Insider Interview with Organist Christopher Houlihan

On his new album “First and Last” (Azica Records), Christopher Houlihan – “the next big organ talent” (LA Times) – performs the two great bookends of French Romantic Organ works, Franck’s “Grande Pièce Symphonique” (1862) and Louis Vierne’s Symphonie No. 6 (1930).

We spoke with Houlihan about the album, Louis Vierne’s tragic life, defining a “symphony” and more:

Tell us how you came up with the repertoire for this album. 

This album includes the two pieces that are usually considered the first and last French Romantic solo organ “symphonies.” César Franck was the first to compose symphonically-scaled music for the “modern” organs built by Aristide Cavaille–Coll in the mid-19th century. These organs allowed for a wider dynamic and expressive range than had ever been experienced and they inspired a rebirth of “serious” music for the organ. One of Franck’s students, Louis Vierne, took this tradition to its zenith. His final organ symphony—the sixth, in B minor—is an extraordinary tour de force for the organist and shows off so many sounds of a pipe organ. The organ at Ascension Church is a 21st century instrument and the first French-built organ in New York—it is a great match for these colorful pieces.

Tell us a bit about Louis Vierne. He had a fascinating life, and you’ve spent many years studying, performing and recording his works. What draws you in to Vierne’s life and his music?

Vierne was born nearly blind and rose to become organist of Notre-Dame Cathedral in Paris, one of the most prestigious posts an organist can hold, even to this day. In the summer of 2012, I undertook a tour of six marathon performances of Vierne’s six organ symphonies. These pieces were conceived as concert works for the organ, and many are composed with cyclical themes recurring throughout the five movements. For me, they contain a whole range of human emotions, from agony, humor, passion, and even to rage. This is largely my own interpretation of the symphonies, but Vierne’s life was truly tragic and it’s difficult not to see some of his life expressed in the music.

A tragic life?

Yes, despite some professional successes (as organist of Notre-Dame Cathedral), his romantic life had serious ups and downs, the organ at the cathedral was often in need of serious repair (especially post-WWI), and he was passed over for the post of professor of organ at the Paris conservatoire, a position he deserved after years of assisting other teachers. He had a host of illnesses and physical problems, and by the end of his life could barely climb the many steps to play the organ at Notre-Dame. After making one final climb, he died on the organ bench at Notre-Dame, right in the middle of performing a recital.

Both of the major works on First and Last are “organ symphonies”. Since the music is written for organ alone, you’ll have to tell us – what makes these works “symphonies.” What are the similarities and differences from an orchestral symphony?

Well, in the case of Franck, there’s an especially strong connection between the Grand Pièce Symphonique and his Symphony in D minor. The “GPS” can be seen as a prototype of the orchestral work, and they both contain cyclical themes and roughly chart a similar structure. But one major difference is that the organ work is composed for a solo instrument and performer. The organ has historically been a kind of “synthesizer,” and its pipes imitate other instruments—flutes, trumpets, oboes, strings, and especially baroque instruments like the crumhorn and viola da gamba. The mid-19th to turn of the 20th century saw enormous innovation in the art of organ building. Organs hadn’t changed significantly since the 17th century, and were now being built larger, even more colorful, and more capable of playing modern music. These organs by no means sounded like an orchestra, but the instruments Franck and Vierne knew were tremendously expressive and dynamic, and these composers responded by writing symphonically scaled music that exploited all the “new” sounds of these instruments.  I could get more technical, but one very broad comparison might be between that of the harpsichord to piano—the music changed alongside the instruments.

You’re a professional organist, performing concerts around the country as well as overseas, and you teach organ at Trinity College in Hartford. I wouldn’t be surprised if you spend some of your free time away from the keyboards and pedalboard. Tell us about the challenges and rewards of playing the instrument.

One very rewarding but frustrating thing about being an organist is that no two instruments are alike. By and large, the piano is a standardized instrument and there is no comparison to the differences between organs. I arrive two days before a performance just to set up the organ to play the music I plan to play. One organ has two keyboards, the next has four or five. One has 20 stops to choose from, the next has 200. Every moment of the program needs to be redecided, each time I perform. When the organ is wonderful, it feels like having a partner in making the music come alive and those experiences are so satisfying. In my spare time I love to cook, garden, and to play fetch with my dog (who is named for a composer I wish wrote more for the organ—Benjamin Britten).

New from organist Christopher Houlihan

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Organist Christopher Houlihan Releases New Recording, First and Last

Album features French works by Louis Vierne and César Franck, recorded on the only French-built organ in New York

Release date February 3, 2023, on Azica Records

"passionate and intelligently virtuoso musician" — Gramophone

On February 3, 2023, organist Christopher Houlihan, described as “the next big organ talent” by the Los Angeles Times, releases First and Last on Azica Records. The album features César Franck’s “Grande Pièce Symphonique,” op. 17 (1860–62) and Louis Vierne’s Symphonie No. 6, op. 39 (1930).

Sharing his inspiration behind the album, Houlihan says, “Within this genre, there are no two pieces that better represent the trajectory of this style than Franck’s Grande pièce symphonique and Vierne’s Symphony No. 6 – essentially the first and the last French Romantic organ symphonies.” 

As a young musician, Vierne (1870–1937) idolized the famous César Franck (1822–1890) and by the time he was 16, had earned a coveted spot in Franck’s organ class at the Paris Conservatoire. Houlihan says, “It is tempting to see a parallel between Vierne’s musical style and his difficult life. And in fact, it is true that particularly poignant personal events occasionally sparked his creativity.”

First and Last was recorded on the Manton Memorial Organ “Pascal Quoirin” (2011) at the Church of the Ascension, the only French-built organ in New York. Houlihan explains the significance of playing this repertoire on the organ at Church of the Ascension, “Among organ music, the successful performance of French repertoire is especially dependent on the particular sonorities available on a given instrument. The Quoirin organ is a very good fit for the colorful demands of Franck and Vierne’s music, and it was an honor to return to Ascension Church for this recording.”

Houlihan has steeped himself in Louis Vierne’s music, having performed all six of the French composer’s organ symphonies in critically acclaimed marathon concerts across North America in 2012, on a tour that was launched at the Church of the Ascension on the 75th anniversary of Vierne’s death.

Of Vierne's organ symphonies, Houlihan says, “I am often asked if I have a favorite among Vierne’s symphonies. It’s hard (and unnecessary) to pick, but the sixth just might be my favorite. It has all the characteristics that make Vierne’s music so appealing, and perfectly in proportion. And, with Vierne at the height of his artistry, it also marks the apex of the French symphonic organ tradition — a fitting culmination of the style established with Franck’s Grande pièce symphonique.”

Contact ClassicalCommunications@gmail.com to request a physical CD or digital copy of this recording.

"glowing, miraculously life-affirming performances"— Los Angeles Times

Franck and Vierne: First and Last
French Romantic Organ Symphonies

Christopher Houlihan, organ

The Manton Memorial Organ, Pascal Quoirin (2011)
Church of the Ascension, New York

Azica Records (ACD-71356)
Release date: February 3, 2023

TRACKS
César Franck (1822 -1890) – Grande Pièce Symphonique, Op. 17 from Six pièces d’orgue (1860-1862) 
[01] Andantino serioso 4:03
[02] Allegro non troppo e maestoso 7:00
[03 Andante - Allegro - Andante 8:16
[04] Allegro non troppo c maestoso 2:49
[05] Beaucoup plus largement 4:10

Louis Vierne (1870–1937) – 24 Pièces en style libre, Op. 31
[06] Berceuse, no. 19 4:13

Louis Vierne – Symphonie No. 6, Op. 59 (1930)
[07] I. Introduction et Allegro 10:13
[08] II. Aria 7:27
[09] III. Scherzo 4:26
[10] IV. Adagio 9:51
[11] V. Final 7:31

Total Time = 69:59

About the Artist

The organist Christopher Houlihan has established an international reputation as a “passionate and intelligently virtuoso musician” (Gramophone), hailed for his "glowing, miraculously life-affirming performances" (Los Angeles Times). Houlihan has performed at Disney Concert Hall with the principal brass of the Los Angeles Philharmonic; the Kimmel Center in Philadelphia, presented by the Philadelphia Orchestra; and at the Kennedy Center in Washington, D.C., presented by the National Symphony Orchestra. The Los Angeles Times raved about his Disney Hall debut, proclaiming, "Houlihan is the next big organ talent."

In addition to First and Last (Azica Records, 2023), his discography includes Christopher Houlihan plays Bach (Azica, 2018), and recordings of music by Maurice Duruflé and Jehan Alain, and Organ Symphony No. 2 by Louis Vierne, both on Towerhill Records.

Christopher Houlihan is the John Rose Distinguished College Organist and Director of Chapel Music, and Artist-in-Residence at Trinity College, where he succeeds his former teacher, John Rose. He is Artistic Director of the Albert Schweitzer Organ Festival Hartford, which sponsors one of the premier North American organ performance competitions. In addition to his studies at Trinity College, Houlihan studied with Grammy Award-winning organist Paul Jacobs at The Juilliard School and with Jean-Baptiste Robin at the French National Regional Conservatory in Versailles.

Lucid Culture previews Christopher Houlihan's "Vierne @ 150" Concert and Festival

Christopher Houlihan Salutes the 150th Birthday of an Underservedly Obscure Organ Music Icon

In the classical organ music demimonde, Louis Vierne is an iconic presence. The epic grandeur and frequent venom of his organ symphonies have seldom been matched, let alone surpassed. His life was plagued by struggle and tragedy. Born legally blind, he became an awardwinning violinist while still in his teens before switching to the king of the instruments. His wife left him for his best friend. He lost family members in World War I. After the war, he was forced to go on concert tour to raise money to repair the organ at Notre Dame in Paris, where he would remain until his death. And on his final day there, Vierne collapsed in the console and fell onto the low bass pedal. The organ rumbled louder and louder until someone finally went in to check on him and found him there dead.

Yet outside of the insular pipe organ world, Vierne is little-known…and Christopher Houlihan is determined to change that. This blog was unfortunately not there when he played the entire Vierne symphonic cycle in New York back in June of 2012, but fortunately much of that was recorded, and you can catch not only some of the highlights but also a lot of fascinating background when the organist celebrates the 150th anniversary of the troubled French composer’s birth with a series of webcasts starting this October 5.

There’s plenty of material for both general audiences and hardcore organ geeks. On October 5 at 7 PM, Houlihan interviews Phillip Truckenbrod, whose recent memoir Organists and Me covers a half century of managing some of the loudest musicians on the planet.

The next evening, October 6, Houlihan chats with the brilliant Notre Dame organist Olivier Latry about the horrific fire and ongoing reconstruction of the organ there. On October 7, Houlihan offers a demonstration of the famous Trinity College organ in Hartford Connecticut, and on October 8, he plays a deliciously dynamic program there which includes Vierne’s majestic Symphony No. 4 as well as shorter pieces ranging from his celestial Clair de Lune to the sparkling, playfully evocative Naïades. Other webcasts in the works include concert footage from Houlihan’s landmark 2012 Vierne performances as well as an interview with Vierne biographer Rollin Smith, the first American to play the Vierne symphonic cycle.

Insider Interview: Organist Christopher Houlihan

In the fall of 2019, organist Christopher Houlihan performs Joseph Jongen’s Symphonie Concertante with both the Hartford Symphony Orchestra (Sept. 27 & 29, as part of the Albert Schweitzer Organ Festival) and the St. Ann Festival Orchestra (Oct. 1) in Washington D.C. In this Insider Interview we spoke to Mr. Houlihan about the composer Joseph Jongen and what makes his Symphonie Concertante so special.

Tell me about the composer and organist Joseph Jongen.

Jongen was an organist, composer, and educator. Living from 1873–1953, he is considered, along with César Franck, one of Belgium’s most important composers. His music might be best described as late-romantic, certainly under the influence of his compatriot Franck, and tinged with hints of Strauss (with whom he briefly studied), Fauré, and Debussy. He is most well-known for his organ music, though he composed extensively for orchestra and chamber ensembles as well.

How did his Symphonie Concertante come about?

The Symphonie Concertante was commissioned in 1926 by Rodman Wanamaker and was to be premiered at his eponymous department store in Philadelphia, home to the world’s largest fully functioning pipe organ. Due to a variety of unfortunate circumstances, the premier was cancelled; the work was premiered in Brussels in 1928 and the first American performance took place at Carnegie Hall in 1935. (Yes! For many years of its history, Carnegie Hall was home to a very large pipe organ; sadly, no longer.)

Jongen titled his work “Symphonie Concertante.” This is a fairly uncommon title, especially for a 20th century work.

            A symphonie concertante is a kind of hybrid piece, typically defined as a work for orchestra featuring at least two soloists. The soloists frequently play a virtuosic role, but at times also weave into the larger orchestral fabric of the piece. In the baroque era this kind of work might have been called a concerto grosso; in the romantic period it might have been called a double- or triple-concerto. In the classical period it was called a symphonie concertante. Mozart’s Symphonie Concertante for violin and viola is an extraordinary example of the form.

So, why a symphonie concertante in this case, and why only one soloist? What is your role like in the Jongen, does it differ from a soloist in a traditional concerto?

            The most famous piece for organ and orchestra is, of course, Saint-Saëns’ Symphony No. 3, a piece which is sometimes thought of as a symphonie concertante. In it, the organ provides a sonic cushion for the orchestra at the start of the second movement, then acts as an orchestral foil during the last section of the work. Despite its fame, the Saint-Saëns symphony does not feature a very complicated or virtuosic role for the organist.

            Jongen provides his soloist with many opportunities to show off (especially in the perpetual motion toccata which concludes the piece) but also provides occasion to fade into the orchestral texture (for instance, the organ effectively accompanies the orchestra during much of the third movement).

            Because a great organ (especially the organ Jongen was writing for in Philadelphia) features so many individual sounds which often imitate the colors of an orchestra, all available at the fingertips of one organist, the piece is not merely a concerto—here, the organist is simultaneously several soloists as well as accompanist.

What’s your favorite moment(s) in the piece?

It’s impossible to pick a favorite moment in such a great piece! I especially love the second movement, the Divertimento. It reminds me of Louis Vierne and his quirky scherzos, full of spritely organ figurations one moment, and then reverential chorale like melodies the next.

With multiple performances of Jongen’s Symphony Concertante this season on different organs how do you prepare for those anticipated differences in instruments and halls, as well as with different orchestras and conductors?

As is in most endeavors, thorough preparation and practice is always helpful. I will most likely play the piece from memory so that I can focus more on being in sync with the conductor and orchestra. Because an organ soloist is often at some physical distance from the conductor, and the pipes of an organ may even be in a third location, organists have to be extraordinarily ready for whatever they might encounter when performing with an orchestra. I know the Trinity College organ particularly well, especially since I play it practically every day, and I have also previously heard and admired the St. Ann’s organ, so I know a little bit of what I’m in for sonically. However, in Washington, the organ is in a gallery several feet above the orchestra, so I’ll be watching the conductor via a camera and television monitor! Organists are used to this.