Murray, M. (1998). French masters of the organ. London: Yale University Press.

Murray, himself an organist, undertakes to write a comprehensive survey of

the French masters of the organ, beginning with Camille Saint-Sans and tracing the
connections through to Olivier Messiaen. These artists could be classified as part of
a Parisian School of organists encompassing the 19 th Century and the opening of
the 20th century. Murray sought in a single volume a biographical account of these
composers, together with a description of their idiom and of the instrument for
which they wrote, to help guide the student who wishes to play their music as it was
conceived (4). The book is ingeniously laid out. Instead of being strictly
chronological, Murray opens with a chapter not of an organist but the master organ
builder Aristide Cavaill-Coll whose creations with their innovations, astounding
grasp of acoustic design, and unique timbres influenced the players. The remaining
chapters, each dedicated to an individual organist, but incorporating the influences
and contributions of others when necessary, follow based on a hybrid chronology of
birth, style, compositions, and teacher/student relationships. His chapters are as
follows: Aristide Cavaill-Coll, Camille Saint-Sans, Csar Franck, Charles-Marie
Widor, Louis Vierne, Marcel Dupr, Jean Langlais, and Olivier Messiaen.
The early chapters are particularly well-done in regards to stylistic practises,
and teacher values. By the end of the work (Olivier Messiaens chapter) information
is sparser, and less useful. There is less emphasis on their playing habits, and more
extramusical sidelines. It is incredibly useful starting with an organ builder as
opposed to an organ player. The chapter on Cavaill-Coll introduces background
information crucial to understanding the playing methods of the master organists.
For instance, describing the timbres Cavaill-Coll installed and the acoustic

properties of the churches helps the readers comprehension of later comments on

staccato/legato articulation which varies according to tone, and acoustics of a room.
Murray does a thorough job in giving background information and detailed
notes on interpretation. He never presumes to lecture from a finite viewpoint, or
states that any one given interpretation is correct. He presents a guide to
interpretation, and strives to maintain a balanced view, whether through unbiased
statements, or incredibly persuasive writing, he manages to convey his findings
superbly. He questions why should a composers intention [be] more important
than an interpreters? (5). There is artistic merit in ones own interpretation,
however it should be thoughtful, not arbitraryit must have a well-defined
something to prefer toonly when convinced that we have come as close as we can
to fullness of understanding [the composer] can we in good conscience conclude
that the composer could have better transmitted meaning by doing thus-and-so
and reasonably make a change (6). Innovations in mechanics and instrumentation
should not go unused because they were unavailable at the time of a composition,
thus cannot be historically accurate to the composers intentions. Murray seeks to
give the reader a sense of the influences that impacted the French masters, and
how they influenced others in turn so that we might understand the developments
the organ (and organ music) has been subject to, and how it is still changing. He is
careful to avoid generalizations that could limit the understanding of the students
using his book. He warns that in using biography we sometimes forget that traits
distinctive in a creator are not necessarily manifest in a work, and vice versa...we
tend to affix to works or their makers labels that reflect one characteristic only...if
we keep that warning in mind, the generality that Saint-Sans leaned more toward

decorum than toward abandon, in both his temperament and art, will not greatly
distort truth (44).
One very helpful section of the book is, surprisingly, the bibliography. It is not
merely a list of resources used, but divided by chapter, written in narrative style.
Murray never strays from his goal of providing a comprehensive book for organ
students , likewise in his bibliography he points the students to further study with
Saint-Sanss pedalling is described inGigout on Saint-Sanss tempos is to be
found inthe description of Saint-Sanss duties at the Madeleine (212). Murray
has the advantage of having had personal interviews, listening to and being taught
by organist/composer Marcel Dupr and Jean Langlais, bringing a unique, wellinformed viewpoint to his book.
While the narrative style may allow Murray to reach a larger audience, and
makes the French masters of the organ accessible to many students, - is it worth
sacrificing relevant information? To create a fluid story the author will detour from
relevant facts with sidelines on less relevant stories and anecdotes. At times his
information is a vague outline which tantalizes the reader; unfortunately Murray
does not always delve deep enough, and merely hints at items which would prove
very useful if described in more detail. I think overall, he made the right choice in
his writing style. He may skim over some specifics, and get sidetracked on occasion,
however he has managed to make the life and skills of these French masters an
incredibly interesting read. It does not feel like a non-fiction biography, he gives life
into dry dates and facts, like no other author I have read.