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Apr 08 Pp. 26-29.Indd 26 3/10/08 11:24:01 AM Gan, Which Tournemire Had Recorded at the Beginning of 1931 for Polydor

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Apr 08 Pp. 26-29.Indd 26 3/10/08 11:24:01 AM Gan, Which Tournemire Had Recorded at the Beginning of 1931 for Polydor The Musical Tradition at the Sainte-Clotilde Basilica in Paris, France Carolyn Shuster Fournier 1. In the beginning the fi rst decade of his service as choir- Jean Langlais (1931) As soon as he was appointed choir- master: in addition to his three-voice Bernard Piché (1938–1939) master at the Sainte-Clotilde church in Mass, op. 12, a dozen offertories, mo- Paris, France, Franck had the ambition tets and several hymns, his oratorio The Jean Langlais (private organ students or of becoming the titular of the Cavaillé- Seven Last Words of Christ on the Cross, those enrolled at the Schola Cantorum) Coll under construction: one of his pro- fi nished on August 14, 1859, and nota- Pierre Denis (beginning in 1932) grams, a concert given on February 22, bly his Dextera Domini, Offertory for Pierre Cogen (beginning in 1950) 1858 in Orléans, attested that “the piano Easter, op. 11, dedicated to the Abbot Marie-Louise Jaquet-Langlais (begin- will be played by M. César Franck, the Pierre Ambroise Hamelin (priest from ning in 1966) choirmaster and the fi rst organist at the 1857–1883).7 In 1867, Théodore Dubois Jacques Taddei (1980). Sainte-Clotilde parish in Paris.”1 During composed, at Hamelin’s request, his ver- the offi cial inauguration of the church sion of the Seven Last Words of Christ The example of Théodore Dubois on December 19, 1859, during which he for Good Friday. This work was then tra- to Maurice Emmanuel played (as did Lefébure-Wély), the musi- ditionally performed each Good Friday An example of faithful support of a cal press presented him as the “organiste at the Madeleine church. Samuel Rous- professor to his students, that of Théo- titulaire de Sainte-Clotilde.”2 seau, a musician who served this parish dore Dubois to Maurice Emmanuel In his biography of César Franck, between 1870 and 1904, also composed alone illustrates the quality of their re- Maurice Emmanuel justly reveals: religious music with harmonies openly lationship. At the time of Emmanuel’s inspired by Franck, which was used for nomination as choirmaster, on October César Franck was choirmaster at Sainte- the ceremonies at Sainte-Clotilde: two 20, 1904, Dubois wrote him the follow- Clotilde (1858) where Théodore Dubois collections of his music even indicate this ing letter: accompanied his choir. Imposed upon him in their titles: Répertoire de Ste-Clotilde by Abbot Hamelin, the parish priest, this (Le Beau, 1887; reissued by Pérégally & My dear friend, Théodore Dubois (courtesy Francis Dubois) choir could be compared to a loose-fi tting I am delighted that you have accepted overcoat whose sleeves hampered him Parvy, 1893–94) and Hymne à Sainte- Clotilde (1897, Pérégally & Parvy), with the functions of choirmaster at Ste-Clotilde. You remain a Christian and a believer; from conducting. Franck was also organist You have plenty of ideas, a cultivated spirit; in this same church, where he possessed the text by Abbot Le Droz, which was this is good! Strong souls support without you know how to manage, in these particu- weakness all human iniquities. You are one of the most beautiful instruments ever dedicated to Abbot Gardey, General larly diffi cult circumstances when we have constructed by Cavaillé-Coll and whose ad- Vicar of Paris, the main priest at Sainte- among them! imposed the “Motu proprio,” the departure The last phrase of your letter reminded mirable voices gradually aroused his genius Clotilde from 1883–1914. of some good and of some bad. You will as an improviser.3 me of my past. How many times my most scarcely be the sectarian and uncompromis- sincere efforts remained unknown and 2. The heritage ing man from the “Schola Cantorum,” and were ridiculed and how many times I was Franck generously allowed Théodore The Sainte-Clotilde musical tradition you will neither glide to the side of worldly treated unjustly and in a biased manner! Dubois to play this instrument occasion- remains unique because it produced a music, so-called more or less religious or But like you, I can say that I had “received rather more or less poorly written. You sympathy from a minor elite, and that a sin- ally when he conducted the choir, as on group of musicians whose line of transmis- must be fi rm and active. You will have all of April 2, 1861, for the fi rst performance sion from the professors to their students cere work in view of an elevated art is never that, and in addition you are young. Please entirely lost.” of his three-voice Mass in A Major, op. remains unbroken. The line of students accept therefore my congratulations and 4 Madame Dubois joins me and hopes 12 (1860) with orchestra. As Dubois has of the titulars at Sainte-Clotilde who be- my most sincere wishes, and you know that that you will share with Mme. Emmanuel confi rmed in his Souvenirs, it was only in longed to this tradition, listed below, is the I am always affectionately devoted to you. 9 the assurance of our most affectionate 1863 that Franck was fi nally named titu- most complete one to this day, without Théodore Dubois sympathy. lar of this most poetic instrument.5 however pretending to be exhaustive: Théodore Dubois11 Although Dubois left Sainte-Clotilde Two years later, on July 1, 1906, Dubois to begin his functions as choirmaster at César Franck (his organ students at the congratulated him for his actions within The dedications La Madeleine beginning on November Conservatory)8 this parish: The dedications of works by compos- 27, 1868, he remained César Franck’s Samuel Rousseau (Nov. 1871; 2nd acc. ers from the Sainte-Clotilde Tradition close friend. He strongly supported his 1872; 1st acc. 1875 ; 1st prize, 1877) My dear friend, I would like to express to their colleagues demonstrate their nomination in 1871 as organ professor at Guillaume Couture (Canadian) (1873 my complete satisfaction with the beauti- mutual esteem and their fraternal rela- the Paris Conservatory. He recalled this to 1875) ful performance of my Mass in the Pales- tionships. Samuel Rousseau dedicated trinian style this morning at Ste-Clotilde. moment in his short speech given dur- Charles Bordes (ca. 1880) I congratulate and heartily thank you for his Fantaisie, op. 73, “to the memory ing the inauguration of the monument Georges MacMaster (ca. 1880), also a your fi ne artistic interpretation. It is dif- of my dear Master César Franck,” the in César Franck’s memory, by Alfred student of Théodore Dubois fi cult to acquire the necessary suppleness Cantilena of his Fifteen Pieces (Paris, Lenoir, in the square located in front of Gabriel Pierné (Dec. 1880; 2nd prize, in such a style. You must then encourage Leduc, 1892) to Léon Cazajus, and an the Sainte-Clotilde Basilica on October 1881; 1st prize, 1882) the singers of your choir and give them the Offertoire funèbre in this same collec- 22, 1904: Dynam-Victor Fumet (Dec. 1885) compliments they deserve. tion to the Abbot Chazot, named second Charles Tournemire (Dec. 1889; 1st Congratulations also for the Plain-Chant vicar at Sainte-Clotilde in 1889. Maurice When the position as organ professor acc., 1890) [sic], which, thus sung and phrased, loses Emmanuel dedicated his Three Organ became vacant following Benoist’s death, I all of the cavernous severity that one is in the habit of giving to it, and which too often Pieces (Paris, Lemoine, 1986) to his as- went right away to see my master Ambroise Théodore Dubois (his students in har- sistant Emile Poillot. Ermend Bonnal Thomas, then director, and I said to him, renders it disagreeable. “There is only one man truly dignifi ed to mony at the Conservatory) Beautiful organ pieces, well-played. dedicated his Prayer and Chorale, op. now occupy this post: it is César Franck”; Guillaume Couture (1873–1875) All my respects to Mrs. Emmanuel and 27, to the memory of his friend Samuel Maurice Emmanuel (1st acc. 1883) affectionately to you, Rousseau. Gabriel Pierné dedicated the he responded to me: “This is true.” And he 10 named him to this post.6 Léon Cazajus (2nd prize 1887) Th. Dubois Prelude of his Three Pieces, op. 29, to the Jules Meunier (ca. 1895) One year later, after Maurice Emmanuel choirmaster Samuel Rousseau, and the Dubois dedicated to Franck his Prélude, resigned from his position as choirmas- second piece in this collection, the Can- the fi rst piece in his Twelve Pieces for Charles Tournemire (private organ ter at Sainte-Clotilde, Théodore Dubois tilène, to Théodore Dubois, who became Organ or Piano Pédalier (Paris, Leduc, and improvisation students) wrote to him on April 2, 1907: titular of the Grand Orgue at La Mad- 1886). Ermend Bonnal (beginning in 1904) eleine. Pierné also composed a Tombeau Among the liturgical works written for Maurice Durufl é (beginning in 1920) My dear Emmanuel, de César Franck for piano (published ceremonies at Sainte-Clotilde, Franck Daniel-Lesur (ca. 1927) That which you have told me does not posthumously), based on one of César composed several choral works during Henriette Puig-Roger (ca. 1930) surprise me! My long personal experience Franck’s improvisation themes. in this fi eld where I worked for so many years of my life, has not hardly left me any Following Samuel Rousseau, Charles illusions neither on the goodness, nor on Tournemire dedicated his fi rst important the piety nor on the intelligence of those organ work to César Franck, his Triple whom you know! Choral (Sancta Trinitas), op. 41, written I was just going to write to you to say in November, 1910 (Lyon, Janin, 1912) that I just learned about your resignation “to the memory of my venerated Master from Mr.
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