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July 2012 Pp. 22-25 .Indd Jehan Alain: His Life and Works Aurélie Decourt Saint-Germain-en-Laye, 3 février 1911–Saumur, 20 juin 1940 On February 3, 2011, Jehan would have been 100 years old. But he met his death at the beginning of the Second World War, leaving a wife, three little children, and a great musical heritage. Last year, in many places in France, but also in Germany, Switzerland, Belgium, and of course in the U.S.A., his memory was celebrated and numerous commem- orations took place, one of the most im- portant in Saint-Germain-en-Laye, his birthplace, with great musicians coming from all over the world, among them such famous Americans as Lynne Davis, James David Christie, and Norma Ste- vlingson, among others. The Alain cen- tennial in Wichita last September was a very important opportunity because it took place in the U.S.A., where there are many fans of Jehan Alain’s music. I also gave two lectures at Oberlin College in Jehan Alain’s “official” portrait The four children October. The man, himself, gathers ever more fans. I will try to present Jehan Alain’s rich personality and his original works in two articles: the present one will deal with his biography and personality; the second will describe the sources of his musical inspiration, focusing on orientalism, and will analyze his creative process. Young Jehan Alain (4 years old) In fact, Jehan Alain’s personality is ex- tremely rich. In addition to his musical gifts, he also knew how to draw, and he wrote letters full of poetry, tenderness, and humor. These qualities make him an attractive man. Thanks to accounts of his family, his friends, and various musicians, but also through his own refl ections on religion, love, and life in general, we can better understand his human and excep- tional artistic qualities. A prolifi c and original musician: Albert Alain, organist, composer, and organbuilder (1880–1971) Albert Alain’s infl uence on his son Je- Albert Alain’s organ with Albert Alain standing, 1950 han was essential. He gave him an ap- preciation and love of music, that is to say matter of fact, Albert Alain was connect- Pédale serious music, well constructed and well ed with all the famous organists of the 16′ Soubasse performed. Albert was a prolifi c com- 1920s and 1930s, from Marcel Dupré to 8′ Basse poser, with 469 opus numbers, primarily André Marchal, and also Joseph Bonnet 4′ Flûte short religious vocal works. Thus, church and Alexandre Cellier. music held a fundamental place in Jehan’s This organ is very interesting for sev- Albert and Jehan Alain were most in- training; he retained an appreciation of eral reasons. It shows the technical prow- fl uenced by the organ of the abbey of Gregorian chant and its modes. Ever ess of a single man, who built everything Valloires, built in 1845, but with several since he was old enough to turn the pages in it (except metal pipes). The aesthetics ancient stops. The sonorities of this in- of a score, his father brought him along to of the specifi cation show great originali- strument, very original for the time, en- church services; little Jehan thus learned ty, especially in the beginning, 1910—Al- chanted Jehan and Albert. Here is an ex- at a young age the order of the liturgy. bert Alain conceived a neo-classic organ, tract of a letter Jehan wrote to his friend His father acquainted Jehan with revealing himself as a precursor. What is Denise Billard in 1930: well-written music. Albert Alain ex- more, the organ inspired many registra- Jehan at his father’s organ celled in harmony (obtaining the First tions in Jehan Alain’s works; it fostered There is a three-manual organ here Prize in harmony at the Paris Conser- Marie-Claire Alain’s vocation. It gave a which is splendid, and (which is) located stops remaining mute. This is the reason in the most “acoustigenic” place I have vatory in 1904). He also gave Jehan the testimony, at a time when electric action ever met. It contains some old pipes two for several registrations on Jehan Alain’s opportunity to discover sixteenth- and came into fashion, to mechanical action. or three hundred years old that are “fully- works. Albert Alain completed the fourth seventeenth-century music. Finally, he Albert Alain carefully studied many in- fl avored”. Unfortunately, it has a huge de- manual and the organ in 1950. directly conveyed to him his personal struments in the Parisian area, as well as fect: it is not tuned according to our pitch. Grand orgue passion for music. In one of his letters, an organbuilding method, entitled Roret In order to play from memory, you have to ′ Jehan wrote, “Half of my head always et Guédon, a sort of abstract of Dom think one measure ahead of time to trans- 16 Bourdon 8′ Montre thinks about music.” Bedos’ work, L’art du facteur d’orgues. pose by ear. Finger memory is the only ′ true memory. But this instrument is 8Flûte harm. Albert Alain was a remarkable teacher. Finally, he talked with his teacher at the 8′ Bourdon* marvelous to play around eleven at night, ′ He gave lessons to his four children— Paris Conservatory, Alexandre Guilmant, when silence is perfect in the countryside 4Prestant Jehan, Marie-Odile, Olivier, and Marie- who knew much about organbuilding and you play pianissimo the low notes of Plein-jeu III* Claire—who all became professional and advised him to return to the typical the pedal which make the atmosphere musicians; two of them were exceptional stops of the 17th and 18th centuries. quiver. It’s really moving. Positif artists. His children are extremely in- Here is the specifi cation of the first or- 8′ Salicional 8′ Cor de nuit debted to him for his strong impact on gan in 1914, with the Cornet décomposé Albert Alain wanted for his organ new 1 5⁄3′ Gros nazard their musical education. on the Positif. Later, in the 1920s, the sonorities and new registrations in order 4′ Flûte 2 organ would have three manuals, with a to play Couperin, Daquin, Clérambault, 2⁄3′ Nasard The organ Récit (Solo). and above all J. S. Bach, Buxtehude, and 2′ Doublette 3 Albert Alain was a very original man. Pachelbel. So the specifi cation of his or- 1⁄5′ Tierce Grand orgue 1 ⁄3′ Larigot He developed such a passion for the or- 16′ Bourdon gan mixed together the post-romantic 1 gan that he undertook what seemed to 8′ Montre infl uence with a return to the 17th- and be a crazy project: to build a home organ ′ 18th-century French tradition. Récit-Bombarde 8Flûte harm. 8′ Principal (diapason) by himself. This home organ would keep 4′ Prestant In the 1930s, Albert Alain planned a ′ him busy for his entire lifetime (1880– fourth manual, Récit-Bombarde, includ- 8Flûte trav. Positif 4′ Prestant 2 1971). Planned initially in 1910 for 19 ′ ing a Plein-jeu and the typical batterie 2⁄3′ Quinte stops, the organ amounted, in 1950, to 8Cor de nuit d’anches: Bombarde 16′, Trompette 8′, ′ 4′ Flûte douce ′ 2Doublette 42 stops. 2 ′ Clairon 4 . But Jehan Alain never saw Plein-jeu III 2⁄3 Nazard ′ One could say that this organ was Al- 2′ Doublette this fourth manual completed. On the 16 Bombarde 3 ′ bert Alain’s fi fth child. It infl uenced the 5′ contrary, the organ was in perpetual 8Trompette 1⁄ Tierce ′ musical life of the 20th century. As a 8′ Basson-hautbois transformation in the 1930s, with certain 4Clairon 22 THE DIAPASON Manuscript of the First Fantasy Another source of inspiration, Gre- of exoticism: Asian or Arabian, with com- gorian chant, was of paramount impor- bined sources. Jehan visited the 1931 Co- tance. From his earliest childhood on, lonial Exhibition in Paris and the music he was used to accompanying and para- that he heard there inspired him, but he phrasing it. He incorporated it into cer- transformed it, retaining only its spirit. tain works such as the Postlude for the Oriental infl uence is very important, Letter to Denise Billard, 1931 Offi ce of Compline. It was composed in especially in the two fantasies for organ. Valloires, inspired by the mystical atmo- I will write about the Second Fantasy at Récit-Solo ed with a smile: “Don’t hesitate to make sphere of the chapel at nightfall. length in my next article; it is essential 16′ Quintaton (sans 1e octave) such mistakes often!” In the same spirit, monody was very in Jehan Alain’s creation paths. (See il- 8′ Gambe Jehan amused himself by decorat- precious to him and he composed sev- lustration above: the manuscript of the 8′ Voix cél. ′ ing his harmonic exercises with hearts eral monodic pieces such as his Suite for First Fantasy.) 8Flûte conique pierced by an arrow. During the 1933 piano, 1935. Jehan was not a theorist, contrary to Ol- 4′ Flûte octav. 4′ Salicet exam, this resulted in his receiving a sim- The musicians he most frequent- ivier Messiaen. He was interested in the 2 2⁄3′ Quinte ple promotion instead of a fi rst prize! ly mentioned were J. S. Bach, César impact of these sonorities upon his own Cymbale II His humor, his pleasure at telling Franck, and Frédéric Chopin. Concern- sensitivity. In any case, he wrote several 8′ Cromorne jokes and making people laugh, led him ing Franck, he said that he was “extra works under this rather oriental infl uence: 8′ Hautbois to write letters to several young women terrestrial,” but for him Bach was the Togo and Tarass Boulba, both for piano.
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