An epic journey with many characters

     It is difficult to think realistically about our time in Paris, France. I have to continue to remind myself that this is J-term. It is noticeable when GP must keep up on e-mails pertaining to the music department. Otherwise, I don't feel restricted by time at all. I do not know what day it is, when we are going where, etc. It just comes each day and I am thankful to walk out onto the street where you look up and know you are in Paris by what you see. In addition to this, our foraying through the Paris Organ World (which we are often admonished to enjoy) keeps yielding incredible returns on our earnest investments. This, it seems to me is directly because of the personality of each building and instrument we experience. But, it is the people who show us the instruments whose passion and loving way of sharing music and tradition makes this journey one that will be difficult to come down from, and one you may be interested in reading more of.

     Visiting Maurice and Madame Marie Duruflé's apartment, playing at Notre-Dame d'Autueil, and having reign over Messiaen's organ loft at Sainte-de-la-Trinité are experiences that leave me eagerly anticipating what comes next. This is because they were such intimate glimpses into famous composer and organist's lives and work as well as pedagogical gold. Frederic Blanc, as GP explained so eloquently, gave us a lesson in spirituality. He talked about how the veranda of the Duruflé's apartment offered a view of the stone, mechanical city of Paris sprawling below-- which makes up less than 50% of perception. Big as Paris is, the glorious sight is dominated by the sky (which was particularly blue) which Frederic explained as a chiefly spiritual element of living here. The following day he extended the lesson into an impromptu masterclass where he reflected his former teacher's severity. While each of us played he would wrinkle his nose, raise his eyebrows, and scoff before stopping us to fix something (all in good humor). He made us realize that impersonal, technical playing "kills the organ." We need music and personality to prevail over difficult notes and virtuosity or every organist will sound the same and people will no longer attend organ recitals and the organ's power in worship is diminished. 

      Yesterday we discovered Olivier Messiaen, the man and the music, all day long. I was to prepare a brief overview of Messiaen's contributions, which was the first thing on the schedule. Then Chris Murray (Decorah native) arrived to graciously share his doctoral research on Messiaen's habitual and unique way of reusing music in new ways. He took us towards Messiaen's church near the Opera Garnier. We ate at a restaurant across the street aptly named "Entr'acte" where we enjoyed good wine and a view of Garnier's stunning façade. I was greatly anticipating the experience of la Trinité because I spent gobs of time learning the third movement of L'Ascension suite (Transports de joie) for a lesson during the last day of finals so I could continue work at home. Perhaps I should mention my appreciation to those I live with-- Ben, Tom, Paul, Mom, Dad, Jake, and others-- these people know some sections of this piece as well as I do! Thomas (toe-ma) Lacôte is one of three current Titular organists at la Trinité. He demonstrated the marvelous Cavaillé-Coll instrument which Messiaen added stops to in 1935 and 1967 respectively. Then it was time for me to play. This became what seemed to me like an intimate, personal coaching of how to navigate space, gesture, registration, and technique. GP was standing close, observing and visibly mentally taking note so we can start with new perspective come February. I loved hearing the piece fill the room and feel the electric connection between my fingers and the keys. It was an immense but appropriate sound for the "Outburst of joy from a soul before the Glory of Christ which is its own glory." I don't know what other people thought, but for me I was engaged in a way that felt like I was alone in an empty cave-- making noise that penetrates the whole purpose of coming here. There is still a lot of work to be done before I can offer this piece at auditions in the weeks to come, but this was "very special" as Thomas continually remarked. He said that not everything is written on the page-- the room is part of the instrument, thus deserves to be notated in the music. We try to think this way even in our lowly Sundt studio, and the CFL, but here it was clearly evident.

     I liken all this to some epic novel which continues to unfold and urges you to turn pages. Some characters come and go, some stay. Brad is probably experiencing culture shock as he heads for Jackson, MN, and Chris will continue with us for a few days. I am eager to travel to Chez Dupré. I can't wait to see Versailles thinking fondly of the French Revolution scenes in Mel Brook's History of the World Part I ("Don't get saucy with me Bearnaise!")  I am also excited to welcome art savvy Ann Sponberg Peterson. Auntie Ann will bring much joy to our merry band and we expect will make our visits to L'orangerie and Musée d'Orsay well- informed. 

Thanks for reading, be well, hear good organ music! 

Thomas Lacôte navigating the stops at Messiaen's organ (console new in the late 60's) while demonstrating some "very special" passages with distinct character only found on this organ in the "Serene Alleluias" (mvmt. 2, L'ascension). One unique sound was the combination of a 4' flute, tierce (1 3/5'), and 1' piccolo which sounds more like tubular chimes than wind pipes.

Auguste Rodin's Le Penseur (doing what we're doing). We all enjoyed the sculpture garden (seen in Midnight In Paris) and Sarah and I enjoyed the temporary exhibition of nude drawings.

Nave of la Trinité, from the second level right of the organ balcony.