Alexandre Guilmant
Charles Mutin
Article published in "S.I.M.", 1911
Translated from French to English by Piet Bron, May 2004
Click here to get a PDF-file of the original article in French (2 Mb).
Last Wednesday, March 29, Guilmant passed away quietly, after a short disease, in his own house in Meudon;
he was placed in the tomb next to her who was for him a partner so attentive and devoted,
that those that had the luck to attend the family of this master will always think of them in the same thought.
Guilmant (Félix-Alexandre) was born in Boulogne on March 12, 1837. He studied harmonics and composition with Gustave Carulli,
and organ with J. Lemmens. Sixteen years old, he became organist of the church of Saint Joseph in his birthplace,
succeeding his grandfather.
In 1871 Guilmant was proclaimed organist of the great organ at Sainte-Trinité in Paris, where he replaces Chauvet.
Short hereafter he became organist of the Société des Concers du Conservatoire.
In 1878 he started the organ concert series of Trocadéro and those series, held every season,
endured without interruptions until 1900. For the first time in France Guilmant played then four years later
the performance of all the concertos of Händel with orchestral accompaniment.
Next to this he performed the Cantata's of Bach, with the 'Chanteurs de Saint-Gervais' conducted by Charles Bordes.
The directors of the orchestra were Colonne, Garcin and G. Marie; the soloists: Paul Viardot, Sivori, Marsick, Brandoukoff,
de Vroye, de la Tombelle, Auguez, Mouliérat, Fournets, Mme. Rose Caron, Auguez de Montalant - and I may not forget - Admirable Phalange,
that let us become to know the great masters of the organ literature for organ solo, organ and orchestra and with choir,
from Buxtehude - this precursor of J.S. Bach - up to César Franck.
Later on, in this same Trocadéro Hall, during four years Guilmant gave exclusive and historical recitals,
during which he played the best pieces of music of the organ composers. The organ schools of all over
the world were present at the programs that I conserve. Guilmant pushed the eclecticism by playing the most unknown works,
and also compositions of his students. A short explanation preceded the execution of each piece that called the attention
of the audience for the characteristics of the work. Only forty or fifty persons were allowed to visit those recitals.
But because the concerts were extremely interesting, they were visited by too many people, so they had to stop,
a mistake of the authorization that was incompatible in applying the administrative rules in a right way.
Guilmant was proclaimed professor of the Conservatory in 1896, and it will be enough for me to quote some of
the first price winners in his class to give an idea of the value of his teaching:
Andlauër, Aviné, Bonnet, Boucher, Bonnal, Barié, Boulnois, Dupré, Cellier, Fourdrain, Schmitt, Fauchet, Jacob, Kriéger, René Vierne
and the misses Juliette Toutain and Nadia Boulanger.
Well known in the United States of America, where he made triumphal tours,
Guilmant also in the New World formed a pleiade of artists that became very successful. The Organ school in New York bears his name.
Knowing all the ins and outs and the registration of the instrument on which he became a Great Master,
Alexandre Guilmant wrote a lot and left a number of important works for organ or with organ:
the Practical Organist (12 volumes), Pièces dans différents styles (37 (!) volumes), eight sonatas,
a symphony and seven other compositions for organ and orchestra, twenty-six Noels, the Liturgical Organist (10 volumes),
and more than one hundred and fifty pieces for voice, piano and other instruments, two masses and at last
the 'Archives des maîtres de l'orgue' (with biographical notes by André Pirro, nine volumes are published yet),
containing the works of the most remarkable organists of the seventeenth and eighteenth century.
Certainly, his work is very large, but his main glory has been that he was the first to attract the common public to organ music.
As well at Trocadéro as at the Schola - of which Guilmant has been one of the founders -
the life of Guilmant was truely dedicated to the apostolate.
Forty years ago, in France, only some rare initiates knew J.S. Bach.
Guilmant, with an admirable faith, without concern of an easy success,
went on during twenty years to play the complete works of the great Cantor of Leipzig for an audience
that wasn't prepared for this severe music. About 1880, I saw the audience being halved
when he started to play the Toccata and Fugue in d minor; Guilmant didn't ever loose courage,
he wanted to conquer the crowd. Five years ago the Société J.S. Bach was founded in Paris!
What should we tell today of this man? I knew him for 36 years.
The way he was in 1875, the way I saw him two days before he died: simple and affectionate, always giving,
in spite of the disease he carried, the same idea of calm, courage and grandeur.
If the artist was great, the man was excellent. Guilmant had a heart of gold; benevolent encouraging,
he surrounded his pupils with paternal care. Without counting his time he spent his forces, his example and often everything he had.
The organ class of the conservatory - whereas all the others are amply equipped with it - didn't pay him in cash.
In 1905, Guilmant affected the attractive offer for making a tour through America for a yearly amount of 500 francs,
because he wanted to be at the organ class. And I know many more examples of his satisfaction.
Who could have thought that this man, universally considered and respected, would be, during his admirable career,
betrayed, suspected and victim of an injustice that asks for a repair, which I owe to do here in honor of his memory.
There has been talking about Guilmant's "resignation", as if he left the organ tribune of Sainte-Trinité;
the truth is very different, as stated here:
The organ of the Sainte-Trinité, one of the master pieces of Cavaillé-Coll,
has always been maintained with a jealous care by the builder and played with love by the organist.
One would think that this collaboration between to great artists would be satisfying everybody.
But it didn't, because the place of Guilmant was coveted.
After thirty years of uninterrupted service promises were made to Guilmant to increase his organ
and there was spoken about the addition of a respectable number of stops and some modern additions,
which would make of the instrument one of the most beautiful and complete of Paris.
This fine attention of the church leaders face-to-face with the old master seemed to be very naturally;
but it would cause his misfortune.
The competitors took care and could very skillfully - treacherously should I say -
influence the priest to make the situation of Guilmant absolutely impossible.
I went with him to the sacristy where we visited M. Lemaître, the priest in those days, for asking him some explications.
In the words we were exchanging, with hard and hurting words we heard, Guilmant understood that he had already been replaced.
After leaving the Trinité, I went with him in the car up to Montparnasse; two tears run down his cheeks,
and I still remember some of the words he spoke: "I gave them almost thirty years the best I had, why do they than treat me so bad?"
The press did unanimous reject the action of the priest of the Trinité.
(It's good to announce, and I am happy to do it here, that - although since ten years nothing connected Guilmant with
the parish of Sainte-Trinité anymore - the abbot Poulain, successor of Mr. Lemaître, will celebrate a solemn service on April 10,
in which he will speak on the pulpit to praise the large artist disappeared.)
A short period later, the Schola organized a Guilmant-day.
His beloved school offered him a great organ; Vincent d'Indy, Ch. Bordes, M. de Bussy, priest of Saint-Gervais
time and time again spoke to comfort him and to tell him they admired him. This has been the lesson of men; today, God will judge......
Guilmant is dead! These words painfully strike all those that heard them, not only one time,
but more and more for those who become really aware of it.
After all, he will leave us the unforgettable memory of a large artist who, to his talent, joined a priceless virtue: kindness.
Charles Mutin