THE MUSICAL CONTRIBUTIONS OF FIVE FRENCH ORGAN

COMPOSERS FROM WIDOR TO THE PRESENT TIME

THESIS

Presented to the Graduate Council of the North

Texas State Teachers College in Partial

Fulfillment of the Requirements

Frr the Degree of

MASTER OF MUSIC

By

Mary Elizabeth Wright, B. A.

WIchita Falls, Texas

August, 1941

IQ!9,8

/SW

~9'0

TABLE OF CONTENTS

LIST OF

Chapter

ILLUSTRATIONS * . * . . . .*..*

I. INTRODUCTION TO THE STUDY * #..

II. THE MUSICAL CONTRIBUTIONS OF CHARLESMARIE WIDOR . . . . .

III. THE MUSICAL CONTRIBUTIONS OF LOUISVIERNE . * . . . . ..* 0

IV. THE MUSICAL CONTRIBUTIONS OF CHARLESTOURNEMIRE. . . . .*

V. THE MUSICAL CONTRIBUTIONS OF MARCELDUPRE . . . . . . . * .* .

VI. THE MUSICAL CONTRIBUTIONS OF JOSEPHBONNET . . . . . . . .

VII. CONCLUSIONS -# a a a a a a.

APPENDIX . . . .

BIBLIOGRAPHY - a

. a a a a. a ,

- a 0 a a .a

Page. iv

. I

. 9

. 42

. a 59

. . 82

* . 92

. a 95

. . 121

iii

.

.

LIST OF ILLUSTRATIONS

Figure Page

1. Five-measure plaintive section for soloreed, appearing between episodes, builtupon themes. (Taken from "Prelude,"

ymphonie III, by Charles Marie Widor. .

2. ABA lassie form (Taken from "Minuetto,"Symphonie III by Charles MarieWidor . . . . . . . . . .

3. Extended pedal point. (Taken from"Minuett,"'Sye III by CharlesWidor, .

4. Strict canon between soprano and tenorwith a single measure between.(Taken from "Adagio," Symphonie Ill,by Charles Marie Widor . . . . . 25

5. Fugue form: Subject' beginning on thedominant tone. , , . . . . . . 27

6. Original, delicate scherzo theme,stating the character part of thefirst movement. (Taken from"Scher zo"Symphonie TV, Charles Marie Widor , . 29

7. Canon over double pedal in middle sec-tion. (Taken from "Scherzo,"SshneIV.* . . . . . . . 30

8. Pedal solo for four foot flute, withfour voices above, for stings andceleste. (Taken from Fifth SMphoy,by Charles Marie Widor . . . . . 32

9. Recitative-like passage following thefirst presentation of the maintheme.. (Taken PromI "Al6gro,"Symphonic VI.), . . . . . . . 34

10. Canon form in the middle section,(Taken from "Intermezzo," Symphonie

VI.) - e . . . . . . . . .36

iv

V

Figure

11. Treatment of arpeggios. (Taken from "Finale,"Symphonie VI, by Charles Marie Widor .

Page

37

12. Use of pedal theme. (Taken from "Prelude,"First Symhonie, by Louis Vierne.) . . . 48

13, Canonic limitations influenced by Franck,(Taken from "Allegro Vivace Fir'stSymphonie, by Louis Viernel

14. Theme in the pedals. (Taken from'Vinale,'" First Symphotie by LouisVierne.) 77. . . . .

15. Canonic imitations, between pedals andmanuals., (Taken from "Finale" FirstSymphonie, by Louis Vierne.)

. . 50

510 .*

. . 52

16. Theme in unison by manusls and pedals.(Taken from "Allegro," ThirdSymphonie, by Louis Viern) . ...

17. Doleful melody running throughoutcantilene, (Taken from "Cantilene,Third 2phonie, by Louis Vierne). .

18. A tender, sad melody characteristic ofthe whole movement. (Taken from"Adagib ",Third Symphnie, by LouisVierne.S . , , . . . . .

19. First theme against rushing toccatafigurations, (Taken from "FinaleThird SMhonie, by Louis Vierne).

20. Syncopation in the tenor voice. (Takenfrom L'Orgue Mystique by CharlesTournemire. . . . . . . ..

21. Pedal point and harmonic structures.(Taken from "Suite evocatriee pour GrandOrgue," by Charles Tournemire).

22. Rhythmic and harmonic structure of compo-sition for manuals only. (Ttken fromJeu Doux et Voix HunMaine by Charle sTournemire ) . *. #. 0* .00.

54

54

55

55

65

67

vi

Figure

23, Three-measure choral theme. (Taken'from No. 1, Le Chemin de I. Croix,by Marcel Thpre) F. . . . .

Page

* 75

24. Introduction of the theme between twostrettos above fAgue subject in thepedal. (Taken from Trois Preludes etRuus, byMarcelDupre . . .

25, First statement of theme based on tradi-tional French Noel, developed in styleof free improvisations. (Taken fromVariations Sur Un Noel by parcelDupre . . . . . . . . . . .

26* Dissonance. (Taken from Deuxieme Symphon!eby Marcel Oupre) . . . . . . .

27. Opening measure portraying solemn pro-cession. (Taken from Corte eet Litanie,by Marcel Dupre). . , . . . .

28. Statement of the theme. (Taken from Vari-ations de Concert, by Joseph Bonnet).

29. First variation in soprano, harmonizedwith upper voices and accompaniedby staccato bass figure. (Taken fromVariations de Concert by JosephBonnet.) . . . . . . . . . .

30. Second variations, with theme in thepedal. (Taken from Variations deConcert, by Joseph Bonnet).

31, Third Variation, chorale-prelude, withtheme in the tenor, (Taken fromVariations de Concert, by Joseph

n eT ) . . . . . . . . . . .

77

78

78

81

88

88

. . 89

89

CHAPTER I

INTRODUCTION TO THE STUDY

Statement of the Problem

Five French organ composers, representative of the

period from Widor to the present timee, are identified in

this study, and a comparative analysis of the works of each

is made. The introduction includes the source of the data,

the scope of the problem, the purpose of the study, the

method of procedure, a brief historical background of the

new French school of music, general characteristics of

modern French music, and specific idioms of contemporary

French organ composers, as exemplified in the works of the

organists selected: Charles Marie Widor, Louis Vierne,

Charles Tournemire, Marcel Dupre, and Joseph Bonnet. The

compositions and musical contributions of Widor, Vierne,

Tournemire, Dupre, and Bonnet, respectively, are discussed

in Chapter II through Chapter VI. Chapter VII states a

summary of the study and the conclusions drawn,

Source of the Data

In September, 1940, the study of modern French or-

ganists was begun. The following libraries were used for

intensive research: North Texas State Teachers College,

Texas State College for Women, Hardin Junior College,

1

2

Southern Methodist University, and University of Texas.

Much available material and information were obtained

through correspondence with noted organists, publishers,

and librarians; through conferences with leading teachers

in the field of organ and theory in Denton, Wichita Falls,

and Dallas; and through collected program notes.

Scope of the Problem

In order to select the five most outstanding and most

representative French organ composers of the period from

Widor to the present, the writer corresponded with author-

ities in the field, asking each whom he considered greatest.

After compiling evaluations from answers received, a final

estimate was derived from all the available information

which named these organ composers: Charles Marie Widor,

Louis Vierne, Charles Tournemire, Marcel Dupre, and Joseph

Bonnet.

Purpose of the Problem

The purpose of this study is not so much to determine

the degree of greatness of each composer, but to discover

and to develop a deeper appreciation of the specific con-

tributions of each to modern music. The writer hopes that

this paper will prove interesting, stimulating, and helpful

to serious organ students, and that it may be a stimulus of

encouragement toward their own creative achievements.

See Appendix for letters quoted.

Procedure

After the selection of composers was made, correspond-

ence with other noteworthy organists in the United States

concerning the selected composers resulted in interesting

and valuable comments. Certain letters received are2

quoted.

A careful, critical analysis of materials representa-

tive of each of the composers was made, pointing out spe-

cific characteristics as to style, form, thematic material,

rhythmic patterns, melodic line, and harmonic treatments.

This examination of musical scores was followed by a de".

scriptive comparison of the contributions discovered.

Historical Background

Modern French Music.--If one thoroughly understands

the musical contributions of the French organ composers

under discussion, he must know something of the historical

background leading -up to the founding of the new French

school of music. In the middle of the nineteenth century,

there were two schools of literature: the romantic, which

was characterized by freedom of fancy both in conception

and treatment, and the naturalistic, which relied upon sug-

gestion rather than upon complete expression. The new ar-

tistic conscience and fresh tastes in France were awakened

by the calamitous events of the Franco-Prussian War of 1870,

in which the French suffered overwhelming defeat at the

Ibid.

4

downfall of the Empire and the establishment of the3

Republic.

It may have been on account of the paucity ofnative impulse toward musical creativeness that theFrench government in the early 70's sent out BourgaultDucoudray to the Near East to bring home discoveriesthat the world would inspire young artists.4

Influencing the growth of music in France since 1870

were two things: the Wagnerian movement, and the teaching

of Cesar Franck, who resuscitated the spirit of John5

Sebastian Bach. Franck was the first to break away from

Wagner. He found himself at the head of a school, the6

French School of modern musical composition.

General teristics of Modern French Music.--In

reviving and enlarging the classical form, Franck made

the link between classicism and the polyphony to come. He

was the greatest educational force in contemporary Franck

music. Some of the new tendencies begun by Cesar Franck

are: increased use of the orchestra; less strict reso-

lution rules, as in consecutive sevenths; parallelism for

specific effect; changes in frequent modulations and keys;

explainable dissonances; chromatic counterpoint; deep reli-

gious feeling and the use of modes in church music; organ

3Charles Downer Hazen, Europe Since 1815, pp. 252-253.

4Katherine Ruth Heyman, The Relation of Ultra-Modern

to Archaic Music, p. 26.5Vincent d'Indy, Cesar Franck, p. 5o

6C. F. (Abdy) Williams, The Story of n Music, p.

14$.a

5

point; the use of the thirteenth chord, formerly considered

a suspension; chord progressions in minor thirds instead of

in fifths; harmonic melodies dependent upon intervals; and

chromaticism.

With the last half of the nineteenth century came

charm, mysticism, power of joy through religious effusion,

new metres, styles, and techniques, fresh melodic, rhythmic,

and harmonic devices; good taste; purity of artistic and

ethical ideas; and subject matters characteristic of French

arts.

Specific Idioms of Contemporary FrenchOrgan Composers

The French school of organ composition has been reared

on the fact that the organist must exploit new resources of

the organ not for an artistic goal, but for a means of7

musical expression* In no other country has organ achieved

such a high place of honor, nor have so many contemporary

composers interested themselves in organ. The organ com-

posItions of France are unsurpassed in intrinsic merit.

This new French school was influenced by the liturgical

music of the church. The teaching of the great Lemmens in

the "Bach style" is seen in musical thought and register.

Other characteristics of the "modern French school" are the

progressive tendency in modality and harmonization, and in

improvision, whether as a means of technical development in

Wallace Goodrich, The Qrg In France, Prefaet p. XI.

6

study or as a form of musical expression.

French Organists place as high a value upon the art of

improvisation as upon composition, It forms the basis of

instruction in the conservatories, ad is indispensable in

the church. Fuque with obbligato pedal has become a famil-

iar Idiom. Some organists presage the influence of modern

impressionism on organ music, but this feature will not

likely become widespread. Since conditions of life in the

present century demand a new form of artistic expression,

twentieth century organ music is a combination of the

traditional and the experimental, using medieval plainsong

frequently in its harmonic settings. This factor is one of

the distinguishing characteristics of modern French organ

music.

Form

Regardless of revolutionary changes in French organ

music, the form remains basic. There is much freedom in

imagination and in variation In sectional form.

Melodic interest in contemporary music is of two types:

first, ecclesiastical, composed of the Gregorian Chant, as

in "Salve Regina" from Widor's Symphony II, (Figure 19),

and Latin hymns, as in Taurnemire's "Triple Choral"; and

second, secular, composed of chorales on folk tune and

original theme by the composer as in "Intermezzo" from

Widor's Symphony II, (Figure 9). Melody in this century

7

is only a part of the integrated whole. Some thematic

material is obtained from medieval plainsong; some is

original with composers; some is inspired from rhythmic in-

terests, simplicity of melodic line, and subtle rhythmic

deviations; and some requires melody, rhythm, and harmonyB

to be complete.

The three elements of rhythm contribute to the di-

versity of contemporary French organ music. Variety in

time signatures is caused by combinations of rhythms as in

Widor's "Minuetto" from Symphony III (Figure 2), elasticity

of the Gregorian chant as in "Toccata I" from Widor's

Symphony V polyrhythms as in "Andante" from Widor's -

h VII and simultaneous rhythms. Syncopation is a pre-

dominant feature regarding metre. The rhythm of a piece

cannot be determined by the way it begins. In the

twentieth century, unusual methods are used for obtaining

unity and coherence. Phrases overlap. Dissonance is fre-

quent. Harshness is very apparent in slow tempos, but

only a flavor of dissonance is noticed in carefully chosen

tempos.

Harmony is important as to modality, tonality, dis-

sonance, modulation, cadence, chromaticism, polytonality,

spacing, and the use of contrapuntal devices within the

harmonic structure. A new harmonic device is the

8Evelyn Merrell, "French Organ Music of the Twentieth

Century," _The Dijason (July, 1941), p. 20,

I

8

accompaniment with embellishments of ecclesiastical modes.

Dissonance is important, not for being discordant, but for

being a movement in a definite direction. In the twentieth

century the dissonant element of music has been of primary

importance, whereas it was of only secondary importance in

the eighteenth and nineteenth centuries.

Dissonance is accomplished in the following ways: by

appoggiaturas, by unprepared suspensions; by sevenths and

ninths becoming pivotal instead of resolving; and by false

relationship, a tendency toward polyphony. This modern

idiom in organ music must be handled most carefully because9

the organ is quite positive.

Chromatic and enharmonic modulations occur frequently.

"From any given tonality, modulation are made principally

to tonality at intervals of the perfect fourth above, the

major second, the major third, and the minor sixth." 10

Diminished sevenths are used in transitory and passing

modulations. In cadences, six-four-three chords are fol-

lowed by variations of the tonic ehord.

Diatonic chromaticism is expressed through a continued

use of tonic-dominant pedal point, through the use of par-

allel fourths and fifths, and through the use of trills,

The American Organist, XXIV (August, 1941), p. 247.10Evelyn Merrell, "French Organ Music of the Twentieth

Century," The Diapason (August, 1941), p. 16,

CHAPTER II

THE MUSICAL CONTRIBUTIONS OF CHARLES MARIE WIDOR

General Background

Charles Marie Widor, the most prominent figure in the

modern French school of organ composition since Cesar

Franck, was born in Lyons, February 24, 1845, and died in

Paris, March 12, 1937. At St. Francist Church, in Lyons,

his father was his first teacher. Going later to Brussels,

he studied compositions with Fetis and organ with Lemmens,

the founder of the present school of organ playing.1 As

a result of the influence of his grandfather, an organ

builder, and his father, an organist, Widor showed litur-

gical traits. It was upon his grandfather's organ that he

was able to form his first impression of the art of organ

playing.2 The occupation of his maternal ancestors, who

were navigators and inventors of balloons, was the source

of his slogan, "Soar Above," which appears upon the title

page of his first eight organ synphonies.3

'Albert Wier, The Macmillan Encyclopedia of Musicand musicians in One Volume (1938) p. 2008.

2"Charles Marie Widor Dies at the Age of 92," TheDiapason, (April 1, 1937), p. 1.

3 Ibid.

9

10

Rank

Widor was a popular professional Frenchman, with a

captivating personality. He had a keen sense of humor, an

unlimited number of anecdotes, and an untiring patience.

He stood by his young colleagues, using his influence for

them when the cause was worthy.4 Widor has been proclaimed

the world's most prominent virtuoso because of his amazing

mastery of the instrument, phenomenal technique, brilliant

original talent for improvisation, and dignified interpre-

tation. He helped save and revice French instrumental music,

which, except for Berliozts work, had been almost inactive

5in the eighteenth century. In music history, Widor was

associated with some of the most worthy institutions and

held many imposing offices. In 1870 he became organist of

St. Sulpice; in 1890 he succeeded Franck as professor of

organ at the Paris Conservatory; and in 1896 he took the

chair of counterpoint and fugue at the same place. Besides

writing musical criticisms for the paper and for "L'Estafette,"

Widor was conductor of the society, "La Concordia," became

a member of the Institute of France in 1910, and was made

secretary of the organization in 1913. Widor's service to

4Maurice Dumesnil, "Charles M. idor, Grand Old Man ofFrench Music," The Etude, LIII (March, 1935), 143-144.

5Edward B. Hill, Modern French Music, p. 41.

the "Academic of Beaux Arts" was that of permanent secretary,

and to the Legion of Hanor, that of chevalier.6

Style in Playing

Clarity in his talent as an executant reveals the

secret of his marvelous power. A listener once described

his impressions of Widor's playing in the following words:

"He seems to pour out a marvelous shower of light, from

the organ loft down onto our heads."7 It was a mystery

to many how his symphonies could be written for one instru-

ment, since the organ had not yet reached its polyphonic

possibilities; but Widor visualized them through the in-

strument of Cavaille-Coll, on which he made his experi-

ments in creating new techniques.8

Widor reduced the organ and built it up again in a

most wonderful way.9 His hands, capable of making broad

stretches., served his prodigious brain in making the strict-

est legato easy. He combined all the manuals by pedal,

which brought on or threw off the couplers. Without

6W. J. Henderson, "Charles M. Widor, Great Organistand His Art," Mentor, XV (December, 1927), 9-10.

7Dumesnil, 2. cit., LIII, pp. 143-144.

Ibid.

9Clarence Eddy, "Great Frenchmen of Organ World in1897 Are Pictured by Eddy," The Diapason (May 1, 1937), p. 14.

12

removing his hands, he could reduce the organ to nearly

nothing and then build it up again without interrupting

the voice flow.

This great composer played with rigid rhythm and strict

phrasing. According to his belief, it was dangerous to

deviate from the once accepted and recognized standards.

He thought that too much improving and modernizing of an

organ was detrimental to the traditional character of its

interpretation.

None has Widor's authority, sense of grandeur, and

mastery, in either playing or improvising. Grand accents,

magnificent legato, great breadth of phrasing, supreme

good taste in coloring--all these made Widor a great vir-

tuoso. Although Widor was elegant, austere, and fiery, yet

all the while he was a complete master of the rhythm.

Widor's music was alive, but not hurried; his staccatos

were exact, but not too short; his chords, though rapid,

were raised with precision; and his pedaling was excellent.

Teacher

As a teacher of composition, Widorts achievements were

great. Widor taught his pupils not only the organ, but

also a conception of what a sane musical life should be.

Widor succeeded Franck as teacher of Louis Vierne and

Charles Tournemire. His theory was: "firm legato, precise

13

articulation of repeated notes, liasion of common tones,

punctuation, respiration, phrasing, and shading."10

Widor is said to have been a harsh, cold teacher. His

aim in teaching was to give precedence to reason over in-

stinct, and to rationalizm over science. He disliked affec-

tations and excess bodily movements that suggested rhythms,

but demanded clear, concise pedaling. The master was ex-

acting about construction, development, transitions, con-

trasts, rhythm distortion of theme, creation of new element

from any germ of the principal theme, and unexpected return

of the subject matter. Every theme must be given out with

dignity and purpose. Widor took keen interest in impart-

ing principles which underly the traditions of French

organ-playing. He demanded absolute adherence to the text,

both in dynamics and in registration.

With utmost exactness, he observed basic principles

of musical interpretations: clearness in change of harmony,

dwelling upon the upper note when returning downward, per-

fect performance of repeated notes, faultless rhythm, treat-

ment of chords, and absolute clarity of delivery. He

thought that one of the most efficient ways to learn to

10Louis Vierne, "Memoirs of Louis Vierne--IHis Lifeand Contacts with Famous Men," translated by Ester Jones,The Diapason (November 1, 1938), p. 19.

1 1 Ylidor Career is Closed," The Ameican inist.XX (April 1, 1937), 128.

14

play was by listening while the composition was being

played. Many prominent organists owe their background of

composition to Widor, one of the outstanding few great

teachers in music history.

Compositions

Although his productions include everything from cham-

ber music to opera, Widor's organ compositions are his

most significant achievements. None of his dramatic works

won permanent success, because his genius, developed in

the church, was too introspective for the objective style

of the stage.

Widorts place in the organ world is not of yesterday

nor of today, but of tomorrow. He brought the Bach

Chorales to the place they now occupy in national schools.

More than others, he helped to raise French organ music

to a plane from which it has not departed. Although his

ten organ sonatas are his masterpieces, he composed some

smaller pieces, too. "In 1934, he published his new Op. 87

of three pieces: Classique d' Hieu,dedicated to Mr.

Rienenschneider; Mystique, dedicated to Charlotte Lockwood;

and Classique d' AuJord'hui, dedicated to Frederick C.

Mayer."12 Several times before 1914, he said he never

12 Ibid.

15

intended to write any more organ symphonies; however,

in 1927 was published his Suite Latin, which ranks with

his best works for organ and shows a tremendous vitality

for a man of eighty-two years.13 A few years ago, he

prepared his set of Bach's 'Memento," six free arrangements

and adaptations from Bacht s works*.14

The Ten Symphonies

Widorts ten symphonies, counted the greatest contri-

bution to organ literature since Bach, are supreme master-

pieces because of the massive scale of the works, as well

as the registrations of the orchestral treatment. These

symphonies have been the only modern influence that many

organists have known, and are the starting point of the

new French school of organ composition.15 They are works

of purity and propriety of style, and are most important

both in scope and influence for the effect they have had on

organ technique, idiom, and registration. These composi-

tions are more like suites than symphonies, with a wide

range of style and mood. The movements contain canons,

fugues, toccatos, marches, scherzo, and adagios.

13"Charles Widor Dies at the Age of 92," The Diaason(April, 1937), pp. 1-2.

14Ibid.

1 5 T. Carl Whitmer, "Widor's Organ Symphonies," TheAmerican Organist, XVII (May 1, 1934), 211-215.

16

Widor wrote his first four symphonies soon after

going to St. Sulpice. This was probably his period of

experimentation. After revising these compositions, he

wrote the fifth and sixth in 1881, and then the more dis-

sonant and more modern seventh and eighth in 1890. In the

last four works, he practically exhausted the rhythmic and

registrational possibilities of the organ.

The organ at St. Sulpice and the first eight symphonies

are so closely connected that a knowledge of each is nec-

essary to understand the other. The first eight eymphonies

demonstrate Widor's own development as a composer, show an

evolution of his own conception of organ, and give endless

variety of touch and registrative combinations. These

masterpieces represent the religious, ecstatic fervor of

the great masters life.

There are forty-eight movements in the numbered sym-

phonies, the average length of each being about six divi-

sions. They require a large instrument for performance.

All show careful craftsmanship and logical development.

The secret in interpretation lies in finding the correct

atmosphere underlying each composition written. French

organs demand registrations that are quite difficult on

American organs. Widor enjoyed making a contrast by a

sudden closing of the swell pedal at suitable points. He

used at least one eight-foot pedal stop in each symphony.

17

The dominant feature is the expression of a simple

truth, classic in conception and romantic in treatment.

<idor reflects Bach in depth of his objective thought,

and Schumann in interwoven treatments. He differs from

Bach in his treatment of polyphony, and from Schumann in

sincerity of elaboration. His art is consummating and

filled with technical curiosities. He knows that melodic,

rhythmic, and harmonic aspects of ideas are affected by

environment. Widorts power was produced by his freedom,

brilliancy, and depth.

A detailed criticism and analysis of the ten symphonies

follow.

Symphony I.--VWidorts First ynphonZ, in C minor, is

composed of seven movements, which number more than any

other one of the ten. Since the last two movements were

added in revision, they show the influence of a later

period.

The p opens with a dignified "Prelude." In the very

first measure, is found the keynote both to Widorts power

and to his mannerism--a great desire to use very large in-16

tervals. This fact is especially true with regard to

intervals written for the pedals. The main theme of the

"Prelude" is a stately, well-phrased figure, which is

16 Ibid.

18

repeated in different voices to form the exposition. It

contains forceful, rhythmic groupings of alternate legato

and staccato notes.

In the original edition the second movement was called

"Allegretto," but in the revised edition the name was

changed to "Allegro." The composer probably felt that a

faster tempo would be a better basis of interpretation.

The Mendelssohnian style is suggested by the "Inter-

mezzo." Its noble theme is very simple in structure. Fre-

quent changes in manuals are made in executing rapid broken-

chord figures, and the theme .in the pedal changes key four

ties, "This movement is extremely tricky, and with even

thm best intentions, the performer frequently loses the

necessary poise."17

In the original edition the fourth movement was

called "Andante," but "Adagio" is a better name when three

beats to the measure instead of nine are used. There is

much contrast of sections on the manuals. The first part

begin; with a skip of an augmented fourth; the second

part is a transposition of the first, up a major third.18

"March Pontificale," through its bigness and buoyancy,

eas ily heads the list of organ marches. It is the most

17Albert Riemenschneider, "Program Notes on Widor'sSymphonies," reprint from the American Organist, copyright(1925) p. 265.

18 Ibid.

19

attractive and most sanely inspired movement of the

symphcny. The point of chief importance is the excellent

use made of rhythmic effects. Heavy registrations for

manuals and pedals are necessary for this sustained, com-

pact work. In the second part, the marked rhythm is off-

set by a counter-rhythm in the left hand, Widor expressed

his idea with freshness and authority.

The sixth movement was probably inserted in the

revised edition to keep the break from the "Imarche" to

the "?inalel" from being so abrupt. This short movement

in Eb minor reveals Widor's mature thought and sincere

feeling. It has a beautiful solo melody, probably flute,

accompanied by sustained chords, played on light string

stops.

The "Finale" consists of a complex double fugue. It

is treated by inverting the section built upon the theme,

by alternating groups of staccato and legato, and by using

pedal-point on the tonic.

Symphony II.--"Praeludium Circulare"t is unique. It

begins in the key of D major, and works chromatically

through keys D, Eb, and E. After modulations there is a

return to the original theme.

In the "Pastorale" are found better rhythmic effects

and a contrast between staccato and legato. A broad har-

monic treatment is used throughout.

20

The two contrasting devices in the "Andante" seem

to strive for supremacy, the one like a choral and the

other like a free phantasy. After the "Adagio" and the

follovingr theme a half step higher appear, the melody

enters in the tenor. At the close is a flute solo over

sustained chords.

"Salve Regina" ia a choral fantasy on a Gregorian

hymn, written in the style of Widor's last period. This

movement shows a common tendency of French cathedral

organS: the effect of play between the Great and the choir

manuals. This is accomplished through the use of a bril-

liant melody in a low voice played on the Great, contrasted

by a serene choral melody in an upper voice played on the

choir.

"Adagio" is a slow movement, played on strings, in-

terspersed by flutes playing the theme.

The "Finale" may be classified with the popular

"Toccata" from the Fifth Symphn. It is a brilliant

work, opening fff on a rhythmic theme, which pervades the

whole movement. Splendid contrast is made through the use

of double thirds and massive chord effects.

Symphony III.--The "Prelude" or "Moderato" is strictly

in four parts and employs in its development two themes

1 9 "Widor, Symphonie No. II," The American Oranist,XXI (February, 1938), 42.

21

which start with an octave skip upward. Episodes are built

upon each theme. Appearing at three different times be-

tween these episodes, in the keep of C, B, and E minor,

is a five-measure plaintive section for a solo reed. See

Figure 1.

Widor marked this registration for the "minuettott

"G, Flute de 8; P, Diapason et Principal; R, Hautbois; Ped.,

Flute 8,n20 is stately, like the old classic form, as shown

in Fig ure 2. The middle section opens with an extended

pedal-note on G, shown in Figure 3, and uses double pedal

in the whole section until the first theme returns in B

Minor. A coda in B major ends the movement.

"Marcia" resembles the "Marche Pontificale" of the

First Symphony in rhythmic effects, slow colorful episodes,

splendid contrasts, and huge climaxes.

"Adagio t" meditative and poised, is written in four

parts. A strict canon exists between soprano and tenor,

with a distance of one measure between them, as shown in

Figure 4.

The "Finale," which really belongs to the third period

of Widor's compositions, is written in the mature style of

the Gothique and the Romane.21 This movement replaced a

20 Charles Marie Widor, t"Minuetto," Syph2nie III,Paris, Hamelle, Editeur (1920), p. 78.

21Albert Riemenschneider, 2F. cit., pp. 265-266.

22

___2,

12 k

D I-

4t! 'r1 1 1

A. -1.-

r _ I _ _ _ _ _ _

3 i 1- 07V 1.-,

-

2Fig. .-}-iVe-rteasure pla4ntive section for solo reede-ppearing between episodes, buil t rPOntheives. (Taken from$"Pre lude, " Symphonle XI, by Ch ar1 Marie Uidor; Paris,Hemelle, Editeur, p,'7, 80, 81.)

4

)

'

jlh 'A 11, to a_[- 1

I -

Alftl *AV4b -S

- - I

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Fig. 2.--ABA classic form. (Taken from "Minuettov"S honie III, by Charles Marie Widor; Paris, Hemelle

on, pp.78, 80, 81.)

44

4

4 (

Ar. IN _j__ L. JF-F AIF

PW

AL,1--m-

'ra , AI I

m

4 .6

I

24

__a AN

~u~mmfmA101101m

AMLI

I I If I2ID oli4AE ^k

Fig. 3.--Extended pedal point. (Taken "rom "Minuetto"ymphonie III, by Charles Marie Widor; laris, Hemelle, Edi

tour, .

-iiii

T

11 I a I I

%W L- _I_

*Ar*ft --- #* F I

glow 771 -1 1 1

25

M F 97

I P

p ~ ~C3

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Fig. 4.m-Strict canon between soprvnc and tenor with asingle measure between. (Taken from "Adagio," S-mphonie I11by Charles Marie Widor; Paris, Hemelle, Editeur, p.~917

4

a A. k,

-- - ur*

1 - ---

. ' ' ' ' --- .. .

26

fugue, used in the first edition. It is brilliant, has

unusual color effects, and suggests a bold treatment of

the orchestra. Widor's suggested registration is: t"G,

Fonds 4, 8, 16; P. Fonds, 4, 8; R. Fonds at Anches 4, 8,

16; Ped., Fonds 4, 8, 16." 2

SymphonY IV.--Because of its dignity and declamation,

the opening movement of the Fourth hony, "Toccata,"

suggests pre-Bach music, with modern harmonic and rhythmic

treatment. It is written in a style of dignity and declama-

tion. There is a contrast between rhytImic chords and

rapid passage-work.

The "Fugue" is written in a clear, interesting form.

The subject begins in the dominant; the answer, is on the

tonic, as shown in Figure 5. The theme is clear in any

voice in which it appears. The suggested registration is:

"G. P. R., Fonds de 8; Ped., Basses de 8 et de 16."t23

"Andante Cantabile," which was written before Widor

reached his mature style, is unlike the profound slow move-

ments of later periods in that is simple and melodious, be-

cause it is written in chausson style. The main theme con-

sists of the opening sixteen measures, which reappear twice.

22 Charles Marie Widor, "Finale," Symphonie III, Paris,Hamelle, Editeur, p. 93.

23 Charles Marie Widor, "Fugue," Symphonie IV, Paris,

Hamelle, Editeur, p. 6.

27

4IL

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-~- a-L

7T7A

*imks4]

4T~1* --E --EL || ~

- -||.l.ow-

Fig. 5.--Fugue form: subject beginning on the dominantanswer beginning on the tonic. (Taken from "Fugue," S honieI~, by Charles Marie Widor, J. Hamelles, Editeur, p.

IIAjr

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i

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28

"Scherzo" is one of the most original, charming, and

delicate pieces ever written. The opening theme states the

character of the whole first part, as seen in Figure 6.

The more peaceful middle section presents an interesting

canon over double pedal, shown in Figure 7. Both movements

are repeated. Much use is made of the right-foot pedal.

In the sustained Adagio of rare beauty, Widor suggested

the "vox humana t" balanced by the solo flute. Much use is

made of contrasting manuals.

The "Finale" is one of the greatest exponents of

modern French organ music. It is marked fff and GPR.24

After the majestic theme is announced, there follow'short

fugal passages, which are repeated several times and lead

into the original theme. After the main division occurs

three times, the movement culminates in a grand climax.

Symphony V.--The Fifth, which is most popular of

1idor ts symphonies, represents a marked departure from the

contrapuntal school of his predecessors and an acceptance

of to the more symphonic style. "Allegro Vivace" was

written in the characteristic theme and variational style.

The first motive is interrupted by a set of episodes,

after which the development continues, with great brilliancy,

to the end.

24Widor, a. ci.,pp. 30-31.

29

2 -w

Fig. 6.--Original, delicate scherzo theme, stating thecharacter of the whole first part of the movement. (Takenfrom "Scherzo," IV, by Charles Marie Widor, J.Ramelle, Editeur, P 4t-

Ad

Awk low-

At

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big"Ir

Ask.s

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40

lowAm -

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Fig. 7.--Canon over double pedal in middle section.(Taken from "Scherzo," Symhonie J. Hamelle, Editeur,p. 18.)

quo*

PAC

LJF t

VT

31

"Allegro Contabile" is one of Widor's best slow

movements.25 This tuneful melody was written in song

style, accompanied by groups of sixteenth notes, with sus-

tained notes to produce a rich, harmonic background. The

second division contrasts chords on strings with fanciful

figurations on flute. After the third division there is

a repetition of the first.

The "Andantino Quase Allegretto" is unusual, because

it is written in the styles of a scherzo, with interesting

parts for the pedal.

"Adagio" is an excellent slow movement. The four-foot

pedal flute solo soars over the four voices above, which

are played on the manuals, with strings and celeste. See

Figure 8. The pedal is built up impressively near the

close with successive entrances of eight-foot and sixteen-

foot stops.

The famous "Toccata" was written two hundred fifty

years after Bach. This movement is a "moto perpetuo," built

upon a kind of ecclesiastical chant or plain-song, which is

given out on the pedals fortissimo with bold and striking

effect. The whole movement is characterized by an unusual

brilliance in scale figurations, is based upon a there of

25Widor, "Symphonie No. 5," The American _z~anist,

XXII (March, 1939), 78.

32

N1-

715--

?o \~

j S

Fig. 8.--Pedal solo for four foot flute, with fourvoices above, for strings and celeste. (Taken from Ia art TvFifth -- by Charles Marie Widor, Edition Afassio, p.39.)

IL AL

No

en

.99004 1

I

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33

maJor simplicity, and is accompanied by chords of fiery

rhythm.

Symphony VI.--Symphony VI, consisting of five move-

ments, is written in the key of G-minor. The "Allegro,"

the finest single movement of the symphony, represents the

great Widor in his most triumphant mood. It is among the

great organ classics and reveals a wealth of tone-color and

technical device. "Grand-orgue, Positif, Recit, Pedale

Accomplest26 constitute Widor's register markings. Em-

bodied in this composition are majesty and grandeur, ex-

pressed through massive chordal combinations and coupled

with variations. Following the first presentation of the

main theme is a recitative-like passage, shown in Figure 9.

The "Adagio" represents a departure from the tradi-

tional contrapuntal style of the German school. This

change was made possible by mechanical improvements in

the organ itself. Flutes and strings form the background

of the first and last divisions, while the middle sections

yields to a broader registration. Beauty is the result of

combinations of melodic rhythmic, and harmonic forces.

The third movement, the "Intemezzo," is a splendid

example of Widor's originality, expressed in the style of

2 Charles Marie Widor, "Allegro," Symphonie V, Paris,Hamelle, Editeur (1920), p. 2.

34

" 11 - tI 1 1 tI wo- i f m I

[TAw 1

syi~ L

Fig. 9 .-- Recitative-like passage following the firstpresentation of the main theme. (Taken from "Allegro,"8yuphonie VI, by Charles Marie Widor, Paris Edition, p. 3.)

K

.I m I . foloommumm r-T-1-4-I

I V

ILA k'Jov v

L

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110

L-!W- I I I I - -

EJITIII

35

a scherzo, with brilliant staccato passages. The middle

section is in canon form. See Figure 10.

Revealing charm and beauty, the "Cantabile" opens with

the melody in the soprano, accompanied by the other three

voiceS. After variations in the middle section, the orig-

inal theme returns.

Closing the symphony, the "Finale" opens with massive,

fortissino chords, followed by surging arpeggios, shown

in Figure 11. Great strength and splendor characterize this

movement.

Symphony VIT.--The Seventh ymhn;-This composition

was written in the key of A minor, is next to the longest

one. The "Moderato" movement opens with a buoyant, rhyth-

mic, dramatic theme, which characterizes the whole move-

ment. In contrast, the second motive is of a serene

nature.

Opening with a broad, resonant movement in six parts,

after a complete statement, there follows a series of

treatments of the "Chorale." The "Chorale" is based

upon the original themes.

All of the "Audante" except the middle part is gay,

quick, and light hearted. The middle section is intense

and is illed with compl-ex polyphony.

27Albert Riemenschneider, a. cit., p. 297.

4-

bh -A&

Tr 1, 11 1 i

.0 TAIIIIIJF-

e-*

..........

Fig. 10.--Canon form in the middle. (Taken from*Intrmeo," S honie VI, by Charles Marie Widor, ParisEdition, p. 24.)

Of I -.1 4NI. .1 - I a... -i I -- -- m - - 0- 1%

f

'ir

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AN.

13

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-- .72. ---- Ill --

1.7

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37

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rig. 11.--Treatment of arpeggios, (Taken from "Finale3 -honisV I, by Charles Marie Widor, Paris Edition, p. 374

.4

-og

lin --

TT-,

-a- -77

38

"Allegro Ma Now Troppo" has a short introduction,

followed by a pedal solo. Based on the theme of the

"Chorale" and sustained over surging arpeggio figures, the

melody is the soprano. Masterly rhythmic distribution

portrays strong movements of ocean waves, which finally

subside into a calm. 2 8

"Lento"' is written in church style, with a contrast

between full organ and soft stops.

The "Finalet is to the organ what Wagner" Ride of

the Valkyries is to the orchestra. It is filled with

repetitions of figures, barbaric in energy and savage

in character.

phon VIII.--Finding Inspiration in classical tradi-

tions of the old master, Widor, like Brahms, extends and

develops the form handed down by them. The Eighth Symphony

is orchestral in general scheme, in color, and in rhythm.

It marks a distinct change from the severe, contrapuntal

style of Bach and his successors. The six movements from

the most stupendous, and probably the most difficult, work

ever written for the organ.

tAllegro Risoluto," the opening movement, is introduced

by chords, that have the effect of ringing bells. Both

the main theme and the secondary one are developed before

the climax is reached.

2 8 Ibid.

39

"Moderate Cantabile" has a beautiful melody, accom-

panied by broken chords in sixteenth notes. The contrast-

Ing section which follows leads back to the original

theme, with the melody in a lower voice. "It requires the

best and newest tools mechanically, mentally, and aes-

thetic ally.t29

The "Allegro" movement is mostly in canon style. It

is rapid and complex.

Variations might be ranked with Bach's Passacag;2a.

After the theme is first announced in the pedal, variations

in free chaconne style follow.

The second part of the "Adagio"t is in fugal style and

followed by the original melody.

The "Finale" is in brilliant, round-form. With bar-

baric splendor, it begins with the chords of the Iirst

movement *Here Widor displayed a five rhythmic style.

S ghonie Gothique, . Op. 70.--The Gothique and

Romane Symphonies were written in Widor's third period.

They express his convictions that true organ music must be

inspired by religious melodies and, for that reason, should

be consecrated to the church.30 The Symphonie Gothique

29Ibid.

30Wallace Goodrich, The Organ in France . 8.

40

is Widor's "In Memoriam"--a dark literary elegy,31 which

is filled with contrapuntal design, canon, and fugue.32

Inspired by the organ at Saint Ouen Cathedral, he used

as his basis the beautiful Christmas hymn, Puer Natus Est.

There exists a fine set of variationswhich are really a

free kind of passacaglia that make severe demands upon

33the resources of the player and of the instrument.

In the "Moderato" the arch and flying buttresses of

Gothli architecture are represented by a theme in eighth

notes, and with a chordal theme as countersubject. When

climaxes rise, one sees the whole majestic cathedral.34

There are clear rhythmic basis and much organ tone. "Its

harmonically chromatic character is splendidly self-seeing,

in-seeing, and through-seeing. It is essentially medita-

tive."35 This movement is a transposed-Hypo-Ionian mode,

which produces unusual harmonic effects. Different moods

portray various parts of the church service.

31T. Carl Whitmer, "Widor's Organ Symphonies," TheAmerican Organis, XVII (August, 1934), 362-364.

32 Eddy, Q cit., p. 14.

3 George Grove, DictioQry of Music and Musicians(1938), p. 714.

34T. Carl Whitmer, "Widor's Organ-Symphonies," The

American Organist, XVII (August, 1934)., 362-364.

35Riemenschneider, op. cit., p. 268.

41

Because "Andante Sostenutot" is spiritual, pure,

delicate, and wonderfu.l; one feels an atmosphere of

prayer.

Syponie Romane, _2* 73..--The underlying theme of

the Lymphonie Romane is the Gregorian Easter hymn, aec

Dies, meaning ThisDa3 1 Whitmer was inspired by the

famous Roman church, St. Sernin at Toulouse, The "Moderato,"

which is austere, angular, and impersonal, gives one at-

mosphere of vaulted arches and stained glass windows of the

cathedral. One must understand plain-song to discover

the winding melody of the hymn among the ramblings. Its

dignity suggests improvisation in a church service.

The "Chorale" opens with a harmonized theme. Pedal

stops represent loud pealing of bells. After a freer style

of treatment, there is a return to the bell theme.

"Contilena" which is a lovely movement, is based on

a fragment of the Gregorian chant.

The t'Finale" shows Widor at the height of his achieve-

ment. This magnificent, brilliant fantasy is based upon

the main chorale, Near the end may be heard a peal of

Easter bells, followed by a theme like that of the first

movement.

36hitmer, op. cit., p. 265.

CHAPTER III

THE MUSICAL CONTRIBUTIONS OF LOUIS VIERNE

General Background

Louis Victor Jules Vierne, French organist and composer,

was born in Portiers, France, October 8, 1870, and died in

Paris, France, June 2, 1937, just as he finished playing

his own Triptyque during a recital at the console of Notre

Dame. Having been born with defective vision, he studied

first at the Institute for the Blind in Paris. In 1894,

studying with Franck and Widor at the Paris Conservatory,

he won first prize in organ playing.

After this, Widor kept him by his side in thecapacity of assistant teacher of his organ classes,and soon after, also as his assistant at the grandorgan of St. Sulpice. 2

For a while his sight improved, and he could read ordinary

print and music, with a powerful glass. Soon, however, his

vision failed again, and he was forced to use Braille. Marie

Richepin assisted Vierne, reading music to him and acting as

his amanuensis for composing.

Albert E. Wier, The Macmillan Encyclopedia of Musicand Musicians, p. 1938.

2Paul de Launay, "Vierne s Career Is Closed," The

American Organist, XXII, No. 6 (June, 1937), 229.

42

43

In 1900, in competition for the position as organist

In Notre Dame Cathedral, Vierne won over the other seven3

first-prize organ pupils of the Paris Conservatory. He

held the position of organist of this Cathedral for thirty-

seven years. In 1911, at the death of Guilmant, Vierne

resigned from the Paris Conservatory to accept the posi-

tion of Professor of Organ at Schola Cantorum, which was

founded by d'Indy.

Rank

In the French School Vierne ranks with Widor in im-

portance, in modern composition for organ. He contributed

an insight into the principles of organ playing of the

new School. Vierne was notonly a great musician, but

also a philosopher and a very human and emotional artist.

His place in history is pre-eminent* The French govern-

ment conferred upon him the title of officer of public4

instruction

Style

To Frank, Vierne owed his excellent treatment of the

modern French idiom, his skillful use of canonic imitations,

and. his ingenious combining of themes. To Widor, he owed

his general structure and form..

Vierne was generous, devoted, and eager to share with

Ibid.4

"Louis Vierne Dead; End Comes at Organ," (author notgiven), The Diapason (July 1, 1937), p. lo

44

others his knowledge and love of music. In his own color-'

ful uad pungent way he expressed his rich, human philosophy5

of the art of living. Working in the very shadows of

Wotre Dame, Vierne formulated for himself the aesthetics

of a cathedral organist, and endeavored to adapt himself to

its majestic sound and to his own great religion.

To the high mission which was entrusted to me,I have brought, for want of anything better, all thefidelity and6sincerity of my heart as an artist anda believer.

Because of blindness and because of a great technique,

Vierne was unconscious of anything but his own music. His

complete absorption in his playing was the basic requisite'

for its smoothness. His eyes saw nothing, and his hands

and brain offered no detraction. He played with an in-

stinctive ease, and with smoothness in toe and heel pedaling.

When he played Bach, one knew that Bach was the greatest of

all organ technicians, and that Vierne was worthy to follow

in his footsteps.

Vierne was deeply affected by the same progressive

tendency in modality and harmonization that is character-

istic of what we call "the modern French school." Not

only were his improvisations always scholarly and clever,

but they inclined toward modern harmonies. Most of his

improvisations were short interludes to different parts

of the mass, the melody of the chant often being played

Ibide

45

in appropriate Gregorian harmony. When the organ responss

were longer, there was a more extended improvisation, with

a greater variety of registration. Sometimes a plainsong

melody furnished the basis around which he wove intricate

harmonies.

Often, when one was priviledged to visit the organ

loft with Vierne, as was Virgil Fox, the great composer

would build up his improvisation to the glorious full

organ, using all five manuals, and then gradually reduce

the combinations by changing from one manual to another

rather than by staying on the same manual and throwing off

the couplers as we do on American organs. Ven Fox won-

dered if Vierne's improvisations could be In the sam style

as his compositions, he found proof in a great blaze of

musical fire as he stood by the Notre Dame console and

felt the whole building yield itself to the organ as the7

Master closed the morning service. His theme, a diffi-

cult pedal motive, was built up with manuals to a tremen-

dous structural climax,

There were two opinions on organ design of special

interest today: one is that of t"confounding power with

noise"; the other, "of substituting for excesses of the8

of the nineteenth century, those of the seventeenth."

Virgil Fox, i"Paris in Review," The AmericanOrganist, XIV (May 1, 1933), 266.

Louis Vierne, "Reminiscences of Vierne," translatedby Esther Jones,j T4eDiapason (Sept. 1, 1938), p. 8.

46

Vierne thought there should be a happy medium between these

two tendencies. He believed that specifications of an organ

should include foundation stops, mixtures, and reeds in well-

balanced proportion; that an organist, in order to preside

over a new instrument, should have taste and good judgment;

and that impulsiveness was fine, but reason, finer.

Teacher

Vierne's pupils often gathered around the blind or-

ganist during a service. Then the signal from the high

alter came and Vierne began to play, the Cathedral seemed

nothing but the strength of mighty stone, while the great9

teacher had strength in weakness.

At the Conservatory, Guilmant and Vierne adopted the

following items for plainsong examinations: commentary on

the liturgical chant; accompaniment as in the church, but

in a broader style; and use of melodic ornaments, as em-

bellishments and passing notes, with chords falling only

on the principal notes. After Guilmant died, Vierne and

his pupils, Joseph Bonnet and Marcel Dupre, continued the

new work.

Compositions

Vierne was a successor to Widor in writing in a

secular vein. His death is a great loss for the French

Louis Vierne, "Travel, in the Organ Loft of the Cathe-dral of Notre Dame," House Beautiful, LXXI (March, 1932), 162.

47,

school of organ playing. He most worthily carried on the

traditions of the illustrious masters: Franck, Widor, and

Guilmant; and his works, known throughout the world, will

survive him.

His compositions include mass for chorus and orchestra,

a symphony, a string quarter, sonata for violin and piano,

sonata for 'cello and piano, and smaller instrumental and

vocal works. For the organ Vierne composed six symphonies

and thirty or more short pieces, which are admired and

cultivated by organists the world over. His works are

brilliantly effective and contain much harmonic originality.

In his later symphonies one finds extremely chromatic pas-10

sages, with astringent harmonies bordering on ugly.

Symphonies

Symphony I.--Vierne's First Symphony, Opus 14, shows

a combination of his own strong individuality and the

influence of Franck and Widor. The impersonal rather than

the emotional tends toward an expression of the orchestral

design. This is one of Vierne's most attractive symphonies.

The "Prelude" was intended for the church. Pungent

harmonies were employed with a thrilling use of the pedal

theme near the close. Se Figure 12.

The "Pastorale" is tuneful, but not so original as

some movements. The admirable use of canonic limitation

10Marshall Bidwell, Free Recitals, Forty-Third

Season, p. 38.

48

I_---- F

II,Al

Pig. 12.--Use of pedal theme.. (Taken fr m "1relul: "Fir phone, by louis Vierne, 6Ar, 3Hamele Editon p. o)

IN

p. -

1 4000

49

in the middle section of the "Allegro Vivace" shows the in-

fluence of Franck. See Figure 13.

The "inale," a brilliant, rugged, magnificent Toccata

of fine proportions, employs two themes: the easily dis-

tinguished theme in the pedals, as shown in Figure 14; and

the canonie imitation between pedals and manuals in the

middle section, as shown in Figure 15.

2hnyI.--The first movement, "Allegro," shows

the influence of Franck and Widor. In the first part of

this resolute work one sees Gothic architecture and stained-

glass windows, in the winding second subject one feels

grandeur and picturesqueness, and in the closing section

one knows Vierne's mastery In combining themes.

The "Cantabile" is a sad, plaintive melody against a

background of exquisite chromatic harmonies. After the

development of the theme, which leads up to a thrilling

climax, the piece dies away in celestial loveliness.

The piquant "Scherzo," with its quaint pedal solo,

is one of the most sparkling movements of its kind in all

organ literature. Structurally it is Widor's style, but

harmonically it is Franck's style, especially in his

treatment of the modern French harmonic idioms and skill-

ful combination of themes.

Symphony III.--The opening movement of the Third

Symphony is "Allegro Maestoso." It begins with a state-

ment of the theme in unison, by manuals and pedal, starting

--- Air -don L 0 1 1 t

IL

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low-

IL

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Fig. 15.--Canonic limitations influenced by Franck,(Taken from 'Allegro Vivace," pFirst honie, by LouisViorne, Paris, Hamelle Edition,-p.NN"W

50

I InL*s M A I I A I 00.0Iri r.,. -t

51

Ife ro

Fig. 14.--Theme in the pedals. (Taken from "Finale,First ,MLon ,by Louis Vierne, Hamelle Edition4, p. 42)

It L M

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Fig. 15.--Canonic imitation, between pedals and manuals.(Taken from "Finale," First Symphonie, by Louis Vierne,Hamelle Edition, p. 44.7F

fil 7 , I I I 1 1iI 1 I' 11I

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53

with a powerful fff. See-Figure 16. After a development

of the theme, a sustained legato section follows.

"Cantilene" is characterized by a delicate, doleful

melody which runs throughout the movement, shown in Figure

17. It is exquisitely developed.

In the "Adagio" there is a tragic tenderness which

broods over this entire great, slow movement of rare

emotional depth. It is tinged with bitter sadness, which

marks it off from his other works of this form. See Figure

18.

In the "Finale" Vierne again reaches supreme heights,

as shown in the imperious first theme against rushing

toccata figurations. See Figure 19. The whole movement

is written in an impeccable style and with perfect propor-

tions.

Smaller Works

In his introduction to his 24 Pieces en Style Libre

Pour Orgue _on Harmonium, Livre I and in Livre II, Vierne

says:

The pieces of the present section are calculatedso as to be played during the ordinary duration ofan offertory. They are registered for an harmoniumwith four stops and a half, and for an organ with 2keyboards and pedals of 18 to 20 stops.

Tt is understood that the registration is, here,a general indication of colour, and that this regis-tration can be modified according to the instrumentsat the disposal of the artists.

Two initials close together (G.R.) show that thegreat organ is coupled to the swell; the letter Gmeans thrt the keyboard is separated from the swell.

N. , - , - . - , - , . - --- -. 1, -1 MWAWWAM

Z04

Fig. 16.--Theme in unison by manuals and pedals.(Taken from "Allegro Vaistose," Third 31phonie, by LouisVierne, Durand & Co., p. 1.)

L A --f

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~1Fig. 17.--Doleful melody running throughout contilene,

(Taken from "Cantilene," Third Mphonie, by Louis Vierne,Durand & Co., p. 9.)

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55

4

4

4

4

1

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Fig. 18.--A tender, sad melody characteristic of thewhole movement. (Taken from "Adagio," Third ponie, byLouis Vierne, Durand & Co., p. 20.)

A /Vj

Fig. 19.--'First theme against rushing toccata figura-tions. (Taken from "Finale, Third Symphonie, by LouisVierne, Durand & Co., p. 24.)

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56

Same meaning for the letters placed near the word Ped.;they show with what keyboard the pedals are coupled.

All the pieces of this collection can be playedentirely with the hands. When they are played on anorgan with pedals, it will be well to divide betweenthe hands the parts under which the pedals will beused.1 1

In the first book referred to by Vierne, "Divertisse-

ment," No. 11, is a scintillating scherzo, intended for an

offertory; however it is not much like a present-day offer-

tory. This composition probably would speed up the taking

of the offering.

In the second volume of 24 Pieces en Sfle Libre,

number twenty-one is the "Carillon." It is one of Vierne's

most unique compositions, based upon a theme played by the

chimes of Chateau de Longport, which was destroyed by the12

Germans during the World War. Vierne dedicated this

composition to his brother, Rene. The theme is stated

first by the pedal solo, then restated, and supported by

massive chords to give the desired effect of the carillons.

Vierne describes the Pieces do Fantaisie as follows:

The Twenty-four Pieces de Fantaisie for the organ,distributed among four books, have been composed for athree manual organ and a pedal board; in opposition tothe Twenty-four Pieces in Free fle, they thereforeinclude an obligatory pedal part. The time which theirexecution demands in the metronomic movements indicatedin the text varies from three to five minutes, Theyare of average difficulty.

11Louis Vierne, 24 Pieces en t Libre, Op. 13

(1914), Flyleaf.12Marshall Bidwell, Free O an Recitals, Forty-Third

Season, p. 126.

- . -, ., - --- - - , 1- t -- . -: Qwsvafl

57

The registration is by means inflexible. It israther an indication for the general coloring. It canbe modified according to the possibilities offered bythe instruments on which they are to be performed. Itis no use saying that the artist must refrain from anyjarring, picturesque, or odd effect unjustified by thecharacter of the music. This is an elementary artisticprinciple in every interpretation aiming at accuracy.

According to the size of the locality and thequickness with which the organ responds to the touch,the movement may be very slightly more or less rapid.

The manuals and pedal are pointed out by G.(great organ), Ch. (choir), Sw. (swell), Ped. (pedal).Two initials juxtaposed indicate the coupling of thetwo keyboards to which they correspond: G. Sw. (greatorgan coupled to swell), Fed. G. (pedal coupled togreet organ), etc.

The registrations indicated by brackets are onlymeant to prepare subsequent passages and in no wayaffect the bars under which they have been placed. Onthe contrary, the indications for the registration with-out brackets coincide with the very moment of theirrealization. 13

Vierne wrote the Pieces de Fantaisie in four suits.

In Premiere Suite are: "Prelude," "Andantino," "Caprice,"

"Intermezzo," "Requiem Aeternam," and "Marche Nuptiale"; in

Deuxieme Suite are: "Lamento," "Sicilienne," "Hymne Au

solely, " "Feux follets," "Claire de lune," and "Toccata ";

in Troijsieme Suite are: "Dedicace," "Impromptu, " "Etoile

du soir," "Fantomes," "Sur le Rhin," "Carillon du Sest-

minster"; in Quatrieme Suite are: "Aubade" "Resignation,"

"Cathedrales," "Naiades," "Gargouilles" et Chimeres," and

"Les Cloches de Hinckley."

"Carillon de Westminster," from the Third Suite, pre-

sents a descriptive toccata based on the Westminster

Louis Vierne, Pieces deFantaisie, Paris-Bruxelles(1926-1927), Flyleaf.

58

Chimes. The theme consists of four phrases of four notes

each. Remv rkable unity is achieved by the use of chime

motifs in the accompaniment.

CHAPTER IT

THE MUSICAL CONTRIBUTIONS OF

CHARLES TOURNEMIRE1

General Background

Charles Arnold Tournemire, French organist and com-

poser, was born in Bordeaux, France, January 22, 1870,

At sixteen when he first heard Cesar Franck play, he

asked, "Is it God playing the organ?"2

Tournemire eventually became a pupil of Cesar Franek

at the Paris Conservatory and won first prize for organ

in 1891. Then he studied with d'Indy. In 1898 Tournemire

succeeded Franck as organist of Sainte Clotilde.

Though his life was one of great industry and produc-

tiveness, he searched for neither fame nor reward. The

luminosity of his Christian devotion may be seen in his4

music. He spoke no English.

Adequate informal tion and material unavailable in theUnited States at the present time.

2Douglas Moore, "Tournemire, Composer Improviser;

Tribute from American Lupil," The Diapason (March 1, 1940),p. 10.

3Albert E. Wier, The Macmillan Encclopedia of Music

and in One Volume (1937 p. 981.4Hugh Giles, "Charles Tournemire," The American

Organist, XXIII (February, 1940), p. 48.

59

I " , I 1 I ! I A .0 - I - - -, 1. 1 - I- - , " 1. 1-111,11-1- . 1 -1 ; ".- -,. - - -, -1 11 1- tjffAWKIKW

60

Like his master, Tournemire was a man of great piety

and gentleness, and his life was essentially a simple one.

He attended services at church, had a class in chamber

music at the Conservatory, had a few pupils who came to

his apartment on the Rue Milne Edwards, and composed.

The composing and the playing of his compositions brought5him the greatest joy of all. Tournemire's life paralleled

that of his teacher, Cesar Franck, in several ways. He

showed great industry, divine fidelity to his art, indif-

ference to recognition, and a religious, mystical temper-

ament.

Rank

The announcement of Tournemire's death on November 4,

1939, left the musical world bereft of one of its greatest6composers and improvisers. He helped to develop composi-

tions that were based on one principal theme or idea. His

assistance has been valuable in developing the technique

of the organ, in execution, and in improvisation,

Tournemire was an exceptional master and poet of the

organ. Not only did he compose reams of organ music, in

addition to an opera and some orchestral music, but he was

musically a direct spiritual descendent of his teachers,

Franck and Widor.

Ibid.6Ibid.

Teacher

Compared with other teachers, Tournemire was casual as

to phrasing and registration. With his youthful enthusiasm

and his delightful sense of humor, he gave meticulous care

to every detail of technique and interpretation. He was a

true friend and patient master to his pupils, and his de-

votion to ideals was an inspiration to them. He was gen-7

erous to their faults.

Tournemire opened a new world of sound and organS

teaching. His compositions reveal that experienced deep

poetic feeling, and that he possessed a vast knowledge of

harmony. His technique was unlimited. Like Franek, he

was only incidentally interested in organ playing. Be-

cause he was happier writing, he was glad to give- up his

teaching and devote all his time to composition.

Style

Tournemire seldom performed works of others. Hence

his playing was that of a great virtuoso only in his own

compositions. He used rich color and constantly changed

his registrations. In 1920 the organ at Sainte-Clotilde

was still just as it was during Franck's lifetime. It

had not been modernized. Since there were a wide variety

of stops and mechanical conveniences for manipulating

7IIbid.

62

them, Tournemire's pupils& assisted him on each wing of the9

console.

Tournemire exhibited great fertility of imagination

as an improvisor. Making use of all the tone color avail-10

able on the Caville-Coll organ, his compositions of this

type demanded marvels of technical skill in performance.

Though modern and complicated, his improvisations were

genuinely inspirational. He used no conventional devices

such as, song forms in composing.11

Tournemire's improvisations, many of which were based

on Gregorian Chant, were unlike the dazzling symphonies of

Dupre. In impressionism and harmony they were similar to

Ravel's later works, because under Widor, Tournemire had

reformed his technique of composition. The music, prima-

rily religious in feeling, belonged in his particular

church, where the great traditions of Franck were still

remembered. This influence undoubtedly was due to his

love and reverence for his former master. Tournemire's

compositions, however, filled with brilliance and con-

temporary idioms, were written thirty years after Franck's12

time. Although he was a great admirer of Bach, his own

Moore,_op cit., p. 10,10William E. Butler, "Charles Tournemire Passes Away

in Paris,tt The Diapa son, (February, 1940), p. 18.11

Butle r, . it. , p. 18,12

Ibid.

63

compositions absorbed his enthusiasms. Dignity was in-

separable from his life as an artist and as a man.

Compositions

Tournemire is best known for his campositions, rather

than his performing ability. These include six symphonies,

four operas, songs, chamber music, choral works, mnd organ

compositions. Many of his works are still in manuscript.

L rge Mustiue, first published in 1928,13 is prob-

ably Tournemire's most familiar composition and the one

for which he is best known. This composition, which was

first introduced into America by the late Lynwood Farnam,

is a suite in the broad sense, and consists of fifty-one

compositions on "offices" for the liturgical year in the

Roman Catholic Church. Each set contains twenty pages or14

more.

L'Orgue is divided into three cycles: Cycle do Noel,

numbers 1-11 Cycle de Paques, number 12-25, and Cycle de

apres la Pentecote, numbers 25-51. Within each cycle is

a series of movements, sectionalized in form and including

the following five divisions: prelude for introit, offer-

tory, elevation, communion, and the terminal piece or

postlude.15

Merrell, if., p.20.14

Giles, o cit, p. 20.15

Ibid.

In the preface of each-of the fifty-one compositions,

Tournemire insisted upon the omission of any rhythmic ac-

cents that would alter the serenity of the music for the

church.

He paraphrased plainsong themes to fom the basis of

the composition and obtained fresh, unique effects in reg.

istration by the use of sixteen-foot and four-foot manual

stops in high registers, and Tournemire placed secondary

emphasis upon syncopation, as shown in L'Orgae, Figure16

20. No specific accent Is dominant because of the sus-

tained soprano, syncopation in the tenor, and irregular

rhythm independent of the remaining voices.

Tournemire's Triple Choral is based on ecclesiastical

themes with meter. Tempos changes occur frequently, as in

Section A ( measures 1-84). All changes in tempo are17

marked for metronome.

His main style of phrasing is through minuteness and

subtlety. Sfl Choral-Poemes on the seven last words is

an example of rapid succession of different time signa-18

tures.

Suite Evocatrice is written in the style of Couperin.

It Is not like the dance form of the seventeenth and

Evelyn Merrell, "French Organ Music of the TwentiethCentury," The Dipson (July, 1941), p. 20.

17Ibid.

18Ibid.

65

N\

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Fie. 20.--Syncopation in the tenor voice. (Taken frmL Mystique by Charles Tournemire, quoted by EvelynMerrell, The Diapason (July 1, 1941), p. 20.

71

4MO

66

eighteenth centuries, but coonsists of five movements in

sectional form. The sections are marked by means of con--

trast in harmonic development and in effective registra-

tion,

The ""Flure D' Echott is registered thus by Tournemire:

"Clavier d'Echo:Flute 8."1 Contrasting registration is

observed in number V, "Caprice": G. 0; Fonds 8. 4. 2.

Plein Yen; Positif; Fonds 8. 4. 2. Plein Jen (Claviers

ensemble); Recit; Et, plus loin: Cornet, accompagne20parles fonds de 8. 4. du positif; ped.; Fonds 16. 8. 4."

The "Grave" contains a sustained pedal tone through-

out the composition, as shown in Figure 21 in the closing

measures. tJeu Doux et voix Humaine" was written for

manuals only. The rhythmic and harmonic structures are

shown in Figure 22.

Charles Tournemire, "III Flute Dt fcho," SuiteEvocatrice, Paris, Bornemann, Editeur (1938), p. 5.

"V, Caprice," p. 8.

67

Fig. 21.--PFedal point and harmonic structure. (Takenfrom Suite evocatrice 2our Grand Or ue, by Charles Tournemire,Paris, Bornemann, Editeur, p. l.)

~zz~

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Pig. 22.--Rhythmic and hr~mon1c structure of compos Itnfor manuals only (Taken from Jeu Doux et VO*x Iurne byCh arle s Tournemire.)

471

400

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CHAPTER V

THE MUSICAL CONTRIBUTIONS OF MARCEL DUPRE

General Background

Marcel Dupre, French organist and composer, was born

in Rouen, May 3, 1886.1 He comes from a family long con-

nected with organ and church music. Both his maternal

grandfather and his father were organists. At the age of

seven Marcel played from memory on the organ twenty-four

studies by Le Couppey. That was the first exhibition of

his amazing faculty of memorization, 2

Marcel was the most brilliant pupil of his time at

the Paris Conservatory. This unusually gifted hard worker

took the prize at his first competition in Guilmantts

class. He improvised on a liturgical chant a complete

canon and bass at a fourth below, while he treated the two

inner parts in third species counterpoint with an extremely

bold musical figure. The figure he produced appeared to

have been written. He left the counter-subject in its

normal place even for entries of subject and answer in

inner voices. He played a skillful stretto, a free, poetic

improvisation, and a canonic conclusion.

1Albert Wier, Macmillan Encyclopedia of Music andMusicians in One VMe, an o., 9, 97

Marcel Dupre, "French Organist of Supernatural Powers,"Current Opinions, LXXII (Feb., 1922), 210-211.

68

69

tIn 1912, Dupre played a brilliant recital at Salle

Gaveau, and in 1918-19, he gave ten recitals by memory of

all of Bach's works. He won first prize as composer in

Widor's class of 1909. In 1914, he won Grand Prix de Rome

in Widor's compositions.3

Rank

Marcel Dupre has been acclaimed the world's greatest

organist. He is still an international figure in the

realm of organ. Appearing in ten recitals in Paris a few

years ago, he played by memory all of Bach's organ composi-

tions, which number more than two hundred. That performance

was declared to be without precedent, and foreign critics

said that his musical intelligence and temperament were as

astounding as his memory and technique. When Guilmant was

his teacher, he became assistant organist of St. Supice in

Paris, and graduated in 1917, at the age of thirty, to his

present post at Notre Dame. As a composer, he won the Roman

prize when still under thirty.4

IDupre has won world wide recognition. "He received the

acclaim of hundreds of great musicians and of the great

Widor, who at the end of the last recital embraced him in

3Louis Vierne, "Reminiscences of Vierne," translated byEsther Jones, The . ason (April 1), 1939.

4 Marcel Dupre, "French Organist of Supernatural Powers,"Current pinion, LXXII (Feb., 1922), 210-211.

70

public, stating that he thought Bach would have been proud

to do it himself." 5 The inexhaustible fantasy with which

Dupre develops a theme has been the wonder of critics and

public alike. His imagination in polyphonic composition

makes him one of the greatest of all.

When themes were submitted to Dupre for improvisation

at a recital in New York, he took several minutes to study

them and during that time created a symphony composed of

allegro, adagio, scherzo, and finale. The Frenchman wove

the themes into a fabric that was not only clever, but also

appealIng to the emotions. Some considered this feat even

greater than his playirs all of Bach's works by memory. 6

Dupre has appeared many times in the United States

and has always been praised as a most phenomenal genius of

organ. Certain works of Marcel Dupre are far more inspira-

tional than those off ranck. Dupre has already won a place

among the group of most important composers of organ f or all

tilie,

Teacher

IAs a teacher, Dupre has exact standards. He makes

clear, simple, and authoritative demands of his pupils; more-

over, he insists upon clean playing.

he American anist (Jan. 1),, 1940p p. 250.61Marcel Dupr?, "French Organist of Supernormal Powers,"

Current opinion, LXXII (Feb., 1922), 210-211.

71

Careful, exact insistence upon correct form and manner

underly his philosophy of teaching, a philosophy which has

always been marked by an attitude of a diligent research-

scholar. He makes much use of Bach to teach his method of

improvisation.

Dupre's pupils are usually winners of highest honors

in harmony, counterpoint, fugue, and composition. Organists

from many locations who had registered their intentions of

studying with Marcel Dupre at Chicago University during the

surrmer of 1941 were disappointed when they learned that war

conditions would prevent his coming to the United States,

Dupre is progressive. Keenly intelligent, he always

seeks for the better in the new.

Organ students and the world would profit more richly

from the talents of Marcel Dupre if there were available an

English translation of his "Treatise on Improvisation" and

a prompt publication and English translation of his projected

series of textbooks covering the entire field of theory. A

great need has already been met by Dupre's completing an

edition of the organ works of J. S. Bach, based upon Bach's

original edition. This gives not only Dupre'ts excellent

markings of fingering and pedaling, but also instructions

and details of performance, which Dupre copied into his own

books. 2These twelve books, which are obtainable from

7The Diapason (March 1, 1940), p. 25.

72

H. W. Gray and Company, are arranged in a series of Chorales,

Sonatas, and Concertos.

Style

In 1927, Dupre had the organ which was built for

Guilmant's home in Meudon, France. In 1933, this organ was

enlarged from the twenty-eight stops and three manuals; it

was modernized from Barker-lever action to electric action

and housed in a modern console. It has many piston-setting

triggers in the left-jamb groups. Explaining to his pupils

the registration on his organ, Dupre emphasized its import-

ance. Formerly little attention was paid to registration,

but much was given to note-playing. Registration is even

more important than phrasing because through it note-playing

becomes music. Dupre's console is an example for the world

of organ. It shows that a truly great master of this era

demands a console of maximum registrational aids, by which

tones are controlled. "And that makes organ playing."8

No other organist can duplicate Dupre's genuine im-

provisations. He is remarkable for his use of the contra-

puntal forms and for his ingenuity in giving musical effects

to modern technique in organ playing and building. Of the

perfect science of the great master, Louis Vierne has said,

"Dupre knows how to unite brillance of imagination and

8"Marcel Dupre's Console," The American Organist,(July, 1939) XXI, No. 7, 244-2469

-- l- Raw-

73

harmonic richness with entirely modern sensibility."9 Dupre

has crispness and sparkle in his immaculate technique and

clarity of ideas. He plays with perfect registration,

precise synchronization, and modernistic phrasing.

Compositions

One of the most interesting and noteworthy publications

made in the organ world is Dupre's Seventy-Nine Chorales,

based on melodies that Bach used in his Chorale Preludes,

These musical studies come as near being the true funda-

mentals of organ style as it would be possible to get, be-

cause they are like hymn tunes.1 In their simplicity they

consist of one stanza each, which carries out a severe scheme

of rhythm and melody. Interest is achieved through freedom

of counterpoint and harmonization. Although the chorales

are usually only one page in length, they are precise in

fingering and pedaling. Much use is made of French thorough-

ness, and all pieces are workable study material.

Dupre's writing was principally either on choral style,

as in the arrangement of Bachs Seventy-Nine Chorales., or in

the style of improvisation. Ecclesiastical themes, however,

are found in Dupre's Ava Maria Stella, which is composed oftwo versets and a toccata, and which is a variation of an

H. C. Colles, Groves Dictionary of Music and Musicians,p. 115,10 Marcel Dupre's "Seventy-Nine Chorales," New Music Reviewand Church Musle Review, XXXII, No. 272 (Jan.,~T73~3T~~78.

74

old Latin hymn bearing the same name. In the first movement,

mysterious, winding chords provide the background for the

melody; in the second, one hears a work similar to a Bach

chorale; in the finale, the theme is fortissimo in the pedal,

accompanied by rapid passage work on the manuals. Char-

acteristic of Dupre is simplicity of melodic line in which

subtle rhythmic deviations and irregular accents occur in

the development,

Le Chemin do la Croi shows a chordal theme of three

measures (Fig. 23) treated with detailed rhythmic and mel-

odic devices,12 The interval of the minor third recurs

throughout the composition. One is tempted to call this

composition cyclical; however, there is not a single musical

motive, but a single psychological mood of profound solemnity

that recurs.

The three fugues in Trois Preludes et Fugues of Dupre

are very curious compositions both technically and musically.

They are not fugues in the strictest sense, but partly fugal

in form with a fusion of harmony and counterpoint in the

section corresponding to the coda.

The Prelude in G Minor represents a stream which begins

Marshall Bidwell, "Two Versets and Toccata on AveMarie Stella,." Free Organ Recitals 43rd Season (1938),p. 138, -

12Evelyn Merrell, "Organ lusic of the Twentieth Century,"The Diapason (June, 1941), p. 13.

75

ArIts Ivi. I~ -1 39

:i

Fig. 2 3 . Three-measure choral theme, (Taken from Noe 110Le Chemin de la Croix, by Marcel Du r0e--Quoted by EvelynVr l Twrsoni n (July 1 1941 20

-77 syTT-;W-W-

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76

quietly in the mountains and grows in its course until it

ends in a great waterfall. An interesting part is in the

introduction of the theme in the middle section of the

Fugue above the fugal episode (page 35, first 24 measures),

and at the end between the two strettos above the fugue

subject in the pedal, (Fig. 24).

Variations sur un Noel is an excellent example of

theme with variations. It is a combination of harmonic

diss onance and contrapuntal devices, combined with expert

workicanship and artistry.13 Dupre's skill in contrapuntal

writing was influenced by organ compositions of the first

half of the eighteenth century. This composition is a set

of variations on a traditional French Noel, in the style of

free Improvisation for which Dupre is justly famous. Fig-

uro 26 gives the first statement of the initial motif of

the thee. It is unlike the old style of variations, in the

treatment that is given, whether it be rhythmic, melodic,

canonic, contrapuntal, or fugal.

Deuxieme Mphonie is an example of Dupre's use of

tonality,, which is not concerned primarily with establishing

a definite key or mode. Our tone is a complex tonality of

the fundaiental note and its overtone. 4 Although the key

131bid.

14Evelyn Merrell, "French Organ Music of the TwentiethCentury," The Diapson (Aug. 1, 1941), p. 13.

77

k 1~j

A~ ! 0 :

- -

A4 k

Fig. 24.--Introductlon of the theme between twostrettos above fugue subject in the pedal. (Taken fror TroIfPreludes et Fues, by rcel Dupre, Ledic Edtlon, p. 41.)

Ekij

r;-I

&

78

Fig. 25.--First statement of theme based on traditionalFrench Noel, developed in the style of free improviations.

(Taken from Variations Sur Un Noel, by Marcel Dupre, LeducEdition, p. 1.)

k

Fig. 26.--Dissonane. (Taken from Deuxieme ymph~onie, byMt'cel Dupre, given by Evelyn MerreUlin the Diapason (August,p. 16.)

-AWL 4 - _ _ _ _ _ _ _ _ _

map1P

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79

signature is four sharps, in the Preludio, the entire move-

ment is based on the tone of Q# and its dominant, D#. In

contrast to the extreme which Dupre reaches in his disson-

ant treatment of harmony, his style of phrasing is most

regular. Passing modulations, inharmonic relationships,

chromaticism, and frequent use of the augmented second, both

melodically and harmonically, are characteristic of this

movement which ends in C# major. Figure 26 is an example of

Dupre 'sdissonance,15

The second movement, the Intermezzo, begins in the

relative minor of D major, which is a half step above the

concluding tonality of the first movement. Continuity of

tonality is accomplished through the relationship or minor

to the chromatic keynote above.

The Toccata movement, which begins in C# major, includes

much modulation and chromaticism,

In Seven Pieces the fourth composition is Carillon.

DuprA makes effective use of the intervals of fourths and

fifths in this piece,

Trwo Elevations, from Op. 32, one in E major and the other

in G major, belong to a group of Three Elevations, A mystic

feeling which pervades these works expresses itself through

soothing harmonies of the E major and through musical melody

of the G major,

1 5 ,

80

The originality of Variations on Two Themes f or Piano

and OEgan lies in the fact that they are built upon two

themes instead of one, as is generally the case. Instead

of being heard in the same key, each variation is composed

in a new key through modulation. The two themes are

contrasting; the first, played on the piano, is meloncholy;

the second, played on the organ, is tender. Both are played

in various combinations.

Cortege and L has a depth of emotion not foundIin Dupre's other works. The opening measures, in Figure 27,

repre sent a solemn procession, which is followed by a

windin. motive of single repeated notes that suggests short

responsive verses repeated over and over again in the litany

of a liturgical service. A combination of the two themes

later produces a thrilling effect. 1 6

A recent composition of interest is Dupre's Prelude

and Fuguein C Major (Op. 36#3). The Prelude is wrapped in

an atmosphere of airy lightness and leads to an exuberant

and high-spirited fugue built on a buoyant theme which is

developed with great imaginative power. A sustained

crescendo reaches a climax of dazzling brilliancy.

1 6 Marshall Bidwell, "Cortege and Litany," The FreeaRecitals-43rd Season (1938), p. 130.

kaMl

81

nig. 27.--Opening measures portraying solemn procession.(Taken from Corte et Litane, by Marcel Dupre, Leduc Edi-tion, p. 1.)

CHAPTER VI

THE MUSICAL CONTRIBUTIONS OF JOSEPH BONNET

General Background

Joseph Bonnet, French organist and composer, was born

in Bordeaux, France, March 17, 1884. At the age of fourteen

he was appointed organist of Sainte Michael's in Bordeaux.

Later he studied at the Paris Conservatory under Guilmant.

Tournemire and Vierne were also his teachers. While he was

studying with the latter, he won the prize of competition

at the Conservatory.2 To be satisfied with nothing less

than the best was his noblest ambition.

In 1906, Bonnet was honored with his present position,

that of organist of Sainte Eistache in Paris. After Guilmant's

death in 1911, Bonnet was made organist for the "Societe des

Concerts du Conservatoire." From that time, his fame in-

creased.3 The many concert tours he has made of England

and the Continent were highly successful, After Bonnet's

1 Albert Wier, Macmillan Encypedia of Music and Musiciansin One Volume, p. 2Z7.

2Louis Vierne, "Reminiscences of Louis Vierne," trans-lated by Esther Jones, The Diapason (March 1, 1939), p. 8.

3 "Joseph Bonnet in America," The American 0gnist,XXIII (Oct. 1, 1940), 314.

82

83

debut in America, which was made in 1917 at the great organ

of the College of New York City, he gave many concerts and

lecture-recitals in the United States.

Bonnet has made for Pathe records of ancient French and

Italian organ music, which include Frescabaldis' Toccata Z

1? Elevazione; de Grigny s Martinis and air con Variozione;

Couperints le Giand; and some of Slerambault's and d' Aquin's

works.

Possibly one of the greatest tributes to Bonnet as a

concert artist was paid at the last of his series of five

recitals played during a single week in the Balkans in

Sofia, where enthusiasm rose to such point that Bonnet was

forced to play nineteen encores to satisfy his audience.

Even then the evening was brought to a close by a sympathetic

member of the audience who rushed to the organ, turned off

the motor, and shouted, "It's time to let this man go and

have a snack " The audience goodnaturedly assented.5

Perhaps Bonnet's most monumental series published is

entitled Historical an Recitals, in five volumes. In the

preface, Bonnet has traced the historical development and

the principle contributions of organ compositions produced

by outstanding composers from the forerunners of Bach through

4 "Bonnet Honors Buxthude", The Diapason (July, 1937),p. 1.

p T American32anist, XXIII (Oct. 1, 1940), op. cit.,p. 314.

84

the master of the eighteenth and early nineteenth centuries,

and to the modern composers*. 6

Rank

Bonnet, well-known virtuoso, is one of the greatest

masters of organ. His record stands as one of the most

formidable in the history of organ music. He is regarded

as one of the greatest interpreters of organ music in this

1century. In spite of his seventeen years? absence from

America, the enthusiasm of his followers in this country

has remained unabated. He is one of the few organ geniuses

of this century.

Bonnet is now the honorary president of the Guilmant

School. He presented diplomas to the graduates in June,

1941. "It was probably Bonnet who more than any other

visitor revived the clean-cut style of technique first ex-

emplified by Alexander Guilmant.' 8

The music of the early French school is better known

because of Bonnetts work. In addition, the most celebrated

foreigners owe him a debt for having defended them well. In

6Joseph Bonnet, Historical organ-Recitals (1929), Preface,p. XI.

7Bonnet, The American Organist, XXIII (April 1, 1940),

p. 119.83Bonet, The American .ranist, XXIII (March 1, 1940),

p. 91.

85

July, 1922, Bonnet became the Chevalier of the Legion of

Honor. 9

Style

Through this superb ense of color and contrast,

Bonnet reveals a richness of organ music and a greatness

of its resources as a form of human expression through the

medium of' sound.10 His music has a Wagnerian robustness

in its approach. Bonnet is noted for playing his omposi-

tions with style, force, authority, and sincerity.

Bonnet was first recognized for his masterly command

of the keyboard and f'or his scholarliness of performance,

He has a keen f eeling f'or the idiosyncrosies of organ

tone.11 He has made a return to polyphony f'or his inter-

pretation of classic organ literature, as shown in some of

his compositions in his Douze Pieces.12

Bonnet serves and honors his art with a conscious

and impersonal coldness, eloquence without emphasis, and

serene grandeur. He revealed these tendencies in recitals

perfo rmed in Italy and Portugal.13

"Louis Vierne Dead; End Comes at Organ," The Diapason,(July 1, 1937), p. 1.

1 "Bonnet Recaptures America," The Diapason, (May 1, 1941),p. 15.

A. Eaglefield Hull, Organ Playing:,Its c eandExpression, pp. 2-7.

Joseph Bonnet, Dix Annees au Service de L OrueFrancais, MCECkXXVII ~ 2=.

Miramon Fitz-Jame s,"Un Voyage de Joseph Bonnet enItalie et au Portugal, rue tI (June, 1939), 33.

86

The condition of Bonnet's native land has left a

deep impression upon him. Although he no longer plays from

memory, his maturity has not dimmed his ability to arouse

enthusiasm by his consummate technical skill, He uses a

crisp, staccato-like playing to emphasize the new art. In

practicing a new composition, he always plays it through

with rhythmic precision to the metronome, because he knows

that when he has mastered the rhythmic precision, he has

also mastered all details and has the piece ready for public

presentation.

The tradition of Guilmant has been preserved through

the following characteristics of Bonnet's playing: grandeur,

firmness of style, excellent touch, magnificent legato,

authority of rhythm, scrupulous respect of the musical

text, and an unfailing good taste in registration.14

Teacher

Probably Bonnet's best lessons in teaching organ

playing are in his recitals. He expects his pupils to

achieve clean phrasing, technical mastery, good taste, and

rich melody; moreover, his own splendid musicianship and

superb sense of color and contrast are expressed in his

pupils. Bonnet is an exacting, sympathetic, and encouraging

teacher.

14 Louis Vierne, "Reminiscences of Vierne," translatedby Esther Jones, The Diason (March 1, 1939), p. 8,

MUM4.-Aiww a

87

Compositions

Bonnet's fame as an executant far overshadows his work

as a composer, for his compositions are neither profound

nor particularly modern, but they have a quality that make

for popularity. His principal compositions include Variations

de Concert Op. 1, Ae Marie for choir and organ Op. 2, songs

Op. 4, Douze Pieces pour Grand Orgue Op. 7, Pater Noster for

tenor and organ Op. 8, Concerto for organ and orchestra

Op. 9, and Douze Pieces pour Grand Or Op. 10.

Bonnet's Variations deConcert begins with a brilliant

introduction, which leads to the theme itself. See Figure 28.

Four variations follow: first, with the melody in the soprano

Iarmonized with the other upper voices, and an accompaniment

by a staccato bass figure, shown in Figure 29; second, with

the theme in the pedal, as shown in Figure 30; third, a

chorale-Prelude with the theme in the tenor, illustrated in

Figure 31; and fourth, a brilliant pedal cadenza, occurring

on page 9.

Altogether, Bonnet has written about forty pieces for

organ. Some of the smaller ones have delicate lyrical

effects. This quality may be found in his Ariel, which is a

musical picture of Saakespeare's dainty spirit, Ariel, in

The Tempest. "I come to answer thy best pleasure; fit to

fly, to swim, to dive into the fire, to ride on the curled

88

Fig. 28.--Statement of the theme. ( Taken from Va-jtijnj do Qoncrt, by Jo seph Ionnet, 1Paris, Leduc Editon,p. 2.)

_ _ _ _ .- I I -- a

Fig. 29.--First variation In soprano, harmonized withother upper voices, and accompanied by steccto bass figure.(Taken from Variations d oConcert, by Joseph Bonnet, Paris,Leduc, p. 4.)

AVAIL&

Ar

a Ar I AL 1 Ak IF

ed.

89

3

t L..

I ~ T .1 1 -4-- _________

I -~I ___________________

Fig. 30.--Second variation, with theme in the pedal.(Taken fro Variations do Concert, by Joseph Bonnet, Paris,Ledue edition , p. 5.)

rn.- .

~ zzzRio

IIW

Fig. 31.--Third variation, chorale-prelude with theme Intenor. (Taken from Variations de Concert, by Joseph Bonnet,Paris, Leduc Edition, p. 6.)

0 A777ro- 7 1 rs

I

a 3

W. -I

A

90

clouds; to thy strong bidding, task arial and all his

quality r*15

Elves and Romance Sans Paroles are typical of Bonnet,

They are light, lyrical, and descriptive of prankish char-

acters.16 In Matin Provencal from Poems d' Automne, one

hears the "Cog gaulois" chanting his cheery refrain, ac-

companied by the awakening of a morning in southern France. 7

In the Rhapsodie Catalane, which is included in his

Douze Pieces, Bonnet has used three folk songs of the pic-

turesque Spanish province Catalonia. The registration

given on page 70 for the first one is "Gd Choeurs a tous

les Claviers accouples,"18 After the second one, which is

a Christnas carol of rare charm, there begins on page 76

an extended pedal cadenza.19 The third folk song is the

one sung when the people return victorous from war,

Other interesting compositions included in Douze Pieces

15 arshall Bidwell, Free ranRecitals-43rd Season(19"8), p. 158.

16Ibid. , P. 36.

1 7 "Bonnet, One of the Few Organ Geniuses of His Time,"Thipason (March 1, 1940), p. 9.

1$Joseph Bonnet, ~hapsodie Catalane, Douze Pieces,

Leduc edition, p. 70,

1 9 Ibid,, p. 76.

91

are Laento, which makes extended use of pedal point

throughout the composition, and Toccata, which shows

Bonnetts use of chromaticism in toccata figurations. Fre-

ouen' change of key signature occurs in Nocturne. Modu-

lations are made from G minor through Eb major, back to

G mninor, and finally to G major. The Reverie is built

upon pedal point. In the first section, the theme is

carried in the soprano and accompanied by the inner voices,

harmonized simply. A contrasting middle section of more

complex harmonic structure through the use of chromati-

cism precedes a return of the original section. nde

phoique demonstrates a variety of rhymical patterns

which include triplet and sixteenth note figurations.

There is a change of key signature eight times during the

whole composition and much use is made of pedal point,

which is one of Bonnet's characteristic means of modern

expression*

CHAPTER VII

CONCLUSIONS

The purpose of this study was to discover and to

develop a deeper appreciation of the specific contributions

to modern music that were made by Widor, Vierne, Tournemire,

Dupre, and Bonnet. The writer concludes that through a

comparative analysis of the musical contributions of these

composers this purpose has been achieved. The investiga-

tion and compositional analysis made in this study offer

no pretense of being a complete detailed study in this

field, because sufficient compositions of these modern

French composers are unavailable at the present time.

Since the field has not been exhausted, the serious organ

student will find a further development of this study to

be of interest. A more minute, detailed analysis, chord

by chord or measure by measure, would be of great benefit.

Further investigation might lead to a detailed comparison

of only the harmonic structure. An interesting study

could be made of a comparison of these organists as per-

fovrners. Of great informational and educational value

would be a comparative study of the great consoles of

France, at which Widor, Vierne, and Tournemire presided,

and over which Dupre and Bonnet have command today,

92

The following modern idioms are found in the composi-

tions of each: improvisation, especially on plainsong and

Gregorian chants, greater emphasis upon registration, un-

usual melodic line, irregular rhythms, complex harmonic

structures, dissonance through chromaticism and syncopa-

tion, extended use of pedal point, minute phrasing, and

various thematic materials,

Differences are found in the degree of emphasis with

which the composers have utilized these modern idioms of

express sion, For example, while Dupre places primary em-

phasis upon syncopation in his use of dissonance, it was

of only secondary importance with Tournemire, Each artist

has excelled in some particular phase of his contributions

to modern music. More than any other, Widor brought French

music to its present state through the modern influences of

his symphonies, He combined. the classic with the romantic,

Vierne was also influential in the new French school by

giving an insight into the principle of organ playing, but

his special contribution was that of his great spiritual

influence. Tournemire was significant not for teaching, but

for the development of composition based on one idea or theme,

and for his frequent change of registration. Dupre has been

proclaimed one of the world's greatest organists because of

his great musical intelligence, his profound memory, his

technique, and his powerful improvisations, which were made

possible through his imagination in polyphonic composition.

94

Bonnet is one of the greatest interpreters of organ

music in this century. He is much greater as an executant

than as a performer and through him the early French school

has been better known.

It is the writer's belief that the material contained

in this study will open a new field of exploration for the

serious organ student, that it will afford him a reference

for research in the study of modern French organ music,

and that it will encourage and inspire him in his own

creative endeavors in organ composition.

APPENDIX

9"awaffa I- I I .- -- , - -'. A

95

TIHE UNIVERSITY OF TEXdtS THE MIRABEAU B LAMARLIBRARY

Austin, TexasJuly 25, 1941

Miss 'Elizabeth WrightTeachers College, Box 5871Denton, Texas

Dear Piss Wright:

In reply to your letter dated July 19, we wish to reportseveral references to magazine articles on Widor, Vierne,and Dupre. We were unable to locate information on Bonnet,and Tournemire. We do not have any books on any of thesemusicians. We have two books by Charles M. Widor, one asong book for children in French, and the other entitled,Technpque of the modern orchestra, a manual of practicalinstrction. 'We' iiohave an entr ~in our cEaflieFToiHistoire de _Ila musique by Jacques Bonnet. I do not be-lieve, however, that these are books you want.

Following is a list of several magazine articles which Ihope you will find of use:

WIDOR, CHARLES MARIE. Grand old nmn of French music,J. Dunesnil. portrait. Etude, col, 53, p. 143-4,March, 1935.

WIDOR, CHARLES M. Great organist and his art, by W. J.Henderson, Mentor, vol. 15, p. 9-10, Dec. 1927.

WIDOR, CHARLES M. oole Widor, by W4 H. Miller.portrait. Musician, vol, 15, p. 488-556-7, July-Aug., 1910,

DUPRE, MARCEL. French organist of supernormal powersCurrent Opinion, vol. 72, p. 210-211, Feb. b922.

VIERNE, LrUIavel; in the organ loft of thecathedral of Notre Dame. House Beautiful, vol. 71,p. 162, March, 1932.

We have in our library only the last two articles. TheVierne article consists of only a few paragraphs, bat theDupre article is more extensive. We should be able to lendto the librarian of your college library these two items ifyou wish to use tflrm. Just ask the librarian to write usfor them.

Yours very truly,

Mary E, Wynne

96

THE UNIVERSITY OF ROCHESTERSIBLEY MUSICAL LIBRARY

EASTMAN SCHOOL OF MUSICROCHESTER, NEW YORK

July 14, 1941

Miss 2lizabeth WrightT. C. Box 5871Denton, Texas

Dear Miss Wright:

The Sibley Library catalog has nothing under the heading"Organists - France" that vould be of help to you. Theorgan works of the composers you mention are needed herefo r s tudy.

Yours very truly,

Elizabeth H. Smith

Secretary to Miss Duncan

97

THE LIBRARY OF CONGRESS WASHINGTONDIVISION OF MUSIC

July 16, 1941

Miss Elizabeth WrightT. C. Box 5871Denton, Texas

Dear Mis Wright:

Your letter of July 10 has been referred to the Divisionof Music for attention and report.

The Music Division has practically complete sets of thecompositions by Widor, Vierne, Bonnet, Dupre, and Tour-nemire, as well as many books and studies on modern Frenchorgan music. For example, there are 104 cards in our cata-logue listing compositions by Widor alone, 14 cards listingbooks which discuss him, and 33 articles in periodicals,We have every desire to be of service to you, but since somany requests similar to your own are constantly received,we find that we cannot undertake to transcribe such exten-sive lists of materilas without seriously interferring withthe other work of the Division. We feel sure that you willboth appreciate the situation and the fact that, in justiceto others, it is'hardly possible to make exceptions in indi-vidual Instances.

We are enclosing a "Vemorandum" outlining the regulationsgoverning inter-library loans and have checked three par-ticularly pertinent paragraphs. In view of the stated con-ditions, we would like to suggest that you apply to variouslibraries in your vicinity for the major portion of thematerial you will need for your thesis. If it turns outthat some essential items cannot be obtained in Texas, itis possible that we may be able to make them available forinter-library loan upon suitable application from somelVbrary near you.

For the Librarian of Congress,

Sincerely yours,

Harold SpivackeChief, Division of Music

98

TEXAS WESLEYAN COLLEGE FORT VVORTH, TrXAS

July 29, 1941

Dear Miss Wright:

After a careful search of our catalog and Reader t s Guideto Periodical Literature, I found that ve have no mate-rial on the composers you are studying except Grove'sDiction of Music and Musicians. I shall be glad tobe of serviTce To in any Way.

Sincerely,

Laura Hightower

Ass ' t Librarian

99

AMERICAN GUILD OF ORGANISTS NEW YORK, N. W.

July 18, 1941

Dear Miss Wright:

I can suggest a few possibleas you may vish, as follows:

(1) Mr. W. I. Nevins,School, 12 West 12th Street,

sources of information, such

President Guilmont OrganNew York.

(2) lr. Carleton S. Smith, Musicologist, New YorkLibrary, 42nd St. and 5th Avenue, New York.

(6) Mr. Lewis Zane, Music Research Dept., NationalBroad asting Company, Rockefeller Center, New York.

I feel sure any of these will be glad to answer anyquestions to the best of their ability.

Very sincerely yours,

RALH A. HARRIS,

General Secretary

100

S. SCHIRMER, INC. NEW YORKMUSIC PUBLISHERS PND DEALERS

July 25, 1941

Miss Elizabeth TrightBox 5871Denton, Texas

Dear Miss Wright:

We acknowledge receipt of your inquiry, and inform youthat there are no articles in "The Musical Quaterlyt

on the works of the composers mentioned by you.

However, we suggest that you write to "The AmericanOrganist" (39 Kensico St., Richmond, Staten Island,New York); and also to "The Diapason" (1511 KimballBuilding, Xabash Avenue, Chicago, Ill). Thesemagazines may have "back numbers" with articles onthe composers.

Our Baker's "Biographical Dictionary of Musicians"(Q6.00) contains information regarding the livesof these men.

Thank you for writing to us.

Yours very truly,

S. SCHIRMER, INC.

101

THE JOURNAL OF MUSICOLOGY GREENFIELD, OHIO

August 9, 1941

Miss Elizabeth WrightT. C. Box 5871,Dent on, Te xa s

Dear Miss Wright

I am sorry that my reply to your letter of July 19th hasbeen delayed. On July 20 1 left Greensfield for a tripthrough the eastern states and have just returned*

Although the Journal has not published anything alongthe line you want, if there is time for further communi-cation I suggest thnt you write to Professor Swen Lekberg,Chairman of the Division of Music, Simpson College,Indianola, Iowa, I am sure that he can tell you where tolook for the material you want.

Cordially yours.

THE JOURNAL OF MUSICOLOGY

a

102

THE DIAPASON CHICAGO, ILLINOIS

July 31, 1941

Miss Elizabeth WrightDenton, Texas

Dear Miss Wright:

In answer to your letter may we say that Miss Merrell'saddress is Box 24, Mills College, California,

In regard to material concerning the French composers,articles have appeared from time to tome in The Diapason,but It would. be -difficult to lay our hands on them at thismoment. The Memoirs of Louis Vierne were translated forThe Diapason and published in a series of articles fromSeptember, 1938, to September, 1939, inclusive. Thesearticles contained a great deal of light on the com-posers of France in the last fifty years. Copies of thethirteen issues containing these articles are still avail-able at 920 a copy,

Very truly yours,

THE DIAPASON

P. S. In view of your interest in organ we feel thatyou will wish to be a regular reader of The Diapason.

103

NITA IKIN WICHITA FALLS, TEXAS

August 3, 1941

Miss Elizabeth WrightT. C.Box No. 5871Denton, Texas

Dear 4iss Wright:

I want to thank you for your letter of June the 23rd.asking me whom I considered the five greatest Frenchorgan composers since idor,

In my opinion, I would say Widor, Vierne, Tournemire,Dupre and Oliver Messisen are the greatest composers,From the standpoint of their greatness in their con-tributions in the field of organ as concert organists,as well as composers, I would select Joseph Bonnet inpreference to Oliver Messiaen, who is one of the youngergeneration of composers, and in France is considered oneof the greatest. I would choose Messiaen in preferenceto Joseph Bonnet because to me his music is much greater,and is compared and considered so in France where I firstbecame acquainted with his music.

I want to congratulate you upon the subject you havechosen for your Thesis, and I wish you every successwhile you are writing it. Please call on me for anyother help that I may in any way be able to give.

Sincerely,

NITA AKIN

104

CHARLES COURBORN NEW YORK

Aug, 9, 1941

Dear Miss Wright:

You have a fine teacher in Nita Akin.

My choice regarding the five French composers would be:

1/ Saint-Saens, who has written wonderful preludes andfuges for organ as well as Rhapsodies. His 3rdSymphony for organ and orchestra is outstanding.

2/ WIdor 3/ Guilmant

4/ Mullet 5/ Dupre or Vierne with Vierneas better choice, Dupre and Bonnet are really in anotherclass as composers.

Sincerely,

Charles Courborn

105

THE UNIVERSITY OF CHICAGO ROCKEFELLER MEMORIALCHICAGO, ILLINOIS CHAPEL

July 3, 1941

Miss Elizabeth WrightBox 5871Denton, Texas

Dear Miss Wright:

The list of French organists, as to their importance sinceWidor, seen to me to be correctly arranged in the followingorder:

Marcel DupreCharles Marie WidorLouis VierneCharles TournemireJoseph Bonnet

I place Dupre first because he has written music in thelarger forms most successfully. His Preludes and Fuges,Symphonies and other compositions, display a rare talentfor composition. Although they are modern and extremelydifficult to play, the musical form and development ofeach theme is indeed the work of a genius. Perhaps thisgeneration will not be able to comprehend or appreciatehis great works, but eventually I am sure they will finda place along with the great compositions of Bach, Mozart,Handel and Franck.

Best of luck to you on your thesis, and if I can be ofany further help to you, please let me know.

Sincerely yours,

Frederick MarriottOrganist and Carillonneur

106

PALMER CHRISTIAN

DUPRETOURNEMIREMULETDANIEL LESURMA SSIAE,SCHMITT (for one piece

ANN ARBOR, MICHIGAN

a, "Prelude")

MALEINGREAU (Belgian, of course, but very important)

HURIf (fkr one piece, Communion for the Midnight Mass)

Paul Christian

107

PAUL i. KOCH ASHEVILLE SCHOOL, N. C.

June 24, 1941

Mr dear Miss Wright:

Thank you for your letter of the 19th--and while we allfeel that comparisons of contemporary compositions arenot only difficult but dangerous, I would say (in orderof their importance and innovatin- contributions): WIDOR,LOUIS VIERNE, Charles Tournemire, Marcel Dupre, JosephBonnet-- and of the younger generation, the French or-ganists (and we also) think very highly of OlivierMessiaen. Tournemire and Bonnet (also were two verywarm friends) write with true religious and poetic in-spiration. Dupre, with a magnificent gift for logicand well-balanced form, will, I believe, go down as oneof the representative composers of our generation--then,too, his influence as Professor of Composition has afar-flung contribution. Of Widor and Vierne you know,I'm sure. Best of luck, Miss Wright, in your good work--don't let the summer heat deter you!

Paul W. Koch

108

GUILMANT ORGAN SCHOOL NEW YORK CITY

July 17, 1941

Miss Elizabeth WrigatT. C. Box 5871Denton, Texas

My dear Miss Wright:

Thank you for your letter regarding French organists.

Since practically all of the works of the French organcomposers you have mentioned are printed by Foreignpublishers, I am afraid you are going to have a verydifficult time in making your survey, It is practi-cally impossible to get any copies here in New York.I have my own bound copies but I need them for refer-ence and teaching.

It seems to me the only solution to your problem isto find some organist in Texas within reasonable dis-tance'of yourself who has the necessary works for yourstudy. If conditions were normal I would be able tohelp you very easily.

If I can secure one representative composition fromeach composer, would that be enough for your thesis?If you will let me know about this-I may be able tofind at least that amount of music for you. However,you will find that the publishers have raised theprice on most of these pieces.

In the meantime I will look into this and be preparedwhen your answer arrives.

Very cordially

Willard I. NevinsDirector

109

THE MADISON AVENUE PRESBYTERIAN CHURCH NEW YORK CITY

July 18, 1941

Dear Miss Wright:

Articles by Evelyn Merrell on "French Organ Music of the20th Century" in The Dip for June and July, 1941,contain considerable material on Dupre and Tournemire.I am also sending you a copy of Lorgle for December1939, with more on Tournemire and Dufoureq's "LaUtusiqie d'Orgue Francaise au xx Siecle," with some-thing about Vierne and Widor. I have no documents onBonnet,

Please be careful of these and return them to me byfirst-class mail hen you have finished; I would notlikeyto lose them.

Sincerely yours,

SETH BINGHAM

110

HAROLD GLEASONEASTMAN SCHOOL OF MUSIC

ROCHESTER, NEW YORK

Dear Miss Wright:

I am enclosing a list of a few of the modern composers,including French.

The greatest, I would say, are perhaps Widor, Viarne,Tournemire, Roger Ducane (for his Pastorale). Duprain some works.

It is difficult to define what one means by "greatest,"

at least for me.

Sincerely yours,

Harold Gleason

111

HAROLD GLEASON ROCHESTER, NEW YORKEASTMAN SCHOOL OF MUSIC

July 26, 1941

Dear Miss Wright:

Since writing you I have come across the enclosed bookwhich may help you. "In memoriam Louis Vierne" DescleedeBourne & Company, Paris.

I don't think Bonnet one of the greatest composers butcertainly the greatest organist, teacher and personality.Did you get my other letter?

Sincerely yours,

Harold Gleason

112

HUGH PORTER NEV YORK CITY99 Claremont Avenue

July 21, 1941

Dear Viss Wright:

In answer to your recent letter, I am sorry to say Ican be of little service. The accepted books likeHarvey Grace's "French Organ Music," and WallaceGoodrich'st "Organ in France" you must know. The tworecent series in The Diapason taken in one case froma master's thesis, and in the other from the writer'sfriendship for Vierne, -these you have undoubtedlyread,

But considering your subject as suggested in yourletter, I would think you would need, chiefly, theorgan compositions of the composers named, in orderto make a thorough study of the works themselves.I think you have set yourself a fine task, but onethat should take a year or two of digging at least.If the time you have left were not so short I mightsend you Purther suggestions as time goes on. Butthat would not help you, would it?

Best wishes for your study.

Sincerely,

Hugh Porter

113

HUGH MCAMIS GREAT NECK, LONGISLAND

July 24, 1941

Dear Miss Wright:

In reply to your very kind letter of recent date, Iwould like to assist you in material for your Master'sThesis but I am leaving for my vacation this afternoonafter a very busy summer just off hand I have nothingto give you.

With all good wishes, I am

Most cordially yours,

Hugh McAmis

114

E POWER BIGGS CAMBRIDGE, MASSACHUSETTS

July 28, 1941

Dear Miss Wright:

I am afraid I have very little of the French organ musicup here with me for the summer, and cannot help you muchwith your inquiry. No doubt a direct comparison of themusic of the various composers vould be best, for thereare not many articles or books to which you can refer,

Best of LuckI

B. Power Biggs

115

PARVIN TITUS CINCINNATI, OHIO

July 8, 1941

Dear Miss ;right:

In this order, I should consider Widor, Vierne, Dupre,Tournemire and Bonnet, of outstanding importance amongthe TFrnch composers of music for the organ.

With best wishes,

Parvin Titus

116

MIAMI UNIVERSITY OXFORD, OHIO

July 16, 1941

Miss Elizabeth WrightT. 0. Box 5871Denton, Texas

Dear Miss Wright:

I am afraid I can't be of a great deal of help to youon your thesis as it happens that the writers youmentioned are ones that never appealed to me verystrongly; therefore, my acquaintance with their out-put is distinctly limited. I have an Idea that youalready know more about them than I do.

Yours very truly,

Joseph W. ClockeyDean of School of Fine Arts

117

UNION THEOLOGICAL SEMINARY NEW YORK, CITYCLARENCE DICKINSON

July 21, 1941

Miss Elizabeth WrightBox 5871Denton, Texas

Dear Miss Wright:

It is difficult to understand from your letter justwhat sort of material you are going to need for yourthesis. You have undertaken a terrifically big sub-ject and I really do not know just what to send you,My first suggestion is to have you look over thethesis which we have done here in the library writtenby our students who have taken their Master's degreein Sacred Music. I think you would get a very com-prehensive idea of just what you would want. Do youfeel that you could come to New York sometime perhaps?It would be much more satisfactory for you.

Sincerely,

Clarence Dickinson

118

YON MUSIC STUDIOS CARNEGIE HALL, NEW YORK

August 8, 1941

Miss Elizabeth WrightT C Box 5871Denton, Texas

Dear Miss Wright:

I am very sorry that I cannot comply with your veryelaborate request as I am not in good health and Ihad to give up part of my vacation because I amswamped with work.

I am sorry that I cannot oblige you,Best wishes.

Sincerely yours,

Fretio A. Yon

119

BERNARD R. LABERGE, INC. N4W YORK CITY

July 21, 1941

Miss Elizabeth Wright,T. C. Box 5871Dent on, Texas

Dear Miss Wright:

Your letter at hand upon my return from a trip to theSouth and in answer I will say that I wish I could beof help to you in regard to the contents of your letter.

Although, I am well acquainted with the works of Widor,Vierne, Bonnet, Dupre and Tournemire, I have not theseworks myself and so am unable to lend them to you. Mywife has some of them but she is at present in New Orleans.On the other hand she needs these works herself for herown work and could not very well dispense with the onesShe has.

I am somewhat at a loss to tell you how to go about gettingthis material, and the additional information you need. Ifyou were in New York it would be easy for you to get allthis at the Public Library (Music Division) but I do notknow how you can do that for Texas. Maybe Mrs. Akin wouldbe able to help you for she has many of these works andknows pretty well about these composers.

I regret that I cannot be of more service to you, but withbest wishes, remain

Very sincerely yours,

BERNARD R. LA BERGE, INC.

Bernard R. La Berge, Pres.

120

BALDIN-W1ALLACE COLLEGE BEREA, OHIOCONSERVATORY OF MUSIC

July 31, 1941

Miss Elizabeth WrightBox 5871Denton, Texas

Dear Miss Wright:

Your letter of July 28 has reached my desk. Your requestseems to me to be a bit vague. Without knowing what yourbackground is on these composers it would be very dift!-cult to write a long thesis for you tryingto explain myreactions concerning them. Should you pass. through Bereaat any time I will be happy to see you and give you anappointment if it is convenient. However, to write any-thing about the compo sers might simply duplicate what youalready have and would be a rather large undertaking.I fear that such an undertaking would take more time thanI could Ave to it on the possibility that it might fityour demands.

Wishing you every success, I am

Very sincerely yours,

Albert RiemenschneiderDirector

BIBLIOGRAiRY

BIBLIOGRAPHY

Books

Aubry, Jean, An Introduction to French Organ Music, London,Cecil Palmer and Heyward, 1916.

Bauer, Marion, Twentieth Century Music, New York, G. P. Put-nam's Sons, 1933.

d'Indi, Vincent, Cesar Franck, London, John Lane Co., 1929.

Evans, Edwin, Technics of The Organ, New York, Scribner s,1938.

Ewen, David, Livin Musicians, New York, The H. W. WilsonCo., 1940.

Goetschius, Percy, Masters of' the Symphony, Chicago,Oliver Ditson Co., 1929.

Goodrich, Wallace, The rgn in France, Boston, BostonMusic Co., 1917.

Groves, George, Dictionary of Music and Musicians, thirdedition, New York, MacMillan Co., 1938.

Hager, Charles Downer, p Since 1815, New York, HenryHolt & Co., 1923.

Heymann, Katherine Ruth, The Relation of Ultramodern toArchaic Music, Boston, SmallMaynad and Co., 1921.

Hill, Edward B., Moder French Musj Boston, HoughtonMifflin Co., 1924.

Hull, A. Edglefield, Lg jPlgyin Its echniue andExpression, London, Augener, 1911.

McNaught, W., Modern Music and Musicians, London, NovellaCo., 1930.

Parkhurst, Winthrop and, De Bekker, L. J., Encyclopediaof Music and Musicians, New York, CrownQ, 1J940.

Pratt, Waldo Emerson, The New Encyclopedia of' Music andMusicians, New York, 7 6701llan Co., 1924,

121

122

Thompson, Oscar, editor, The International cycloedia ofMusic and Musicians,_TehW York, Dodd, Mead & Co.

Truette, Everette E., Organ Resistration, Boston, C. W.ThompsonAY Co., 1919.

Wier, Albert, The Macmillan Encyclopedia of Music andMusicians in One Volume, New York, Macmillan Co.,

Williams, C. F. Abdy, The St2or oran Music, New York,Scribner's Sons, 195.

Article s

Bidwell, Marshall, "Free Organ Recitals - Forty-ThirdSeason," Carnegie Institute, p. 136.

Burhman, T. Scott, "Editorial Reflections," The AmericanOraist, XVI (May, 1933), 266.

de Lounay, Paul, "Vierne's Career Is Closed," The Americanrg, XX (June, 1937), 229.

Dumesnil, Maurice, "Charles M. Widor, Grand Old Man ofFrench Music," Etude, LIII (March, 1935), 143-44.

Dupre, Marcel, "Seventy-nine Chorales," New Music RevIewand Church Music Review, XXXII (Jan7F~193), 58.-

Eddy, Clarence, "Great Frenchmen of Organ World in 1897Are Pictured by Eddy," The D~lpason (May 1, 1937),p. 14.

Fitz-James, de Miraniou, "Un Voyage de Joseph Bonnet enItalie et au Portugal," L'Orgue, XI (Juin, 1939),33.

Fox, Virgil, "Paris in Review," The American Organist,XVI (may 1, 1933), 266,

Merrell, Evelyn, "French Organ Music of the TwentiethCentury," The Dipaso (April , 1935), pp. 16-17.

Merrell, Evelyn, "Organ Music of the Twentieth Century,"The DiuEason (June 1, 1941), p. 18,

Merrell, Evelyn, "French Organ Music of the TwentiethCentury," The Diapason (July 1, 1941), p. 20,

123

Moore, Douglas, "Tournemire, Composer, Improviser; TributeFrom American Pupil," The DiapLason (March 1, 1940),p. 10.

Riemenschneider, Albert, "Program Notes on Widor Symphonies,"reprinted from The American Orantst (1925),

Vierne, Louis, "Reminiscences of Louis Vierne, " translatedby Edith Jones, The Dijpason (March 1, 1939), p. 8.

Vierne, Louis, "Reminiscences of Vierne," The Di aS0n(April 1, 1939) p. 19.

Vierne, Louis, "Reminiscences of Vierne," The Diapasontranslated by Esther Jones (Sept. 1, 1939) p.*7

Vierne, Louis, "Memoirs of Louis Vierne; His Life andContacts with Famous People," translated by EstherJones, The Diapason (Nov. 1, 1938), p. 21.

Whitmen, T. Carl, "Widor's Organ Symphonies," The Americanqrganist, XVII (Aug.,, 1934), 362-64.

Whitmen, T. Carl, "Widor's Organ Symphonieso" The AmericanOrgnist, XVII (May, 1934), 211-15.

"An Anonymous Critique," The American Or2nist (Aug, 1941),p. 247,

"Appointment Rouses Great Storm in Paris - Vierne SuccessorNamed," The Diapason (Oct 1, 1937), p. 27.

"BonnetkArrives For Great American Tour,," The Diapason(Oct. 1, 1940), p. 1s

"Bonnet Heard by Throng of Friends at N. Y. Recital,"The Diapason (Nov. 1, 1940), p. 11.

"Bonnet Honors Buxtehude," _The Diapason (July, 1937), p. 1.

"Bonnet, One of the Few Organ Geniuses of His Time," TheDiapason (March 1, 1940), p. 9,

"Bonnet Recaptures America," The Diapason (Nov., 1940) p. 15,

124

"Charles Marie Widor Dies in Paris at the Age of 92,"The Diapason (April 1, 1937), pp. 1-2.

"Joseph Bonnet; Dix Annees on Service de L'OrgueeFrancair," Paris, MC XXXVII, 22.

"Joseph Bonnet in America," The American OrganistXXIII (October 1, 1940), 31.

"Joseph Bonnet," _The American Organist, XXIII (April 1,1940), 119.

"Joseph Bonnet," The Diapason, (March 1, 1940), p. 9.

"Louis Vierne Dead; End Comes at Organ," The Diapason(October 1, 1940), p. 1.

"Marcel Dupre's Console," The American PrUan-it XXI(July, 1938), 244-246 ~

"Marcel Dupre French Organist of Supernormal Powers,"Current Opinion, LXXII (February 1, 1922) 210-211.

"Marcel Dupre Heard by Great Throng in PhiladelphiaChurch," The Diapason (November 1, 1937), p. 26.

"Marce Dupree." The American Organist, (January 1, 1940)

"Marcel Dupre Will Teach at the University of Chicago,"The DiapAson, (November, 1940), p. 11.

"Secritariat temp re des Amis de l'Orgue," LLruXII (December, 1939- March, 1940), 19.

"The Picture Vierne Drew," The Diaason (October 1, 1939)p. 14.

"Throng That Crowds Chicago University Hears Dupre," TheDA (pason(January 1, 1940), p. 7. --

"Travel in the Organ Loft of the Cathedral of Notre Dame,"House Beautiful, LXXI (March, 1932), 162.

"Widor, Symphonie No. II," The American Organist XXI(February, 1938), 42. ~