37 //B/J - UNT Digital Library/67531/metadc330911/m2/1/high_re… · 37 //B/J GREGORIAN CHANT IN THE ORGAN SYMPHONIES OF WIDOR AND DUPR^, A LECTURE RECITAL, TOGETHER WITH THREE RECITALS

37 //B/J

GREGORIAN CHANT IN THE ORGAN SYMPHONIES OF WIDOR AND DUPR^,

A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED

WORKS OF J. S. BACH, S. BARBER, A. BRUCKNER, F. COUPERIN,

M. DUPR^, M. DURUFLI§, C. FRANCK, W. A. MOZART,

0. MESSIAEN, J. PACHELBEL, M. REGER,

AND OTHERS

DISSERTATION

Presented to the Graduate Council of the

North Texas State University in Partial

Fulfillment of the Requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

By

Paul Lindsley Thomas, B.A., B.M., M.M.

Denton, Texas

May, 1979

© 1979

PAUL LINDSLEY THOMAS

ALL RIGHTS RESERVED

Thomas, Paul Lindsley, Gregorian Chant in the Organ

Symphonies of Widor and Pupre, A Lecture Recital, Together

with Three Recitals of Selected Works of J. S. Bach, S.

Barber, A. Bruckner, F. Couperin, M. Dupr^, M. Durufid, C.

Franck, W. A. Mozart, 0. Messiaen, J. Pachelbel, M. Reger,

and Others. Doctor of Musical Arts (Organ Performance), May,

1979, 54 pp., bibliography, 54 titles.

The lecture recital was given on November 20, 1979. The

final movement of Widor's Symphonie Gothique, opus 70, the

first movement of Widor's Symphonie Romane, opus 73, and the

first movement of Dupr^'s Symphonie-Passion, opus 23 were per-

formed following a lecture on Gregorian Chant in the organ

symphonies of Widor and Dupr^. The lecture included a brief

historical discussion of the decline of organ literature fol-

lowing the French Classical School, the development of the

Modern French Organ School beginning with the establishment

of the organ department at the Paris Conservatory, the revival

of plainsong and the establishment of the School of Solesmes,

and the influence of C^sar Franck and the organ symphony.

The main body of the lecture included biographical sketches

of Widor and Dupr^, a discussion of the general characteristics

of their organ symphonies, with the emphasis upon those move-

ments specifically employing the use of Gregorian chant.

In addition to the lecture recital, three other public

recitals were performed, two of which consisted of solo com-

positions for the organ, while a third program included works

for organ and orchestra in which the performer was assisted

by Dr. George Morey, who conducted the ensemble of Dallas

Symphony players.

The first solo recital, including works of Bach, Mozart,

Bruckner, Reger, Franck, Vierne, and Dupre/, was performed on

May 12, 1970.

On September 30, 1973 a program was performed which

included three organ solo works by Couperin, Durufld', and

Messiaen, and three works for organ and orchestral ensemble

by Piston, Thomas, and Barber.

The third recital consisted of solo works for organ by

Sweelinck, Pachelbel, J. S. Bach, Reger, Raphael, Thomas, and

Sokola, and was performed on October 25, 1976.

The four programs were recorded on magnetic tape and are

filed with the written version of the lecture material as a

part of the dissertation.

Tape recordings of all performances submitted

as dissertation requirements are on deposit in the

North Texas State University Library.

1X1

NORTH TEXAS STATE UNIVERSITY SCHOOL OF MUSIC

presents

PAUL LINDSLEY THOMAS in

Graduate Organ Recital

Tuesday, May 12, 1970 8:15 p.m. Main Auditorium

PROGRAM

Prelude and Fugue in C minor (S. 546) Johann Sebastian Bach (1685-1750)

Fantasy in F minor (K. 594) Wolfgang Amadeus Mozart (1756-1791)

Adagio-Allegro-Adagio

Prelude in C Anton Bruckner (1824-1896)

Introduction and Passacaglia, from Monologe, Opus 63 Max Reger (1873-1916)

INTERMISSION

Prelude, Fugue and Variation, Opus 18 Cesar Franck (1822-1890)

Scherzo, from Symphony II, Opus 20 Louis Vierne (1870-1937)

Variations on a Noel, Opus 20 Marcel Dupre (1886- )

Presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts

XV


and

SAINT MICHAEL AND ALL ANGELS EPISCOPAL CHURCH

present


Graduate Orân Recital assisted by

Dr. George Morey, Conductor

Members of the Dallas Symphony

SUNDAY, SEPTEMBER 30, 1973 - 8:15 P.M. - CHURCH

P R O G R A M

Messe Solemnelle a lusage des Paroisses Francois Couperin b (1668-1733)

Kyrie I Plein Chant du premiere Kyrie, en taille

II Fugue sur les jeux d'anches III Recit de Chromhorne IV Dialogue sur la Trompette et le Chromhorne V Plein Chant

Prelude et Fugue sur le nom d'Alain, Op. 7 Maurice Durufle (b. 1902)

La Nativite du Seigneur Olivier Messiaen (b. 1908)

I Desseins Etemels II Dieu parmi nous

I N T E R M I S S I O N

Prelude and Allegro for Organ and Strings Walter Piston (b. 1894)

Arioso for Organ and Strings, Opus 7 Paul Lindsley Thomas (b. 1929)

Toccata Festiva for Organ and Orchestra, Opus 36 Samuel Barber (b. 1910)


V


presents


Graduate Organ Recital

Monday, October 25,1976 - 8:15 p.m. - Recital Hall

PROGRAM

Toccata in a (L. 24) Jan Pieterszoon Sweelinck

(1562-1621)

Fantasia Chromatica Jan Pieterszoon Sweelinck

Choral Partita: Was Gott tut, das ist wohlgetan" Johann Pachelbel (1653-1706)

Trio Sonata V in C (S. 529) J. S. Bach (1685-1750)

I Allegro II Largo

III Allegro INTERMISSION

Fantasia and Fugue in D minor, Opus 135b Max Reger (1873-1916)

Orgelchorale, Opus 37 Gunter Raphael (1903-1960)

I Herzliebster Jesu II Jesu meine Freude

Christmas Diptych, Opus 6 Paul Lindsley Thomas (b. 1929)

I Divinum Mysterium II Greensleeves

Passacaglia quasi Toccata na Tema B-A-C-H MilosSokola (b. -1913)


V I


presents

Paul Lindsley Thomas, organist in a

Graduate Lecture Recital Monday, November 20,1978—8:15 p.m.—Main Auditorium

GREGORIAN CHANT IN THE ORGAN SYMPHONIES OF WIDOR AND DUPRfi

Symphonie Gothique, opus 70 Charles-Marie Widor (1844-1937)

Final Movement: Moderate Allegro Moderato Andante Allegro

Symphonie Romane, opus 73 Charles-Marie Widor First Movement: Moderato

Symphonie - Passion, opus 23 Marcel Dupre (1886-1971)

First Movement: Allegro agitato, ma non troppo vivo "Le Monde dans l'attente du Sauveur"


VI l

TABLE OF CONTENTS

Page

Performance Programs

FIRST SOLO RECITAL i v

SECOND SOLO RECITAL . . . . v

THIRD SOLO RECITAL v i

LECTURE RECITAL v i i

LIST OF ILLUSTRATIONS i x

GREGORIAN CHANT IN THE ORGAN SYMPHONIES OF WIDOR AND DUPRE

Introduction 1

Chapter

I. DEVELOPMENT OF THE FRENCH ORGAN SCHOOL 4

II. CHARLES MARIE WIDOR 10

III. MARCEL DUPR^ 3 5

BIBLIOGRAPHY 5 0

Vlll

LIST OF ILLUSTRATIONS

Figure Page

1. Salve Regina 14

2. Christmas plainsong, Puer Natus Est 16

3. Widor, Symphonie Gothique, Final Movement, measures 1-12 16

4. Widor, Symphonie Gothique, Final Movement, measures 13-24 17

5. Widor, Symphonie Gothique, Final Movement, (Var. II) , measures 45-50 18

6. Widor, Symphonie Gothique, Final Movement, (Var. Ill) , measures 93-98 . . 19

' t

7. Widor, Symphonie Gothique, Final Movement, (Var. IV) , measures 120-126 19

8. Widor, Symphonie Gothique, Final Movement, (Var. IV) , measures 127-132 . 20

9. Widor, Symphonie Gothique, Final Movement, (Var. V) , measures 144-153 20

10. Widor, Symphonie Gothique, Final Movement, (Var. VI) , measures 182-186 , 21

11. Widor, Symphonie Gothique, Final Movement, (Var. VI), measures 205-210 . . . . . . . . . 22

12. Widor, Symphonie Gothique, Final Movement,

(Var. VI) , measures 242-249 23

13. The Easter Plainsong, Haec Dies 24

14. Victimae paschali, sequence for Easter Day . . . 25

15. Widor, Symphonie Romane, First Movement, measures 1-5 26


IX

Figure Page


18. Widor, Symphonie Romane, First Movement, measures 46-49 . 28


20. Widor, Symphonie Romane, Second Movement, measures 1-4 30

21. Widor, Symphonie Romane, Third Movement, measures 1-15 31

22. Widor, Symphonie Romane, Final Movement, measures 1-5 32

23. Widor, Symphonie Romane, Final Movement, measures 72-77 33

24. Dupr^, Symphonie-Passion, First Movement, measures 1-9 40




28. Dupr^, Symphonie-Passion, First Movement, measures 170-175 . 43


30. Dupr^, Symphonie-Passion, First Movement, measures 230-236 . . . . . . . . 45

31. Dupr^, Symphonie-Passion, Third Movement, measures 90-97 45

32. Dupr^, Symphonie-Passion, Fourth Movement, measures 1-9 . . . . . . . . . . . . 46

33. Dupr^, Symphonie-Passion, Fourth Movement, measures 166-175 47

34. Dupr^, Symphonie-Passion, Fourth Movement, measures 216-225 48

x

INTRODUCTION

During the century following the death of Johann

Sebastian Bach, music for the organ suffered by the decline

of polyphonic composition. In France, the decline both in

quality and quantity of organ literature was directly due to

the waning power and patronage of the church, and the pre-

eminent interest in secular composition, in particular the

opera and ballet. The classical French organ school of

Francois Couperin, Nicholas de Grigny, and Pierre Du Mage, in

whose music the sacred and secular elements are so delicately

balanced, gave way in the latter part of the eighteenth cen-

tury to an inferior school of clavecinists who transferred

the technique and spirit of their instrument to the organ.

Felix Danjou attributes this disintegration of true liturgical

organ style to the fact that many important Parisian organ

posts were held by these clavecinists, who were little

interested in the liturgical music of the past."*" In a recent

"'"F lix Danjou, "Revue critique: Der praktische Organist Von Herzog," Revue de la musique religieuse, populaire et classique, II (July, 1846), 250, cited in Benjamin Van Wye, "The Influence of Plainsong Restoration on the Growth and Development of the Modern French Liturgical Organ School," unpublished D.M.A. dissertation, University of Illinois, 1970, p. 31.

doctoral dissertation (19 70) , Benjamin Van Wye observes that

he knows of no plainsong-based organ music in notation by a

2 French composer of the eighteenth century.

However, contemporary accounts support the hypothesis

that Gregorian chant was indeed used as a basis for improvised

organ music during that period. Charles Burney describes the

organ music at Notre Dame on the feast of Corpus Christi

thusly:

The chief use made of it [the organ] was to play over the chant before it was sung, jail through the Psalms. Upon inquiring of a young abbe, whom I took with me as a nomenclator, what this was called? C'est proser, Tis prosing, he said. And it should seem as if our word prosing came from this dull and heavy manner of recital.J

Burney also mentions visiting the celebrated organist

Claude Balbastre during vespers at St. Roch, where he heard

organ versets, some of which were based on plainsong, per-

formed in alternatim;

When the Magnificat was sung, he played likewise between each verse, several minuets, fugues, imitations, and every species of music, even to hunting pieces and jigs, without surprising or offending the congregations, so far as I was able to discover. In prosing, I perceived he performed the chant on the pedals, which he doubled with the lowest part of the left hand, and upon this basis played with learning and fancy. The base [sic] part was written in semibreves, like our old psalmody.

^Benjamin Van Wye, "The Influence of the Plainsong Restoration on the Growth and Development of the Modern French Liturgical Organ School," unpublished D.M.A. disser-tation, University of Illinois, 1970, p. 22.

• Charles Burney, The Present State of Music in France and Italy (London, 1771), reprinted as An Eighteenth-Century Musical Tour in France and Italy, edited by Percy A. Scholes (London, 1959), p. 15.

What was sung in the choir, without the organ, was

inserted in the Gregorian character.4

Also supporting the hypothesis that plainsong was used as

a basis for improvised organ music is Dom Frangois B^dos's

inclusion of a registration "pour toucher le plain-chant" in 5

the third part of his L'Art du Facteur d'orgues (1766-1770).

The French Revolution was responsible for the closing of

the choir schools and the l£cole Roy ale de Chant> which for

hundreds of years had trained France's organists. Many

churches were also closed or turned into stables, or Temples

of Reason. When Napoleon's banquet celebrating his victory in

Egypt was held in St. Sulpice (converted at that time to a

Temple of Victory), Armand Couperin's son played dinner music

on the organ.®

Beginning with the Concordat of 1801, a series of agree-

ments with the Roman Catholic Church reestablished the church1s

position in France, but not until immeasurable harm had been

done to the French organ tradition.

4lbid., p. 24.

^Dom Francois B^dos de Celles, L'Art du facteur d'orgues (Paris, 1766-79), facsimile edited by Christhard Mahrenholz (Kassel, 1934-36), p. 531.

^Peter Williams, The European Organ 1450-1850 (London, 1966), p. 197.

CHAPTER I

DEVELOPMENT OF THE FRENCH ORGAN SCHOOL

The first step in the return to liturgical organ style

was taken in 1819, when organ playing was added to the cur-

riculum of the Paris Conservatoire. Francois Benoist <1794-

1878), the first organ professor, was highly regarded by his

colleagues. In 1827 the musicologist Francois F^tis, himself

on the Conservatoire faculty, wrote,

Technically France's instrumentalists leave nothing to desire. . . . The organists alone are deficient. Old Couperin predicted it; but men like Marchand, Calvifere, Daquin and Balb&stre, who received so much praise, had only fingers: their exhibitions are not worthy of criticism. Their successors, with the exception of S^jan do not equal them. Today Mr. Benoist . . . is the only one worth mentioning; he can put us in condition to compete with Germany in this regard.1

Numbered among Benoist"s organ students at the Conservatoire

were C^sar Franck and Camille Saint-Saens.

Although Benoist never held a church position and was

active as a composer of opera, he did write three short organ

^-Francois Joseph F^tis, "Examen de l'dtat actuel de la musique en Italie, en Allemagne, en Angleterre et en France, La revue musicale, I (July, 1827) , 541, translated by Benjamin Van Wye, "The Influence of the Plainsong Restoration on the Growth and Development of the Modern French Liturgical Organ School," unpublished D.M.A. dissertation, University of Illinois, 1970, p. 35.

pieces based on plainsong themes and written in cant us firmus

style.^

Of substantial influence in the reestablishment of plain-

song-based organ music was Alexandre Francois Boely (1785-

185 8), whose personal library contained many seventeenth- and

eighteenth-century keyboard works. His acquaintance with

Gervais Francois Couperin and his daughter Celeste-Therese, i

together with the style of many of his own compositions,

indicate a thorough knowledge of the Couperin organ masses.

Boely sometimes used the cantus firmus in the soprano voice in

shorter note values, thus adding to its melodic significance.

He also wrote in the style of the Baroque chorale-prelude,

using a plainsong cantus firmus, as in his Pange lingua.

The single most important step in the revival of Gregorian

chant for liturgical use was taken in 1832, when members of

the Benedictine order took over a deserted priory at Solesmes.

They were charged by the Pope to restore the sound traditions

of the sacred liturgy. Under their first abbot, Dom Prosper

Gueranger (1805-1875), the Solesmes monks studied the oldest

and most reliable manuscripts for the purpose of determining

the proper performance of the chant. In 1859, Dom Gueranger

and Canon Gautier of Le Mans published a Methode rainsonee de

plain chant, which stated:

2Felix Raugel, editor, Les Maitres frangais de 1'orgue (Paris, 1940), pp. 99-100, cited by Van Wye, "Influence of Plainsong Restoration," p. 36.

Plain chant is an inflected recitation in which the notes have an unfixed value, the rhythm of which, essentially free, is that of ordinary speech.3

French organist-composers became acquainted with the work

of the important Solesmes* school at the ^cole Niedermeyer

(founded in 1853) for the training of church musicians, and at

the Schola Cantorum (founded 1894) , both schools located in

Paris. The Schola Cantorum was an outgrowth of Cesar Franck's

organ class, and was founded by Vincent D'Indy and Charles

Bordes, both members of that class. Both schools attempted

to reform French church music not only by the return to plain-

song and to Renaissance polyphony, but also by the cultivation

of a contemporary liturgical organ repertoire based on Gre-

gorian chant.

Alexandre Guilmant (1837-1911), who was co-founder of

the Schola Cantorum and also taught organ there, wrote a sig-

nificant number of plainsong-based organ compositions, in par-

ticular opus 65, L'Organiste liturgique, a ten-part work

published from 1884-1899. Guilmant often used harmonies

based on the modality of plainsong in his organ compositions,

and was the first to incorporate the free rhythm of plainsong

as interpreted by the Solesmes school.

The most important impetus to the creation of new organ

literature was a joint one brought about by the new symphonic

3Dom Joseph Gajard, "Le Chant gr^gorien et la methode de Solesmes," Revue gr^gorien, XXIX, 22, cited in John Rayburn, Gregorian Chant, A History of the Controversy Concerning Its Rhythm (New York, 1964), p. 10.

organ of Aristide Cavaill^-Coll (1811-1899), and the genius

and example of C^sar Franck. Cavaill^-Coll was an acoustician

and a skilled engineer much influenced by Spanish organ

design. His ancestry in the organ-building profession could

be traced as far back as 1700.4 His organs at St. Denis (1841)

and St. Vincent de Paul (1851) were remarkable for the com-

pleteness of their specifications and the high quality of

workmanship, as well as for the introduction of the Barker

lever. The use of compressed air to manipulate the mechanism

of the instrument made possible organs of unlimited size.5

In 1852, on the organ at St. Vincent de Paul, which had

an increased pedal board of two octaves,6 Jacques Lemmens, the

Belgian organist, astonished his hearers with his artistry and

the quality of his repertoire, while his playing of Bach was

a revelation. In the audience were the important organists of

Paris, including Franck, Gounod, Widor, Thomas, and the builder

Cavaill^-Coll himself. Widor later wrote of that performance:

For Cavaill^-Coll, it was a burst of light. From this master virtuoso he discovered the direction he had

4William Leslie Sumner, The Organ (New York, 1962) , p. 221.

Cecil et Emmanuel Cavaill^-Coll, Aristide Cavaill^-Coll, Ses Origines, Sa Vie, Ses Oeuvres (Paris, 1929), cited in Edward : r . Kasouf, "Louis Vierne and His Six Organ Sym-phonies," unpublished Ph.D. dissertation, Catholic University of America, 1970, p. 3.

6E. Harold Geer, Organ Registration in Theory and Prac-tice (Glen Rock, New Jersey, 1957), p. 291.

previously lacked—the controlling principles. After that St. Sulpice, Notre Dame, St. Ouen . . . For the artists it was a revelation. They began to write. In half a century France had regained its lost ground: no country possesses a richer literature.

The first important compositions for the Cavaille-Coll

organs were the Six Pieces d'orgue by C^sar Franck, written

in 1862 for his instrument at Ste. Clothilde. These were the

first distinctive French romantic organ works of symphonic

proportions, containing in the Pri^re, the Final and the first

movement of the Grande Pifece Symphonique, the successful

adaptation of the sonata-allegro form to organ composition.

Writes Norbert Duforucq:

C^sar Franck was a creator in the sense that he opened a domain to the organ which was unexplored until then. Symphonic music found itself introduced to the church by him,. This entirely new concept is characterized by a more colored language, richer harmonic aggregations, and a more intimate liaison between the artist and the composer. The work is now a mirror that reflects the joys and torments as well as the ecstasies of the musician.

Wrote Vincent d'Indy:

In the Grande Pifece Symphonique we find ourselves con-fronted for the first time in the progress of the master's work, with a true sonata, or rather a symphony, since it is the custom to describe in this way a sonata colored by various timbres. This is the first of all those organ symphonies which have since enriched modern music. . . .

7Charles Marie Widor, L'Orgue Moderne (Paris, 1928), p. 27.

8Norbert Duforucq, La Musique d'Orgue Frangaise de Jehan Titelouze k Jehan Alain (Paris, 1949), p. 148.

9Vincent d'Indy, C^sar Franck, translated by Rosa Newmarch (London, 1909, reprinted in United States, New York, 1965), p. 134.

While Franck's work is of primary importance in the

development of the organ symphony, he did not stand alone.

Alexandre Guilmant wrote in 1874 a Premiere Sonate in D minor^

subtitled Symphonie pour 1'orgue. Again, his final Huitikme

Sonate is subtitled Deuxifeme Symphonie. There is no doubt

of their symphonic dimensions and intention. However, it is

Charles Marie Widor who is today regarded as the inventor

and principal developer of the French organ symphony.

CHAPTER II

CHARLES MARIE WIDOR

Charles Marie Widor was born in Lyons, France, on February

24. Dufourcq"'" and Baker's Biographical Dictionary^ give 1844

as the year of his birth, while Cellier*^ and Henderson give

1845. From Lyons, he went to Brussels to study organ with

Jacques Lemmens, himself a pupil of the German organist

Adolphe Hesse, whose musical lineage could be traced all the

way back to the Leipzig Cantor, J. S. Bach. From Lemmens,

Widor learned the German tradition of organ playing, par-

ticularly the use of the full pedal keyboard. In 1869, at

the age of twenty-five, he was appointed to the position of

Organist du Grand Orgue at Saint Sulpice in Paris, where for

more than sixty years he presided over the magnificent

l-Norbert Dufourcq, La Mus ique d*Orgue FranQaise de J eh an Titelouze ci Jehan Alain (Paris, 1949), p. 137.

^Theodore Baker, Baker's Biographical Dictionary of Musicians, 5th ed., revised and edited by Nicolas Slonimsky (New York, 1958), p. 1792.

Âlexandre Cellier and Henri Bachelin, L Orgue (Paris, 1933), p. 190.

4A. M. Henderson, "Widor and His Organ Class," The Musical Times, LXXVIII (April, 1937) , 344.

Îbid. The succession is from Bach to Kittel (1732-1809), Rinck (1770-1846), Hesse (1809-1863), Lemmens (1823-1881).

10

11

Cavailie-Coll organ until three years before his death in

1937.

In 1890 he succeeded Cesar Franck as professor of organ

at the Paris Conservator e. In 1896 he relinquished this

position to Alexandre Guilmant, becoming instead professor of

counterpoint, fugue, and composition. Although Widor s

immediate fame was as a performer and later as a composer,

as a teacher he exercised considerable influence over future

generations of organists and composers, including Louis Vierne

and Marcel Dupre, as well as Darius Milhaud, Arthur Honegger,

Albert Schweitzer, and Nadia Boulanger.

Widor is best remembered today as the composer of ten

symphonies for organ. In 1872 the French publisher J. Hamelle

issued the Symphonies, Opus 13 (Nos. 1-4); in 1887, the

Symphonies, Opus 42 (Nos. 5-8); and in 1900 the Symphonie

Romane, Opus 73. B. Schotts Sohne published the Symphonie

Gothique, Opus 70, in 1894.6

Except for selected movements from the organ symphonies,

Widor's vast output is virtually unknown today. In his own

day, his reputation and prestige were very great, akin to

those enjoyed by Camille Saint-Saens, who himself occupied an

important organ post in Paris. In fact, when Widor became the

Organiste du Grand Orgue of St. Sulpice in 1869, Cesar Franck

6John R. Wilson, "The Organ Symphonies of Charles Marie Widor," unpublished Ph.D. dissertation, Florida State Uni-versity, 1966, p. 20.

12

was at Ste. Clothilde, Alexander Guilmant at La Trinit^,

Eugene Gigout at St. Augustin, and Camille Saint-Saens was at

La Madeleine, an impressive group of organists for any city.

These men and their pupils made Paris the cynosure of the

organ-playing world and established the dynasty of the modern

French organ school. In this remarkable nineteenth—century

renaissance of organ building, composition, and playing, Widor

was a central motivating force.

In his ten symphonies for organ, Widor was the first to

use the designation and to exploit its possibilities. These

works are "symphonic" by virture of the manner in which Widor

uses the tonal resources of the Cavaill^-Coll organ rather

than by their adherence to traditional forms and procedures

associated with the orchestral symphony. In this light, the

term "symphony" is somewhat misleading. Only the final two

symphonies have the overall four-movement form. Three sym-

phonies have five movements (Nos. Ill, V, and VI), three have

six (Nos. II, IV, VII), and two have seven movements (Nos. I

and VIII). The internal forms of individual movements not

only employ the traditional symphonic forms, such as marches,

minuets, scherzos, and adagios, but also the traditional forms

of organ music: toccatas, fugues, canons, and a passacaglia

as well.

The organ symphonies of Widor, like their French orches-

tral counterparts in the symphonies of Berlioz, Bizet, and

Saint—Saens, typically revolve around the manipulation of

13

color, dynamics, and sonority, rather than following the formal

structures of German symphonic form. Widor had at his dis-

posal at St. Sulpice one of the finest Cavaill^-Coll organs

in France, an instrument of five manuals, pedal, and a hundred

stops, affording a large assortment of colors and combinations

of colors. Usually Widor registers his movements in broad

terms, indicating pitches and family of tones (for example,

foundation stops or reeds), relying upon changes of manual to

change color.7 This mixture of tonal colors graduated with

subtle nuance is most typical of the symphonies.

Form in the overall sense is derived from the juxtaposi-

tion of strongly contrasting movements, which use a variety

of rhythm, color, dynamic level, form, technique, and mood to

achieve this contrast. Widor balances the duration of indi-

vidual movements, curtailing slow movements, for instance, so

they are not longer than faster movements.

While Widor"s harmonic vocabulary is essentially con-

servative for the time, an interesting feature is his tendency

8

to link chords by common tone rather than by root progression.

He enriches his vocabulary with all available diatonic and

chromatic non-harmonic tones, and tends to emphasize mediant

and submediant chords. Irregular resolutions of dominant-9

seventh and augmented-sixth chords are also featured.

In the movements which utilize Gregorian Chant (seven in

all), Widor uses modality, but within a tonal framework. Of

?Ibid., p. 25. 8Ibid., p. 39. 9Ibid., p. 48.

14

these seven movements, six are found in the last two sym-

phonies, the Gothique and the Romane. In his revision of the

Second Symphony published by Hamelle in 1901, Widor substi-

tuted a movement based on the Salve Regina (Liber Usualis,

p. 276) (Figure 1), using it to replace a vigorous scherzo in

E major which is still found in the Marks edition. Widor

1 Fig. 1—Salve Regina

sets the entire length of the cantus firmus in chorale-prelude

style, the only example of its kind to be found in the sym-

phonies. Since he gives each phrase of the chant its own

setting, freely altering the accompaniment, the movement seems

to lack the internal continuity of its Baroque counterpart.

The first eight symphonies are intended as virtuoso works

for the organ. There is little to indicate that they might

be used in the liturgical service, although we know that they

were indeed so used. In his final two symphonies for organ,

the Gothique and the Romane, Widor's style undergoes interest-

ing changes. The harmonic language is significantly more

chromatic, with unexpected modulations, and accompaniment

figuration is often less clear-cut and more blurred, an

impressionistic device. Most significantly of all, liturgi-

cal influences engendered by the Solesmes school and by the

15

liturgical revival induced Widor to quote Gregorian chant in

his last two symphonies, as well as to revise the Second

Symphony as mentioned earlier.

In the Symphonie Gothique, Widor begins his quest for a

liturgical style, and in his final masterpiece, the Symphonie

Romane, Widor achieves a splendid synthesis of the liturgical

and concert styles. The Gothique and Romane symphonies are

inscribed to two of the most beautiful churches, jn France,

which also happen to possess outstanding examples of the

Cavaill^-Coll organ: Saint-Ouen, in Rouen, and Saint-Sernin, in

Toulouse. The Symphonie Gothique was composed by Widor for

the opening ceremony after the rebuilding of the organ at

Saint Ouen, and was given its premiere performance by him at

this ceremony. It is a tone picture of his impressions of the

monumental Gothic edifice.^

Immediately apparent in the opening movement is the

chromaticism and dissonance, the improvisational style, the

presence of a second shorter rhythmical motif which is later

combined with the first theme, sudden and remote modulations,

and other evidences of a more advanced style, indicating

Widor's awareness of the musical revolution going on around

him. The second movement is a beautiful example of nineteenth-

century cantilena writing. The third movement, written in

10Marcel Dupr^, "Program Notes" for Westminster Recording XWN 18871 of Widor Symphonies Nos. 5 and 9, played by Marcel Dupr^ on the Cavaille-Coll organ at St. Sulpice.

16

fugal style in vigorous 6/8 meter, functions as a symphonic

scherzo. The Christmas plainsong Puer Natus Est (L.U., p.

408) is introduced in long notes in the pedal. (See Figure 2)

Fig. 2—Christmas plainsong, Puer Natus Est

The same Gregorian melody is used again in the final movement,

introducing an element of cylic form. The final movement is

a set of six variations on the plainsong and on Widor's

counter-melody, ending with a brilliant toccata utilizing

both themes. Figure 3 is the beginning of the final movement

of the Symphonie Gothique, which starts with the plainsong

theme stated in the soprano voice of a four-part harmonic

setting.

Moderato. *L-J. .. o .. r

.— 1

<S>-4 — 4

O n ~r~

\ W—HIH 1 1 1 . 1 —

lyr-

Cd-

-Set ff r'r J

" - m ^

fff= -•m ' 1 1 m ~—•

poco ere a a

Fig. 3—Widor, Symphonie Gothique, Final Movement, measures 1-12.

17

The first variation begins with the countersubject in

the soprano; the plainsong melody then enters in the alto as a

cantus firmus. (See Figure 4.)

_J_aL fall

C.s.

~fi—t—"P—#-#-r -H—TTT——P—~ - m 0 P' -0

•m

4V - t— m

pU-J-H

-&•

TV — - f e -

ir\f

- m—

~ o — s » — . — " — • 1

B 1 —

Fig. 4--Widor, Symphonie Gothique, Final Movement, (Var. I), measures 13-24.

Variation 1 ends with a restatement of the countersubject.

In Variation 2 the plainsong theme is stated in the

soprano voice in whole notes in cantus firmus styl^ with a

canon in the bass at the interval of three octaves and a

two-voice accompaniment in the left hand. (See Figure 5.)

18

(Rtrompette

r t r r f

Ped.E Cawovv

p o — — Jp -p 1

. J

„—| (— ri#—m

—o

— » — % — • —

^ ___ •• -

—— r

fef=J

-e—

^ J £ Jr-^ — H M

- r r

H r T ^

o —

-—U-l —

ii

— 1 1 H—•

^

1 J

—o "

Fig. 5—Widor, Symphonie Gothique, Final Movement, (Var. II), measures 45-50.

Variation 2 ends with a statement of the countersubject.

The beginning of Variation 3 is illustrated in Figure

6. This variation is based not upon the plainsong theme,

but on the countersubject, which is imitated in canon at the

octave and later accompanied first by single and then by

double pedal.

19

Allegro.

a w\4t«(«o»c**'*1 ftfTcvt^t

ilA UfiUJ

Fig. 6—Widor, Symphonie Gothique, Final Movement (Var. Ill), measures 93-98.

In Variation 4 an apparently new melody is a parapharase of

the plainsong theme with additional interpolated notes. (See

Figure 7.)

Moderato I1* &'

G P K fowls 4 8 16

Pgr-Jj

(Ped. fonds 4 8 16 32)

Fig. 7—Widor, Symphonie Gothique, Final Movement (Var. IV), measures 120-126.

20

Points of imitation occur between various voice parts, as in

measures 128-133. (See Figure 8.)

TUe-c

Fig. 8--Widor, Symphonie Gothique, Final Movement (Var. IV), measures 127-132.

Figure 9 is a part of Variation 5, which is a charming trio

with canons at the octave and fifteenth based upon the plain-

song theme. It ends with a statement of the countersubject.

Clarinette

T

Andante

P Hautbois

p

Fig. 9—Widor, Symphonie Gothique, Final Movement (Var. V), measures 144-153.

21

The final variation begins with brilliant sixteenth-

note figuration. In measure 184 the countersubject appears,

played upon the Choir, as shown in Figure 10.

f t , r fni.f=r lir.r ~tr

J it l»,eCT"

Fig. 10—Widor, Symphonie Gothique, Final Movement (Var. VI), measures 182-186.

22

It is restated in measure 199 upon the Great. Beginning

with measure 204, a five-note motif based upon the plainsong

theme is heard in alternation with a seven-note motif based

upon the countersubject, as in Figure 11.

BO

S5? IsjJ rUir; i s 4=

¥ f A A X

-j n -

¥ ¥

* 7 JL i y ^ ? n J--

PR poco cresc

4 C Fig. 11—Widor, Symphonie Gothique, Final Movement

(Var. VI), measures 205-210.

Both of these themes are developed. At the climax of the

variation, the plainsong theme is stated in octaves upon the

pedals, beginning in measure 242, as in Figure 12.

23

8 ' 1 ^ 5 : — § ; .p # -- __—#

Up—gj . S S L Jd' ••J#

— 1 'J

= t

Gh — -

-3— —•—•—•—L

m

X — #

•49*— "

GPR Tkev*Q_

Fig. 12—Widor, Symphonie Gothique, Final Movement (Var. VI), measures 242-249.

In the coda which begins in measure 26 5, we hear a final

restatement of the countersubject. The movement ends quietly

amid short melodic phrases reminiscent of the plainsong

theme.

In the Romane organ symphony, Widor arrives at a solu-

tion to the problem of the unmeasured rhythm of plainsong in

organ music, one which demonstrates his awareness of the

efforts of Guilmant, the Schola Cantorum, and the Solesmes

restoration. While Widor had used plainsong in one movement

of the Second Symphony (revised edition) and in the final two

movements of the Symphonie Gothique, he used the chant in

24

long note values employing the cantus firmus technique. In

the Symphonie Romane, however, he discards the conventional

treatment. Instead he takes the opening phrase of the

Gradual for Easter, Haec dies (L.U., p. 778), and in the free

rhythms generally associated with plainsong uses this chant

as the generating source of melodic material for three of the

four movements. (See Figure 13).

I Fig. 13—The Easter Plainsong, Haec Dies

Widor explains this new procedure in the preface to the

Romane Symphony:

The Gothic Symphony is founded on the Christmas hymn Puer Natus Est; the present symphony has for (its) sub-ject the Easter hymn Haec Dies. As in the case with the majority of vocal compositions intended for Petit Choeur, that is to say for four or five voices grouped, Puer Natus Est is symmetrical in form and of massive con-struction; it lends itself admirably to polyphonic treatment; it is an admirable subject for development. Haec Dies is of totally different character; a graceful arabesque illustrating a text of several words, about ten notes to each syllable; it presents a vocal phrase as difficult to fasten upon as the song of a bird: a sort of pedal-point adapted to an executant exempt from all rule. The only mode of fixing on the auditor's ear so undefined a motive is to repeat it constantly.11

11 Charles Marie Widor, Symphonie Romane (Paris, 1980).

25

These solutions imposed by Widor make his final symphony

unlike any of his previous works, indeed unlike any plainsong-

based French music before it. It has a coherence and unity

derived from its use of the Gregorian chant Haec Diss for

three of its four movements. Although Widor did not mention

it in his preface, the third movement of the symphony is based

on Victimae paschali (L.U., p. 780), the sequence for Easter

Day. (See Figure 14.)

Fig. 14—Victimae paschali, sequence for Easter Day

In the first movement one is aware of the improvisational

style, the chromaticism, the remote modulations, and pro-

nounced dissonance. In addition there is considerably greater

rhythmic freedom, including the simultaneous employment of

different meters, as well as frequent changes in tempo and

meter. There is also a tendency to use accompanying figura-

tion for its blurring effect rather than for its clarity

an impressionistic device which one finds frequently in the

works of Vierne. The entire movement, as Widor has suggested

in the preface, is propelled by the constant reiteration of

the plainsong theme Haec Dies in its numerous guises of

infinite variety. The plainsong theme is first stated in

measure 2 and repeated twice with melodic variation. (See

Figure 15.)

26

. r . .'•» > .—•j'-M-jj-l J> T | ]-f-| •

T- f Quasi reoitativo, esprossivo, ?:PR- m - m m

•>

iir ff

St'

;i piiireri'.

Fig. 15—Widor, Symphonie Romane, First Movement, measures 1-5.

In measure 12 the first notes of the theme (a) are stated in

the pedal. (See Figure 16.)

_ ^ (0.1' fowls) O.P.H. - _ B

niai'd. tranquil!(intent?.

G.P.R

CMC (<*)

-L2-I-4.# I ^ r ir

c3 Fig. 16—Widor, Symphonie Romane, First Movement,

measures 11-14.

27

The full theme is stated again at measure 17, and repeated.

Beginning in measure 23, notes 1-15 (part b) of the plainsong

theme are repeated and developed above a basso ostinato.

(See Figure 17.)

C J . P . H .

tu j i iS l ja ip eri Ai iJ. ^


28

The full theme is again stated beginning in measure 31. In

measure 37 a change of meter (12/8) and mood lead to a

restatement of the a portion of the theme. The agitated

mood leads to a climax in which the full theme is stated in

octaves in the pedal, beginning in measure 46. (See Figure

18).

U J

tZilillKKK':*


29

The agitated mood continues and finally begins to subside.

The third section of the movement begins with measure 64,

where the key returns to D major. Part b of the plainsong

theme is repeated and developed over a basso ostinato,

accompanied by an undulating figuration in the left hand.

(See Figure 19.)

Poco a poco ritenuto.

u A\U

• • -*• I Z ... . .. mi -1 p«rr'b

'H ,j.w


The theme and the ostinato become increasingly fragmented,

while the figuration gradually comes to a rest on the tonic

chord.

30

The second movement is one of the most beautiful and

lengthy examples of Widor's gift for cantilena writing. It

is in a large three-part (ABA) form. The main theme is a

harmonized setting of the first two phrases of the Haec Dies

plainsong. (See Figure 20.) A melismatic counter-melody is

derived from the plainsong theme, and the devices of ostinato

and scintillating accompaniment figuration are used.

Adagio.

5

E £ i 1 "•*

. rrrsc.

• vf.*

Fig. 20—Widor, Symphonie Romane, Second Movement, measures 1-4.

31

The third movement is more introspective, again in ABA

form. While the themes are of Widor's own invention and no

use of the Haec Dies plainsong is made, there are three

references to Victimae paschali, one of which is shown in

Figure 21.

\ x A X

cresc

' r * F f r

Fig. 21—Widor, Symphonie Romane, Third Movement, measures 10-15.

32

The final movement is a splendid rhapsody on the Haec

Dies theme, with an opening announcement of six measures in

one voice (Figure 22), which is gradually expanded to four

voices.

Allegro. ( J =li2) • f f-fr

Fig. 22—Widor, Symphonie Romane, Final Movement, measures 1-5.

In measure 19 the figuration is repeated an octave lower,

this time to chordal accompaniment. In measure 32 the second

phrase of Haec Dies appears for the first time, in a sub-

ordinate key. An extended development takes place until

measure 72, when the opening figuration returns in the original

key, combined with the first phrase of the Haec Dies. {See

Figure 2 3.)

33

bimu'FriTff

ZLJJLJ i

Fig. 23—Widor, Symphonie Romane, Final Movement, measures 72-77.

The second phrase then follows in the same key as the

first. An extended Coda section which begins with brilliant

figuration becomes a triumphant Andante quasi adagio which

subsides in a gradual relaxation of tension. A brief refer-

ence to the opening of the symphony is made, and the work ends

in a beautiful tranquility. This final symphony of Widor

combines a splendid synthesis of liturgical organ music based

on a thorough knowledge and appreciation of the plainsong

restoration, the resources of the Cavaille-Coll organ, and the

techniques of the modern French symphonic style of organ

music which he developed along with Cesar Franck. It is

34

probably Widor's greatest and least appreciated work, but its

significance goes far beyond its few performances today,

because it represents the point of departure for later com-

posers, in particular Widor's pupils, Charles Tournemire and

Marcel Dupr^.

In 1903, Pope Pius X promulgated the Motu Proprio,which

has been a dominant factor in shaping the theory and practice

of twentieth-century Catholic church music. It read in part,

Gregorian chant has always been regarded as the supreme model for sacred music, so that it is fully legitimate to lay down the following rule: the more closely a com-position for church approaches in its movement, inspira-tion and savor the Gregorian form, the more sacred and liturgical it becomes; and the more out of harmony it is with the supreme model, the less worthy it is of the temple.

In their organ compositions employing plainsong, Widor and

Guilmant had clearly anticipated this significant church

document which had such great influence on those that followed

in their paths.

Translated and quoted in Paul Hume, Catholic Church Music (New York, 1957), p. 185.

CHAPTER III

MARCEL DUPR^

Marcel Duprd was born in Rouen on May 3, 1886. Both his

maternal and paternal grandfathers were associated with music

in the Rouen churches, while his father was organist of the

Church of the Immaculate Conception in Elbeuf, a town near

Rouen. In 1890, when Widor played the inaugural recital of

the Cavaill^-Coll organ at St. Ouen, the Dupre family, includ-

ing young Marcel, attended.1 At seven, the boy began music

study with his father, who devoted an hour every day to his

lesson. The father was amazed to find how quickly young

Marcel memorized, a trait he retained throughout his life.2

At the age of eight he played his first recital at his

father's church in Elbeuf. Louis Vierne often recounted the

story of his first meeting with Dupr^. In the summer of 1896,

he happened to attend the small country church of St. Valery-

en-Caux expecting to hear the inadequate playing of a country

organist. Instead, he heard a well—played service which

Frederick C. Mayer, "Marcel Dupr^: Biographically," American Organist, XX (October, 1937), 343.

2John Mason Pagett, "The Music of Marcel Dupr^," unpub-lished D.S.M. dissertation, Union Theological Seminary, New York, 1975, p. 8.

35

36

included the rendition of a piece of Bach, and an improvisa-

tion. Following the service, Vierne went to the stairs which

led to the organ loft and there met a boy of ten, wearing a

sailor suit, descending the stairs. When Vierne asked the

boy to take him to the organist of the service, the young

f 3 Dupre informed him that he was that organist.

In 1898, Dupre, then twelve, was appointed organist of

St. Vivien in Rouen and began organ study with Alexandre

Guilmant, which he continued for ten years. Honors and dis-

tinctions came to the young Dupre' in quick succession. In

1905 he won first prize in organ, and became Widor's

assistant at St. Sulpice, in 1909 he won first prize in fugue

(Widor's class), and in 1914 won the coveted Prix de Rome,

although the outbreak of the war prevented him from actually

going to Rome for study.^ From 1916 through 1920, he was

deputy organist at Notre Dame during Vierne's illness, and

/

stepped down upon Vierne's return. It was in 1920 that Dupre

established his reputation by playing from memory the

entire organ works of Bach in a series of ten recitals at

the Paris Conservatoire.^ In 1921 he made his first North

American recital tour, an outstanding success which led

3Louis Vierne, "Reminiscences," The Diapason, XXX (April, 1939), 8.

^Pagett, "Music of Dupre," pp. 14-17.

5Walter Squire, "Marcel Dupre and his Astonishing Feat," American Organist (October, 1921), p. 330.

37

to countless return engagements in later years. In 1926

Dupr^ was appointed professor of organ at the Paris Conserva-

toire, and in 19 34 he succeeded his old master Widor as

organist of St. Sulpice, at which post he remained until his

death in 1971.

As organist and teacher, Dupr6 excercised more influence

than any other organist of his day; many of the most dis-

tinguished French and American organists of our time studied

with him. Possessing an extraordinary organ technique as

well as a highly musical and disciplined intellect, Dupr^ was

without peer as an improvisor. There is little doubt that

much of his organ composition owes its origin to this genius

for improvisation. As a composer, he wrote the bulk of his

work for the organ, twenty-six opus numbers in all, including

two organ symphonies, Opus 23 and 26.^ He also wrote a

Symphony in G minor for Organ and Orchestra, Opus 25, and a

Concerto in E minor for Organ and Orchestra, Opus 31, as well

as a number of works for chorus, for piano, and for voice. He

transcribed sixteen organ concertos by Handel for organ solo,

edited the organ works of J. S. Bach, Felix Mendelssohn,

Robert Schumann, Franz Liszt, Cesar Franck, and Alexander

Glazunov,7 and wrote a number of educational works on improvi-

8 sation, counterpoint, and fugue.

6Pagett, "Music of Dupre," pp. 5 82-5 84.

7Ibid., pp. 597-601. 8Ibid., pp. 592-596.

38

In his use of form, Dupr^ was far more classical in his

tastes, and far less experimental than was Widor. In his

harmonic language, as well as in his use of rhythm and meter,

Dupr^ exhibited a thorough knowledge of twentieth-century

compositional technique. While Widor's style was influenced

by Bach, Schumann, and later on by Franck, Dupr^'s work was

influenced by the possibilities of his own facile technique

and the innovations of his contemporaries, such as Stravinsky

and Les Six. As in Widor's music, Dupr^ wrote in concert or

symphonic style, rather than in liturgical or classical organ

style. His music tends to be difficult technically except

where it has a pedagogical intention, such as in the Seventh-

nine Chorales or in lie Tombeau de Titelouze.

The circumstances surrounding the composition of his

first organ symphony, known as the Passion Symphony (Opus 23),

are significant. In 1921, Dupr^ had accepted the invitation

of Rodman Wanamaker to play a series of concerts on the large

organs which had been installed in the Wanamaker department

9 stores in New York and Philadelphia. An important feature

at the conclusion of these recitals was to be an improvisa-

10

tion on themes submitted at that moment. The themes sub-

mitted by local organists and other musicians at the recital

December 8, 1921, at Wanamaker!s Philadelphia store included

®For a description of these organs read Pagett, Music of Duprd," pp. 24-29.

10Pagett, "Music of Dupr^," p. 226.

39

the following Gregorian chants: the Christmas Vesper humn

Jesu Redemptor Omnium (Liber Usualis, p. 365) , the Sequence

hymn Stabat Mater Dolorosa, (Liber Usualis, p, 1424), the

hymn for the Benediction of the Most Holy Sacrament Adoro te

devote (Liber Usualis, p. 1855), as well as the popular (non-

Gregorian) Christmas hymn Adeste Fidelis. Dupr^ later

reminisced about this concert:

On the 8th of December 1921, I gave a recital in Phila-delphia on the largest organ in the world, the Wanamaker organ comprising 450 ranks. Among the themes proposed by the musicians of that city for an improvisation, four themes seemed to me to be a synthesis of the life and passion, of Christ. I thought immediately of a plan for a symphony in four movements, which I improvised and later wrote down in the years 1923 and 1924.

Dupr^ premiered the completed work on the new Henry Willis

12 organ in Westminster Cathedral in London, 1924.

The Symphonie-Passion is a four-movement large-scale

programmatic work. The first two movements, "Le Monde dans

1'attente du Sauveur" and "Nativit^," portray the Advent of

birth of Jesus, while the "Crucifixion" and "Resurrection"

movements deal with those events in Christ's life. The work

opens in D minor and ends in D major, with the middle move-

ments in F# major and F minor.

URollin Smith, "Program Notes" for Repertoire Recording Society recording of "Dupr^ in the 20's: Vol. 1, played by Rollin Smith on the M. P. Moller organ at Saint George's Church, New York City.

12Rollin Smith, "Marcel Dupr^'s Passion Symphony," Music/ A.G.0., IX (December, 1975), 30.

40

The opening movement is in classical sonata-allegro

form. The principal theme consists of three short rhythmical

motifs stated in measures 2, 5, and 7. (See Figure 24.)

ORGUE

Al legro agi tato , in a non troppo vivou'»«> = i

• Li f

i i

/>£/?,! L E

~+—W~

PR.< p (11. I m

sempre stuff. * 9

— ^

•>

* m + *

# « * »

^ t_r T F ? « # I T » » » * »

*:# if » - >jr 5 ^ *:# » •

_r—i—D. •3:-e-'-si

• jg- JtI,aiizz±-fcli£==

"2 9 # 2# 9.

-3— r ## ^ ~ " " # W* ^ y

I % t t t Si * $ I t ...

it 7 »: *r.. 9. W—9-9-9^

W W W WW w w w

Fig. 24—Dupr^, Symphonie-Passion, First Movement,

measures 1-9.

The constantly changing and uneven rhythm, the shifting

harmonies and irregular phrase lengths all suggest restless-

ness and instability. The first 76 measures are a develop-

ment of these motifs and rhythmic patterns, which build to a

great climax in measures 72-76. (See Figure 25.)

41

i !>4 fc* i-i 4 *§ ? f i!* :t jfi . * J* : l j | i | l |

(>#• ! ; • £ • i !>•

t [v t ^|r ;i|

i:î|^|-|--|r|--|-

~W £•"$•"*? &• M~ * * J. Ej »Ttr£ ^ £>• -r -± -w -£

Fig. 25—Dupr^, Symphonie-Passion, First Movement, measures 73-77.

In measure 78, the first twelve notes of the Gregorian plain-

song Jesu Redemptor Omnium are introduced in F major, serving

as the movement's second themes. (See Figure 26.)

q % P l u s l e n t ( 7 6 = J ) Ft. Hautbois 8 »

SW. OboeS errV ÊSU REDKMPTOR OMNIUM)

&

P. Dulciane 8 <?// CH. Dulciaiia 8 -ij ij j

F e d . Dulciane du Pos. seule Ped. Dulciava CH. alone

; 1 5 - j j f c i J y

1_

- i j «j J i

tQ—-••• '• Q~

r r r

1 1"

m * — } - >

1

K 1 1 4-

~ 1 1-

- 4 — - 0 : " 3 5 J J ^ -J>%1 J i z ^ j J~

.V.tj 1 "" --


42

Statements of the incipit beginning on various degrees of the

scale are treated canonically. At measure 103, rhythmical

figuration reminiscent of the principal theme brings the

exposition to a close. The development section, which is

concerned with the rhythms and motives of the principal

theme, begins in measure 113. (See Figure 27.)

k S L _ 5 — . " 5 ^ — A . , Y CH

P. (Fond* 8) CH (Strings 8)

B

PR.(Tonds 8) CH. (SW. St rings S to Cff.)

Fig. 27—Dupr4, Symphonie-Passion, First Movement, measures 111-119.

43

A sequential repetition of this section starts in

measure 139 and builds to an exciting climax, bringing the

development section to an end. The recapitulation begins

in measure 170, where the principal theme returns in d minor,

more vigorous and agitated than ever. (See Figure 28.)

(Fonds 8, 4, Anches Rec. 8 , 4 ) Wifip. 8, 4. Reeds 4 )


Beginning in measure 190, the first four notes of the plain-

song theme are heard and repeated sequentially with increas-

ingly greater urgency. In measure 211 the second theme

(Jesu Redemptor Omnium) appears in D major, and is treated in

canon at the twenty-second. (See Figure 29.)

44

„ ,A Ritard. 2U Poeo meno vivo i # ; i i j lert0 I _J J. JU—J,-

JJf\stacc-

H'ivtii

Fig. 29—-Dupr^, Symphonie-Passion, First Movement, measures 210-219.

The canon is repeated sequentially, leading at measure 232 to

a brilliant coda of crashing chords utilizing the first four

notes of the chant. (See Figure 30.) Three long-held

dissonant chords lead to the final resolution in the tonic.

The second movement, entitled "Nativit^," is in a large

three-part form, as are the other two remaining movements.

The first section is a "lullaby," followed by a "march of

the shepherds and kings" leading to an "adoration" section

where the Christmas hymn, Adeste Fidelis, is quoted and com-

bined with the rocking motif of the "lullaby." In the third

movement, the first section depicts the "march to Calvary."

45

F i g # 30—Dupr4, Sy mphonie-Pass ion, First Movement,

measures 230-236.

A relatively short recitativo passage indicates the "cruci-

fixion" itself and leads to the "descent from the cross,"

which briefly quotes the Stabat Mater Dolorosa, (See Figure

31.)

R Bourdon 8 Off. Gfdect 8

rST A BAT MATER DOLOROSA)

Fig. 31—Dupr^, Symphonie-Passion, Third Movement, measures 90-97.

46

The final movement of the Symphonie-Passion is a long and

exciting toccata. It is based on the Gregorian Chant Adoro

t e devote, the hymn by St. Thomas Aquinas in honor of the

Blessed Sacrament (Liber Usualis, p. 1855), which is used as

a cantus firmus stated nine times in various voice parts,

beginning in the pedal. The principal accompaniment is in a

flowing eight-note figuration. (See Figure 32.)

Alleirro moderato (96 = J )

'GUE

PP Ped.R. SIV. to Ped

(ADORO TE DEVOTE)

WALE

• "It

i-a.- • - f• f • _ 1 - bfrg-j' »-,, -f r f-g

o

- j- ^ = ^ 4 i x r

Fig. 32—Dupr^, Symphonie-Passion, Fourth Movement, measures 1-9.

The middle section, intended as a buildup for the concluding

section, introduces the reeds, while the shifting tonality

creates a feeling of restlessness. In the concluding section,

where the wonderfully created sonorities lie conveniently

under the hands, the chant is stated first by itself, then

47

in canon (Figure 33), and finally in a series of overlapping

imitations of the incipit. It ends in large, crashing

it t

1 i 1 1—1

a Fh- - * i * ~~

iiCll LIT

$t—t— ri . r*""-±M cit :

Fig. 33—Dupr^, Symphonie-Passion, Fourth Movement, measures 166-175.

quarter-note chords reminiscent of the first movement. (See

Figure 34.) The Symphonie-Passion is a work of great power

and beauty, and combines the beautiful Gregorian melodies

with religious drama. It is one of Dupr^'s most widely-known

and effective large-scale works for organ.

Dupr^'s Deuxibme Symphonie is an impressive three-

movement work which is virtually unknown to organists and

audience alike. It contains no Gregorian melodies and is

written in the chromatic but tonal style of Dupr^'s early

period, to which all of his best known works belong. These

48

JTU

m

Fig. 34--Dupre, Symphonie-Passion, Fourth Movement, measures 216-225.

include the two organ symphonies, The Three Preludes and

Fugues, Opus 7, the Variations on a Noel, Opus 20, the Suite

Br^tonne, Opus 21, and The Stations of the Cross, Opus 29.

In Dupr^'s middle and late organ works, the harmonic style

becomes even more chromatic, while the texture tends to be

more sparse and neoclassic. Dupr^ wrote no more organ sym-

phonies, although he used Gregorian chant quite extensively

in some of his later organ works.

While following the example of Widor in using Gregorian

chant in the organ symphony, Dupr^ seems to adopt the pattern

set in the Symphonie Gothique rather than that of the

49

Symphonie Romane. Dupre quotes and develops the chant

themes, but fits them into his own forms, with his own motifs

sharing equal prominence. By way of contrast, in Widor's

Symphonie Romane the whole of the work seems germinated from

the kernel of Gregorian chant, which pervades the entire

piece both melodically and rhythmically.

Charles Tournemire' s L'Orgue Mystique, a magnificent

cycle of fifty-one organ suites for the church year, while

lying outside the scope of this paper, is more closely related

to the spirit of Widor's example, as set in the Symphonie

Romane, than are the works of Dupr^. Jean Langlais and

Maurice Durufl^ must also be mentioned, along with Tournemire,

as co—creators of a significant body of organ literature in

which Gregorian chant is utilized, although neither of them

chose to do this in the medium of the organ symphony. To

this day, the two organistes du grande orgue de St. Sulpice,

the grand old man of the French organ school and his brilliant

prot^g^, remain the leading exponents of the peculiar and

unique cross-fertilization of two important nineteenth-century

developments: the organ symphony and the rediscovery and

growing liturgical use of Gregorian chant.

BIBLIOGRAPHY

Books

Apel, Willi, Gregorian Chant, Bloomington, Indiana University Press, 195 8.

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Barzun, Jacques, Berlioz and the Romantic Century, Boston, Little, Brown and Co., 1950.

B^dos de Celles, Francis Dom, L* Art du facteur d | orgues, 3 pts., Paris, L. F. Delatour, 1766-79, facsimile edited by Christhard Mahrenholz, 3 vols., Kassel, Barenreiter, 1934-36.

Burnev, Charles, The Present State of Music in Franceând^ Italy, London, T. Becket, 1771, reprinted as Ar E^ght-^ eenth Century Musical Tour in France and Italy, edited by-Percy A. Scholes, London, Oxford University Press, 1959.

Cellier, Alexandre and Bachelin, Henri, L'Orgue, Ses Elements• S°n Histoire — Son Esthetique, Paris, Librairie Dela-grave, 19 33.

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Demuth, Norman, Cesar Franck, London, Dennis Dobson, Ltd., 1949 .

Dufourcq, Norbert, La Musique d'Orgue Frangaise de Jehan Titelouze k Jehan Alain: les instruments, les artistes et les oeuvres, les formes et les styles, 2nd ed. rev., Paris, Floury, 1949.

Gastou^, Am4dee, L'^glise et la Musique, Paris, Grasset, 19 36,

Geer, E. Harold, Organ Registration in Theory and Practise, Glen Rock, J. Fischer and Bro., 1957.

50

51

Goodrich, Wallace, The Organ in France, Boston, The Boston Music Company, 1917.

Hume. Paul, Catholic Church Music, New York, Dodd, Mead and Co., 1957.

Hutchings, Arthur, Church Music in the Nineteenth Century, London, Herbert Jenkins, 1967.

Indy, Vincent d', C^sar Franck, translated from the French of Vincent d'Indy with an introduction by Rosa Newmarch, London, John Lane, 1909.

Kirby, F. E., A Short History of Keyboard Music, New York, The Free Press, 1966.

Raugel, Felix, Les Grandes Orgues des ^glises de Paris et du Department de la Seine, Paris, Librairie Fischbacher, 1927.

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Articles

Basch, Peter J., "Marcel Duprd," Music/A.G.O., V (September, 1971), 28-29.

Beechey, Gwilym, "Charles Tournemire, 1870-1939," The Musical Times, LLL (May, 1970), 543-545.

Bret, Gustave, "Les Symphonies pour Orgue de Ch.-M. Widor," Bulletin Trimestrielle des "Amis de 1'orgue," (September, ______

52

Coeuroy, Andre, "Present Tendencies of Sacred Music in France," translated by Theodore Baker, The Musical Quarterly, XIII (October, 1927), 582-604.

Henderson, A. M., "Widor and His Organ Class," The Musical Times, LXXVIII (April, 1937), 341-344.

Hure, Jean, "The French School of Organ Playing in Its Own Land," The Musical Quarterly, VI (April, 1920), 272-275.

Mayer, Frederick C., "Marcel Dupri, 1: Biographically," American Organist, XX (October, 1937, 343-346; "Marcel Dupr<4, 2: Expressively," XX (November, 1937), 377-379; "Marcel Dupr^, 3: the Composer," XX (December, 1937), 417-420.

, "Widor's Retirement," The American Organist, XVII (April, 1934), 167.

Peeters, Flor, "Charles Tournemire," The Diapason, LV (September, 1964), 20-21.

Phillipp, Isidor, "Charles Marie Widor," translated by Gus-tave Reese, Musical Quarterly, XXX (April, 1944), 125-132.

Riemenschneider, Albert, "Program Notes on the Widor Sym-phonies," The American Organist, VIII (July, 1925), 2 6 2 - 2 6 8 .

Saint-Saens, Camille, "Music in the Church," translated by Theodore Baker, The Musical Quarterly, II (January, 1916), 1-8.

Smith, Rollin, "Marcel Dupr^'s Passion Symphony," Music/A.G.O., IX (December, 1975), 30-32.

Squire, Walter, "Marcel Dupr^ and his Astonishing Feat," American Organist, IV (October, 1921), 330.

Steed, Graham, "Master Lesson," Music/A.G.0., II (February, 1977), 45-46.

, "Dupr^'s Passion Symphony," Musical Times, CVII (September, 1966), 805.

Sumner, William L., "The French Organ School," Hinrichsen's Musical Year Book, VI (1949-1950), edited by Max Hinrichesen, (1950) , 281-294.

53

, "Organs of the Church of St. Sulpice," The Organ, XIV (January, 1935), 141-147.

Thompson-Allen, Aubrey, "Information Given, Part II," Music/A.G.O., V (September, 1971), 19.

Van Wye, Benjamin David, "Gregorian Influences in French Organ Music Before the Motu Proprio," Journal of the American Musicological Society, XXVII (Spring, 1974), 1-24.

Vierne, Louis, "Souveniers de Louis Vierne," Le bulletin trimestriel des amis de 1'orgue, 1933-1937, reprinted as "Reminiscences of Louis Vierne, His Life and Contacts with Famous Men," translated by Esther Jones Barrow, The Diapason, XXIX (September, 1938), XXX (September, 1939.

Watters, Clarence, "Marcel Dupr^—Some precepts," Music/ A.G.O., V (August, 1971), 39.

Whitmer, T. Carl, "Widor's Organ Symphonies," The American Organist, XVII (May, 1934), 211—214; (June, 1934), 259-261; (July, 1934), 309-313; (August, 1934), 362-364.

Widor, Charles Marie, "Charles Marie Widor on the French Organ as Seen in the Year 1932," The Diapason, XXXIII (January, 1942), 18-19; (February, 1942), 12.

Music

Dupr^, Marcel, Symphony—Passion pour Grande Orgue, Opus 2 3, Alphonse Leduc, Paris.

Widor, Charles Marie, Symphonie Gothigue, pour orgue, Opus 70^ B. Schott's Sohne, Mainz.

, Symphonie Romane for the Organ, Opus 73, Edwin Kalmus, New York.

Dissertations

Kasouf, Edward J.,"Louis Vierne and His Six Organ Symphonies," unpublished Ph.D. dissertation, Catholic University of America, 1970.

54

Paqett, John Mason, "The Music of Marcel Dupre*," unpublished D.S.M. dissertation, Union Theological Seminary, New York, 1975.

Van Wye, Benjamin David, "The Influence of the Plainsong Restoration on the Growth and Development of the Modern French Liturgical Organ School," unpublished D.M.A. dissertation, University of Illinois, 1970.

Wilson, John R., "The Organ Symphonies of Charles Marie Widor," unpublished Ph.D. dissertation, Florida State University, 1966.

Documents

37 //B/J - UNT Digital Library/67531/metadc330911/m2/1/high_re… · 37 //B/J GREGORIAN CHANT IN THE ORGAN SYMPHONIES OF WIDOR AND DUPR^, A LECTURE RECITAL, TOGETHER WITH THREE RECITALS