Murray, M. (1998). French masters of the organ. London: Yale University Press.

Murray, himself an organist, undertakes to write a comprehensive survey of the French masters of the organ, beginning with Camille Saint-Sans and tracing the connections through to Olivier Messiaen. These artists could be classified as part of a Parisian School of organists encompassing the 19th Century and the opening of the 20th century. Murray sought in a single volume a biographical account of these composers, together with a description of their idiom and of the instrument for which they wrote, to help guide the student who wishes to play their music as it was conceived (4). The book is ingeniously laid out. Instead of being strictly chronological, Murray opens with a chapter not of an organist but the master organ builder Aristide Cavaill-Coll whose creations with their innovations, astounding grasp of acoustic design, and unique timbres influenced the players. The remaining chapters, each dedicated to an individual organist, but incorporating the influences and contributions of others when necessary, follow based on a hybrid chronology of birth, style, compositions, and teacher/student relationships. His chapters are as follows: Aristide Cavaill-Coll, Camille Saint-Sans, Csar Franck, Charles-Marie Widor, Louis Vierne, Marcel Dupr, Jean Langlais, and Olivier Messiaen.The early chapters are particularly well-done in regards to stylistic practises, and teacher values. By the end of the work (Olivier Messiaens chapter) information is sparser, and less useful. There is less emphasis on their playing habits, and more extramusical sidelines. It is incredibly useful starting with an organ builder as opposed to an organ player. The chapter on Cavaill-Coll introduces background information crucial to understanding the playing methods of the master organists. For instance, describing the timbres Cavaill-Coll installed and the acoustic properties of the churches helps the readers comprehension of later comments on staccato/legato articulation which varies according to tone, and acoustics of a room. Murray does a thorough job in giving background information and detailed notes on interpretation. He never presumes to lecture from a finite viewpoint, or states that any one given interpretation is correct. He presents a guide to interpretation, and strives to maintain a balanced view, whether through unbiased statements, or incredibly persuasive writing, he manages to convey his findings superbly. He questions why should a composers intention [be] more important than an interpreters? (5). There is artistic merit in ones own interpretation, however it should be thoughtful, not arbitraryit must have a well-defined something to prefer toonly when convinced that we have come as close as we can to fullness of understanding [the composer] can we in good conscience conclude that the composer could have better transmitted meaning by doing thus-and-so and reasonably make a change (6). Innovations in mechanics and instrumentation should not go unused because they were unavailable at the time of a composition, thus cannot be historically accurate to the composers intentions. Murray seeks to give the reader a sense of the influences that impacted the French masters, and how they influenced others in turn so that we might understand the developments the organ (and organ music) has been subject to, and how it is still changing. He is careful to avoid generalizations that could limit the understanding of the students using his book. He warns that in using biography we sometimes forget that traits distinctive in a creator are not necessarily manifest in a work, and vice versa...we tend to affix to works or their makers labels that reflect one characteristic only...if we keep that warning in mind, the generality that Saint-Sans leaned more toward decorum than toward abandon, in both his temperament and art, will not greatly distort truth (44).One very helpful section of the book is, surprisingly, the bibliography. It is not merely a list of resources used, but divided by chapter, written in narrative style. Murray never strays from his goal of providing a comprehensive book for organ students , likewise in his bibliography he points the students to further study with Saint-Sanss pedalling is described inGigout on Saint-Sanss tempos is to be found inthe description of Saint-Sanss duties at the Madeleine (212). Murray has the advantage of having had personal interviews, listening to and being taught by organist/composer Marcel Dupr and Jean Langlais, bringing a unique, well-informed viewpoint to his book.While the narrative style may allow Murray to reach a larger audience, and makes the French masters of the organ accessible to many students, - is it worth sacrificing relevant information? To create a fluid story the author will detour from relevant facts with sidelines on less relevant stories and anecdotes. At times his information is a vague outline which tantalizes the reader; unfortunately Murray does not always delve deep enough, and merely hints at items which would prove very useful if described in more detail. I think overall, he made the right choice in his writing style. He may skim over some specifics, and get sidetracked on occasion, however he has managed to make the life and skills of these French masters an incredibly interesting read. It does not feel like a non-fiction biography, he gives life into dry dates and facts, like no other author I have read.