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 ’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: , 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, , 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. who became his favorite correspondents: “greatest of all.” Pédale Denise Billard, a pianist, with whom he Chopin was his favorite as a pianist. A committed man and a poet: 16′ Soubasse ′ discussed his pianistic technique, Aline Jehan very often played his music. One His friendships and 8Basse his correspondence 4′ Flûte Pelliot, and Lola Bluhm. He described anecdote: oftentimes his friend Aline 4′ Bourdon his impressions, his feelings, his dreams, Pelliot knew that Jehan had arrived at Friendship was of utmost importance Mixture II and all of a sudden, in the middle of a the conservatory because she heard to him. His letters and his writings prove 4 ⁄5′ Tierce letter, he began to draw. You can see the somebody playing Chopin’s First Bal- that he was faithful to his friends: “Affec- fi rst illustrated example in this letter ad- lade—Jehan Alain, of course! tion is a totally inexhaustible rich type of * stops not yet connected dressed to his friend Denise Billard with Exotic music was in fashion at the time, poverty. I do give to you and, above all, I a drawing, dated August 26, 1931 (see il- but it was hybrid, a very confusing type do not want any gratifi cation.” The four children—Jehan, Marie- lustration above). Odile, Olivier, and Marie-Claire—were Jehan immensely benefi ted from his deeply affected by their father’s organ. ten years of study at the conservatory. Scattered leaves ... from our Scrapbook How could they be offered a more beau- While still retaining his originality, he tiful toy? Since their early childhood, started writing in a more sophisticated they had been nursed by the sounds of and rigorous way and further developed the instrument and their little fi ngers his musical ideas. Far from being held From a review of as this and to larger discovered the sense of touch, thanks to back in his inspiration by the rules, he Spirited Sounds in a organs such as one in its accurate mechanical action. was, from then on, able to transcend Small Sacred Space nearby Nashville’s new them in composing a new and very per- (AndrewJPeters.com) Schermerhorn Symphony A precocious musician sonal music. Center. Schoenstein’s Jehan put his hands on a keyboard as Andrew Peters, pastoral instruments are notable soon as he was able to stand up; his mu- Various infl uences musician at the Second for their flexibility, depth sical talents were evident at a very early Early music was an important source Presbyterian Church of expression, smoothness, age. He worked with his father, then of inspiration; in his father’s vast library, in St. Louis, MO., ably clarity and coherence of with other professors. Finally, at the Jehan discovered works by early French, demonstrates this tone, richness of color, age of eighteen, in 1929, he entered the Italian, and German masters. This in- fine, versatile little and judicious allocation Paris Conservatory of Music, where he spired him to compose his Variations remained for ten years. on a Theme by Clement Jannequin. He Schoenstein at Historic of voices for maximum He studied harmony with André dedicated this piece to his friend Pierre Franklin Presbyterian usefulness. Andrew Bloch, fugue with Segond, saying: Church in a multifaceted Peters’s program includes (who had taught his father), and com- program. Schoenstein’s music from four centuries position with . Jehan really It ought to be possible for a musician unique design and and four countries. appreciated Dukas but only studied with of the twentieth century to retain the soul tonal philosophies of this early music. The language does not apply equally to small James Hildreth him for one year because Dukas died in matter, only the spirit speaks. 1935. Roger-Ducasse succeeded Dukas. instruments such The American Organist In 1936, Jehan entered the organ class Jehan discovered François Campion’s of Marcel Dupré, one of his father’s old lute tablatures, which he transcribed friends. In memory of their friendship, into modern keyboard notation. He said Dupré was very affectionate to Jehan. that he preferred the simplicity of this He appreciated Jehan’s gift for impro- music to the complexity of works from visation. According to a fellow student, the end of the nineteenth century, such Schoenstein & Co. one day Jehan was improvising during as those by Vincent d’Indy, for example. the class. He had not concluded accord- Jehan said in a letter to Denise Billard, at Established in San Francisco 1877 ing to the strict established rules. When the end of 1934: “Pure and simple mu- š he realized it, he cried out, “Ah! I am sic is often more beautiful than delirious www.schoenstein.com ❧ (707) 747-5858 mistaken!” and Marcel Dupré respond- richly dense music.”

JULY, 2012 23 Drawing to his sister Marie-Claire: pedalboard and console

Jehan and his brother Olivier on the motorcycle

Jehan and his daughter Lise

His friends’ opinions were very signifi - cant to him, as is shown by this anecdote he shared with Aline Pelliot concerning his piece Le Jardin suspendu, which he also called a chaconne: The Dwarf The chaconne which I played for you yesterday, do you really like it? Are you organ also dates back to 1936. In August sure? Would you prefer a G-sharp? If it pleases you, I will use a G-natural. 1937, Jehan simultaneously fi nished Lita- nies and the second of his Three Dances. In the same way, he wrote in the Pref- There is a lot to say about Litanies, his ace of his piano works: most well-known piece. Litanies is a cry of anguish and distress. After the ethere- Here is a series of impressions. Don’t Drawing by Jehan: playing saxophone al dream of Le Jardin suspendu and the try to fi nd there a lesson or an argument; Jehan and Marie-Claire, 1933 classicism developed in the Variations, just consider them as a passing vision . . . My goal would be achieved and I would he spoke to them about Christian mor- Jehan Alain confi des in us his tortured experience great joy if each reader would als. In 1938, he wrote in his diary: “There he confessed to his mother: “I am nei- soul, without mask and reserve. Doubt- suddenly fi nd himself within one of these are only two possible ways to live: either ther a pianist nor an organist, but a semi- less, it is this absolute sincerity, this direct lines. Deeply moved, he might stop mo- as a priest or an apostle, or, on the other acrobat, a sort of sincere charlatan.” character that makes the work a success mentarily before continuing, touched by a hand, to have small children, to live as an He had a highly developed sense of for all audiences, even on the fi rst hear- bit of the pleasure one feels upon receiv- artist and to have a fi rm religious faith.” humor, sometimes a bit too easy-going. ing. As Gavoty reports, Jehan added, ing a friendly glance. On the level of personal commitment, He loved associating words with strange his Christian faith partially explains his or harmonious sonorities: This prayer is not a lament, but an irre- The correspondence is essential in or- ultimate gesture of sacrifi ce: he gave his A cataract-like cascade: une cascade sistible storm which overthrows everything in its way. It is also an obsession: it must fi ll der to understand his development, his life for his family, for his country. This cataractique the ears of men and of the good Lord! If, artistic state of mind and his sensitivity. can only be understood in the context of Flowing funny trickling water: l’eau in the end, you do not feel exhausted, it’s In a letter to Denise Billard, dated Au- the Catholic faith in the 1930s. This was dégouline rigoline dégoulinde because you will neither have understood gust 15–20, 1933, Jehan wrote: the way that he was brought up. These Jehan has drawn lots of fantastic cows. nor played as I wish. were his family values. His last words He saw these cows when he was in the Downstairs, in the living room, an ex- were: “May Providence especially pro- family house in the Alps, near Chamonix. Three weeks after the completion of cellent violoncellist is playing with Papa. tect small children in France!” Every summer, the entire Alain family Litanies, Jehan and Marie-Claire Alain’s But his playing makes me nervous. Oh, it’s frightening what a string can render. spent their holidays there. They were sister, Marie-Odile, died in an accident This man expresses that which one should A poet: his passion, his humor and hiking in the mountains and, one day, in the mountains. Jehan wrote the dedi- never express . . . this type of latent pain his dreams they had to take refuge in a hut because cation that appears in the 1939 edition: which each person carries deeply inside Jehan had a wide-range personality, of a violent storm. They sang by memory himself, which moans even in the midst of which varied from the deepest melan- lots of things, and then Jehan wrote on When the Christian soul no longer fi nds the greatest joys. . . . Now I would like to choly to a bursting joyfulness. His music a wrapping paper a short song, amidst new words in its distress to implore God’s hear a diabolic music; something like jazz mercy, it ceaselessly repeats the same in- expresses his inner anguish. thunder and lightning. He wrote letters vocation with a vehement faith. Reason which contains only trumpets . . . some- Jehan was an eminently changeable to his little sister that were bristling with thing which fl aps like a strong wind. I has reached its limit. Faith alone pursues cannot stand music which sounds like driz- person, capable of being deliriously designs and humor, for example this one its ascension. zling rain that drizzles on for entire days, happy one minute and equally sad the (see illustration above: a design of the without respite. . . . following minute. Completely free from console pedalboard): In the same way, he added the subtitle No news from my friends . . . what have convention, he mocked routines, made to his Second Dance: “Funeral Dance to they been up to? Is it my fault? It’s true fun of the “bourgeois,” being at the same I was mistaken, I put the console in place Honor a Heroic Memory.” And he wrote that people who pretend to know how to time a good father to his family and a of the pedalboard and the pedalboard in about this piece: “There is no contradic- live are strong. I believe I will never know place of the keyboard. You can see on the conscientious church organist. All who drawing how I manage to play now. In the tion between dance and distress. Dance, that. I feel like writing a letter to Destiny knew him remember the incomparable like music, expresses itself without a con- in order to receive some information. . . . end, it’s only a matter of habit: all I have to Should we take our suitcases for the long humor of his jokes, bordering on the ri- do is to play with my heels a little more, and cept and it can translate in such a sub- trip? When I die, will someone remember diculous, whereas the dominant thought there you go. The only disadvantage is that lime manner that which words cannot me? Will I have known how to do some coming from his music is that of a pro- I’m always pulling Pedal couplers instead say without brutality.” good around me? . . . It is benefi cial to found sadness. of manual couplers, but within a fortnight, This period of mourning made Jehan imagine eternal mercy! He wrote: “The world creaks painfully everything will be all right. gloomier. His music also conveyed the like a giant windmill which indifferently tense pessimistic atmosphere in Europe His family and his Christian faith crushes all good and bad acts, all the de- Of course, little Marie-Claire was able to at the end of the 1930s, as threats of In 1935, at the age of 24, Jehan decided sires, all the passions, all the faults . . . ” understand this. She already knew every- war became ever clearer. He then wrote to marry a childhood friend named Mad- But he soon corrected: “And yet what thing about the organ. these premonitory words: “Always kiss eleine. Their marriage was very happy a fi re, what a thirst for living eats me up! your wife and your little daughter, as if it and very shortly afterwards they had three I long to live an ardent life with all its Dreams and poetry were the last time you would see them.” children: fi rst Lise, followed by Agnès and suffering and irrepressible joy.” Many a dream can be found in his In 1938, Jehan composed in just a few Denis. (See illustration: Jehan and his Jehan never surrendered to melan- writings, tales, stories and imagination days the Modal Mass, then the Aria for daughter Lise.) choly. He wrote: “Everywhere the comic (see illustration: the Dwarf). organ. He completed the Three Dances, Jehan adored little children. He was is mixed with drama. When we have suf- but the score for orchestra was lost with very sensitive to the childhood world. fered a great deal, we need to laugh a The later works: griefs him in 1940, when he was in the process He drew many designs for them, of fairy great deal.” and struggles of completing it. Fortunately for us, not tales and animals. He said: “Musician’s Physically very agile, he loved working The masterpieces having had the time to copy it all, he de- ears which have not heard the laughter with engines and acquired a motorcycle The Suite for Organ, composed as cided to make a transcription for the con- of a child have only heard the sound of in 1932. (See illustration with motorcy- early as 1934–35, was awarded a prize in cert organ and sent it by mail to Noëlie scrap iron.” cle, above.) 1936 by Les Amis de l’Orgue. This was Pierront, only nine days before the Ger- Jehan had a very solid Christian faith. He played saxophone when he was a a satisfaction for Jehan, who had not ob- man attack. And the mail miraculously During his service in the army, he tried soldier in 1933–34 (obligatory military tained a prize in composition at the Paris arrived: this is the only remaining auto- to convert his fellow soldiers; otherwise, service). At that time, on March 2, 1934, Conservatory. His Second Fantasy for graph version of this masterpiece.

24 THE DIAPASON 8th armored cavalry

The citation

to say: “If you love Jehan Alain, if he Grove Dictionary, a book on Albert Alain in Jehan in the dunes in Dunkirk 2001, and in 2005, Jehan Alain, Biographie, speaks to you, that you think likewise, Correspondance, Dessins. In March 2011, then my dream is fulfi lled.” ■ she organized the French centennial of Jehan The War han won his military medal: in May 1940, Alain’s birthday in Saint-Germain-en-Laye September 1, 1939–June 22, 1940 during the Dunkirk battle, he carried out Aurélie Decourt, Jehan Alain’s niece and and published a book on the Alain family On the fi rst of September, the German (this is the text of the quotation) “a very biographer, studied history and art history (Une famille de musiciens au XXe siècle, Par- army invaded Poland; France and Great perilous contact mission, completely de- and holds a Ph.D. in musicology at the Uni- is, Hermann, 2011), including a new chapter Britain, according to their commitments, fying the danger involved” and collapsed versity of Paris-Sorbonne. She has published on Marie-Claire Alain’s life. First translation declared war on Germany. But it was asleep upon returning. We have a photo- articles in journals such as L’Orgue, La Tri- of this article by Carolyn Shuster-Fournnier; called “the phony war” because during graph of this (see illustrations: a photo of bune de l’Orgue, Diapason, and in the New new English translation by Laetitia Decourt. nine months, there was no attack from the dunes, and a citation). neither French nor British armies against Defy all danger: this was the pre- Germany. (See illustration: design of the dominant driving force that fully ap- 8th armored cavalry.) pealed to Jehan Alain in the spring of INCE 1979, we have One of the fi rst to be mobilized, Je- 1940, following months of boredom. han left as early as the fi rst of September His physical agility, his skillful driving of designed and built over 1939 for northern France. A simple sol- the motorcycle, and his absolute cour- 120 new pipe organs for dier, Jehan found himself in the middle age compelled him to attempt anything. S of the men of his troop. Their equip- This context is essential to understand clients in Australia, Austria, ment was very poor: the men slept on his fi nal gesture: upon returning from New Zealand, England, straw until December and did not have England, he voluntarily enrolled in an ir- enough covers. The hygiene was deplor- regular force, to continue fi ghting. The Canada and the United States. able and Jehan suffered from remain- group advanced towards the Loire River, Our instruments, whether ing wet for endless hours, with the cold a major obstacle in the German progres- weather that numbed his hands, and sion towards the south. Jehan Alain, who tracker or electric action, have fi lth everywhere. had left on a reconnaissance mission, was been praised for their rugged The “phony war” lasted for ages: France, confronted by an enemy troop. Trapped construction, comfortable although offi cially at war with Germany in a garden, alone, he made his decision: Opus 116 since September 3, 1939, did not launch instead of fl eeing, an unthinkable choice, consoles, responsive key any attack. On the contrary, the French or surrendering, Jehan emptied all of his actions and tonal integrity. troops stationed behind the Maginot line cartridges, jammed his gun and encoun- adopted a defensive strategy. tered the Germans who shot him down. New cases, keyboards, In these conditions, Jehan’s superiors The German offi cer rendered him hom- windchests, reservoirs and appreciated his talents: in fact, he imme- age for his bravery. According to the in- diately proposed to animate recreation habitants, for several days, sheets of mu- pipes are all built from raw periods, religious services, and evening sic scores, which had slipped out of his materials within our two activities. He even founded a choir sidecar, were carried away by the wind known as the “Small Singers with Loud and found in the countryside. workshops located in Saint- Voices,” teaching them how to sing, mak- Jehan’s gesture was a part of his entire Hyacinthe, Québec. Our team ing arrangements for them, and copying life and can be better understood if one scores. He held several rehearsals and knows his personality and his social back- of experienced builders also the Christmas Mass was a huge success. ground. Today, mentalities have changed restores and rebuilds older Meanwhile, he played the piano in the and the idea of sacrifi cing one’s own life evenings for the offi cers. for the sake of honor might seem unre- instruments to make them He wrote to his wife every other day. alistic and unreasonable. But, beyond sound and play better than ever. Opus 118 He assured her of his love, spoke about these opinion differences, Jehan’s death his suffering from their separation, and unquestionably remains a symbol of made drawings for the children. His courage and total commitment. third child, Denis, was born on Novem- ber 3, 1939; Jehan obtained three days of Conclusion LÉTOURNEAU PIPE ORGANS leave to come and see him. A short yet full life: Jehan Alain died The German troops began their of- at the age of 29, but he has left us with USA Canada fensive on the Western front on May an immense legacy. In my book, I have 1220 L Street NW 16 355, avenue Savoie 10, 1940, by invading Holland, Belgium, tried to give a faithful account, essen- Suite 100 – Box 200 St-Hyacinthe, Québec and Luxembourg. The Blitzkrieg strat- tially including Jehan’s own works: his Washington, DC J2T 3N1 egy was successful: in the north, the selected letters, his drawings, adding 20005-4018 Tel: 450-774-2698 French and the English were trapped, a biography and some critical notes. I Tel: 800-625-PIPE Fax: 450-774-3008 surrounded by the German army. Under hope that this book expresses Jehan Fax: 202-737-1818 [email protected] dreadful bombing, 350,000 French and Alain’s following sentiment: “If you love [email protected] www.letourneauorgans.com English soldiers were evacuated through my music, if it speaks to you, that you Dunkirk (from May 29 to June 4). think likewise, then my dream is ful- It was under these conditions that Je- fi lled.” In the same way, I would like

JULY, 2012 25