Jehan Alain masterclass by Helga Schauerte for Duquesne University Stephanie Sloan and Rebecca Marie Yoder

Helga Schauerte shows Duquesne students Chaz Bowers and Rebecca Yoder one of her manuscripts of Jehan Alain’s organ works

n October 8, 2011, the organ and original documents, and also make his Helga Schauerte working at St. Andrew’s Episcopal Church with Stephanie Sloan O sacred music performance students own judgments of what Alain originally at the organ at Duquesne University, who study un- intended. In addition, these volumes of der the direction of Dr. Ann Laboun- the complete works of Alain publish the died in an Alpine climbing accident try- ists’ repertoire. Whether through a mas- sky, participated in a special masterclass composer’s biography and his commen- ing to protect their brother Olivier from terclass, a celebratory dinner with friends given by Helga Elisabeth Schauerte- taries on many of the pieces. There are a fatal fall. Both these events gave Alain of Jehan Alain meeting each other for the Maubouet on the organ works of Jehan also thoughtful enhancements for each and his wife personal cause to constantly fi rst time, or the National French Cente- Alain. A masterclass of this sort was the piece, with a catalogue of all sources lift their prayers to God. nary Celebration of the Birth of Jehan fi rst in the United States that she con- consulted. The edition brings Alain’s to- Alain dedicated the exquisite Le Jar- Alain, musicians across the globe delight ducted along with her newest publica- tal compositional effort to 120 titles. din Suspendu (1934) to his close friend in studying and internalizing the musical tion, a three-volume Bärenreiter Urtext The music of Jehan Alain is important Marguerite Evain. This was one of his expressions of this inspirational man and edition of Jehan Alain’s music. These for an organist to study in such detail favorite pieces, which describes a “land will do so for decades to come.7 ■ volumes are the fi rst German publica- because of the unique modernist voice of cheerfulness and peace.”5 Schauerte tion of Alain’s music and were studied Alain brought to 20th-century French or- told the students in the masterclass to Notes extensively over the course of this 8-hour gan music. Jehan Alain—a musician, art- observe that the piece has three distinct 1. Helga Schauerte-Maubouet, preface to masterclass at St. Andrew’s Episcopal ist, and poet—was born on February 3, sections and to be aware of the varia- J. Alain: Complete Organ Works, by Jehan Church in Pittsburgh. During the mas- 1911, the eldest of four musical children. tions of the theme throughout the piece. Alain, ed. Helga Schauerte-Maubouet, trans. terclass, the Duquesne University organ From his humble beginnings, taking les- In regard to balancing the registration Howard Weiner (Germany: Bärenreiter, 2011), 1: XII. students gained much valuable insight sons from his father on their homemade for the middle section of Le Jardin Sus- 2. Ibid., 2: XII. into the works of Jehan Alain through house organ, Alain went on to study at pendu, she mentioned that the triplets 3. Ibid., 1: XVIII. the research of Schauerte, organist of the the National Conservatory in Paris un- should not be so loud that the listener 4. Ibid., 1: XVIII. German Lutheran Church in Paris. der André Bloch, Georges Caussade, cannot easily discern the primary theme 5. Ibid., 1: XVII. Schauerte’s interest in the art of organ Paul Dukas, Jean Roger-Ducasse, and in the chords. 6. Marie-Claire Alain, Critical Notes on playing began when she was young, for Marcel Dupré. When Alain was drafted Alain generated the title of Choral the Organ Works of Jehan Alain, trans. Dr. at 13 years of age she became the chief for the Second World War in 1939, he Dorien (1938) from the Greek mode, Norma Stevlingson (Paris: Alphonse Leduc, organist at a local church in Lennestadt, was just blossoming into creative matu- “which refers to today’s Dorian as Phry- 2003), 11. 6 7. James David Christie, “National French Germany. The story behind her inspira- rity. Even while performing his duties, gian and vice versa.” Performers of this Centenary Celebration of the Birth of Jehan tion to study Alain’s music began with he continued to write compositions for piece and other Alain works often mis- 2 Alain (1911–1940),” The Diapason 102, no. Litanies. The fi rst time she heard this organ, piano, orchestra, and voice. He interpret his tempi indications. Alain 11, November 2011: 21. piece was during a performance by her drew inspiration from nature, imitating did not like the constraints of bar lines brother in Frankfurt, during which she its purity and freshness, and was also in- and rarely denoted a particular, strict Bibliography assisted him with page turns and regis- fl uenced by Eastern music. Alain often tempo. Instead, he was concerned pri- Alain, Marie-Claire. Critical Notes on the tration changes. She was struck by the composed polytonal music, seeking “new marily with the “living pulse of his mu- Organ Works of Jehan Alain. Translated expressive tonality of the piece and de- colorings created by unusual blends of sical thought” and wrote down the du- by Dr. Norma Stevlingson. Paris: Alphonse sired to know more about it and its com- registers. He experimented with solo- rations of his pieces to determine their Leduc, 2003. poser. Consequently, she began studying istically employed mutation stops” and relative tempi. Schauerte remarked that Christie, James David. “National French at the Conservatory of Rueil-Malmaison composed with unique timbres that re- the tempo of Choral Dorien should not Centenary Celebration of the Birth of Je- 3 han Alain (1911–1940).” The Diapason with Marie-Claire Alain in 1983, after quire complicated registration changes. be too lethargic. She suggested that the 102, no.11 (November 2011): 21. fi nishing her degree at the University of Seventy years after his tragic demise, performer sing the theme in order to Schauerte-Maubouet, Helga. Preface to J. Cologne. As she advanced in her studies, Alain’s pieces are a staple in nearly ev- correctly pace the tempo. These indica- Alain: Complete Organ Works, Vol. 1, by Schauerte noticed technical and numeri- ery organist’s repertoire, including works tions for Litanies, Le Jardin Suspendu, Jehan Alain. Edited by Helga Schauerte- cal discrepancies in the available editions such as Litanies, Le Jardin Suspendu, and Choral Dorien are critical to the cor- Maubouet. Translated by Howard Weiner. of Alain’s compositions. and Choral Dorien. rect interpretation of Alain’s pieces and, Germany: Bärenreiter, 2011. Thereafter, she decided to perform Litanies was written in August of 1937 if applied, form important habits for the ______. Preface to J. Alain: Complete Organ Works, Vol. 2, by Jehan Alain. Ed- her own investigations in search of an under the initial title “Supplication.” On pupils of Jehan Alain’s works. ited by Helga Schauerte-Maubouet. Trans- authentic interpretation of Alain’s works. the original manuscript, Alain depicted The organ students at Duquesne Uni- lated by Howard Weiner. Germany: Bären- Her Bärenreiter edition is the result of a grotesque nightmare: a man push- versity thoroughly enjoyed this intensive reiter, 2011. over a decade of intensive research. It ing a three-wheeled cart, behind whom study of Jehan Alain’s music with Helga critically compares the earliest versions are twenty policemen pelting him with Schauerte as well as her recital the previ- Stephanie Sloan and Rebecca Marie Yoder of Alain’s music preserved in his fam- bricks. The students were fascinated by ous evening at St. Paul’s Cathedral. Many are undergraduate students in the sacred mu- ily archives and scores from the French the fact that Alain, in the original manu- were impressed with the excellence of sic degree program at Duquesne University. National Library with all other known script, dictated that he wished the per- Schauerte’s research and were glad for manuscripts. As recently as 1975, ad- former to double in octaves the pedal her attention to detail and informed ad- ditional autographs were discovered in line in measures fi fty-two to fifty-eight. vice on each piece. Others were amused HE ANAMAKER RGAN the Alain family archives and in 1987 in This is so that the theme in the pedal will with Alain’s artwork and were interested THE WANAMAKER ORGAN his friends’ collections.1 Schauerte made be more prominent than the accompani- to learn more about his life. The master- a careful effort to ascertain not only an ment in the manuals. Litanies’ uneven class provided a fresh musicological in- Listen to it worldwide authentic interpretation of Alain’s piec- theme, evocative of a tortured soul in- sight into the works and life of an inspir- es, but also the correct chronological toning a desperate prayer, is repeated ing modern composer whose creative life over the Internet! order of his works. Within this chronol- unceasingly at a frantic pace while tran- was tragically cut short during his mili- ogy, Schauerte disregards transcriptions sitioning through several modifi cations tary service in World War II. Hourlong streamcasts and unfi nished works. The great signifi - that reach the point of breathlessness.4 The experience of a masterclass on are featured at 5pm ET cance of this new edition is that it, for Alain himself was enduring great hard- the works of Jehan Alain with Helga the fi rst time, merges Alain’s full organ ships at this point in his life. While Alain Schauerte made a lasting impression the first Sunday of works with details of the discrepancies was writing this piece, his wife and he suf- upon those who participated. Alain’s life between the different manuscripts. fered through a miscarriage. The piece’s and music are inspirations that echo in each month at wrti.org The performer can see the reasoning creation may also have been preemptive: the works of Jean Langlais and Maurice behind the changes made to Alain’s two weeks later, his sister Marie-Odile Durufl é, as well as in numerous organ-

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