LRCD–1126-27

A Sunday in ParisCHRIST CHURCH SCHOLA CANTORUM • STEPHEN KENNEDY DIRECTOR

JORIS VERDIN HARMONIUMPHO

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STEPHEN KENNEDY DIRECTORCHRIST CHURCH SCHOLA CANTORUM

8 | O Salutaris Gounod 2:37

9 | Agnus Dei Gounod 3:03 TENOR:Thatcher Lyman BASS: Jordan Wilson

10 | Panis Angelicus Théodore Dubois MEZZO-SOPRANO: Zorica Pavlovic (1837-1924) 3:21

11 | Sortie: Marche en sol, L’Office Catholique, Op. 178 Lefébure-Wely 2:53

“Salut du Saint Sacrement”

12 | Ecce Panis Op. 66 Alexandre Guilmant TENOR:Thatcher Lyman SOPRANO:Adelaide Boedecker (1837-1911) 5:24 VIOLIN:Molly Werts HARP: Kristina Finch

13 | Tantum Ergo Franck 3:31 BASS: Jordan Wilson

14 | Laudate Dominum, Gloire au Seigneur Jacques-Nicolas Lemmens (1823-1881) 4:40

TOTAL: 49:31

1 | Prière du Matin Hector Berlioz (1803-1869) 4:18

“La Messe”

Messe Brève (aux Chapelles) Charles Gounod (1818-1893)

2 | Entrée en mi majeur César Franck (1822-1890) 2:46

3 | Kyrie Gounod 3:14

4 | Gloria Gounod 5:18 TENOR:Thatcher Lyman BASS: Jordan Wilson

5 | Offertoire: Domine Deus in Simplicitate, pour les premiers dimanches du mois Franck 4:40 SOPRANO:Adelaide Boedecker TENOR:Thatcher Lyman BASS: Jordan Wilson DOUBLE BASS: Julie Shulman

6 | Sanctus Gounod 1:42

7 | Elévation en ut, Vademecum de l’organiste Op. 187 Louis James Alfred Lefébure-Wely (1817-1869) 2:01

A Sunday in ParisCD 1 “A l’église”

“Un dimanche a Paris” JORIS VERDIN HARMONIUM

CD 2 “Au salon”

11 | Rigaudon, from “Suite Symphonique pour Orgue-Mustel” Op. 9 Mouquet 2:48

12 | Nocturne Lemmens 3:29

13 | Barcarolle Op. 1 Camille Saint-Saëns (1835-1921) 3:29

14 | Les Bateliers de Venise Joseph Leybach (1817-1891) 6:36

15 | Pastorale Théodore Dubois (1837-1924) 4:17

16 | Rêverie Victor Dubois (1832-1869) 3:14

17 | Élégie, from “6 Compositions pour Harmonium” Victor Dubois 4:10

18 | Caprice original pour Harmoniophone 1854 Edouard Grégoir (1822-1890) 9:35

TOTAL: 75:14

1 | Romance sans Paroles Op. 92 Lefébure-Wely 3:44

2 | Pifferari Lefébure-Wely 3:53

3 | Soupirs et Regrets Lefébure-Wely 3:51

4 | Sur le Golfe, from “Nuits Napolitaines” Op. 183 Lefébure-Wely 3:19

5 | Vieille Gavotte Op. 142 H.P. Toby (fl. 1880-1900) 2:02

6 | Mélodie Op. 42 Guilmant 2:52

7 | Recueillement Op. 23/1 Guilmant 5:00

8 | Souvenir de Madrid Charles Loret (1835-1870) 3:48

9 | Thème varié Jules Mouquet (1867-1946) 4:36

10 | Sarabande Mouquet 4:30

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ABOUT THE MUSICMass always took place in the morning but families

often spent part of the afternoon in church as well: “leSalut”, or Benediction of the Blessed Sacrament was ashorter ceremony using standard repertoire like the Tan-tum Ergo, Magnificat, Salve Regina, orAve Maria. Hereagain, the music comprised a flexible alternation of Gre-gorian chant, choir, solo voice, and organ or harmonium.

The evenings also provided an opportunity to makemusic. The upcoming “bourgeoisie” amassed greatwealth and, in addition to building large townhouses,“hôtels de maître”, purchased expensive instruments asa mark of success. Pianos were very much the fashion,but around the middle of the century the number of har-moniums produced was nearly as high. Very fine builderslike Victor Mustel proposed instruments of the highestquality, “Harmonium d’Art”, with a price comparableto that of an 8-stop Cavaillé-Coll organ. Lefébure-Wely,Guilmant, and Lemmens were among Mustel’s clients.Franck apparently didn’t earn enough money to buyone, as the price was more or less equal to three years ofhis salary at the Conservatory. The program of the secondCD gives a selection of pieces exclusively written forthe harmonium. They make use of the instrument’s typ-ical features: expressive sound, the split keyboard withdifferent colors in bass and treble, and use of the “Per-cussion” stop for fast movements. Playing these pieceson other instruments demands special adaptations forthe registration and sacrifices the harmonium’s distinctexpressive character.

Musical life in 19th-century France was both rich and diverse. Each social contexthad its own music, instruments and musical forms. Some of this music survivestoday in the symphonic and chamber music repertoire, and also the opera and

ballet. Other forms have all but disappeared: military music, folk, dance, cabaret, the“salon” repertoire, and a great deal of sacred music.

This recording is the first of selected choral works by well-known composers in thetheir original version with harmonium accompaniment. The music is presented as it wasplayed in a French Catholic circle on a Sunday, the day of rest after a long week of work,when people dressed in their ‘Sunday best’ and had special lunches and dinners, and visitedfamily or friends. Strong state support for Catholicism under the reign of Napoléon IIIallowed churches to purchase magnificent furniture, art, and musical instruments. Schools,monasteries, and chapels acquired similar high-quality equipment, though on a smallerscale. The flexibility of the harmonium often made it preferable to a small organ, whichexplains the great number of sacred pieces written for voices with harmonium or organaccompaniment—but always playable on the harmonium. A typical example is Gounod’smass “for the chapels”. The Ordinary of the mass, Kyrie, Gloria, Credo, Sanctus-Benedictus, Agnus Dei,were composed as a whole. The other main moments like “Introït,”“Graduel”, and occasionally “Alleluia”, “Offertoire,” “Élévation,” and “Communion”,were either performed as “Plain Chant” (Gregorian Chant), sung in a polyphonic setting,or played by the organist. The first and last pieces of the mass, the “Entrée” and “Sortie”,were generally for organ.

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CHORAL TEXTSOn dit que c’est toi qui produisLes fleurs dont le jardin se pare,El que, sans toi, toujours avare,Le verger n’aurait point de fruits.

Mon Dieu, donne l’onde aux fontaines,Donne la plume aux passereaux,Et la laine aux petits agneaux,Et l’ombre et la rosée aux plaines.

Donne au [malade la santé,Au] mendiant le pain qu’il pleure,À l’orphelin une demeure,[Donne] au prisonnier la liberté.

Mets dans mon âme la justice,Sur mes lèvres la vérité,Qu’avec crainte et docilitéTa parole en mon cœur mûrisse!

Et que ma voix s’élève à toiComme cette douce fuméeQue balance l’urne embauméeDans la main d’enfants comme moi!

Alphonse Marie Louis de Prat de Lamartine

1. Prière du MatinÔ père qu’adore mon père!Toi qu’on ne nomme qu’à genoux!Toi, dont le nom terrible et douxFait courber le front de ma mère!

On dit que ce brillant soleilN’est qu’un jouet de ta puissance;Que sous tes pieds il se balanceComme une lampe de vermeil.

On dit que c’est toi qui fais naîtreLes petits oiseaux dans les champs,[Et] qui donne aux petits enfantsUne âme aussi pour te connaître!

Oh! Father whom mortals adoring Ever a morning bow the knee,Hear little children cry to Thee,Grace and guidance humbly imploring:

Yon sun that shines above the land Is but a bauble in Thy hand,‘Tis like a rosy lamp set high,Swinging for ever in the sky.

They say that by Thy loving directionLittle birds have food downy nests;Lord, then fill ev’ry childish breast With love for Thee and fond affection:

‘Tis Thou givest life to each root, And makest our gardens gay with flowers;‘Tis Thou that sendest sun and showers,Till our orchards abound with fruit.

The Lord God doth fill each stream and riverDecks ev’ry bird in plumage bright,Clothes each lamb in its fleece so white,Of all good gifts is He the Giver.

Health to each suff ’rer He restores;Bread with the hungry He divideth,Home for the orphan He provideth,Opens the captive’s prison doors.

Lord, in my heart take up Thy dwellingTouch my lips with truth all divine,To Thy word let me e’er inclineGrant me joys that are past the telling.

So let my song of praise and loveIn the golden morning arise,Floating upward unto the skies, Till it reach Thy Kingdom above.

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5. Offertoire: Domine Deus in Simplicitate pour les premiers dimanches du mois

Domine Deus, in simplicitate cordis mei laetus obtuli universa,et populum tuum qui repertus est vidi cum ingenti gaudio.Deus Israel, custodi hanc voluntatem, Domine Deus.

O Lord God, in the simplicity of my heart I have joyfully offered all these things;and I have seen with great joy Thy people which are here present: O God of Israel,keep this will.

6. SanctusSanctus, Sanctus, Sanctus Dominus Deus Sabaoth; pleni sunt coeli et terra gloria tua. Hosanna in excelsis.

Holy, Holy, Holy Lord God of Hosts; Heaven and earth are full of Your glory.Hosanna in the highest.

3. KyrieKyrie eleison; Christe eleison; Kyrie eleison.

Lord have mercy; Christ, have mercy; Lord, have mercy.

4. GloriaGloria in excelsis Deo et in terra pax hominibus bonae voluntatis. Laudamus te,benedicimus te, adoramus te, glorificamus te, gratias agimus tibi propter magnamgloriam tuam, Domine Deus, Rex caelestis [coelestis], Deus Pater omnipotens.Domine Fili unigenite, Jesu Christe, Domine Deus, Agnus Dei, Filius Patris, qui tollispeccata mundi, miserere nobis; qui tollis peccata mundi, suscipe deprecationem nos-tram. Qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus Sanctus, tusolus Dominus, tu solus Altissimus, Jesu Christe, cum Sancto Spiritu in gloria Dei Pa-tris. Amen.

Glory to God in the highest, and on earth peace to men of good will. We praise You,we bless You, we adore You, we glorify You, we give thanks to You for Your greatglory, Lord God, heavenly King, almighty God the Father. Lord Jesus Christ, onlybegotten Son, Lord God, Lamb of God, Son of the Father, who taketh away the sinsof the world, Have mercy on us; You who take away the sins of the world, hear ourprayers. Who sits at the right hand of the Father, have mercy upon us. For You arethe only Holy One, the only Lord, the only Most High, Jesus Christ, with the HolySpirit in the glory of God the Father, Amen.

8. O SalutarisO Salutaris Hostia, quae cæli pandis ostium: bellapremunt hostilia, da robur, fer auxilium. Uni tri-noque domino sit sempiterna gloria, qui vitam sinetermino nobis donet in patria. Amen.

O, Salutary Victim, who expandest the door ofheaven, hostile wars press, give strength; bear aid.To the Triune Lord, may there be everlasting glory;that life without end He to us give in our homeland.Amen.

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Panis angelicusfit panis hominum;dat panis cœlicusfiguris terminum:o res mirabilis!manducat Dominumpauper, servus et humilis. Te trina Deitasunaque poscimus:Sic nos tu visita,sicut te colimus;Per tuas semitasduc nos quo tendimus,Ad lucem quam inhabitas.Amen.

Bread of the AngelsIs made bread for mankind;Gifted bread of HeavenOf all imaginings the end;Oh, thing miraculous!This body of God will nourishthe poor, the servile, and the humble.Thee Triune God,We beseech;Do us Thou visit,Just as Thee we worship.By Thy ways,lead us where we are heading,to the light Thou dwellest in.Amen.

9. Agnus DeiAgnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, dona nobis pacem.

Lamb of God, who takes away the sins of the world, have mercy upon us.Lamb of God, who takes away the sins of the world, have mercy upon us. Lamb of God, who takes away the sins of the world, grant us peace.

10. Panis Angelicus

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13. Tantum ErgoTantum ergo SacramentumVeneremur cernui:Et antiquum documentumNovo cedat ritui:Præstet fides supplementumSensuum defectui.Genitori, GenitoqueLaus et jubilatio,Salus, honor, virtus quoqueSit et benedictio:Procedenti ab utroqueCompar sit laudatio.Amen.

Hence so great a SacramentLet us venerate with heads bowedAnd let the old practiceGive way to the new rite;Let faith provide a supplementFor the failure of the senses.To the Begetter and the Begotten,Be praise and jubilation,Hail,[6] honour, virtue[7] also,And blessing too:To the One proceeding from BothLet there be equal praise. Amen.

12. Ecce Panis (Op. 66)Ecce Panis angelorum, factus cibus viatorum, vere panis filiorum, non mitenduscanibus. In figuris praesignatur cum Isaac immolatur, Agnus Paschae deputatur,datur manna patribus. Bone Pastor, Panis vere, Jesu, nostri Miserere. Tu nos pasce,nos tuere, Tu nos bona fac videre in terra viventium.Tu, qui cuncta scis et vales, quinos pascis hic mortales, Tuos ibi comensales, cohaeredes et sodales fac sanctorumcivium. Amen. Alleluia.

Behold the Bread of the angels, made food for the wayfarers; it is truly the Bread ofthe children; it should not be heady to the dogs. Isaac’s immolation, the Sacrifice ofthe paschal lamb and the manna given to our parents had served as prematurefigures. Good Shepherd, true bread, o Jesus, have mercy on us. Graze and protect us.Make us to see the goods in the earth of the alive ones. You who know all and youwho can, who graze us here when we are even mortal, make us there your diners,coheirs and the saints’ partners. Amen. Alleluia.

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14. Laudate DominumGloire au Seigneur Gloire au Seigneur, le Créateur du monde:Toutes les voix célèbrent sa grandeur;Gloire à ce Dieu, bonté toujours féconde;Cieux éclatants, chantez sans fin sa splendeur!Astres d’or, soleils sans nombre, Anges du Ciel, Louez le Créateur!

Voix de l’aurore et voix de la nuit sombre,Vaste chœur des ondes, Chantez le Roi des mondes:Gloire au nom, au nom du Seigneur,Gloire au nom, au saint nom du Seigneur!

Il tira le monde du néant,Sa puissance partout sema la vie;Il fit régner au firmamentUne immense harmonie,Et dans l’éternité Son trône brille exalté!

Monde habité, sombres abîmes, Chefs d’œuvre de son bras!Pluie, air, brises, blancs frimas, Noires fléaux, lois sublimes;Mers, collines, monts puissants, Océans Magnifiques, Que vos cantiques Montent dans le Ciel Vers L’Immortel!

Princes et rois, vous qui jugez la terre, Peuples errants à l’ombre de sa main, Vierges naïves et vous vieillards austères,Que votre encens monte au trône divin!

C’est votre Dieu: louez ses doux mystères;Cœurs aimants, chantez sa grandeur,Cœurs aimants, chantez, bénissez sa grandeur!Gloire à jamais au nom du Créateur, du Créateur!

Praise ye the Lord, the Lord from the heavens:Praise ye Him in the high halls.Praise ye Him, all His angels:Praise ye Him, praise Him all his hosts.

Praise ye Him, O sun and moon:Praise Him all ye stars and light.Praise ye Him, ye heaven of heavens:And let all the waters that are above the heavens,Praise the name, the name of the Lord. continued on next page

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For He spoke, and they were made:He commanded, and they were created. He hath established them forever, and for ages of ages:He hath made a decree, and it shall not pass away.

Praise the Lord, from the earth,Ye dragons, and all ye deeps.Fire, hail, snow, ice stormy winds:Which fulfill His word:Mountains and all hills: fruitful trees, and all cedars.

Beasts, and all cattle:Serpents, and feathered fowls:Kings of the earth, and all people:Princes, and all judges of the earth.

Young men and maidens:Let the old with the younger praise the name of the Lord:For His name, alone is exalted.Praise the name of the Lord:For His name alone is exalted.The praise of him is above heaven and earth.

-from the English text that is in the Lemmens score

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ABOUT THE HARMONIUM

There is no single musical instrument with a history as clearly defined as that of theharmonium, whose existence is entirely linked to the musical character common inthe period 1830-1930. Towards the end of the 18th century, a new wave of

developments began in the world of keyboard instruments. The intent was to combinesustained sounds with dynamic expression. Organ builders such as Sébastien Erardexperimented with special stops, piano makers developed new forms of the pianoforte, whilethe harpsichord and clavichord gradually disappeared altogether. Instrument makers puzzledover how to combine practicality and compactness with a durable instrument that could beproduced on a large scale. Furthermore, instrument makers failed to find a manner of makingthe organ, or pianoforte, truly ‘expressive’. Following various forms of the so-called ‘orgueexpressif’, developed during the first decades of the 19th century, Alexandre François Debainfinally invented an instrument that would radically change the keyboard world. In 1842, hetook out a patent on a keyboard instrument that he called the “Harmonium.” It was theprototype of an instrument whose use would spread throughout Europe, America and Asiaduring the subsequent 100 years. The characteristics of Debain’s ‘Harmonium’ are as follows:

• Sound is formed by free reeds (similar to those in the accordion).

• Wind is provided by a bellows system, manipulated by two pedals.

• The instrument is played from a keyboard with a compass of five octaves.

• Each instrument has a minimum of four standardized stops, and a split keyboard (stops are drawn separately for the bass and treble). A wide variety of color is possible with this arrangement.

In this manner, a keyboard instrument had been created that fulfilled a primary desireof the time: a sound supple enough to make a wide variety of musical expression possible.Other instrument makers imitated Debain and made their own models, initially underanother name, but, following the expiry of the patent, as the “harmonium.” The two mostimportant firms were Alexandre, who utilized the modern concept of mass production and

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combined it with socially-responsible conditions for his employees, and Mustel, whoseextremely artistic and craft-driven approach produced a limited number of ‘perfect’instruments.

Victor Mustel also developed various new devices designed to increase the player’sability to manipulate the sound. This effort culminated in the “Harmonium d’Art”, whichwas found in the homes of the more elite pianists and organists during the 1860s but did notthreaten the dominance of the classic model. This situation remained more or less constantuntil the instrument’s disappearance in the middle of the 20th century.

The harmonium heard on this CD is an excellent example of a quality instrumentproduced by the house of Mustel. Only the bellows have been restored, while the playingmechanism and wind chest are completely original. Mustel’s work displays extraordinarycraftsmanship, which explains why he could charge high prices for his instrumentscomparable to those paid for concert grand pianos. His customers included AlexandreGuilmant, Jacques Lemmens, Clément Loret, Aristide Cavaillé-Coll, Lefébure-Wely,Alphonse Mailly, Théodore Salomé, and Fernand de la Tombelle.

Specification of the instrument on this recording:Harmonium Victor Mustel, Paris (1885)

Basses: Forte Expressif - Harpe Eolienne - Basson - Clairon Bourdon - Cor Anglais - Cor Anglais ou Percussion

Grand Jeu Expression

Dessus: Flûte ou Percussion - Flûte - Clarinette - Fifre - Hautbois Musette - Voix Céleste - Baryton - Forte Expressif

Double Expression �

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Joris Verdin, Harmonium

Joris Verdin is both organist and musicologist. This combination is the reason for his pref-erence of reviving forgotten music at the same time as he creates contemporary compo-sitions. He has recorded over forty CDs as a soloist, spanning many musical eras and

styles. After various activities as accompanist, arranger and producer he now focuses on theorgan as well as the harmonium. He teaches the organ at the Royal Conservatory of Antwerp

and is professor at the University of Leuven, Belgium.Master classes, musical editions and articles are

an important part of his activities. Amongst them arethe first complete edition of César Franck harmoniumworks and the first handbook of harmonium tech-nique. The Spanish town Torre de Juan Abad (CiudadReal) appointed Joris Verdin as honorary organist ofthe historical organ built by Gaspar de la Redonda in1763. He obtained Diapason d’Or (France), Cecilia-award (Belgian Press), and Musician of the year ofthe Flanders Festival 2002. Awards include the “Preisder deutschen Schallplattenkritik” (Germany) forseveral of his recordings. He also served as ArtisticDirector of the Gothenburg International OrganAcademy 2015.

Stephen Kennedy, Director Christ Church Schola Cantorum

Stephen Kennedy is Director of Music and Organist of ChristChurch Rochester, Professor of Sacred Music at the EastmanSchool of Music, and Instructor of Organ for Eastman’s Com-

munity Music School. Stephen established the Office of Compline atChrist Church in 1997, and in that same year he founded the ChristChurch Schola Cantorum.

Stephen has appeared as organ soloist in programs of standard repertoire as well as recitalsconsisting solely of improvisations. He has performed and lectured for local and regionalevents of the American Guild of Organists, and has given workshops on choral music, chant,and improvisation in the U.S. and abroad. He is also a composer of choral, instrumental, andchamber music, and has collaborated in performances with dancers and choreographers.

Christ Church Schola Cantorum

T he Christ Church Schola Cantorum was founded in 1997 by Stephen Kennedy forthe purpose of performing the weekly Office of Compline at Christ Church. Partic-ipation in the Schola is offered for course credit at the Eastman School of Music. This

critically acclaimed ensemble specializes in Gregorian chant, choral music from the Renais-sance and baroque, and choral improvisation. The Schola has collaborated with ManfredCordes and Weser-Renaissance Bremen, Boston Early Music Festival Chamber Players, andorganists Edoardo Bellotti, Hans Davidsson, David Higgs, Olivier Latry,William Porter, JorisVerdin, and Harald Vogel. The ensemble is also devoted to choral improvisation and to newmusic, having commissioned, premiered, and recorded works by a growing list of composers.

The artists wish to thank: David Higgs, Christopher Huebner, Thatcher Lyman,Nancy Norwood and the staff at the Memorial Art Gallery, Rev. Ruth Ferguson, contrib-utors to “Friends of Music “at Christ Church, and Douglas Lowry, Gail Bradley, CarolCowan, Lorraine Hems, Laura Hood, Heide Jorgensen-Murray, William L. and MaryCatherine Kennedy, Dave and Maggie Richey, Judy Viken, Anne Yeager.

ABOUT THE ARTISTS

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Loft Recordings CDsare available from

Visit the gothic catalogWeb site to see our full rangeof organ & choral recordings:

www.gothic-catalog.com

THE

CATALOG

C R E D I T S

Catalog number | LRCD-1126-27

Executive ProducerRoger Sherman

Recording, editing and masteringRoger Sherman

Program notesStephen Kennedy

Booklet editorVictoria Parker

Graphic DesignTim Braun

Cover photoStephen Kennedy

French, and French Latin diction coachValerie Couderc

Rehearsal accompanistsChris Petit, Aaron James, Naomi Gregory, Sonja Shelton

Harmonium technician:Mark Austin

Recorded: May 4-6, 2011

This recording and the booklet are mand r by Loft Recordings, LLC, 2016

All rights of the producer and the ownerof the work reproduced are reserved.Unauthorized copying, hiring, lending,rental, public performance, or broad-casting of this record is prohibited.

C H R I S T C H U R C H S C H O L A C A N TO R U M

SOPRANOJennifer BellorAdelaide BoedeckerAmy SteinbergKelly SuthersReagan McNamee KingSarah McConnellZorica PavlovicSarah Winstein-Hibbs

ALTOHoney MeconiKatherine EvansLydia KirkpatrickLyndon EnglandNaomi Gregory

TENORThatcher Lyman, Assistant DirectorBenjamin MccormackBrian LustigChris PetitGilad RabinovitchRobert Laird

BASSMark BallardDaniel BrottmanMark AustinAaron JamesKyle QuarlesSteven Seigart

Stephen Kennedy, Director

Thatcher Lyman, Assistant Director, Schola Cantorum

Christopher Huebner, Librarian and Coordinator