Marcel Dupre (1886-1971) Organ Works, Volume 11 Marcel Dupre was born into a musical family in Rouen in 1886. His father was an organist who had been a...
Marcel Dupre
(1886-1971)
Organ Works, Volume 11
Marcel Dupre was born into a musical family in Rouen in 1886. His father
was an organist who had been a pupil of Guilmant, who became Marcel's teacher
from the time the boy was eleven. Dupre was admitted to the Paris Conservatoire
at sixteen, and among his teachers was Widor, whose assistant he became at the
great church of St. Sulpice (Paris) four years later. Having won the coveted
Grand Prix de Rome in 1914, Dupre began his rise to fame with international
recital tours, in which he performed (in Paris and New York) Bach's complete
organ works from memory - a stunning feat which had been his ambition since he
was a child. His American debut concluded with an improvised four-movement
organ symphony, described at the time as 'a musical miracle'.
In 1925 Dupre bought a house in the Parisian suburb of Meudon, where he
had a house organ installed which had belonged to Guilmant. Pupils from all
over the world were soon to flock here. A year later he was appointed professor
of organ at the Paris Conservatoire, where his pupils included both Jehan and
Marie-Claire Alain, Jean Guillou, Jean Langlais and Olivier Messiaen. He
succeeded Widor as organist of St. Sulpice in 1934, where he remained for the
rest of his life, improvising (as has always been the custom in France) for the
Mass and Office, unfailingly matching the music to the occasion. He also
published a famous edition of Bach's organ works, as well as textbooks
including the well-known Cours d'Improvisation. In the succeeding years
until his death in 1971 he received many honours and awards, and composed works
that now appear on recital programmes and in recordings all over the world. On
the morning of the very day of his death (at home in Meudon) he played his two
final masses at St. Sulpice.
Le Chemin de la Croix ('The Way of the Cross') is an ideal vehicle for
Dupre's art, combining his genius for organ playing, his harmonic and
contrapuntal gifts and, not least, his religious devotion. The individual stations
of the Cross form a musical stained-glass window, juxtaposing autonomous
sections of music in the way so many French composers love. Each station is
depicted in a pictorial manner whose history extends from Couperin's
harpsichord pieces through to Messiaen's great suites for organ.
It is perhaps dangerous to seek absolutely precise images in Dupre, but
Pilate's grim (and cowardly - notice how indefinitely the music begins)
sentence followed by the shrill mocking yells of the mob may be imagined in Jesus
est condamne à mort ('Jesus is condemned to death'). On his way to Calvary,
Jesus falls three times; in each of the relevant pieces, one can picture his
agonized steps, and the weight of the Cross bearing down on his shoulders. How
subtly Dupre indicates that this is more than just the toppling over of one
exhausted human being! The brutality of events is interrupted by the tender
meeting of Jesus with Mary; the resigned mood of the music seems to suggest
that both had long realized that this moment would one day arrive.
Legend has it that a compassionate woman, St. Veronica, stepped out of
the crowd and wiped the sweat and blood (caused by the crown of thorns) from
Jesus's face (Une femme pieuse essuie la face de Jesus). This act of
charity is expressed in terms first of pain, but concludes in the warmth of the
final major chord.
The professional mourners are at hand (Jesus console les filles
d'Israël qui le suivent ('Jesus comforts the women of Jerusalem')); but
Jesus gently tells them, 'Don't weep for me, but weep for yourselves and your
children'; one hears his voice (perhaps) on the Oboe stop. Jesus tombe à
terre pour la troisième fois ('Jesus falls the third time') reminds us of
the viciousness of events; and the diabolical dancing succeeded by an awful
stillness in Jesus est depouille de ses vêtements ('Jesus is stripped of
his clothes') reveals our shame and disgrace.
Jesus meurt sur la Croix ('Jesus dies on the Cross') expresses, with the voix
humaine stop penetrating through soft, flutey sounds, the fading away of
life, and the head dropping onto the shoulder. Suddenly, we perceive the
throbbing of the earthquake and the rending of the Temple veil which occurred
at this moment. In number XIII, Jesus est detache de la Croix et remis à sa
Mère ('The body of Jesus is taken from the cross and laid in Mary's bosom')
we have the musical equivalent of the sculptural form known as the Pietà. Finally,
Jesus's body is laid in the tomb, with its promise of Resurrection, which the
music expresses in an inexorable crescendo. The concluding atmosphere is
other-worldly, and removes us from the preceding evil (which always makes such
a noise!) and towards the silence of eternal Hope.
The Seven Chorales from Op. 28 are extremely short, finding,
incidentally, an ideal medium in recording. The intention is to prepare the
young organist for similar pieces by Bach (such as The Little Organ Book).
These quiet little gems each express a subtly different mood; notice how (to
mention but the first three) Dupre expresses the profound, meditative aspect of
Mon âme glorifie le Seigneur ('My soul doth magnify the Lord'), in
contrast to the joy of Dans la paix et dans la joie ('In peace and
joy'), and the tenderness of O innocent agneau de Dieu ('O innocent Lamb
of God').
Roger Rayner