Music and politics don't mix, right? Wrong.

Three cheers for Rhinegold and Classical Music Magazine, now home to a new podcast entitled Music Plus, hosted by music journalist and human rights activist Chris Gunness. Chris used to work for the UN in the Middle East, but he is now back in the UK and interviewing the musicians who burn to change the world. Music Plus focuses on the role that classical music can play in social justice and also supports the magazine's efforts to inform and educate re mental health for musicians. 

Among Chris's interviewees to date are the pianist Gabriela Montero, who speaks powerfully about the situation in her native Venezuela; Chineke! founder Chichi Nwanoku; Mark Wigglesworth on the responsibilities of the conductor, and much more besides. Do have a listen. In the meantime, I wanted to interview Chris himself about why he does what he does – and why classical music has lagged so far behind its potential in this invaluable field. JD

Gabriela Montero: free improvisation on Venezuela

JD: Chris, congratulations on this splendid new series and thanks for talking to us. First of all, why do you think a podcast about music and social justice is necessary? What do you hope it will achieve?

CG: I created the Music Plus Podcast because classical music and social responsibility have come of age. After years or retreating from society, classical music, at last, is re-engaging with issues of social justice; and I wanted both to showcase the work of classical musicians who are passionate about making our world a more just place and also to encourage others in the industry to do more. 

Pop music has been promoting the rights of the most disadvantaged for decades. I attended the Live Aid concert in Wembley Stadium in 1985 which was watched by 40 per cent of the world’s population and which raised billions to combat starvation in Ethiopia. Look at the black musicians who provided the sound track for the American civil rights movement. 

By contrast – and despite notable examples -- classical music is only now beginning to look more seriously at its social responsibilities; and the truth is that although it’s easy to ridicule elitist musical institutions, many of those in the UK today are doing transformative work with some of the most disadvantaged communities in the country. I wanted to highlight this, while at the same time, pricking the consciences of those who should be doing more. 

It’s also been important for me to draw in younger audiences and to show them that classical music resonates with their ideals of a better world.  And already youth audiences are listening in.

JD: I don’t know of any other initiative quite like this. Have we in the music world been too slow to wake up to the potential for a stronger role for music within society?

CG: The answer to your question is a triple fortissimo, resounding YES. Music is deeply embedded in our lives at all levels and there is massive potential for classical music to create change within our society; on a personal level with music therapy for example, but also at a societal level.  My interview with Chi-chi Nwanoku, who founded “Chineke!”, Europe’s first majority black and minority ethnic orchestra, highlights this beautifully. 

Chi-chi has broken down barriers and destroyed stereotypes, drawing in younger more diverse audiences, transforming the classical music landscape forever. It is this sort of cutting-edge work that I feature. Certainly there’s no other podcast that showcases world class musicians with a burning sense of social justice. And by the way, the podcast also supports a campaign by Classical Music Magazine to promote mental health in the classical music industry:

https://www.rhinegold.co.uk/classical_music/classical-music-launches-harmony-in-mind-mental-health-campaign/

The Chineke! Chamber Players in part of Schubert's 'Trout' Quintet

JD: Tell us something about your line-up so far. Why have you chosen these particular interviewees? 

CG: Beyond Chi-chi, I interviewed Mark Wigglesworth on the responsibilities of the conductor, both within musical institutions and in society more broadly; Gabriela Montero – Amnesty International’s first Honorary Consul -- on the role of music in promoting human rights; James Rose, the world’s first professional conductor with cerebral palsy on disability and stigma; Julian Lloyd-Webber on universal music education and Dr Cayenna Ponchione-Bailey who recently brought to the UK the Afghan Women’s Orchestra, surely the world’s bravest ensemble, who were attacked by a suicide bomber simply for playing. These are all musicians, passionate about social justice and whose work is ground-breaking and inspirational.  

JD: You’re a musician, but you worked for the UN in the Middle East. Tell us about your path into that - and back from it? What have your experiences there have shown you and what do you hope to do with that knowledge now?

CG: I decided to work with refugees in the Middle East because after 23 years in the BBC writing about social justice, I wanted to go and do it! When you work with people who’ve been robbed of everything – their land, the property, their history – when you work with communities who are forgotten and marginalised, you begin to think deeply about those things that bind us, the common humanity that unites us. You search for and hold tight to those things that can bring joy and a sense of values amid the most terrible loss. Music and all it engenders is one of those things and I hope that each and every edition of the Music Plus Podcast illustrates this in one way or another.

 The Afghan Women's Orchestra perform in Zürich

JD: “Music and politics don’t mix” - your thoughts on this little maxim, please?

CG: It’s demonstrably wrong. We know that music was an integral element of public life in ancient societies and music has been an element of the political order throughout human history; think of Protestant and Catholic music during the Reformation; think of music and nationalism in the nineteenth century; think of the musical conversation between Shostakovich and Stalin! Music has always moulded society and vice versa. 

Moreover, music retreats from society at its peril: it will be condemned to irrelevance. Conversely society is impoverished when music and musicians retreat; they bring so much richness. That’s why I am delighted that classical musicians are re-engaging and why I believe the time is ripe for a podcast that focuses on how classical music is transforming our communities.  

https://www.rhinegold.co.uk/rhinegold-publishing/magazines/classical-music/podcasts/

https://www.rhinegold.co.uk/classical_music/musicplus-gabriela-montero/

"We start with a completely blank slate"

Charlotte Bray
Photo: (c) Nicholas Dawkes

Charlotte Bray's brand-new Triple Concerto, modelled after Beethoven's, is being premiered next week. A triple concerto is such an extraordinary format that one might wonder why there aren't more around. Well, maybe someone needs to commission them...  That someone, on this occasion, is the Investec International Music Festival in Surrey,  for the Sitkovetsky Trio - Alexander Sitkovetsky (violin), Wu Qian (piano) and Isang Enders (cello). I asked Qian, co-artistic director of the festival, to tell us more about the new piece - and about why it is SO important, and rewarding, to commission and perform new music in general. JD

JD: Why did you want to commission a Triple Concerto in particular?

WQ: This is something that we as a trio wanted to do for a long time. Apart from the Beethoven there are very few triple concertos which are in the mainstream repertoire and we wanted to play a small part in rectifying that. Most of the piano trio groups that exist today often perform as soloists with orchestras and so we really hope that this new concerto will be embraced for many years to come by as many musicians as possible. I was also incredibly thrilled when this opportunity came through the Investec International Music Festival. We felt that there was no better way to celebrate our 10th anniversary than by making our first festival commission and we were thrilled when Charlotte Bray accepted to write the new work. As an arts organisation we feel it is our responsibility not only to programme the music of the past, but also make a mark on the future and we are very excited that we have managed to bring this project to life.

Isang Enders plays Charlotte Bray's 'Suya Dalmak' for cello and tape (general rehearsal)

JD: What are the big challenges that this format presents - for performer and composer?

WQ: I think that writing for piano trio is less a challenge and more an opportunity. The possibilities are wonderfully vast because of the different natures of the three instruments and also the dual roles that each one plays in a trio. The piano trio formation is unique because it encourages the players to be both soloists and chamber musicians at the same time. In one moment you must breathe as a singular organism and in another, a leading voice can rise above the others and soar individually. Adding an orchestra to this already very varied colour palette only encourages more textures and opportunities to create a unique sound world, so we are very excited to see what Charlotte has done and can’t wait to hear it ourselves for the first time.

JD: Why did you choose to commission Charlotte Bray? What qualities most attract you to her music?

WQ: Charlotte is someone whom we had thought about for some time as a composer that we would like to work with. Initially we considered to ask her to write a new trio for us, but when the conversation turned to a possible concerto commission, we didn’t hesitate to contact her. We loved her Cello Concerto that was premiered at the BBC Proms and we thought she would be the perfect person to ask. Charlotte has a unique voice amongst today’s composers with a very personal language that we find fascinating.

JD: What role do the performers play in the compositional process? Have you and your trio worked with her on the concerto, made suggestions about matters such as technique, balance, etc?

WQ: We know many musicians that like to be very hands-on with the compositional process, making suggestions and being very specific about what they want the piece to be like. In our case, when we talked to Charlotte about our thoughts for the piece, she came up with a brilliant idea to use tiny cells of Beethoven’s Triple Concerto and to have the piece grow organically out of them. We thought it was a wonderful suggestion to make a link between the two concertos as it almost seems symbolic to have a new triple concerto sprout its roots from the one great Triple Concerto written in the 19th Century. That’s where Charlotte’s idea for the title 'Germinate' came from and we were so happy with it that we left Charlotte to it and tried not to interfere. The only thing that we mentioned was how we wanted to make sure that all of our instruments have a chance to sing, as we want to show the vocal quality of our instruments as well as the rhythmic.

The Sitkovetsky Trio plays the finale of the Ravel Trio at last year's Investec International Music Festival

JD: In what way is performing brand-new music different from performing standard repertoire? What are typically the different challenges and rewards for you as performers? 

WQ: Well, most importantly, we have a direct line to the composer where we can ask exactly what he or she had in mind in places where you are not sure about something. That is an incredible advantage. You can’t imagine how much time is spent in rehearsals discussing whether Schubert wrote an accent or an diminuendo, or the flexibility of Brahms’ tempos, which have always been a talking point. Also, there is the possibility for working through and possibly making changes if something is not working practically, or if something doesn’t sound as convincing as it should be. And, of course, bringing the piece to life for the first time is simultaneously the hardest challenge and the biggest reward. We start with a completely blank slate, no recordings to be influenced by, no “traditions” to observe or at least contemplate: just the musicians doing their best to give the most convincing interpretation possible.

JD: What would you say to those people who are still scared of contemporary music about why it’s important to keep commissioning new works?

WQ: I have found from experience that if you are performing for an audience who have never heard classical music before, very often a piece of extremely contemporary music might touch and connect with them more than a work of Mozart or Beethoven, so this just shows hoe powerful the impact of new music can be. Sometimes one feels that the experienced public comes to the concert already prepared to love Beethoven because they know how it sounds, so they are excited to hear a masterpiece that they already know. At the same time, they might be a little apprehensive about an unknown work that they haven't heard before. I would say: leave any preconceptions at the door and just listen to the piece as if you are hearing music for the first time. Whether you are moved and excited, or completely unfulfilled, at least you give the piece a fair try. 

The audience's role in the life of a new piece cannot be underestimated and, as we have already talked about, it is extremely important to commission new works. That is how we can secure music’s legacy for the next 300 years. So many musicians over the last 100 years have contributed to the incredible growth of repertoire that is now considered standard and mainstream and we must help that continue. At the same time, a new piece needs the chance for many performances, not just one, so this is something that I feel is extremely important to cultivate: a relationship between the artists, composers and concert hall promoters to continue to support the piece after the first performance so that it has a long life! That is the only way that the piece will end up in the mainstream repertoire.

Investec International Music Festival website: http://iimf.co.uk/

Curveball

It's Groundhog Day: everyone is dissing the Proms. Every year the same thing happens: the niche interests complain that their particular Thing isn't there, or is not there enough, there aren't ever enough women composers or conductors or musical figureheads of colour, and there'll be a couple of not-strictly-classical concerts to which the reactionaries, er, react. There is a lot of standard fare from decent orchestras, with famous pieces; some see this as padding, others might recognise that tickets have to be sold now and then.

Dissing the Proms is a sort of annual tradition, like cheese-racing or dancing round the maypole. We don't wholly interrogate the deeper reasons for why we're doing it, or what the context really is, or what the realities might be of programming a magnificent summer of concerts that truly can please everybody (i.e., there goes another of those flying pigs over Kensington Gardens). The fact is that we simply don't know how lucky we are to have them. And in the meantime, our eye is off the ball. The ball is: what happens the rest of the year. Beside this, the Proms measure up very, very well.

Here's a bit of context by way of a curveball. I've just looked through next season's programmes for the LPO, Philharmonia  and LSO to see what they're doing, or not, in the department of female conductors and composers. (Disclaimer: I haven't been through the seasons of every single orchestra in the country because I don't have time and neither do you, and we already know about wonderful Mirga in Birmingham. I've chosen these three orchestras because they are the capital's chief musical flagships.)

The LPO has ONE (1) piece by a woman in the ENTIRETY of its London season 19-20. It is by Kaija Saariaho. They have TWO (2) female conductors - Marin Alsop and Susanna Mälkki.

The Philharmonia is doing very slightly better. It is having THREE (3) concerts featuring composers who happen to be female: Lili Boulanger, Helena Tulve and Augusta Read Thomas, with a whole programme of the Music of Today series devoted to the last of these. There are FOUR (4) female conductors: Elim Chan, Shi-Yeon Sung, Xian Zhang and Joana Carneiro. Lili Boulanger is the only deceased woman composer being played by a top London orchestra next season.

The LSO is including pieces by THREE (3) composers who are female: Emily Howard, Elizabeth Ogonek and Kaija Saariaho. Among conductors, they score more highly, with FIVE (5) - yes, that many. We encounter Nathalie Stutzman, Elim Chan, Karina Canellakis and Susanna Mälkki, plus Emmanuelle Haïm conducting a baroque chamber orchestra incarnation at Milton Court.

And believe it or not, this lamentable total from the lot of them is progress. I hate to say it, but had we not been making such a fuss these past years, even such extraordinarily pathetic paucity of recognition for the talents of musicians who happen to be women would not now be taking place at all. Beside this, the Proms look positively angelic.

Susanna Mälkki conducts the Berlin Philharmonic in Sibelius 2:


I have not even touched upon the matter of BAME representation. The LPO has Ravi Shankar's opera, which is nice, and Sheku Kanneh-Mason is playing Elgar with them. The LSO is having a Gospel concert and is also welcoming Wynton Marsalis. Otherwise: ?

Here's a little anecdote about unconscious bias. On Monday night I went to Chineke's concert for Stephen Lawrence Day. They played, among other things, the beautiful Elegy: In Memoriam Stephen Lawrence by the black British composer Philip Herbert, in which 18 string players each represent a year of the murdered teenager's life. It is profoundly moving and in terms of style sounds a little bit like Barber's Adagio, but a lot more like Vaughan Williams. And what is the unconscious bias? It is that this surprised me. I discovered that I had not expected it to sound so English. And I was not pleased with my own expectations. I learned something. The trouble with unconscious biases is that they are unconscious. You don't know they're happening to you until one of them trips you up. I thought I was aware, or "woke" or whatever you want to call it. Was I heck. If this can happen to me, it can happen to you too, and it needs to happen to some musical decision-makers who were not at this concert.

Here's a performance of it from one of their earlier concerts:



The LPO and Philharmonia are both due new principal conductors in the early years of the next decade when their admirable, long-serving ones - Vladimir Jurowski and Esa-Pekka Salonen - move on to pastures new. These matters depend on circumstance, availability, money and much else. We'll all have our own views on who it ought to be. I can think of at least one person who should be under consideration, indeed who should be pursued around the world from Helsinki to California until she is persuaded. I have not the slightest idea who will actually be chosen and I am not party to any discussions at either orchestra. However, I am half tempted to go to a bookmaker's and put money on at least one of these two high-profile appointments being a British man (white) educated at public school and Cambridge. This is not a criticism per se, because he might be musically excellent, he might a totally lovely person whom everyone there adores, he might be an eloquent figurehead for the organisation and in the grand scheme of things he might indeed be a superb appointment. But why should it be so simple to guess? It's high time our orchestras started to be at least a little bit braver.

If the Proms can programme ten female historical composers, and moreover the splendid Chineke can go to the trouble of unearthing music by Avril Coleridge-Taylor (daughter of Samuel) and finding that it is really, really good (which it is - they played her Sussex Landscapes on Monday and it was wonderful, gorgeously orchestrated, rather Pucciniesque), then you'd think the bigger, better resourced orchestras could do likewise. And if it is still impossible for one of the UK capital's top orchestras to consider appointing a woman as principal conductor, then it's time for some very serious thought about who is doing what, how and why.

News came through recently from the ACE that they are planning to fund not quality, but relevance. Not the greatest prospect, admittedly - relevant to what, and for whom, and who decides? - but this may in the end force the issue. And the issue has to be forced, or else it will never move at all.

Festival of Sunshine

One of my highlights of 2018 was my trip to the Australian Festival of Chamber Music in Townsville, Far North Queensland. The pianist Kathryn Stott was in her first year as artistic director and we all had a ball: an absolute bonanza of music, companionship, sunshine, palm trees, whale-watching and seriously amazing seafood. But a few months later, parts of Townsville were devastated by floods. As AFCM gears up again towards the 2019 festival, I spoke to Kathy about what happened and how AFCM can help to make Townsville shine again.

How are things in Townsville after the floods? 

The floods were terrible. On the surface now you don’t see much sign of it - on the Strand the lovely palm trees are still there and everything looks OK, but someone told me that more than 2000 homes have been condemned. There were several deaths, and I know of some people who were ill with a “flood disease”. And one person said they weren’t frightened of floods, but of being eaten by a crocodile. It’s important that people know it’s been serious, because once it is no longer in the news it’s quickly forgotten, but some people have really been struggling. 

The festival brings about AUS$8m into the economy and my dream now for the festival is that we will put Townsville on the map again for positive reasons. There’s a hashtag, #TownsvilleShines - you often see it on social media: it needs to shine again. People have really been through the mill. Among our volunteers everybody had a story or knew someone who had lost everything… I’ve never before been so close to people who’ve been involved in a disaster like that, and you just want to bring some positive news. What better way than music, and bringing people to Townsville to support it?

 

Kathryn Stott on the Strand at Townsville

Now that you’ve got your feet under the AFCM, desk, what have you learned, how do you feel about last year and how do you want to build on last year’s festival? 

The AFCM takes up more than half my life. I was totally thrilled with last year’s - I couldn’t have hoped for it to go any better. There’s some trepidation coming into a scenario like that, especially with someone like Piers Lane as my predecessor, who’d been there for so long. People get used to things and it’s an extremely loyal audience - so if you throw in any curveballs, you never quite know how they’re going to come off. 

What thrilled me was that after two days I was relaxed, I knew it was going well and audience members started coming up to me to say they were enjoying themselves. But actually the support of the musicians I had was amazing. They all knew that it was my first festival and it was important to get it right. And the way they bonded together was beyond belief. It’s nice now to see some of them working together, having met there for the first time: some new musical relationships have been established. 

I learned that I don’t want to play as much as I did. I probably will still end up playing too much, but I did learn my lesson! Nothing went wrong, but I was exhausted by the end. And you realise what has to happen to make this festival work - I was staggered to see how many hours the volunteers put in, and to understand what people are giving up in order for us to do what we do. Of course there are always lessons to be learned, but all in all I was super-happy with it.

What do you have in store for your audience this year?

It’s a wonderful spread of pieces from the 13^thcentury to the present day, and it’s fairly full-on! There are some really unusual flavours, which is what I enjoy most - I don’t want it to be what you can hear everywhere else. One person came up to me and said: ‘Thank you for programming some music we just never hear’! 

We are trying to bring over artists who are extraordinarily versatile and bring something special to the festival’s big table. For instance, the 13^th-century reference involves our harpist, Ruth Wall. We’ve borrowed a concert harp for her - we found one in Townsville, incredibly the same make that she uses - but I also wanted her to play some small harps: a bray harp and a lever wire-strung harp and we’re flying them over; she’ll be able to do extra things in the festival because they’re easy to move around. She’ll play music from the 13^thcentury to a piece by Graham Fitkin, who’s her partner, for harp and quartet, with the Goldner String Quartet. And you might find her playing Goldfrapp or some trendy band… 

Then we have Roberto Carillo-Garcia: he’s principal double bass in the Halle but also plays the gamba and the guitar, so he will definitely be the most overworked person in the festival! He’s coming over with his wife Rachael Clegg, who’s a fantastic oboist. There’s Wu Man, the amazing Pipa player, who is bringing an amazing piece by Tan Dun, among much else. The violinist Liza Ferschtman is coming from Holland - usually she’s busy running her own Delft Festival in July and August, but fortunately this year she’s taken a sabbatical. From London we have the pianist Charles Owen, who I think will have a good time here, and we have a number of Australian artists including Arcadia Winds and both the Goldner and the Australian String Quartets and the brilliant young Australian mezzo-soprano Lotte Betts-Dean has taken on a very wide range of different repertoire. That’s just to name a few! (Full list of artists here.)

 Are you having a festival “theme”?

Themes are tricky because you can get boxed in quite easily; it’s difficult to sustain a theme over 30 events and suit everybody. Still, I’ve come up with the theme of ‘Origins’ - which means lots of different things in this context. Some things are obvious, such as nationalistic music like Janácek and Smetana, Dvorák Slavonic Dances, Liszt Hungarian Rhapsodies and so on. Themes and variations are next, since the theme is the origin of the variations. Then there’s music that’s been transcribed; and quite a few pieces with fascinating stories behind them. A colleague suggested the Vierne Piano Quintet: his son, Jacques, was executed at 17 after things went badly wrong in World War I, and he wrote this as a result. 

There’s also a mini theme of piano trios, including a few blockbusters - Tchaikovsky’s trio written in response to Nikolai Rubinstein’s death, and Rachmaninov’s in response to Tchaikovsky’s death. Alongside these are some mini-trios, with a twist: Tori de Clare is a thriller writer and she’s created a story to link several of these - Schubert, Sibelius, etc - in real time; so we’ll start at 9.30 at night, someone will narrate the story, it will be interspersed with the music and should finish exactly on 10.30 - so hopefully no one will break a string or want to retune… 

All in all, there’s an interesting mix of artists who know each other and some who don’t, some who are making their festival debuts and some who’ve never been to Australia before. You can never predict exactly how it will turn out, but I’m happy with the way it looks. I’ve listened to every piece and I think I’ve got the right combination of people playing the right works. You can’t do much more than that! 

Last year I loved the Winterschool and the family events - more of these, I hope?

The family concerts might look predictable at first glance, with Poulenc’s Babar the Elephant, which I totally adore, and Stravinsky’s Firebird, which Ashley Wass and Matthew Trusler have arranged. But both will involve extensive community activities, so we’ll have interactive visuals and we’ve got people building sets, local dance schools are involved, and there are some little actors. It’s nice to build up this side of the activities, otherwise it’s just piano and narrator - I want more going on! The Winterschool is going from strength to strength and the fantastic Pavel Fischer is in charge once more.

Who’s this year’s composer in residence?

In the past they’ve been well-established, names everyone knows in Australia and further afield. But last year the percussionist Claire Edwards brought a piece by a young composer called Connor D’Netto, who came to London to do his Masters. I went to meet him – and I thought let’s have a change and invite a young, emerging composer. He had to have enough material, though - so we’ve got him a commission to write a quartet for the Goldners. I’ve just been working on a piece called Tracesfor cello and piano, which is difficult but I’m really enjoying it, and there’s a piece for viola and electronics; about five pieces through which we will hear how his style is moving and developing. Purely by chance he’s from Brisbane, so people in Townsville are thrilled that he’s a Queensland boy.

I see you’ve broadened out the baroque evening?

We’re having two baroque concerts. The first is Baroque around the Clock, in which a Dowland song rubs shoulders with Thomas Adès’s Darkness Visible which is based on it, and a piece by Ligeti in is amongst everything: it’s a real mixture of eras, but all based on baroque themes. Then the evening features Vivaldi concertos with ensembles made from the Goldner and Australian String Quartets. We’ve got a harpsichord this year and Roberto on his gamba, so that all worked out, and there’s some Monteverdi - and for Bach fans, the Italian Concerto.

You’ve recently been in Australia, promoting this year’s festival. How did it go? 

It was a whirlwind! This was my first-ever publicity tour, and I did 11 flights, six cities and one interview after another. No concerts, though, because I’m on my concert sabbatical. I played five minutes here and there with someone else, but that’s literally all since the end of August. That’s why my social media posts recently have all been about my spaniel, Archie. 

Last but by no means least, how have you enjoyed your sabbatical?

It’s been really good, because usually the need to practise is something that hangs over me all the time. So for a few months I didn’t touch the piano. I closed the lid and thought “if I want it, it’s there…” - but actually I’ve been quite happy. I started slowly again after Christmas, and now there’ll be a build-up...

Booking for the 2019 Australian Festival of Chamber Music is now OPEN and full details are here.

Notre Dame: an organic tribute

UPDATED, 2pm: Miraculous news indeed from Paris: the great organ is UNTOUCHED. It is unusable because of soot and dust, but it is structurally intact. From Europe 1:

Laurent Prades, régisseur du patrimoine intérieur de Notre-Dame de Paris, a passé la nuit à sortir des œuvres de la cathédrale pour les sauver des flammes. Sur Europe 1, il rassure quant à l'état des orgues.EXCLUSIFSous la toiture éventrée de Notre-Dame de Paris reposaient des centaines d'œuvres magistrales, historiques, inestimables. Dans quel état sont-elles aujourd'hui, après le terrible incendie qui a dévasté lundi soir la cathédrale ? Et notamment l'immense orgue principal, dont certains tuyaux dataient du 15ème siècle. En exclusivité sur Europe 1 mardi, Laurent Prades, régisseur du patrimoine intérieur de Notre-Dame de Paris, a apporté des informations rassurantes.
"Pas une goutte d'eau". "Le grand orgue n'a absolument pas été touché, si ce n'est qu'il est très empoussiéré. Mais il n'a pas pris une seule goutte d'eau. Il a pris de la suie et de la poussière, donc il est totalement inutilisable. Mais rien n'a brûlé, rien n'a fondu",assure-t-il à Europe 1. Quant au deuxième orgue, utilisé quotidiennement et situé dans le chœur, "il a été copieusement arrosé (par les lances à incendie), mais c'était pour préserver les stalles du 18ème siècle (les rangées de sièges, liés les uns aux autres et alignés le long des murs du chœur de la cathédrale, ndlr) qui sont juste en dessous."

The musical legacy of Notre Dame de Paris extends back as far as the history of music itself. That the cathedral is still standing at all after yesterday's inferno seems little short of miraculous - though of course it is actually thanks to the tireless efforts of the city's firefighters: four hundred of them risked their lives during this task and one has been seriously injured.

Notre Dame's Cavaillé-Coll organ was inaugurated in 1868 and built using pipes from the previous instrument - which originates far earlier than the French Revolution, from which it bears some scars. Indeed, early mentions of the organ go back to 1357, and François Thierry constructed a new one in 1730-33, which was then renovated and extended by Cliquot in the 1780s before Cavaillé-Coll transformed it 80 years later. Successive restorations and reworkings have taken place across the intervening years, translating the instrument's power according to the capabilities of modern technology; most recently, in 2010-14, Bertrand Cattiaux and Pascal Quoirin gave it an overhaul which included a new computer traction. It still has 33 pipes from the pre-Revolution instrument and around 50 by Cavaillé-Coll.

In tribute, here it is, played by its current organist Olivier Latry, in Bach's Passacaglia and Fugue in C minor.



You can see a fascinating film about the organ featuring Latry, at this link.

This article has been revised since this morning, following the revelation of the good news about the organ.

(Photo above from Wikipedia)