in the rehabilitation of his prede - 2012, pp. 62–70. Organ”, Pendragon Press, cessors, but in the certainty based on 8. Smith Rollin, “Saint-Saëns and the Stuyvesant (NY) 1992, p. 47. Cavaillé-Coll’s research, that it was Organ”, Pendragon Press, 13. Ibidem, p. 39. necessary to look forward, towards a Stuyvesant (NY) 1992, p. 39. 14. Lefébure-Wély Louis-James-Alfred, musical message of progress in the per - 9. Smith, Rollin, “Lefébure-Wély: “Méthode Théoretique et Pratique formance, improvisation and compo - Prince of Organists”, in: “The pour orgue expressif”, Costallat et sition. He was a perfect example of the American Organist”, September Cie Editeurs, Paris 1845, p. 1. honest man of his time.43 2012, pp. 62–70. 15. Smith Rollin, “Saint-Saëns and the Lefébure-Wély is a rare case of an 10. In the years 1839-1842, Aristide Organ”, Pendragon Press, organ composer, whose works show us Cavaillé-Coll completely rebuilt the Stuyvesant (NY) 1992, pp. 10-11. true happiness of living and the pure joy instrument found in the church of 16. Ibidem, p. 68. of making music with charm, a smile Saint-Roch retaining much of the 17. “Revue de musique sacrée and the great esteem for an audience. old pipes from the Lesclop, ancienne et modern”, 15 Avril 1864, We cannot forget that one of the main Clicquot, and Dallery workshops Paris, p. 188. purposes of music (organ music too) is (although they remained only 18. Smith Rollin, “Saint-Saëns and the to give hope to the people – hope for a about 50% after the metal Organ”, Pendragon Press, better tomorrow, a hope for a better confiscation during the Revolution Stuyvesant (NY) 1992, pp. 38, 40-42. world. Let’s take these works and play by Napoleon’s soldiers). He added 19. Ochse Orpha Caroline, “Organists them with appropriate esteem and several voices to the Positif and and Organ Playing in Nineteenth- elegance to keep the memory alive of an Grand-Orgue sections, extended Century France and Belgium”, interesting man who finished his joyful the scale of manuals to 54 sounds, Indiana University Press, life 150 years ago. ■ built a new Récit section enclosed Bloomington 2000, p. 33. in the expression box, installed 20. Ternant Andrew de, “César Franck, References Barker’s levers and gave the flutes a Lefébure-Wély, and Scotson Clark”, 1. Ochse Orpha Caroline, ”Organists new intonation. In the Pédale in: “The Musical Times”, Vol. 64, and Organ Playing in Nineteenth- section, the range of board and No. 962, Apr. 1, 1923, London, p. 270. Century France and Belgium”, stops has been expanded to 25 (two 21. Smith Rollin, ”Saint-Saëns and the Indiana University Press, octaves). The instrument showed Organ”, Pendragon Press, Bloomington 2000, p. 51. the listeners a variety of sounds, Stuyvesant (NY) 1992, p. 39. 2. Smith Rollin, “Saint-Saëns and the which allows us to call it a 22. Spark William, “Musical Memories”, Organ”, Pendragon Press, ‘transitional’, being at the same Sonnenschein, London, 1888, pp. Stuyvesant (NY) 1992, pp. 41-42. time a classical organ and a 368-369. 3. Smith, Rollin, “Lefébure-Wély: symphonic organ according to the 23. The full list of his compositions can Prince of Organists”, in: idea of Aristide Cavaillé-Coll. It is a be found online: https://www. “The American Organist”, rare example of the transformation musicologie.org/Biographies/l/ September 2012, pp. 62–70. between the old 18th century and lefebure_wely_louis_james_ 4. https://data.bnf.fr/14848766/ the new 19th century art of organ alfred.html [2019.03.03]. isaac-francois_lefebure-wely building. June 16, 1842, Lefébure- 24. “The Yorkshire Post”, after: “The [2019/03/03]. Wély, during the reception of the Musical World”, June 18th, 1870, 5. His compositions are digitalised instrument he emphasised its sonic Duncan Davison & Co, London, and can be found in the versatility from the sweet sound of p. 412. Bibliothèque nationale de Paris, the flute to the striking effect of the 25. “The Musical World”, December 3rd, https://data.bnf.fr/documents-by- great choir, which is absolutely 1870, Duncan Davison & Co, rdt/14848766/220/page1 beautiful”. After: “Les grandes London, p. 805. [2019/03/02]. orgues historiques de Saint-Roch: 26. “The Musical World”, January 22nd, 6. In the Bibliothèque nationale de l’orgue témoin de l’histoire”, an 1870, Duncan Davison & Co, Paris are several manuscripts of illustrated monography, Saint-Roch London, p. 53. service music in which the father Parish, Paris, 1994. 27. Spark William, “Musical proudly noted the dates and his 11. “Le Ménestrel. Musique et Memories”, Sonnenschein, London, son’s ages. théatres”, J.-L. Heugel (edit.), 1888, pp. 368-369. 7. Smith, Rollin, “Lefébure-Wély: Dimanche 9 Janvier I870, 1213, 28. Campbell Margaret, “The Great

20 No 388 | THE ORGAN | SPRING 2019 St Roch, Paris

Violinists”, Doubleday & Co., World”, February 19th, 1870, 39. Smith Rollin, ”Saint-Saëns and the Garden City, 1981, p. 89. Duncan Davison & Co, London, Organ”, Pendragon Press, 29. “Le Ménestrel. Musique et p. 135. Stuyvesant (NY) 1992, pp. 12, 39. théatres”, J.-L. Heugel (edit), 36. “The Musical World”, July 9th, 1870, 40. Phenomenon very popular in Dimanche 24 Septembre l870, 2051, Duncan Davison & Co, London, contemporary opera music, which 37me anne, No 43 Paris, p. 343. p. 466. The final subscribed sum willingly referred to the idyll of 30. “The Musical World”, January 22nd, reached 6.671 francs, after: nature. The musical imitation of 1870, Duncan Davison & Co, “Le Ménestrel. Musique et the storm can be found in all London, p. 53. théatres”, J.-L. Heugel (edit.), contemporary operatic composers. 31. “The Musical World”, January 8th, Dimanche 24 Septembre l870, 2150, After: Ibidem, p. 69. 1870, Duncan Davison & Co, 37me anne, No 43, Paris, p. 246. 41. Ochse Orpha Caroline, ”Organists London, pp. 27-28. 37. See: Perucki Roman, “Niemieckie and Organ Playing in Nineteenth- 32. “Le Ménestrel. Musique et organy romantyczne – estetyka Century France and Belgium”, théatres”, J.-L. Heugel (edit.), brzmienia, zagadnienia rejestracji Indiana University Press, Dimanche 9 Janvier I870, 1213, oraz problemy wykonawcze”, in: Bloomington 2000, pp. 48-50. 37me anne, No 6, Paris, p. 109. Danuta Szlagowska (red.), “Organy i 42. “The Musical World”, January 22nd, 33. “The Musical World”, January 22nd, muzyka organowa. W kre,gu 1870, Duncan Davison & Co, 1870, Duncan Davison & Co, romantyzmu”, t. XV, Akademia London, p. 53. London, p. 53. Muzyczna im. St. Moniuszki 43. Noisette de Crauzat Claude, “De la 34. “Journal de Toulouse”, after: w Gdansku,´ Gdansk´ 2014, pp. 141, virtuosité dans l’orgue français au “Le Ménestrel. Musique et 162-163. XIXe siècle: Lefébure-Wély”, in: théatres”, J.-L. Heugel (edit.), 38. Lefébure-Wély Louis-James-Alfred, “Romantisme. Littératures-Arts- Dimanche 6 Mars 1870, 1221, ”Méthode Théoretique et Pratique Sciences-Histoire”, Année 1987, 38me anne, No 14, Paris, p. 54. pour orgue expressif”, Costallat et No. 57, pp. 45-51 35. “The Musician”, after: “The Musical Cie Editeurs, Paris 1845, p. 6-10.

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