This year’s RCO study trip was focused around organ music of the French Romantic period, in particular the music of Jean Langlais and Oliver Messiaen.  Twelve RCO students, led by RCO tutor Richard Brasier, visited four churches in the center of Paris over several days in June, to play on instruments by the builder Aristide Cavaillé-Coll.  Rachel Pickering was one of these students, and she sent us this account of the trip.

This is the fifth video in Daniel Moult’s series on playing styles, and discusses the performance of the organ music of French Romanticism, from Franck to Widor.

Part of the recent £26m restoration of the historic Armstrong Building at Newcastle University was the installation of an organ by Bernard Aubertin in the King’s Hall, one of only three Aubertin instruments in the UK.  You are invited to play this instrument on Saturday 27th July, in an RCO class on music of the French Classical era – organists at all playing levels are welcome to attend.

After the fire at Notre Dame, it was a relief to see images of Notre-Dame’s Cavaillé-Coll organ seemingly intact, and millions of euros have been pledged already for restoration of the Cathedral, and presumably, the organ. There are other Cavaillé-Coll instruments in France deserving of restoration though, and film-maker Will Fraser has devised a way we can all help bring back to life a particularly good example of Aristide Cavaillé-Coll’s artistry.

Charles Tournemire’s (1870–1939) L’Orgue Mystique is a cycle of solo organ pieces composed for use in the Roman Catholic liturgy. Tournemire wanted to do for the Roman Catholic Mass what Bach had done for the Lutheran Mass with his Orgelbüchlein. The completed work is subtitled ’51 Offices of the liturgical year inspired by Gregorian chant and freely paraphrased’, and Westminster Cathedral have begun a performance of the complete cycle (13 hours of music in its entirety) in a liturgical context: Martin Baker, Peter Stevens, Jonathan Allsopp and Adrian Gunning are among the organists taking part.

Guillaume-Gabriel Nivers (c.1632–1714) was by far the most sophisticated of the French organ composers of the 1660s and 70s. His keyboard music, with that of Nicolas Lebègue, provided the foundation for the great flowering of the late seventeenth century (principally Jacques Boyvin, François Couperin, and Nicolas de Grigny) and the novelties of the early eighteenth […]

The Stavanger Konserthus in Norway aims to create innovative programming around its 2012 Ryde & Berg organ, and on 17th November 2018 will present Messiaen Complete – all the organ works of Olivier Messiaen in one day, over 9 hours with 8 international organists. The project combines the formal recital with a more free audience experience, and includes video projection and lighting design by one of the country’s leading video designers.

Thierry Escaich’s compositional work is recognised the world over, and in acknowledgement of this he was elected to the Académie des Beaux-Arts of the Institut de France in 2013. He is the only composer of international stature today whose output contains a substantial place for the organ.

David Maw analyses Escaich’s writing for the organ in detail, with examples, in this article which originally appeared in the RCO Journal for 2017. Maw discusses Escaich’s creation of genres of writing of his own invention, along with the traditional concerto form; his use of improvisation and historical allusion; and his assimilation of an unusually wide range of musical material – from folksongs to note-rows, from triads to seemingly atonal chords – without any compromise to the compositional voice.

In this RHS-RCO Masterclass, Matthew Martin discusses the practicalities of performance of the French Classical Repertoire – from registration and articulation, to the fingering for ornamentation and the application of inègale.