The Musical Tradition at the Sainte-Clotilde Basilica in Paris, France Carolyn Shuster Fournier

1. In the beginning the fi rst decade of his service as choir- Jean Langlais (1931) As soon as he was appointed choir- master: in addition to his three-voice Bernard Piché (1938–1939) master at the Sainte-Clotilde church in Mass, op. 12, a dozen offertories, mo- Paris, France, Franck had the ambition tets and several hymns, his oratorio The Jean Langlais (private organ students or of becoming the titular of the Cavaillé- Seven Last Words of Christ on the Cross, those enrolled at the Schola Cantorum) Coll under construction: one of his pro- fi nished on August 14, 1859, and nota- Pierre Denis (beginning in 1932) grams, a concert given on February 22, bly his Dextera Domini, Offertory for Pierre Cogen (beginning in 1950) 1858 in Orléans, attested that “the piano Easter, op. 11, dedicated to the Abbot Marie-Louise Jaquet-Langlais (begin- will be played by M. César Franck, the Pierre Ambroise Hamelin (priest from ning in 1966) choirmaster and the fi rst organist at the 1857–1883).7 In 1867, Théodore Dubois Jacques Taddei (1980). Sainte-Clotilde parish in Paris.”1 During composed, at Hamelin’s request, his ver- the offi cial inauguration of the church sion of the Seven Last Words of Christ The example of Théodore Dubois on December 19, 1859, during which he for Good Friday. This work was then tra- to Maurice Emmanuel played (as did Lefébure-Wély), the musi- ditionally performed each Good Friday An example of faithful support of a cal press presented him as the “organiste at the Madeleine church. Samuel Rous- professor to his students, that of Théo- titulaire de Sainte-Clotilde.”2 seau, a musician who served this parish dore Dubois to Maurice Emmanuel In his biography of César Franck, between 1870 and 1904, also composed alone illustrates the quality of their re- Maurice Emmanuel justly reveals: religious music with harmonies openly lationship. At the time of Emmanuel’s inspired by Franck, which was used for nomination as choirmaster, on October César Franck was choirmaster at Sainte- the ceremonies at Sainte-Clotilde: two 20, 1904, Dubois wrote him the follow- Clotilde (1858) where Théodore Dubois collections of his music even indicate this ing letter: accompanied his choir. Imposed upon him in their titles: Répertoire de Ste-Clotilde by Abbot Hamelin, the parish priest, this (Le Beau, 1887; reissued by Pérégally & My dear friend, Théodore Dubois (courtesy Francis Dubois) choir could be compared to a loose-fi tting I am delighted that you have accepted overcoat whose sleeves hampered him Parvy, 1893–94) and Hymne à Sainte- Clotilde (1897, Pérégally & Parvy), with the functions of choirmaster at Ste-Clotilde. You remain a Christian and a believer; from conducting. Franck was also organist You have plenty of ideas, a cultivated spirit; in this same church, where he possessed the text by Abbot Le Droz, which was this is good! Strong souls support without you know how to manage, in these particu- weakness all human iniquities. You are one of the most beautiful instruments ever dedicated to Abbot Gardey, General larly diffi cult circumstances when we have constructed by Cavaillé-Coll and whose ad- Vicar of Paris, the main priest at Sainte- among them! imposed the “Motu proprio,” the departure The last phrase of your letter reminded mirable voices gradually aroused his genius Clotilde from 1883–1914. of some good and of some bad. You will as an improviser.3 me of my past. How many times my most scarcely be the sectarian and uncompromis- sincere efforts remained unknown and 2. The heritage ing man from the “Schola Cantorum,” and were ridiculed and how many times I was Franck generously allowed Théodore The Sainte-Clotilde musical tradition you will neither glide to the side of worldly treated unjustly and in a biased manner! Dubois to play this instrument occasion- remains unique because it produced a music, so-called more or less religious or But like you, I can say that I had “received rather more or less poorly written. You sympathy from a minor elite, and that a sin- ally when he conducted the choir, as on group of musicians whose line of transmis- must be fi rm and active. You will have all of April 2, 1861, for the fi rst performance sion from the professors to their students cere work in view of an elevated art is never that, and in addition you are young. Please entirely lost.” of his three-voice Mass in A Major, op. remains unbroken. The line of students accept therefore my congratulations and 4 Madame Dubois joins me and hopes 12 (1860) with orchestra. As Dubois has of the titulars at Sainte-Clotilde who be- my most sincere wishes, and you know that that you will share with Mme. Emmanuel confi rmed in his Souvenirs, it was only in longed to this tradition, listed below, is the I am always affectionately devoted to you. 9 the assurance of our most affectionate 1863 that Franck was fi nally named titu- most complete one to this day, without Théodore Dubois sympathy. lar of this most poetic instrument.5 however pretending to be exhaustive: Théodore Dubois11 Although Dubois left Sainte-Clotilde Two years later, on July 1, 1906, Dubois to begin his functions as choirmaster at César Franck (his organ students at the congratulated him for his actions within The dedications La Madeleine beginning on November Conservatory)8 this parish: The dedications of works by compos- 27, 1868, he remained César Franck’s Samuel Rousseau (Nov. 1871; 2nd acc. ers from the Sainte-Clotilde Tradition close friend. He strongly supported his 1872; 1st acc. 1875 ; 1st prize, 1877) My dear friend, I would like to express to their colleagues demonstrate their nomination in 1871 as organ professor at Guillaume Couture (Canadian) (1873 my complete satisfaction with the beauti- mutual esteem and their fraternal rela- the Paris Conservatory. He recalled this to 1875) ful performance of my Mass in the Pales- tionships. Samuel Rousseau dedicated trinian style this morning at Ste-Clotilde. moment in his short speech given dur- Charles Bordes (ca. 1880) I congratulate and heartily thank you for his Fantaisie, op. 73, “to the memory ing the inauguration of the monument Georges MacMaster (ca. 1880), also a your fi ne artistic interpretation. It is dif- of my dear Master César Franck,” the in César Franck’s memory, by Alfred student of Théodore Dubois fi cult to acquire the necessary suppleness Cantilena of his Fifteen Pieces (Paris, Lenoir, in the square located in front of Gabriel Pierné (Dec. 1880; 2nd prize, in such a style. You must then encourage Leduc, 1892) to Léon Cazajus, and an the Sainte-Clotilde Basilica on October 1881; 1st prize, 1882) the singers of your choir and give them the Offertoire funèbre in this same collec- 22, 1904: Dynam-Victor Fumet (Dec. 1885) compliments they deserve. tion to the Abbot Chazot, named second Charles Tournemire (Dec. 1889; 1st Congratulations also for the Plain-Chant vicar at Sainte-Clotilde in 1889. Maurice When the position as organ professor acc., 1890) [sic], which, thus sung and phrased, loses Emmanuel dedicated his Three Organ became vacant following Benoist’s death, I all of the cavernous severity that one is in the habit of giving to it, and which too often Pieces (Paris, Lemoine, 1986) to his as- went right away to see my master Ambroise Théodore Dubois (his students in har- sistant Emile Poillot. Ermend Bonnal Thomas, then director, and I said to him, renders it disagreeable. “There is only one man truly dignifi ed to mony at the Conservatory) Beautiful organ pieces, well-played. dedicated his Prayer and Chorale, op. now occupy this post: it is César Franck”; Guillaume Couture (1873–1875) All my respects to Mrs. Emmanuel and 27, to the memory of his friend Samuel Maurice Emmanuel (1st acc. 1883) affectionately to you, Rousseau. Gabriel Pierné dedicated the he responded to me: “This is true.” And he 10 named him to this post.6 Léon Cazajus (2nd prize 1887) Th. Dubois Prelude of his Three Pieces, op. 29, to the Jules Meunier (ca. 1895) One year later, after Maurice Emmanuel choirmaster Samuel Rousseau, and the Dubois dedicated to Franck his Prélude, resigned from his position as choirmas- second piece in this collection, the Can- the fi rst piece in his Twelve Pieces for Charles Tournemire (private organ ter at Sainte-Clotilde, Théodore Dubois tilène, to Théodore Dubois, who became Organ or Piano Pédalier (Paris, Leduc, and improvisation students) wrote to him on April 2, 1907: titular of the Grand Orgue at La Mad- 1886). Ermend Bonnal (beginning in 1904) eleine. Pierné also composed a Tombeau Among the liturgical works written for Maurice Durufl é (beginning in 1920) My dear Emmanuel, de César Franck for piano (published ceremonies at Sainte-Clotilde, Franck Daniel-Lesur (ca. 1927) That which you have told me does not posthumously), based on one of César composed several choral works during Henriette Puig-Roger (ca. 1930) surprise me! My long personal experience Franck’s improvisation themes. in this fi eld where I worked for so many years of my life, has not hardly left me any Following Samuel Rousseau, Charles illusions neither on the goodness, nor on Tournemire dedicated his fi rst important the piety nor on the intelligence of those organ work to César Franck, his Triple whom you know! Choral (Sancta Trinitas), op. 41, written I was just going to write to you to say in November, 1910 (Lyon, Janin, 1912) that I just learned about your resignation “to the memory of my venerated Master from Mr. Meunier, without a doubt the César Franck. This work renders hom- one whom you refer to with a M.— He just age to my master’s musical testament, his came to visit me, telling me this: “Mr. Em- Three Chorals (1890).” For Tournemire, manuel resigned from Ste-Clotilde, I am most certain; I am not less certain that my candidacy has a chance; I would be grateful the highest expression of organ music is if you would support me with a recommen- manifest in the choral. The refi ned style dation to the priest.” In these conditions, which ensues gives it a special signifi cance. This is not only a question of writing, its I could not refuse to write him this note, signifi cance is higher: it is the result of especially since I have known him for quite a special state of the soul. . . . From the a long time. I therefore wrote a small letter instant when the composer enters this to the priest conceived more or less in these temple perfumed with incense, he feels terms: “I have been informed that Mr. Em- penetrated with dignity: his prayerful soul manuel has left his position as choirmaster is fi lled with light.12 at Sainte-Clotilde. If this is true, please al- low me to etc. . . .” Since I always tell the truth, I was going Tournemire’s Triple Choral contains to write this to you, really certain that you three sources of inspiration: did not take this solemn decision until af- ter a series of all sorts of disgusting events 1st Choral—You are grand, oh Father! in which you did not want to tarnish your You have created the world. You have regu- dignity. lated the grandiose rhythm. You have cre-

26 THE DIAPASON

Apr 08 pp. 26-29.indd 26 3/10/08 11:24:01 AM gan, which Tournemire had recorded at the beginning of 1931 for Polydor. To his former student, substitute, and friend Ermend Bonnal, Tournemire dedicated several of his works: in 1895, Le Ménétrier (one of his Six Pieces for piano, op. 20—Marseille, Georges Kaufmann, 1900), an Offertory in G Major, op. 21, from the Variae Preces for harmonium (edited in Lyon by Janin in 1904, along with an Entrée in B Ma- jor, dedicated to Samuel-Rousseau) and in 1931, the 33rd offi ce of l’Orgue mystique, op. 57, for the eighth Sunday after Pentecost (Paris, Heugel, 1931). In turn, Bonnal dedicated to his maître his Paysage landais (Paris, A. Durand & Fils, 1904), and to André Fleury, the third piece of his Paysages pyrénées, re- baptized Paysages euskariens, Cloches dans le ciel. Bernard Schulé dedicated in memory of Ermend Bonnal his Icône, the fi fth of his organ pieces entitled En- luminures, op. 12 (Rouart Lerolle et Théodore Dubois with colleagues (courtesy Francis Dubois) Maurice Emmanuel circa 1920 (courtesy Cie., 1946). Anne Eichner-Emmanuel) Tournemire dedicated his Fioretti, his maître Charles Tournemire as well as lio to François Tricot (the fi rst of his Two op. 60, no. 2 (Paris, Hérelle, 1932) to his In Memoriam, op. 231 (Paris, Com- Hosannas on Gregorian texts; Vienna, ated life. We glorify you and we love you. his friend Jean Langlais. It is moving to bre, 1987). Universal, 1985). 2nd Choral—The one who regulates the read the text written to his student, blind In September, 1986, Langlais dedi- To his student and second wife Ma- immense rhythm of the world, this power since the age of two: cated his Three Antiphons to the Holy rie-Louise, Jean Langlais dedicated his that is beyond all our comprehension, in Virgin, op. 242, for solo voice (or for “Il était, Il est et Il vient,” no. 2 of his order to save us took on our humanity, was You judge me well because, to punish unison choir) and organ (Pro Organo, Five Meditations on the Apocalypse, op. born in a manger, grew up among men, me for my deep faults you weakened my lived a life in a miserable world, taught with 1991) to Father Joseph Choné, who had 175, and his “Feux d’artifi ce,” no. 4 of his eyesight and momentarily I lost my sight! just been named head priest at Sainte- Rosace, op. 211 (Paris, Combre, 1981). sublime maxims, died on a cross between Oh! Am I not only too worthy of these two thieves. Admire Christ’s ineffable tribulations? And don’t I deserve even yet Clotilde, as well as several works to his In turn, Marie-Louise Jaquet-Langlais sweetness and admire his unfathomable greater ones?14 colleagues: to his former student and wrote a biography on Langlais and his goodness and greatness. Love Christ. substitute organist Pierre Denis, Hom- work: Ombre et Lumière, Jean Langlais, 3rd Choral—This grandiose manifesta- Let us recall that it was with much mage à Landino from his Twenty-Four 1907–1991 (Paris, Combre, 1995). To tion of the silent march of the stars in space, emotion that Jean Langlais played this Pieces for Harmonium or Organ, op. 10 Jacques Taddei, Jean Langlais dedicated, the sublime act of Christ on the cross, all of these acts beyond our comprehension were work at a concert at Sainte-Clotilde in (Paris, Hérelle, 1939) and his Suite fran- in 1988, “He is Born,” no. 6 of his Christ- dictated by the Holy Spirit.13 homage to Tournemire on November çaise, op. 59 (Paris, Bornemann, 1948); mas Carol Hymn Settings, op. 243 (H. T. 16, 1989 (to commemorate the fi ftieth to his disciple and substitute organist Fitzsimons, 1988). Charles Tournemire dedicated several anniversary of his death). This was the Pierre Cogen in 1973, “Oh oui, viens of his works to his substitute organists: last time that Pierre Cogen heard Lan- Seigneur, viens Seigneur Jésus,” no. 4 Improvisation in 1930, to André Fleury, no. 15 of the glais play in this church that he had from his Five Meditations on the Apoca- Improvisation on the Grand Orgue op. 56 from l’Orgue mystique (Laetare), served as an artist for 43 years. Too weak lypse, op. 175 (Paris, Bornemann, 1974); played a primary role in the music at and to Daniel-Lesur, no. 16. In 1934, he to go up to the Grand Orgue tribune, and to the choirmaster François Tricot, Sainte-Clotilde. As Joël-Marie Fauquet dedicated no. 40 (for the XIVth Sunday Langlais, who strongly wished to per- Dominica in Palmis, op. 83 (Paris, Schola emphasized, after Pentecost) to Emile Poillot as well form this work, decided to perform it on Cantorum, 1984). Pierre Cogen dedicat- as no. 41, op. 57, from l’Orgue mystique the choir organ. Jean Langlais dedicated ed several works to his maître: in 1988, the fame of César Franck as an organ- (for the XVth Sunday after Pentecost) his Rhapsodie Grégorienne (no. 9 of his Offering (Paris, Combre, 1990) and his ist was founded on improvisation. . . . As to Maurice Durufl é. Durufl é, in turn, Nine Pieces, op. 40, published in Paris by Two Chorales (Paris, Combre, 1993); in a composer, he rarely put himself in the reconstituted Five Improvisations for or- Bornemann in 1945) to the memory of 1980, he dedicated his Hosanna in exsi- forefront. . . . Of the six hours of his class

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APRIL, 2008 27

Apr 08 pp. 26-29.indd 27 3/10/08 11:24:23 AM each week, the Master devoted at least fi ve close to the founder of the Theosophi- of favors. The most noble ones, with char- Monsieur Denis Havard de la Montagne of them to improvisation. This says every- cal Society, and Charles Tournemire, an acter and talent, those who avoid pushing “Le Moulin blanc” thing. . . . Franck intended to bring it to emotional eclectic fond of the writings of others around, meditate, and only claim of 87300 Bellac, France a level of perfection that had never been Ernest Hello, Joseph Péladan and Dom their works that they be written, remain [email protected] achieved, thus transcending the liturgical ignored for too long. César Franck, the ser- requirements which motivated this tran- Guéranger. For Tournemire, “all music vice fi nished, delivered treasures to them. This article fi rst appeared in French in sient art.15 which is not written to glorify God is use- Have the times changed? The parishio- L’Orgue 2007, II-III, no. 278-279, pp. 177–185. less.” This last statement puzzled Jean ners, do they listen to the artist who today His two books of improvisation Langlais who dared to ask his master in (1926) through a close alliance with liturgy Acknowledgements themes, which later belonged to Gabriel 1931: “But what do you do with Debussy, and with art, equally respecting the reli- Carolyn Shuster Fournier warmly expresses Pierné, were used especially at Sainte- Ravel, Stravinsky, Bartók?” “USELESS, gious and musical functions, constructs an her gratitude to Francis Dubois, Anne Eich- Clotilde. This art served as a springboard he responded dryly.”19 A fi rm Christian edifi ce built on the themes taken from the ner-Emmanuel, Denis Havard de la Mon- for his imagination, which he expressed believer from Brittany, Jean Langlais service of the day that is as disciplined in tagne, Helga Schauerte and to the Ruth and its structure, as those by César Franck, of Clarence Mader Memorial Scholarship Fund with fl uidity, poetry and lyricism. Franck was attracted at a young age by the ideals whom he was one of the last students? His for its grant in 2006. transmitted this art to his students. It is of his professor at the Institute for the master bequeathed to him the gift of these notably Charles Tournemire who under- Blind in Paris, Albert Mahaut, the au- contemplative and impassioned impro- A French-American organist and musicolo- stood so well his improvisations and their thor of the book, Le Chrétien: l’homme visations, sometimes serene, other times gist, Carolyn Shuster Fournier is an interna- relationship with specifi c aspects of the d’action.20 tumultuous, and which are like mystical tional concert artist and titular of the Aristide Cavaillé-Coll at Sainte-Clotilde. Maurice In spite of the many diffi culties en- dramas conceived in the secret corners of Cavaillé-Coll choir organ at La Trinité Church Emmanuel was a fi rst-hand witness to countered throughout the history of this the soul. The successor of the master of the in Paris, France (cf. www.shusterfournier. this transmission: parish, the musicians of Sainte-Clotilde Beatitudes also buries himself in the medi- com). Her latest CD, “An American in Paris” tation of his work and only emerges to ex- (Ligia Digital, distribution Harmonia Mun- were able to respond as best they could press the thousand voices of his organ with di), recorded at La Madeleine church, fea- Please allow me, as one of Charles to the aristocratic parishioners’ taste for much lyrical rejoicing, which the congrega- tures French and American music. Chevalier Tournemire’s comrades, to share a past worldly music, to the various reforms of tion does not seem to understand . . .22 in the Order of Arts and Letters, Dr. Shuster experience during a heroic moment when, church music (notably to the separation Fournier has written several articles for THE at Sainte-Clotilde, we attempted to charm DIAPASON. our parishioners with music that was far of the church and state in December, Notes too austere. Several weeks ago, while lis- 1905, to the restoration of plainchant 1. Léon Vallas, La Véritable Histoire de tening to the brilliant postlude he impro- and Gregorian chants and to Palestrin- César Franck, 1822–1890, Paris, Flammarion, Choirmasters and Organists at the vised, this brought back distant memories ian music and much later, to Vatican II). 1955, p. 137. Sainte-Clotilde Basilica, Paris of how amazed I was when I listened to They also kept their artistic ideals, in 2. La France musicale, December 25, The following list was established with Tournemire’s musical commentaries dur- order to strongly adhere to high-qual- 1859. the kind assistance of Denis Havard de la ing the service; on certain days, during ity music. Maurice Emmanuel, who did 3. Maurice Emmanuel, César Franck, Par- Montagne (substitutes and assistants are the Postlude, his playing produced furious not succeed in accomplishing his mis- is, Laurens, 1930, p. 15. indicated in parentheses).1 outbursts from the organ: for this mystic is sion within this parish, remains “histori- 4. Vallas, op. cit., pp. 145–146. also a genuine dramatist. If his art volun- 21 5. Théodore Dubois, Souvenirs de ma vie, tarily brings serenity and peacefulness, it cally victorious” because he later did so ms. autograph, 1912, BNF Rés. Vmc. Ms. 3. Choirmasters can suddenly break forth with energy: and, in other contexts, notably in the circles 6. Vallas, op. cit., p. 173. 1857–1863: César Franck trembling, he attacks the keyboards, which in Saint-Germain-en-Laye and in his 7. Joël-Marie Fauquet, César Franck, Par- 1863–Nov 1868: Théodore Dubois previously sang meditatively, in response to classes at the Paris Conservatory, where is, Fayard, 1999, p. 314. Nov 1868–1869: Edouard Marlois the liturgical functions.16 he formed an entire school of church 8. Ibid., pp. 960–964. The entire list of the 1869?–1875: Stéphane Gaurion musicians, notably Olivier Messiaen. His students of the musicians of the Saint-Clotilde 1876–1882?: Alexandre Georges Tournemire transmitted this art to his lucidity concerning César Franck and church in Paris, France, was established with 1882–1904: Samuel Rousseau Denis Havard de la Montagne. students; his pupil Jean Langlais relates: Charles Tournemire sums up the role of 9. Théodore Dubois, “Lettre à Maurice 1904–1907: Maurice Emmanuel (Emile the musicians in the Sainte-Clotilde mu- Emmanuel,” Paris, October 30, 1904, con- Poillot) His pedagogy, as admirable as it was, was sical tradition: served in the archives l’Association des Amis 1907–1946: Jules Meunier, replaced dur- not lacking in originality. For example, con- de Maurice Emmanuel. The author thanks ing the war by Etienne Audfray (Pierre cerning a plan for improvisation: First, cre- If Franck ignored the joys that the least Madame Anne Eichner-Emmanuel, Presi- Besson and Robert Vincent) ate the atmosphere . . . Secondly, impose it dent, and Helga Schauerte for communica- on your listeners, so that the central part is of artists can ever know, he was conscious Dec 1946–June 1987: François Tricot of their force and of their liberty. The sur- tion these documents to her. June 1987–Sept 1988: Yves Castagnet rich. Rise . . . Rise . . . then, your public will 10. Dubois, Souvenirs, op. cit., July 1, 1906. follow you . . . They will begin to pant . . . vivors of the time when the Saint-Clotilde Sept 1988–Aug 31, 1989: Philippe organ sounded under the fi ngers of a mas- 11. Ibid., April 2, 1907. no longer able to breathe . . . Then play for 12. Charles Tournemire, César Franck Brandeis them two brief and dissonant chords on the ter, his happiness in playing, his improvi- 1989–1993: Pierre-Michel Bédard sations that he delivered, was recalled by (Paris, Delegrave, 1931), p. 69. entire organ . . . Observe a long silence . . . 13. Ibid., p. 69. 1993–June 1994: Marcel Bardon The audience is dead . . . Then, open the privileged listeners, . . . In his organ loft, Franck was king. It took several minutes for 14. Joël-Marie Fauquet, Catalogue de gates of heaven with a poetic conclusion on l’œuvre de Charles Tournemire, Genève, Organist Accompanists a Bourdon 8′ and a Voix Céleste . . .17 his power to break forth in all its fullness, and it brought forth an orchestral tumult, Minkoff, 1979. 1857–1863: Théodore Dubois in which the master played an imposing 15. Fauquet, César Franck, p. 480. 1863?–1869: Stéphane Gaurion 3. In conclusion prelude. To compel him to intone the tri- 16. Maurice Emmanuel, “Les Orgues de 1870–1878: Samuel Rousseau (Guil- umphal hymn, he seemed to shake the key- Sainte-Clotilde” in L’orgue et les organistes in All of the musicians who served Sainte- Le Monde Musical, 1933, p. 247. laume Couture) Clotilde during the past 150 years had boards; suddenly the hymn appeared in a 1879–1887: ? (Dynam-Victor Fumet, grandiose construction . . . More than once 17. Jean Langlais, cited in Marie-Louise Ja- personalities and religious beliefs that the horrible bell, rang by the singers’ ac- quet-Langlais, Ombre et Lumière, Jean Lan- organist of the Catechism Chapel in were strongly different. César Franck, companist “to tell the organist to stop play- glais, 1907–1991, Paris, Combre, 1995, p. 60. 1884) who kept Ernest Renan’s The Life of Je- ing,” announced the end of the offertory 18. Fauquet, César Franck, p. 314. 1888?–1890?: Clotaire-Joseph Franck sus on his bedside table, loved the splen- and the necessity to conclude . . . Franck, 19. Langlais, op. cit., p. 60. 1891–1923: Léon Cazajus (Emile Poil- dor of the worship services, who had just played a series of evocative 20. Albert Mahaut, Le Chrétien: l’homme lot) arpeggios, then began to proclaim: “I have d’action, preface by A. D. Sertillanges, Mul- 1923–ca. 1964: Pierre Besson that which exalts the exemplary and tran- not yet said anything!” or if indeed he was house, edition in Braille, 1918. ca. 1964–June 1987: François Tricot scending quality of sublime drama, above completely inspired: “What a shame.” But 21. Aurélie Decourt, “Maurice Emmanuel, maître de chapelle à Sainte-Clotilde, de 1904 June 1987–Sept 1988: Yves Castagnet all human, as the pediment of Sainte-Clo- he obeyed the bell. During the Vespers, Sept 1988–Aug 31, 1989: Philippe tilde shows, where the sculptor represent- the verses of the Magnifi cat gave him the à 1907: la tentative de réformer la musique ed Christ showing his wounds, according opportunity to create brief masterpieces religieuse et la question du plain-chant,” in Brandeis to the sad bent of the piety that it thus af- in spite of the clergy’s reprimands and the L’Orgue, June, 2007. Sept 1989–1993: Pierre-Michel Bédard fi rms.18 congregation’s impatience, totally insensi- 22. Emmanuel, César Franck, p. 123. 1993–Dec 2003: Sylvie Mallet tive to the splendors of this art. It is at the 2004: Olivier Penin Samuel Rousseau was kind, cordial, organ that Franck spent his best moments For more information concerning the mu- obliging and elegant. His compositions when his energies were renewed, where sicians of the Saint-Clotilde church in Paris, Titulars of the Grand-Orgue were easily accessible to the parishioners. the disdain of his contemporaries no lon- France, one may contact the following asso- 1863–1890: César Franck, but already in ger troubled him, where the dignity of his ciations: Gabriel Pierné was neither a practicing life without intrigues received in the Lord’s 1859 he played the Grand Orgue (Ga- nor a fundamental Christian, a true con- briel Pierné, after 1885) house its supreme reward. Association E. Bonnal trast to the great mystics Dynam-Victor Art is made of new beginnings, the des- “Héritage Musical” 1890–1898: Gabriel Pierné (Georges Fumet, who was closely associated with tiny of artists as well. Franck was not the Chemin des Jardins MacMaster in 1893–1894) anarchists and who married into a family last of musicians for whom life was sparing 30700 St. Victor des Oules, France 1898–1939: Charles Tournemire, nu- www.bonnal.org merous substitutes: [email protected] Ermend Bonnal ca.1910 Roger Stiegler ca. 1920 Association Théodore Dubois Maurice Durufl é 1920–1927 Christopher Hainsworth, président André Fleury ca. 1922–ca. 1930 Rue de la Fontaine 34800 Lacoste, France Daniel-Lesur 1927–1936 [email protected] Henriette Puig-Roger in 1929 Antoine Reboulot ca. 1935 Les Amis de Maurice Emmanuel Bernard Piché in 1938 and 1939 Anne Eichner-Emmanuel, présidente Bernard Schulé 1938–1945 30, rue Céline Dec 1941–Aug 1944: Joseph-Ermend 92160 Anthony, France Bonnal (Bernard Schulé until 1945) The b e s t of the European tradition [email protected] Nov 4, 1945–Dec 1987: Jean Langlais César-Franck-Gesellschaft E. V. (Pierre Denis 1945–1972; Pierre Cogen Proudly made in America Internationale Vereinigung 1972–1975, then titular; Marie-Louise c/o Dr. Christiane Strucken-Paland & Dr. Jaquet-Langlais 1979–Dec 1987) Ralph Paland Jan 1976–June 21, 1994: Pierre Cogen 1003 Barnwood Lane Berrenrather Straße 134 since Easter 1988: Jacques Taddei (Ol- 50937 Köln, Germany ivier Penin) Camillus, New York 13031 tel: 0049-(0) 221-5103355 [email protected] 1. Cf. Denis Havard de la Montagne and (315) 751-0505 L’Association des Amis de Jean Langlais Carolyn Shuster Fournier, “Maîtres de cha- www.lewtakorgan.com Brenda Dean, Présidente pelle et organists de la basilique Sainte-Clotil- 3, rue des Moulins de,” in L’Orgue, no. 278-279, pp. 5–6, as well 35560 La Fontenelle, France as Denis Havard de la Montagne’s website: www.jeanlanglais.eu .

28 THE DIAPASON

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