ORPHA OCHSE, Professor Emerita of Music at Whittier College, is author of The History of the Organ in the United States (another Indiana University Press paperback). She is well known as a teacher, church musician, recitalist, and lecturer.

"Highly recommended ... the story of a remarkable renaissance." -Choice "Orpha Ochse has ... concentrated more on the personalities, the institutions, or the relations between the Church and its employees than on the music itself. The choice is perfectly justifiable, and one simply must recommend this highly coherent and well-illustrated book... --L'Orgue "Even the well-informed reader will find a number of surprises. Who knows, for example, that Fryderyk Chopin played the organ for a funeral service and that Lefebrure-Wely, in turn, played the great pianist and composer's Preludes for his funeral at the Madeleine? The abundance of details, we should add, does nothing to obscure the architectural clarity of this book." --Ton van Eck in La Flute harmonique "Now Ms. Ochse has succeeded in producing still another landmark work... Although the work is extraordinarily well documented, the prose retains a narrative quality througout, at times even taking on the character of good storytelling." --Agnes Armstrong in The American Organist "This book is a success story from beginning to end, both from the point of view of the subject matter ... and in the manner of its presentation." --James B. Hartman in The Diapason " ... in Organists and Organ Playing in Nineteenth-Century France and Belgium, the American musicoligist Orpha Ochse provides not just an authoritative and thorough survey of the period, ... but also shows how the changing fortunes of organists and their newly built instruments relfected the social and political upheavals of the time... an absorbing achievement."--Times Literary Supplement, 26 April, 02

• PrefaceAcknowledgmentsI. Prelude: Music for a RevolutionPart One: Performers and ProgramsII. In the Wake of the Storm: 1800-1809III. Years of Rebuilding: 1810-29IV. The Romantic Dawn: The 1830sV. Contrasts, Conflicts, and Conquests: The 1840sVI. Mid-Century Masters and Their ProgramsVII. New Horizons: The 1860sVIII. Tragedy to Triumph: The 1870sIX. Renaissance Achieved: The 1880sX. Years of Fulfillment: The 1890sPart Two: The Organist as Church MuscianXI. Historical BackgroundXII. Organ and LiturgyXIII. Notes on the RepertoirePart Three: Great Schools and Famous TeachersXIV. The Paris Conservatory Organ Class: Sejan to FranckXV. The Brussels Conservatory Organ Class: Fetis to MaillyXVI. Lemmens, a Closer LookXVII. Widor as TeacherXVIII.Guilmant as TeacherXIX. The Niedermeyer SchoolXX. Organ Study at the Niedermeyer and Gigout SchoolsXXI. The Schola CantorumXXII. PostludeAppendix A. Organ Performers by Cesar FranckAppendix B. Students in Franck's Organ ClassAppendix C. Oragan Performers by Camille Saint-SaensBibliographyNotesIndex

ORPHA OCHSE, Professor Emerita of Music at Whittier College, is author of The History of the Organ in the United States (another Indiana University Press paperback). She is well known as a teacher, church musician, recitalist, and lecturer.

"Highly recommended ... the story of a remarkable renaissance." -Choice "Orpha Ochse has ... concentrated more on the personalities, the institutions, or the relations between the Church and its employees than on the music itself. The choice is perfectly justifiable, and one simply must recommend this highly coherent and well-illustrated book... --L'Orgue "Even the well-informed reader will find a number of surprises. Who knows, for example, that Fryderyk Chopin played the organ for a funeral service and that Lefebrure-Wely, in turn, played the great pianist and composer's Preludes for his funeral at the Madeleine? The abundance of details, we should add, does nothing to obscure the architectural clarity of this book." --Ton van Eck in La Flute harmonique "Now Ms. Ochse has succeeded in producing still another landmark work... Although the work is extraordinarily well documented, the prose retains a narrative quality througout, at times even taking on the character of good storytelling." --Agnes Armstrong in The American Organist "This book is a success story from beginning to end, both from the point of view of the subject matter ... and in the manner of its presentation." --James B. Hartman in The Diapason " ... in Organists and Organ Playing in Nineteenth-Century France and Belgium, the American musicoligist Orpha Ochse provides not just an authoritative and thorough survey of the period, ... but also shows how the changing fortunes of organists and their newly built instruments relfected the social and political upheavals of the time... an absorbing achievement."--Times Literary Supplement, 26 April, 02

• PrefaceAcknowledgmentsI. Prelude: Music for a RevolutionPart One: Performers and ProgramsII. In the Wake of the Storm: 1800-1809III. Years of Rebuilding: 1810-29IV. The Romantic Dawn: The 1830sV. Contrasts, Conflicts, and Conquests: The 1840sVI. Mid-Century Masters and Their ProgramsVII. New Horizons: The 1860sVIII. Tragedy to Triumph: The 1870sIX. Renaissance Achieved: The 1880sX. Years of Fulfillment: The 1890sPart Two: The Organist as Church MuscianXI. Historical BackgroundXII. Organ and LiturgyXIII. Notes on the RepertoirePart Three: Great Schools and Famous TeachersXIV. The Paris Conservatory Organ Class: Sejan to FranckXV. The Brussels Conservatory Organ Class: Fetis to MaillyXVI. Lemmens, a Closer LookXVII. Widor as TeacherXVIII.Guilmant as TeacherXIX. The Niedermeyer SchoolXX. Organ Study at the Niedermeyer and Gigout SchoolsXXI. The Schola CantorumXXII. PostludeAppendix A. Organ Performers by Cesar FranckAppendix B. Students in Franck's Organ ClassAppendix C. Oragan Performers by Camille Saint-SaensBibliographyNotesIndex

ORPHA OCHSE, Professor Emerita of Music at Whittier College, is author of The History of the Organ in the United States (another Indiana University Press paperback). She is well known as a teacher, church musician, recitalist, and lecturer.

"Highly recommended ... the story of a remarkable renaissance." -Choice "Orpha Ochse has ... concentrated more on the personalities, the institutions, or the relations between the Church and its employees than on the music itself. The choice is perfectly justifiable, and one simply must recommend this highly coherent and well-illustrated book... --L'Orgue "Even the well-informed reader will find a number of surprises. Who knows, for example, that Fryderyk Chopin played the organ for a funeral service and that Lefebrure-Wely, in turn, played the great pianist and composer's Preludes for his funeral at the Madeleine? The abundance of details, we should add, does nothing to obscure the architectural clarity of this book." --Ton van Eck in La Flute harmonique "Now Ms. Ochse has succeeded in producing still another landmark work... Although the work is extraordinarily well documented, the prose retains a narrative quality througout, at times even taking on the character of good storytelling." --Agnes Armstrong in The American Organist "This book is a success story from beginning to end, both from the point of view of the subject matter ... and in the manner of its presentation." --James B. Hartman in The Diapason " ... in Organists and Organ Playing in Nineteenth-Century France and Belgium, the American musicoligist Orpha Ochse provides not just an authoritative and thorough survey of the period, ... but also shows how the changing fortunes of organists and their newly built instruments relfected the social and political upheavals of the time... an absorbing achievement."--Times Literary Supplement, 26 April, 02

• PrefaceAcknowledgmentsI. Prelude: Music for a RevolutionPart One: Performers and ProgramsII. In the Wake of the Storm: 1800-1809III. Years of Rebuilding: 1810-29IV. The Romantic Dawn: The 1830sV. Contrasts, Conflicts, and Conquests: The 1840sVI. Mid-Century Masters and Their ProgramsVII. New Horizons: The 1860sVIII. Tragedy to Triumph: The 1870sIX. Renaissance Achieved: The 1880sX. Years of Fulfillment: The 1890sPart Two: The Organist as Church MuscianXI. Historical BackgroundXII. Organ and LiturgyXIII. Notes on the RepertoirePart Three: Great Schools and Famous TeachersXIV. The Paris Conservatory Organ Class: Sejan to FranckXV. The Brussels Conservatory Organ Class: Fetis to MaillyXVI. Lemmens, a Closer LookXVII. Widor as TeacherXVIII.Guilmant as TeacherXIX. The Niedermeyer SchoolXX. Organ Study at the Niedermeyer and Gigout SchoolsXXI. The Schola CantorumXXII. PostludeAppendix A. Organ Performers by Cesar FranckAppendix B. Students in Franck's Organ ClassAppendix C. Oragan Performers by Camille Saint-SaensBibliographyNotesIndex