Summer Institute for French Organ Studies 2009 Gregory Peterson tart with two world experts on French 8′ Trompettes and the Clairon complete Sorgan building and organ music, add the division. The Positif de Dos, based seven qualifi ed, eager American organ- on an 8′ Montre, contains the usual ple- ists, stir them together with extant ex- num, mutations, and Cromorne. In ad- amples of the fi nest French organs, and dition, there is an 8′ Trompette, Clairon let steep for a couple of weeks in the and Voix Humaine. The third manual rich culture of Bordeaux and Epernay, contains the Bombarde 16′ and Gros France. This is the recipe for the Sum- Cromorne 8′. According to Gene Bedi- mer Institute for French Organ Stud- ent, this could be the fi rst Bombarde di- ies (SIFOS). Since 1986, organ builder vision in France, as there was not much Gene Bedient of Lincoln, Nebraska and use of this division before 1750. The Jesse Eschbach, Professor of Organ and Récit is a short keyboard of 32 notes, Chairman of the Keyboard Division at with a Cornet V and Trompette 8′. This the University of North Texas School of chest has the expressive Tremblant doux Music, have teamed up to direct this bi- and raucous Tremblant fort. The Echo ennial seminar. It is not your grandmoth- is also a shorter keyboard of 39 notes er’s recipe for the typical European organ containing a Cornet V. The pedalboard tour, however, where a large group trav- is extended down to F, known as the ra- els from instrument to instrument with valement for exciting, thunderous pedal minimal opportunity to play. Instead, a effects from the Bombarde 16′ and select group of performers and schol- fi rst and second Trompettes. The divi- ars is given the chance to delve deeply sion also contains a Clairon, 16′ Flûte, into the appropriate repertoire for each 8′ Metal Flûte, 8′ Wooden Flûte, and instrument through masterclasses and Flûte 4′. Shove couplers allow the Posi- individual practice time, culminating in tif and Bombarde to be coupled to the a group recital, open to the public, at the Grand-Orgue. All of this—plus a gener- end of each week. ous acoustic of four to fi ve seconds’ re- Participants in this year’s course were verberation—made for a most satisfying Michael Chad Leavitt, student, Manhat- performance of repertoire selected by tan School of Music, New York; Gregory Jesse Eschbach, including excerpts from Peterson, Assistant Professor of Music François Couperin’s Messe pour les cou- and College Organist, Luther College, vents (Kyrie, Elevation–Tierce en taille Decorah, Iowa; Patrick Allen Scott, stu- and Offertoire); the Tierce en taille, dent, University of Texas, Austin, Texas; Basse de Trompette and Grand jeu Timothy Wissler, organist, children’s from Livre d’Orgue of Pierre DuMage; choir director, Cathedral of Christ the En taille, Fugue [à cinq], Récit de Cro- King, Atlanta, Georgia; Marilyn Witte, morne and Dialogue sur les Grands Cantor, Lutheran Church of the Good Jeux from Veni Créator by Nicolas de Shepherd, Lancaster, Pennsylvania; Grigny; and two Noëls by Jean-François and Andrew Yeargin, student, Manhat- Dandrieu, Il n’est rien de plus Tendre tan School of Music, New York. Elaine and Allons voir ce divin Gage. Mann, director of music, Grace Lu- theran Church, Eau Claire, Wisconsin, Lectures and masterclasses joined the group for the second week. An anteroom in the gallery, con- taining an historical exhibit with large First week posterboard illustrations from L’Art Sainte-Croix Church, Bordeaux Façade of the 1741 Dom Bédos, Ste. Croix, Bordeaux du Facteur d’Orgues by Dom Bédos, The group gathered on Sunday, May provided suffi cient space for the daily 24, in Bordeaux, a cosmopolitan port morning lectures. Gene Bedient cov- city on the Garonne River approximate- ered wind systems and key action in ly 300 miles southwest of Paris. With a classical French organ building, as well population of one million, Bordeaux is as pipework, tonal issues, and tempera- the seventh largest metropolitan area in ment in the 17th and 18th centuries. France and is the capital of the Aqui- Under his guidance, participants were taine region and a major wine-produc- able to crawl into the immaculately ing center. This beautiful, historic city clean case and hand-pump the organ’s was described by Victor Hugo as a com- six bellows. It was interesting to note bination of Versailles and Antwerp. Lec- the subtle change in the organ’s sound tures, masterclasses, practice sessions, when hand-pumped as opposed to us- and the public recital took place at the ing the electric blower. And it was quite Sainte-Croix Church, on the site of a an aerobic workout to boot! 7th-century abbey. The current struc- Jesse Eschbach lectured on French ture with its Romanesque façade was post-Classical style and registration in built in the late 11th to early 12th cen- France pre-1665 and 1665–1710. There turies and boasts a magnifi cent organ was much fascination with the Grosse 1 from 1741 by Dom Bédos, meticulously Tierce 3 ⁄5′ and its musical application. It restored in 1997 by the French organ was used for the bass or left hand, com- builder Pascal Quoirin. Every aspect of bined with the 16′ Bourdon and 8′ fl ute. the instrument—winding system, key Professor Eschbach also addressed the and stop action, pipe restoration and use of notes inégales and ornamenta- replacement, casework—was restored tion, pointing out that ornamentation is with the utmost care and concern for a product of what the organ will invite, historical accuracy. This famous instru- depending upon which division is be- ment is known throughout the city and ing played, how much air is in the pipe is a source of much local pride. It was channel, the registration, and acoustics, not uncommon to hear “Oh, the Dom as well as the performer’s bon goût. The Bédos” exclaimed by a local after be- correct use of ornamentation in French ing introduced as an organist visiting music can often bring fear and trepida- the city. tion to the performer. Professor Esch- bach’s helpful explanation encouraged Dom Bédos fi ve-manual organ spontaneity and improvisation as a way A unique aspect of the fi ve-manual to bring local surface detail to the per- Dom Bédos instrument at Sainte-Croix formance. Multiple handouts enhanced is the 32′ plenum of the Grand-Orgue. the lecture material. Dr. Eschbach’s The 32′ Bourdon lays the foundation for knowledge and passion for this music the searing Grand Plein-Jeu of this post- was also in evidence during each of the classical organ, building up through the late morning masterclasses, where his 16′ Montre, 8′ Montre and Second 8′ expert teaching motivated everyone to Montre, Prestant, Doublette, Grosse move ahead in their interpretation and Fourniture and Grand Plein-Jeu of 13 understanding, resulting in a stylisti- ranks. In addition to the customary cally informed and aesthetically pleas- Nazard and Tierce, there is a Gros-Naz- ing recital. 1 1 ard of 5 ⁄3′ and a Grosse Tierce of 3 ⁄5′, a Pentecost is celebrated as a national late addition to the French Classical or- holiday in France, and it was fortu- gan, after 1690. The Grand Cornet, two Abbey Church of Ste. Croix, Bordeaux itous that the birthday of the Christian 20 THE DIAPASON Nov 09 pp. 20-23.indd 20 10/12/09 11:26:11 AM SIFOS 2009 group photo (l to r): Jesse Eschbach, Chad Leavitt, Marilyn Witte, Patrick Scott, Kevin Yeargin, Tim Wissler, Greg Peterson, Gene Bedient Andrew Yeargin, Patrick Scott, Chad Leavitt and Gregory Peterson view the Orgue de Choeur in the apse of Ste. Croix, Bordeaux Récit expressif Also three manuals and pedal, this later 8′ Flûte traversière instrument has a few more mutations 8′ Viole de gambe and small pipes, perhaps showing the 8′ Voix céleste 4′ infl uence of Alexandre Guilmant. Both Flûte octaviante instruments are typical in the layout of 2′ Octavin 8′ Trompette the tirasses, ventils and coupler pedals, 8′ Basson-Hautbois and employ a Barker machine, the pneu- 8′ Voix Humaine matic lever to assist the playing action of the coupled Grand-Orgue, developed by Pédale Charles Barker and fi rst used to great 16′ Contrebasse success by Cavaillé-Coll in his 1841 in- 8′ Basse strument at Saint-Denis, Paris. 4′ Flûte 16′ Bombarde Lectures and masterclasses 8′ Trompette 4′ Clairon Cavaillé-Coll was a disciple of Dom Bédos, evidenced by his well-annotated copy of L’Art du Facteur d’Orgues. The The dedication recital was given by Alex- lectures during this week by Gene Bedi- is Chauvet and Charles-Marie Widor on ent brought forward the connections be- December 2, 1869. The organ was re- tween these two signifi cant builders and stored in 2001 by Bernard Hurvy. covered the innovations and mechanics SIFOS participants also had use of that are the hallmark of the 19th-cen- an 1897 Cavaillé-Coll instrument at the tury French organ. Jesse Eschbach lec- Church of Saint-Pierre et Saint-Paul. tured on “Rousseau, Revolution, and The Cathedral of Christ the Light O A K L A N D, C A L I F O R N I A We are pleased to announce the completion of the first phase of our organ project with the Cathedral of Christ the Light in time for the Mass of Dedication held on September 25, 2008. The remainder of the instrument will be constructed in our workshops over the coming six months and will be installed during Jesse Eschbach teaching a masterclass at Ste.