We don’t think enough about the organ

The very active 80th birthday, on October 31, of Daniel Roth, organist at Saint-Sulpice church. An inspiring and convivial visit (for a report to come in The cross) in the workshop of organbuilder Quentin Blumenroeder in the company of his accomplice, the organist Benjamin Alard, who regularly plays the instruments created or restored by the goldsmith based in Haguenau in Alsace. Amazed listening to the recording Recommended by Bach, by Bart Jacobs on the Contius organ of Saint-Michel in Louvain (Ramée label). Without forgetting the theatrical and roaring organ in the finale of Act I of Toscarecently heard at the Opéra Bastille, when the ignoble and false devotee Scarpia joined her voice to the Te Deum.

In a few days, keyboards, pedalboards and pipes were widely invited to one of my musical concerns. Emphasizing by contrast how much he was usually (far too) absent. And, as the organists lament, how we often see it as a fascinating machine that is a little distant, intimidating, even surly.

A few advantages…

This organ bath enriched by exchanges with enthusiasts who want nothing more than to forge new bonds with the public makes it possible to remember that:

Few instruments are thus freely accessible to our ears, thanks to the best musicians of all generations. The churches indeed offer many hearings (alongside the service of the liturgy), musical moments where the repertoire and improvisation, jewels of the organ and its virtuosos, are offered to us free of charge. Adding auditory vibration to visual, spiritual emotion for some.

Few instruments are as capable as him of restoring the timbre of all the others, combining them or inviting them to caress each other, sometimes to collide, to invent new colors, new flavors. From the sweetest murmurs (of which organists are very proud) to solemn grandeur.

Few instruments are as beautiful to see as to hear: a forest of pipes rising to the heavens, a richly decorated buffet, here sumptuous and bearing high its “daring forehead” worthy of Roman palaces, there graceful like boudoir furniture. or alcove.

Few instruments, except the orchestra which is the sum of all, make us live, under the high vaults of religious buildings or in the vast volumes of concert halls, the very fashionable experience of sound immersion. Without recourse to any technology, except the immense know-how of the organ builders and the talent of the performers.

For all this, and many other things, the organ should be close and friendly to us. Let’s think about it as soon as an opportunity arises. Better, let’s know how to provoke it.


Related posts

At the Cluny Museum, "a panorama" of Toulouse art in the 14th century


Between sound, color and light, Le Voyage à Nantes invites itself in winter


facing the worst, a fight for language


Pere Ubu stars in American fall festivals

Sign up for our Newsletter and
stay informed

Leave a Reply

Your email address will not be published. Required fields are marked *