Introduction
Even as the 60th anniversary of Jehan Alain's death approaches, researching musicians are still encountering a lack of readily available material regarding the interpretation of his organ works. The major factors limiting accessibility are linguistic and geographic. Most written documentation is available only in French. Many French journals are not available in the United States. Research of primary sources, such as manuscripts and the instruments themselves, can only be done on location in France and Switzerland.
Organists familiar with L'Oeuvre d'Orgue de Jehan Alain are likely to know of the house organ built by Jehan's father, Albert. Often, the assumption is made that the registration indications found in the three volumes published by Leduc are specific to the family organ. Some are, but not all. It is the purpose of this document to shed more light on this grey area.
Part I will provide descriptions of several organs whose sonorities Jehan Alain was well acquainted with. Part II will explore which of these organs had the resources required for the registrations called for in Alain's pieces. An interview with Marie-Claire Alain may be read in Part III.
Part I: Description of Organs
The organ that Jehan Alain knew best was the house organ built by his father, Albert. A detailed account of the construction of the organ housed at Saint-Germaine-en-Laye was published by Albert Alain.1 The builder writes of beginning to build the wooden pipes while still an organ student of Alexandre Guilmant, acquiring the house to put the pipe organ in, and sketching a facade design to his liking. Then, "Mon clavier de Grand Orgue a parlé en 1911 . . . " The Grand-Orgue spoke the very year his son, Jehan, was born.
The house organ remained in a constant state of change as Albert sought to improve his creation through the last years of his life. Six discernable stages are documented in Ton van Eck's L'Orgue de Salon d'Albert Alain Restauré.2 The first three fall within the lifetime of Jehan Alain: the original plan, specifications given by Albert Alain to a fellow organ builder in 1930, and the disposition in 1939 as recalled by Marie-Claire Alain. The specifications of the organ in these first stages are found in Examples 1 and 2.
Peculiarities specific to the house organ are described by Marie-Claire Alain in a series of articles regarding her brother's works.3 The most striking detail, due to its rarity, is the divided pedal. An 8' and 16' permanently sounded in the lower octave. These same stops could be added to the upper octave if drawn separately. Also available in the upper octave, was the 4' Flute and the 4' Cornet. Either of these could be used as a solo stop.
Mme. Alain reminds the reader that the sound qualities of her father's organ are not the same as those found in a church organ. Indeed, upon visiting the restored instrument in Romainmôtier, Switzerland, one may be surprised by the delicate sonorities produced by what appears on paper to be a sizeable instrument for a house organ.
The physical layout of the organ is, of course, unique to the room. Space was extremely limited. A look behind the façade would uncover Albert Alain's ingenious solutions to that problem and other oddities, such as wind tubing made of rolled and glued newspaper. Those interested in exploring these organ building aspects further should consult the books by Ton van Eck.4
By 1924, Albert Alain was organist at l'Église de Saint-Germaine-en-Laye.5 Jehan would have been thirteen at the time. Marie-Claire Alain wrote that by age eleven, her brother was capable of playing in place of their father.6 Certainly, Jehan Alain knew this organ well. The original baroque style instrument from 1698 was built by Alexandre Thierry. Later in 1852, 1888 and 1903, the organ was transformed first by Cavaillé-Coll and later Charles Mutin into an instrument of the romantic style.7 When Albert Alain obtained his position at the St. Germaine church, he also made revisions. The specifications found in Example 3 show the organ's disposition in 1930, coinciding with the dates of Jehan Alain's first organ compositions.
The names Cavaillé-Coll and Mutin appear again as builders of another organ familiar to both Albert and Jehan Alain. It is the instrument which resided at Meudon in the home of Alexandre Guilmant. Recalling that Albert Alain began his organ building during his organ studies, one is able to see that the elder Alain was influenced by this instrument—compare the organ specifications of his teacher's organ to his own. The Grand-Orgue divisions differ only in that Albert Alain chose to put the Salicional 8' in his Positif division. For other Positif stops, the same nomenclature is found on both: Cor de Nuit 8', Flûte douce 4', Nazard 22/3', Quarte de Nazard 2', and Tierce 13/5'.
Under what circumstance did Jehan Alain come to know Guilmant's instrument? Like his father, the younger Alain had opportunities to play it during his organ studies. Jehan Alain studied with Marcel Dupré, who had acquired Guilmant's organ. Some revisions were made in 1934, including the change from mechanical to electric action.8 The organ specifications from the time Jehan Alain would have been studying with Dupré are found in Example 4.
Jehan Alain often spent time in Valloires. From there, Jehan Alain wrote,
. . . Je voudrais que vous passiez seulement une journée ici. Je vous emmènerais dans des coins que j'aime.9
[. . . I would like you to spend just a day here. I will show you all the places I love.]
One of the places he loved was the chapel of the Abbaye de Valloires and its ancient pipe organ. It was at this instrument the young man felt that he would like to be a very old organist playing on an instrument he had known through many years.10 Again, Jehan Alain conveyed his thoughts in a letter.
Il y a ici un orgue à trois manuels qui est splendide est qui est placé dans le local le plus acoustigénique que j'ai jamais rencontré! Il a des vieux jeux qui ont 2 ou 300 ans qui ont une saveur! [. . .] Mais cet instrument est pourtant merveilleux à jouer vers 11 heures du soir quand le silence est absolu dans la campagne et qu'on joue en pianissimo les notes graves de la pédale qui font trembler l'atmosphère. C'est vraiment émouvant.11
[There is a splendid three manual organ here in the most acoustically satisfying place I have ever known! It has 2 or 300 year old stops which have character! .This
instrument is, nevertheless, marvelous to play around 11 at night when the silence in the countryside is absolute and playing the low pedal notes pianissimo makes the air tremble. It is truly moving.]
The chapel was founded by Cistercian monks in 1137. A Classical French organ was installed after 1789 (the French Revolution) by a builder whose name has since been lost. The organ at the Abbaye de Valloires has been restored and the specifications are given in Example 5.12
Albert Alain was consulted regarding the restoration of the organ at the Basilique de Saint-Ferjeux in Besançon13. Jehan Alain accompanied his father there in 1930,14 and would continue to make regular visits on his way to the family home in Haute-Savoie.15 As in Valloires, the young composer was moved by the acoustical setting of the instrument at St. Ferjeux and the general surroundings of the basilica. Marie-Claire Alain gives the following account of her brother's experience:
Jehan fut séduit par la campagne franc-comptoise, par une ambiance sympathique, [...] par la passion musicale qui animait le chanoine, et surtout par la merveilleuse acoustique de la basilique où l'orgue de GHYS sonnait avec chaleur et moelleux. Jehan y restait des heures a improviser . . . 16
[Jehan was seduced by the countryside, a friendly atmosphere, the passion for music which animated the canon (Tissot) and above all, the marvelous acoustics in the basilica where the GHYS organ sounded with a melπlowness and warmth. There, Jehan remained improvising for hours . . .]
Alain would play a formal recital at St. Ferjeux in 1931.17 The organ specifications are listed in Example 6.
Marie-Claire Alain recalls her brother enthusiastically composing after a visit to the 17th-century organ at the Église Saint-Sauveur in Le Petit Andelys.18 The instrument is in French Classic style, which may be noted in the disposition provided in Example 7. Jehan Alain performed an organ program at Saint-Sauveur in 1938.19
Without a doubt, Jehan Alain had opportunities to play other pipe organs.
This article will concern only the six covered here in Part I.
Example 1: Albert Alain's original plan
PÉDALE
16' Soubasse
8' Basse
4' Flûte
GRAND-ORGUE
16' Bourdon
8' Montre
8' Flûte harmonique
4' Prestant
POSITIF
8' Salicional
8' Cor de Nuit
4' Flûte douce
22/3' Nazard
2' Quarte de Nazard
13/5' Tierce (dessus)
8' Basson-Hautbois
RÉCIT
8' Flûte
8' Viole de Gambe
8' Voix celeste
4' Salicet
[ou Flûte oct. 4]
Plein jeu III rgs.
8' Trompette
Alain organ in 1930 (According to notes by Jean Mas)
PÉDALE
16' Soubasse
8' Basse
4' Flûte
32' Resultante
16' Bombarde
GRAND-ORGUE
16' Bourdon
Montre
Flûte harmonique
Prestant
POSITIF
Salicional
Cor de Nuit
Gros Nazard
Flûte douce
Nazard
Octavin doux
Tierce
Larigot
RÉCIT
16' Bourdon
Montre
Viole de Gambe
Voix celeste
Flûte traversière
Flûte octaviante
Quinte
Doublette
Plein jeu
8' Basson Hautbois
8' Trompette
SOLO
8' Quintaton
4' Dulciana
8' Cromorne
Example 2: Alain organ in 1939 (specifications provided by Marie-Claire Alain)
PÉDALE
16' Soubasse
8' Basse
4' Flûte
4' Cornet (4, 2, 11/3, 4/5)
GRAND-ORGUE
16' Bourdon
8' Montre
8' Flûte harmonique
4' Prestant
POSITIF
8' Salicional
8' Cor de Nuit
4' Flûte douce
51/3' Gros Nazard
2' Quarte
22/3' Nazard
13/5' Tierce
11/3' Larigot
SOLO
16' Quintaton
8' Gambe
8' Voix celeste
8' Flûte Conique
4' Flûte
4' Salicet
22/3' Quinte
2' Flûte
8' Hautbois
8' Cromorne
Tir. G.O.
Tir. Pos.
Tir. Solo
Pos/G.O.
Solo/G.O.
Quatre claviers dont un n'était pas relié à la mécanique.
(Four manuals, one of which was not connected and inoperable.)
Example 3: L'Orgue de l'Église à St. Germain-en-Laye20
GRAND ORGUE
16' Bourdon
8' Montre
8' Salicional
8' Flûte Harmonique
8' Bourdon
8' Violoncelle
8' Prestant
4' Prestant
22/3' Quinte
2' Doublette
16' Bombarde
8' Trompette
4' Clairon
POSITIF
8' Montre
8' Salicional
8' Unda Maris
8' Bourdon
4' Flûte douce
22/3' Nazard
8' Trompette
8' Cromorne
RÉCIT
16' Quintaton
8' Diapason
8' Flûte traversière
8' Salicional
8' Gambe
8' Voix celeste
8' Cor de nuit
4' Flûte octaviante
2' Octavin
Plein Jeu IV rangs
Cornet V rangs
16' Basson
8' Trompette
4' Clairon
8' Basson-Hautbois
8' Voix humaine
PÉDALE
16' Flûte
16' Soubasse
8' Flûte
8' Violoncelle
8' Bourdon
4' Flûte
16' Bombarde
8' Trompette
Pédales de combinaison:
Anches Péd.
Anches G.O.
Anches Pos.
Anches Réc.
Tir. G.O.
Tir. Pos.
Tir. Réc.
Pos/G.O.
Réc/G.O.
Réc/Pos.
Expression du Récit
Tremolo Récit
Example 4: House organ of Alexandre Guilmant21
(Organ of Marcel Dupré by 1934)
GRAND-ORGUE
16' Bourdon
8' Montre
8' Flûte harmonique
8' Salicional
4' Prestant
RÉCIT
(expressif)
8' Diapason
8' Flûte traversière
8' Dulciane
8' Voix celeste
4' Flûte octaviante
2' Doublette
Plein-jeu III
8' Basson-Hautbois
8' Trompette harmonique
POSITIF
(expressif)
8' Flûte creuse *
8' Viole de Gambe **
8' Cor de nuit
4' Flûte dolce
22/3' Nazard
2' Quarte de Nazard
13/5' Tierce
8' Cromorne ***
PÉDALE
16' Soubasse
16' Contrebasse
8' Flûte
8' Violoncelle
8' Bourdon
16' Basson
Pédales de Combinaisons
Fonds Péd.
Tir. G.O.
Tir. Pos.
Tir. Réc.
Anches Péd.
Piano G.O.
Forte G.O.
Anches Réc.
Fonds G.O.
Octave aigue du G.O.
Copula Pos/G.O.
Copula Réc/G.O.
Réc/G.O. a l'octave grave
Réc/Pos
Tremolo du Récit
Changes made in 1934 (22): *Quintadon 16'
**Principal 8'
***Clarinette 8'
Example 5: Composition de l'orgue restauré La Chappelle de L'Abbaye de Valloires
(Given to Peggy Kelley Reinburg by M. DuClercq)
POSITIF
4' Prestant
8' Flûte
8' Bourdon à chem.
4' Flûte à chem.
22/3' Nazard
2' Quarte de Nazard
13/5' Tierce
8' Euphone
8' Cromorne
GRAND ORGUE
8' Montre
4' Prestant
2' Doublette
Plein jeu V
Gd. Cornet V (c3)
16' Bourdon
8' Bourdon à chem.
4' Dulciana
8' Salicional
4' Viole de Gambe
8' Cor Anglais
8' Trompette
4' Clairon
8' Voix humaine
RÉCIT
(expressif)
Cornet V (c3)
8' Bourdon à chem.
4' Flûte ouverte
8' Trompette
8' Basson-Hautbois
8' Clarinette
PÉDALE
16' Soubasse
8' Flûte en Bois
8' Trompette
4' Clairon
Combinaisons:
Accouplements Pos/G.O et Réc/G.O.
Tirasses Pos. et G.O.
Appel et retrait des anches G.O. (Trompette et Clairon)
Tremblant lent pour le grand orgue
Transmissions entirement mecaniques
Example 6: Orgue de La Basilique St. Ferjeux à Besançon (1932)
PÉDALE
16' Soubasse
8' Bourdon
8' Flûte
16' Bombarde
GRAND ORGUE
16' Bourdon
8' Montre
8' Bourdon
8' Salicional
8' Fl. Harmonique
4' Prestant
Fourniture IV
16' Bombarde
8' Trompette
4' Clairon
RÉCIT EXPRESSIF
8' Bourdon
8' Diapason
8' Gambe
8' Voix celeste
4' Flûte octave
Plein jeu IV
16' Basson
8' Trompette
4' Clairon
POSITIF EXPRESSIF
16' Quintaton
8' Montre-viola
8' Clarabella
8' Prestant
22/3' Nazard
2' Flageolet
13/5' Tierce
11/3' Larigot
Cymbale III
8' Basson Hautbois
8' Cromorne
8' Voix humaine
Accessories
Péd/G.O.
Péd/Réc.
Péd/Pos.
Péd/Pos. 4'
G.O./Réc.
G.O./Pos.
Réc./Pos.
1 comb. fixe Pos.
Suppression jeux
Appel Anches Péd.
Appel Anches G.O.
Appel Anches Réc.
Tremolo
Example 7: L'Orgue de L'Église Saint-Sauveur(23)
[Le Petit-Andelys] 1674 R. Ingout
POSITIF
4' Montre
2' Doublette
8' Bourdon
4' Flûte
22/3' Nasard
13/5' Tierce
Fourniture III
Cymbale II
8' Cromorne
GRAND-ORGUE
8' Montre
4' Prestant
2' Doublette
16' Bourdon
8' Bourdon
4' Flûte
31/5' Double-Tierce
22/3' Nasard
13/5' Tierce
11/3' Larigot
Cornet V
Fourniture IV
Cymbale III
8' Trompette
4' Clairon
8' Vox Humaine
ECHO
8' Bourdon
4' Flûte
Cornet III
Forniture II
8' Voix Humaine
PÉDALE*
16' Bourdon
8' Bourdon
4' Bourdon
Couplers
Pos/G.O.
Pos/Péd. et G.O./Péd
Rossignol
Tremolo
* Pedal division added during 1969 restoration by Gonzalez
Part II: Organ Works of Jehan Alain
The following organ works of Jehan Alain are listed by date of composition.24
1929 Berceuse sur deux notes qui cornent
1930 Ballade en mode phrygien
Lamento
Postlude pour l'Office de Complies
1932 Variations sur Lucis Creator
Chante donné
Grave
Petite Pièce
1933 Premier Prélude profane
Deuxième Prélude profane
1934 Premier Fantaisie
Deux Danses à Agni Yavishta
Choral cistercien
Le Jardin suspendu
Climat
Andante
1935 De Jules Lemaitre
Fantasmagorie
Intermezzo
Deux Chorales (Dorien et Phrygien)
Prélude et Fugue
1934-36 Suite pour Orgue
1936 Deuxième Fantaisie
1937 Variations sur un thème de Clément Jannequin
Litanies
1938 Monodie
1937-39 Trois Danses
1939 Aria
Of these compositions, Jehan Alain lived to see only a few published. The Deux Chorals were the first. A set of three pieces followed: Variations sur un thème de Clément Jannequin, Le Jardin suspendu, Litanies. The others existed as musical ideas jotted in a small notebook the composer carried as he traveled, manuscript copies scattered among friends and relatives, and the memories of those who were privileged to have heard them. It was by the combined effort of Albert, Olivier and Marie-Claire Alain that publication of the remaining body of organ works was possible.
Despite the lack of more manuscripts prepared for publication, Jehan Alain did leave valuable information about organs and the registration of his pieces on various working manuscripts, in written communication to family and friends, and in his personal notebooks. Details have been gathered regarding the occasion for certain compositions, as well as the location where others were written.
A number of pieces were originally written as solo piano works: Grave, Premier Prélude, Andante (movement II from Suite Monodique), and Deux Chorals.25 The original Intermezzo is for two pianos and bassoon. Organ versions of these pieces were all created by Jehan Alain, and most were registered with the family organ in mind.26
Trois Danses is Jehan Alain's most complex composition. He completed it while in the army. His sketches show it was to be orchestrated and a transcription for organ was sent to a friend a short time before he was killed.
Suite pour Orgue was composed for a competition sponsored by the Societé des Amis de l'Orgue. Jehan Alain awarded first prize.27
Two pieces carry the name Valloires on their manuscripts as testimony of their composition at the chapel in L'Abbaye de Valloires. They are the Postlude pour L'Office de Complies and Choral Cistercien.
Marie-Claire Alain discusses the relationship between the organ at St. Ferjeux and several of her brother's compositions in a 1988 article.25 The organ works composed in Besançon are as follows: Lamento, Grave, Petite Pièce and Prélude from the Prélude et Fugue.
We know that Variations sur un thème de Clément Jannequin was composed with Petit-Andelys in mind. Written directly upon his return from a visit to the village, it has indications for the French Classic stops on the organ there.
Example 8 is from a set of charts comparing the registration indications of each piece in L'Oeuvre d'Orgue de Jehan Alain to the specifications of the organs described in Part I.29 Due to the normalization and simplification of registration directions by Marie-Claire Alain in the revised 1971 edition,30 the inventory of stop names in all the charts was made from information contained in the 1943 Leduc edition of Alain's works with, the exception of Choral Cistercien. This piece was discovered later and is found only in the 1971 edition.
Liberties were taken concerning stop nomenclature. Dulciana, Salicet and Salicional were considered interchangeable strings. Likewise, the Nazard and Quinte are both 22/3'. An organ was marked as having an Hautbois or Basson if it had a Basson-Hautbois. Jehan Alain was known to have used the term Mixturs to mean Mutations, but the additional indication of Mixturs to already drawn mutations led to the decision to interpret Mixturs as mixtures. As to the interpretation of Fonds 16', 8', and 4': if only a single stop of 8' was available in a division, that division was not marked as having Fonds 8'; if a single 8' stop could be combined with a single or multiple 4' or 16' stops, the organ was marked as having Fonds 4' or Fonds 16'. Alternately, if a division had any reeds, it was marked for Anches. Lastly, certain stops that may have been available on an organ were not marked in the charts if they did not appear in the division specified in the score.
Part III: Interview with Marie-Claire Alain (April 1998)
L.D. It is my understanding that most of the manuscripts given by Jehan Alain to friends have been returned to you. Are there manuscripts in the possession of institutions?
M.-C.A. We own most of Alain's manuscripts, along with a few photo-copies. Several manuscripts are at the Bibliothèque Nationale. A few are still in private collections. I have photocopies of most of them, except for three manuscripts belonging to Helga Schauerte. I have seen these manuscripts in exhibitions in Paris, and have taken notes on them.
L.D. I have been unable to find the exact number of manuscript copies of each piece in any one publication. Does such a list exist?
M.-C.A. The list of the number of manuscripts will be published in my book [of Critical Notes on Jehan Alain's organ works].
L.D. Are there registration indications on all manuscripts and which pieces have multiple manuscript copies with different registrations?
M.-C.A. A few drafts have no registration indications. All pieces have multiple copies with different registrations.
L.D. Besides Postlude pour l'Office de Complies and Choral Cistercien, do the manuscripts mention specific organs or locations?
M.-C.A. Some markings show performances on many different organs.
L.D. What was the decision making process for the registration marks in the current (1971) Leduc edition?
M.-C.A. The decision for the registration marks in 1971 was based on the fact that organists at that time didn't play most pieces because the registration was too difficult. At that time, there were no sequencers and most organs had but a few general pistons, or no pistons at all. Also, the registrations made for the Alain organ needed to be reinforced on large organs in large rooms. Taking them literally would transform Alain's music into intimate chamber music. I know that this edition was criticized, but I have no regret because after that date, organists played not only Litanies, but other pieces as well.
L.D. On a prior occasion, you had mentioned that a new revised edition is in the hands of Leduc. When will that be available?
M.-C.A. A few days ago, I had an appointment with Mr. Jean Leduc, who promised me to release very soon my book of Critical Notes on Jehan Alain's organ works. This book would be completed by a thorough revision of the 1971 edition. It is expected in the next year or two.
L.D. We look forward to it! It is wonderful to have the restored Alain organ available to see, hear and play. The wind pressure for the organ was set according to records left by Albert Alain. Because the room in Romainmôtier is of course, different from its original home, how has this altered its sound from the way you remember it?
M.-C.A. The room is not much different from my father's home. The sound of the organ is very similar to my memories.
L.D. The restored organ is different from the one Jehan Alain knew. Does this make some of the registrations difficult?
M.-C.A. The organ was completed by my father according to Jehan's will. They discussed it together many times. The registration is not difficult. On the contrary, it has become easier.
L.D. Jehan Alain would make the best of what was available to him. For example, composing the Berceuse when two notes of the organ were ciphering. What advice would you give organists about registration for Jehan Alain's pieces?
M.-C.A. The title of "Berceuse" is, of course, a joke. Jehan Alain was one of the funniest persons I have known. The advice I'd give organists is not to take things too seriously. He was changing all the time. And, as he was a good organist, he changed according to the organ he played.
Conclusions
Eleven sets of registration indications appearing in L'Oeuvre d'Orgue de Jehan Alain clearly match the disposition of a particular organ. It is not surprising to see that the Postlude pour l'Office de Complies and the Choral Cistercien markings correspond with the organ at the Abbaye de Valloires, since the manuscripts named the location. Variations sur Lucis Creator seems to have been inspired by the Valloires organ, though not proven to have been written there directly.
As for the pieces composed in Besançon, Grave and the Prélude of Prélude et Fugue contain registration markings that match the specifications of the organ at St. Ferjeux. However, the Lamento and Petite Pièce require elements found not at St. Ferjeux, but on the Alain house organ. The Lamento calls for the Hautbois and Cromorne to be on the same manual and indicates the need for a divided pedal. An Hautbois in the Récit for the Petite Pièce is another feature of the Alain organ and not the instrument at St. Ferjeux. A Récit Hautbois was also available at l'Église de St. Germaine-en-Laye.
Deux Danses à Agni Yavishta is exactly suited for the organ of Albert Alain. With the option of dividing the pedal, this instrument fits the indications in the Intermezzo. One exception is the indication for an expressive swell division, not yet available in the composer's home. Additionally, Variations sur un thème de Clément Jannequin is easily registered on the Alain organ and not the instrument at Petit-Andelys, which was Jehan Alain's inspiration to compose the piece.
The instrument at l'Église de St. Germaine-en-Laye would have provided the necessary resources for realizing Alain's registrations in the Introduction et Variations from Suite, Premier Prélude, and Premier Fantaisie. The Choral and Scherzo of Suite, Litanies, and Trois Danses are best realized on the larger organs of St. Ferjeux and St. Germaine-en-Laye.
Registration indications in several pieces did not lend themselves to any of the six organs in this study. They include Ballade, Aria, Le Jardin suspendu, Deuxième Prelude and Deuxième Fantaisie. Further, a few stops are listed which an organist in early 20th-century France would find difficult to come across. For example, Cor Anglais or Vox humaine 16' in a manual division, or 32' in the pedal. Marie-Claire Alain has written that her brother wrote music for organs with resources he could imagine and would have liked to have at his disposal.31
It has been said that to move forward, one must understand the past. It is the hope of this author that this document will aid fellow musicians in their endeavor to understand the registration indications in L'Oeuvre d'Orgue de Jehan Alain through knowledge of six organs particularly known by the composer. It must be stated that Jehan Alain made do with what resources were available to him. Expected shortly is a book of critical notes by Marie-Claire Alain that will make available details of numerous and varying manuscript copies and explain alterations made in a new edition of her brother's works, to be published in the next year or two. Careful consideration of past and present information will allow organists to successfully carry the works of Jehan Alain into the future. As the composer himself must have believed, if the music has moved the listener, you have been successful.
REFERENCES
1. "Albert Alain et son Orgue," L'Orgue no. 44 (1947), pp. 83–84.
2. Ton van Eck, L'Orgue de Salon d'Albert Alain Restauré. Romainmôtier 1992, pp. 15–31. [see note 4]
3. Marie-Claire Alain, "L'Oeuvre d'Orgue de Jehan Alain," L'Organo Italy, July–December 1968.
4. Ton van Eck, L'Orgue de Salon d'Albert Alain. Voorburg 1989. L'Orgue de Salon d'Albert Alain Restauré. Romainmôtier 1992. [Both are available by writing the Association Jehan Alain, La maison du prieur, CH-1323 Romainmôtier, Suisse; ph 41-24-453 17 18 or by fax 41-24-453 11 50.]
5. Helga Schauerte, Jehan Alain. Regensburg 1985 (French translation), p. 17.
6. Ibid., p. 17.
7. Ibid., p. 29
8. Ton van Eck, L'Orgue de salon d'Albert Alain, p. 12. [see note 4]
9. Bernard Gavoty, Jehan Alain. Paris 1945, p. 128.
10. Ibid., p. 67.
11. Helga Schauerte, Jehan Alain, p. 33.
12. Personal communication from Peggy Kelley Reinburg. Virginia 1998.
13. Ton van Eck, L'Orgue de salon d'Albert Alain Restauré, p. 7. [see note 4]
14. Marie-Claire Alain, "Jehan Alain et l'orgue de St. Ferjeux à Besançon," La Tribune de l'Orgue, 40 (no. 3) 1988, p. 15.
15. J.M. Cicchero, "L'Orgue de la Basilique Saint-Ferjeux de Besançon," Les Facteurs d'Orgue français, no. 12 (1988), p. 27.
16. Marie-Claire Alain, "Jehan Alain et l'orgue de St. Ferjeux à Besançon," La Tribune de l'Orgue, 40 (no. 3) 1988, p. 15.
17. Ibid.
18. Marie-Claire Alain, "The Organ Works of Jehan Alain: Part II." The Diapason, February 1970, p. 25.
19. Ton van Eck, L'Orgue de salon d'Albert Alain Restauré, p. 25. [see note 4]
20. Ton van Eck, L'Orgue de Salon d'Albert Alain, p. 7. [see note 4]
21. Norbert Dufourq, La Musique d'Orgue Française. Paris 1949.
22. Ton van Eck, L'Orgue de salon d'Albert Alain. [see note 4]
23. Charles Lindow, Historic Organs in France. Delaware, Ohio, 1980, p. 38.
24. Helga Schauerte, Jehan Alain, pp. 145–157.
25. Helga Schauerte, Jehan Alain. Regensburg 1983 (French translation), p. 22.
26. Marie-Claire Alain, "L'Oeuvre d'Orgue de Jehan Alain," L'Organo Italy, July–December 1968.
27. Ibid.
28. Marie-Claire Alain, "Jehan Alain et l'Orgue de St. Ferjeux a Besaçon," La Tribune de l'orgue, 40 (no. 3) 1988, pp. 14–21.
29. Linda Dzuris, "A Survey of Six French Organs and Their Relation to the Registration Indications Found in the 1943 Edition of L'Oeuvre d'Orgue de Jehan Alain." University of Michigan Dissertation Document, 1998.
30. Marie-Claire Alain in the "Quelques remarques," L'Oeuvre d'Orgue de Jehan Alain. Paris 1971.
31. Marie-Claire Alain, "L'Oeuvre d'Orgue de Jehan Alain," L'Organo Italy, July 1968.
Translation), p.145-157.
25. Helga Schauerte, Jehan Alain. Regensburg 1983 (French Translation), p.22.
26. Marie-Claire Alain, "L'Oeuvre d'Orgue de Jehan Alain," L'Organo Italy, July-December 1968.
27. Ibid.
28. Marie-Claire Alain, "Jehan Alain et l'Orgue de St.Ferjeux a Besancon," La Tribune de l'orgue, 40 (no.3) 1988, p.14-21.
29. Linda Dzuris, "A Survey of Six French Organs and Their Relation to the Registration Indications Found in the 1943 Edition of L'Oeuvre d' Orgue de Jehan Alain." University of Michigan Dissertation Document, 1998.
30. Marie-Claire Alain in the "Quelques remarques," L'Oeuvre d'Orgue de Jehan Alain. Paris 1971.
31. Marie-Claire Alain, "L'Oeuvre d'Orgue de Jehan Alain," L'Organo Italy, July 1968.
