César Franck at 200

What do we know about the performance practice of the organ music of César Franck? Is there one correct interpretation? Both Labounsky and  Ferré have studied the complete organ works of César Franck with Jean Langlais at Sainte-Clotilde during the 1960s and provide first-hand accounts of his performance practice. Langlais was part of a continuum of interpretation through his teachers at INJA in Paris, his study with Marchal, and later with Tournemire. This style of interpretation was directly opposed to the Dupré’s style. In what ways did they differ? Was there a common denominator in interpretation in this style? How did the organs affect the interpretation? Other issues include tempi, repeated notes, registration, acoustics, adapting to American organs, levels of musical and technical difficulty, editions, recordings, and errata in the scores. Participants will receive handouts with historical background, errata, and how Franck composed.