|Born in Paris in 1883. Died in Antony (suburb of
Paris) in 1915.
Blind musician studied in the National Institute for Young Sightless under a guidance of Marty, successively in Paris Conservatory with Vierne and Guilmant where he won the 1st prize (organ) in 1906.
In the same year, he was appointed the titular organist of Saint-Germain-des-Pres church (Paris, VIe). Appointed also the assistant professor of NIYS.
Suffering from brain congestion since his youth, he couldn't leave but a small production for us.
resume of the article written by Francois Sabatier in "La Guide de la Musique d'Orgue (p.154)"
|BARKER, Charles Spackman|
|Born in 1804. Died in 1879. Inventor of the famous "Barler lever", a pneumatic auxiliary device which augments finger touch strong enough to open the pallet of windchest. Thanks to this device, the modern organ gained a light and confortable key touch which attracted lots of composers to this instrument and organ builders got a considerable freedom of the instrumental design.|
|Born in 1820. Died in 1876. Titular organist of the
famous Ducroquet organ of St-Eustach church in Paris
since its inauguration in 1854. He was one of the most
popular (French) organists of the epoch as well as
resume of the article written by Kurt Leuders in "Les Maitres Parisiens de l'Orgue au 19e Siecle (p.7)"
|Dom Francois BEDOS de Celles|
|Born in Caux (south France) 24/1/1709.
Died in Saint-Denis in 1779.
He is known to us as the author of "L'Art du facteur d'orgues", famous treatise on the organ building in France in the 18th century. This Benedictine monk learned organ building in Toulouse where he made friendship possibly with Robert Delaunay, Jean De Joyeuse, Christophe Moucherel, Francois Lepine, Jean-Esprit Isnard, Joseph Cavaille (uncle of Jean-Pierre Cavaille, grand father of Aristide Cavaille-Coll) etc.
His fame ranged from south to the north of France. He visited even the Gabler organ in Weingarten in 1751 and sketched it to be used in his treatise.
In 1761 the members of Royal Academy of Science confied the article on "Organ building" for the encyclopedia "Description of the Art and Professions", to him
(in Saint-Denis). Being so busy to mention expertise on lots of important organs,
he finished the first part of treatise only in 1766 and it was enthusiastically welcome. The second and the third parts were accomplished in 1771, and the fourth came out in 1778 with its conclusion written by an Augustinian, Father Engramelle.
His contribution is not only precise and minute description of the organ building of the 18th century France but also many inventive and scientific visions not well realized in his days but announcing the modern organ matured in Cavaille-Coll's instruments.
resume of the article by Father Philippe Bachet in "Organs in Midi-Pyrenees"
|Born in Nantes 10/9/1784. Died in Paris 06/5/1878.
Studied in Paris Conservatory and won the Roman Grand
Prix in 1815. Titular organist of Royal Chapel
Nomination to the titular professor of organ class in 1819 proves his brilliant talent. Founder of French Organ School of 19th Century. Thanks to him, C. Franck and lots of other talented musiciens came interested in the organ. His technic of pedal playing, however, is critical. Improvement of pedal technic of French school must attributed to Belgian teachers such as Hesse and Lemmens frequented in Paris since 1840s.
resume of the article written by Francois Sabatier in "La Guide de la Musique d'Orgue (p.161)"
|Born in La Cote-Saint-Andre (50km SE of Lyon)
11/12/1803. Died in Paris 08/3/1869. Gone up to Paris
(1821) and studied in Paris Conservatory with Lesueur,
Reicha and Cherubini (composition).
His interest is first of all in orchestra which led him to create Symphonic Poem.
He prefered Harmonium to Organ who limits the effect of gradation (expression) even with the aprovement done by Symphonic Organ, and the "classic" sonority with Mixture of the organ judged out of date, led him to compose a number of music for Harmonium (Orgue-Melodium according to his definition). In his "Treatise on the nstrumentation and modern orchestration" written in 1842-1843, he mentions about the usage of organ and confesses the difficulty of cohabitation : orchestra and organ.
resume of the article written by Francois Sabatier in "La Guide de la Musique d'Orgue (p.164-167)"
|Born in 28/11/1843. Died in 11/9/1902.
He is one of the most respected organists of the epoch.
Won the Prize of Parisian Coomposers' Society in 1877 and of Chartier in 1889 (Universal Exposition), he served as organist of St-Michel and notably of Notre-Dame-des-Champs church (Paris, Ve), but his poor health forced him to spend most part of his life at home.
resume of the article written by Kurt Lueders in "Les Maitres Parisiens de l'Orgue au 19e Siecle, vol.3"
|Born in Paris in 1838 . Died in Bourgival in 1875.
Allowed to enter in Paris Conservatory in 1848, he traces the road to success in theatrical and orchestral music. Concerning to organ music, we dont have lots of informations but "some Esquisse for Harmonium dedicated to Lufebure-Wely shows his attachment to the color and the expression of orchestra, with which one can imagin his attitude to organ music
(Joris Verdin in "l'Harmonium francais" RICERCAR CD RIC 123111)"
|Born in Ensisheim (near to Mulhouse) 25/9/1862. Died
in Paris 11/11/1897.
Gone up to Paris and studied in Niedermeyer School with his uncle, Eugene Gigout.
Apointed titular organist of famous Cavaille-Coll organ of St-Vincent-de-Paul church (Paris, Xe, inauguration of the organ in 1854) one year before his death.
Among his contemporary such as Marty, Pierne or Ropartz, organ music of Boellmann shows strongly his eclectic taste.
resume of the article written by Francois Sabatier in "La Guide de la Musique d'Orgue (p.173)"
|For the further information on Boellmann and his
music, please contact to :
Association Boellemann - Gigout
22, rue Montgallet
|BOELY, Alexandre Pierre Francois|
|Born in Versailles 19/4/1785. Died in Paris
Initiated music study with his father, he was allowed to enter in Republican Conservatory from its establishment in 1796 to study violin and piano, but he couldn't finish them up because of some inconvenience in his family.
He never accomplished any official study which caused him to stay far from officially important posts for all his reputation as the greatest French organist in the first half of the 19th century. Long after silence, he got the post of titular organist of St-Gervais (famous Cliquot organ of Couperin) in the 1830s, and above all, of St-Germain- l'Auxerrois church (Paris, Ie, he replaced its pedal keyboard in French style by some German straight one to play Bach on it).
In very difficult condition on one hand of disastrous organs after the Revolution, on the other hand of pompous and anti-artistic taste of the epoch, he continues producing a great deal of organ music based on the manner of German classic school such as Bach and Beethoven both of whom unknown in France in that time.
He initiated lots of young organists, however he faced a dilemma to lead them toward the new horizon of organ music with his classic taste and technic. One must memorize this great figure of French organ school in the 19th century.
resume of the article written by Francois Sabatier in "Guide de la Musique d'Orgue (p.175-176)"
|Born in Bordeaux 17/3/1884. Died in St-Luce-sur-Mer
(Quebec, Canada) 02/8/1944.
Initiated musician by his father, organist of St-Eulalie church in Bordeaux, he starts his musical career in his native city (organist of St-Nicolas and St-Michel church) at the age of 14. Pupil of Tournemire goes up to Paris where he studies in Conservatory with Guilmant to win the 1st prize in 1906. Appointed titular organist of St-Eustache church (the instrument with pneumatic action of this epoch attributed to the firm Merklin), and of the Concert Society of Conservatory in 1906.
Brilliant concertist frequented North America where he founded organ class of Rochester University in N.Y. State, U.S.A.
resume of the article written by Francois Sabatier in "La Guide de la Musique d'Orgue (p.181)"
|Born in Hamburg 07/5/1833. Died in Wien 03/4/1897.
It's no use explaining about this great musician but a story linked with his organ music.
The first series of production (2 preludes and fugues, a fugue and a Choral prelude and fugue) between 1856 and 1857 find the death of Schumann, but above all the encounter with Clara. Intellectual reminiscence of the highest of their old master (Bach) must be colored with a sweet memory of Clara to whom he dedicated his first organ production : Prelude and fugue in a minor.
The second series, that is, 11 Choral-preludes (op.122) were composed on way back from the burial of Clara. ("Last words of Brahms often said, but they reveal also a complex and pure love of this composer to his madonna." : Toyama)
resume of the article written by Francois Sabatier in "La Guide de la Musique d'Orgue (p.192-193)"
Last modified : 15/9/1998
by Shoichiro TOYAMA Mr.