Biography
Grigny, working as both organist and composer, introduced no novel structural forms to the genre in question. He nevertheless enriched its repertoire considerably. The organ works he produced imposed formidable technical requirements on performers, among them mastery of virtuosic pedal passages and the capacity to execute five-voice fugues. Realizing such textures called for an instrument fitted with two manuals and a pedal division, together with a player able to command the full compass. Grigny exploited every available registration to create striking timbral contrasts within the dialogues and fugues. Even when handling material outside those specific genres, he integrated fugal procedures and dialogic textures into his organ writing. The resulting compositions are notable for their density, intricacy, dramatic force, and profuse ornamentation. In 1697 he received the post of organist at Rheims Cathedral. While serving there he assembled nine collections comprising mass movements and hymns. The Mass itself rests on a plainsong cantus firmus that he elaborated in fugal style. The remaining movements dispense with fugue and adopt the established patterns of duos, trios, and recitatives.