TE DEUM BY NAJI HAKIM: HISTORICAL BACKGROUND AND STRUCTURAL ANALYSIS BY SUNG HEE KIM Submitted to the faculty of the Indiana University Jacobs School of Music in partial fulfillment of the requirements for the degree Doctor of Music, May 2015 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Julian Hook, Research Director ______________________________________ Christopher Young, Chairperson ______________________________________ Marilyn Keiser ______________________________________ Elisabeth Wright 28 April 2015 ii ACKNOWLEDGEMENTS I wish to express my sincere gratitude to the following for their help in making completion of the D. M degree at the Jacobs School of Music, Indiana University, and this document: Dr. Christopher Young, for his inspired teaching, musical guidance, and friendship throughout my time at Indiana; Dr. Marilyn Keiser, for her sincere mentoring, constant support, and encouragement; Dr. Julian Hook, for his thorough supervision and careful guidance in the writing of this document; Professor Elisabeth Wright, for serving as a committee member and giving insightful comments; Dr. David Lasocki, for his help with clarifying my thoughts in English; Naji Hakim for his responses to my emails and for his help with analyzing his Te Deum; My Parents, for their steadfast love, endless support, and prayers; My husband, Jaehan Park, for encouraging me during my doctoral studies and for being a great companion of my life; Pleasant View Lutheran Church in Indianapolis, Indiana, for granting me a trip to France for my research and for supporting me with prayers. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS ............................................................................................... iii TABLE OF CONTENTS ................................................................................................... iv LIST OF MUSICAL EXAMPLES ..................................................................................... v LIST OF FIGURES ......................................................................................................... viii INTRODUCTION .............................................................................................................. 1 CHAPTER 1: NAJI HAKIM AND HIS ORGAN WORKS .............................................. 4 CHAPTER 2: TE DEUM.................................................................................................. 14 CHAPTER 3: FIVE TE DEUM SETTINGS FOR ORGAN BY TORNEMIRE, LANGLAIS, DUPRÉ, AND DEMESSIEUX .................................................. 29 CHAPTER 4: INSPIRATION AND INFLUENCES ON HAKIM’S TE DEUM ............ 59 CHAPTER 5: ANALYSIS OF HAKIM’S TE DEUM FOR ORGAN............................. 79 CHAPTER 6: CONCLUSIONS ..................................................................................... 115 CONCLUSIONS............................................................................................................. 115 Appendix A. The tonus simplex version of the Te Deum ............................................... 118 Appendix B. Specification of the Organ at La Trinité in Paris ....................................... 121 BIBLIOGRAPHY ........................................................................................................... 122 iv LIST OF MUSICAL EXAMPLES Example 2–1. The tonus solemnis version of the Te Deum chant tune ……………………………21 3–1A. Tournemire, Improvisation sur le Te Deum, mm. 1–5 ………………………….. 33 3–1B. Tournemire, Improvisation sur le Te Deum, mm. 43–49 ……………………….. 34 3–1C. Tournemire, Improvisation sur le Te Deum, mm. 51–55 ………………………. 35 3–1D. Tournemire, Improvisation sur le Te Deum, mm. 66–77 ……………………….. 36 3–2A. Tournemire, Fantaisie sur le Te Deum et Guirlandes alleluiatiques, mm. 1–7 ………………………………………………………………………... 39 3–2B. Tournemire, Fantaisie sur le Te Deum et Guirlandes alleluiatiques, mm. 18–20 …………………………………………………………………….. 40 3–3A. Langlais, Hymne d’actions de grâces, Te Deum, mm.1–11 ……………………. 43 3–3B. Langlais, Hymne d’actions de grâces, Te Deum, mm. 28–34 ………………….. 45 3–3C. Langlais, Hymne d’actions de grâces, Te Deum, mm. 38–41 ………………….. 46 3–4A. Dupré, Paraphrase sur le Te Deum, mm. 1–10 ………………………………… 49 3–4B. Dupré, Paraphrase sur le Te Deum, mm. 15–22 ……………………………….. 49 3–4C. Dupré, Paraphrase sur le Te Deum, mm. 32–44 ……………………………….. 50 3–4D. Dupré, Paraphrase sur le Te Deum, mm. 122–32 ……………………………… 51 3–5A. Demessieux, Te Deum pour orgue, mm. 1–10 …………………………………. 54 3–5B. Demessieux, Te Deum pour orgue, mm. 24–34 ………………………………… 55 3–5C. Demessieux, Te Deum pour orgue, mm. 119–29 ……………………………….. 56 3–5D. Demessieux, Te deum pour orgue, mm. 77–92 ………………………………… 57 3–5E. Demessieux, Te deum pour orgue, mm. 1–5 ……………………………………. 58 4–1A. Hakim, Te Deum, mm. 91–94 …………………………………………………... 62 4–1B. Langlais, “La Nativité” from Poèmes evangéliques, mm. 47–59 ………………. 63 4–1C. Hakim, Te Deum, mm. 199–212 ………………………………………………... 64 4–1D. Hakim, Te Deum, mm. 263–81 …………………………………………………. 65 4–2A. Igor Stravinsky, Rite of Spring, rehearsal number 13 ……………………………66 v 4–2B. Stravinsky, Rite of Spring, 103–5 ……………………………………………….67 4–2C. Hakim, Te Deum, mm. 105–6, and 116–9……………………………………….68 4–2D. Hakim, Te Deum, mm. 79–82 ………………………………………………….. 69 4–2E. Stravinsky, Rite of Spring, 114 …………………………………………………. 70 4–2F. Stravinsky’s “Petrushka chord” and Hakim’s Te Deum, m. 188 ……………….. 70 5–1A. Hakim, Te Deum, mm. 1–5 …………………………………………………….. 83 5–1B. Hakim, Te Deum, mm. 142–47 …………………………………………………. 84 5–1C. Hakim, Te Deum, mm. 282–84 …………………………………………………. 84 5–2A. Hakim, Te Deum, mm. 7–18 ……………………………………………………. 85 5–2B. Hakim, Te Deum, mm. 91–94 …………………………………………………... 86 5–3A. Hakim, Te Deum, a. mm. 35–36; b. mm. 41–42; c. mm. 47–48 ………………... 87 5–3B. Hakim, Te Deum, mm. 226–32 …………………………………………………. 89 5–3C. Hakim’s Te Deum, mm. 327–35 ………………………………………………... 90 5–4. Hakim’s Te Deum, mm. 120–41 ………………………………………………….. 91 5–5A. Dupré, Prelude in B major from Trois préludes et fugues, Op. 7, no. 1, mm. 1–5 ……………………………………………………………………… .. 92 5–5B. Hakim’s Te Deum, mm. 185–91 ………………………………………………... 93 5–6A. Hakim, Te Deum, mm. 237–38 …………………………………………………. 94 5–6B. Widor, Variations from Symphony for Organ, Op. 42, no. 4, mm. 180–81 …….. 95 5–6C. Liszt, Fantasy and fugue on the choral “Ad nos, ad salutarem undam,” S. 259 mm. 74–9……………………………………………………………………….. 96 5–7A. Hakim, Te Deum, mm. 158–64 …………………………………………………. 97 5–7B. Hakim, Te Deum, mm. 213–15 …………………………………………………. 97 5–7C: Hakim’s Te Deum, mm. 79–90 …………………………………………………. 98 5–8. Hakim, Te Deum, mm. 316–19, and Hakim’s own analysis ………………………99 5–9A. Hakim, Te Deum, m. 6 ………………………………………………………….100 5–9B. Hakim, Te Deum, m. 34 ………………………………………………………...101 5–10. Hakim, Te Deum, mm. 174–77 ………………………………………………… 103 5–11A. Hakim. Te Deum, mm. 316–26 ………………………………………………. 105 5–11B. Hakim. Te Deum, mm. 339–41 ………………………………………………. 105 vi 5–12A. Hakim, Te Deum, mm. 79–81 ……………………………………………….. 106 5–12B. Hakim. Te Deum, mm. 91–94 ……………………………………………….. 106 5–12C. Hakim, Te Deum, mm. 120–21 ………………………………………………. 107 5–13A. Hakim, Te Deum, motives a, b, and c ……………………………………….. 108 5–13B. Hakim, Te Deum, motives d and e …………………………………………… 109 5–14. Hakim, Te Deum, mm. 151 …………………………………………………….. 110 5–15A. Hakim, Te Deum, mm. 15, 25, and 51–52 …………………………………… 110 5–15B. Hakim, Te Deum, mm. 315–16 ………………………………………………. 111 5–16A. Hakim, Te Deum, mm. 104–5 and 226–32 ………………………………….. 112 5–16B. Hakim, Te Deum, mm. 340–41 …………………………………………….... 112 5–17A. Hakim, Te Deum, mm. 10–2 ……………………………………………...….. 113 5–17B. Hakim, Te Deum, mm. 263–6 ……………………………………………...… 114 vii LIST OF FIGURES Figure 2–1. The Text of the Te Deum Chant ………………………………………………….. 15 4–1. The Specification of the Organ at the Hofkirche, Lucerne, Switzerland …………. 72 4–2. The Specification of the Organ at Sacré–Coeur Basilica, Paris …………………... 74 4–3. The Specification of the Organ at St. Paul’s Cathedral, London …………………. 76 5–1. Hakim, Te Deum, Overview ……………………………………………………… 79 5–2. Hakim, Te Deum, Outline of structure of each section …………………………… 81 5–3. Meter Usage …………………………………………………………………..…. 100 5–4. Tempi and expression markings used in Hakim’s Te Deum ………...……………102 viii INTRODUCTION Gregorian chant has been used as a thematic source by composers throughout the history of Western music. Countless settings of chant have been written in different styles and genres. Among these settings, a link between the organ and chant is noteworthy. In twentieth-century France, composers of organ music developed a unique tradition of Gregorian paraphrasing. The Roman Catholic cultural background of France made composers familiar with Gregorian chant. Composer–organist–improvisers were required to accompany chant and also to improvise on it. The other driving force was organ studies at the Paris Conservatory. A large proportion of the lessons and classes focused on improvisation, due to their liturgical demands, one of the main thematic sources for which was Gregorian chant. To pass examinations and win a prize in the concours at the Conservatory, students had to be be able to harmonize, accompany, and improvise on Gregorian chant.1 The Te Deum laudamus, generally called just Te Deum, is one of the best-known examples of Gregorian chant. Its simple repeated melody and text praising God and seeking God’s mercy have inspired many composers. In the twentieth century, several representatives of French organ