Aude Heurtematte is a professor at the Strasbourg Conservatory and is known for her in-depth knowledge of historical performance practice. As titular organist of Saint-Gervais, she taught Baroque playing techniques and their effect on a lively sound with great sensitivity on the Clicquot organ. It was easy to imagine how François Couperin once played there. Fortunately, the instrument is largely unchanged and is considered one of the most important French Baroque organs far beyond Paris.
Christophe Mantoux devoted himself to the organ in Saint-Maurice-de-Bécon (Courbevoie). Compared to other Cavaillé-Coll instruments, this organ is notable for its intimacy and clear sound structures, yet it retains the characteristic sonority and symphonic sound language of the master. Many participants took the opportunity to work on César Franck's works here, especially Choral No. 3. Mantoux brought his special skills in counterpoint and harmony to bear in order to develop multifaceted romantic interpretations.
As a painter, Samuel Liégeon is a true master in the use of colors. But it is not only with a brush that he artfully brings his palette to life, but also at the keys: as an organist, he impresses with his outstanding ability to improvise, making perfect use of the color palette of the organ at St. Pierre de Chaillot. Built in 1994 by Daniel Birouste, the instrument is ideal for introducing the art of improvisation thanks to its particular richness of color; seventh and ninth registers open up experimental sound spaces of atonal music.
Baptiste-Florian Marle-Ouvrard is not only a highly skilled pilot: he has also won numerous prizes in organ competitions. The organ entrusted to him in Saint-Eustache is also a high-flyer: behind the Baroque façade by François Duquesnoy lies one of the largest and most versatile organs in France, with 101 stops on five manuals. The co-titular organist was able to respond to individual requests and bring out the enormous sonority of the instrument.
Sophie-Véronique Chauchefer-Choplin — A highlight of this week and, for some, a lifelong dream: to sit at the console of the organ of Saint-Sulpice and, with the expertise of the titular organist, experience the symphonic quality of one of the most beautiful organs in the world. A monumental case designed by Jean-François Chalgrin houses an instrument originally built by Clicquot, which was technically and tonally perfected by Aristide Cavaillé-Coll. The lecturer highlighted not only the musical but also the technical features of the instrument, including the Barker levers installed on all stops.
Evening program
On Sunday evening of the previous week, in the heart of Paris—in a cozy restaurant near Notre Dame—Michel Grüber welcomed lecturers and participants. Everyone got to know each other through informal conversations. The organizers and lecturers gave tips and answered questions about the week's schedule.
Monday: Saint-Séverin Church is the oldest church on the left bank of the Seine in Paris and was originally part of a monastery. It was built in the 15th century in the Gothic style and is famous for its ornate stained glass windows from the Middle Ages and the 20th century. The organ was built in 1963 by Alfred Kern and is considered the first organ in France to have been restored in a historicist manner, restoring the original disposition of 1748 and reconstructing the sound aesthetics of the 18th century. This restoration set standards for historically informed performance practice and made the organ an important example of the revival of Baroque sound ideals in the French organ landscape. Titular organist Christophe Mantoux introduced us to the sound world of this unique instrument.
On Tuesday, Sophie-Véronique Cauchefer-Choplin presented an organ concert at Notre Dame Cathedral in Paris that impressively dramatized the Passion of Jesus. The text “Ecce homo” describes the 14 stations of the cross. Sophie-Véronique Cauchefer-Choplin's improvisations bring the Passion of Christ to life in our imagination and comment on or expand upon the words of Jean-Pierre Nortel, which Pauline Choplin skillfully recites.
Wednesday: Organist Renaud Vergnet presented the two Danion-Gonzalez organs in the Church of Saint-Pierre-du-Gros-Caillou, a main organ with 47 stops and a choir organ with 25 stops. Both organs are important neoclassical instruments.
Thursday evening at the Temple Saint-Esprit had the character of a fireside chat: Dr. Kurt Lueders, board member of the Cavaillé-Coll Society, shared his knowledge of the Parisian organ building tradition with the participants over snacks and drinks. The organ there dates back to an instrument by Merklin & Schütze, which was expanded by Charles Mutin, the successor to the renowned organ building company Cavaillé-Coll. The two-manual organ with only 14 stops effortlessly fills the room with sound without sacrificing the soft timbres and expressive possibilities of a swell division. The Mustel Kunstharmonium, positioned next to the altar, is a real treasure. Its owner, Dr. Kurt Lueders, surprised everyone with the expressive possibilities of the instrument.
The week came to a fitting conclusion with the presentation of certificates and a group dinner on Friday evening. It was wonderful to see and experience how new friendships were formed over the course of the week and mutual invitations were extended.
Richard Beck, Schwieberdingen