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Douze Préludes- Poèmes, Op. 58 by Charles Tournemire: a Stylistic Analysis Mengdi Li

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Douze Préludes- Poèmes, Op. 58 by Charles Tournemire: a Stylistic Analysis Mengdi Li University of South Carolina Scholar Commons Theses and Dissertations Spring 2019 Douze PréLudes- Poèmes, Op. 58 by Charles Tournemire: A Stylistic Analysis Mengdi Li Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Li, M.(2019). Douze PréLudes- Poèmes, Op. 58 by Charles Tournemire: A Stylistic Analysis. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/5139 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. DOUZE PRÉLUDES- POÈMES, OP. 58 BY CHARLES TOURNEMIRE: A STYLISTIC ANALYSIS by Mengdi Li Bachelor of Art Sichuan Conservatory of Music, 2012 Master of Music Bowling Green State University, 2014 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Music Performance School of Music University of South Carolina 2019 Accepted by: Joseph Rackers, Major Professor Charles Fugo, Committee Member Phillip Bush, Committee Member Ana Dubnjakovic, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Mengdi Li, 2019 All Rights Reserved. ii ACKNOWLEDGEMENTS I would like to express my appreciation to my committee members: Dr. Joseph Rackers, Dr. Charles Fugo, Professor Phillip Bush, and Dr. Ana Dubnjakovic. Thank you for your valuable help and advice on this study. I would also like to extend my deep and sincere gratitude to my major professors Dr. Marina Lomazov and Dr. Joseph Rackers who have helped me tremendously with my piano performance. Without your guidance and expertise, I would not have been able to make continuous progress on my piano playing. Finally, I want to express my special thanks to my friends who always encourage and motivate me and my family, especially my mother and my grandparents, who are my sources of inspiration. I will be forever grateful for your unconditional love and support. It is truly a blessing to have you all in my life. iii ABSTRACT Douze Préludes-Poèmes, Op. 58 is a composition for solo piano by French composer Charles Tournemire (1870-1939). The object of this study is to help musicians have a better understanding of Douze Préludes-Poèmes through a stylistic analysis of the work. The study provides background and biographical information on Tournemire. It also traces influences from which the composer drew inspiration. Since Tournemire created a unique musical language for the work by combining the Melakarta ragas from Southern India with the French symbolist and impressionist styles, this study identifies each raga used in the set and provides information on structure, harmony, melody, tempo, rhythm, and dynamics of Douze Préludes-Poèmes, Op. 58. iv TABLE OF CONTENTS ACKNOWLEDGEMENTS ............................................................................................... iii ABSTRACT ....................................................................................................................... iv LIST OF TABLES ............................................................................................................ vii LIST OF FIGURES ........................................................................................................... ix CHAPTER 1: INTRODUCTION ........................................................................................1 1.1 RELATED LITERATURE .........................................................................3 1.2 LIMITATIONS OF THE STUDY..............................................................6 1.3 METHODOLOGY .....................................................................................6 1.4 ORGANIZATION OF THE STUDY .........................................................7 CHAPTER 2: BIOGRAPHICAL INFORMATION ...........................................................8 CHAPTER 3: INFLUENCES ............................................................................................12 3.1 SYMBOLISM, CATHOLICISM, AND IMPRESSIONISM ...................12 3.2 HINDU MODES .......................................................................................15 3.3 IMPROVISATION ...................................................................................17 CHAPTER 4: STYLISTIC ANALYSIS OF DOUZE PRÉLUDES- POÈMES, OP. 58 ..20 4.1 ABOUT THE PRELUDES .......................................................................20 4.2 ANALYSIS OF DOUZE PRÉLUDES- POÈMES, OP. 58 ......................20 CHAPTER 5: CONCLUSION ..........................................................................................51 BIBLIOGRAPHY ..............................................................................................................53 v APPENDIX A: TRANSLATIONS OF FRENCH INDICATIONS IN DOUZE PRÉLUDES- POÈMES, OP. 58..............................................................55 APPENDIX B: LIST OF 72 MELAKARTA RAGAS ......................................................57 APPENDIX C: TOURNEMIRE’S COMPOSITION OF SOLO PIANO .........................59 APPENDIX D: GRADUATE RECITAL PROGRAM 1 ..................................................60 APPENDIX E: GRADUATE RECITAL PROGRAM 2 ...................................................61 APPENDIX F: GRADUATE RECITAL PROGRAM 3 ...................................................62 APPENDIX G: GRADUATE RECITAL PROGRAM 4 ..................................................63 vi LIST OF TABLES Table 4.1 Melakarta ragas of Prelude No. 1 Naissance de l’homme .................................21 Table 4.2 Structure of Prelude No. 1 Naissance de l’homme ............................................23 Table 4.3 Melakarta ragas of Prelude No. 2 Bas âge ........................................................24 Table 4.4 Structure of Prelude No. 2 Bas âge ....................................................................26 Table 4.5 Melakarta raga of Prelude No. 3 Enfance ..........................................................27 Table 4.6 Structure of Prelude No. 3 Enfance ...................................................................29 Table 4.7 Melakarta raga of Prelude No. 4 Adolescence ...................................................30 Table 4.8 Structure of Prelude No. 4 Adolescence ............................................................31 Table 4.9 Melakarta ragas of Prelude No. 5 Passions humaines .......................................32 Table 4.10 Structure of Prelude No. 5 Passions humaines ................................................33 Table 4.11 Melakarta ragas of Prelude No. 6 Grands troubles .........................................34 Table 4.12 Structure of Prelude No. 6 Grands troubles ....................................................36 Table 4.13 Melakarta ragas of Prelude No. 7 Union licite et divine ..................................36 Table 4.14 Structure of Prelude No. 7 Union licite et divine .............................................38 Table 4.15 Melakarta raga of Prelude No. 8 Préparation à la mort, dans l'apaisement ...38 Table 4.16 Structure of Prelude No. 8 Préparation à la mort, dans l'apaisement ............40 Table 4.17 Melakarta raga of Prelude No. 9 Méditation sur Dieu le Père ........................41 Table 4.18 Structure of Prelude No. 9 Méditation sur Dieu le Père .................................42 Table 4.19 Melakarta raga of Prelude No. 10 Méditation sur le Fils ................................43 Table 4.20 Structure of Prelude No. 10 Méditation sur le Fils..........................................44 vii Table 4.21 Melakarta raga of Prelude No. 11 Méditation sur le Saint-Esprit ...................45 Table 4.22 Structure of Prelude No. 11 Méditation sur le Saint-Esprit ............................47 Table 4.23 Melakarta raga of Prelude No. 12 Glorification de la Trinité .........................48 Table 4.24 Structure of Prelude No. 12 Glorification de la Trinité ...................................50 viii LIST OF FIGURES Figure 4.1 Prelude No. 1 Naissance de l’homme mm. 1-2 ................................................22 Figure 4.2 Prelude No. 3 Enfance m. 1 ..............................................................................27 Figure 4.3 Prelude No. 3 Enfance m. 25 ............................................................................28 Figure 4.4 Prelude No. 4 Adolescence mm. 21-23 ...........................................................30 Figure 4.5 Opening of Prelude No. 6 Grands troubles ......................................................35 Figure 4.6 Prelude No. 8 Préparation à la mort, dans l'apaisement mm. 2-3 ..................39 Figure 4.7 Prelude No. 9 Méditation sur Dieu le Père mm. 12-15....................................41 Figure 4.8 Prelude No. 11 Méditation sur le Saint-Esprit m. 6 .........................................46 Figure 4.9 Prelude No. 12 Glorification de la Trinité mm. 1-2 ........................................49 Figure 4.10 Prelude No. 12 Glorification de la Trinité mm. 4-5 ......................................49 ix CHAPTER 1 INTRODUCTION Charles Arnould Tournemire (1870-1939), a French organist and composer, was particularly famous for his virtuosic organ playing and dazzling improvisation skills. His celebrated solo organ work, L’Orgue Mystique, is regarded as a prominent part of the organ literature. Yet unlike Claude Debussy (1862-1918) and Maurice Ravel (1875- 1937), his French contemporaries who
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