LDV149

Few people had recorded French Classical organ music in that sort of systematic fashion, except Michel Chapuis. It was also the beginning of the French organ revival itself. This movement relied on instruments like those of Poitiers, Saint-Maximin, Houdan and Sarre-Union, of which I made extensive use. Organ builders such as Robert Boisseau, Koenig and Alfred Kern also played a significant part in this revival. They themselves were influenced by the approach of some organists, including Michel Chapuis of course. And Pierre Chéron had restored numerous organs. I also recorded at Saint-Séverin, Saint-Germain-des-Prés and the Bon Pasteur Chapel in Angers, at a time when there were obviously far fewer restored French period instruments than today.We had tomake dowithwhat was available. Sometimes there was a bit of a do-it-yourself attitude. The manuscripts were completely open for reinterpretation. I wanted to shape my own vision without it ‘smelling of mothballs’, as I often say, in order to obtain something very lively. With this sort of music, it is obviously impossible to stick to what is written down. You must strive constantly to find the right tone and a natural style. I felt great freedom in this work, all the more so as few organists had devoted themselves completely to this repertory. Vocal music was also of great help in understanding it, while Chapuis’s work influenced me very much. 30 NICOLAS DE GRIGNY_The complete organ works