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Copyright by Michael David Ging May 2018 Copyright by Michael David Ging May 2018 ORCHESTRATIONS AND TRANSFORMATIONS: GUILMANT, WIDOR, AND THE EMERGENCE OF MUSIC FOR ORGAN AND ORCHESTRA IN FRANCE ________________________ An Essay Presented to the Faculty of the Moores School of Music Kathrine G. McGovern College of the Arts University of Houston ________________________ In Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts in Organ Performance ________________________ by Michael David Ging May 2018 ORCHESTRATIONS AND TRANSFORMATIONS: GUILMANT, WIDOR, AND THE EMERGENCE OF MUSIC FOR ORGAN AND ORCHESTRA IN FRANCE ________________________ Michael David Ging APPROVED: _______________________ Matthew Dirst, Ph.D. Committee Chair ________________________ Timothy Koozin, Ph.D. ________________________ Daryl Robinson, M.M. ________________________ Betsy Cook Weber, D.M.A. ________________________ Andrew Davis, Ph.D. Dean, Kathrine G. McGovern College of the Arts ORCHESTRATIONS AND TRANSFORMATIONS: GUILMANT, WIDOR, AND THE EMERGENCE OF MUSIC FOR ORGAN AND ORCHESTRA IN FRANCE ________________________ An Abstract of an Essay Presented to the Faculty of the Moores School of Music Kathrine G. McGovern College of the Arts University of Houston _______________________ In Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts in Organ Performance ________________________ by Michael David Ging May 2018 Abstract This essay traces the emergence of music for organ and orchestra in France. Félix- Alexandre Guilmant and Charles-Marie Widor were the first two Frenchmen to compose and perform such works. Guilmant premiered his Symphonie pour orgue et orchestre, op. 42, in 1878. Widor’s Symphonie pour orgue et orchestre, op. 42(bis), was first performed in 1882. The musical material of neither of these symphonies was originally conceived for organ and orchestra. Rather than create new musical works, both composers opted to re-work existing compositions for solo organ. Guilmant’s first symphony is an orchestration of Sonata I in D Minor, op. 42, while Widor’s symphony is based on one movement of his Symphonie II and two movements from his Symphonie VI. In addition to tracing the development of the genre, this document examines primary instrumentation texts that originated in France during the eighteenth, nineteenth, and early twentieth centuries. Biographical information about the composers is also included. The concluding section of this essay focuses on salient compositional strategies the two composers employed as they orchestrated and transformed their solo organ works into symphonies for organ and orchestra. v Acknowledgements The completion of this essay marks the conclusion of an incredible journey. It is not possible for me to acknowledge all of the faculty, colleagues, family, and friends who have supported me along the way. There are, however, several individuals whose contributions to the completion of this essay deserve special recognition. To my parents, Michael and Sherry Ging: Thank you for always pushing me to realize my dreams. To my teacher, Robert Bates: Thank you for your patience and honesty as well as for elevating my musicianship, stylistic sense, and attention to detail. I cherish the many memories of the three years that I spent as your student. To my committee chair, Matthew Dirst: Thank you for adopting me upon the retirement of Dr. Bates. I am grateful for the hours you spent reading the numerous drafts of this document. Your help and support were truly instrumental to the completion of this degree. To my committee members Timothy Koozin, Daryl Robinson, and Betsy Cook Weber: Thank you for supporting this project and for your time spent reviewing drafts of this document. To my friend, Ryan Gagnon: Thank you for diligently preparing the examples found in the Appendix. To my friend, Robert Gant: Thank you for your unique ability to always send perfectly timed messages of encouragement. And finally, to my wife, Sarah: You are the center of my life. Thank you for your unwavering support and love. vi Table of Contents Abstract ................................................................................................................................v Acknowledgements ............................................................................................................ vi List of Musical Examples ................................................................................................ viii Essay ....................................................................................................................................1 Appendix ............................................................................................................................29 Bibliography ......................................................................................................................38 vii List of Musical Examples 1. Guilmant, Symphonie pour orgue et orchestre, op. 42, mm. 1–2 ..................................32 2. Guilmant, Sonata I in D Minor, op. 42, mm. 1–2 ..........................................................32 3. Guilmant, Symphonie pour orgue et orchestre, op. 42, mm. 20–44 ..............................33 4. Guilmant, Sonata I in D Minor, op. 42, mm. 46, 52, and 56 .........................................33 5. Guilmant, Symphonie pour orgue et orchestre, op. 42, mm. 46, 54, 56, 58, and 60 .....34 6. Guilmant, Symphonie pour orgue et orchestre, op. 42, mm. 135–148 ..........................35 7. Guilmant, Symphonie pour orgue et orchestre, op. 42, mm. 237, 239–240 ..................36 8. Guilmant, Sonata I in D Minor, op. 42, mm. 237, 239–240 ..........................................36 9. Guilmant, Symphonie pour orgue et orchestre, op. 42, mm. 253–260 ..........................37 10. Widor, Symphonie pour orgue et orchestre, op. 42(bis), mm. 16–17 .........................38 11. Widor, Symphonie pour orgue et orchestre, op. 42(bis), mm. 91–110 .......................39 12. Widor, Symphonie pour orgue et orchestre, op. 42(bis), mm. 230–232 .....................40 viii Essay Félix-Alexandre Guilmant’s Symphonie pour orgue et orchestre, op. 42, and Charles-Marie Widor’s Symphonie pour orgue et orchestra, op. 42(bis), are tragically underappreciated. The same can be said of the genre, which, at least in my experience, tends not to be discussed in academic courses devoted to either the organ or symphonic literature. Producing performances of these works is a daunting task. Many orchestras with the resources to perform works with organ tend to favor later examples, such as the Symphonie concertante by Joseph Jongen, Poulenc’s Concerto pour orgue, cordes et timbales or Samuel Barber’s rousing Toccata Festiva. As such, it is unlikely that you will ever hear a live performance of Guilmant and Widor’s compositions for organ and orchestra. Guilmant (1837–1911) and Widor (1844–1937) were the first two composers to write and perform symphonies for organ and orchestra in France. Guilmant premiered his Symphonie pour orgue et orchestre during the dedicatory concert series celebrating the installation of a large four-manual organ built by Aristide Cavaillé-Coll (1811–1899) in the Palais du Trocadéro in 1878. Widor’s Symphonie pour orgue et orchestre was premiered in 1882, also in the Trocadéro. Neither symphony’s musical material was originally conceived for organ and orchestra. Rather than create new musical works, both Guilmant and Widor opted to re-work existing compositions for solo organ. Guilmant’s first symphony is an orchestration of his Sonata I in D Minor, op. 42, which he composed in 1874 and dedicated to the Belgian monarch, Leopold II. Widor’s Symphony for Organ and Orchestra is based on movements from two of his solo organ symphonies. The second movement is taken from his second solo organ symphony, composed in 1872, 1 while the first and third movements are the outermost of his famous Symphonie VI, which was also premiered as part of the 1878 dedicatory concert series at the Trocadéro. What prompted these two composers to arrange pre-existing organ works for organ and orchestra? In the early decades of the twentieth century, organ/orchestral music experienced a comparatively meteoric rise in popularity in both Europe and the United States. Why did it take until 1878 and 1882 for the first two large-scale compositions for organ and orchestra to be composed? Was there not a venue for this music to be performed? Did composers express an aversion to using the organ in orchestral works? This essay will answer these questions by first presenting a study of instrumentation texts that originated in France during the eighteenth, nineteenth, and early twentieth centuries. A historical survey tracing the emergence of music for organ and orchestra will follow. The pieces central to this essay will be introduced at the conclusion of this section. An examination of the biography and catalog of the two composers will provide context for these symphonies and establish their place within their respective careers. Despite the numerous similarities surrounding the creation of these two symphonies, Guilmant and Widor approached the orchestra’s inclusion in these works in very different ways. Guilmant rarely combined the organ and orchestra. This results in many more solo organ passages in Guilmant’s symphony than in Widor’s. Widor freely combines the organ and orchestra throughout most of his symphony. In fact, when compared with the solo organ version, the organ part of his symphony’s first
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