TheCanadianorganistPhilipCrozierhadtheprivilegeofstudyingprivatelywiththelegendaryAndréMarchal between1978and1980—anexperiencethatproveddeeplyformative.Thesesessionsofferedrichinsightsinto repertoire and interpretation, capturing Marchal’s artistry and wisdom in his own voice. HeldatMarchal’shomeinParis,thelessonswererecordedbyCrozieroncassette,withMarchal’sdaughter Jacqueline present to provide instantaneous translations from French to English.Now,45yearsafterMarchal’spassing,thesehistoricrecordingsarebeingreleasedtohonourandpreservehis teaching legacy.Read the introduction to these recorded lessons with André Marchal by Philip Crozier.
The house organ of André Marchal
The organ at rue Duroc in Paris was originally meant to be an instrument for daily practice: two manuals and pedal, built by Gütschenritter. As years went by, my father’s repertoire increased, as did his ambitions and the number of friends who came to hear him. Thus, Marchal had a three-manual concert organ built in his studio. This expansion was achieved gradually, each step coinciding with his return home after international tours.In 1934, the pedal action was replaced by an electric one, allowing with the addition of 24 pipes the extension of the soubasse to 32′ acoustical, 16′, 8′, 4′, and 2′. After the end of World War II, Victor Gonzalez took over and some modifications that were reflective of the aesthetics of Marchal and Gonzalez took place. In 1954, the Marchals enlarged the studio and the organ, original chests and tracker action were preserved and a third manual, an unenclosed Positif, was added, the manual placed underneath the Great and connected to its chest by electric action. On that occasion, the organ was named “Phillipe-Emmanuel”.SourceThe photos are of Marchal at his house organ, before and after the enlargement in the 1950s.
1947-1948 Cleveland Museum of ArtAseriesoftenrecitalsgivenbyMarchalin1947-1948intheCleveland Museum of Art entitled The Large Forms Of Music For Organ.More than one hundred works in that series without duplication.Source - Philip Crozier
TheCanadianorganistPhilipCrozierhadtheprivilegeof studyingprivatelywiththelegendaryAndréMarchal between1978and1980—anexperiencethatproved deeplyformative.Thesesessionsofferedrichinsights intorepertoireandinterpretation,capturingMarchal’s artistry and wisdom in his own voice. HeldatMarchal’shomeinParis,thelessonswere recordedbyCrozieroncassette,withMarchal’sdaughter Jacquelinepresenttoprovideinstantaneoustranslations from French to English.Now,45yearsafterMarchal’spassing,thesehistoric recordingsarebeingreleasedtohonourandpreserve his teaching legacy.Read the introduction to these recorded lessons with André Marchal by Philip Crozier.
The house organ of André Marchal
The organ at rue Duroc in Paris was originally meant to be an instrument for daily practice: two manuals and pedal, built by Gütschenritter. As years went by, my father’s repertoire increased, as did his ambitions and the number of friends who came to hear him. Thus, Marchal had a three-manual concert organ built in his studio. This expansion was achieved gradually, each step coinciding with his return home after international tours.In 1934, the pedal action was replaced by an electric one, allowing with the addition of 24 pipes the extension of the soubasse to 32′ acoustical, 16′, 8′, 4′, and 2′. After the end of World War II, Victor Gonzalez took over and some modifications that were reflective of the aesthetics of Marchal and Gonzalez took place. In 1954, the Marchals enlarged the studio and the organ, original chests and tracker action were preserved and a third manual, an unenclosed Positif, was added, the manual placed underneath the Great and connected to its chest by electric action. On that occasion, the organ was named “Phillipe-Emmanuel”.SourceThe photos are of Marchal at his house organ, before and after the enlargement in the 1950s.
1947-1948 Cleveland Museum of ArtAseriesoftenrecitalsgivenbyMarchalin1947-1948intheClevelandMuseumofArtentitled The Large Forms Of Music For Organ.Morethanonehundredworksinthatseries without duplication.Source - Philip Crozier