Is the art of improvisation dying out? Or are the practioners just making it up?
David Bridgeman-Sutton explains an old and highly prized skill.​
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Titulaires and Accompagnateurs 
~ Making it up as they go along ~

Replacement of the Latin Mass by the vernacular in the 1960s caused widespread concern. In France, it was feared that this might spell the end of a great tradition of organ-playing and composition that reached back many years before the Revolution of 1789.

Guilmant, Vierne, Widor, Dupré are composers known to all lovers of the organ. The Paris school provided dozens more: Delibes, Fauré, Saint-Saëns, Gounod also earned their keep as organists while establishing themselves in the wider musical world. Gounod, at least, was well advised to look elsewhere; he was not a good organist.
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1. The Most Famous of all Grandes orgues? St Sulpice
Larger Paris churches usually have two organs - the Grand organ at the West usually placed on the tribune and a smaller instrument in the choir for accompaniment purposes. This latter is played by the accompagnateur, the principal organ by the titulaire. To these two permanent and official posts may be added deputies and assistants, the latter often has responsibilities with registration and page turning.
As a result, there is a constant influx of aspiring players who receive teaching and guidance from established figures. A generally prevailing enthusiasm is encouraged by the importance attached by conservatoires to all aspects of organ playing. The large number of superb instruments in the city and the critically appreciative nature of congregations and audiences are further factors in a flourishing tradition.

The aspiration of most has been to become titulaire at a major church. Holders of these posts, with their key roles in the Offices of the church, have ever enjoyed high standing both musically and socially. For a devout musician, beautifying the message of the Mass, or of Vespers, is a sublime experience.
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2 The console, grand organ St Sulpice. (Figs 1 and 2 thanks to Ben Epstein of www.stsulpice.com and photographer Kurt Lueders )
The titulaire occasionally accompanies congregational singing, or plays antiphonally with the choir, as in an “Organ Mass”. The holder of this office is charged principally with creating atmosphere, with illustrating and reinforcing the words and thoughts of the Offices with solo performances. Thus it is that pieces with titles like Offertoire, Elévation, Communion appear frequently among their published works.
Sometimes, these are intended for a particular time in the church calendar – such as a Saint’s day, the Assumption or Christmas. Variations on Noëls have been particular favourites for over 300 years, perhaps because of the rich and varied French heritage of carols. One of the best-known, Daquin’s, is unusual in having appeared also in a number of instrumental arrangements by the composer.

Many of these pieces have not been written down and are heard only once. Extemporisation is an art-form encouraged, taught and assiduously practised by members of the French school; the highest reaches of the organists’ profession are open only to those who master it. A plainchant, a line from the sung part of the day’s liturgy, a folk tune or an original theme can provide material for a series of organ pieces for an entire Mass, meditative or triumphant, suppliant or glorifying by turn.
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3. The console: choir organ St Sulpice (Thanks to Peter Heginbotham)
Those who, 40 years ago, feared the ending of a great musical tradition have so far been wrong. It is there for the world to appreciate. Visiting music lovers will miss an outstanding experience if they fail to explore these riches.
David Bridgeman-Sutton,
February 11, 2005