The American Recital Tours of Jeanne Demessieux

May 31, 2003

Jeanne Demessieux (1921-1968) was a brilliant French
organist, recitalist, and composer. One of a select number of European
organists to tour America in the mid-twentieth century, she fascinated
audiences with her phenomenal technique. Three transcontinental tours of
America in 1953, 1955, and 1958 established Demessieux as one of the greatest
products of the modern French organ school.  She demonstrated her skill at improvisation and introduced to
American audiences a number of her own compositions and those of other French
composers.1

Demessieux's formal musical training began at the age of
seven at the Montpellier Conservatory. To facilitate her studies, the
Demessieux family moved to Paris in 1932 and one year later Jeanne was admitted
into the Paris Conservatory. Demessieux's teachers at the Conservatory included
Simon Riera, Magda Tagliafero, and Marcel Dupré. For Demessieux and
Dupré an exceptional relationship between teacher and student was born.
Dupré instilled in her his pedagogical ideas and created for her a
climate in which she could devote herself completely to the art of organ. As a
teacher, Demessieux had occasionally substituted for Dupré at the Paris
Conservatory. Her first appointment occurred in 1950 when she was nominated to
the organ professorship at the Nancy Conservatory. In 1952 she was nominated to
and eventually accepted the organ position at the Royal Conservatory in
Liège, Belgium. In 1962, following thirty years of service at the church
of Saint Esprit, Demessieux became titulaire of La Madeleine, a position she
held until her death.

The 1953 American tour

Colbert-LaBerge Concert Management, based in New York City,
announced the first transcontinental tour of Jeanne Demessieux in the October,
1952 issue of The Diapason2 and the November, 1952 edition of the American
Organist.3 In February and March of 1953, Demessieux made her American
début in New York, Pittsburgh, Boston, Oakland, and several other
cities. Her first live exposure to the American public occurred on the January
31, 1953, broadcast over WQXR radio and its affiliated stations. In association
with the American Guild of Organists, WQXR broadcast a series of recitals from
Temple Emanu-El in New York City. Demessieux's program was:

Trumpet Tune  Purcell style="mso-spacerun: yes"> 

Chorale Prelude: "When We Are in Deepest Need" style='mso-tab-count:1'>    Bach

Fugue in G Major (Gigue)            Bach

Pastorale                   Franck

"Dogme" from Seven Meditations

Demessieux4

Upon her arrival in the United States an interview in the New
York Herald Tribune revealed that after her début recital in New York
City, Demessieux would go on a twenty-five-concert tour of the country. She had
learned from memory the entire organ literature of Bach, Franck, Mendelssohn,
Liszt, Handel, and all but the last two compositions of Dupré, a total
of between 1,000 and 2,000 works. Not only was her repertoire vast, but she was
so confident in her ability that she left all of her scores in France!5

The American début of Demessieux in recital was on
February 2, 1953, at Central Presbyterian Church in New York City with the
following program:

Trumpet Tune  Purcell

Prelude and Fugue in A Minor

"The Old Year Has Passed Away"

Fugue in G Major (Gigue)            Bach

Pastorale                   Franck

Variations from Symphonie gothique Widor

Banquet celeste                     Messiaen

Fifth Study, Repeated Notes

Dogme Demessieux

Cadence                    Berveiller6

Group of improvisations on submitted themes7

Demessieux's début recital was reviewed in the
leading organ periodicals of the day. M. Searle Wright of The Diapason felt her
playing was representative of the Grand French manner--big line, simple
cleancut phrasings, steady tempi and clarity of part reading and articulation
in general.8 Editor of The American Organist, T. Scott Buhrman, was similarly impressed with her concept of
articulation and praised her crisp and fearless staccato:9

If we have ears to hear with, a close scrutiny of how Miss
Demessieux uses staccato, only rarely perverting the organ to its mud-thick
legatos, will do much to revolutionize the funereal organ recital and, if we
have the good sense to watch our repertoire better, revive the organ as an
instrument of beauty rather than torture. . . . [She illustrates the] finest
staccato to come out of Europe since Joseph Bonnet.10

She impressed American concert-goers with her phenomenal
pedal technique, all the more astonishing due to her very high French heels.
Not only her pedal technique, but her physique impressed Buhrman:11

Miss Demessieux has legs and she's not ashamed of them;
they're shapely, and they dance around the pedalboard with never a miss; she's
a little girl, very young, and has, evidently, so much good sense that nothing
matters but her music. No lady can sit on an organ bench without showing how
her shoes are attached to the rest of her, and Miss Demessieux apparently
didn't give a darn; I like honesty.

The aforementioned reviews differ in their appreciation of
Demessieux's utilization of the colors of the organ. Wright was not
particularly impressed with her registrational choices:12

Demessieux, like many of her many French compatriots, seems
to be satisfied only with the most sharply contrasting stops available,
regardless of the timbre of individual voices and their blend or lack of blend
in combination or opposition. The result is the use, both for ensemble or solo
playing, of the biggest, hootiest flutes, the edgiest reeds, etc.

In the same recital, another reviewer felt Demessieux used
the organ more effectively:13

Franck you can have; one of his least interesting pieces,
but Miss Demessieux none the less used it [the Pastorale] to teach Americans
another lesson they've tried to forget, namely that a mess of colors is not
nearly so good as clear-cut pure colors. She contrasted reeds against flutes .
. . the flutes were unmuddied by the addition of unnecessary supplementary
voices, the reeds were ditto.

At Central Presbyterian Church Demessieux played a few of
her own compositions. First, "Repeated Notes" from her Six Etudes is
"grand concert music; it invites the Pedal to come up out of the 16'
sub-basement and have a frolic in the living room with the rest of the family.
And it has something musical to say too, and says it entertainingly."14
"Dogme" from Sept Méditations sur le Saint Esprit received
mixed reviews.

T. Scott Buhrman wrote: "Dogme is typical contemporary
noises, made as ugly as possible; don't blame that on Miss Demessieux; she's
contaminated by the spirit of the age."15 In another review, M. Searle
Wright was complimentary:16

Mlle. Demessieux's own "Dogme" proved an imaginatively
written work in a big rhapsodic style. The composer's striking use of polytonal
textures lends an exciting vitality to her music. What the French lack in
imagination regarding registration they surely make up in their fertile
harmonic consciousness.

Performing in the tradition of her maître Marcel
Dupré and other French organists, Demessieux concluded all of her
American concerts with an improvisation on submitted themes. In her New York
début she improvised a three-movement symphony based on three themes
submitted by M. Searle Wright. Wright comments:17

The fugue which crowned the improvised work was a genuine
fugue complete with an exciting stretto in which the subject (an angular one)
was managed in augmentation with the right foot alone, while the left provided
a counterpoint to the brilliant manual parts.

Not all American concert-goers were in awe of French
improvisations. Buhrman tartly writes:18

Since public improvisations are more of a sham than I'm
willing to waste time on, I walked out after two or three minutes of it, though
this time the improvisor did stick to the theme, at least while I was
listening. I hope the organ world will grow up and abolish this childish
nonsense; never once among all the improvisations I've suffered through--including
Dupré's--have I heard anything worth the effort of hearing.

Above all, Demessieux performed her recitals professionally
and without the manufactured flair of many keyboardists. As Buhrman
commented:19

Before going to the bench, Miss Demessieux faced her
audience and recognized them by a courteous bow, then went to her job without
attempts to fool anybody with the usual tricks of all too many concert
performers. . . . One thing always annoys me, and a lot of other organists too,
is a player's making a silly show of himself or herself when playing ffff
organ, trying to make the audience think it's harder to play ffff than pp.
Observe this young lady and you'll be delighted with her honesty. Only once or twice
did she fling a hand off the keyboard at the release of a ffff chord, and then
it was only the left hand, never the right.

In a letter to her parents, addressed February 5, 1953,
Demessieux declared that her first American recital was "a resounding success."20
She reported to her parents that the organ at Central Presbyterian Church was
beautiful and that the American Organist sent her a very flattering letter
regarding her début concert.21

Following an engagement on the six-manual organ at the
Wanamaker store in Philadelphia, Demessieux played a recital on February 10 at
the Pennsylvania College for Women in Pittsburgh. The program, sponsored by the
Möller Organ Company, included:

Toccata and Fugue in D Minor                     Bach

Chorale Prelude                    Bach

Concerto in G Minor     Handel

Pastorale                   César
Franck

Symphonie-Passion         Dupré

Epitaphe                   Berveiller

"Les Rameaux"                      Langlais

Chorale Prelude: "Ubi Caritas" style='mso-tab-count:1'>                      Demessieux

Study for Octaves               Demessieux

Improvisation upon a given theme22

Fred Lissfelt reviewed the program:23

She represents not only an important church [St. Esprit,
Paris] but a great tradition in French organ playing, avoiding the many
sensational effects that other nations attain through brilliant registration,
and holding firm to clarity of technique and a suave assurance in the art of
improvisation, all of which she demonstrated well in her program.

Demessieux played the following program at First Methodist
Church in Peoria, IL:

Trumpet Tune  Purcell

Prelude and Fugue in A Minor                       J.S.
Bach

Chorale: "The Old Year Has Passed Away" style='mso-tab-count:1'>    J.S. Bach

Fugue in G Major (Gigue)           J.S.
Bach

Third Chorale in A Minor              Cesar
Franck

Variations from Symphonie gothique                         Widor

Banquet celeste                     Olivier
Messiaen

Fifth Study: Repeated Notes      Jeanne
Demessieux

"Dogme" from Méditations sur le Saint Esprit style='mso-tab-count:1'>                       Jeanne
Demessieux

Cadence (Study for pedal dedicated to Jeanne Demessieux) style='mso-tab-count:1'>  Jean Berveiller

Improvisation on a submitted theme24

The recital was reviewed by Evabeth Miller who wrote:25

Legend says that after the great Emperor Charlemagne had an
Arabian organ brought to Aachen in the year 812, people were so impressed by
its soft sweet tone that one woman died of the sheer ecstacy of hearing it.

Nothing like that happened Sunday afternoon in First Methodist
Church, but it well could have, if that were a real measure of the exalted
beauty of organ music, for Mlle. Jeanne Demessieux of Paris provided such tone,
as well as a great deal else, in a remarkable concert program. . . .

One could not help thinking, too, particularly as the Widor
music filled the crowded church in the late afternoon, that here was being
heard a musician in the line of direct descent of greatness. For Mademoiselle
Demessieux had played three Bach selections, and it was Widor who had edited
the complete works of Bach with his pupil, the great
organist-theologian-missionary doctor, Albert Schweitzer; and it was Widor who
taught Marcel Dupré, who succeeded him at the Paris church of St.
Sulpice; and it was Dupré who taught this young woman who has been
organist of the Eglise du Saint Esprit in Paris since she was 12 years old.

She looked almost like a timid child as she came through a
balcony door to take her place at the organ console, a slight figure in a
simple, circular-skirted dress of light green silk, her short slightly auburn
hair brushed back into a halo. Once seated, she proceeded as calmly as if she
were playing something as simple as a spinet. But there the simplicity ended. .
. .

In the first half, listeners were perhaps more enveloped in
the music than in the technique of its production, but as the second portion
began they became gradually more and more aware of the technical skill they
were witnessing. Mademoiselle Demessieux' pedal work was nothing short of
astounding, her intensity of feeling and sureness of concept in each work were
conveyed by a technical mastery that got its only visibly dramatic expression
in her hands, which had the graceful eloquence of a ballerina's hands in their
approach to some passages.

The Peoria recital concluded with the characteristic
improvisation. For this recital, Demessieux improvised a prelude and fugue on
the chorale "O Sacred Head Now Wounded." She remained faithful to the
theme's motive "as she embroidered on it elaborately and with considerable
fullness, giving thrilling development to the fugue portion."26

She played a recital on March 8 at the First Methodist
Church in Oakland, CA. Richard Montague remarked:27

Demessieux's playing possesses all possi- ble virtues. It is
accurate, rhythmic, sensitive, dramatic, clear, chaste, vigorous and
intelligent. One is impressed above all by her sureness and maturity. Her
nuances seem always inevitable and affectation is unknown to her.

After various other recitals across the country, including
Canton, OH, Dallas, Boston, New Orleans, and even Brantford, Ontario, Canada,
Demessieux concluded her first American tour, as it began, with a recital at
Central Presby- terian Church in New York City. The program on March 22
included:

Overture from the 29th Cantata "We Thank Thee,
God"              J.S.
Bach

First Concerto in G Minor             G.F.
Handel

Fantaisie on "Ad Nos, Ad Salutarem" style='mso-tab-count:1'>                       Franz
Liszt

"Ubi Caritas" from Twelve Chorale Preludes on
Gregorian Themes   Jeanne
Demessieux

Etude en tierces                    Jeanne
Demessieux

"The World Awaiting the Savior" from style="mso-spacerun: yes">   Symphonie-Passion style='mso-tab-count:1'>                       Marcel
Dupré

Improvisation on a Submitted Theme28

The recital was reviewed by Virgil Thomson in the New York
Herald Tribune:29

French organ playing has been one of the musical glories of
our century; and Jeanne Demessieux, who played an organ recital last night in
the Central Presbyterian Church, is clearly a light in that glory. All evening
long your reviewer, who has known most of the great organ playing of our time,
from that of Widor and Bonnet and Vierne through Dupré to Messiaen,
could only think of those masters as company for this extraordinary musician
and virtuoso. . . .

Miss Demessieux's work as a composer appeared, from the two
selections offered (a chorale-prelude on Ubi caritas and a Study in Thirds) to
be skillful and musi- cally sophisticated. It was not possible to gather from
them any characteristic profile of individuality. Neither was anything of the
kind manifest in her improvisation beyond perhaps an assurance of taste,
intelligence, and technical skill of the highest order. She improvised, as is
the French custom, in the Baroque forms, including a dazzling Toccata. Since
the theme composed for her by Seth Bingham did not lend itself easily to fugal
treatment, she omitted the customary fugal finale and finished her series of
improvisations quietly with a poetic variation based on thematic alterations.

Notable throughout the evening were the soloist's elaborate
and subtle treatment of registration and her powerful rhythm. No less subtle
and no less powerful were her phraseology and her acoustical articulation.
Accustomed, no doubt, to compensating for the acoustical lags and other echoing
characteristics of France's vast cruciform churches, all stone and glass, she
employed to great advantage in the smaller but similarly reverberant walls of
the Central Presbyterian a staccato touch for all rapid passage work involving
bright or loud registration. This device kept the brilliance clean; and its
contrast with the more sustained utterance of broader themes gave a welcome
variety, a contrapuntal dimension. We are not used here to so dry an
articulation, to so striking a clarity in organ playing. I must say that the
fine brightness of the registration possibilities in the organ she was playing
on aided the artist, as a good French organ also does, to avoid the muddy
noises that so often pass for serious organ execution.

Last night there was no mud anywhere, only music making of
the most crystalline and dazzling clarity. Every piece had style, beauty,
gesture, the grand line. And perhaps the grandest line of all, the richest
color and the most dramatic form were those of Liszt's magniloquent Fantasy. I
wonder why organists play this work so rarely. Is it too hard to learn? Surely
not. Miss Demessieux swept through it, as she did everything else, from memory.

Fred Haley was also present at the March 22 recital at
Central Presbyterian:30

I do remember being overwhelmed by the technical virtuosity,
the splendid musicianship and the poetic moments as well as the heroic ones.
The registrations were complicated and efficient--made for extreme clarity--but
were not as orchestral as Farnam tradition had accustomed me and my friends to.
Also at a time when American women organists were wearing unbecoming floor
length concert dresses with harem pants underneath (always excepting Catharine
Crozier), Mlle. Demessieux was gowned in the height of Parisian chic--the New
Look was still new then!

Demessieux wrote in her journal that the church was so full
during her second recital in New York that they had to turn people away. She
also felt the evening had a feverish ambiance.31

The 1955 American tour

In the February 1954 edition of The American Organist style='font-style:normal'>, Colbert-LaBerge Management announced the return of
Jeanne Demessieux to America for another series of recitals. The youthful
French organist, who amazed listeners on her first tour, would make another
transcontinental tour of the United States during February and March of 1955.32
The tour, which opened in Glen Falls, NY, included recitals in New York City,
Syracuse, Seattle, Milwaukee, and Chicago.

Unfortunately, Demessieux's voyage to the United States on
the ship Liberty did not begin well. On the second day of travel she wrote in
her journal of severe seasickness. The sea was very rough and the shutters for
the portholes had to remain closed.33

Upon disembarkment in New York, Demessieux met with a
representative from the Colbert-LaBerge management firm. Like many performers
she was disenchanted with the technical details involved in making any recital
tour a success. The papers, schedules, tickets, reservations, contracts,
programs to modify, last minute engagements, and finances were things that
Demessieux would rather not be bothered with. As a performer she had to keep
track of the smallest detail, including schedule changes of trains and other
unforseeable events. Despite these technical details, Demessieux realized the
virtuoso had to present a wonderful if not impeccable recital.34

Demessieux began her 1955 American tour in Glens Falls, NY,
on February 6. Despite newly fallen snow, a large number of people attended
this premier recital. Her program included the following selections:

Toccata in F Major          Bach

"Come now, Saviour of the Heathen" Bach

Second Concerto in B Flat Major             Handel

Second Chorale in B Minor        César
Franck Allegro (from Sixth Symphony) 
Ch. M. Widor

Intermezzo (from the Suite)  Jean Berveiller

Triptyque                 Jeanne
Demessieux

Improvisation on a submitted theme35

Demessieux performed the "Cadence" of Jean
Berveiller as an encore.

Demessieux arrived in New York on February 7 for a return
engagement at Central Presbyterian Church. Her program included:

Fantasy & Fugue in G Minor   Bach

"Blessed Jesus We Are Here" Bach

Fugue in C             Buxtehude

Concerto 10       Handel

B Minor Canon                      Schumann

Redemption (Interlude Symphonique) Franck

Sym. 2: Scherzo                    Vierne

"Paix"   Demessieux

"Dieu parmi nous"             Messiaen36

T. Scott Buhrman, editor of the American Organist, once
again penned a colorful review:37

A concert organist is much like a host entertaining his
friends; in both cases the first aim, outside an educational or penal
institution, should be to give the friends, first a personal welcome, second
something they'll enjoy. Miss Demessieux, presumably one of the great
contemporary French organists, bowed courteously enough when she first appeared
before her friends who were spending an hour--or two or three or four--to hear
her and enjoy the musical feast she would presumably offer; but when she
returned to the room after a ten-minute intermission she didn't even nod to
those friends. . . .

The first half of the program was played on hard & loud
Diapason & mixture combinations; even the Blessed Jesus was done that way,
devoid of any touch of tenderness; also the middle Handel Concerto
movement--though in spite of its hardness & loudness it still had something
of happiness in it, which much of Handel's organ music has. [The] Recital began
12 minutes late.

The first enjoyable music was Schumann's, the righthand part
played delightfully on strings, the answering lefthand on a loud flute for
reasons I couldn't understand; the contrast was too violent. I think organists
are tired of music, and in Central Presbyterian they are fooled dynamically
because no artist could conceivably want so much music as loud as it hits the
audience. There is no beauty in loudness. . . .

Naturally I do not know, but I believe Miss Demessieux must
be one of the very finest French organists; now if she would make her music
sound as charming and delightful as she herself certainly is, you couldn't ask
for anything finer. She has everything in the world she needs excepting enough
conceit to break away from the binding traditions of the organ world and
constitute herself instead a hostess offering her friends the choicest bits of
enjoyment possible to put together in a musical feast.

Demessieux herself felt there was a large audience at the
recital. After the concert the audience presented flowers to her, and then she
had to do her least favorite thing--greet and converse with the
concert-goers.38

A recital at Grace Methodist Church in Harrisburg, PA,
followed on February 10. Even though the organ was in bad condition and the
combination action refused to work,39 Demessieux reflected in her diary:
"a concert where the contact with the public was particularly comfortable
(while playing, I thought suddenly: "If it were necessary to give this up,
I never could.")"40

Despite the mechanical problems with the organ, a
"large audience greeted Mlle. Demessieux and were greatly impressed by her
technical perfection, profound musicianship and eloquence of
interpretation."41 Her program included:

Toccata in F Major          Bach

"Come Now, Savior of the Heathen" style='mso-tab-count:1'>    Bach Second Concerto in B
Major         Handel

Second Chorale in B Minor        Franck

Allegro, from Sixth Symphony                       Widor

Intermezzo from Suite Jean
Berveiller

Triptyque Demessieux

Improvisation on submitted themes42

Of her improvisation Irene Bressler writes:43

 . . . three themes
written by Donald Clapper, organist of the Pine Street Presbyterian Church,
were handed Mlle. Demessieux. . . . it was evident that she had caught the germ
of her art of improvisation from her teacher Marcel Dupré. Whether one
likes the modern idiom or not, it is ever a thrilling experience to follow the
many moods displayed and always the grand, full organ climax.

After travelling by train, Demessieux played a recital at
Syracuse University on Saturday, February 12th. She found there an excellent organ
of three manuals in the neo-classical style (ca. 1950). The recital was a
success, but few people attended because of the blustery winter weather.44
Though the concert was a success, the car ride to the university proved to be
difficult. On the way to the university, the car Demessieux was riding in got
stuck in a snowdrift. She and the other occupants had to brave the snow and
wind on foot to make it to the school in time for the recital!45

In a letter to her sister dated February 15, Demessieux
related that the tour was going extremely well. She felt that the present tour
of America was going exactly as the preceding 1953 tour, but now she was more
experienced.46 Again she expressed impatience with the constant demands upon
the touring performer. She reluctantly accepted the invitations for dinners and
receptions not because they were pleasurable for her, but because she knew they
were required of her. She realized she had to be gracious whether she was
fatigued or not. "As for smiling, it is the worst fatigue: it is necessary
to smile constantly . . . I earn my money by a thousand efforts that include
much more than playing."47

A recital on Friday, February 18 was a great success with
many people attending, but other details of the recital have not survived.
Demessieux concluded the concert with two encores.48 On Saturday February 19th,
Demessieux's journal entries for the 1955 American tour came to an end due to
lack of time. Further correspondence to her parents and sister provides
information concerning the rest of the tour.

On February 28, Demessieux played the following program at
University Presbyterian Church in Seattle, WA:

Toccata in F Major         Johann
Sebastian Bach

Chorale: "Dearest Jesus, We Are Here" style='mso-tab-count:1'>                  Johann
Sebastian Bach

Fugue in C Major               Dietrich
Buxtehude

Tenth Concerto in D Minor        George
Frederick Handel

Scherzo (Second Symphony)   Vierne

Redemption (Interlude Symphonique)                      Cesar
Franck-Jean Berveiller49

Intermezzo (from the Suite)        Berveiller

"Paix" (from Seven Meditations sur le Saint Esprit
[sic], Paris)                  Jeanne
Demessieux

"Dieu parmi nous"             Olivier
Messiaen

Improvisation on an Original Theme (submitted by George
McKay, University of Washington)50

A review of this recital has not been located.

On March 2, Demessieux spent the day with Darius Milhaud and
his wife at Mills College in San Francisco, performing for students and
professors. Milhaud asked Demessieux to play one of her works for him, and she
delighted him with a fugue. Milhaud then presented Demessieux a scholarly theme
upon which to improvise another fugue. He was very astonished and said that he
had previously heard a similar improviser51--most likely referring to
Dupré.

After several recitals in the Midwest, including one at
Ascension Lutheran Church in Milwaukee, Demessieux played in Chicago. The March
7 recital at St. Peter's Catholic Church in Chicago was sponsored by the
Chicago Club of Women Organists and attracted several hundred people. The
program included:

Fantasie and Fugue in G Minor                    Bach

Chorale Prelude:                 "Blessed
Jesus We Are Here" Bach

Fugue in C Major               Buxtehude

Concerto                  Handel

Allegro from Symphony 6             Widor

Redemption         Franck

Scherzo from Symphony 2           Vierne

"Paix" from Seven Meditations on the Holy Spirit style='mso-tab-count:1'>         Demessieux

"Dieu parmi nous"            
Messiaen

Improvisation on submitted themes52

The recital was termed "a brilliant display of virtuoso
technique" even though the "Handel Concerto was interrupted twice by
a loud point d'orgue which had not been planned either by the composer or the
performer, but Miss Demessieux did not appear to be flustered."53

A recital at the Cathedral in Washington, D.C. on March 15
at 8:30 p.m. included the following selections:

Toccata in F        Bach

Chorale Prelude                    Bach

Concerto No. 2                       Handel

B Minor Chorale                  Franck

Fantasy on "Ad nos, ad salutarem" style='mso-tab-count:1'>          Liszt54

On March 18th Demessieux played the following recital on the
1927 E.M. Skinner organ at the Toledo Museum of Art:55

Fantasy and Fugue in G Minor                      J.S.
Bach

Choral Prelude:                     "Blessed
Jesus, We Are Here"                        J.S.
Bach

Fugue in C Major               Dietrich
Buxtehude

Concerto No. 10 in D Minor      G.F.
Handel

Canon in B Minor              Robert
Schumann

Fantasy on "Ad nos, ad salutarem" style='mso-tab-count:1'>        Franz
Liszt

Improvisation on a Submitted Theme56

Reviews of these recitals have not been located.

March 21st found Demessieux in Buffalo, playing at Holy
Trinity Lutheran Church. Her program, similar to others on this tour, was as
follows:

Fantasie and Fugue in G Minor                   J.S.
Bach

Chorale: "Blessed Jesus, We Are Here" style='mso-tab-count:1'>                  J.S.Bach

Fugue in C Major               Buxtehude

Tenth Concerto in D Minor       Handel

Canon in B Minor              Schumann

Redemption (Interlude Symphonique)                       Franck

Scherzo (Second Symphony)   Vierne

"Dogme" (from Seven Meditations sur le Saint
Esprit [sic]       Jeanne
Demessieux

"Paix" (Seven Meditations sur le Saint Esprit)
[sic]      Demessieux

"God With Us"                       Messiaen

Improvisation on a submitted theme57

John W. Becker, director of music at Holy Trinity at the
time of the recital, recalls:58

[It was] an excellently fine recital. There was a brilliant
display of her pedal technique especially in her own pieces and her
improvisation. I sat behind her in the chancel, the only one there who could
see her feet and was amazed at the speed of the pedal passages. She wore VERY
high heels and seemed to move her legs very little. Her ankles did the work and
appeared to place her high heels where she wanted them with unfailing accuracy
and incredible speed. Hers was a very efficient and, by American standard, an
unusually personal pedal technique. It was quite a show!

Theolinda Boris reviewed the concert in Buffalo:59

The petite organist's playing gave abundant evidence of her
mastery of her instrument and of her exceptional musicianship. In short, she is
a virtuoso who is also an artist!

Few organists of note who have played here recently have
achieved as much variety of color in registration without sacrificing any of
the essential qualities of the various pieces. Still fewer have played with
such beautiful clarity throughout an entire program, not excluding the heaviest
passages.

In fact, it was this clarity that minimized the somewhat
thick and sluggish sound of the organ. Everything under Mlle. Demessieux'
fingers was crisp, so that even involved contrapuntal threads sounded with a
truly admirable clearness.

Demessieux' rhythm had a wonderful vitality and her handling
of melodic line and phrase was like that of a master violinist or sensitive
singer. Singularly fine were the naturalness and legitimacy of her climaxes,
which were never a mere piling up of thunderous and muddy sonorities. . . .

A very impressive improvisation concluded Mlle. Demessieux'
already impressive recital. Using two themes submitted by Eric Dowling of St.
George's Anglican Church, St. Catharine's, Ontario, she expertly fashioned a
three-part piece, Passacaglia I, Interlude and Passacaglia II.

The 1955 American recital tour concluded at the Cathedral of
St. John the Divine in New York City. Reflecting upon the past two months,
Demessieux found the trip extremely fatiguing--hard not only on the mind but
body. She found travelling for such a long time difficult in a country so
different from Europe. She reflected again that concert life was very draining
because it was necessary not only to travel, but also to make a good
impression, to undergo inter- views, and to share her viewpoints concerning French
art, while courteously receiving the general public.60

The 1958 American tour

The January 1958 issue of The Diapason style='font-style:normal'> announced:61

Jeanne Demessieux will arrive in New York on the S.S.
Liberte January 27. The opening recital of her third American tour will be in
Glen Falls, NY, January 31 at the First Presbyterian Church. In February she
will be heard in Newark, NJ, Philadelphia, Nashville, St. Louis, Denver and
will give recitals in California at Chico, Oakland, Sacramento, San Jose, and
Los Angeles.

Recitals have also been arranged in Fort Worth, Charlotte,
N.C., Macon, GA, Bloomington, Ind., Fort Wayne, Pittsburgh and New Haven. She
will appear in Chicago at St. Peter's Church March 10 and at New York City's
Central Presbyterian Church March 24, her final recital before her return to
France March 26. Her programs will include several of her own compositions.

Demessieux was accompanied on this tour by her student
Claudine Verchère, who acted as secretary. "The idea of being
assisted in the thousand material details of the journey seems an incredible
benefit to me."62

While practicing on the organ at the Cathedral of St. John
the Divine in New York City, Demessieux tried her newly composed "Te
Deum" which was inspired by that organ. After a rehearsal of the piece,
she thought the composition was successful and was relieved to find it was what
she had intended.63 Later that day, she travelled to Glen Falls, NY, for her
opening recital on January 31 at First Presbyterian Church. The town welcomed
her even to the point of putting her portrait in the entrance hall of the
hotel!64 For this recital Demessieux played the following selections:

Ouverture from Cantata 29          J.S.
Bach

Fantasy in G Major          J.S.
Bach

Fantasy 2, F Minor           W.A.
Mozart

Basse et dessus de trompette    Clerambault

Prelude and Fugue on B.A.C.H.                  Franz
Liszt

Chorale-Prelude:"Attende Domine" style='mso-tab-count:1'>     Jeanne Demessieux

from "L'ascension" III. Transports de joie d'une
ame devant la gloire du Christ, qui est la sienne.  Olivier Messiaen

Improvisation on a submitted theme65

Demessieux later recorded in her diary that the concert was
a success. She was personally satisfied with the impressive silence of a
captive audience of 900 people. She was impressed with the five-manual organ
because the organ pos- sessed good foundations, an array of mixtures, and
Cavaillé-Coll reeds. She commented that the overall ensemble was rather
good. She related one horror: the couplers on the Great division coupled at the
fifth rather than the unison!66

Hugh Allen Wilson, organist at the First Presbyterian Church
at the time of the recital, fondly recalls Demessieux. He was present for both
the 1955 and 1958 recitals in Glens Falls and shares his memories:67

I remember these recitals and Jeanne very well. She was an
angelic creature in her personality and played as few of her contemporaries
could or did. She was a pupil of Dupré at the same time that I was
working with him in Paris--1947.

We were all intrigued that she played in rather high
heels--particularly in the wonderful little virtuoso piece by Berveiller--the
Cadence. I do not bring to mind whether or not she was accompanied by a friend
on both of her concerts here. She did have a companion on one I am sure. I met
them at the train on her first tour and remember her astonishment that she
found someone fluent in French in the great north of New York State.

Demessieux recalled an incident in New York in which
Claudine Verchère found an organ nearby their hotel and tried it out. Demessieux
made an interesting statement concerning her former teacher: "The organ,
an 1930 Austin, is horrible, heavy, cinematic. It is what Dupré would
love, unfortunately!"68

On the morning of February 8 Demessieux arrived in St.
Louis, MO. The organist of the host church met her at the railway station and
immediately took her to record an interview that was to be on the radio later
that afternoon. Demessieux felt the interview went well, but she refused
categorically to have journalistic photos taken and would not give out any
official publicity photos.69

Demessieux's journal entry of February 9 is somewhat
curious:70

The day begins with with a semi-dramatic, semi-comical
episode. During my silent practice, I was distracted by another organ sound
coming from the basement which hindered my concentration. Then, I thought of
stuffing my ears with . . . tissues because I didn't have cotton balls. Later,
I removed them tranquilly. This morning, in my shower, I became completely deaf
in my right ear, a piece of cotton remaining in my ear had inflated with water.
I imagined the concert!

While in St. Louis, Demessieux gave the following recital in
Graham Memorial Chapel at Washington University on February 10:

Prelude and Fugue in D Major                       Bach

Chorale Prelude: "De Profundis" style='mso-tab-count:1'>                 Bach

Concerto No. 2 in A Minor          Vivaldi-Bach

Pièce héroïque Franck

Mouvement         Berveiller

(First performance in the U.S.A.)

Prelude on "Rorate caeli"               Demessieux

Te Deum                 Demessieux

(First performance in the U.S.A.)

Improvisation on two submitted themes71

Ronald Arnatt, reviewer for The American Organist style='font-style:normal'> states:72

I do not hesitate to be lavish in my praise of Jeanne
Demessieux since I can safely state that I have never attended an organ recital
that I enjoyed more than this. Her superb technique was immediately evident in
her performance of the Prelude and Fugue in D Major--this wonderfully
light-hearted work seems to be paticularly suited to the French probably
because it benefits from a crisp, clear touch and an unerring pedal technique,
both of which are the standard equipment of French artists; however, it was not
only technique that made this particular performance so fine. Mlle. Demessieux
makes it possible, through her transparent phrasing, for the listener to follow
each voice with such ease that one could almost be listening to a top-notch
ensemble. In the hands of a lesser artist the tempo of the fugue would have
been disastrous--in the hands (and feet) of Mlle. Demessieux the extremely fast
tempo seemed completely natural and completely right. . . .

I knew from her recordings what to expect in her performance
of the Vivaldi-Bach--clarity and extreme precision--and again was delighted by
being able to hear every single moving part: her registration in the first
movement was sparkling and her phrasing clear as crystal.

The Franck was a little disappointing to me since the tempo
fluctuated so much, large rallentandi were inserted where there is no
indication and a rather noisy registration was used most of the time. Franck
was always very careful to mark exactly what he wanted in the way of dynamics
and tempo changes and I cannot see why so many organists appear to feel that he
made omissions in this respect. Regardless of personal opinion however, it was
a brilliant performance.

These comments regarding Demessieux's performance of the
Pièce héroïque are very interesting when the two traditions
of Franck organ playing are considered. The strict performance style of Franck
playing, illustrated by Dupré and Widor, can be contrasted to the freer
interpretations of Tournemire and Langlais. Langlais believed that Dupré
played Franck's compositions very simply and regularly, missing their true
spirit. Dupré eliminated fermatas, removed many dynamic indications and
changed registration markings in his editions of the Franck organ works. It is
very possible that Demessieux followed Dupré's indications regarding
registration and dynamics in the Pièce héroïque, but tempo
fluctuations and large rallentandi appear antithetical to Dupré's
teachings--perhaps she asserted some independence on this point. Whatever the
analysis, Demessieux's overall concept of performance did not entirely please
the reviewer.73

The U.S. premiere of Jean Berveiller's "Mouvement"
was not well-received:74

The Berveiller is scarcely worth mentioning--cliches of the
Boëllmann and Widor toccatas abound with a few pseudo-jazz rhythms
inserted to make it sound a little more modern complete with the Gershwin minor
triad and many bravura pedal passages. The performance was stunning, but what a
waste of precious time.

As a composer Jeanne Demessieux is known mostly in this
country for her Twelve Preludes on Gregorian Themes--short, finely wrought
pieces showing a combination of contrapuntal mastery and lyrical warmth. The
prelude on Rorate caeli is one of the loveliest of these with a distinctive
style all her own, leaning less on impressionism than some of her compatriots.
Here was an entirely different approach to a Gregorian chant, martial in mood,
polytonal in influence and excitingly brilliant. The work falls into three main
sections: the opening strong exposition, the quieter, more reflective middle
section, and the powerful toccata-like ending, frighteningly difficult and
jaggedly dissonant.

An interesting perspective regarding the concluding
improvisation is given by the reviewer Ronald Arnatt, who himself wrote the
themes upon which the improvisation was based:75

Then came the solemn ceremony of presenting the themes to
the artist for her improvisation--like some sort of strange liturgical rite: I
feel particularly embarrassed since I wrote the themes upon which her
improvisation was based.

The first theme was repetitive and angular in 5/8, the
second a modal, lyrical theme in 6/8: I did my best to keep in mind the type of
theme that might appeal to Mlle. Demessiuex's particular style. The
improvisation began in a mysterious mood using snatches of the first theme,
then the theme was announced in full in her own style as easily as if she'd
written it herself. The work fell into three sections, in a similar manner to
the Te Deum, with the second theme used as a basis for the middle section. Much
use was made of fugal imitation, especially with the second theme, and
brilliant use was made of the two themes superimposed on one another with the
second theme altered to fit the 5/8 rhythm. In the finale, instead of the usual
thunderous ending heard so often, the ending was lyrical and mysterious with
beautiful use made of the interchange of the two themes.

Jeanne Demessieux was received with great enthusiasm and was
brought back many times to take a bow--fortunately she did not play an encore
since anything played after her own three works would have been an anti-climax.
One further point--think of what a masterful composition we would have heard if
she could have selected her own theme for improvisation instead of being stuck
with mine!

Demessieux recalls a crowd of 1200 at her recital in Denver,
CO, on February 12. At intermission, the priest ascended to the pulpit and
announced that the audience was free to stand up and stretch their legs. All
the people rose in their places, causing Demessieux to smile. When they
returned to their seats and sat down, she continued with the second half of the
recital.76 Obviously, such an announcement by the priest would have been
uncommon in France!

She travelled on to Chico, CA, for a recital at Bidwell
Memorial Presbyterian Church on February 14 and played the following program:

I.

Ouverture from the 29th Cantata               J.S.
Bach

Fantasy in G Major          J.S.
Bach

Second Fantasy in F Minor        Mozart

Basse et dessus de trompette    Clerambault

II.

Prelude and Fugue on B-A-C-H                  F.Liszt

Chorale Prelude:"Attende Domine" style='mso-tab-count:1'>     Jeanne Demessieux

Ascension Suite (3rd Movement) "Transports de joie
d'une ame devant a gloire du

                        Christ
qui est la sienne"                     Olivier
Messiaen

III

Improvisation on a submitted theme77

In her diary Demessieux noted in passing that the 1931
Möller organ at Bidwell Memorial consisted of only 12 ranks!78 It seems
amazing that this organ could handle her recital literature, especially the
Liszt, which requires large changes in dynamics and colors. Demessieux's skill
at registration was appreciated by Charles van Bronkhorst:79

A petite but astounding young lady from Paris has proved
that a heavy program and a small instrument can indeed sell organ music to an
audience of predominantly just-plain-music lovers. . . .

Mozart was a definite highlight . . . Opening with full
organ sans reeds, the first allegro section was lively and clean cut, with
plenty of appropriate accent. The andante provided Mlle. Demessieux her first
real opportunity to make use of the limited color available in this 12-rank
instrument, and she took full advantage of contrasts provided by Melodia, Oboe,
Gamba, Voix Celeste and separately enclosed Great and Swell divisons. Also
noteworthy were the delicate ornamentation and terrific pedal work, the latter
accomplished in high heels as is customary for this young artist. The buildup
to full in the final allegro was smooth as silk, growing in excitement and
brilliance to the end. . . .

Liszt's dazzling opus, difficult on even a sizable
instrument, was handled so beautifully that I never once wished for more organ.
Despite less than an hour's practice on this instrument, Mlle. Demessieux was
in perfect control at all times: registration, dynamics and technique were
combined to yield maximum results, yet I was never distracted by body movement
of any kind as is often the case in this particular work.

James Kinne of the Chico State College music faculty
submitted two four-measure themes in D Major and 6/4 meter for the
improvisation.80 The themes were given to Demessieux in a sealed envelope and
she studied them for a brief moment and then proceeded to deliver one of her
deservedly famous improvisations.81 Another reviewer felt:82

The themes were ideal--simple, but rhythmically alive. Mlle.
Demessieux began with the theme stated by Great flutes over Swell string
celeste, then proceeded to exploit both subject matter and organ to their
fullest in some ten minutes of breathtaking free variation, a high-point being
the appearance of the theme toward the end in upper pedals a la pizzicato over
manual accompaniment. I heard Marcel Dupré improvise on submitted themes
several years ago and was duly impressed but have never been as stimulated or
musically satisfied as by this beautiful demonstration in the French tradition.

Several conclusions were reached by this reviewer as a
result of Mlle. Demessieux's visit to Chico: 1) a great artist need make no
musical compromises in order to satisfy an audience; 2) a small instrument
adequately installed and maintained is no handicap to such an artist; and 3)
any doubts that the Great division should be enclosed in an organ under 15
ranks were completely dispelled--one reason for the success of this program was
a flexibility and control achieved by thoughtful and skillful use of the two
swell shoes. The artist gave no encores despite excellent audience reaction and
applause.

On February 16, Demessieux gave a recital at the First
Presbyterian Church of Oakland, CA. Demessieux thought the evening was
unforgettable and the audience very intelligent. The audience was so
enthusiastic that she dared to play her "Te Deum" twice because the
organ suited the composition perfectly.83 Program and reviews for this recital
have not been located.

Her next recital was in Sacramento, CA, at the First Baptist
Church and her program included:

Ouverture from the 29th Cantata               J.S.
Bach

Fantasy in G Major          J.S.
Bach

Second Fantasy in F Minor         Mozart

Basse et dessus de trompette    Clerambault

Prelude and Fugue "BACH"      F. Liszt

Choral-Prelude: "Attende Domine" style='mso-tab-count:1'>      Jeanne Demessieux

Ascension:             Olivier
Messiaen

Transports de joie d'une ame devant la gloire du Christ qui
est la sienne"

Improvisation on a submitted theme84

Leland Ralph, organist of the First Baptist Church at the
time of Demessieux's recital relates:85

Thirty plus years is a long time to remember every detail of
her performance. However, I do remember that many of us felt it was a rather lackluster
performance. Perhaps it was the instrument, or perhaps she was tired, I do not
know. Too, so many of her selections had been performed so many times in
recital here, that perhaps we were bored!! I do remember she was a delightful
person.

On February 21 Demessieux played a recital in San Jose, CA,
where the organ console was located in a pit so the audience could see only her
head. She remarked that this time she didn't experience instant vertigo!86

On March 3, Demessieux travelled to Charlotte, NC, for an
evening recital at Myers Park Methodist Church. The recital program was:

Overture from the 29th Cantata                   J.S.
Bach

Fantasy in G Major          J.S.
Bach

Second Fantasy in F Minor         Mozart

Basse et dessus de trompette    Clerambault

Prelude and Fugue on B-A-C-H                  F.
Liszt

Choral-Prelude: Attende Domine"          Jeanne Demessieux

Ascension:             Olivier
Messiaen

 
"Transports de joie d'une ame devant le gloire du Christ qui est la
sienne"

Improvisation on Submitted Themes87

Demessieux recalled a good concert and a magnificent
audience. She reflected how uncomfortable she was at receptions where people
burst into laughter, pause and notice suddenly that they are in front of you,
then they say a few standard remarks to try to ease the tension.88.

On March 9, Demessieux performed in Bloomington, IN. She
felt the organ console was too near the edge of the stage and asked someone
from the church to reposition it. Unfortunately, the console did not get moved
prior to the concert and she experienced vertigo! Despite the dizziness, she
improvised a symphony of four movements on a submitted theme. She remarked that
this improvisation was one of her better ones.89

Once again Demessieux was sponsored in recital by the
Chicago Club of Women Organists on March 10 at St. Peter's Catholic Church.
Frank Cunkle reviewed the concert:90

Mlle. Demessieux was not very happy with the medium-sized,
unremarkable instrument, and neither her own back-breaking tour schedule nor
the church's almost constant series of services helped at all to give her the
time an organist needs to find an organ's strongest and weakest points and to
persuade the stubborn beast to contribute only its good to the program.

Obviously, the reviewer did not know that Demessieux
previously performed on the organ at St. Peter's during her 1955 recital tour.
The program included the following selections:

Overture to Cantata 29                      Bach

Fantasie in G Major        Bach

Fantasie                     Mozart

Basse de dessus de trompette  Clérambault

"Outburst of Joy"                 Messiaen

"Attende Domine"             Demessieux

Te Deum                  Demessieux91

The review continues less than favorably:92

This preface already indicates that the recital this
frail-looking Frenchwoman played did not provide an entirely satisfying
evening. Mlle. Demessieux's command of the organ is extraordinary in many ways.
She can play more correct notes per minute and in a more nearly metronomic
rhythm than most of her contemporaries of either gender--no mean feat,
certainly, and an important part of the armor of a virtuoso. How Mlle.
Demessieux's predilections for thick, heavy registration sounds on French
instruments, this reviewer has not had the opportunity to observe; the effect
on our instruments is certainly neither to heighten the richness of harmonic
texture nor to emphasize the linear architecture of great counterpoint. And her
often mechanically perfect meter sometimes has the effect of making her rubato
and ritenuto sound forced and out of place. The end result is too often absence
of a flowing line and remarkably little feeling of artistic communication. . .
.

This recital seemed to affirm to this listener that while
American and German organists are playing better than their fathers and
grandfathers, younger French organists are not yet succeeding in realizing the
standards of musicianship, style and communication which made the last
generation of French organ playing truly a "golden age."

On March 17, Demessieux played the following program at
Woolsey Hall on the Yale University campus in New Haven, CT:

Prelude and Fugue in D Major                       Bach

Chorale: "De Profundis"                   Bach

Concerto in A Minor     Vivaldi-Bach

Pièce héroïque                         Franck

Mouvement         Berveiller

Chorale Prelude: "Rorate"             Demessieux

Te Deum                 Demessieux

Improvisation on a submitted theme93

 The reviewer,
Barbara Owen, writes that:94

 . . . there was
a large and enthusiastic house on hand to hear Mlle. Demessieux perform, and
the remarkable lady from France did not let them down. . . . The D Major
Prelude, perhaps because of its grand character, left little to be desired. The
Fugue, on the other hand, was a bit too heavily registered and speedily played
to be really satisfying, though I confess that its execution left me somewhat
in awe of this woman's fantastically clean and accurate technique and excellent
rhythmic sense.

The De Profundis was interestingly registered but cold.
Perhaps as Schweitzer suggests it is because their culture and religious
backgrounds are so different from Bach's, that the French seem rarely able to
put across the more spiritual of the Bach chorale preludes. With the Vivaldi
Concerto, however, she was back on solid ground and though her interpretation
was again not the Baroque one it was nonetheless exciting.

From the first note of the Franck, it was obvious that Mlle.
Demessieux had at last reached her real element and the writer cannot remember
when she has heard such a pleasing performance of this frankly romantic
warhorse. Here was 19th century French music unabashedly performed for what it
is and on an ideally suited instrument.

Perhaps it was well that an intermission separated the 19th
and 20th centuries. The Berveiller Mouvement, unlike some others of this
composer's work, said what it had to say succinctly and interestingly, and is
perhaps the most pleasing work I have yet to hear from this composer, whom
Mlle. Demessieux has so zealously introduced to this country. Towards the end
the composer suddenly breaks into an idiom which can only be described as jazz,
and which here produces the same cold-shower effect that it does in his
Epitaphe.

The improvisation was, as it often unhappily is, the dullest
spot on the program. The theme submitted was a Gregorian chant Adoro te devote,
which would seem an excellent vehicle. However, she did little with it,
beginning with the usual meanderings over a solo melody, and building up to the
inevitable climax replete with 64-foot stop and blazing reeds. At the
conclusion, Mlle. Demessieux received a richly deserved and prolonged ovation,
after which she returned for an encore, which turned out to be the inevitable
French toccata.

Once again Demessieux's composure at the organ was noted by
the audience and reviewer:95

A word should be said here about what might be called Mlle.
Demessieux's console presence. Rarely, if ever, does one observe a European
artist indulging in the ridiculous console gyrations so dear to the hearts of
certain American recitalists bent on attracting the rock-and-roll set, yet in
my corner of the balcony I could see a number of people who were sitting on the
edges of their seats, and even standing, just to watch an organist who could tear
flawlessly through the most difficult manual and pedal passages almost
literally without batting an eyelash, and wearing high-heeled shoes at that
(only other female organists will understand the import of this!) The sight of
an organist sitting still and upright in the midst of a tumult of sound is to
me more awe-inspiring than having to speculate on whether he or she is
suffering from St. Vitus dance or an epileptic seizure.

On March 25, Demessieux returned to Central Presbyterian
Church in New York to conclude her 1958 American recital tour and played the
following program:

Overture, Cantata 29     Bach

Fantasie in G Major       Bach

Second Fantasie in F Minor        Mozart

Basse et dessus de trompette    Clérambault

Prelude and Fugue on BACH  Liszt

Chorale Prelude:"Attende Domine" style='mso-tab-count:1'>     Demessieux

Te Deum                 Demessieux
 (First Performance in U.S.A.)

Study in Thirds, No. 2  Demessieux

Transports de joie d'une ame devant la gloire du Christ style='mso-tab-count:1'>                 Messiaen96

The review of the New York concert by Ray Berry begins:97

The young brilliant French artist gave a performance in New
York which held to the incredible standards of technical excellence which she
sets for herself in both playing and composing. In all departments, save
perhaps one, Mlle. Demessieux is impeccable. Were I to find one fault, it would
be that this program was not sufficiently relieved by music of a lighter
character (which has nothing to do with inferiority), plus a certain warmness
which could have been a bit more in evidence in interpretation.

The opening piece made a commanding demand on listeners'
attention and was interpreted with stylistic integrity. The Bach Fantasie is
practically never played in recital, for which I am not unduly surprised.
Mozart was given an architecturally powerful concept which held the interest
throughout. The charm of interpretation, as well as of the music itself, made
the Clerambault especially welcome for it was one of the few light moments in
the whole program. The Liszt was given a thrilling reading which captured all
the excitement the composer intended.

Mlle. Demessieux as a composer is fascinating even though I
suspect that there are some who feel her thoughts are not yet so fully matured
as to include heart as equally as head . . . The choral prelude was that truly,
and, had strength of spirit. The Te Deum made excellent use of dissonance in a
fabulously difficult piece. For the benefit of those not familiar with this
composer's Etudes, the thirds in question are in the pedal!! However, the elan
and grace and effortlessness, with which this piece was tossed off, left this
reporter breathless with amazement.

In this instance it took a French woman to interpret a
Frenchman. Messiaen's Transports were a perfect, if slightly ear-shattering,
close to an exciting evening.

While I cannot in all truth state that French organists
completely match numerous American colleagues in the art of making music, I
must of course admit readily that there are few if any who can match this
charming young girl in sheer virtuosity. And this with unimpeachable deportment
at the console almost to the point of shyness--but a shyness with clearly
defined authority.

Her performance was so electrifying that despite the printed
request for no applause there was spontaneous handclapping at the mid-point
intermission which could not be ignored. With this as cue, the applause at the
recital's conclusion was quite deafening.

This program was well designed and a complete entity.
Therefore I was a bit annoyed that the usual improvisation demanded of French
recitalists was tacked on to its end. Mlle. Demessieux attacked Searle Wright's
interesting themes with care and imagination and made a fascinating work of art
out of it, but . . . this 'art' is something we could do without--at least for
a few seasons.

The 1958 American recital tour of Jeanne Demessieux, like
the preceding tours, was a great success. Throughout the country, Demessieux
played to full churches and was well received. Her technique, compositions and
improvisations impressed and were applauded by the American public. This tour
solidified her position as an international virtuoso. 

The significance of the American Tours

A number of American women organists, including Nita Akin,
Claire Coci, and Catharine Crozier, made transcontinental recital tours of the
United States in the 1950s, but few European women travelled across the
Atlantic Ocean to perform organ recitals in North America. Through her American
recital tours Jeanne Demessieux brought the French perspective of organ playing
to the United States and dazzled audiences with her phenomenal technique. The
tours of 1953, 1955, and 1958 were resounding successes and firmly established
Demessieux as an international virtuoso. She demonstrated her skill at
improvisation and introduced to American audiences a number of her own
compositions and those of other French composers.

Demessieux's recitals were well received by reviewers and
concert-goers alike. Audiences were impressed by her flawless pedal technique,
particularly because of her high-heeled shoes, and her poise at the console.
Not only was she a virtuoso organist, those who had personal contact with
Demessieux found her to be a lovely and engaging person.

The American tours offered Demessieux the opportunity to
perform some of her own organ compositions. On the 1953 tour she played various
movements from her Six Etudes, including "Notes
répétées," "Octaves," and
"Tierces." The technical difficulty of these studies coupled with
Demessieux's flawless execution amazed concert-goers. Also, on this premiere
tour of America, Demessieux performed "Dogme" from Sept
Méditations sur le Saint Esprit and introduced "Ubi caritas"
from her Twelve Choral-Preludes. Although not all reviewers appreciated the
compositional idioms of the twentieth century, Demessieux's compositions were
generally well received by her concert audiences.

On her 1955 recital tour Demessieux often played
"Paix" from her Sept Méditations sur le Saint Esprit and her
three movement Triptyque. In 1958 she played more of her compositions,
including "Attende domine" and "Rorate caeli" from Twelve
Choral-Preludes, various movements from the Six Etudes, and the recently
composed Te Deum, inspired by the organ at the church of St. John the Divine.

Not only did Demessieux perform her own compositions for the
American public, she introduced organ works of other French composers. She paid
homage to the French classical period in organ music by frequently performing
the "Basse et dessus de trompette" of Clérambault on her 1958
tour. Numerous Franck works were played on all of her American tours--including
Pastorale, A Minor Chorale, B Minor Chorale, Pièce héroïque,
and a transcription of "Redemption" from Interlude symphonique.

Demessieux frequently performed compositions of the French
symphonic organ school. She programmed "Variations" from Charles
Marie Widor's Symphonie gothique, the "Allegro" from Symphony No. 6
of Widor, and the "Scherzo" from Louis Vierne's Symphony No. 2.
Demessieux did not neglect compositions of her French contemporaries. She
programmed "Les Rameaux" of Jean Langlais, along with Le banquet
céleste, "Dieu parmi nous" from La Nativité du
Seigneur, and "Transports de joie" from L'Ascension of Olivier
Messiaen. Demessieux introduced into America many of the compositions of Jean
Berveiller, her friend and colleague. Many times at least one work of
Berveiller was programmed on every recital. She performed Berveiller's Cadence,
Epitaphe, Mouvement, and "Intermezzo" from Suite.

Ironically, Demessieux performed few of the compositions of
her maître Marcel Dupré on her American tours. Out of all the
recital programs collected, only two programs from the tours presented a work
of Dupré--"The World Awaiting the Savior" from
Symphonie-Passion. She previously performed the majority of Dupré's
works on her recital series at Pleyel Hall, so there is no doubt that the works
were in her repertoire. Though the American public would have loved to hear her
play his works, it seems that Demessieux preferred not to play Dupré's
works in America.

Adhering to the French tradition, Demessieux concluded each
recital with an improvisation based on a submitted theme. These improvisations
took different forms depending on the character of the given themes. The forms
Demessieux considered for her improvisations included symphony, variations, and
prelude and fugue. Though some reviewers did not feel improvisations were
necessary for the concert program, the majority of concert-goers were impressed
by Demessieux's skill at improvisation and often compared her to Dupré.

Demessieux's diary entries for the American recital tours
reveal that she enjoyed concert performing immensely and wished never to give
it up. Unfortunately, she was not as comfortable with the constant personal
demands of the concert artist. She did not enjoy the receptions, interviews,
and dinners that she had to endure in every town.

The American recital tours of Jeanne Demessieux not only
solidified her position as organ virtuoso and master of improvisation, but also
introduced her compositions for organ to the American public. Surely, American
organists and audiences of Demessieux's programs were greatly enriched by her
phenomenal technique and the variety of literature that she performed in the
United States.                    

Notes

                        1. style='mso-tab-count:1'>                  For
further information regarding the life of Demessieux, see Karen E. Ford,
"Jeanne Demessieux," American Organist 26 (April 1992): 58–64.

                        2. style='mso-tab-count:1'>                  The
Diapason 43 (October 1952): 9.

                        3. style='mso-tab-count:1'>                  American
Organist 35 (November 1952): 389.

                        4.
                The
Diapason 44 (January 1953): 1. For this and subsequent programs, the original
language and forms of composers' names have been retained to reflect the style
and spirit of the original program. Punctuation and capitalization have been
standardized for consistency of presentation.

                        5. style='mso-tab-count:1'>                  Paul
V. Beckley, "Organist Plays 1,000 to 2,000 Works by Heart," New York
Herald Tribune, February 1, 1953.

                        6. style='mso-tab-count:1'>                  Jean
Berveiller (d. 1976) was a French organist, composer and colleague of
Demessieux. Throughout her American tours Demessieux programmed his organ
works, which include Cadence, Epitaphe, Mouvement, and Suite in four movements.
Cadence is a virtuostic pedal study dedicated to Demessieux.

                        7. style='mso-tab-count:1'>                  The
New York Times, February 1, 1953.

                        8. style='mso-tab-count:1'>                  M.
Searle Wright, "Jeanne Demessieux in American Début at New York
Recital," The Diapason 44 (March 1953): 38.

                        9. style='mso-tab-count:1'>                  T.
Scott Buhrman, "Jeanne Demessieux Recital," American Organist 36
(February 1953): 59.

                        10. style='mso-tab-count:1'>              Joseph
Bonnet (1884–1944) studied organ with Guilmant at the Paris Conservatory,
became titulaire at St. Eustache in 1906, and succeeded Guilmant as organist of
the Concerts du Conservatoire in 1911. Bonnet made his American début in
New York in 1917.

                        11. style='mso-tab-count:1'>              Buhrman,
59.

                        12. style='mso-tab-count:1'>              Wright,
38.

                        13. style='mso-tab-count:1'>              Buhrman,
59.

                        14. style='mso-tab-count:1'>              Buhrman,
60.

                        15. style='mso-tab-count:1'>              Buhrman,
60.

                        16. style='mso-tab-count:1'>              Wright,
38.

                        17. style='mso-tab-count:1'>              Wright,
38.

                        18. style='mso-tab-count:1'>              Buhrman,
60.

                        19. style='mso-tab-count:1'>              Buhrman,
59.

                        20. style='mso-tab-count:1'>              Christine
Trieu-Colleney, Jeanne Demessieux: Une vie de lutte et de gloire (Avignon: Les
Presses Universelles, 1977), 195.

                        21. style='mso-tab-count:1'>              Trieu-Colleney,
195.

                        22. style='mso-tab-count:1'>              Fred
Lissfelt, "Organist's Recital Lauded," Pittsburgh Press, February 10.
1953.

                        23. style='mso-tab-count:1'>             
Lissfelt.

                        24. style='mso-tab-count:1'>             
"Paris Organist Will Play for Peorians Today at 4," Peoria [IL]
Journal Star, February 15, 1953.

                        25. style='mso-tab-count:1'>             
Evabeth Miller, "Immense Organ Court is Played by Small Parisienne,"
Peoria [IL] Journal Star, February 16, 1953.

                        26. style='mso-tab-count:1'>             
Miller.

                        27. style='mso-tab-count:1'>             
Richard Montague, "News of the American Guild of Organists--Northern
California," The Diapason 44 (April 1953): 14.

                        28. style='mso-tab-count:1'>              Taken
from original program.

                        29. style='mso-tab-count:1'>              Virgil
Thomson, Music Reviewed:  1940–1954
(New York: Vintage Books, 1967), 363–5.

30.              Letter
from Fred Haley, Oklahoma City, OK, to Laura Ellis, March 12, 1991.

                        31. style='mso-tab-count:1'>              Trieu-Colleney,
196.

                        32. style='mso-tab-count:1'>              American
Organist 37 (February 1954): 60.

                        33. style='mso-tab-count:1'>              Trieu-Colleney,
198–9.

                        34. style='mso-tab-count:1'>              Trieu-Colleney,
198–199.

                        35. style='mso-tab-count:1'>              Taken
from original program.

                        36. style='mso-tab-count:1'>              T.
Scott Buhrman, "Jeanne Demessieux Recital, American Organist 38 (March
1955): 85.

                        37. style='mso-tab-count:1'>              Buhrman,
85–6.

                        38. style='mso-tab-count:1'>              Trieu-Colleney,
200.

                        39. style='mso-tab-count:1'>              Trieu-Colleney,
200.

                        40. style='mso-tab-count:1'>              Trieu-Colleney,
201.

                        41. style='mso-tab-count:1'>              Irene
Bressler, "News of the American Guild of Organists--Harrisburg, PA,"
The Diapason 46 (April 1955): 15.

                        42. style='mso-tab-count:1'>              Bressler.

                        43. style='mso-tab-count:1'>              Bressler.

                        44. style='mso-tab-count:1'>              Trieu-Colleney,
201.

                        45. style='mso-tab-count:1'>              Trieu-Colleney,
201.

                        46. style='mso-tab-count:1'>              Trieu-Colleney,
202.

                        47. style='mso-tab-count:1'>              Trieu-Colleney,
202-3.

                        48. style='mso-tab-count:1'>              Trieu-Colleney,
203.

                        49. style='mso-tab-count:1'>              Demessieux
performed "Redemption (Interlude-Symphonique)" throughout America on
her 1955 tour. The program for this recital reveals that the idea of an organ
transcription of this work was suggested by Mlle. Cecile Boutet de Monvel
(1864–1940), cousin and interpreter of Franck. Demessieux played from the
unpublished transcription of Jean Berveiller.

                        50. style='mso-tab-count:1'>              Taken
from original program.

                        51. style='mso-tab-count:1'>              Trieu-Colleney,
204.

                        52. style='mso-tab-count:1'>              The
Diapason 46 (April 1955): 42.

                        53. style='mso-tab-count:1'>              The
Diapason 46 (April 1955): 42.

                        54. style='mso-tab-count:1'>              Washington
Post, March 13, 1955, H10.

                        55. style='mso-tab-count:1'>              Taken
from original program.

                        56. style='mso-tab-count:1'>              Taken
from original program.

                        57. style='mso-tab-count:1'>              Taken
from original program.

                        58. style='mso-tab-count:1'>              Letter
from John W. Becker, Pittsburgh, PA, to Laura Ellis, August 29, 1990.

                        59. style='mso-tab-count:1'>              Theodolinda
Boris, "Jeanne Demessieux Displays Artistry in Organ Recital,"
Buffalo [NY] Evening News, March 22, 1955, 26.

                        60. style='mso-tab-count:1'>              Trieu-Colleney,
205–6.

                        61. style='mso-tab-count:1'>              The
Diapason 49 (January 1958): 2.

                        62. style='mso-tab-count:1'>              Trieu-Colleney,
207.

                        63. style='mso-tab-count:1'>              Trieu-Colleney,
207.

                        64. style='mso-tab-count:1'>              Trieu-Colleney,
207.

                        65. style='mso-tab-count:1'>              Taken
from original program.

                        66. style='mso-tab-count:1'>              Trieu-Colleney,
207

                        67. style='mso-tab-count:1'>              Letter
from Hugh Allen Wilson, Schenectady, NY, to Laura Ellis, January 6, 1991.

                        68. style='mso-tab-count:1'>              Trieu-Colleney,
208.

                        69. style='mso-tab-count:1'>              Trieu-Colleney,
210.

                        70. style='mso-tab-count:1'>              Trieu-Colleney,
210.

                        71. style='mso-tab-count:1'>              Ronald
Arnatt, "Jeanne Demessieux, Graham Memorial Chapel, Washington University,
St. Louis, MO, February 10, 1958," American Organist 41 (April 1958): 149.

                        72. style='mso-tab-count:1'>              Arnatt.

                        73. style='mso-tab-count:1'>              For
further information regarding the French traditions of playing the organ works
of César Franck, see Robert Sutherland Lord, "Conversation and
Commentary with Jean Langlais," The Diapason 66 (March 1975): 3.

                        74. style='mso-tab-count:1'>              Arnatt.

                        75. style='mso-tab-count:1'>              Arnatt.

                        76. style='mso-tab-count:1'>              Trieu-Colleney,
211

                        77. style='mso-tab-count:1'>              Taken
from original program.

                        78. style='mso-tab-count:1'>              Trieu-Colleney,
211.

                        79. style='mso-tab-count:1'>              Charles
van Bronkhorst, "Jeanne Demessieux, Bidwell Memorial Presbyterian Church,
Chico, CA, February 14," American Organist 41 (April 1958): 148.

                        80. style='mso-tab-count:1'>              Bronkhorst.

                        81. style='mso-tab-count:1'>              "Audience
Enthusiastic Over Organ Recital," Chico [CA] Enterprise Record, February
15, 1958, 1.

                        82. style='mso-tab-count:1'>              Bronkhorst,
148.

                        83. style='mso-tab-count:1'>              Trieu-Colleney,
212.

                        84. style='mso-tab-count:1'>              Taken
from original program.

                        85. style='mso-tab-count:1'>              Letter
from G. Leland Ralph, Sacramento, CA, to Laura Ellis, August 27, 1990.

                        86. style='mso-tab-count:1'>              Trieu-Colleney,
212.

                        87. style='mso-tab-count:1'>              Taken
from original program.

                        88. style='mso-tab-count:1'>              Trieu-Colleney,
214.

                        89. style='mso-tab-count:1'>              Trieu-Colleney,
216.

                        90. style='mso-tab-count:1'>              Frank
Cunkle, "Demessieux in Chicago," The Diapason 49 (April 1958): 16.

                        91. style='mso-tab-count:1'>              Cunkle.

                        92. style='mso-tab-count:1'>              Cunkle.

                        93. style='mso-tab-count:1'>              Barbara
Owen, "Jeanne Demessieux. Woolsey Hall, Yale University. New Haven, CT,
March 17." American Organist 41 (June 1958): 223–4.

                        94. style='mso-tab-count:1'>              Owen,
223.

                        95. style='mso-tab-count:1'>              Owen. style='mso-tab-count:1'>  

                        96. style='mso-tab-count:1'>              Ray
Berry, "Jeanne Demessieux. Central Presbyterian Church, New York, March
25," American Organist 41 (June 1958): 225.

                        97. style='mso-tab-count:1'>             
Berry.