When I won a special prize at the Württemberg Competition for Liturgical Organ Playing in September 2023 — an organ trip to Paris — I had no idea what to expect. It would also take some time before I could claim my prize, since in 2024, due to the Olympic Games taking place in Paris, no organ trip was held. Finally, in the week after Easter 2025, the time had come:
Around 60 participants, aged between 17 and over 70, met on the afternoon of April 23 at the Institut National des Jeunes Aveugles (INJA), near the Hôtel des Invalides. Founded in 1784, the National Institute for Young Blind People in Paris was the world’s first school for the blind and became a model for many others. Among its notable students was Louis Braille, the inventor of the Braille script, who attended the school from 1819 and later taught there. Of special interest to us: in 1826, an organ class was established there, which Adolphe Marty taught from 1888 to 1930. Among its graduates were Louis Vierne and Jean Langlais. The current organ in the institute’s hall was built by Victor Gonzalez in 1961. At the opening event of our trip, with greetings and introductions of all participants, we heard the organ in concert performed by the blind organist Dominique Levacque, who played works by Adolf Hesse, Eugène Gigout, Antoine Reboulot, and Charles-Marie Widor.
In the evening, we visited the Church of Saint-Étienne-du-Mont, located near the Panthéon and the famous Sorbonne University. Maurice Duruflé served as organist at the church from 1930 to 1986. Built in 1630 by Pierre le Pescheur, the organ was expanded by François-Henri Clicquot (1777) and later by Aristide Cavaillé-Coll (1863, 1873). In 1956, it was fitted with an echo division in the south tower, designed by Duruflé. In the apartment across from the church, where Maurice and Marie-Madeleine Duruflé lived, one can still see their home organ (up to 32'). David Cassan, the current titular organist at Saint-Étienne-du-Mont, gave us an organ recital that concluded with a stunning improvisation.
On the morning of April 24, our program took us to the Church of La Trinité, near the Opéra Garnier. The main and choir organs of the church were both built by Aristide Cavaillé-Coll. None other than Olivier Messiaen held the post of titular organist there from 1931 to 1992. We were treated to a concert by the current organist, Carolyn Shuster. That morning also saw the first organ classes for the active participants in our group — with David Cassan teaching at Saint-Étienne-du-Mont and Carolyn Shuster at La Trinité.
At midday came one of the highlights of our trip: we visited the Church of Saint-Sulpice in the 6th arrondissement, the second largest church in Paris after Notre-Dame. Its main organ, largely preserved in its original state, was built by François-Henri Clicquot and Aristide Cavaillé-Coll. At the time of its completion, it was one of the largest organs in Europe. Today it has 102 stops (about 7,000 pipes) on five manuals and pedal. Former titular organists of Saint-Sulpice include Louis James Alfred Lefébure-Wély (1863–1869), Charles-Marie Widor (1870–1933), Marcel Dupré (1934–1971), and, most recently, Daniel Roth from Alsace (1985–2023). Widor is buried in the church crypt. Today, the position is shared by Sophie-Véronique Cauchefer-Choplin and Karol Mossakowski. The latter, an award-winning organist in multiple international competitions, gave us an impressive concert.
In the evening, we met Christophe Mantoux at the Church of Saint-Séverin on the Left Bank of the Seine. It is the oldest church in the city and today houses two organs: a large instrument built by Alsatian organ builder Kern in 1963 and a smaller Hartmann organ from 1966. Mantoux, who served as co-titular organist at Chartres Cathedral with Patrick Delabre from 1986 to 1992, has been the organist of Saint-Séverin since 1995. During an organ recital, we soaked in the sound within the Gothic basilica, enhanced by its striking stained-glass windows in the choir.
On the morning of April 25, more classes for active participants were held. Half of our group met with Aude Heurtematte, principal organist of the Gothic Church of Saint-Gervais, whose main organ was built in the 17th century by Thierry. From 1653 to 1827, members of the Couperin family served as organists there. The other half had the opportunity to play the 1865 Aristide Cavaillé-Coll organ in the Church of Saint-Maurice-de-Bécon and receive instruction from Christophe Mantoux.
In the afternoon, we traveled to Versailles to hear Christian Ott play at the Cathedral of Saint-Louis. Built in 1761 by Louis-Alexandre and François-Henri Clicquot, the organ was altered by Aristide Cavaillé-Coll about a century later (adding a swell division and a Barker machine). Further changes followed, but during restoration work from 1987 to 1989 by Théo Haerpfer, the Cavaillé-Coll state was largely restored. Christian Ott performed organ works by Bach, Widor, and Lefébure-Wély, as well as composers linked to the Versailles Cathedral — including Jean-Nicolas Marrigues (1757–1834), who served as titular organist there before the French Revolution and later taught at the INJA.
In the evening, on the Île Saint-Louis, we visited the Baroque Church of Saint-Louis-en-l’Île to hear Valentin Rouget. In contrast to the historic instruments we had seen so far, this organ is a modern build: Bernard Aubertin constructed it in 2005 in the Baroque style. Valentin Rouget, from Rouen, performed a program of works exclusively by German composers: Matthias Weckmann, Johann Jakob Froberger, Dieterich Buxtehude, and Johann Sebastian Bach.
On the morning of April 26, we attended a lecture at the German Evangelical Christuskirche, learning about the work of Albert Schweitzer in Paris. The Alsatian-born Schweitzer studied organ with Charles-Marie Widor at the Saint-Sulpice organ and gave a total of 487 documented benefit concerts in Europe to support his hospital in Lambaréné. He also advocated for a new organ in the Christuskirche. Helga Schauerte, organist there since 1982, gave us a recital.
In the afternoon, François-Henri Houbart welcomed us at La Madeleine. The 72-year-old, who has been titular organist there since 1979, spoke engagingly about the organ and his life at the famous church near the Place de la Concorde. The main organ, built by Cavaillé-Coll in 1846, was modified by Charles Mutin in 1927, expanding the pedal range. Further changes came in 1957 (six extra stops), 1971 (electrification and expansion to 57 stops), 1988 (overhaul), and 2002 (addition of chamades). Houbart played colorful and sonorous improvisations for us. Afterwards, participants had the opportunity to climb up to the organ loft and play — a special experience considering that Camille Saint-Saëns (1858–1877), Théodore Dubois (1877–1896), and Gabriel Fauré (1896–1905) all once held the position here.
In the evening, we visited the organ of Saint-Laurent. The main organ is thought to have been built by François Ducastel in 1682, later enlarged by François-Henri Clicquot (1767) and Joseph Merklin (1867). In 1945, its organ case was listed as a Monument historique. Béatrice Piertot welcomed us and, alternately or together with her husband Yannick Merlin, performed works by Léon Boëllmann, Louis Couperin, G.F. Handel, and others on one or both organs.
On April 27, our departure day, a special highlight awaited: every Sunday at 10 a.m., before the service, an organ concert is held at Saint-Sulpice. Just days earlier, we had heard Karol Mossakowski perform there; today it was his colleague and co-titular organist, Sophie-Véronique Cauchefer-Choplin, who gave a remarkable concert. During the subsequent service, she let the organ resound powerfully and grandly, unfazed by some of us sitting right beside her on the organ loft. This magnificent sound experience was the perfect conclusion to our organ trip.
In addition to visiting churches and organs in the various arrondissements of Paris, we also enjoyed the fellowship and the unique atmosphere of the French capital: on shared metro rides, restaurant visits, and city walks, we had a lot of fun. I would also like to highlight the flawless organization and the friendly, knowledgeable guidance — both musically and linguistically — provided by Michael Grüber and Christa Stiegenroth.
My heartfelt thanks go to the Association of Protestant Church Music in Württemberg and to Michael Grüber of ORGANpromotion for awarding me this wonderful prize. The organ trip to Paris has left me with unforgettable memories.
Christoph Schramm, Aalen