Good Shepherd Lutheran Church

Composer Louis Vierne

Louis Vierne 1870-1937

Composer, Organist, and Church Music Disciple

As a beautiful and contemplative offering for the Lenten season, Louis Vierne’s “Kyrie Eleison” for organ and choir will be presented during worship at Good Shepherd on Sunday, March 28, 2004.

The early 20th Century work will showcase the skills of Good Shepherd Organist Charles Pugh at the sanctuary’s 25-rank Wicks organ.  Director of Music Peter Schmidt will conduct the Chancel Choir.

The French composer, who served for a remarkable 40 years as organist at Notre Dame Cathedral in Paris, wrote primarily for organ.  It will be a rare treat to offer for worshipers his inspiring and most famous choral work.

Composed in 1900 as part of Vierne’s “Solemn Mass, Opus 16,” the “Kyrie Eleison” takes its text from the words of the liturgy.  The gravity of the organ that introduces “Kyrie,” for example, is relieved by soaring passages as the choir’s voices plead: “Lord have mercy on us, Christ have mercy on us.”

Because of the great variety of stops and the expressive characteristics of the organ, the rich and sumptuous melodic and harmonic qualities of French Impressionistic music are enhanced, and the composer’s intent is fulfilled.  The authentic rendition of music by French Impressionists such as Vierne is a product of the inherent characteristics and capabilities of the organ.  The ability of the organist to skillfully and appropriately employ them maximizes the expressive nature of the composition.

Vierne‘s longtime service as chief musician at Notre Dame is remarkable in itself. (He died of a stroke at the cathedral organ keyboard during a concert.)  But this is eclipsed by the fact that the extraordinary musician was born nearly blind and suffered illnesses that rendered him sightless by age 48.

Vierne’s very emotional music depicts much of the trauma that he suffered during his life. But the beauty of his Romantic interpretations and the wonderful images he painted with his melodies show how music --- especially music composed as a disciple of the Christian church --- was a great comfort and an inspiration to him.  He said of his contributions: “I’ve had only one aim: To rouse emotion.”

Born nearly blind in 1870, Vierne showed exceptional talent for music at an early age.  Visiting his church musician uncle at age 5, he was deeply impressed by the sound of the organ.  “I had a very hard time imagining how one man alone could get from this instrument these mysterious rich sounds, both stormy and calm: It seems like something out of a fairy tale,” Vierne recalled.

Use of large type textbooks and learning to read Braille aided his education. He began keyboard and other music instruction at age 7, and was guided by several other blind musicians and teachers.

Although both his mentor-uncle and his journalist father died before he reached age 17, Vierne was able to continue his music training at the Paris Conservatory with composer and organist César Franck, and as a student and assistant of organist Charles Widor.  Despite his success in music, his adult life was filled with tragedy and disappointment with the break up his marriage, the death of a brother, son and students in World War I, and the passing of his mother and several children.  Surviving career setbacks, included a freak accident that nearly crushed his leg and ankle and his ultimate blinding by severe glaucoma, Vierne continued to champion the organ, sacred music and to refine his organ talents.  Notre Dame’s massive organ suffered repeated water and weather damage during his tenure, and he spearheaded efforts to repair and restore it to its glory –- raising funds by giving concerts at other churches.

In addition to teaching organ at the Schola Cantorum in Paris and receiving acclaim as a recitalist in Europe and the United States, Vierne composed: Six organ symphonies and countless organ pieces; a mass; string quartets, cello sonata; and symphonies for orchestra.  In 1937, Louis Vierne suffered a massive stroke during his 1,750th recital at the cathedral and died at his keyboard in the organ loft.

--- Contributed by George Groninger, Charles Pugh and Penny Risen