Republican Reconfigurations of Catholicism in the Music of Third Republic Paris, 1880–1905
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SOUNDING THE RALLIEMENT: REPUBLICAN RECONFIGURATIONS OF CATHOLICISM IN THE MUSIC OF THIRD REPUBLIC PARIS, 1880–1905 JENNIFER WALKER A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2019 Approved by: Annegret Fauser Andrea Bohlman Mark Evan Bonds Tim Carter Clair Rowden ©2019 Jennifer Walker ALL RIGHTS RESERVED ii ABSTRACT Jennifer Walker: Sounding the Ralliement: Republican Reconfigurations of Catholicism in the Music of Third Republic Paris, 1880–1905 (Under the direction of Annegret Fauser) Military defeat, political and civil turmoil, and a growing unrest between Catholic traditionalists and increasingly secular Republicans formed the basis of a deep-seated identity crisis in Third Republic France. Beginning in the early 1880s, Republican politicians introduced increasingly secularizing legislature to the parliamentary floor that included, but was not limited to, the secularization of the French educational system. As the divide between Church and State widened on the political stage, more and more composers began writing religious—even liturgical—music for performance in decidedly secular venues, including popular cabaret theaters, prestigious opera houses, and international exhibitions: a trend that coincided with Pope Leo XIII’s Ralliement politics that encouraged conservative Catholics to “rally” with the Republican government. But the idea of a musical Ralliement has largely gone unquestioned by historians and musicologists alike. Thus my study of this music provokes a fundamental reconsideration of music’s role in the relationship between the French state and the Catholic Church in the Third Republic and, in doing so, dismantles the somewhat simplistic epistemological position that emphasizes a sharp division between the Church and the “secular” Republic during this period. I draw on extensive archival research, critical press reception-studies, and close readings of musical scores to demonstrate how composers and critics from often opposing iii ideological factions undermined the secular/sacred binary through musical composition and the act of musical performance in an effort to craft a brand of Frenchness that was founded on the dual foundations of “secular” Republican ideology and on the heritage of the Catholic Church. The resulting constructions of French identity reveal an asymmetrically configured middle ground, with the state apparatus absorbing seemingly opposing subject positions into appealing and reconciliatory visions of an inclusive Republic with a broad range of constituencies. iv ACKNOWLEDGEMENTS It is often said that it takes a village to raise a child. As I have learned over the course of the last few years, the old adage can also easily apply to the process of writing a dissertation and, indeed, there are many people in my “village” to whom I am greatly indebted and without whom this project would not have been possible. First and foremost among them is my advisor, Annegret Fauser. From the earliest stages of this project, her keen insight, scholarly prowess, and unwavering support have guided me through those moments during which the research behind and writing of this dissertation seemed like an insurmountable task. Over the last six years, her expert guidance has shaped my thinking, my research, and my writing in ways that I am only now beginning to recognize. Alongside her tremendous giftedness as an academic advisor and mentor is the absolutely unrivaled support of, and advocacy for, her students: I would be remiss not to note that I count myself exceptionally privileged to have had an advisor of her caliber who is as strong an advocate for her students’ well-being as she is a scholarly force in her field. A heartfelt thank you is also due to Tim Carter, whose consistent willingness to read draft after draft of my writing—coupled with his always insightful (and entertaining) feedback—shaped this project from its earliest days: I am deeply appreciative of your perceptive commentary, regardless of the fact that you like Monteverdi more than Massenet. Mark Evan Bonds and Andrea Bohlman have likewise been formative forces in the development of this dissertation. Their generosity to read drafts of dissertation chapters, conference papers, and grant applications has not gone unnoticed, nor has their thought- v provoking feedback. Each asked probing questions of this project that, although difficult to wrestle with, ultimately forced me to think more deeply about the issues with which this project grapples. I must also note that this dissertation would not have been possible without the invaluable contributions of Clair Rowden, a scholar to whom I must credit my love of late- nineteenth century France (and Massenet). It was her work on Hérodiade and Thaïs that ignited the first spark of interest in the topic at hand, and it has been her continued support of this project that has kept the flame burning. She has never hesitated to share with me her encyclopedic knowledge of French music, and I value her endearing wit and warm friendship. Thanks are also due to a great number of scholars whose generous spirits made a nervous graduate student feel at ease abroad in the French archives or at international conferences and whose expertise must be acknowledged as fundamental to this project. Katharine Ellis and Steven Huebner both provided instrumental assistance at various stages of my dissertation in the form of constructive criticism and, on several occasions, mealtime companionship; this project is particularly indebted to the work of Katharine Ellis, whose foundational monograph on the politics of the plainchant revival began to ask the questions that inform my research. Lesley Wright has my sincerest gratitude for her unceasing assistance in locating the evasive Taffanel papers. Catrina Flint de Médicis is also due a great deal of thanks for her invaluable contributions to my dissertation (and also for the occasional pep-talk). My sincerest thanks to all of you. Navigating the twisted terrain of archives is often a difficult process—especially when they are held in private hands. Marcelle Dubois, granddaughter of the composer Théodore Dubois, was exceedingly generous in sharing her family’s private collection with me. She went above and beyond my inquiry, sending me previously unpublished letters as digital files so as to save me a trip to the south from Paris—not that I would have complained visiting the vi south of France! After over a year of searching libraries, archives, and auction houses for materials on the organization of the official concerts at the 1900 Exposition Universelle de Paris, I had the privilege to be introduced to Dominique Taffanel, whose willingness to share her grandfather’s personal papers with me was heartwarming. Though the elusive collection had recently been donated to the Bibliothèque nationale de France, Madame Taffanel, along with Marie-Gabrielle Soret, ensured that the documents would be available for my consultation. A great deal of Chapter Four is due to their kindness. I also wish to thank Tim Noakes at Stanford University for his willingness to scan and email an autograph score of Massenet’s La Terre promise when a trip to California to consult it in person was not possible. My research, which necessarily involved numerous trips to Paris, would not have been possible without the financial support of the Harold J. Glass USAF Faculty Mentor/Graduate Student Distinguished Term Professorship—a fellowship that I was honored to hold alongside my advisor during the 2017–18 academic year. I wish to express my appreciation to Harold E. and Holly Glass for their generous support of this innovative fellowship that expressly supports the relationship between mentors and their mentees. I would also like to thank Andrew and Katherine McMillan for their valuable support of summer research. Other necessary funding for my dissertation research was provided by the UNC Graduate School’s Off-Campus Dissertation Fellowship and by the AMS M. Elizabeth C. Bartlet travel grant to France. Financial assistance for the final year of writing was provided by a Mellon/ACLS Dissertation Completion Fellowship. My thanks go to all of these individuals and institutions for their generosity. I cannot end without thanking my wonderful colleagues and friends in the graduate program at UNC Chapel Hill. To my fellow Fauserites, particularly Chris Campo-Bowen and Jamie Blake, thank you for your constant encouragement, your abiding friendship, and your vii willingness to enable my need for retail therapy. To Amanda Black and Meg Orita, I am lucky to have found friends like you in the dog-eat-dog world of academia. To Brooks and Kjersti Lockhart, two wonderful friends whose antics have kept me laughing for the past three years: I finally finished my “paper”! Alexandra Morrison, my Parisian partner in crime, many thanks are due to you for your willingness to indulge my every whim and your incomparable friendship. And lastly, to Evan—my best friend and constant companion, who now knows more about French music, politics, and religion than he ever thought possible: this dissertation would simply not have been possible without your unwavering support. Your continual belief in my potential sustains me, even when I have trouble believing in it myself. I dedicate this dissertation to you with unending love. viii TABLE OF CONTENTS LIST OF TABLES...............................................................................................................................xii