Pierre Du Mage (1674 – 1751) is among the last representatives of the French classical organ school in the reign of Louis XIV. His wrote two organ books 1708 and 1712, the latter being lost. He did not remain an organist all his life and left this profession for good in 1917 to become a civil servant. HIs small output of merely eight pieces is eclipsed by their sheer quality.
These pieces would have ideally suited the Magnificat where the organ, played from the west end of the church takes the odd numbered verses with the even numbered verses sung in Latin by a group of monks – schola cantorum – in the choir at the east end the church. This practice was called alternatim, hearkening back from ancient Jewish tradition, and was practised also in the Mass. The organ was considered a voice in its own right.
The Fugue is the second movement of this suite of 8 pieces and the Latin text it stands for in the Magnificat is Quia respexit humilitatem ancíllae suae: (for he has regarded the humility of his handmaid). The registration is typical for fugue in the French classical school, namely the Trompette. Here it has been enhanced with the Prestant 4 which helps boost the relatively weak treble of the Trompette.
The organ I am playing is a French Canadian instrument by Létourneau op 22 and built in 1989. It is currently located in my old Jesuit school chapel, St Aloysius College. The organ was originally located in St Joseph’s Basilica, Edmonton, Canada before it was sold to St Aloysius. It was a perfect fit, with only 6 inches from the top of the instrument to the chapel ceiling. In style, it is technically German but serves classical French music well.