Marcel Dupré
(1886-1971)
Works for Organ Vol. 3
Descended from a family of organists and musicians, Marcel Dupré was
born in Rouen in 1886. Taught by his father, he had his first appointment as an
organist at the age of twelve and in 1898 became a pupil of Alexandre Guilmant,
his teacher at the Paris Conservatoire, with Vierne and Widor, studying
composition with the last and winning the Prix de Rome in 1914. Unfit for
military service, he took the place of Vierne at Notre-Dame between 1916 and
1922, during the latter's illness, and found time to study all Bach's music for
the organ, in 1920 playing in recital the complete organ works from memory,
thus establishing his reputation. An international career followed, with many
recitals throughout the world, particularly in the United States, where he
exercised considerable influence. This activity he coupled with the position of
professor of organ at the Conservatoire from 1926, when he succeeded Eugène
Gigout, and employment as Widor's successor as organist at the Paris church of
St Sulpice from 1934. He served as director of the Conservatoire from 1954 to
1956 and died in 1971. Equally gifted as a composer and as a performer, Dupré
was a master of organ improvisation, in particular on the fine instrument at St
Sulpice, with an incredible command of contrapuntal extemporisation As a
composer his musical language, often polytonal and making use of colourful
clusters of notes in chords in close proximity, had a strong influence on his
pupils Alain and Messiaen, continuing the great traditions of French organ
music.
Dupré dedicated his Concerto in E minor for organ, Opus 31, to
his wife. The work was written in 1928. The first movement opens in grandiose
style, with a characteristic melodic figure stated with heavy chords from the
organ, woodwind and brass. This is extended by the orchestra to a passage in
which the soloist offers more rapid notes, in chromatic sequence, over a
sustained pedal-point, continued over a restatement of the first subject by
brass and woodwind. A broader transition leads to a solo passage in E major,
the second subject of the movement, with registration of 8-foot Flute and
8-foot Bourdon, shifting key to allow the appearance of the same melody in the
cellos, a semitone higher. There is an innovative development and a
recapitulation that is greatly varied. This brings yet another transmutation of
the second subject in the flute, accompanied by organ triplet figuration, with
8- and 4- foot Flute. The original key is finally restored, as vestiges of the
principal theme return in a coda. The organ opens the slow movement, using the
characteristic sound of the Voix céleste over an initially sustained pedal
chord in C major. The orchestra continues, the French horn leading to the
return of the soloist in accompaniment of the horn solo. The mood changes with
an Allegretto in which flute and clarinet propose the beginning of a
melody, over a sustained C major chord from the organ, which then takes up the
melody, extending it chromatically, before the two thematic elements are
blended together both in a development and in the following recapitulation, as
the organ plays the first theme with the Trompette, while the French horn
offers the accompanying rhythm of the secondary theme. This is finally heard
from French horn and celesta, while the organ sustains a C major chord. The
last movement is introduced by the lower strings, joined, after a trumpet
motif, by the organ. The textures allow colourful chromatic chords in a
movement in which the opening motifs retain their importance and there is a
reference to the second movement Allegretto. An extended cadenza, which
recalls elements of the first movement, leads to a final conclusive statement
of the chords of E major.
Dupré's Cortège et litanie, Opus 19, No. 2, was written as a work
for organ alone in 1921, as well as in a version for organ and orchestra. With
the direction Très modéré, and in the key of E major, the work is
markedly less chromatic than the Concerto, but once again, as in the
slow movement of the latter work, combines two thematic elements, the opening
processional, introduced by the orchestra and taken up by the organ, and the
constant repetitions of the litany, a characteristically liturgical musical
source.
The Poème héroïque, Opus 33, for organ and brass, was written in
1936, twenty years after the battle of Verdun, the heroism of which it
celebrates in response to a commission from the restored Cathedral of Verdun
with its Jacquot Organ. In a much more direct and approachable musical idiom,
the piece, ending in triumph and victory to which the percussion add an element
of authenticity, may be considered as in the nature of a pièce d'occasion, a
patriotic tribute to the heroism of 1916, under Pétain.
Dupré's Symphony in G minor for organ and orchestra, Opus
25, was written in 1928 and published with a dedication to the English
conductor Sir Henry Wood, a friend over many years. It was first performed at a
Promenade Concert in London on 9th September 1930. The first movement opens with
a slow unison theme, ending in a chord of some ambiguity before the strings
begin an Allegro with a rhythmic and melodic figure that continues to be
important as the movement continues. Very French harmonies from the clarinets
lead to a flute version of the opening theme, accompanied by the harp. It is
from these two thematic elements that the movement grows, the two typically
blended together as muted violins play the first theme, while the organ adds a
derivative of the second. The music moves forward to a dynamic climax. There is
a sudden silence, before massive sustained D flat major chords allow a version
of the first theme from the orchestra and the subsequent return of the other
elements that have made up the movement, ending in the dominant key of B major.
The Vivace that follows is dominated by the rhythm and melodic contour
of the opening, insistently repeated. This material is introduced by flutes,
then clarinets, oboes and bassoons in turn, leading to its statement by
piccolo, oboe and muted trumpet. The organ introduces a contrast of rhythm,
melody and harmony, but it is the orchestra that eventually brings in a much
less chromatic theme, over the rhythm of the opening. Once again various
elements are brought together as the movement draws to a close. In the slow
movement a solo viola offers a melody, accompanied by the organ, which is later
given the theme, leading to a passage marked Plus animé with a shift of
tonality. It is, however, the first theme that predominates, as the music
unwinds, as so often in a style of masterly improvisation. The last movement is
a fugue, but as this continues its polyphonic course, the rhythms of the second
movement are recalled and finally the melody with which the symphony had
opened, now transformed to a triumphant G major.
Daniel Jay McKinley
The organist Daniel Jay McKinley was a pupil of Oswald Ragatz and Robert
Rayfield, as a student at the Indiana University School of Music. He has
appeared as a soloist with the Columbus Indiana Philharmonic in works by Alexandre
Guilmant, Francis Poulenc and Camille Saint-Saëus and has been choirmaster and
organist of First Christian Church, Columbus, Indiana, since 1978.
Columbus Indiana Philharmonic
Founded in 1987, the Columbus Indiana Philharmonic has won a reputation
for the performance of unusual repertoire and has been the recipient of a
number of awards, with national broadcasts throughout the United States of
America. For its musicians, the orchestra has been able to draw on a pool of
gifted musicians, including talented professional students from the Indiana
University School of Music, one of the most distinguished of its kind in the
country. The orchestra, in addition to its public concerts, has won a special
place in the community with its educational outreach programmes.
David Bowden
A product of Indiana University School of Music, where he was awarded
his doctorate in orchestral conducting, David Bowden has won himself a growing
reputation for his innovative programming, cogently advocated also through
speaking engagements at the national conference of the American Symphony
Orchestra League and the Conductors Guild. He is Music Director with both the
Columbus Indiana Philharmonic and the Terre Haute Symphony Orchestra and during
a period of some ten years with the former has won a series of important awards
for adventurous programme-planning. Guest appearances have taken him to Europe,
notably to Spain, and to engagements throughout America.