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Virtuosity and Technique in the Organ Works of Rolande Falcinelli

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Virtuosity and Technique in the Organ Works of Rolande Falcinelli Virtuosity and Technique in the Organ Works of Rolande Falcinelli 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 by Loretta Graner BM, University of Kansas, 1984 MM, University of Kansas, 1988 April 2014 Committee Chair: Michael Unger, DMA ABSTRACT This study considers Rolande Falcinelli’s cultivation of technique and virtuosity as found in her organ methods and several of her organ works which have been evaluated from a pedagogical perspective. Her philosophical views on teaching, musical interpretation, and technique as expressed in three unpublished papers written by the composer are discussed; her organ methods, Initiation à l’orgue (1969–70) and École de la technique moderne de l’orgue (n.d.), are compared with Marcel Dupré’s Méthode d’orgue (pub. 1927). The unpublished papers are “Introduction à l’enseignement de l’orgue” (n.d.); “Regard sur l’interprétation à l’orgue,” (n.d.); and “Panorama de la technique de l’orgue: son enseignement—ses difficultés—son devenir” (n.d.). The organ works evaluated include Tryptique, Op. 11 (1941), Poèmes-Études (1948–1960), and Mathnavi, Op. 50 (1973). ii iii ACKNOWLEDGEMENTS Many people have given generously of their time and resources to help me bring this document to fruition, and I am filled with gratitude when I reflect on their genuine, selfless kindness, their encouragement, and their unflagging support. In processions, the last person is the most highly honored, but I cannot rank my friends and colleagues in order of importance, because I needed every one of them. I shall never be able to thank them enough for their invaluable contributions, their guidance, and their belief in me. I am grateful to have incurred this “traveling debt,” a phrase which means that the one who receives the diploma is also given the baton to help others. My research began with the help of Dr. Karin Pendle, my first advisor, and Dr. Roberta Gary, my organ teacher, second advisor, and reader, both Professors Emeritae of the University of Cincinnati College-Conservatory of Music, who devoted many hours to revising and editing the document. Early in the process, Head Music Librarian for the Gorno Music Library at the University of Cincinnati, Mark Palkovic, provided research assistance, and Dr. Colette Ripley sent scores for many of Rolande Falcinelli’s organ works. Musicologist Dr. Stéphane Detournay met me in Belgium, provided a copy of his doctoral thesis, Falcinelli scores and manuscripts, and introduced me to organs in Belgium and Paris. Musicologist Dr. Sylviane Falcinelli met me in Pau, France, provided manuscripts, and introduced me to the composer, Rolande Falcinelli. Dr. John Grover, Professor Emeritus of the University of Cincinnati Geology Department, transcribed portions of Falcinelli’s musical manuscripts for publication in the document. Mechanical Engineer, Dr. Phil Smith, edited, formatted and encrypted the document for submission. University of Cincinnati English professor, Dr. Cindy Carlton-Ford, and author and iv Acknowledgements editor Dr. Jana Riess also helped with editing. Professor of Musicology, Dr. bruce mcclung, was a meticulous reader. Dr. Michael Unger, the final advisor for this document and the degree, provided exceptional advice with patience and humor. I would not have been able to write this document and complete the requirements for the doctoral degree without my family and friends. In addition to the tremendous help from the scholars scantily acknowledged above, I have been supported by the Church of the Redeemer, my parents Dean and Zelma Graner, my sisters, my closest friend, Elizabeth Lovett Grover, and my daughter, Annie Graner. v TABLE OF CONTENTS ACKNOWLEDGEMENTS ........................................................................................................... iv TABLE OF CONTENTS ............................................................................................................... vi LIST OF EXAMPLES ................................................................................................................... ix INTRODUCTION .......................................................................................................................... 1 CHAPTER I Organist, Composer, Teacher .................................................................................... 4 Musical Style .............................................................................................................................. 7 Philosophy ................................................................................................................................ 12 “Introduction à l’enseignement de l’orgue” .......................................................... 12 “Regard sur l’interprétation à l’orgue” ................................................................. 14 “Panorama de la technique de l’orgue: son enseignement—ses difficultés—son devenir” ...................................................................................... 16 CHAPTER II Organ Methods ....................................................................................................... 21 Méthode d’orgue by Marcel Dupré .......................................................................................... 21 Initiation à l’orgue by Rolande Falcinelli ................................................................................ 25 Lesson 1 ................................................................................................................ 26 Lesson 2 ................................................................................................................ 26 Lesson 3 ................................................................................................................ 27 Lesson 4 ................................................................................................................ 28 Lesson 5 ................................................................................................................ 28 Lesson 6 ................................................................................................................ 29 Lesson 7 ................................................................................................................ 30 Lesson 8 ................................................................................................................ 30 vi Table of Contents Lesson 9 ................................................................................................................ 31 Lesson 10 .............................................................................................................. 32 Lesson 11 .............................................................................................................. 33 Lesson 12 .............................................................................................................. 33 École de la technique moderne de l’orgue by Rolande Falcinelli ............................................ 38 Première partie: Théorie de la Technique ................................................................ 38 Deuxième partie: pratique de la technique de pédale .............................................. 41 A. Scales ............................................................................................................... 42 B. Arpeggios ......................................................................................................... 45 CHAPTER III Virtuosity and Technique in the Organ Works ..................................................... 49 Tryptique, Op. 11 ...................................................................................................................... 49 “Litanies” .............................................................................................................. 49 “Rondel” ............................................................................................................... 52 “Fugue” ................................................................................................................. 56 Poèmes-Études .......................................................................................................................... 61 “Danse eternelle de Laksmi” ................................................................................ 62 “La Guitare Enchantée” ........................................................................................ 67 “Troika” ................................................................................................................ 69 “Scaramuccio” ...................................................................................................... 72 Mathnavi, Op. 50 ...................................................................................................................... 76 CHAPTER IV Conclusion ............................................................................................................ 86 SELECTED BIBLIOGRAPHY .................................................................................................... 89 APPENDIX I A Chronological List of Falcinelli’s Solo Organ Works ....................................... 94 APPENDIX II Falcinelli’s Suggested Student Repertoire........................................................... 97 vii Table of Contents Key to Bullet Markings ........................................................................................
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