Marcel Dupre - the culmination of the french symphonic organ tradition

University of Wollongong Research Online University of Wollongong Thesis Collection 1954-2016 University of Wollongong Thesis Collections 2005 Marcel Dupre - the culmination of the french symphonic organ tradition Daniel Michael Dries University of Wollongong Recommended Citation Dries, Daniel Michael, Marcel Dupre - the culmination of the french symphonic organ tradition, PhD thesis, Faculty of Creative Arts, University of Wollongong, 2005. http://ro.uow.edu.au/theses/250 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: research-pubs@uow.edu.au

MARCEL DUPRÉ - THE CULMINATION OF THE FRENCH SYMPHONIC ORGAN TRADITION A thesis submitted in partial fulfilment of the requirements for the award of the degree DOCTOR OF CREATIVE ARTS from the UNIVERSITY OF WOLLONGONG by DANIEL MICHAEL DRIES M.Mus., L.Mus.A., L.T.C.L., A.R.C.M., A.R.C.O., Dip.Ed. FACULTY OF CREATIVE ARTS 2005

Certification I, Daniel M. Dries, declare that this thesis, submitted in partial fulfilment of the requirements for the award of Doctor of Creative Arts, in the Faculty of Creative Arts, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. This document has not been submitted for qualifications at any other academic institution. Daniel M. Dries February 2005 i

Table of Contents List of Figures and Tables v List of Musical Examples vi Abstract x Acknowledgments xii Introduction xiii Chapter 1: Significant influences on Dupré s compositional style and on his development as an organist 1.1 Family and other early influences 1 1.2 Jacques Lemmens 5 1.3 Alexandre Guilmant 7 1.4 Charles-Marie Widor 22 1.5 Widor - Symphony No. 1 - Op. 13: The establishment of the French organ symphony 34 1.5.1 Widor - Symphony No. 1 - Op. 13: I Prélude 36 1.5.2 Widor - Symphony No. 1 - Op. 13: II Allegro 37 1.5.3 Widor - Symphony No. 1 - Op. 13: III Intermezzo 38 1.5.4 Widor - Symphony No. 1 - Op. 13: IV Adagio 39 1.5.5 Widor - Symphony No. 1 - Op. 13: V Marche Pontificale 40 1.5.6 Widor - Symphony No. 1 - Op. 13: VI Méditation 41 1.5.7 Widor - Symphony No. 1 - Op. 13: VII Finale 42 1.6 Albert Schweitzer 43 1.7 Louis Vierne 48 1.8 The influence of the church 60 Chapter 2: Marcel Dupré performer and teacher 2.1 The Liszt of the organ 65 2.2 International organ virtuoso 70 2.2.1 A London debut 73 2.2.2 An organ in a department store 75 2.2.3 Experiments in organ design 80 2.3 The maître of a new generation of organists 84 ii

Section 2: Performance Project Introduction 89 Chapter 3: Marcel Dupré transcriber, author and editor 3.1 A tradition of scholarship 90 3.2 The organ works of the great masters 95 3.2.1 Bach Passacaglia and Thema Fugatum BWV 582 100 3.2.2 Bach Toccata and Fugue in d BWV 538 107 3.2.3 Bach Sinfonia from Cantata 29 Wir danken Dir, Gott 109 3.2.4 Handel Concerto no. 13 in F 113 3.2.5 Schumann Canon in b, Op. 56 116 3.2.6 Franck Pastorale, Op. 19 118 3.2.7 Franck Pièce Héroïque, Op. 19 122 3.3 Works by influential contemporary composers 124 3.3.1 Guilmant Cantilène Pastorale, Op. 15 124 3.3.2 Vierne Carillon de Westminster 126 3.3.3 Vierne Berceuse (sur les paroles classiques) 130 Chapter 4: Marcel Dupré composer 4.1 Dupré Prélude and Fugue in B, Op. 7. No. 1 134 4.2 Dupré Prélude and Fugue in g, Op. 7. No. 3 143 4.3 Dupré Cortège et Litanie, Op. 19, No. 2 151 4.4 Dupré Variation sur un Noël, Op. 20 155 4.5 Dupré Seventy-Nine Chorales for the Organ, Op. 28 168 4.5.1 Dupré Herzlich thut mich verlangen, Op. 28, XXXIII 171 4.5.2 Dupré Heut triumphiret Gottes Sohn, Op. 28, XXXIV 172 4.5.3 Dupré Hilf Gott, dass mir s gelinge, Op. 28, XXXV 173 iii

Chapter 5: Conclusion 174 Appendix: Program notes to accompany the Performance Project 177 Bibliography 185 Discography 192 Compact Disc Recordings 194 iv

List of Figures and Tables Figure 1: La Trinité (Grand Orgue) 14 Figure 2: Alexandre Guilmant 21 Figure 3: Charles-Marie Widor 21 Figure 4: Aristide Cavaillé-Coll 21 Figure 5: Saint-Sulpice (Grand Orgue) 64 Figure 6: Autographed photograph of Marcel Dupré at the console of Saint-Sulpice 64 Figure 7: Dupré at the enlarged Wanamaker Philadelphia Organ 83 Figure 8: Olivier Messiaen 83 Figure 9: Pierre Cochereau at Notre-Dame Cathedral 83 Table 1: Specification of the organ at La Trinité during the tenure of Alexandre Guilmant 15 Table 2: Specification of Guilmant s residence organ (later acquired by Dupré) 81 Table 3: Dupré s editions of eighteenth and nineteenth century organ works 97 Table 4: Registration and dynamic structure of Dupré s edition of BWV 582 102 Table 5: Recital given by Marcel Dupré, Sydney Town Hall, Saturday 5 th August, 1939 109 Table 6: Summary of compositional styles and techniques used in the Seventy-Nine Chorales for the Organ, Op. 28 170 v

List of Musical Examples Chapter 1: 1.1 Guilmant Ave Maria Offertoire pour la fête de l Annonciation mm. 1-13 1.2 Guilmant Vêpres de la fête de Ste Cécile mm. 1-5 1.3 Guilmant Sortie dans le style de Bach mm. 1-6 1.4 Guilmant Sortie dans le style de Bach mm. 43-49 1.5 Widor Symphony No. 1 in C Minor I Prélude mm. 1-10 1.6 Widor Symphony No. 1 in C Minor II Allegro mm. 1-5 1.7 Widor Symphony No. 1 in C Minor III Intermezzo mm. 4-11 1.8 Widor Symphony No. 1 in C Minor IV Adagio mm. 1-4 1.9 Widor Symphony No. 1 in C Minor V Marche Pontificale mm. 1-7 1.10 Widor Symphony No. 1 in C Minor VI Méditation mm. 1-12 1.11 Widor Symphony No. 1 in C Minor VII Finale mm. 14-25 Chapter 3: 3.1 Dupré Méthode d Orgue glissando from black to white note (Pedal) 3.2 Dupré Méthode d Orgue Melodic Minor Thirds (Pedal) 3.3 Bach Passacaglia in C Minor, BWV 582 mm. 1-8 3.4 Bach Passacaglia in C Minor, BWV 582 mm. 137-140 3.5 Bach Passacaglia in C Minor, BWV 582 mm. 79-84 3.6 Bach Passacaglia in C Minor, BWV 582 mm. 113-118 3.7 Bach Passacaglia in C Minor, BWV 582 mm. 119-124 3.8 Dupré Passacaglia et Double Fugue (theme) mm. 1-6 vi

3.9 Bach Toccata in D Minor, BWV 538 mm. 1-10 3.10 Bach Wir danken Dir, Gott, Wir danken Dir, BWV 29 mm. 1-5 3.11 Bach/Dupré Wir danken Dir, Gott, Wir danken Dir, BWV 29 mm. 1-5 3.12 Bach/Dupré Wir danken Dir, Gott, Wir danken Dir, BWV 29 mm. 17-21 3.13 Handel/Dupré Organ Concerto no. 13 in F IV Allegro mm. 1-5 3.14 Handel/Dupré Organ Concerto no. 13 in F I Larghetto mm. 5-9 3.15 Handel/Dupré Organ Concerto no. 13 in F II Allegro mm. 49-58 3.16 Schumann Canon in B minor, Op. 56 mm. 1-6 3.17 Schumann Canon in B minor, Op. 56 mm. 98-104 3.18 Franck Pastorale, Op. 19 mm. 5-10 3.19 Franck Pastorale, Op. 19 mm. 41-48 3.20 Franck Pastorale, Op. 19 mm. 69-74 3.21 Franck Pièce Héroïque, Op. 19 mm. 1-7 3.22 Franck Pièce Héroïque, Op. 19 mm. 97-103 3.23 Guilmant Cantilène Pastorale, Op. 15 mm. 33-37 3.24 Dupré Pastorale, Op. 27 mm. 1-5 3.25 Vierne Carillon de Westminster mm. 1-8 3.26 Vierne Carillon de Westminster mm. 153-162 3.27 Vierne Berceuse (sur les paroles classiques) mm. 1-4 3.28 Vierne Berceuse (sur les paroles classiques) mm. 41-46 3.29 Dupré Élévation mm. 1-10 vii

Chapter 4: 4.1 Boëly Fantasy and Fugue in B-Flat mm. 1-8 4.2 Dupré Prelude in B, Op. 7, No. 1 mm. 1-9 4.3 Dupré Prelude in B, Op. 7, No. 1 mm. 22-28 4.4 Dupré Prelude in B, Op. 7, No. 1 mm. 96-99 4.5 Dupré Fugue in B, Op. 7, No. 1 mm. 1-10 4.6 Dupré Fugue in B, Op. 7, No. 1 mm. 59-54 4.7 Dupré Prelude in g, Op. 7, No. 3 mm. 1-6 4.8 Dupré Prelude in g, Op. 7, No. 3 mm. 16-23 4.9 Dupré Prelude in g, Op. 7, No. 3 mm. 146-153 4.10 Dupré Fugue in g, Op. 7, No. 3 mm. 1-7 4.11 Dupré Fugue in g, Op. 7, No. 3 mm. 144-157 4.12 Widor Symphony Gothique, Op. 70 III Allegro mm. 1-13 4.13 Dupré Cortège et Litanie, Op. 19, No. 2 mm. 1-6 4.14 Dupré Cortège et Litanie, Op. 19, No. 2 mm. 13-18 4.15 Dupré Cortège et Litanie, Op. 19, No. 2 mm. 47-51 4.16 Dupré Cortège et Litanie, Op. 19, No. 2 mm. 102-105 4.17 Dupré Variations sur un Noël, Op. 20 Theme mm. 16-24 4.18 Dupré Variations sur un Noël, Op. 20 Variation I mm. 1-5 4.19 Dupré Variations sur un Noël, Op. 20 Variation II mm. 1-6 4.20 Dupré Variations sur un Noël, Op. 20 Variation III mm. 1-6 4.21 Dupré Variations sur un Noël, Op. 20 Variation IV mm. 1-6 4.22 Dupré Variations sur un Noël, Op. 20 Variation V mm. 1-2 4.23 Dupré Variations sur un Noël, Op. 20 Variation VI mm. 1-5 4.24 Dupré Variations sur un Noël, Op. 20 Variation VII mm. 30-41 4.25 Dupré Variations sur un Noël, Op. 20 Variation VIII mm. 11-12 4.26 Dupré Variations sur un Noël, Op. 20 Variation IX mm. 1-8 viii

4.27 Dupré Variations sur un Noël, Op. 20 Variation X mm. 1-8 4.28 Dupré Variations sur un Noël, Op. 20 Variation X mm. 58-65 4.29 Dupré Variations sur un Noël, Op. 20 Variation X mm. 74-81 4.30 Dupré Herzlich thut mich verlangen, Op. 28, XXXIII mm. 1-2 4.31 Dupré Heut triumphiret Gottes Sohn, Op. 28, XXXIV mm. 1-4 4.32 Dupré Hilf Gott, dass mir s gelinge, Op. 28, XXXV mm. 1-7 ix

Abstract This study examines the significance of the work of Marcel Dupré in the development of the French Symphonic Organ Tradition. The study focusses on Dupré s work as an organist, composer, transcriber and editor of organ music. The study consists of two parts: a) Performance project: The performance project consisted of four recitals of music composed, transcribed or edited by Dupré. The recitals also included a small number of works by composers who exercised a significant influence on Dupré. The recordings of these live recitals are included with the thesis. b) Thesis: The thesis examines Dupré s early development and primary influences, as well as the general development of the French Symphonic Organ Tradition. The thesis also examines Dupré s career as a liturgical organist, an international virtuoso, and as a teacher of generations of organist/composers. The thesis analyses various aspects of performance and interpretation of the organ works presented in the performance project. x

The thesis documents the influence of Dupré on the development of the French Symphonic Tradition across a number of traditions. It shows that, while there have been many prolific organist/composers associated with the French Symphonic Tradition, Dupré personified the principles of this school more than any organist of his generation. xi

Acknowledgments I wish to gratefully acknowledge the support and guidance of my supervisors, Dr. Stephen Ingham and Mr. Wayne Dixon in the preparation of this thesis. I dedicate this project to the numerous members of my family and friends who have encouraged and supported me for many years. I particularly thank my good friend Lea Richards, whose proofreading and suggestions were invaluable to me. I must also acknowledge my dear friend and mentor, Keith Whitla, whose love of the organ inspired me to dedicate so much time and energy in the pursuit of this noble art. I wish to acknowledge the encouragement of the Choir and Congregation of St. Stephen s Uniting Church, Macquarie Street, Sydney. Their enthusiasm for the organ as a means of praising God has sustained me through a very demanding period. Above all, I must thank my mother, Lynette Dries and my wife, Peta Dries, both of whom have provided limitless support and enthusiasm. Daniel M. Dries xii

Introduction Following the decline of the Classical French School in the early eighteenth century, the standard of organ music in France was generally poor, both in quality and quantity. 1 Described as a secular age in French history, the entire eighteenth and first half of the nineteenth century contributed little to the repertory. The rich liturgical organ tradition developed by composers such as Louis Couperin (1626-1661), François Couperin (1668-1733) and Nicolas de Grigny (1672-1703) was largely abandoned for music that lacked reverence, spirituality and any sense of the church s liturgy. Works heavily influenced by the opera and ballet, as well as patriotic and programmatic improvisations replaced the masses and solemn classical repertoire of the seventeenth century. Compositions were performed during Mass which had no liturgical significance whatsoever. Dances, songs, marches, imitations, patriotic airs, and picturesque improvisations were often played in this anti-ecclesiastical era. Some improvisations depicted canon fire and battles. (Dufourcq, 1949: 110) Similarly, the standard of organ technique in France was extremely poor, especially when compared with that in Germany. The eighteenth-century French organ also did not possess the independent pedal division that was revolutionizing organ music in Germany. 1 Arnold, C. R, Organ Literature: A Comprehensive Survey. Metuchen: The Scarecrow Press, 1973: 132 xiii

After a dormant period of almost one hundred and fifty years, composers such as César Franck (1822-1890) and Camille Saint-Saëns (1835-1921) resurrected organ playing in France. The new school of organ playing and composition bore little resemblance to the French Classical School. However, the works of the classical masters were again revered, and the use of Gregorian chant and other solemn liturgical music provided the inspiration for religious compositions. The work begun by Franck and others was also influenced by the organs of Aristide Cavaillé- Coll (1811-1899), whose powerful and innovative instruments inspired generations of French organist-composers. The organist Marcel Dupré (1886-1971) inherited this new tradition of French Symphonic organ performance and composition. Dupré was able to further develop the standards of this tradition more than any other organist of his generation. Dupré achieved an unprecedented degree of fame as a composer, recitalist, liturgical organist, author and editor. His pupil, Olivier Messiaen, saw fit to describe him as the Liszt of the organ owing to his incredibly multi-faceted career. 1 Dupré himself acknowledged that, in addition to his natural ability, his career benefited from an extraordinary degree of good fortune, as well as the support of family, teachers and patrons. 1 Hommage à Marcel Dupré, Le Courrier Musical de France XXXV (1971): 113, Cited Murray, M, Marcel Dupré, Boston: Northeastern University Press, 1985: 203 xiv

It is also true that the late nineteenth and early twentieth centuries could be described as a golden age for the organ and organ music. The technical developments and innovations at this time allowed the instrument to move into the concert hall, whilst maintaining its role as the chief instrument of the Western church. All of these factors enabled Dupré to develop his art with unsurpassed success. The present study examines Dupré s career as the culmination of the French Symphonic Tradition. Throughout this thesis, the term French Symphonic Tradition refers to the nineteenth and early-twentieth century school of French organ composition and performance. Inspired by the orchestrally imitative organs of Aristide Cavaillé-Coll (1811-1899), this school produced a vast quantity of virtuoso organ music, as well as fostering the development of organ technique in France and beyond. The study is divided into two sections. Section One (Chapters 1 and 2) examines Dupré s primary influences as well an overview of his career as a teacher, recitalist and liturgical organist. Section Two (Chapters 3 and 4) examines repertoire drawn from the many aspects of Dupré s output, including editions and transcriptions, as well as original compositions. The works discussed in Section Two are supported by a performance project. A selection of Dupré s original compositions, organ transcriptions of instrumental works and scholarly editions were performed and recorded in four recitals. Compact disc recordings of the performances also accompany this paper. While xv

the works chosen in no way reflect the vastness of Dupré s output, they are intended to represent a broad cross-section of his work. It should also be noted that the French Symphonic Organ Tradition did not die with Dupré. The characteristics and principles of this tradition were further developed by numerous composers, some of the most notable being Jean Langlais (1907-1991), Olivier Messiaen (1908-1992) and Naji Hakim (b. 1955). However, the present study is intended to demonstrate how Marcel Dupré embodied the ideals and standards of this tradition more than any other organist of his generation. xvi