Form in the Organ Symphonies of Edward Shippen Barnes (1887-1958)
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Form in the Organ Symphonies of Edward Shippen Barnes (1887-1958) A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Keyboard Studies Division of the College-Conservatory of Music April 2015 by Collin A. Richardson B.A., Morehouse College, 2006 M.M., Emory University, 2008 Committee Chair: Michael Unger, DMA Abstract This document examines the two organ symphonies by American composer Edward Shippen Barnes (1887-1958). The popularity of the works during his lifetime paints a picture of a composer that was revered by his contemporaries. These little known works lean heavily on the aesthetics and compositional practices of French symphonic organ literature. Analysis of the symphonies reveals that Barnes uses various formal approaches, particularly sonata form, in addition to ternary and free forms based on preexisting material. This document casts greater light on a scarcely known American composer whose organ symphonies have yet to assume a place in the organ repertory. ii iii Acknowledgement The author wishes to express his sincere appreciation to his committee advisor and organ instructor, Dr. Michael Unger, for his patient and generous assistance in the preparation of this document. He is also grateful to Dr. John A. Deaver and Dr. Stephanie P. Schlagel for their invaluable contributions in the guidance and refining of this study. iv Contents Abstract ........................................................................................................................................... ii Acknowledgement ......................................................................................................................... iv Chapters: I. INTRODUCTION ................................................................................................................... 1 ii. Background ......................................................................................................................... 3 iii. Barnes‘s Reception by His Peers ........................................................................................ 7 iv. Barnes at the Schola Cantorum ......................................................................................... 11 v. Barnes‘s Use of Sonata Form in the Organ Symphonies .................................................. 13 II. ANALYSIS OF SYMPHONIE POUR ORGUE, OPUS 18 ................................................... 16 III. ANALYSIS OF SECOND SYMPHONY FOR ORGAN, OPUS 37 ....................................... 74 IV. CONCLUSION ................................................................................................................... 130 V. BIBLIOGRAPHY ............................................................................................................... 133 v I. INTRODUCTION American composers in the early twentieth century were greatly impacted by the aesthetics of the Romantic period, and American organ repertoire in particular was influenced by fruitful and frequent instruction under European organists. This had a particularly profound influence on many Americans who were composing works in the French symphonic style. The existing and notable works from this period by Americans such as Dudley Buck, Charles Ives, and Leo Sowerby, while deserving, draws attention away from compositions of other contemporaries who contributed equally substantial organ compositions. American organist and composer Edward Shippen Barnes (1887-1958) is one such lesser-known figure, and his two organ symphonies, Symphonie pour orgue, Opus 18, composed in 1918, and the Second Symphony for Organ, Opus 37, composed in 1923, are significant works written in this predominantly French genre. Recital programs and reviews of performances of movements from the symphonies points to their popularity as concert repertoire around the time they were composed, and indicate that Barnes was well-regarded by his contemporaries. Barnes‘s organ symphonies predate Sowerby‘s widely-respected Symphony in G Major (1930). However, Barnes‘s works, unlike Sowerby‘s, did not prove to be a vehicle of sustainability for his reputation after his death and the works are now seldom heard.1 The emergence of the orchestral symphony during the Romantic period spurred on the developments of organ builders, most notably French builder Aristide Cavaillé-Coll (1811- 1899), to create instruments that evoke the effects of the orchestra‘s forces. The capabilities of these new instruments in tandem with composers‘ manipulation of structural models applied to orchestral symphonies gave birth to the organ symphony genre. Composers produced the most 1 Corliss Arnold, Organ Literature: A Comprehensive Survey, Volume I: Historical Survey, (Lanham, Maryland: Scarecrow Press, 2003), 298. 1 significant works in this genre between 1872 and 1930 beginning in France with Charles-Marie Widor (1844-1937) and Louis Vierne, and ending with Leo Sowerby (1895-1968) in America. The preceding generation of French composers directly influenced Barnes‘s works and these years include the time of composition of his two organ symphonies. Widor‘s ten organ symphonies were published between 1872 and 1900, and Vierne‘s six organ symphonies were published between 1899 and 1930. Sowerby‘s only symphony, Symphony in G Major composed in 1930, closes the period of focus for the present study though the composition of organ symphonies continued to flourish beyond 1930 particularly in France. Generally, the formal approach to the orchestral symphony provided a model for organ symphonies. A formal analysis of Barnes‘s symphonies reveals that he not only varies his approach to form in the organ symphonies but also that his approach fits in the parameters of both the French symphonic tradition of organ composition and the innovations of music in the early twentieth century. Since the organ symphonies claim traits of both traditions, there are two elements at play with regard to formal structure. First, established formal plans, such as the frequently-adopted sonata form, occur in many organ symphonies. The use of this particular form and others in Barnes‘s works is expected and confirmed through analysis. Second, departure from or distortion of established forms in a given movement from the symphonies is not altogether odd. Experimentation with many elements including but not limited to melody, tonality, rhythm, harmony, and form, are hallmark innovations of this period. Barnes‘s works showcase the process of manipulating the form of a movement rather than a straightforward adherence to a formula. For instance, the return of primary themes in Barnes‘s sonata form movements is at times tonally distant from the initial statement of a first or second theme, and in many cases, Barnes finds other uses for the primary themes of movements, as he often recasts 2 initial themes as transitional passages, frequently compounding or linking previously-stated themes with new ones. The organ symphonies of Barnes indeed employ a variety of structural plans, and there is no singular designation that can or should be made to describe his compositional tactics. The analysis of formal structures reveals a frequent use of sonata form, along with ternary form, free form based on preexisting material, binary form, and variation form. Even more, though all of Barnes‘s works were composed in the early twentieth century, they are clearly tonal, with no hint of atonality, serialism or other avant-garde constructs of the time. Rather, Barnes‘s use of chromatic third relationships, customary, lengthy development of secondary themes, in addition to traditional closely-related key relationships supports the assertion that his works are aligned within the influence of both the nineteenth and twentieth-century tradition of French symphonic organ works. ii. Background Edward Shippen Barnes was born on September 14, 1887 in Seabright, New Jersey. Under the instruction of Horatio Parker and Harry Benjamin Jepson, Barnes graduated from Yale University. Following his time at Yale, Barnes studied under Louis Vierne, Vincent D‘Indy, and Abel Decaux at the Schola Cantorum in Paris in 1911.2 The lack of biographical information on Barnes is fortunately supplemented with two articles written by Barnes himself in consecutive monthly editions of The Diapason magazine in 1921.3 The candor of these firsthand accounts of 2 Edward Shippen Barnes, The Organ Symphonies of Edward Shippen Barnes, Simon Nieminksi (Pro Organo CD 7131, 2002). 3 Edward Shippen Barnes. ―An Organ Student in France: An Informal Talk.‖ The Diapason 12, no.1 (July, August 1921). 3 his studies at the Schola Cantorum are invaluable, and directly enliven the image of this little known composer and the musical influences on his works, particularly that of Vierne and Widor. Also in 1921, Barnes authored an instructional organ method called The School of Organ Playing based on his studies at the Schola Cantorum.4 This text recaptures many of the performance practices of French composers of the late nineteenth and early-twentieth centuries. Barnes‘s method book contains sixteen works by Bach along with a total of seven works by Merkel, Rheinberger and Lemmens combined. Reflecting his learning at the Schola Cantorum, Barnes incorporates finger substitution, thumb glissandos, and legato playing into Bach‘s works. Noted French organist and composer Marcel Dupré (1886-1971) similarly authored such editions of J. S. Bach‘s organ works.