THE ORGAN MASSES OF GASTON LITAIZE (1909-1991): THE CULMINATION OF A TWENTIETH-CENTURY LITURGICAL GENRE A Dissertation Submitted to the Graduate School of the University of Notre Dame in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts by Kevin James Vaughn _________________________________ Craig J. Cramer, Director Graduate Program in Sacred Music Notre Dame, Indiana April 2016 © Copyright by Kevin James Vaughn 2016 All rights reserved THE ORGAN MASSES OF GASTON LITAIZE (1909-1991): THE CULMINATION OF A TWENTIETH-CENTURY LITURGICAL GENRE Abstract by Kevin James Vaughn Throughout his long career, Gaston Litaize contributed significantly to the cultural and religious life of the French nation as a concert organist, teacher, and church musician. He is remembered in particular for his long tenure as director of religious programming for French national radio, organiste titulaire at the church of Saint- François-Xavier in Paris, and professor of organ at the Institut National des Jeunes Aveugles and the Conservatoire à Rayonnement Régional de Saint-Maur des Fossés. Even though respect for his memory and music lives on in France, especially through his many students, Litaize’s compositions remain relatively unknown and unperformed in the United States. No significant scholarship has explored his organ music in regard to its relationship to other prominent works of the twentieth-century French organ school or its contribution to the various musical genres in which he composed. In order to contribute to a wider appreciation of Litaize’s musical influence and legacy, this project focuses on his liturgical music for organ in three of his organ Masses: the Grande Messe pour tous les temps, 1948; the Messe basse pour tous les temps, 1949; and the Messe de la Toussaint, 1964. These three works represent the culmination of the organ Mass genre Kevin James Vaughn before its demise during the liturgical revisions in the Roman Catholic Church prompted by the Second Vatican Council (1962-1965). Detailed analysis of these three organ Masses will reveal Litaize’s compositional language to be a synthesis of the symphonic techniques of Louis Vierne, the virtuosity of Marcel Dupré, and the Gregorian chant- based spiritual mysticism of Charles Tournemire. Litaize’s effortless facility with complex compositional devices, especially fugue and canon, also marks him as the heir to the contrapuntal tradition of organ music in France. No other French organist-composer of his generation displays an equivalent mastery of counterpoint, either in composition or in improvisation. In these three organ Masses Litaize produced works of great craftsmanship and beauty that represent the culmination of a now extinct twentieth-century French musical and liturgical genre. In addition, this music proves that Litaize himself was the greatest proponent of historically-informed, yet innovative, contrapuntal organ music in the twentieth-century French organ school. To my first piano teacher, Barbara LeLievre Kemp To my first organ teacher, Phyllis Warner To my mentor, Gail Walton I dedicate this project with gratitude and affection. ii TABLE OF CONTENTS List of Figures ............................................................................................................ iv List of Musical Examples .......................................................................................... vi Acknowledgments ..................................................................................................... viii Chapter 1: Introduction .............................................................................................. 1 Chapter 2: Historical Context and Biography ........................................................... 6 2.1 The French Organ Mass .......................................................................... 6 2.2 Gaston Litaize (1909-1991) ..................................................................... 17 2.3 The Twentieth-Century French Organ Mass as a Liturgical Genre ........ 28 Chapter 3: Grande Messe pour tous les temps .......................................................... 36 Chapter 4: Messe basse pour tous les temps ............................................................. 57 Chapter 5: Messe de la Toussaint .............................................................................. 90 Chapter 6: Conclusion ............................................................................................... 117 Appendix A: Compositions For Organ by Gaston Litaize ........................................ 122 Appendix B: Selected Discography ........................................................................... 124 Appendix C: Preface to Grande Messe pour tous les temps and Translation ........... 126 Appendix D: Preface to Messe basse pour tous les temps and Translation .............. 131 Appendix E: Preface to Organ Suite in the Form of a Low Mass ............................. 135 Appendix F: Proper Chants for the Feast of All Saints ............................................. 137 Bibliography .............................................................................................................. 141 iii LIST OF FIGURES 3.1 Grande Messe, Prélude, phrase structure ...................................................... 39 3.2 Grande Messe, Prélude, structural elements ................................................. 41 3.3 Grande Messe, Offertoire, fugal analysis ...................................................... 42 3.4 Comparison of fugal procedures ................................................................... 45 3.5 Grande Messe, Offertoire, modal rotational array ........................................ 47 3.6 Grande Messe, Elévation, structure ............................................................... 49 3.7 Grande Messe, Communion, structure .......................................................... 52 3.8 Grande Messe, Postlude, structure ................................................................ 54 4.1 Messe basse, thematic layout ........................................................................ 63 4.2 Messe basse, Prélude, phrase structure ......................................................... 69 4.3 Messe basse, Offertoire, sonata form ............................................................ 75 4.4 Messe basse, Offertoire, ritornello form ........................................................ 76 4.5 Messe basse, Elévation, thematic layout ....................................................... 78 4.6 Messe basse, Communion, structure .............................................................. 81 4.7 Messe basse, Prière, structure ....................................................................... 84 4.8 Messe basse, Prière, thematic layout ............................................................ 84 5.1 Messe de la Toussaint, Prélude, formal and harmonic structure .................. 92 5.2 Messe de la Toussaint, Offertoire, structure .................................................. 100 5.3 Messe de la Toussaint, Communion, structure .............................................. 103 iv 5.5 Alleluia Venite ad me, structure ..................................................................... 107 5.6 Messe de la Toussaint, Postlude, structure .................................................... 108 v LIST OF MUSICAL EXAMPLES 3.1 Grande Messe, Prélude, mm. 5-8 .................................................................. 40 3.2 Grande Messe, Prélude, mm. 1-6 .................................................................. 41 3.3 Grande Messe, Offertoire, fugue subject, mm. 1-5 ....................................... 43 3.4 Grande Messe, Offertoire, counter-exposition subject, mm. 26-27 .............. 44 3.5 Grande Messe, Elévation, themes ................................................................. 49 3.6 Grande Messe, Communion, fugue subject, mm. 1-4 ................................... 52 3.7 Grande Messe, Communion, octatonic chorale, mm. 18-26 ......................... 52 3.8 Grande Messe, Postlude, themes ................................................................... 54 4.1 Messe basse, themes ...................................................................................... 65-66 4.2 Messe basse, Prélude, mm. 1-8 ..................................................................... 68 4.3 Messe basse, Offertoire, mm. 48-50 .............................................................. 72 4.4 Messe basse, Elévation, mm. 1-8 .................................................................. 78 4.5 Messe basse, Elévation, mm. 7-9 .................................................................. 79 4.6 Messe basse, Elévation, mm. 28-29 .............................................................. 79 4.7 Messe basse, Communion, mm. 52-54 .......................................................... 82 4.8 Messe basse, Communion, mm. 55-56 .......................................................... 82 4.9 Messe basse, Prière, mm. 6-7 ....................................................................... 85 4.10 Messe basse, Prière, mm. 93-95 ................................................................... 87 4.11 Messe basse, Prière, mm. 104-106 ............................................................... 87 vi 4.12 Messe basse, Prière, mm. 132-135 ............................................................... 88 4.13 Messe basse, Prière, mm. 141-142 ..............................................................