In the Organ Lofts of Paris

In the Organ Lofts of Paris is the title of a 1923 book by Frederic B.Stiven, erstwhile Professor and Director of the School of Music at the University of Illinois (now reprinted with photos). It is a series of vignettes of the various organs he visited during a study-year in Paris in 1910-11. I've been using chapters of this book as a kind of "bedtime story" for our students. What is fascinating is how few things in the organ world of Paris have changed since the 1920's, especially the tradition of inviting visitors into the organ loft to observe the organist during a service. Such was the case this evening when Sophie-Veronique Cauchefer-Choplin invited us into the loft of St-Sulpice for the 6:45 p.m. mass. We all gathered around the massive console to watch her set the registration for her prelude, a movement from Diptyque Liturgique by Jean-Jacques Grunenwald, successor to Marcel Dupre at St-Sulpice. After she played this piece, she offered a stylistic improvisation as the clergy gathered for the mass, to be said in the choir of this famous church. When she finished, we repaired to the "Widor Room" behind the organ for conversation while the mass progressed. This is also tradition. The grand orgue in the rear gallery is only used for the prelude and postlude (sortie) of the mass as well as the Offertory (offertoire) and improvisation during communion. At the appointed time, we all moved back to the organ console to observe Sophie-Veronique for the aforementioned events. Because everyone is so far up and behind organ pipes and some drapery, it is possible to converse softly while the mass is progressing, discussing registration of the organ and the music that is being used. This, too, is tradition, even to talk to the organist when she or he is playing! It was awe-inspiring to listen to the creative improvisations and musical interpretations of Sophie-Veronique on this fine Cavaille-Coll organ while observing the faithful at mass far below in this stunning church. Merci Sophie-Veronique!

Earlier in the day we enjoyed the Protestant service at the American Church where expert church musician Fred Gramann, Music Director at ACP, played the Bach Prelude and Fugue in A minor and the Prelude in E minor (Wedge). We sang with the full congregation to his spirited hymn playing and enjoyed his choir. He graciously invited Sarah Bieber '12 to perform a handbell solo, Be Still My Soul, arr. by Christine Anderson as part of the morning's musical offerings. Thank you Fred! Sarah offered her music with elegance and conviction, drawing "Amens" from the congregation and also a few tears. What a great representation of Luther's music program! Also, it was fun for me to see the pew donated by the Old South Church in Boston and to meet up with Megan Staley who was a charter member of the Old South Ringers that I formed in 1998. Megan is currently working in Paris and it was fun to reminisce about our days at OSC. I so enjoy the connections that we make and maintain around the world! If this weren't enough, we also took in the weekly organ recital at St-Eustache including works of Bach, Liszt and Alain. A full and satisfying day. We are so privileged to do this, hanging out in the organ lofts of Paris! --GP

Tintinnabulation: A Paris Debut

One may wonder how a non-organist such as myself was granted the opportunity to travel with the Luther College organ seminar this January term. It was not my organ appreciation or my page turning skills that allowed me a spot on the trip--it was my solo handbell ringing abilities. Since the spring of 2010, Dr. Peterson has been in contact with Fred Gramann of the American Church in Paris. Fred is a renowned organist and composer of handbell music. During the Luther Ringers concert in the spring of 2010, the ringers performed "Change Ring Prelude on Divinum Mysterium." This piece beautifully illustrates the allusion of change ringing patterns in the opening measures. The type of sound produced by change ringing has no melody or harmony and, in fact, little musical significance given that it is based on mathematical sequence. This contemporary work gives musical credit to the origin of the handbell as it evolved from change ringing. Fred’s work is unique in that it allows you to hear the way handbell music was played in the past.

By taking this course, I was given the opportunity to work with Fred Gramann and perform a handbell solo at the American Church in Paris. This morning I performed Christine Anderson's arrangement of "Be Still, My Soul" for solo handbells. Fred Gramann accompanied my performance and it was well received by the Parisian community. The choir members and early church goers applauded my rehearsal prior to the service. I was in awe to see that listeners were brought to tears by my playing. Seeing the way my performance of handbell music touched the audience members made my own musical experience that much more wonderful. These musical moments truly feed the soul. Upon seeing and hearing my handbell skills, a pianist I was formerly introduced to asked to see the piano score. Along with her praise and thanks for my performance, Nathalia asked if she could keep the music. I happily told her to keep the music and she in turn handed me her personal card. Nathalia is a 1er prix concert pianist from the Conservatoire de Paris. She was so impressed with my performance that she wanted to accompany me in the future. If I ever consider touring Europe as a handbell soloist I am to get in touch with her. Thank you Dr. Peterson for giving me this wonderful opportunity. My Paris debut was a success!