During the summer of 1948, a Parisian organist demonstrated the playing-style of César Franck. “One should aspire to improvise like Franck,” said this octogenarian, “but one knows that the goal will never be achieved”. Franck had died nearly sixty years earlier, so even the pupils of his pupils are now gone.
Some of the earliest organ recordings were made by Edouard Commette (1883-1967), organist of Lyon cathedral for 59 years. These – 78s, of course – were intended for a local market: their world-wide success amazed the modest M. Commette. Some of these recordings were re-issued on LP in the 1980s.
Later, André Marchal (1894-1980) who was blind, as were Langlais and Vierne, travelled extensively, guided round unknown cities and organ consoles by Mme Marchal. He was renowned as a performer, teacher and improviser though his lack of published works has restricted his posthumous fame. Marchal opened the organ at London ’s Royal Festival Hall (1951) and included in his programme an extemporisation on a theme submitted by a member of the audience. When he changed manuals on this unfamiliar instrument, a pause of a fraction of a second occurred as he checked that his hands were positioned correctly. This hesitation (too strong a word, really) was not evident when he played at St Eustache , where he was titulaire (1945-63) or on other instruments he knew well.
Marchal’s recording career on a number of labels in LP days, produced many discs worth collecting. So, too, did that of Jeanne Demessieux on Decca. She died in 1968 at only 47, leaving a world-wide reputation as a player of dazzling technique. Her small output of compositions is too rarely heard. Some recordings by both players have been transferred to CD format
Albert Paul Alain (d.1971), titulaire of St Germain-en-Laye, was father of four remarkable children. Marie-Odile’s career was ended almost before it began: she was killed in a climbing accident when only 23. Her brother, Olivier, also died young (29) killed on active service with the French army, early in World War II. His reputation as a performer was well-established and his compositions – many of which ask similar skills from their performers – are established classics of the repertoire: Litanies and Le Jardin suspendu are frequently heard.
Albert Paul Alain’s successor at St Germain-en-Laye is another daughter, Mare-Claire Alain, doyenne of Parisian organists, with a world-wide reputation as performer, teacher and prolific recording artist. A member of academies and learned societies in a number of countries, she travels extensively, rewarding her large audiences with thrilling performances.
David Bridgeman-Sutton, 2005
Credits:
Pic 2: thanks to Peter Heginbotham www.sheffieldcathedralchoir.co.uk/Paris.htm )
Pic 3: thanks to Mme Alain.
