For two weeks this past summer, a handful of American organists participated in the Summer Institute for French Organ Studies, a biennial educational seminar run by Gene Bedient, president of Bedient Pipe Organ Company, and Jesse Eschbach, professor at the University of North Texas. The small group of participants, including Daryl Robinson, Elaine Mann, Laura Edman, Katherine Meloan, and Annie Laver, sought out the institute in order to gain hands-on experience on historical organs and further their understanding of French organ music from the baroque and romantic periods.
The institute commenced in Poitiers, France on May 28, where participants were allowed exclusive access to the 1789 organ built by François Henri Clicquot in the Cathedral of St. Pierre. During the week, Gene Bedient gave lectures on aspects of Classical French organbuilding, including the development of wind systems, key action, temperament, and pipework. He frequently guided the group through the inside of the case, in order to reinforce the concepts discussed in lectures. Professor Eschbach complemented the lectures on organbuilding with presentations on the historical context for French baroque music as well as performance practice issues such as inegalité and registration in the music of 17th- and 18th-century France. François Guichard and Jean-Baptiste Robin also offered demonstrations and masterclasses. The focus of the week was François Couperin’s Mass for the Parishes of 1690. Each participant presented a portion of the work for the daily performance seminars and public concert on Friday, June 1.
After a weekend free for individual excursions, the group reconvened in the heart of champagne country on June 4 for the second half of the institute, a seminar devised around an instrument completed in 1869 by Aristide Cavaillé-Coll for the Church of Notre-Dame in Epernay. In addition to this well-preserved three-manual instrument, the group was allowed access to a second three-manual Cavaillé-Coll organ of 1889 vintage in the neighboring Church of St. Pierre and St. Paul. The use of these two exceptional instruments concurrently allowed the group to discuss the development of Cavaillé-Coll’s building style and the surrounding musical context in the 19th century. During the week, the group examined Cavaillé-Coll’s Barker levers, discussed the evolution of the absolute legato style in France, and learned how to maneuver ventils and couplers, among other things. The final concert included Louis Vierne’s Symphonie III and César Franck’s Choral in B Minor.
The group was enthusiastic in its praise for the institute, citing the organized and informative presentations, and the rare opportunity to prepare for performances on the historical instruments daily. The next Summer Institute for French Organ Studies will take place in the summer of 2009. For more information, visit <www.bedientorgan.com>.
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