The Musical Contributions of Five French Organ

/SW

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

Mary Elizabeth Wright, B. A.

WIchita Falls, Texas August, 1941

IQ!9,8 ~9'0

TABLE OF CONTENTS

Page LIST OF ILLUSTRATIONS * . * . . . .*..* . iv Chapter

I. INTRODUCTION TO THE STUDY * #.. . . I

II. THE MUSICAL CONTRIBUTIONS OF CHARLES MARIE WIDOR ...... 9 III. THE MUSICAL CONTRIBUTIONS OF LOUIS

VIERNE . * . . . . * .. 0 . . 42 IV. THE MUSICAL CONTRIBUTIONS OF CHARLES TOURNEMIRE. . . . .* . a 59 V. THE MUSICAL CONTRIBUTIONS OF MARCEL DUPRE ...... * .* .

VI. THE MUSICAL CONTRIBUTIONS OF JOSEPH BONNET ...... 82

# a aa a a a. VII. CONCLUSIONS - * . 92

APPENDIX . . . . . a a a a. a , . a 95

BIBLIOGRAPHY - a - a0 a a .a . . 121

iii LIST OF ILLUSTRATIONS

Figure Page

1. Five-measure plaintive section for solo reed, appearing between episodes, built upon themes. (Taken from "Prelude," ymphonie III, by Charles Marie Widor. .

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

3. Extended pedal point. (Taken from "Minuett,"'Sye III by Charles Widor, . 4. Strict canon between soprano and tenor with a single measure between. (Taken from "Adagio," Symphonie Ill, by Charles Marie Widor . . . . . 25

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

6. Original, delicate scherzo theme, stating the character part of the first movement. (Taken from"Scher zo" Symphonie TV, Charles Marie Widor , . 29 7. Canon over double pedal in middle section. (Taken from "Scherzo," SshneIV.* ...... 30 8. Pedal solo for four foot flute, with four voices above, for stings and celeste. (Taken from Fifth SMphoy, by Charles Marie Widor . . . . . 32

9. Recitative-like passage following the first presentation of the main theme.. (Taken PromI "Al6gro," Symphonic VI.),...... 34 10. Canon form in the middle section, (Taken from "Intermezzo," Symphonie VI.) - e ...... 36

iv V

Figure Page 11. Treatment of arpeggios. (Taken from "Finale," Symphonie VI, by Charles Marie Widor . 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'st Symphonie, by Louis Viernel . . 50

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

Vierne.) 77. . . . . 0 .* 51

15. Canonic imitations, between pedals and manuals., (Taken from "Finale" First Symphonie, by Louis Vierne.) . . 52

16. Theme in unison by manusls and pedals. (Taken from "Allegro," Third Symphonie, by Louis Viern) . ... 54

17. Doleful melody running throughout cantilene, (Taken from "Cantilene, Third 2phonie, by Louis Vierne). . 54

18. A tender, sad melody characteristic of the whole movement. (Taken from "Adagib ",Third Symphnie, by Louis Vierne.S . , , . . . . . 55

19. First theme against rushing toccata figurations, (Taken from "Finale Third SMhonie, by Louis Vierne). 55

20. Syncopation in the tenor voice. (Taken from L'Orgue Mystique by Charles Tournemire...... 65 21. Pedal point and harmonic structures. (Taken from "Suite evocatriee pour Grand Orgue," by Charles Tournemire). 67

22. Rhythmic and harmonic structure of composition for manuals only. (Ttken from Jeu Doux et Voix HunMaine by Charle s Tournemire ) . *.#. 0* .00. vi

Figure Page

23, Three-measure choral theme. (Taken' from No. 1, Le Chemin de I. Croix, by Marcel Thpre) F. . . . . * 75

24. Introduction of the theme between two strettos above fAgue subject in the pedal. (Taken from Trois Preludes et Ruus, byMarcelDupre . . . 77

25, First statement of theme based on traditional French Noel, developed in style of free improvisations. (Taken from Variations Sur Un Noel by parcel Dupre ...... 78

26* Dissonance. (Taken from Deuxieme Symphon!e by Marcel Oupre) ...... 78 27. Opening measure portraying solemn procession. (Taken from Corte eet Litanie, by Marcel Dupre). . , . . . . 81 28. Statement of the theme. (Taken from Vari- ations de Concert, by Joseph Bonnet). 88 29. First variation in soprano, harmonized with upper voices and accompanied by staccato bass figure. (Taken from Variations de Concert by Joseph Bonnet.) ...... 88

30. Second variations, with theme in the pedal. (Taken from Variations de Concert, by Joseph Bonnet). . . 89

31, Third Variation, chorale-prelude, with theme in the tenor, (Taken from Variations de Concert, by Joseph n eT) ...... 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 organists 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 contributions 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, correspondence with other noteworthy organists in the United States concerning the selected composers resulted in interesting and valuable comments. Certain letters received are 2 quoted.

A careful, critical analysis of materials representative of each of the composers was made, pointing out specific 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 suggestion rather than upon complete expression. The new artistic 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 the 3 Republic. It may have been on account of the paucity of native impulse toward musical creativeness that the French government in the early 70's sent out Bourgault Ducoudray to the Near East to bring home discoveries that 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 John 5 Sebastian Bach. Franck was the first to break away from

Wagner. He found himself at the head of a school, the 6 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 religious feeling and the use of modes in church music; organ

3 Charles Downer Hazen, Europe Since 1815, pp. 252-253. 4 Katherine Ruth Heyman, The Relation of Ultra-Modern to Archaic Music, p. 26. 5 Vincent d'Indy, Cesar Franck, p. 5o 6 C. F. (Abdy) Williams, The Story of n Music, 14$.a p. 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 French Organ 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 of 7 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 harmony B 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 frequent. 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, dissonance, modulation, cadence, chromaticism, polytonality, spacing, and the use of contrapuntal devices within the harmonic structure. A new harmonic device is the 8 Evelyn 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 because 9 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. 10 Evelyn 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 Music and musicians in One Volume (1938) p. 2008. 2 "Charles Marie Widor Dies at the Age of 92," The Diapason, (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 interpretation. He helped save and revice French instrumental music, which, except for Berliozts work, had been almost inactive 5 in 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 of French Music," The Etude, LIII (March, 1935), 143-144.

5 Edward 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 instrument, since the organ had not yet reached its polyphonic possibilities; but Widor visualized them through the instrument 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 strictest 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 Organist and His Art," Mentor, XV (December, 1927), 9-10.

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

Ibid.

9 Clarence Eddy, "Great Frenchmen of Organ World in 1897 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 virtuoso. 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."1 0

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 exacting about construction, development, transitions, contrasts, 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, perfect performance of repeated notes, faultless rhythm, treatment of chords, and absolute clarity of delivery. He thought that one of the most efficient ways to learn to

1 0Louis Vierne, "Memoirs of Louis Vierne--IHis Life and 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 chamber 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."1 2 Several times before 1914, he said he never

1 2 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 contribution to organ literature since Bach, are supreme masterpieces 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 compositions 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. 1 4 Ibid.

1 5 T. Carl Whitmer, "Widor's Organ Symphonies," The American 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 dissonant 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.

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 Widort s 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.1 8

"March Pontificale," through its bigness and buoyancy, eas ily heads the list of organ marches. It is the most

1 7Albert Riemenschneider, "Program Notes on Widor's Symphonies," 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 harmonic 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 brilliant 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 between 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.2 1 This movement replaced a

0 2 Charles Marie Widor, "Minuetto,"t Syph2nie III, Paris, Hamelle, Editeur (1920), p. 78.

21Albert Riemenschneider, 2F. cit., pp. 265-266. 22

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4 A. -1.- ) I - I ___ r_ _ _ _ -

3 i 1- 07V 1.-, A 11,jlh to' a_[- 1 2 Fig. . -}-iVe-rteasure pla4ntive section for solo reed e-ppearing between episodes, buil t rPOntheives. "Pre (Taken from$ lude, " Symphonle XI, by Ch ar1 Marie Uidor; Paris, Hemelle, Editeur, p,'7, 80, 81.) Ar. IN _j__ L. JF- F AIF

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11 I a I I I I If I -iiii %W L- _I_ 2ID oli T 4AE ^k

*Ar*ft --- #* F I

Fig. 3.--Extended pedal point. (Taken "rom "Minuetto" ymphonie III, by Charles Marie Widor; laris, Hemelle, Edi tour, . 25

a A. k,

97 M F IP 4

~C3 p ~

-- - ur A-d *

I-L 1 - ---

.'' ' '--- .. .

Fig. 4.m-Strict canon between soprvnc and tenor with a single measure between. (Taken from "Adagio," S-mphonie I11 by Charles Marie Widor; Paris, Hemelle, Editeur, p.~917 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.

2 2 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

1 I - IAjr 9 imil 7 'ALAIL a L- k

I'1IAk7..7.t- ,---- i -- ]LAP -~- a-L

Mok

MKOOMOW w

4T~1* ELE -- -- || ~

7T7A

*imks i 4]

- -||.l.ow-

Fig. 5.--Fugue form: subject beginning on the dominant answer beginning on the tonic. (Taken from "Fugue," S honie I~, by Charles Marie Widor, J. Hamelles, Editeur, p. 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 t the "vox humana " 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.2 4

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.

24 Widor, a. ci.,pp. 30-31. 29

a 40 Ad Awk low- low Am - IRW 46

-Jr I

low w low 2 -

der

+M D IL -- 1, --t- big"

Ask.s - r v _je, ------T

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

LJF t

"PI A f fA W

quo* N

~~~1

T V

Fig. 7.--Canon over double pedal in middle section. (Taken from "Scherzo," Symhonie J. Hamelle, p. 18.) Editeur, 31

"Allegro Contabile" is one of Widor's best slow movements.2 5 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

1- .99004 1

AL IL No N I

715--

?o \~

jS -m- I-M

Fig. 8.--Pedal solo for four foot flute, with four voices above, for strings and celeste. (Taken from Iaart Tv Fifth -- by Charles Marie Widor, Edition Afassio, p. 39.) 33

maJor simplicity, and is accompanied by chords of fiery rhythm.

Symphony VI.--Symphony VI, consisting of five movements, 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, expressed 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 traditional 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

.I m I . foloommumm r-T-1 I -4- [TAw 1 EJITIII

- .

110

L-!W- I I I I - - " 11 - tI 1 1 tI wo- i f mI

I V ILA k 'Jov v syi~ L

9 Fig. .-- Recitative-like passage following the first presentation of the main theme. (Taken from "Allegro," 8yuphonie VI, by Charles Marie Widor, Paris Edition, p. 3.) 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 original 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, rhythmic, dramatic theme, which characterizes the whole movement. 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. AN. 13

......

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

e NNW ------

...... 4-

Of I- .1 4NI. .1- Ia... -i I -- -- m - - 0- 1% 1.7 bh -A&

10EE

Tr 1, 11 1 i f

------I -- AAk---. -. 7

.0-L TAIIIIIJF-'ir

e-* doW

Fig. 10.--Canon form in the middle. (Taken from *Intrmeo," S honie VI, by Charles Marie Widor, Paris Edition, p. 24.) 37

TVW

.4 Sq

lin - - Awl

-og

TT-,

-a- -77

rig. 11.--Treatment of arpeggios, (Taken from "Finale 3 -honisV I, by Charles Marie Widor, Paris Edition, p. 374 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 traditions 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 barbaric 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.3 0 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.3 2

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 33 the 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 meditative."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," The American Organis, XVII (August, 1934), 362-364.

32 Eddy, Q cit., p. 14.

3 George Grove, DictioQry of Music and Musicians (1938), p. 714. 34 T. Carl Whitmer, "Widor's Organ-Symphonies," The American Organist, XVII (August, 1934)., 362-364.

35Riemenschneider, op. cit., p. 268. 41

Because t "Andante Sostenuto " 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 atmosphere 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.

t The '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 the capacity of assistant teacher of his organ classes, and soon after, also as his assistant at the grand organ 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 Music and Musicians, p. 1938. 2 Paul 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 seven 3 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 position of Professor of Organ at Schola Cantorum, which was founded by d'Indy.

Rank

In the French School Vierne ranks with Widor in importance, 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 government conferred upon him the title of officer of public 4 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 not given), The Diapason (July 1, 1937), p. lo 44 others his knowledge and love of music. In his own color-' ful uadpungent way he expressed his rich, human philosophy 5 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 the fidelity and6sincerity of my heart as an artist and a 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 characteristic 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 the 7 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 the 8 of the nineteenth century, those of the seventeenth."

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

Louis Vierne, "Reminiscences of Vierne," translated by Esther Jones,jT4eDiapason (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 organist 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 great 9 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 embellishments 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 10 Marshall Bidwell, Free Recitals, Forty-Third Season, p. 38. 48

p. -

I_---- F

1 4000 II,

Pig. 12.--Use of pedal theme.. (Taken fr m "1relul: " Fir phone, by louis Vierne, 6Ar, 3Hamele Editon p. o) 49 in the middle section of the "Allegro Vivace" shows the influence 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 skillful combination of themes.

Symphony III.--The opening movement of the Third

Symphony is "Allegro Maestoso." It begins with a statement of the theme in unison, by manuals and pedal, starting 50

M A I I I r.,. -t I I A I 00.0 nL*s --- L 0 1 1 t Air -don ri

Aff ~.w Aw low-

T_- MAL ell- I W-

dog: A t

tow 4p ois too moo

WNW--

AML-

'0 000 %ft

40 ABLY AML

-AWL

ow"

tow sop Ir

J000el rftwq

m 101-1 r WS - i 11-M-1 11 NO -M- 31M low

Fig. 15.--Canonic limitations influenced by Franck, (Taken from 'Allegro Vivace," pFirst honie, by Louis Viorne, Paris, Hamelle Edition,-p.NN"W 51

__ .11 I -- "111-%- 4

ItI L M

M ma ------ilk owl o4 4w .. / '40'.)

Ife , -, ro mm RAW, 1 , ow- 1,1!7 1 r 01 W. AOL .A- ".:-w - I JL

.-- .

. 1f AM L, ., ...... -- -.... r

Fig. 14.--Theme in the pedals. (Taken from "Finale, First ,MLon ,by Louis Vierne, Hamelle Edition4, p. 42) 52

I I -- I filII I 1 1iI71 , I' 11

...... _......

-. -7-1 11-

ow I vil 400

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

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 calculated so as to be played during the ordinary duration of an offertory. They are registered for an harmonium with four stops and a half, and for an organ with 2 keyboards and pedals of 18 to 20 stops. Tt is understood that the registration is, here, a general indication of colour, and that this registration can be modified according to the instruments at the disposal of the artists. Two initials close together (G.R.) show that the great organ is coupled to the swell; the letter G means 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 Louis Vierne, Durand & Co., p. 1.)

. -~ j ~I -Z L.-M -

--f L A I-L

. t 1tk b rr 44;; -3 ''111 / I"a ~1

Fig. 17.--Doleful melody running throughout contilene, (Taken from "Cantilene," Third Mphonie, by Louis Vierne, Durand & Co., p. 9.) 55

Sk f

INN

4 4

4 1

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

4i 40~ I I --- I I lp -Z.1 OW , , - -Z A l t f 77%in"-Am f q; - _1'. 77,77-%-P OPW MMIAMA---m I =.*AmM-Imm 6m. mmbdft-Q

10000 1 e *410 oo"*N e AL VVOI I &W 44 1

A /Vj 111

Fig. 19.--'First theme against rushing toccata figurations. (Taken from "Finale, Third Symphonie, by Louis Vierne, Durand & Co., p. 24.) 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 played entirely with the hands. When they are played on an organ with pedals, it will be well to divide between the hands the parts under which the pedals will be used.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 the 12 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 a three manual organ and a pedal board; in opposition to the Twenty-four Pieces in Free fle, they therefore include an obligatory pedal part. The time which their execution demands in the metronomic movements indicated in the text varies from three to five minutes, They are of average difficulty. 11 Louis Vierne, 24 Pieces en t Libre, Op. 13 (1914), Flyleaf. 12 Marshall Bidwell, Free O an Recitals, Forty-Third Season, p. 126.

- . -, ., ------, 1- t -- . -: Qwsvafl 57

The registration is by means inflexible. It is rather an indication for the general coloring. It can be modified according to the possibilities offered by the instruments on which they are to be performed. It is no use saying that the artist must refrain from any jarring, picturesque, or odd effect unjustified by the character of the music. This is an elementary artistic principle in every interpretation aiming at accuracy. According to the size of the locality and the quickness 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 the two keyboards to which they correspond: G. Sw. (great organ coupled to swell), Fed. G. (pedal coupled to greet organ), etc. The registrations indicated by brackets are only meant to prepare subsequent passages and in no way affect the bars under which they have been placed. On the contrary, the indications for the registration without brackets coincide with the very moment of their realization. 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, presents 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 his 4 music. He spoke no English.

Adequate informal tion and material unavailable in the United States at the present time. 2 Douglas Moore, "Tournemire, Composer Improviser; Tribute from American Lupil," The Diapason (March 1, 1940), p. 10. 3 Albert E. Wier, The Macmillan Encclopedia of Music and in One Volume (1937 p. 981. 4 Hugh Giles, "Charles Tournemire," The American Organist, XXIII (February, 1940), p. 48.

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 brought 5 him 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 temperament.

Rank The announcement of Tournemire's death on November 4, 1939, left the musical world bereft of one of its greatest 6 composers and improvisers. He helped to develop compositions 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. 6 Ibid. 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 devotion to ideals was an inspiration to them. He was gen- 7 erous to their faults.

Tournemire opened a new world of sound and organ S 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

7I Ibid. 62

them, Tournemire's pupils& assisted him on each wing of the 9 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. 1 1

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, primarily 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 contemporary idioms, were written thirty years after Franck's 12 time. Although he was a great admirer of Bach, his own

Moore,_op cit., p. 10, 10 William 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 probably 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 or 14 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, offertory, 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, Figure 16 20. No specific accent Is dominant because of the sustained 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 are 17 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 Twentieth Century," The Dipson (July, 1941), p. 20. 17 Ibid. 18 Ibid. 65

--T I-

( =*Ai _T2

4MO

Fie. 20.--Syncopation in the tenor voice. (Taken frm L Mystique by Charles Tournemire, quoted by Evelyn Merrell, The Diapason (July 1, 1941), p. 20. 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 registration,

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, accompagne 20 parles fonds de 8. 4. du positif; ped.; Fonds 16. 8. 4." The "Grave" contains a sustained pedal tone throughout 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," Suite Evocatrice, Paris, Bornemann, Editeur (1938), p. 5. "V, Caprice," p. 8. 67

400

471

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

~zz~ ~\ ~j~3 K .00101 owl ow 400 - ~b.

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

rww'Nw- - '. -1 z , -. . 4- , MWWAWA" CHAPTER V

THEMUSICAL 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 connected 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 Guilmantt s

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.

1 Albert Wier, Macmillan Encyclopedia of Music and Musicians in One VMe, an o., 9, 97 Marcel Dupre, "French Organist of Supernatural Powers," Current Opinions, LXXII (Feb., 1922), 210-211.

68 69

t In 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 I Dupre 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 by Esther 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 5 to do it himself." 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

I As a teacher, Dupre has exact standards. He makes clear, simple, and authoritative demands of his pupils; moreover, he insists upon clean playing.

he American 9 anist (Jan. 1),, 1 40p p. 250. 6 1Marcel 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

7 The 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 contrapuntal 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 of two 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 Review and 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 melodic 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 Ave Marie Stella,." Free Organ Recitals 43rd Season (1938), p. 138, - 12 Evelyn Merrell, "Organ lusic of the Twentieth Century," The Diapason (June, 1941), p. 13. 75

-77 sy TT-;W-W-

ArItsvi. I I~-139 r low

:i 1777-

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

a-MAMgms"O"URNOWN 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.1 3 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 Twentieth Century," The Diapson (Aug. 1, 1941), p. 13. 77

- -

Ekij r;- I

A~ ! 0k : 1~j &

A4 k

Fig. 24.--Introductlon of the theme between two strettos above fugue subject in the pedal. (Taken fror TroIf Preludes et Fues, by rcel Dupre, Ledic Edtlon, p. 41.) 78

Fig. 25.--First statement of theme based on traditional French Noel, developed in the style of free improviations. (Taken from Variations Sur Un Noel, by Marcel Dupre, Leduc Edition, p. 1.)

N k

-AWL 4 - ______

map1P

Fig. 26.--Dissonane. (Taken from Deuxieme ymph~onie, by Mt'cel Dupre, given by Evelyn MerreUlin the Diapason (August, p. 16.) 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,1 5

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 found I in 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 Free aRecitals-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 increased.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 Musicians in One Volume, p. 2Z7. 2 Louis Vierne, "Reminiscences of Louis Vierne," translated 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 1 century. 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 exemplified by Alexander Guilmant.' 8 The music of the early French school is better known because of Bonnett s 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. 8 3Bonet, 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.1 0 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.1 1 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.1 3

"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 eand Expression, pp. 2-7. Joseph Bonnet, Dix Annees au Service de L Orue Francais, MCECkXXVII ~ 2=. Miramon Fitz-Jame s,"Un Voyage de Joseph Bonnet en Italie 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.1 4

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," translated by 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.)

AVAIL&

a Ar I AL 1 Ak IF

_ _ _ _.- II- - a ed.

Fig. 29.--First variation In soprano, harmonized with other upper voices, and accompanied by steccto bass figure. (Taken from Variations doConcert, by Joseph Bonnet, Paris, Leduc, p. 4.) 89

3 a 3

t L..

I ~ T .1 I 1 -4-- ______777ro- 7 0 1 rsA -~ W. - I ______

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

rn. A - . IIW

~ zzzRio

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

I 90

clouds; to thy strong bidding, task arial and all his qualityr*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, accompanied 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 picturesque Spanish province Catalonia. The registration

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

les Claviers accouples," 1 8 After the second one, which is

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

an extended pedal cadenza.1 9 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 chromaticism 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, unusual melodic line, irregular rhythms, complex harmonic

structures, dissonance through chromaticism and syncopation, 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 emphasis 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 LAMAR LIBRARY

Austin, Texas July 25, 1941

Miss 'Elizabeth Wright Teachers College, Box 5871 Denton, Texas

Dear Piss Wright:

In reply to your letter dated July 19, we wish to report several 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 these musicians. We have two books by Charles M. Widor, one a song book for children in French, and the other entitled, Technpque of the modern orchestra, a manual of practical instrction. 'We' iiohave an entr ~in our cEaflieFToi Histoire de _Ila musique by Jacques Bonnet. I do not believe, however, that these are books you want.

Following is a list of several magazine articles which I hope 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 powers Current Opinion, vol. 72, p. 210-211, Feb. b922. VIERNE, LrUIavel; in the organ loft of the cathedral of Notre Dame. House Beautiful, vol. 71, p. 162, March, 1932.

We have in our library only the last two articles. The Vierne article consists of only a few paragraphs, bat the Dupre article is more extensive. We should be able to lend to the librarian of your college library these two items if you wish to use tflrm. Just ask the librarian to write us for them. Yours very truly, Mary E, Wynne 96

THE UNIVERSITY OF ROCHESTER EASTMAN SCHOOL OF MUSIC SIBLEY MUSICAL LIBRARY ROCHESTER, NEW YORK

July 14, 1941

Miss 2lizabeth Wright T. C. Box 5871 Denton, Texas

Dear Miss Wright: The Sibley Library catalog has nothing under the heading "Organists - France" that vould be of help to you. The organ works of the composers you mention are needed here fo r study.

Yours very truly, Elizabeth H. Smith

Secretary to Miss Duncan 97

THE LIBRARY OF CONGRESS WASHINGTON DIVISION OF MUSIC

July 16, 1941

Miss Elizabeth Wright T. C. Box 5871 Denton, Texas

Dear Mis Wright:

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

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

We are enclosing a "Vemorandum" outlining the regulations governing inter-library loans and have checked three particularly pertinent paragraphs. In view of the stated conditions, we would like to suggest that you apply to various libraries in your vicinity for the major portion of the material you will need for your thesis. If it turns out that some essential items cannot be obtained in Texas, it is possible that we may be able to make them available for inter-library loan upon suitable application from some lVbrary near you.

For the Librarian of Congress,

Sincerely yours,

Harold Spivacke Chief, 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 Guide to Periodical Literature, I found that ve have no material on the composers you are studying except Grove's Diction of Music and Musicians. I shall be glad to be 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 possible sources of information, such as you may vish, as follows:

(1) Mr. W. I. Nevins, President Guilmont Organ School, 12 West 12th Street, New York.

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

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

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

Very sincerely yours,

RALH A. HARRIS,

General Secretary 100

S. SCHIRMER, INC. NEW YORK MUSIC PUBLISHERS PND DEALERS July 25, 1941

Miss Elizabeth Tright Box 5871 Denton, Texas

Dear Miss Wright: We acknowledge receipt of your inquiry, and inform you that 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 American Organist" (39 Kensico St., Richmond, Staten Island, New York); and also to "The Diapason" (1511 Kimball Building, Xabash Avenue, Chicago, Ill). These magazines may have "back numbers" with articles on the composers. Our Baker's "Biographical Dictionary of Musicians" (Q6.00) contains information regarding the lives of 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 Wright T. C. Box 5871, Dent on, Te xa s

Dear Miss Wright

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

Although the Journal has not published anything along the 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 to look for the material you want.

Cordially yours.

THE JOURNAL OF MUSICOLOGY

a 102

THE DIAPASON CHICAGO, ILLINOIS

July 31, 1941

Miss Elizabeth Wright Denton, Texas Dear Miss Wright:

In answer to your letter may we say that Miss Merrell's address 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 this moment. The Memoirs of Louis Vierne were translated for The Diapason and published in a series of articles from September, 1938, to September, 1939, inclusive. These articles contained a great deal of light on the composers of France in the last fifty years. Copies of the thirteen issues containing these articles are still available at 920 a copy,

Very truly yours,

THE DIAPASON

P. S. In view of your interest in organ we feel that you will wish to be a regular reader of The Diapason. 103

NITA IKIN WICHITA FALLS, TEXAS

August 3, 1941

Miss Elizabeth Wright T. C.Box No. 5871 Denton, Texas

Dear 4iss Wright: I want to thank you for your letter of June the 23rd. asking me whom I considered the five greatest French organ 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 contributions in the field of organ as concert organists, as well as composers, I would select Joseph Bonnet in preference to Oliver Messiaen, who is one of the younger generation of composers, and in France is considered one of the greatest. I would choose Messiaen in preference to Joseph Bonnet because to me his music is much greater, and is compared and considered so in France where I first became acquainted with his music. I want to congratulate you upon the subject you have chosen for your Thesis, and I wish you every success while you are writing it. Please call on me for any other 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 and fuges for organ as well as Rhapsodies. His 3rd Symphony for organ and orchestra is outstanding. 2/ WIdor 3/ Guilmant

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

Sincerely,

Charles Courborn 105

THE UNIVERSITY OF CHICAGO ROCKEFELLER MEMORIAL CHICAGO, ILLINOIS CHAPEL

July 3, 1941

Miss Elizabeth Wright Box 5871 Denton, Texas

Dear Miss Wright:

The list of French organists, as to their importance since Widor, seen to me to be correctly arranged in the following order:

Marcel Dupre Charles Marie Widor Louis Vierne Charles Tournemire Joseph Bonnet

I place Dupre first because he has written music in the larger forms most successfully. His Preludes and Fuges, Symphonies and other compositions, display a rare talent for composition. Although they are modern and extremely difficult to play, the musical form and development of each theme is indeed the work of a genius. Perhaps this generation will not be able to comprehend or appreciate his great works, but eventually I am sure they will find a 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 of any further help to you, please let me know.

Sincerely yours,

Frederick Marriott Organist and Carillonneur 106

PALMER CHRISTIAN ANN ARBOR, MICHIGAN

DUPRE TOURNEMIRE MULET DANIEL LESUR MASSIAE, SCHMITT (for one piece 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 all feel that comparisons of contemporary compositions are not only difficult but dangerous, I would say (in order of their importance and innovatin- contributions): WIDOR, LOUIS VIERNE, Charles Tournemire, Marcel Dupre, Joseph Bonnet-- and of the younger generation, the French organists (and we also) think very highly of Olivier Messiaen. Tournemire and Bonnet (also were two very warm friends) write with true religious and poetic inspiration. Dupre, with a magnificent gift for logic and well-balanced form, will, I believe, go down as one of the representative composers of our generation--then, too, his influence as Professor of Composition has a far-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 Wrigat T. C. Box 5871 Denton, Texas

My dear Miss Wright:

Thank you for your letter regarding French organists.

Since practically all of the works of the French organ composers you have mentioned are printed by Foreign publishers, I am afraid you are going to have a very difficult time in making your survey, It is practically impossible to get any copies here in New York. I have my own bound copies but I need them for reference and teaching.

It seems to me the only solution to your problem is to find some organist in Texas within reasonable distance'of yourself who has the necessary works for your study. If conditions were normal I would be able to help you very easily.

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

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

Very cordially

Willard I. Nevins Director 109

THE MADISON AVENUE PRESBYTERIAN CHURCH NEW YORK CITY

July 18, 1941

Dear Miss Wright:

Articles by Evelyn Merrell on "French Organ Music of the 20th 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 December 1939, with more on Tournemire and Dufoureq's "La Utusiqie d'Orgue Francaise au xx Siecle," with something about Vierne and Widor. I have no documents on Bonnet,

Please be careful of these and return them to me by first-class mail hen you have finished; I would not likeyto lose them.

Sincerely yours,

SETH BINGHAM 110

HAROLD GLEASON ROCHESTER, NEW YORK EASTMAN SCHOOL OF MUSIC

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). Dupra in 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 YORK EASTMAN SCHOOL OF MUSIC

July 26, 1941

Dear Miss Wright:

Since writing you I have come across the enclosed book which may help you. "In memoriam Louis Vierne" Descleede Bourne & Company, Paris.

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

Sincerely yours,

Harold Gleason 112

HUGH PORTER NEV YORK CITY 99 Claremont Avenue

July 21, 1941

Dear Viss Wright:

In answer to your recent letter, I am sorry to say I can be of little service. The accepted books like Harvey Grace's "French Organ Music," and Wallace Goodrich'st "Organ in France" you must know. The two recent series in The Diapason taken in one case from a master's thesis, and in the other from the writer's friendship for Vierne, -these you have undoubtedly read,

But considering your subject as suggested in your letter, I would think you would need, chiefly, the organ compositions of the composers named, in order to make a thorough study of the works themselves. I think you have set yourself a fine task, but one that should take a year or two of digging at least. If the time you have left were not so short I might send you Purther suggestions as time goes on. But that would not help you, would it?

Best wishes for your study.

Sincerely,

Hugh Porter 113

HUGH MCAMIS GREAT NECK, LONG ISLAND

July 24, 1941

Dear Miss Wright:

In reply to your very kind letter of recent date, I would like to assist you in material for your Master's Thesis but I am leaving for my vacation this afternoon after a very busy summer just off hand I have nothing to 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 music up here with me for the summer, and cannot help you much with your inquiry. No doubt a direct comparison of the music of the various composers vould be best, for there are 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 among the TFrnch composers of music for the organ.

With best wishes,

Parvin Titus 116

MIAMI UNIVERSITY OXFORD, OHIO

July 16, 1941

Miss Elizabeth Wright T. 0. Box 5871 Denton, Texas

Dear Miss Wright:

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

Yours very truly, Joseph W. Clockey Dean of School of Fine Arts 117

UNION THEOLOGICAL SEMINARY NEW YORK, CITY CLARENCE DICKINSON

July 21, 1941

Miss Elizabeth Wright Box 5871 Denton, Texas

Dear Miss Wright:

It is difficult to understand from your letter just what sort of material you are going to need for your thesis. You have undertaken a terrifically big subject and I really do not know just what to send you, My first suggestion is to have you look over the thesis which we have done here in the library written by our students who have taken their Master's degree in Sacred Music. I think you would get a very com- prehensive idea of just what you would want. Do you feel 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 Wright T C Box 5871 Denton, Texas

Dear Miss Wright:

I am very sorry that I cannot comply with your very elaborate request as I am not in good health and I had to give up part of my vacation because I am swamped 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 5871 Dent on, Texas

Dear Miss Wright:

Your letter at hand upon my return from a trip to the South and in answer I will say that I wish I could be of 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 these works myself and so am unable to lend them to you. My wife has some of them but she is at present in New Orleans. On the other hand she needs these works herself for her own work and could not very well dispense with the ones She has.

I am somewhat at a loss to tell you how to go about getting this material, and the additional information you need. If you were in New York it would be easy for you to get all this at the Public Library (Music Division) but I do not know how you can do that for Texas. Maybe Mrs. Akin would be able to help you for she has many of these works and knows pretty well about these composers.

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

Very sincerely yours, BERNARD R. LA BERGE, INC.

Bernard R. La Berge, Pres. 120

BALDIN-W1ALLACE COLLEGE BEREA, OHIO CONSERVATORY OF MUSIC July 31, 1941

Miss Elizabeth Wright Box 5871 Denton, Texas

Dear Miss Wright:

Your letter of July 28 has reached my desk. Your request seems to me to be a bit vague. Without knowing what your background is on these composers it would be very dift!- cult to write a long thesis for you tryingto explain my reactions concerning them. Should you pass. through Berea at any time I will be happy to see you and give you an appointment if it is convenient. However, to write anything about the compo sers might simply duplicate what you already have and would be a rather large undertaking. I fear that such an undertaking would take more time than I could Ave to it on the possibility that it might fit your demands.

Wishing you every success, I am

Very sincerely yours,

Albert Riemenschneider Director 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. Wilson Co., 1940. Goetschius, Percy, Masters of' the Symphony, Chicago, Oliver Ditson Co., 1929.

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

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

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

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

Hill, Edward B., Moder French Musj Boston, Houghton Mifflin Co., 1924. Hull, A. Edglefield, Lg jPlgyin Its echniue and Expression, London, Augener, 1911. McNaught, W., Modern Music and Musicians, London, Novella Co., 1930.

Parkhurst, Winthrop and, De Bekker, L. J., Encyclopedia of Music and Musicians, New York, CrownQ, 1J940. Pratt, Waldo Emerson, The New Encyclopedia of' Music and Musicians, New York, 7 6701llan Co., 1924,

121 122

Thompson, Oscar, editor, The International cycloedia of Music 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 and Musicians in One Volume, New York, Macmillan Co.,

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

Articles

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

Burhman, T. Scott, "Editorial Reflections," The American Oraist, XVI (May, 1933), 266. de Lounay, Paul, "Vierne's Career Is Closed," The American rg, XX (June, 1937), 229.

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

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

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

Fitz-James, de Miraniou, "Un Voyage de Joseph Bonnet en Italie 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 Twentieth Century," 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 Twentieth Century," The Diapason (July 1, 1941), p. 20, 123

Moore, Douglas, "Tournemire, Composer, Improviser; Tribute From 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, " translated by 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 Diapason translated by Esther Jones (Sept. 1, 1939) p.*7

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

Whitmen, T. Carl, "Widor's Organ Symphonies," The American qrganist, XVII (Aug.,, 1934), 362-64. Whitmen, T. Carl, "Widor's Organ Symphonieso" The American Orgnist, XVII (May, 1934), 211-15.

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

"Appointment Rouses Great Storm in Paris - Vierne Successor Named," 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," The Diapason (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'Orguee Francair," Paris, MC XXXVII, 22. "Joseph Bonnet in America," The American Organist XXIII (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 Philadelphia Church," 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," LLru XII (December, 1939- March, 1940), 19. "The Picture Vierne Drew," The Diaason (October 1, 1939) p. 14. "Throng That Crowds Chicago University Hears Dupre," The DA (pason(January1, 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. ~