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THE IMPROVISATIONAL TECHNIQUES
OF CHARLES TOURNEMIRE AS EXTRACTED
FROM HIS FIVE RECONSTRUCTED ORGAN

IMPROVISATIONS

By

Raymond Frank Weidner

A DISSERTATION
SUBMITTED IN CONJUNCTION WITH
THREE PUBLIC RECITALS

to
Michigan State University
in partial fulfillment of the requirements
for the degree of

DOCTOR OF PHILOSOPHY

Department of Music

1983

ABSTRACT
THE IMPROVISATIONAL TECHNIQUES
OF CHARLES TOURNEMIRE AS EXTRACTED

FROM HIS FIVE RECONSTRUCTED ORGAN
IMPROVISATIONS

By

Raymond Frank Weidner

Charles Tournemire, French composer and organist, was
known to have been a great improviser at the organ. Although
he improvised at recitals, lessons, and during Mass, the only
remaining evidence of his improvisational ability is the Elna
improvisations which he recorded in 1930-31. Several ac-
counts in periodicals extol his talent in this field, but no
accounts elaborate upon the details of his craftsmanship.
This study attempts to determine what improvisational devices
Tournemire used in his improvisations so that one can under-
stand the reasons for his renown in this field.

After a brief biOgraphical sketch of Tournemire's
life, background information on the organ upon which he
improvised, and the circumstances surrounding the recording
of the Cinq improvisations, this discourse examines both his
written organ works and the extant improvisations for a con-
sistent use of materials which defines his musical style.
Devices discovered in the written pieces will serve as a
guide in extracting similar mannerisms from the improvised
ones. These elements are grouped under the categories of
thematic materials, harmonic structure, meter and rhythm,

ornamentation, registration, miscellaneous devices, and form.

Raymond Frank Weidner

The material used in this study includes data supplied
through correspondence with recording companies and close
associates of the composer, numerous articles by critics and
former pupils, c0pies of the original recordings, the notated
Cinq improvisations, the two pedagogical methods, and a major
portion of his organ compositions.

The major conclusions of this study concern the dis-
covery of the musical devices used by Tournemire in his
recorded improvisations, such as treatment of thematic mater-
ial, harmonic structure (i.e. keys, chord manipulation, and
parallelism), bimetric relationships, registrational prac-
tices, the use of miscellaneous devices, and the handling of
form.

In addition to this dissertation, three recitals were
presented by this author as part of the requirements for the
research project. Composers represented were: Bach,
Messiaen, Milhaud, Mozart, Reger, and Sweelinck (first pro-
gram); Bach, Clérambault, Langlais, and Pinkham (second pro—
gram); and Buxtehude, Hindemith, Ligeti, and Tournemire

(third prOgram).

ACKNOWLEDGMENTS

Greatful appreciation is extended to Mr. Barrett
Kallelis for his translation of the chapter on improvisation
in Tournemire's Precis and to the following publishers and
their respective American agents (where applicable) for their
kind permission to use excerpts of Tournemire's music in this
study: Belwin Mills Publishing Corp., New York; Editions
Bornemann, Paris (Belwin Mills, agent); Consortium Musicale,
Paris; Georges Delrieu et Cie, Nice (E. C. Schirmer Co.,
agent); Editions Durand et Cie, Paris (Theodore Presser,
agent); Max Eschig, Paris (Associated Music Publishers,
agent); Heugel, Paris (Theodore Presser, agent); and Henry

Lemoine et Cie, Paris (Theodore Presser, agent).

11

TABLE OF CONTENTS

LIST OF TABLES . . . . . . . . . . . . . . . . . . . . . V
LIST OF FIGURES . . . . . . . . . . . . . . . . . . . . Vi
LIST OF EXAMPLES . . . . . . . . . . . . . . . . . . . . Vii
INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . 1

Chapter

I. PRELIMINARY INFORMATION ABOUT CHARLES TOURNEMIRE,
THE ORGAN AT SAINTE CLOTILDE, AND THE
RECONSTRUCTED IMPROVISATIONS . . . . . . . . . . . 4

II. ELEMENTS OF TOURNEMIRE'S COHPOSITIONAL STYLE . . . 15

Thematic Materials
Harmonic Language
Rhythmic Elements
Counterpoint
Ornamentation
Registration
Devices

Form

III . CONTEMPORARY COi-EIviEI‘JTS ABOUT TOURNEI-IIRE 'S
INPROVISATIONS AND HIS WRITINGS ABOUT
II'IPROVI SA'I‘IOPJ o o o o o o o o o o o o o o o o o o 55

IV. ANALYSIS OF TOURNEMIRE'S FIVE RECONSTRUCTED
II‘IPRO.VI SArfIOIJS O O O O O O O O O O O O C O O O O O 79

Thematic Materials
Harmonic Language
Rhythm
Ornamentation
Registration
Devices

Form

v. COIQCLUSIOIG O O O O C O O O O O O O O O C C O O I O 139

APPENDIX .

BIBLIOGRAPHY

iv

CDVIOVU'IACDNH

LIST OF TABLES

Meter Preference . . . . . . . . . . . . . . . . . . 36
Harmonic Emphasis in Improvisation I . . . . . . . . 99
Keys Employed in Improvisation III . . . . . . . . . 106
Keys Employed in Improvisation IV . . . . . . . . . 110

Meter Usage . . . . . . . . . . . . . . . . . . . . 117
Musical Devices Us d i the Five I provisations . . 128
Composition of Subdivisions in Improvisation I . . . 131
Form of Improvisation II . . . . . . . . . . . . . . 133

1.

LCODVJO‘)U'l-b(o0l\)

press
NHO
.0.

13.

haw
01.5-

16.

p.-
\T

18.

H
(O
C

20.
21.
22.

LIST OF FIGURES

Specifications of the Cavaillé-Coll Organ in

Clotilde, Paris (1859) . . . . . . .
Additions to the Original Installation
Tournemire's Recordings . . . . . . .
Structure of Fugal Expositions . . . .
Theme to be Treated . . . . . . .
First Verset . . . . . . . . . . .
Second Verset . . . . . . . . . .
Third Verset . . . . . . . . . . .
Fourth Verset . . . . . . . . . .
Fifth Verset . . . . . . . . . . .
Theme of Model . . . . . . . . . . .
Material Following Response . . . . .
Alteration Transposed . . . . . . . .
Middle Section . . . . . . . . . . . .
End of Middle Section . . . . . . . .
Bridge Section . . . . . . . . . . . .
Return of Melody . . . . . . . . . . .
Alteration of Melody . . . . . . . . .
Coda . . . . . . . . . . . . . . . . .
Conclusion . . . . . . . . . . . . .
List of Hindu Scales . . . . . . .
Description of Church Modes . . . . .

vi

 

Ste.

11
13
44
64
64
65
56
67
67
69
7O
7O
71
72
72
73
74
74
75
77
77

LOUDVIO'IUTAOJNH

HFJFAHFA
Econakso
O O O O I

15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.

33.
34.

35.
36.

37.
38.
39.

LIST OF EXAMPLES

Paraphrasing a Cantus Firmus . . . . . . . . .
Statement of Cantus Firmus by Secondary Phrase
Freely-Composed Modal Melodies . . . . . . . .
Melodies Derived from Hindu Scales . . . . . .
Chromatic Melodies . . . . . . . . . . . . . .
Alteration of Melodic Material . . . . . . . .
Derivation of Fragments . . . . . . . . . . .
Imitative Use of Fragments . . . . . . . . . .
Magadizing of Melodic Material . . . . . . . .
Composition Limited to One Mode . . . . . . .
Open Fifth and Octave Sonorities . . . . . . .
Parallel Chords . . . . . . . . . . . . . . .
Multimetric Style . . . . . . . . . . . . .
Barless Writing . . . . . . . . . . . . .
Change in Tempi . . . . . . . . . . . . .
Intervals Between Two Moving Voices . . . .
Use of Seconds . . . . . . . . . . . . . .
Use of Sevenths in Two-Part Counterpoint . . .
Parallel Fifths . . . . . . . . . . . . . . .
Parallel Fifths . . . . . . . . . . . . . . .
Free Canon . . . . . . . . . . . . . . . . . .
Trill with Opening and Closing Figures . . . .
Florid Ornament . . . . . . . . . . . . . . .
Dynamic Indications on Unenclosed Divisions .
Inverted Pedal Point . . . . . . . . . . . . .
Short Pedal Point . . . . . . . . . . . . . .
Repeated Note Figures . . . . . . . . . . . .
Thematic Elements . . . . . . . . . . . . . .
Melodic Changes in Improvisation I . . . . . .
Motivic Transformation in Improvisation I . .
Theme Transformation in Improvisation II . . .
Transformations of First Theme in Improvisation
III . . . . . . . . . . . . . . . . . .
Motive of Improvisation III . . . . . . . .

Paraphrasing of the Cantus Firmus in Improvisation

Iv C C O O O O O O I I O I O O O O O I O O

Thematic Treatment in Improvisation IV . . . .
Relationship of Second Theme Material in
Improvisation IV . . . . . . . . . . . . .
Third Theme, Improvisation IV . . . . . . . .
Thematic Transformations in Improvisation V .
Introduction of Improvisation I . . . . . . .

vii

17
19
2O
22
25
26
27
28
28
31
33
34
35
37
38
39
41
41
42
42
43
45
45
47
48
49
49
81
84
86
87

89
91

91
93

94
96
97
101

40.
41.
42.
43.

44.
45.
46.
47.
48.
49.
so.

51.

52.

53.
54.
55.
56.
57.
58.
59.
60.
61.

Comparison of Harmonic Rhythm in Improvisation I .
Harmonic Rhythm in Improvisation II . . . . . . .
Parallelism in Improvisation II . . . . . . . . .
Harmonic Implications of Cantus Firmus in
Improvisation III . . . . . . . . . . . . . .
Lowered Leading Tone Harmony in Improvisation III
Episodic Material in Improvisation IV . . . .
Repetition of Ideas in Published Works . . . .
Homophonic Setting of Theme in Improvisation V
Arpeggiated Chords in Episodes . . . . . . .

Rhythmic Expansion of Melody in Improvisation I .‘

Unusual Subdivisions of the Beat in Improvisation
III . . . . . . . . . . . . . . . . . .
Use of Rests . . . . . . . . . . . . . . .
Ornamentation . . . . . . .
Trill with Tail Figure in Improvisation IV
Subtraction of StOps in Improvisation III .
Inverted Pedal Point . . . . . . . . . . . . . .
Repeated Note Figure . . . . . . . . . . . . . .
Repeated Note Figures . . . . . . . . . . . . .
Joining of Sections in Improvisation I . . . . .
Introduction of Improvisation II . . . . . . . .
Separation of Thematic Statement and DeveIOpment
Alteration of Themes . . . . . . . . . . . . . .

viii

102
104
105

107
109
111
112
114
114
116

118
119
121
122
124
126
126
127
130
132
134
134

INTRODUCTION

Charles Tournemire and the music which he created
have often been overlooked by music010gists and performers.
Despite the few short articles that have appeared in period—
icals and reference works about the man and his music, no
serious study of his music has appeared to date. Of his
music that was once published, much has been allowed to go
out of print, and, of that which remains, little is heard in
concert and recital prOgrams. It is no exaggeration to state
that he is a neglected composer. As one who has been inter—
ested in Tournemire's music for some time, this author has
felt the need to raise the level of awareness of the man's
music, particularly among organists.

In almost every discussion or article about Tourne-
mire, some reference is made to his having been an impro—
viser. The articles which mention his ability in this area
usually do so with sufficient admiration to arouse one's
curiosity about how the improvisations may have sounded, but
fail to elaborate on his ability to any great degree. The
interest generated by such reports combined with the pleasure
derived from having heard the Cinq improvisations has led
this writer to investigate the question of what elements
Tournemire did employ when he improvised. The aim of this

1

2
dissertation is to attempt to answer that question.

By extracting the techniques that he employed in his
five reconstructed improvisations and comparing those find—
ings to similar elements used in his other published organ
compositions, this author will attempt to determine what
devices he consistently used when improvising. In covering
this tOpic, the discussion will be limited to: background
information about the man, the organ upon which he impro-
vised, and the circumstances surrounding the recording of the
five pieces; an analysis of both his written and improvised
compositions; and a comparison of the devices found in both
his written works and the transcribed improvisations. Tour-
nemire's pieces used in this discussion were: Andantino, Op.
2; Sortie, Op. 3; P16ce symphoniqge, Op. 16; Suite de
morceaux, Op. 19, 24 (selected pieces); Variae preces, Op.

21; Triple choral, Op. 41; L'orgue mystique, Op. 55-57; Trois

 

poemes, Op. 59; Sei fioretti, Op. 60; Petites fleurs musi-

cales, Op. 66; Sept choralszpoemes, Op. 67; Postludes libres,

 

Op. 68; Symphonie—choral, Op. 69; Symphonie sacrée, Op. 71;
Suite evocatrice, Op. 74; Deux fresques symphoniques sacrées,
Op. 75 and 76; and Cinq_improvisations (reconstructed by
Maurice Duruflé). This examination will be made in light of
contemporary comments about his improvising as well as his
own phiIOSOphical views regarding that specific art as pre—

sented in his two organ methods-—Petite methode d'orgue and

 

Précis d'éxécution de registration et d'improvisation a

l'orgue.

3

Performing some of the Cinq_improvisations, along

with several other of Tournemire's works,
sufficient interest on this writer's part
examination. In addition, I hOpe to fill

the research about the man and his music.

has stimulated
to warrant this

some of the gaps in

CHAPTER I

PRELIMINARY INFORMATION ABOUT CHARLES
TOURNEMIRE, THE ORGAN AT SAINTE
CLOTILDE, AND THE RECONSTRUCTED

IMPROVISATIONS

Charles Tournemire was a French organist whose
period of musical activity flourished during the first four
decades of the twentieth century. In the United States he
is known principally as a composer through his cycle of
organ suites entitled L'orgge mystique. In EurOpe, however,
he is known not only as a recitalist, teacher, and composer,
but as an improviser as well. Inasmuch as Tournemire had
never traveled to the United States, the extent of our
familiarity with this facet of his musicianship is limited
to accounts of this ability by his students and recordings
of only five improvisations.

Tournemire was born in Bordeaux on January 22, 1870
and descended from a family of musicians.1 That his inher-
ited musical ability must have been exceptional and his

early training of high quality were evident in the fact that,

 

Flor Peeters, "Charles Tournemire," The Digpason,
September 1964, p. 20.

5

at the age of eleven, he won first prize in a piano competi-
tion Sponsored by the local conservatory.2 His first musical
appointment was at the church of Saint—Pierre, Bordeaux, and

dates from that same year (1881). Following a four year term

there, he was appointed organist at the Basilique Saint-

Seurin before he moved to Paris.3

In 1886 he entered the Conservatoire National in
Paris. For three years he was a student of César Franck
with whom he had lessons that not only dealt with the tech—
niques of organ—playing and literature of the organ, but
composition and improvisation as well. His technical and
musical abilities earned him the reputation of being both
an excellent organist and improviser. In 1890 he won a
first prize in organ at the Conservatoire and, in the fol-
lowing year, another first prize in organ along with a
second prize in harmony.4

For several years Tournemire was organist at the
church of Saint—Nicolas du Chardonnet. Upon the resignation
of Gabriel Pierné in 1898, the post of organist at the Basil-
ique Sainte—Clotilde became vacant and he applied for the

'.

position. After competing against thirty applicants,b

 

21bid.

3T. Scott Buhrmann, ed., "Charles Tournemire, French

Composer," The American Organist, May 1936, p. 163.

Bernadette Lespinard, "L'orgue mystique de Charles
Tournemire," L'orgue (Paris), no. 139 (November 1971), p. 3.

51bid.

6Peeters, ”Charles Tournemire," p. 20.

6

Tournemire was selected for the post which he was to hold
until his death in 1939. In 1920 he became professor of
chamber music at the Paris Conservatoire and in 1926 made
an unsuccessful attempt for the professorship of organ
there.7

For the remainder of his life Tournemire divided
his time between composing--which he did between nine a.m.
and one p.m.8--teaching at the conservatory, playing at
Sainte-Clotilde, and concertizing. Although his first com-
position dates from 1894, it wasn't until 1904 that he

gained local reCOgnition as a composer by winning the Paris

Grand Prix award for his Le sang de la sirene. Throughout

 

his life he did not confine himself to the writing of organ
music alone, but wrote in many mediums. His total output
consists of four Operas, seven large choral works, eight
symphonies, and thirty-three other works for piano, voice,
and various instruments in addition to his organ works (see
Appendix for a complete list of works).

Tournemire was a deeply religious man whose music
reflected his faith. He believed that "Organ music where
God is absent is like a body without a soul."9 He considered

the profession of church organist to be a sacred one and

7Robert Sutherland Lord, "Charles Tournemire and the
Seven Words of Christ on the Cross," The Diapason, November
1977, p. 1

8Hugh Giles, "Charles Tournemire," The American
Organist, February 1940, p. 48.

9Lord, "Charles Tournemire and the Seven Words of
Christ on the Cross,” p. 1.

 

7
toward the end of his life wrote a book entitled 0n the High

 

Mission of the Church Organist which was never published (the
manuscript is in the possession of Madame Charles Tournemire).

Like Franck, he conceived a set of large chorales for
the organ;10 but, unlike his teacher who managed to complete
his Trois chorals only days before his death, Tournemire was
destined not to complete his. He drowned11 in Arcachon,
France on November 3, 1939. Several sources incorrectly cite
the date of his death as November fourth; however, his body
was discovered on the fourth and the coroner's report stated
that he had been dead for twenty-four hours.12

The organ at Sainte-Clotilde was an inspirational
element for Tournemire's organ works and improvisations. It
was an instrument that grew out of the ninteenth—century
emphasis on orchestral color in organ design which came to be
a generating force in the French school of symphonic organ
composition. It was designed and built by Aristide Cavaillé-
C011, and was installed in December, 1859.13 It represented
the latest in contemporary voicing and utilized the most
modern technol0gical advances in organ construction available

at that time. Most organ historians consider it to be one of

Cavaillé-Coll's finest instruments.

 

11George Baker, "An Interview with Maurice Duruflé,"
The American Organist, November 1980, p. 58.'

12Grove's Dictionary of Music and Musicians, 5th ed.,
s.v. "Charles Tournemire," by Gustave Ferrari.

13Rollin Smith, "A Tour of Franck," Music, December
1972, p. 49.

8
The console of this instrument was similar to other
three-manual, Cavaillé-Coll organs. Each of its three man-

)14 and the

uals had a compass of fifty-four notes (CC-f"
range of its flat pedal board was thirty—two notes (CCC-G).
Affecting part of the organ's tonal resources was a single

expression pedal which Operated the shutters of the Récit

expressif division. Unlike modern expressions pedals, it was

 

designed so that by itself it could remain in only one of two
positions-—shutters completely Opened or closed. To maintain
any other setting for any period of time, the organist was
required to keep his foot on the pedal which prevented the
shutters from falling into either one of their natural
positions. The tonal resources governed by these things are

listed in Figure 1.

 

14César Franck, Trois chorals, ed. Joseph Bonnet
(Glen Rock: J. Fischer and Brothers, 1948), p. 3.

9
FIGURE 1. SPECIFICATIONS OF THE CAVAILLE-COLL ORGAN IN STE.

CLOTILDE, PARIS (1859).

GRAND ORGUE:

Montre 16' Octave 4'
Bourdon 16' Quinte 2 2/3'
Montre 8' Ventil Doublette 2'
Bogrdon 8' division Plein Jeu VI
Flute harmonique 8' Bombarde 16'
Gambe 8' Trompette 8'
Prestant 4' Clarion 4'
POSITIF:

Bourdon 15' Flfite octaviante 4'
Montre 8' Quinte 2 2/3'
Bourdon 8' Ventil Doublette 2'
Flfite harmonique 8' division Plein Jeu v
Gambe 8' Trompette 8'
Unda Maris 8' Clarinette 8'
Prestant 4' Clarion 4'
RECIT EXPRESSIF:

Bourdon 8' Flfite octaviante 4'
Flfite harmonique 8' Ventil Octavin 2'
Viol da Gambe 8' division Trompette 8'
Voix célestes 8' Clarion 4'
Basson—Hautbois 8'

Voix humaine 8' Tremolo
PEDALE:

Soubasse 32' Bombarde 16'
Contrebasse 16' Ventil Basson 16'
Basse 8' division Trompette 8'
Octave 4' Clarion 4'
TOE COMBINATION PEDALS:

Positif — Pédale 8' Réeit - Positif 16'
Grand Orgue — Pédale 8' Récit — Positif 8'
Grand Orgue Octave Grave Positif - Grand Orgue 16'

Positif - Grand Orgue 8'

Récit, Positif, Grand Orgue, and Pédale Ventils

Swell pedal (Récit only)

 

Source: Personal letter from Mr. Flor Peeters who has
the original console in his possession (dated June 1973).

10

Of particular interest to organists are the ventil
divisions. These divisions are ranks of pipes placed tOgether
on the back section of a divided windchest and are brought
into play through the Operation of a toe stud located on the
console. Although these stops can be drawn in advance, they
will not sound until the ventil is activated, which allows
air to flow from the front into the back portion of the chest.
This peculiarity Of the French organs permits the organist to
make certain, complex registration changes easily.

This was the organ as Tournemire found it when he
began his duties at Sainte—Clotilde. The growing interest in
the music of the pre—Baroque and Baroque periods that was
emerging after the turn Of the century led some organists to
reexamine their performance practices with respect to that
music. As a result of this revival, it was discovered that
the tonal concept of the symphonic organ was inadequate for
the prOper performance Of early music. Tournemire was one
who reCOgnized the limitations of his instrument and later
undertook the task of enlarging and improving it to accomodate
the needs of the earlier musical styles as well.

Although the organ was not completely electrified
until 1964, it did utilize electricity to a certain extent
after 1918. This first modification was the addition of an

15

electrical blower system which eliminated the problem of

an inadequate wind supply inherent in the older, hand-Operated

 

15

William L. Sumner, "The Organ in Ste. Clotilde;
Paris," The Oggan, no. 47 (1968), p. 129.

 

11

bellows. This new, efficient system was capable of producing
a steady wind supply for an indefinite period of time.

The next major modification of the instrument came in
1932—33 when it was enlarged by the successors of Cavaillé-
Coll.16 They retained the basic tonal structure of the organ
along with its Barker Lever action; increased the manual
compass to sixty—one notes; installed more toe combination.
pedals, sub— and super—octave couplers; and added several
ranks of pipes to each division. Figure 2 shows the additions
and changes that were made to each division during this restor-
ation.
FIGURE 2. ADDITIONS TO THE ORIGINAL INSTALLATION

GRAND ORGUE:

Cornet V
POSITIF:
Salicional 8'
Tierce 1 3/5'
Piccolo 1'

(Clarinette 8' was removed from this division)
RECIT EXPRESSIF:

Quintaton 16'

Nazard 2 2/3'

Tierce 1 3/5'

Plein Jeu IV
Bombarde 16'
Clarinette (from Positif)
PEDALE:

Bourdon 16'

Quinte 5 1/3'

 

Source: William L. Sumner, "The Organ in Ste. Clotilde,
Paris," The Organ, no. 47 (1968), p. 129.

 

16Ibid.

12

It is obvious to organists that the additions compen-
sated for the deficiencies Of the original instrument. Of
the eleven new stOps, seven were mutations, three were of
sixteen—foot pitch, and one was of eight-foot pitch. The
changes were made to make the organ suitable for the per-
formance of non-ninteenth-century organ literature.

When Tournemire assumed his duties at Ste. Clotilde,
he continued the tradition of organ—playing and improvisation
that Franck had established and maintained for almost forty
years. At that time the organ was in its original state and
it served Tournemire's purposes for thirty-five years.

During these years, he wrote one-half Of his total output of
organ works. After its rebuilding the organ had greater
resources and increased flexibility. This instrument served
him for the remainder of his tenure there.

Tournemire was one of the few French organists to
make records in the early years of phonOgraph recording——
Bonnet, Dupré, Vierne, and Widor were some of the others.17
In 1930 he made several recordings at Ste. Clotilde for the
French division of Polydor International. For those
recording sessions, Tournemire performed two of his own com—
positions along with one by Franck and improvised five new
pieces which are the basis of the study presented in this
thesis. These eight works are listed in Figure 3 along with

the identification number(s) of the apprOpriate disc(s).

 

17Richard Burns, "Organ Recording in the Early Years,"
Music, August 1973, p. 25.

13
FIGURE 3. TOURNEMIRE'S RECORDINGS.

1. Tournemire: Improvisation sur le Te Deum (561050)

. Tournemire: Petite rapsodie improvisée (561048)

 

2

3. Tournemire: Andantino, Suite No. 38 (561058)
4. Franck: Choral in la mineur (566057/8)
5. Tournemire: Cantiléne improvisée (566058)

6. Tournemire: Choral-Improvisation sur le Victimae
Paschali (566060)

7. Tournemire: Fantaisie—Improvisation sur 1' Ave
Maris Stella (56606I)

8. Tournemire: Paraphrase-Carillon, Suite No. 35
(566118)

 

Source: David Hall, Director of the ROgers and Hammer-
stein Archives Of Recorded Sound, Lincoln Center, New York.

Although all Of these discs were available in France,
only a few were marketed outside that country. Recordings
three, four, five, and six were also issued by Polydor under
their German series (#66992/3, #66996, and #66997 respectiv-
1y); numbers three and four were available in England; and
number five was the only one released in the United States-—
this record was listed in 1937 under the Brunswick—Polydor
label (#95048) as part of their "Hall Of Fame Series."

When Tournemire traveled to London in 1936 to give a

recital and lecture on improvisation, he used these discs.18

 

18Musical Times (London), no. 77 (February 1936),

p. 161.

14

How they were received is revealed, in part, by a review of

two of those recordings in Britian's The Gramaphone:

 

. . . on two Polydor records, 566057 and 8 (12n., 6s.6d
each), MAITRE CH. TOURNEMIRE, on St. Clotilde's organ at
Paris, plays Franck's A Minor Chorale, adding on the 4th
side a Cantilene Improvisation of his own. . . . The
Chorale Opens with capital breadth and promise, rhapso-
dies [sic] succinctly, muses attractively, sings confid-
ingly (on side 2), and finishes with sustained eloquence
and power. . . . The music could not be more clearly pre—
sented than here. Perhaps one or two of the solo stOps
are a little pungent, but there is never any difficulty
in hearing all the notes. M. Tournemire's piece is a
poetic little thing with some restless harmonic twists,
a little‘vague in its implicatigns, but tonally, coaxing
attention and giving pleasure.

 

The Cing improvisations grew out Of these records and

 

are the product of one man's diligent labors. Maurice Duruflé,
a former student Of Tournemire, patiently reconstructed the
five improvised pieces from the old recordings and had them
published by Durand et Compagnie in 1958. The result of this
effort is the preservation of a fleeting moment of improvisa-
tional art. Without these reconstructed compositions it would
have been impossible to study the improvisational techniques
of one about whom Louis Vierne once said, "For rightly we con—

sidered Tournemire the eagle of the [improvisation] class!"20

 

19The GramOphone (London), November 1930, p. 278.

20Louis Vierne, “Memoirs of Louis Vierne; His Life and

Contacts with Famous Men," The Diapason, November 1938, p. 10.

 

CHAPTER II

ELEMENTS OF TOURNEMIRE'S

COMPOSITIONAL STYLE

The definition Of a composer's style is the rec0gni-
tion of certain musical materials and their use throughout
his period of compositional activity. If a composer is also
an improviser, naturally a musical vocabulary will be common
to both manifestations Of his art. In order to discover the
techniques used in the art of spontaneous composition, one
must understand the techniques employed in the creator's
written works as a point of reference from which the former
can be traced to the latter. This chapter will define Tour-
nemire's style by discussing those materials that are used
consistently in his writing and grouping them into the fol-
lowing categories: use Of themes, harmonic language, rhythmic
elements, counterpoint, ornamentation, registration, devices,

and form.

Thematic Materials
The first category to be discussed is the thematic
elements. In Tournemire's works these are derived from three

sources--Gregorian chant and church modes; Hindu scales; and
15

16

the major, minor, and chromatic scales-—and can be grouped
according to the nature of the pieces (i.e. sacred or secu-
lar) in which they are found and the period of composition in
which these pieces fall. Gregorian melodies are used in
works intended specifically for use during the Mass, whereas
freely-composed melodies, derived from either church modes or
Hindu scales, are employed in compositions of a religious
nature, but having no liturgical function. Compositions
written during his early period1 contain melodies built from
both church modes and major and minor scales, and his later
works incorporate themes not only constructed from these

sources, but Hindu scales and the chromatic scale as well.

The first source for melodic material is Gregorian
chant. It provides the basis for the thematic material used

in L'Orgue mystique, Op. 55-57, and Petites fleurs musicales,

 

 

Op. 662--his service music. Inasmuch as the pieces of these
two cycles were conceived as prelude, Offertory, elevation,
communion, and postlude music for the mass, they are based
upon the prOpers for the day (or other liturgically-related
sources such as hymns) which they either precede or follow in

the service. For example, L'Orgue mystique--a monumental set

 

Tournemire's organ compositions can be divided into
two periods: the first period is from 1894 to 1910 and the
second is from 1928 to 1939. It was during these two periods
that he actively composed organ pieces. During the eighteen
intervening years which substantially separate them, no com—
positions for the organ were produced.

2

Flor Peeters, "Charles Tournemire," The Diapason,
September 1964, p. 21.

 

17

of suites which contain 253 individual pieces--uses melodies
and motives drawn from 255 different chant sources.

When Tournemire incorporated Gregorian melodies into
his liturgical music, he subjected those melodies to a pro—
cess called paraphrasing. This practice is the elimination
of notes and groups of notes that contribute little or noth-
ing to the overall shape of the musical line. By using this
process he eliminated many repeated notes and figures which
are Often found in plainsong; sometimes entire portions of
the chant are absent merely because he chose not to incorpor—
ate that particular segment in the composition. Paraphrasing

strips the cantus firmus of much of its substance and reduces

 

the chant to its skeletal shape by retaining only those sec-
tions which give it its essential character. Example 1

illustrates the degree to which Tournemire applied the tech—
nique (the notes placed within brackets are those eliminated

in the paraphrasing process).

EXAMPLE 1. PARAPHRASING A CANTUS FIRMUS.

 

Chant, Te Joseph celebrant (source: Chants of the
Church, ed. Solesmes, Tournai: Desclée and Co., 1962, p. 151):

 

 

 

I’,L¢——’ Ifi“‘\\\\ /,,»*'*’ ““-

        

   

 

18
EXAMPLE 1 (continued).

Chant, Dicit Dominus: ego cOgito (source: Liber
usualis, ed. Solesmes, Tournai: Desclee and Co., 1950, pp.
391- 392):

V

 

 

 

 

 

 

Illmik fl

 

 

 

 

 

 

 

 

 

The manner in which these paraphrased melodies are
presented in a composition varies. They are usually broken
into shorter segments with little concern given to repetition
or order of the fragments within the structure of the piece--
there are even instances in which a cantus firmus is intro-

duced by a phrase other than the initial one as in Example 2.

19
EXAMPLE 2. STATEMENT OF CANTUS FIRMUS BY SECONDARY PHRASE.

Chant, Ad regias agni dape :

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Opening portion, movement V, Suite NO. 18 (L'Orgue
mystigue):

—‘

Ponds 8. 6. Octavin I
III Hazard 2 ‘l. Three 17.
L. Plum Jeu 4 range

Print" Inch" 30“. forméo
' loads a... Octavin I
II Quinte 2 “I. here: "I.
L Plein Jeu
Pn'poru Aachen

F Pond- 8.§.Ocuvln I
I lixturu
Pro'poru Anchu

 

Pod: [ Ponds 8.6.
' Mun: lawn-,Anclu

 

hogan! (a CHORAL

    

 

20
Sometimes the line is presented in a straightforward manner;
at other times, several fragments of different chants are
woven into the same musical tapestry. Regardless of the
manner in which these themes are presented, motives derived
from the chant being used are frequently evident.

Also in this first category are freely-composed modal
melodies. These melodies were constructed by Tournemire from
some of the medieval scales and are found in his nonservice
organ music. One of the earliest works to contain such

themes is the Suite de morceaux, Op. 19 and 24. A later

 

work, Sept chorals—poémes, Op. 67, contains a melody in each

 

of the authentic modes (Example 3).

EXAMPLE 3. FREELY-COMPOSED MODAL MELODIES.

Melody, Pastorale (Suite de morceaux):

 

 

Transposed Aeolian mode

   
 

Melody, Scherzetto (Suite de morceaux):

 

 

Transposed Lydian mode

21
EXAMPLE 3 (continued).

Melody, Word I (Sept chorals-poemes):

Transposed Dorian mode

 

Melody, Word II (Sept chorals—poemes):

Phrygian mode

  

 

/’—‘\ /.._——-:

a:'”"-——_““-.3”___T“\

 
 

Melody, Word III (Sept choralsgpoemes):

Transposed Lydian mode

I!

 

Melody, Word IV (Sept chorals-poémes):

 

Transposed Mixolydian mode
b

    

 

22
The treatment of these melodic lines is different

from those derived from plainsong. Inasmuch as they are
original, paraphrases do not exist; thus, when the melodies
first appear, they are complete and unfragmented. Their
length is greater than the chant-based ones and they usually
occur about two or three times during the course of a compo-
sition.

Hindu scales are the second source from which melodic
material is built. These scales, seventy-two in all, are the
result of various groupings into seven notes of the twenty-
two microtones which form the southern Indian tonal system3
and can only be approximated in western notation. In the
Sept chorals-poémes Tournemire employs four of these4

(Example 4) and treats them in the same manner as the freely-

composed modal melodies.

EXAMPLE 4. MELODIES DERIVED FROM HINDU SCALES.

Chalanata scale:

 

Melody, Word V (Sept chorals-poemes):

DJ

 

 

3Grove's Dictionary of Music and Musicians, 5th ed.,

s.v. "Indian Music," by Arnold Bake and A. H. Fox Strangways.

 

4Robert Sutherland Lord, "Charles Tournemire and the
Seven Words of Christ on the Cross," The Diapason, November
1977, p. 6.

 

23

EXAMPLE 4 (continued).

Cankéradvéni scale:

 

Melody, Word VI (Sept chorals-poemes):

ll

 

m

I

 

A A
Salanaga scale:

 

Melody, Word VII:

82

 

A
Bhavaprya scale:

 

Melody, Word VII:

av. ......... o ’

    

 

24
Melodies based upon major and minor scales are pri~
marily found in those works written during his early composi-

tional period--namely, Andantino, 0p. 2; Sortie, 0p. 3; Piéce

 

lpymphonique, Op. 16; and Variae preces, Op. 21. The third

 

"poéme" of Trois poemes, Op. 59, is a later work that also

 

incorporates this type of theme. A rare example of a melody~
that appears in both major and minor modes exists in Andan—

tino. In Andantino the theme is introduced and returns for

 

the first variation in the minor mode; in the second varia-
tion, however, the theme is sounded in the major mode.
Because these early pieces (with the exception of Opus 59)
are not mature compositions and do not exhibit the higher
degree of imagination found in his later works, the potential
of their themes is not develOped to a great extent.

Chromatic writing begins to dominate Tournemire's

works beginning with the Triple choral, Op. 41, written at

 

the close of his first period of development. His later
pieces, which exhibit this style of writing to an even
greater degree, contain chromatic melodies which are the
product of a complex harmonic foundation. This category is
the smallest of the three and examples can be found in S3;

fioretti, Op. 60, and Symphonie sacrée, Op. 71. Example 5

 

illustrates melodies from this group.

25

EXAMPLE 5. CHROMATIC MELODIES.

Melody, piece I (Sei fioretti):

El]

 

 

Fugal subject, Symphonie sacrée:

 

 

The contexts in which Tournemire placed his melodies
are no different from those used by other composers. Melo-
dies are placed in settings which range from homOphonic
pieces such as the Choral (Variae_preces, p. 61) to more har—

monically complex compositions like the Symphonie sacrée, and

 

from a single voice work such as the N031 No. 4 (also from

 

Variae preces) to the highly contrapuntal movements of

26
L'orgue mystiqu . Within this broad range of contexts Tour-

nemire subjected his material to different treatments. The
method most frequently used was that of making alterations in
the melodic line by adding, subtracting, or changing notes;
altering their rhythmic value (sometimes, though rarely,
through augmentation); or a combination of both. These tech-
niques range from making only minor changes of one kind to
rather extensive changes of both kinds. Example 6 shows how

a returning theme is manipulated.

EXAMPLE 6. ALTERATION OF MELODIC MATERIAL.

Alteration of notes (Poem II, Trois poemes):

 

statement

E

 

return

 

Alteration of rhythm (Piece III, Sei fioretti):

statement

[I]

   
 
 

return

1!!

    

27
EXAMPLE 6 (continued).

Alteration of notes and rhythm (Piece I, Sei fioretti):

'E

 

statement

    
    

return

Using fragments Of a theme throughout a composition

is also employed. Generally, the head, or other easily iden-
tifiable portions Of a melody, is used in a piece, sometimes
to foreshadow the theme, in conjunction with it, or following
it. Example 7 illustrates one of the themes from Piégg

symphonique and the fragments derived from it.

 

EXAMPLE 7. DERIVATION OF FRAGMENTS

Theme:
A

   
    
    

t_____LJ
Fragments::

[5:83 i“

 

       

 

The use Of imitation will be dealt with more thor—

oughly in the section on contrapuntal elements; however, one

28

point needs to be mentioned regarding its use with respect to
themes. Fragments of melodies occasionally appear imitative—
ly in short passages or are used in fugal writing. An illus-

tration of the first application is seen in Example 8.

EXAMPLE 8. IMITATIVE USE OF FRAGMENTS.

Fragment, movement I, Suite NO. 51 (L'orgue mystique):

I

 

One specific manner in which he handled melodies or
fragments thereof was by magadizing them--the sounding of a
melodic line in octaves. The term here is meant to exclude
the typical parallel octaves which are Often found in the
pedal parts Of organ compositions. Depending upon the degree
of emphasis or tonal color desired, this treatment ranges

from doubling between two voices to all voices (Example 9).

EXAMPLE 9. MAGADIZING OF MELODIC MATERIAL.

Fragment, movement II, Suite No. 12 (L'orgue mystiglue):

if J’J‘ fifiz—x

 

    

 

    

   

    

29
EXAMPLE 9 (continued).

Fragment, movement V, Suite No. 4 (L'orgpe mystique):

 

- _rall._ _ _ n

    

f5

.. Ilixturcu I, - 2

Harmonic Language

Tournemire's early harmonic language was much simpler
than that Of his later works and remained within well—defined
limits. The Andantino and Sortie revolve around two keys--

the tonic and its submediant. In Andantino, the different

 

sections alternate between the tonic (A minor) and submediant
(F major). In the Sortie, the first and last sections, in
the tonic of G major, surround a middle one in the lowered
submediant of E—flat major. Both of these works are har—
monically conceived, employ harmonies that have functional
relationships with one another, and have a harmonic rhythm
that is slower than that found in his later compositions.

As early as the writing of the Piece symphonique,

 

and by the time he had composed the Suite de morceaux, a
change was becoming clear in the harmonic structure Of Tour-
nemire's pieces. No longer was he content to remain within
the narrow harmonic limits expressed in his previous works:
he began to explore other key relationships such as the

mediant, subdominant, dominant, subtonic, and supertonic

30

areas as well as different chord qualities and functions
within those keys. Still harmonically conceived, these
pieces continue to contain chords with functional relation-
ships, but a greater number of ninth chords begin to appear
along with non—functional chords. Short passages built upon

whole tone sonorities and modes--found in the Pastorale and

 

Scherzetto (Suite de morceaux)--further show that Tournemire
was expanding his personal style. The Triple choral shows
his continued development in this area.

When Tournemire resumed writing organ works in 1928,
however, the pieces took on a substantially different charac-
ter. At the request of several of his friends—-especially
Joseph Bonnet, organist at the church of Saint Eustache,
Paris--Tournemire recreated the weekly improvisations he made
at Mass by writing a cycle of organ pieces that non—improvi-
sing organists could use during the liturgy-~the result was

his L'Orgue mystique. Because these pieces were composed as

 

service music for the High Mass, they are based on plainchant
and contain a great deal of modal material. In some cases,
in fact, so much use is made Of this material that entire
movements are found written within a given mode as illustra-

ted in Example 10.

31

EXAMPLE 10. COMPOSITION LIMITED TO ONE MODE.
Movement III, Suite No. 6 (L'Orgue mystique):

Mixolydian transposed to A

J: 50 scnzu. Mgore
.9

l [ Voix ce’luto
II Olmbe 8

I
H flit. done. 8 3011.3 mt-ouverte
I Bourdon 8

an I" formic

:1”;

 

'flruu III

Bone formic

 

 

run.
found.

a pint-r"

Icmpre

AI

 

Although L'Orgue mystiqu is a highly specialized
work and was conceived for a specific purpose, it was,

nevertheless, a digression from Tournemire's established

32
harmonic style. The compositions which followed it are the
natural result of the experimentation evident in the works of
his early period. The Trois poémes, Sei fioretti, §22£
chorals-poémes, and Symphonie sacrée all exhibit a more har-
monically complex style than that found in his earlier ones
and, because of their rhapsodic nature, move through more
remote keys rather than staying within a few closely-related
keys.

As Tournemire's style develOped, his harmonic vocabu-
lary broadened. This change took the form of eXpanding
triads by superimposing thirds to produce seventh, ninth, and
eleventh chords and by employing Open fifth and octave sonori-
ties. Although both techniques are not peculiar to Tourne-
mire's works, the latter is used to a great extent in his
compositions and remains one of his characteristics.

The use of Open fifths has always created certain
implications-~it suggests a modal flavor, which is why Tour-

nemire used it extensively in L'orgue mystique. The idea of

 

using Open intervals includes Open octaves or unison sonori-
ties which are used almost to the same degree as Open fifths.
Not only do these occur at the ends of pieces or at cadential

points, but in L'Orgue mystique, they are also employed as

 

parallel octaves during the course of a movement. Although
many works end with either major or minor chords, the major-
ity of his compositions end with Open fifths and a substan—
tial number end with either unison or octave sonorities only.

Example 11 shows the final measures of Symphonie sacrée which

 

33

ends with an Open fifth and Word III from Sept chorals—poémes
which contains an Open octave--this is, perhaps, the most
dramatic example of octave doubling to be found in all of

Tournemire's organ works.

EXAMPLE 11. OPEN FIFTH AND OCTAVE SONORITIES.

Conclusion, Symphonie sacrée:

m. m

 

Conclusion, Word III (Sept chorals-poémes):

A Bit. - - - Largo " b-t‘fl

 

+32

The last item of importance in this category is the
technique of writing parallel chords. Although Tournemire
did not use this technique extensively, it does occur with
sufficient frequency to warrant notice. Passages containing

both real and tonal parallelism are short in duration, with

34

the former group being the more prominant. Example 12 illus-

trates both types.

EXAMPLE 12. PARALLEL CHORDS.

Fragment, Piece I (Sei fioretti):

 

real

as:

 

Conclusion, movement III, Suite No. 51 (L'orgue mystique):

 

tonal

 

 

35
Rhythmic Elements

 

Rhythmically, there is very little in Tournemire's
compositions that is distinctive, yet there are two phases of
rhythm that occur regularly. The first, meter usage, con—
tains aspects that illustrate, in part, his develOpment of
style and preference for certain meters within that style.
The second phase reveals a Spontaneity in the performance of
some Of those meters. Although these two are not unique in
Tournemire's style, their frequent application warrants
mention.

Tournemire's early works were written in an isometric
style, but, as he matured as a composer, he develOped a more
highly multimetric one. The first evidence of this change to
2 measure

4

is interjected into a prevailing 2 meter and the most exten-

the latter idiom is found in Variae preces where a

 

sive use is found throughout L'orgue mystique (Example 13).

 

EXAMPLE 13. MULTIMETRIC STYLE.

Fragment, Sortie I (Variae preces):

 

 

36

EXAMPLE 13 (continued).

Fragment, movement III, Suite NO. 4 (L'orgue mystique):

‘ mm

, /"_‘\\
7:5 .

Bone fernée

 

Within this multimetric style preferences for certain meters
are evident. Table 1 shows the meters most frequently used
by Tournemire and arranges them in order of prominence from
left (most frequently used) to right (least). Those which

alternate most between themselves are shown within brackets.

TABLE 1. METER PREFERENCE.

Simple:
(most '4 3 2'5 1 6 4 3 2 (least
frequently used) 4 4 4 4 4 4 2 2 2 frequently used)
Compound:
(most 6 12 9 3 15 (least
frequently used) 8 8 8 8 8 frequently used)

Barless writing is also incorporated into this multi-
metric style. Early appearances are short passages found in
L'Orgue mystique (Example 14) and later works such as Words

II and IV from Sept chorals-poémes have much longer sections

37

in this style.

EXAMPLE 14. BARLESS WRITING.

Fragment, movement II, Suite No. 11 (L'orgue mystique):

A .2."

ad lib.-ph‘1 viva Bum fiat“ «vim

EB] ’ J "‘

  
  

   
  

 

lottoo cunt-too

     

  

     
 

Bonn formo'oo

  
  

am {73114 n4 momma
___=______.é

 

 

 

 

 

 

 

 

 

His last two pieces, Deux fresques symphoniques sacrées, Op.
75 and 76, are totally without barlines.

In conjunction with the highly sectionalized nature
of the pieces of L'orgue mystiqpe, many changes in tempi are
found. This is especially characteristic of the final move—
ments of these suites. He often required slight changes in
tempi in these pieces and, in some cases, was careful to
indicate precisely those changes with metronomic markings

(Example 15).

38
EXAMPLE 15. CHANGES IN TEMPI.

Fragment, movement V, Suite No. 6 (L'orgue mystique):
f—‘x

A

    

 

Directions which give license to the performer such
as E piacere and gg libitum are also abundant. These indica—
tions first appear in the Triple choral with the same fre—
quency that they appear in his organ works written after that
time. The earlier pieces, however, are devoid of such in—

structions.

Counterpoint

Although the majority of Tournemire's music contains
a mixture of homophonic and contrapuntal writing, much is
constructed in a linear fashion. Within this contrapuntal
fabric, there are two elements that need to be studied: in—

tervalic relationships and imitation.

39

In the area of intervalic relationships, one needs
to consider both the intervals involved between notes as well
as the succession of those intervals and the relationships
which that succession produces. Many contrapuntal sections
contain writing for two moving parts and, generally, within
these sections there is approximately the same number of
thirds, fourths, fifths, and sixths (Example 16)——a balance

which exists in both his earlier and later works.

EXAMPLE 16. INTERVALS BETWEEN TWO MOVING VOICES.

Fragment, Sortie I (Variae preces):

E 3'03.

    

3 w
7'3’ 2.13.13‘Qbfi

v

3454 3455 341-31036 61

 

4O
EXAMPLE 16 (continued).

Fragment, §ymphonie sacrée:

[fl

 

4’14345777E44b'4 454343‘33‘54‘

34

 

 

 

A peculiar characteristic of Tournemire's writing
involves seconds and sevenths. Frequently, the interval of a
second is the one to which two melodic lines converge and,
sometimes, the one on which they begin. Example 17 illus—

trates this use of seconds.

41
EXAMPLE 17. USE OF SECONDS.

Fragment, movement III, Suite No. 19 (L'orgue mystique):

 

m I

 

Fragment, movement IV, Suite No. 13 (L'orgue mystique):

 

 

 

 

The interval of a seventh, on the other hand, is the disso-

nance to which they often move (Example 18).

EXAMPLE 18. USE OF SEVENTHS IN TWO-PART COUNTERPOINT.

Fragment, movement III, Suite No. 10 (L'orgue mystique):

[Ea/3' \

 

 

      

7376373.?!) 734713

Parallel fifths play an important role in L'orgue
mystigue: they are used to create the feeling of parallel
organum. Because this work is based on chant, Tournemire

often employed this technique to enhance the Gregorian

42

melodies being used (Example 19).

EXAMPLE 19. PARALLEL FIFTHS.

Conclusion, Suite No. 18 (L'orgue mystique):

 

Parallel fifths also occur in some of his other works, but

are not intended to suggest organum (Example 20).

EXAMPLE 20. PARALLEL FIFTHS.
Fragment, Pastorale (Suite de morceaux):

A

 

The second contrapuntal device frequently used is

imitation and Tournemire used it two ways. The first use is
to create a free canon. The two techniques that are employed
are (1) the altering of the time value of some of the notes

in the second voice and (2) the sustaining of a note in one

43

voice while melodic activity occurs in the other. Both of
these techniques can be observed in Example 21 (added notes

indicated by asterisks).

EXAMPLE 21. FREE CANON.
Fragment, movement V, Suite No. 25 (L'orgue mystique):

outer voices

 

The second way imitation is used is to build fugato
sections in pieces as well as fugues themselves. Those works
(which are entitled fugues) are found in the closing move—
ments of Suites No. 10, 22, 34, 41, and 49 of L'orgue
mystigue.

The analysis of Tournemire's pieces in fugal style
reveals two characteristics common to all expositions.

First, the structure is identical: in each case the subject
and its answer are always linked by a codetta to the second
entrance of the subject which, in turn, is linked to its
answer by a second codetta. This format is not only followed
in works entitled bugues by the composer, but in fugato sec-

tions of larger compositions as well (i.e. Poéme III and

 

Symphonic sacrée). Secondly, a countersubject is always

44
present and, following the initial statement of the subject,

faithfully accompanies every subsequent subject and answer in

the exposition (Figure 4).

FIGURE 4. STRUCTURE OF FUGAL EXPOSITION.

 
 

 

subject---c.s.~- ------- c~v®¢~
answer-- codetta c.s.m~m»~~.codetta
subject--- c.s.mmmuu
answer---

In larger works containing fugato sections, however, counter-
subjects are not present. In contrast to the rigid framework
of the exposition, no set format exists for the sections that

follow.

Ornamentation

 

The category of ornamentation is small and contains
only a few points that must be mentioned. The ornaments fall
into four types: trills, grace notes, mordents, and freely-
composed configurations. Trills range from short to very
long in duration, begin with or without grace notes, end with
or without a closing figure, and exist singly or in pairs.

In one rare instance (movement V, Suite No. 5, L'orgue
mystique) three trills occur simultaneously. The grace note
figures that precede some of the trills are made of either
one or two notes and the closing figures range from two to

five (Example 22).

45
EXAMPLE 22. TRILL WITH OPENING AND CLOSING FIGURES.

Fragment, movement II, Suite evocatrice:

 

By themselves, grace note figures are constructed
much more simply than trills. They normally consist of one
to three notes in a stepwise relationship to the principal
note which they precede.

The other two types of embellishment are mordents
and freely-composed configurations. These are always written
out, with the former never being notated by its standard
symbol. An example of Tournemire's most florid ornaments can

be seen in Example 23.

EXAMPLE 23. FLORID ORNAMENT.

Fragment, movement V, Suite No. 29 (L'orgue mystique):

 

 

 

46
figgistration

There is little doubt that a wide variety of tone
colors are needed for Tournemire's organ compositions. The
registrations needed for his pieces are precisely indicated
in the score. With the exception of those instances in
which the score indicates only the general category of sounds
(i.e. fonds, mixtures, and anches) or the dynamic level of
each division of the organ, the score will list all stops
that are to be employed in the piece.

Changes of registration, like changes in tempi, are
also clearly marked in the score. Additions and subtractions
of stOps are notated by plus and minus signs respectively
and, in some cases, are accompanied by dotted arrows locating
the precise place in the music at which these changes are to
be made.

Tournemire was always conscious of tone color. Evi—
dence of this interest can be clearly heard in the combina-
tion of sounds used to produce solo sonorities. A beautiful
combination found in his works is the use of the Voix Celeste
on one manual coupled at sixteen—foot pitch (octave lower) to a
flute of four—foot pitch on a different manual. Another fre-

quently found is composed of the Voix humaine, Bourdon (both

 

of eight-foot pitch), and tremolo. Occasionally identical
registrations would be required on different manuals and both
being played simultaneously. Sub—octave couplers are often

required.

As with his registrations, the composer is precise in

47

indicating the dynamic level. A peculiar problem exists,
however, when the performer tries to execute some of the
dynamic changes called for: crescendi and diminuendi obtained
by the use of a swell box on manuals II and I (Positif and
92229 ggggg respectively) are impossible because three-
manual organs at that time (including the one at Ste.
Clotilde) had only one enclosed division, the gégit expressif

(Example 24).

EXAMPLE 24. DYNAMIC INDICATIONS ON UNENCLOSED DIVISIONS.

Fragment, movement I, Suite No. 6 (L'orgue mystigue):

Bone

Dnlchnl
I" [ Bourdon 8

ll Bourdon 8
1 human! 0

 

PHI: PHI“ I

ferme'e

    

Boite ouverte

This example shows three, uncoupled manuals being
used (coupled manuals would be indicated by two or more Roman
numerals such as: II III, I II, or I II III). In each case
Tournemire states the setting of the swell box (i.e. "Boite

mi-ouverte") implying that each division has one. Such is

48
not the case, however, because only manual III--the fiégit
expressif--has one and is capable of dynamic nuance. Dynamic
changes, on the other hand, are possible on manuals that are

coupled and involve number III.

Devices

The seventh category of musical elements comprises the
many devices that are, for the most part, peculiar to Tourne—
mire's organ music. In the first group are pedal points and
in the second, repeated note and ostinato figures. Pedal
points consist of either a single note or pair of notes such
as open fourths, fifths, or octaves, and occur in either the
pedal or manual parts with an occasional "inverted" pedal--
the "pedal" point being located in the uppermost voice

(Example 25).

EXAMPLE 25. INVERTED PEDAL POINT.

Fragment, movement II, Suite No. 4 (L'orgue mystique):

113

 

Dom mi—ouvorto

 

Sometimes they can be quite short, in which case they often
occur at the ends of sections (Example 26), or they can be
rather long as in the Symphonie sacrée, measures 1-14 (refer

to Example 16).

49

EXAMPLE 26. SHORT PEDAL POINT.

Fragment, movement V, Suite No. 15 (L'orgue mystique):

at +0.13“. +Yotx one.“ . m
f“ ‘ lone torn“ -lou-doa
run. I

         

 

'uruu m .1111...

Figures made of rapidly-repeated notes, intervals, or
chords are a frequent device of Tournemire. These figures,
which occur in a variety of forms, are constructed upon one—
beat cells that are repeated. Example 27 illustrates the
various results obtained by applying this technique to a

number of different cells (shown in brackets).

EXAMPLE 27. REPEATED NOTE FIGURES.

Fragment, Piece II, Sei fioretti:

a. Tempo

A

 

80mm. 1!

 

50

EXAMPLE 27 (continued).

 

Fragment, Piece II, Deux fres ues s honi ues sacrées:

    

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

r
uh:
d
u
i
I

 

V'F' 3r 1" «by 1‘;

Fragment, Poéme III:

 

+ Aachen

Fragment, movement V, Suite No. 15 (L'orgue mystique):

 

51
EXAMPLE 27 (continued).

Fragment, movement V, Suite No. 22 (L'orgue mystique):

Poco “largando

 

I_______~\\

   
   

L—___J

Fragment, movement V, Suite No. 1 (L'orgue mystique):

poco neno
Bone formic

Bone rermc’o

 

Fragment, Word III, Sept chorals—poémes:

 

J: M (.m-

    

52
Ostinato patterns are simpler than the previous
group. These figures are usually made of cells which are one
beat in duration and are repeated for only one measure or
two. Sometimes, however, they would be composed of two-beat

cells and last for several measures.

£9.22

The discussion of form in Tournemire's organ works
will be limited to those types which he frequently utilized
and treated in a consistent manner. Although his pieces
resemble established designs, the designs are dnguised in a
rhapsodic style of writing. In a tribute to Tournemire on
the 100th anniversary of his birth, Searle Wright--an Ameri-
can organist and composer--wrote the following which aptly,
though not exclusively, applies to Tournemire's handling of
form: "The materials and basic techniques he employed are
more or less traditional, but become transformed into some-
thing fresh through the alembic of his glowing imagination."5

The simplest kind of construction used by Tournemire

is a short, through-composed type which has only one section.

Works of this sort are found in Postludes libres, Op. 68,

 

such as number 30 and among the shorter movements of L'orgue
mystique such as the third movements in Suites No. 9 and 14.
In pieces built upon ternary form, the relationship

between the first and second sections is such that the second

 

bSearle Wright, "Tribute to a Unique Talent," Music,
January 1970, p. 11.

53

is an outgrowth of the first, much in the same manner as the
codetta of a fugal exposition is Spawned by the material
which precedes it. The second part is usually shorter than
the first and contains more rhythmic activity. The return of
the opening portion is always altered, which establishes the
scheme of ABA'. Examples of this type are found in S3;
fioretti (pieces I, III, IV, V, and VI) and in the shorter
movements of L'orgue mystique, such as movement I, Suite No.
3 as well.

L'orgue mystique contains many pieces in rondo form.
Examples are movement V, Suite No. 14; movement III, Suite
No. 15; and movement V, Suite No. 30. Patterns vary from a
five-part form containing two alternating ideas (ABABA), to a
larger, seven—part structure which incorporates one repeated
and several new musical ideas (ABACADA). In some cases, the
Opening section does not return at the end, but a new one is
introduced instead, bringing the piece to a close. The
resulting patterns are ABABAC, as in movement V, Suite No.
14, and ABACAD, as in movement V, Suite No. 30-—both from
L'orgue mystique.

An example of rondo form in variation is found in the
Andantino. Every time the Opening portion returns, it is
altered: first in the accompaniment figure to the melody and,
second, through a change of mode and a change in the accom,
panying figure. The result of this treatment is the scheme
ABA'ABA".

Three forms that are rare in Tournemire's

54

compositions are: theme and variations, movement V, Suite No.
36 (L'orgue mystique); cyclic form, Triple choral; and a
passacaglia superimposed upon a ternary form, Word IV (§§p£_
chorals-poEmes). Although these forms offer many possibili—
ties for experimentation, he chose not to use them again.

All of the elements presented in this chapter play a
vital role in Tournemire's musical vocabulary. Although they
are employed in verying degrees and combinations by other
composers, they collectively form a language peculiar to his
organ compositions. To what degree these elements are pre—
sent in his symphonies, operas, choral works, and chamber
pieces must be delegated to a larger study; the degree to
which they are incorporated in his improvisations, however,

is explored in Chapter IV.

CHAPTER III

CONTEMPORARY COMMENTS ABOUT TOURNEMIRE'S
IMPROVISATIONS AND HIS WRITINGS

ABOUT IMPROVISATION

The improvisations for which Tournemire was famous
have all but vanished from the memories of the few remaining
organists who heard them. Those that were recorded have, for
nearly fifty years, been virtually impossible to obtain for
listening purposes. The discs mentioned in Chapter I are ex—
tremely rare; however, COpies, recently issued by E.M.I. of

France under the title Orgues et organistes franqais en 1930

 

(No. 20153—16411/5), now make this art available to today's
listeners. Although these recordings give only a glimpse of
Tournemire's skill, one must still rely upon documents con—
taining reviews of his improvisations or recollections by
close friends and students of his improvisations as indica—
tions of his ability in this art.

Louis Vierne (1890-1937), the noted French organist
and composer at Notre Dame, Paris, who was a contemporary of
Tournemire, was also a student at the Paris Conservatoire
National at the same time. In his memoirs Vierne recalls
episodes of the improvisation classes at the conservatory in

55

56

which both he and Tournemire were enrolled:

I was admitted as a pupil Oct. 4, 1890. I did some
plainsong and the exposition of a fugue at that first
class. "You will get there some day [said Franck]. Go
and work! I think you will be able to do the way your
friends Marty and Mahaut did. I am counting on Tourne-
mire and you for the next competition."

Tournemire had won the first accessit for that year
1890. A born improviser, he already diSplayed a strong
personality, and we, the young who were present at that
semi-public session when the tournament was being dis-
puted, captivated by the harmonies he discovered for
the free theme, felt that he should have had the prize,
but the jury preferred the more discreet Mlle. Prestat.
When Franck came upon an independent nature among his
pupils, a real temperament, he was delighted, and did
nothing to curb its expansion. Therefore he was very
fond of Tournemire.

"Come now, brighten up the class for us with a pretty
free theme," he said to him on Saturday, Oct. 18, at the
end of a class in which we had all floundered about
pretty much. The request was heeded, for Tournemire
improvised in a charming fashion upon a very simple
theme in A minor, almost a folk-theme, which he develOped
to an astonishing degree.1

On the 13th of December we had our first class in
improvisation [under the direction of Franck's successor,
Charles Widor]. Tournemire, as the first accessit of the
preceding competition, had to be the first victim. He
improvised a very correct classical fugue and a nice free
theme. However, our professor made minute criticisms.
First, the fugue seemed to him too arbitrary; he consid—
ered it strange that the subject should be obliged to
change mode even if that change made it lose its charac—
ter completely. The tonal plan also seemed to him ques—
tionable, and in that connection he cited liberties
taken by Bach in numerous organ or clavichord fugues.

A review of the recital that Tournemire gave in Lon—

don on February 22, 1936, puts his improvisational abilities

into greater perspective. In contrast to the enthusiastic

accounts by an admiring classmate this review reveals,

 

1Louis Vierne, "Memoirs of Louis Vierne; His Life and

Contacts with Famous Men," The Diapason, October 1938, p. 13.

2Ibid., p. 10.

57

through a less-biased writer, the techniques of a mature mu-
sician:

. . . At the close, M. Tournemire improvised for twenty
minutes on a theme . . . The subject he [Sir Walford
Davies] submitted, although self-complete, was in fact,
as he pointed out to me and as I pointed out to M. Tour—
nemire, a four-phrase theme condensed to three phrases,
and we expected that the player would take pleasure in
expanding it to four as the needs of the moment appeared
to him. Not so our literal—minded neighbor; on only two
occasions did he subjoin some kind of fourth limb. More—
over he made far less use of the choral than he did of
the "éléments accessoires," [sic] and he added a good
deal of unrelated material. This again was as one might
have expected. The whole improvisation was a revealing
sidelight on the published compositions. . . . The im—
provisation, like the composition, showed immense facil-
ity in the handling of small musical motives, a sense of
organ tone, a sense of the architecture involved in set-
ting climax against repose, a trick of polytonality, and
a whole bagful of mannerisms. Of actual form, as we un—
derstand it in music, of relatedness to the matter in
hand, there was very little. The improvisation was in
fact very like the published pieces; and it showed just
how good they are and just how easy they are to write——
how much of them is the composer plus a distinctive idea
and how much is the composer alone. M. Tournemire, like
other organists of his race, has achieved great facility
in treating the plainsong themes which he handles daily,
and he has in addition develOped a polytonal technique.
Granted these, there is no end to the admirable music he
can produce; and conversely, in all he produces, we find
the same materials. The weakness of the Tournemire
pieces, it seems to me, is their alikeness. It is true
that examination reveals the consistent use of a theme;
but the themes themselves are alike, having first been
flattened out to the same degree of timelessness. The
improvisation confirmed the impression that it is only
upon these conditions, with a certain type of theme, that
M. Tournemire chooses to work. . . . But one cannot be
wrong in saying that M. Tournemire is a charming improvi—
ser, a valuable link with 19th—century France, and a
figure whom one will always respect.

Another point of view comes in the form of a tribute to Tour—

nemire by one of his American pupils, Hugh Giles:

 

3Harvey Grace, ed., "Organ Recital Notes," Musical

Times (London), no. 79 (April 1936), pp. 343—344.

58

Again the grand-orgue Of the Basilica of Ste.
Clotilde in Paris has lost its master. No more do the
Gothic arches resound with the noble improvisations of
unearthly beauty. . . .

Those who have heard his improvisations have been
overwhelmed with their magnificence and imagination. His
compositions show the same mystic beauty and originality.

His compositions show a most fertile imagination and
great originality Of rhythmic and harmonic material. An
exquisite balance Of form and charm Of style give his
compositions great refinement. He leads us down unex-
pected4vistas Of beauty that are almost breath-taking.

Maurice Duruflé, the respected French composer who
transcribed Tournemire's improvisations, echoes some Of the
sentiments mentioned above, but has a different Opinion re-
garding the relationship between the written and improvised
works. Agreeing with the comments Of both Vierne and Giles,
Durufle recalls how Tournemire once improvised at his lesson:

. . . For a full twenty minutes, using the same capti-

vating theme he had given me, he embarked upon One of

those inspired improvisations whose secrets he alone

possessed. Form was irrelevant: pure music flowed up

from the deep springs of his being. It was miraculous.

. . . in the course Of those twenty minutes of sheer won—

derment, I had been so overwhelmed by what I heard, that

the music pursued me long after the lesson. . . .5
Contrary to the Opinion stated by the reviewer of Tourne—
mire's London recital, Duruflé, in an interview, had the fol—
lowing tO say concerning the relationship between Tourne—
mires written and improvised pieces:

. . . His written compositions were very different from

his improvisations. I am not saying that I do not like
L‘Orgue mystique, but there was a spontaneity, an impulse

 

 

4Giles, "Charles Tournemire," p. 48.

5Maurice Duruflé, "My Recollections of Tournemire and
Vierne," The American Organist, November 1980, p. 54.

 

in his improvisations, tiit is not found in L'Orgue
mystique. L'Orgue mystique is music that gives the im—
pression Of being worked out at a desk.b
Despite the different points of view expressed, two elements
regarding Tournemire's improvisational style recur in these
accounts: his harmonic style was to some extent atypical Of
that which prevailed at that time and his musical imagination
was enormous.

On the topic Of improvisation Tournemire himself has
written much. His Opinions on the subject are expressed in
his biOgraphy Of,CESar Franck as well as his two pedagOgical
works on organ technique. The high degree of seriousness

which he exhibits toward this aspect of the performing art is

evident in the remarks found in his book César Franck:

 

. . . Harmony, counterpoint, fugue, composition, and
orchestration are indispensable, fifteen year's study at
least. Reading and analysis Of masterpieces Of all peri-
ods; penetration Of all the forms that proceed from them:
six to seven year's absorption of music! In addition,
for the better assimilation Of capital works, OOpying
parts Of them. . . . and that is not all! Experience Of
life, fortified every day by meditation Of things other
than music, is sine qu§,qqg . . . we will even go so far
as to say that one cannot improvise maturely until one
has reached the third period of human life.

The Petite méthode d'orgue is a pedagOgical work
geared tO the beginning organist with limited ability. In
his bOOk there is a section on improvisation which deals only

with the accompaniment of Gregorian chant. There the

 

6George Baker, "An Interview with Maurice Duruflé,"
The American Organist, November 1980, p. 58.

7Charles Tournemire, Cesar Franck, uoted in Harvey
Grace, ed., Musical Times (London), no. 72 ISeptember 1931),
p. 801.

60
knowledge of some Of the items already mentioned in his biOg—
raphy Of Franck is stressed in a more subtle manner:
. . . To apply this [Tournemire's rules on harmonizing
chant] when one is totally ignorant Of musical technique
is we think——the surest means tO protect EEiEj oneself
from impossible harmonies and unacceptable chord—prOgres—
sions which, especially in church, are nearly scandalous,
let us dare to say. . . . It goes without sqying that to
achieve a decent result one must have musical instinct.8w

It is in his Précis d'éxécution de registration et
d'improvisation a l'Orgue (published in 1936) that Tournemire
discusses the art of improvisation at length. The final
chapter of this work is the one in which he deals with the
tOpic under consideration. He begins with a philOSOphical
view on the subject, follows it with reflections Of the im—
provisations of Franck, discusses exercises in the art, gives
examples illustrating thematic treatment, and devotes several
pages to an analysis Of a work which should serve as a model
for the student.

In the Opening section Tournemire states in very
strong terms the importance Of a solid musical background and
leaves no room for doubt concerning what should be a basic
musical foundation for the improviser:

It goes without saying that one must undergo long,
preparatory studies which is to say the careful study of
harmony, especially counterpoint, a strong concentration
Of fugue, and an intensive study of orchestration. Above
all, . . . understanding that he [the student] will be
able to honestly improvise only if he has previously had
the prudence to equip himself in the manner of which we

have already spoken. . . .
It is necessary to know everything[italics mine]

 

 

8Charles Tournemire, Petite méthode d'Orgue, (Paris:
Editions Max Eschig, 1949), p. 41.

61

about music for one to claim to be an improviser. . . .9

The importance Of this branch Of the organ is such
that one can clearly state that an organist who is
"paralyzed"——in the figurative sense of the word-—that
is, speaking of the inability to improvise, cannot really
be considered [an organist] in spite Of the great ability
Of his fega and hands, but that he is only half 2: E2

organist!

Also in this first portion of the chapter the author
expounds upon the art itself. He begins by giving a rather
poetic definition of the subject and follows it with comments
on its various aspects (which will be discussed subsequently).
His definition is: "The art of improvisation is like a type
of illumination which suddenly enlightens the soul of the
artist--the door toward higher ground—-and the process [of

improvising] disappears completely when the idea is noble,

the emotion real."ll He continues by discussing the use Of

counterpoint and mentions its limitations in that art form:

It is thus that the improviser feels drawn by a mys—
terious force in which he finds himself in a beautiful
passage without the narrowness and naive preoccupation
to elaborate well on poor counterpoint between two
voices, a cold trio on the manuals, or some other combi—
nation. . . .

At the time Of the improvisation, it is nearly impos—
sible, in a drawn—out way, to attain the purity of
contrapuntal writing as is found in a work which is
realized over a long period of time.

Nevertheless, and as a kind Of miracle, certain uses
of polyphonic devices are, and should be, strongly per—
ceptible to the ear trained in these exercises. . . .12

 

9Charles Tournemire, Précis d'éxécution de registra—
tion et d'improvisation a l'orgue (Paris: Editions Max
Eschig, 19367, p. 102.

lOIbid., p. 104.

11Ibid., p. 102.

12

Ibid., p. 102.

62

Tournemire's concern for tonal color and the degree
to which he indicated registrational changes have been noted
in Chapter III. In the Precis he briefly states the impor-
tance Of the knowledge Of orchestration as it applies to the
organ and mentions the effect of orchestration on the quality
Of musical ideas:

The knowledge Of orchestration (of which we speak
again) is something indispensible because, at the organ,
the coloration Of the registration Of a piece or an
improvisation plays a primary role.

That is so true that even mediocre ideas that are
well orchestrated can, after they are listened tO for a
while, 3138 the listeners the illusion of being truly
musical!

Tournemire follows these remarks with two significant state-
ments: the first concerns the choice Of thematic material and
the second, the overall form itself. Regarding the first he
recommends the use Of relatively short themes which are Of
high musical quality. About the second he states:

In addition, an improvisation is concise Of means,
moreover it has the chance to be excellent. It is curi—
ous to think what is necessary in an improvisation to
give it the illusion Of being a written work:

good and concise eXposition;
definite mark of the develOpment;
sensible return Of diverse periods;

seductive coloration;
and a compact conclusion.

SDWSDSD

Following reflections of the improvisations Of Franck
and comments about the organ at Ste. Clotilde upon which he
played is a discussion of the three exercises in improvisa—

tion that were given in the organ class at the conservatory.

 

131bid., p. 103.

141pm., p. 103.

63
These exercises were the: (1) harmonization of plainsong in
four voices with the cantus firmus in either the SOpranO or
bass voice, (2) improvisation Of a fugue, and (3) improvisa—
tion Of a theme in sonata allegro form.
TO explain the first exercise, Tournemire includes
examples illustrating the harmonization of a Gregorian melody

with the cantus firmus first in the bass voice and then in

 

the soprano. In outlining the second—-the fugue——he states:

The improvised fugue to which we have alluded is
"naturally" based on the following scheme:

exposition;

counter—exposition;

relative minor of the tonic before the response
of the relative Of the dominant;

sub-dominant; relative minor of the sub-
dominant;

dominant pedal;

stretto;

and tonic pedal.

15

His explanation of the third exercise, improvisation of a
theme in sonata allegro form, is limited to a discussion Of
the develOpment Of that form.

A description utilizing musical examples Of how to
harmonize a theme follows. A theme written in the Dorian
mode is first given (Figure 5) and is immediately followed by
five different examples illustrating ways in which it can be
treated.16 Tournemire calls this example a verset f0?m-- a

series Of short verse fragments (from chant) used alternately

with plainsong in the mass.

15Ibid., p. 106.

lbIbid., pp. 108-109.

64
FIGURE 5. THEME TO BE TREATED.

Theme from Précis, p. 107:

 

In the first illustration, also in the Dorian mode, the theme
is placed in a homophonic setting. It is first presented in
the soprano voice and, after two measures, returns in the
baritone. In both cases it is complete and unaltered. Dif—
ferent, transposed fragments are found in the soprano part
showing how they can be incorporated into accompanying lines

(Figure 6).

FIGURE 6. FIRST VERSET.

Illustration from Precis, p. 108:

 

   

Vol: eélnle u

 

In the second illustration only fragments of the theme are
used. In this three-part, contrapuntal setting the latter

portion of the theme is first stated alone in the bass voice.

65
At a point where the three-part texture is resumed even
shorter fragments are utilized in each voice. These segments
are interwoven into their reSpective melodic lines. This
verset closes with a cadence containing all the notes Of its

first fragment but in a vertical relationship (Figure 7).

FIGURE 7. SECOND VERSET.

Illustration from Précis, p. 108:

Allegretto

    

ll!
Bourdon 8
Plate doucc 4

 

The theme returns to the uppermost voice in the
third example where it appears once—-in the first four
measures. A three—part texture is again employed and the
rhythmic structure Of the melody is altered by augmenting the
third, fourth, fifth, sixth, and seventh notes. NO fragments

are used in this verset (Figure 8).

66
FIGURE 8. THIRD VERSET.

Illustration from Préels, pp. 108—109:

Allegro mod'.“
I

 

t'l'—--__—-___—-‘—

 

This treatment of alteration by retaining the actual notes,
but changing their duration, is continued in the next ex-
ample. In both occurrences of the theme the note values are
arbitrarily changed to suit the situation: the first, in a
two—part texture consisting mostly Of intervals of seconds
and fourths; and, in the second, as a solo line leading into

a cadence (Figure 9).

67
FIGURE 9. FOURTH VERSET.

Illustration from Precis, p. 109:

Dell

   
 
 
 
  
 

ll!
Quinuton 10
Bourdon 8

l!
Bourdon 16

 

 

The final illustration, like the first and second,
utilizes fragments of various lengths; however, a particular
one is prominant in this verset. This fragment consists Of
the fourth, fifth, and sixth notes Of the theme and is used
sequentially. The two longer ones (each containing five of
the theme's seven notes) have the same rhythmic structure but
differ from each other in the choice Of notes drOpped from

the original line (Figure 10).

FIGURE 10. FIFTH VERSET.

Illustration from Précis, p. 109:

A llecretto

    

ll!
Trompette ham. 8

I!
Came! déconposahle

nil.

 

68

Most Of the fragments used are drawn from the latter
portion Of the theme. Although the Opening three notes could
have been used in a motivic fashion, Tournemire chose to pull
his shorter ideas from the portion which contained the great-
est degree of melodic activity. This is especially true Of
the segment in Figure 10 which contains three Of the theme's
more active notes.

Following these illustrations Of some Of Tournemire's
improvisational techniques three short melodies are supplied
on which the student should practice in the manner shown.
Three longer melodies are also given which the student is ex—
pected to harmonize as outlined in exercise two Of the three
taught in the conservatory's organ class. After briefly
mentioning the different types of pieces that one can impro—
vise (i.e. versets, interludes, chorales, fugues, fantasies,
variations, rhapsodies, etc.), Tournemire makes Specific
reference to cyclic form and gives an analysis Of a model in
that form.

This analysis17 consists Of a series of musical pas-
sages interspersed with comments describing what should occur
between each illustrated section. First, the theme is pre—
sented. It is rather long and only a portion (shown in brack-

ets) is cited throughout the model (Figure 11).

 

17Ibld., pp. 111-114.

69
FIGURE 11. THEME OF MODEL.

Illustration from Precis, p.111:

 

 

 

 

 

r'lll. Folds. hm" mixtures '
1) JF]

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

ll. hu- 0 (Bourdon, Illa)

 

At the end of the theme a second voice enters on a different
manual. This voice is a real answer to the theme (so far as
the model can be analyzed).

After this answer (which Tournemire calls a response)
a "blossoming forth"18 of the melody takes place. This is an
alteration (through intervalic change) Of part Of the theme
set against a sustained major seventh chord. It is placed at
this point to give the composition what Tournemire calls
"body." Figure 12 shows his example along with a portion Of

the answer from which it comes (altered notes are designated

by asterisks).

 

181bid., p. 112.

70
FIGURE 12. MATERIAL FOLLOWING RESPONSE.

Fragment, original theme (Précis, p. 111):

l I 7

 

Alteration (Précis, p. 112):

I]. Bourdon 8

 

Next, Tournemire suggests that a "commentary"19 on

the Opening takes place. He does not describe its composi—
tion, but only states that it should be long and varied. A
reappearance of the alteration follows, transposed up‘a half

step (Figure 13).

FIGURE 13. ALTERATION TRANSPOSED.

Illustration from Précis, p. 112:

 

Tournemire next advises the reader that a new musical

idea should be presented. He suggests that it be derived

 

191b1d., p. 112.

71
from the free material Of the beginning and set contrapuntal-
ly with two other voices. Tournemire gives no further elabo-
ration Oh how to develop the theme in this part Of the impro—
visation. Next, he states that the center of the piece
(model) is an adagio whose theme is the head Of the Opening
melody. The head Of the theme is woven into a five—voice
texture—-the first half Of the theme sounds in the SOpranO

voice and the second half, in the alto voice (Figure 14).

FIGURE 14. MIDDLE SECTION.

Illustration from Précis, p. 112:

Adagio
nu .

    

Quintan- 10
Vol: “lute
Gal»

(1.. O)

 

’3

He writes that a period of long develOpment comes after this
section, but does not describe any Of its characteristics.
He does state, however, that it should end with some "Myste—

rious chords"20 and cites an example (Figure 15).

 

2

0
Ibid., p. 112.

72
FIGURE 15. END OF MIDDLE SECTION.

Illustration from Précis, p. 112:

 

A bridge section connecting the middle adagio portion
with the conclusion is shown. It begins with a fragment of
the theme (notes two through eight), quickly digresses to a
series of staccato chords unrelated to the theme, and moves
on to a pedal passage which should "continue for some time .

."21 (Figure 16).

FIGURE 16. BRIDGE SECTION.

Illustration from Précis, p. 113:

 
    
     

 
   

 

 

I'.
55
n"

 

  

‘ A
~

This pedal cadenza which leads into a return of the melody
begins with fourth, fifth, and octave leaps (last measure,
Figure 16) and ends with fragments of the theme (second

measure, Figure 17). At the point where the theme returns,

it is placed in the topmost voice and receives two different

 

211bid., p. 113.

73
treatments: the first half is doubly augmented and set in a
slow moving, four—part, homophonic texture which incorporates
a pedal point; the second half is presented in note values
half the duration of the original and placed over a sustained

chord (Figure 17).

FIGURE 17. RETURN OF MELODY.

Illustration from Précis, p. 113:

 

 

 

 

In the next part of the model Tournemire puts the
melody in the pedal (Figure 18). Again, augmented, the
theme takes on a slightly different character because some of

the notes are displaced an octave (shown by asterisks). This

74
treatment is accompanied by a single line of triplets punctu—
ated by rests where the notes of the melody change on the

beat.

FIGURE 18. ALTERATION OF MELODY.

Illustration from Précis, p. 114:

 

 

This style continues into the coda at which point the accom—
panying voice uses a repeated fragment of the theme (in
brackets) against a trill and two voices in the pedal (Figure

19).

FIGURE 19. CODA.

Illustration from Précis, p. 114:

 

 

The conclusion consists of four basic elements
(Figure 20). The first element is a pedal point in the tonic
which lasts for four measures. The second is consecutive

leaps of a fifth and fourth in the pedal part which are

75
derived from the fragment in Figure 12 (page 70) and are re—
peated in Figures 13 and 16 (last measure, pedal part). The
third element is a repeated fragment of the head of the theme
in the topmost voice (shown in brackets), and the fourth is
the regular alteration of three intervals in the middle

voices.

FIGURE 20. CONCLUSION.

Illustration from Précis, p. 114:

 

 

This model contains a number of remarkable character-
istics. First, the melody is quite long and usually returns
(along with its fragments) to the original key center.

Second, development of the theme is limited to fragmentation,
augmentation, and diminution. Third, the model uses many
varied styles of writing from one section to another. Fourth,
short musical cells used in repetition form the basis for
some sections. Fifth, the work is multimetric in style and,

sixth, is rhapsodic in nature.

76

A chart showing the format Of a classical sonata with
a description Of the basic sections Of each movement is pre-
sented next. Tournemire advises the student that "The most
profitable study that one can do is to read a sonata of
Haydn, Mozart, or Beethovan every day; then, after this
study, take some of the same thematic elements and try to
develop them yourself."22

In his concluding remarks Tournemire suggests that,
when improvising, one should experiment with "ancient"
scales——namely Hindu scales and the ecclesiastical modes-—
for they can be used to add color to chorals, fantasies, and
sonatas. He does not describe the theory behind the con-
struction of the Hindu scales nor gives any suggestion as to
how they can be incorporated into an improvisation. He
merely presents a few examples Of the scales by listing them

in chart form (Figure 21).

 

22Ibid., p. 115.

77
FIGURE 21. LIST OF HINDU SCALES.

Table from Précis, p. 116:

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

1 II In
._ . V r. . -—r»-... it spam. ”kg m-
-5 - ’ 4rr**‘*-——‘—lirt" 5%

The figure showing the church modes, on the other hand, does

provide some information about their construction (Figure 22).

FIGURE 22. DESCRIPTION OF CHURCH MODES.

Table from Precis, p. 117:

 

 

 

 

 

 

 

 

 

 

 

 

 

Dominant D‘. of . D‘. of D‘. at
of 1c! lode 39 lode 5'? Mode 7? Mode
3 1 2 1
ll: 1“ 71 ’
Dominant D‘. at D‘. of D‘. of
of 29 lode 4'. lode 09 lode 8'; lode 4'
1'." lode 8'! lode 5! lode 79 lode
2‘; lode A! lode 8'! Mode. 89 lode
Sec-ks: .
r— l r 1 IT 1 In fl
Mir“ can 31"?” " “3,, a jg tn'fi'E—fléq
I} v
1*! e1 2'! Modes . 39 et 4'; lode: 69 at 6'? lode: 7‘? et 89 lodes

78

Two observations from this chapter On improvisation
need to be stressed because they have a direct bearing upon
Tournemire's improvisations: the first is that he recommended
the use Of short themes when improvising, and the second is
that improvised works have the same formal characteristics
as written pieces. Tournemire's improvisations utilize short,
Gregorian themes or segments Of themes. The ensuing analysis
in Chapter IV will reveal the degree to which the formal

characteristics are employed.

CHAPTER IV

ANALYSIS OF TOURNEMIRE'S
FIVE RECONSTRUCTED

IMPROVISATIONS

Improvisation is a form of spontaneous musical compo—
sition which contains the same basic musical elements as
written pieces. The fact that it is a fleeting entity makes
analysis Of those elements difficult. Prior to the age Of
electronic technOlOgy, listeners had to base their analyses
Of such works on one hearing and the memory Of that hearing,
vhich made their judgments somewhat speculative. The phenom-
enon Of capturing sound through the medium of electronics has
changed all this. Listeners can now be exposed to repeated
hearings Of an otherwise evanescent experience and the
results of this exposure are more accurate studies and Objec-
tive evaluations. These studies are made possible by the
transcription of recorded improvisations into conventional
notation. The present chapter is such a study.

This chapter deals with the Five Reconstructed Impro-

 

visations and will follow the outline Of Chapter II in the

 

analysis of those works and the classification of their musi-

cal elements. The various elements extracted from these

79

80

pieces will be grouped into the categories Of thematic mate-
rial, harmonic structure, meter and rhythm, ornamentation,
registration, devices, and form. Only those items will be
illustrated which frequently occur and, because Of their
recurrence, help to define Tournemire's compositional style
as it applies to improvisation. The numbering Of the impro-

visations found in the Durand edition—-No. I, Petite rapsodie

 

improvisée; NO. II, Cantiléne improvlsée; NO. III, Improvisa-

 

tion sur le "Te Deum"; No. IV, Fantaisie-Improvisation sur 1'
"Ave maris stella"; and No. V, Choral-Improvisation sur le
"Victimae,paschali"-—will be used in all musical examples

instead of quoting their sometimes lengthy titles.

Thematic Materials

This category will be divided into three portions.
The first presents the thematic elements Of each piece and
shows (if applicable) the sources from which each is derived.
The second illustrates how each theme is treated during the
course Of the improvisation, and the third relates how these
points compare to Tournemire's philOSOphical views on the
subject Of thematic use in improvisations.

The materials found in four of the five improvisa—
tions are mostly short themes consisting Of from 4 to 12
notes. The first improvisation——Petite rapsodie improvisee--
is the only one that incorporates a long theme. Of the four
works which utilize these short themes, three have plainchant
melodies for their sources and the handling of the chant in

each case is the same: only short (sometimes paraphrased)

81

sections of the plainsong are used. All Of the thematic
material is modal. Example 28 gives the themes used in each
improvisation and, in the cases where they are extracted from
chant, shows the relationship Of that material to its origi-
nal source (small notes in the original example indicate

notes deleted in the paraphrasing process).

EXAMPLE 28. THEMATIC ELEMENTS.
Theme, Improvisation I:

IEI

  

 

Themes, Improvisation II:

 

Themes, Improvisation III:

original paraphrased
(fragment) version

 

”k:

 

 

d:
\H
(L.
I
m
.4
>

 

 

 

 

 

   

82
EXAMPLE 28 (continued).

Themes, Improvisation IV:

    

 

 

original paraphrased
(fragment) version
A
A ‘7 A A

 

 

Themes, Improvisation V:

original paraphrased
(fragment) version

 

. V 0 O O I Q
The Petite rapsOOIe ImprOVISee stands out as the only

example of Tournemire's recorded improvisations to use a
lengthy theme. This theme, unlike the others, consists Of
two repeated phrases. The first phrase establishes the

Lydian mode by beginning on the dominant Of that mode and

83

ending on the final. The second phrase, also beginning on
the dominant, ends on the submediant which gives no feeling
of finality. One is left with the impression that there is
yet another phrase Of the melody which the listener has been
denied--a phrase which, like the first, comes to rest on the
final of the mode.

The first time the theme appears, both of its
repeated phrases are separated by short passages. The first
phrase, when it is repeated, is slightly altered by the pro—
longation Of one note, but the second phrase remains intact
(Example 29). The second time the theme occurs further
alterations are made—-notes are added, deleted, rhythmically
changed, substituted by other notes or chromatically altered,
and rhythmically displaced in the measure. The third and
last time the theme appears its phrases are not repeated.

The first phrase remains unaltered from its previous appear-
ance, but further displacement and slight changes in rhythmic
value mark the second. In every case the melody never leaves

the tonal center in which it was first presented.

84
EXAMPLE 29. MELODIC CHANGES IN IMPROVISATION I..

Original phrases:

      

 

First variation:

  
  

 

A

   

I.

Second variation:

 

A

There is only one published composition by Tournemire
that contains a theme even remotely similar to this one--

Pastorale from Suite de morceaux (refer tO Example 3, page

 

20). Although their phrase structure and treatment are sub-
stantially different, there are four similarities between the
two themes: they are modal, they strongly emphasize a key
center, they fall on the same notes as when first presented,
and they are written in a lilting, 6 meter.

8

One motive is present in the Petite rapsodie

 

85

improvisée. It consists Of a three—note cell derived from
the head Of the melody and occurs several times during the
course Of the work in four different variations. The most
closely related variation tO the theme is that taken directly
from the head Of the theme (Example 30). It appears in
measure 63 and is repeated four times. The next closely
related variation involves intervalic contraction and is
found in measure 102. In this appearance the melodic major
second interval is changed to a minor second and the motive
is accompanied by another voice in parallel motion. The
third form incorporates intervalic expansion and rhythmic
diSplacement: the major second is enlarged to a perfect
fourth and the cell begins on the third beat Of the measure
rather than the first. The final form Of the motive is an
inversion of the original with its last note extended. The
appearances Of these variations do not correspond to any
lOgical order: the first time the motive occurs it is in its
most remote form and, as the piece prOgresses, the listener
is exposed to the third, first, and second forms respec-

tively.

86
EXAMPLE 30. MOTIVIC TRANSFORMATION IN IMPROVISATION I.

Head Of melody:

 

Forms of motive:

 

 

 

 

 

 

The CantilEne improvisée is built upon two short
themes rather than a two-phrase melody. These two themes,
constructed in the Hypodorian mode, are closely related yet
independent (refer to Example 28). One might think that the
first would be the more likely candidate for the greater
treatment; however, from the outset, it is the second that is
given prominence.

The order in which the two themes occur never changes
throughout the entire work, but the degree Of treatment does.
In the initial section of the piece where both are intro-
duced, the second is immediately followed by its repetition.
In the first return Of the themes (Example 31), theme "A" is

restated with one note changed (marked by an asterisk) and

87.
the penultimate note deleted. These two changes do little to

alter the character of the theme; however, "B" is consider—
ably altered in the restatement. In the restatement, a
descending triplet figure replaces the latter portion Of "B”
and continues in this manner in the next variation. In the
second return, "A" is rhythmically altered, contains two
added notes, and has its last two notes (Of the original)
deleted. "B" is transformed to the extent that only its
first two or three notes resemble the original. The final
return contains only one statement Of each theme: "A" remains
almost intact—-the penultimate note, again, is missing; and
"B" continues to be manipulated in the same manner as

described in the second return.

EXAMPLE 31. THEME TRANSFORMATION IN IMPROVISATION II.

First statement:

.

   
 

A

Second statement:

-/\

       

A.

 

 

 

88
EXAMPLE 31 (continued).

Third statement:

   

 

 

 

 

 

 

 

 

A
3:43: . t tar
A" BU". j 'I f I
7 L ,1

t *

Fourth statement:

 

3

AIII

B" H H

   

Throughout the piece, the initial theme is transformed less
and retains its identity more than the second which is sub-
jected to a greater degree of transformation and tends to
lose its identity as the work unfolds.

The Improvisation sur le "Te Deum" is also built upon
two musical ideas, both Of which are fragments of the chant
from which the piece derives its name. The primary theme Of
the composition consists Of the first phrase Of the hymn IE.
Deum Laudamus and the secondary theme is that which marks the
hymn's second portion, "tu rex gloriae, Christe." Both Of
these fragments are in the Phrygian mode and exhibit (to a
limited degree) the paraphrasing technique mentioned earlier.

In this improvisation the first theme is the more
important of the two. It is altered more than the second
which remains basically unaltered and untransposed throughout
the composition. The treatment Of the first theme follows
certain consistent patterns. First, the theme is magadized
(played in octaves)—-the Improvisation sur le "Te Deum" is

the only piece to use this technique extensively; second, the

89
rhythm Of the head is always the same——even when it is aug—

mented the rhythmic relationships Of the notes remain the
same; third, the latter half of the phrase is the portion
that is altered when treated; and, fourth, alteration Of the
theme is predominantly rhythmic. There is one place (measure
20) where a note is chromatically altered, two places
(measures 44 and 169) where a fragment Of the theme is used,
and three (measures 117, 132, and 160) where it is rhythmic-
ally augmented (once, doubly). Example 32 shows all the

transformations of the main theme.

EXAMPLE 32. TRANSFORMATIONS OF FIRST THEME IN IMPROVISATION
III.

First statement:

A

    

 

Subsequent statements (octaves eliminated):

In!

    

 

90

EXAMPLE 32 (continued).

1mm!

 

160 ,_\.,—~‘

 

Settings similar to the one in which the first theme
is found——the head of the theme presented in octaves followed
by the tail with chordal accompaniment-—are not present in
Tournemire's written works; however, one setting which
remotely resembles the type found in this improvisation is
employed in the final movement Of Suite NO. 44 Of L'orgue

mystique (measures 6 to 10).

 

A motive is derived from this main theme and consists
Of three notes. It occurs at the beginning Of a sequential
pattern found in the latter portion of the improvisation
(Example 33) and is never used in conjunction with the two

main themes.

91
EXAMPLE 33. MOTIVE OF IMPROVISATION III.

'———‘ a

    

Of particular interest are the notes on which the
themes are found. The primary phrase occurs nine times on
the same notes with which it was first introduced and once
each beginning on C, D, and F. The secondary phrase, how-
ever, is never transposed.

The thematic material Of the Fantaisie-Improvisation
sur l'"Ave maris stella" is also based on a plainsong hymn
melody. Although most of this short chant is incorporated
into the piece, half Of the penultimate and all of the ulti-
mate phrases Of the hymn are not used. Like the chants used

in L'Orgue mystique, this one is paraphrased (Example 34).

EXAMPLE 34. PARAPHRASING OF THE CANTUS FIRMUS IN IMPROVISA—
TION IV.

Chant, Ave maris stella (source: Chants Of the Church,
ed. Solesmes, Tournai: Desclée and Co., 1962, p. 87):

/—--—_—~

 

A-ve ma-ris stella, De-i Ma-ter alma, At-que sem—

 

per Vir—go, Fe—lix cae-li porta.

92
The transformations of the three phrases used in this

improvisation are numerous and the degree to which each is
treated varies. Of the phrases shown in Example 34, the
second phrase is given the greatest amount of variation; the
first phrase, a lesser amount; and the third, the least.

The first theme (based on the first phrase of the
chant) is found in its complete form ten times during the
improvisation (measures 1, 6, 47, 54, 60, 87, 91, 185, 322,
and 348) and a motive based on its first three notes appears
Often (measures 32, 40, and 44, for example). In all but one
place—-where the theme is transposed up a whole step (measure
47 to 57)-—both the theme and its motive are found on the
same notes as when they were first presented.

Tournemire changes the themes three ways: altering
notes, and adding or deleting them (used predominantly);
augmenting the phrase; and fragmenting it. Example 35 illus-

trates some Of these transformations.

93
EXAMPLE 35. THEMATIC TREATMENT IN IMPROVISATION IV.

First statement:

    
 
 
 
 
 
 
 
 
  

Alteration Of note values:

[6!

 

III I,””"—* Tfi_~“‘

[EC—.3]

Augmentation Of phrase:
185

Fragmentation of phrase:

El!

 

 

 

 

 

 

 

 

 

 

 

 

94
The second theme differs from the first in its hand-

ling as well as its melodic contour. The theme is subjected
to a few more transformations than the first and it occurs
more frequently. This one is found twenty—two times during
the course Of the composition and, in seventeen instances,
falls on the same notes as when it was first presented. It
is also broken into seven fragments (Example 36). The frag-
ments drawn from theme "A" are two in number--one is used
only once and the other becomes a motive. Fragments drawn
from "B", however, exist in five forms and occur on the same

notes.

EXAMPLE 36. RELATIONSHIP OF SECOND THEME MATERIAL IN IMPRO—
VISATION'IV.

First statement:

 

 

 

 

 

Related fragments:
an 171
ii:

5....._!__.—_

 

 

 

 

 

 

 

 

 

 

Addition Of notes:
uni

 

 

 

 

 

 

 

 

95
EXAMPLE 36 (continued).

Rhythmic alteration with note changes:
HIE!

    

 

Metric displacement:

‘96

    

Related fragments:

In!

 

III!

m .

 

 

 

 

 

 

Augmentation:

   
 

96
The third thematic element plays an insignificant

role in this piece. This four—note phrase (Example 37) never
changes its character and is found only four times in the
piece, all within the same section (measures 127, 129, 151,
and 153). Although the relationship Of the individual notes
never changes, it is doubly augmented in measure 153 and con—

tains only the first three notes.

EXAMPLE 37. THIRD THEME, IMPROVISATION IV.

f—K

    

In the Choral—Improvisation sur le "Victimae pas-

 

ngli," four plainchant phrases are employed; however, only
one phrase is used thematically in the piece and, like some
of the other themes founded upon cantus Eiifliv this one is
based on the beginning Of a plainsong sequence. The develOp—
ment Of the theme follows the same pattern as that used in
other improvisations--it is both fragmented and varied
through rhythmic and intervalic alteration. This second
method is the more prevalent and results in fifteen transfor—
mations in the work. Unlike the other themes which revolve
mostly around one tonal area, this one moves into several
other areas (E, E—flat, A, B, G-flat, and F). Example 38
emphasizes some Of the more striking variations Of this

theme.

97
EXAMPLE 38. THEMATIC TRANSFORMATIONS IN IMPROVISATION V.

First statement:

, .——’—,—.

 

Transformations:

I! , ' riLn

    

 

E

 

Fragments:

El

 

In this improvisation, the theme (phrase A Of the
chant) is introduced in a setting Of block chords and returns
in a similar situation six times (measures 5, 15, 27, 32,
108, and 144). Other settings include homophonic writing,
sometimes with a slower harmonic rhythm than that found in

block chord arrangements (measures 19, 20, 40, 44, and 61)

98
and a contrapuntal section at measure 50. Movement V from

Suite NO. 30, L'Orgue mystique, is similar to this improvisa—
tion in that it contains short, chordal settings of the theme
interspersed with other styles Of writing. The theme, accom—
panied by block chords, however, does not exist in this move-
ment.

The tail fragment of this theme (last item in Example
38) is used in the slow, middle section of the improvisation
and is the subject matter of that portion. It occurs five
times. Three other phrases Of the sequence (refer to Example
28) are found in the closing section; however, each only

occurs once 0

Harmonic Language

 

Analysis reveals that the Cinqgimprovisations are

 

primarily conceived from an harmonic standpoint--an approach
evident in Tournemire's early compositions. Although these
improvisations come from a period in which the harmonic
language of his written works contains faster harmonic rhythm
and little repetition Of material, they do not reflect that
same complex style. In the improvisations the harmonic move-
ment is generally slower, there are frequent repetitions Of
harmonic prOgressions, and the tonal centers exhibited are
fewer in number. The following study Of each piece will
reveal the harmonic nature of Tournemire's style.

The Petite rapsodie improvisée is a short, straight—

 

forward piece in F major that never modulates from the

99

original key. The melody is always found in the same tonal
area, but the harmonies which support it sometimes change.

In the Opening statement of the melody, the first two
phrases are supported by harmonies that emphasize the tonic
and the second two, by those which emphasize the mediant
chord and tonic respectively. When the melody returns, the
first phrase is built around the tonic key and the second, on
the submediant chord. The second two phrases are, again,
constructed around the mediant chord and tonic key. In their
final appearance, before the closing section, both portions
are predominately supported by a mixture Of tonic and sub-

mediant harmonies (Table 2).

TABLE 2. HARMONIC EHPHASIS IN IMPROVISATION I.
First statement:
Phrase—— A A B B
Harmonic area-— tonic tonic mediant tonic
Second statement:
Phrase—_ A A B B
Harmonic area—- tonic submed. mediant tonic
Third statement:
Phrase~— A B

Harmonic area—— tonic/submed. tonic/submed.

Most Of the harmonic interest of this piece lies in
those sections in which the melody is absent, such as the
introduction and episodic passages. In this reSpect the

Petite rapsodie improvisée is similar to Tournemire's

100

Andantino. In these sections one finds a greater variety of

chords as well as quicker harmonic rhythm. In the introduc-

tion, for example, a chord constructed upon fifths alternates
with a whole tone cluster; this is followed by a contrapuntal
measure in the tonic alternating with a measure Of first

inversion and root position chords (Example 39).

101
EXAMPLE 39. INTRODUCTION OF IMPROVISATION I.

OHNTM. wuoa Tong cumin“.
WWW Y ' mew-r mum“!

MANUALE

 

PEDA Ll

mza(€‘=- 511' -g ' mm

WW6 ‘Dso saga..."

 

v n .
N Y n NIIIq 1 v i w

A comparison of the differences in harmonic rhythm between
passages containing thematic material and those which do not
can be seen in Example 40 in which a link passage precedes a

statement of the melody.

102
EXAMPLE 40. COMPARISON OF HARMONIC RHYTHM IN IMPROVISATION

I.

LINK PASSAGE: QUKK- HARMONIC Ruv‘n-IM

 

 

 

‘

 

. b "‘ 3 ..
F vn I! I! 24.
1 I STATE MEN? : Stew am Home luwu H —-..

 

Aside from the tonic chord which is employed to

establish the tonality, submediant chords are prominent and
next in importance are chords built upon both seventh and
lowered seventh degrees. Mediant and dominant chords appear
less frequently and supertonic and subdominants are least
used.

In this improvisation Tournemire is least adventurous

from an harmonic standpoint. The non—modulating nature of

103

the piece coupled with a melody that is never transposed and
an emphasis on a few selected chords (tonic, submediant, and
mediant) reflect his decision to work within those harmonies.
In the introduction, conclusion, and intervening episodes
which Tournemire presents new or nonthematic material, one
finds glimpses of a composer who has command Of a much larger
harmonic vocabulary.

Harmonically, the Cantiléne improvisée is slightly
more interesting. Not only does one find themes with greater
develOpment and wider harmonic treatment, but a more inter—
esting tonal structure.

The piece begins in D minor with a four-chord intro—
duction. The tonic is not established, however, until the
fourth measure where it is then continued for the next four
measures. After a short episodic passage, theme "A" returns
(measure 13) in D minor but this section quickly modulates to
G minor (measure 16) where theme "B" is restated. Following
this statement, the piece then modulates to F major at
measure 19, to A minor at measure 29, and back to F major at
measure 42 where it remains until the end of the work.

The harmonic rhythm used in this improvisation is
faster than that found in the first improvisatiOn and its
application to the accompaniment Of the themes is somewhat
consistent. With the exception of the initial statement,
where their roles Of activity are reversed, the harmonic
rhythm Of the first theme is slower than that which supports

the second and subsequent themes (Example 41).

104
EXAMPLE 41. HARMONIC RHYTHM IN IMPROVISATION II.

First harmonization Of the melody:

 

A/ \

     

1")

d; m" 12’ 133 i ; ,.

 

0') 0') 0‘) 1‘

Second harmonization:

A ', 'ar”‘—_———“‘r~\\
EEK—N... J3]

 

105

As far as the individual harmonies are concerned,
tonic, mediant, and submediant chords continue to prevail but
not so much as in the Petite rapsodie improvisée. Greater
use is made of subtonic, supertonic, and borrowed chords.
Seventh and ninth chords, including those based on the tonic,
are also found.

This improvisation contains four instances of paral-
lelism. Three examples (occuring in measures 51, 67, and 76)
each contain only three chords and all are of the real
variety. Only one case of tonal parallelism exists, found in
measure 64. This one is slightly longer in duration and

involves seven chords (Example 42).

EXAMPLE 42. PARALLELISM IN IMPROVISATION II.

 

 

 

 

 

Real:
-.— *fi',
. {If}

Tonal:

 

 

106

In the Improvisation sur le "Te Deum" Tournemire's
musical ideas blossom because he develOps them to a greater
degree. The harmonic versatility inherent in the chant frag—
ment contributes to this develOpment. Due to harmonic ambi—
guity resulting from the theme's Phrygian nature, two tonal
centers can be discerned and are alternately expressed in the
accompaniment. The result is a piece which begins in one key
and ends in another. Table 3 illustrates the keys used in
this improvisation and shows at what points they change

within the piece.

TABLE 3. KEYS EMPLOYED IN IMPROVISATION III.

 

 

 

 

 

 

 

 

m.1_______16 33___37 60....64
17___2O 24.—.32 38______59
21——23
ra e' g e 'a e' a
65————————73 89————105 124______16O
74 88 106_______123
E? f e f e
161 171
172———174 184 219
175 183
a é‘ b—flat e

(all keys minor)

107.

The predominant key is E minor with A minor being the
next most frequently used key. The sections in G minor and
B—flat minor are short and the two in F minor last fifteen
and eighteen measures respectively. As can be seen by this
brief analysis, the length Of time spent in various tonal
areas is short. Tournemire also chose not to wander tOO far
from the home key when stating principal themes.

The relationship between the pairing Of the A minor
and E minor sections (shown in brackets) is the result Of the
harmonic implications Of the chant. The first fragment Of
the cantus firmus emphasizes the key Of its third and last
notes, A; and the second fragment, its final note, E (Example

43).

EXAMPLE 43. HARMONIC IMPLICATIONS OF CANTUS FIRMUS IN

IMPROVISATION III.

First phrase:

 

Second phrase:

 

108
As a result Of this relationship, the modulations from A

minor to E minor are found most frequently.

In the third improvisation, several aspects of har-
monic material become evident for the first time. First, the
harmonic rhythm Of the statements and episodes is about the
same (unlike the preceding two improvisations in which the
harmonic rhythm Of the statements is slower than that Of the
episodes). Second, some material is brought back in an
almost identical form as it was when first presented (mea-
sures 17—18 and 38-39, for example). Third, the melody is
both magadized and supported by block chords--a pattern that
is utilized consistently throughout the work. Fourth, sus—
tained harmonies which halt the harmonic rhythm are employed
over several measures in episodic passages, but, because they
are sometimes arpeggiated, they add rhythmic interest to the
piece (measures 100-105, for example).

The modal aspect Of the themes influences some of the
harmonic material in the piece. The lowered seventh degree
inherent in the Phrygian mode Of the cantus firmus is
reflected in chords built upon the lowered seventh degree Of
the scale. This lowering of the leading tone harmony is
invariably substituted for the chord constructed upon the

seventh degree (Example 44).

109
EXAMPLE 44. LOWERED LEADING TONE HARMONY IN IMPROVISATION III.

_._. m
216

 

Diminished chords built upon the seventh degree of the scale
are also found, but these occur in secondary relationships
such as viin/v (measure 231). AlthOUgh the preponderance Of
certain chords (i.e., mediant, submediant, as found in the
first improvisation) is not apparent in this piece, the
addition Of thirds to produce seventh chords is.

The Fantaisie—Improvisation sur l'"Ave maris stella"
is the longest Of Tournemire's extant improvisations; how—
ever, despite its length, it does not contain as many modula—
tions as Improvisation III. Six keys——D, E, G, A, B-flat
(all minor), and F major——are incorporated into the piece
with less repetition Of the tonic and dominant key centers
than that found in the previous improvisation. Table 4 shows

the different keys employed.

110
TABLE 4. KEYS EMPLOYED IN IMPROVISATION IV.

 

 

m.1———-21 47——————-101
22-——-36
37 46
102 147
d g e d a
148-————-154 163-——-213 235-—276
155__.162
2l4___221

222__234

d a d b—flat F d

One aspect of this composition makes it the least
satisfying of the set: there is greater use of nonthematic,
episodic material than in the other improvisations. Because
the number of measures in each key is greater and the use of
themes, smaller, much of the length of each section is
devoted to presenting new ideas. Four long episodes
(measures 13-47, 70-86, 99-125, and 130-150) which contain
such material, are employed in the first half Of the work
and two (measures 157-174 and 191-221) are found in the
second.

These ideas (sometimes repeated) are usually pre-
sented in quick succession. Occasionally one, however, is
given over to greater treatment and provides the basis for a
longer portion of the section. Example 45 illustrates the

types Of materials found in these episodes.

111
EXAMPLE 45. EPISODIC MATERIAL IN IMPROVISATION IV.

Ideas repeated once:

 

Ideas used as a basis for passages:

 

    

-:—-——1

 

102 F——”——_’—————1

 

112

This repetition of material is also found in Tourne-
mire's published works, where it is used to a lesser extent.
In his nonimprovised pieces Tournemire was able to work out
his ideas with more care and less repetition except where
deliberately chosen. Example 46 shows repeated passages from

his published compositions.

EXAMPLE 46. REPETITION OF IDEAS IN PUBLISHED WORKS.

Fragment, piece IV (Sei fioretti):

Q
I

 

ri

 

 

Fragment, Word I (Sept chorals-poémes):

124
I q r 1

//”"'77 —_““\ //”"’f .__~\\

 

 

 

 

113
Of all five improvisations, the Choral-Improvisation

sur le "Victimae paschali" is probably the most familiar to
organists and the most widely performed. It is the most
exciting of the Tournemire improvisations, because it exhi-
bits a high degree Of thematic treatment and explores a
greater number Of tonal centers. It begins with two state-
ments Of the theme in G minor and quickly moves to E major
(measure 17) after passing through E-flat minor--a move which
is accomplished by an enharmonic modulation to the new key.
After an episode (measures 17-27) in which there is a return
tO G minor, a series of thematic statements follows in E
minor (measures 32-33), D major (40-41), E—flat minor (44-
46), and E major (50-51). An episode (52-60) then modulates
to E minor where the first half Of the piece ends. The
second half begins in E minor and, after a long episode which
begins at measure 84, moves to G minor (108), the original
key. D minor returns for a brief period (measures 113-122),
and the piece ends in G minor.

Several techniques of treating harmonies are employed
in the improvisation. First, the themes are predominantly
found in homOphonic "blocks," as in the third improvisation

(Example 47).

114
EXAMPLE 47. HOMOPHONIC SETTING OF THEME IN IMPROVISATION V.

[32!

 

Second, much use is made Of arpeggiated chords in episodic

sections (Example 48).

EXAMPLE 48. ARPEGGIATED CHORDS IN EPISODES.

[1'83

 

 

Third, where Tournemire desired to lengthen musical ideas and
unify his improvisations, he sometimes did so by repeating
certain ideas--a device also found in Improvisation IV.

The use Of parallel chords is also employed in some
Of these improvisations. This technique is more prevalent in
the improvisations than in his published works: it is used in

all but one--Petite rapsodie improvisée. In the Cantiléne

 

115

improvisée (measures 64-65), Improvisation sur le "Te Deum"
(measures 210-215), and Fantaisie-Improvisation sur l'"Ave
maris stella" (measures 13-16) the parallel writing is tonal.

Parallelism that is real is found in the Cantiléne improvisée

 

(measure 67) and in the Choral-Improvisation sur le "Victimae

paschali" (measures 139-141).

Rhythm

The rhythmic style Of the five improvisations is a
multimetric one. This style ranges from an almost monometric
one in the first piece (only one measure is in a different
meter and that change adds only one beat) to a style contain-
ing several changes Of meter evident in the other four impro-
visations. Tournemire's handling Of this aspect of his
composition in the improvisations is no different from his
published works.

Of the Petite rapsodie improvisée's one-hundred nine
measures, all are in 6 meter except one which is in 9

8 8'

Odd measure occurs early in the piece__during the initial

This

statement of the melody. The melody itself has a structure
that does not allow it to fit into a monometric scheme; con-
sequently, this single measure was employed. Tournemire--
apparently not content to alternate different patterns--
changed the length of the melody so that it would fit within
the uniform, recurring pulse of 2.
how he expanded the melody so that it would work within this

Example 49 illustrates

regular pattern.

116
EXAMPLE 49. RHYTHMIC EXPANSION OF MELODY IN IMPROVISATION I.

First statement:

E

 

Altered version:

IED

 

The multimetric style inherent in the other four
improvisations is also found in Tournemire‘s written works.
It is a practice he employed Often because it occupies the
greater portion Of his output. The flequency with which the
improvisations change meter, however, is slightly less than
in the published compositions. The metrical patterns that
are utilized in the improvised pieces are rather consistent.
Three meters are used in each Of the last four improvisa-
tions:l one is the prevailing meter and the other two occur
to a lesser degree. Table 5 lists in order Of prominence the
meters used in each piece (the prevailing meter is shown

first, outside the brackets).

 

1In the Choral-Improvisation sur le "Victimae pas-

chali," Duruflé transcribed the metrical group in measure
125 as a 6/4 bar. According to the harmonic movement that
occurs there, dividing it into one 2/4 and one 4/4 measure

seems more apprOpriate. The decision to interpret.it as
such is reflected in Table 5.

 

117
TABLE 5. METER USAGE.

 

r
4 2 3

II. 4 L4 4.
2 '4 3“

III: 4 ‘4 4i
4 P3 2'

IV. 4 L4 44
4 ’2 3“

V' 4 __4 4J

 

In the Cinq improvisations there is greater use of
uneven divisions of the beat than in Tournemire's written
compositions. On the average Tournemire employs sixteen of
these per page in the improvisations and only five in his
published works. Beats are usually divided into triplets,
quintuplets, and septuplets as in his written pieces; how—
ever, divisions into groups of thirteen, fourteen, and eigh—
teen notes per beat are found in the improvisations and
represent a departure from the divisions found in his other
organ pieces. These unusual divisions are found in only one

place—-Improvisation III (Example 50).

 

118
EXAMPLE 50. UNUSUAL SUBDIVISIONS OF THE BEAT IN IMPROVISA-

TION III.

 

Bimetric relationships are those in which two dif—
ferent subdivisions of the beat are executed against each
other. The type found in the Cinq Improvisations involves
triplets set against duplets. In these pieces septuplets
and duplets also occur but to a lesser degree. Quintuplets,
on the other hand, are not used with any other division of
the beat.

Regarding the use of rests, Tournemire utilized them

consistently in one manner. Statements of the main theme are

 

119

set off from the other portions of the composition by rests.
This creates thematic sections that are easily discernible.

The Improvisation sur le "Te Deum" and the Choral-Improvisa—

 

 

tion sur le "Victimae paschali" are the only two in which

this technique is used (Example 51).

EXAMPLE 51. USE OF RESTS.

Fragment, Improvisation III:

E23; 79

 

 

120

This use of rests is also found in L'orgue mystique.

 

For the most part these rests define larger sections than
those in the improvisations. Suite No. 1, movement II and
Suite No. 14, movement V, for example, utilize rests in this
manner.

The frequent changes in 32223 which are so character—
istic of the final movements of the suites of L'orgue

mystique are also abundant in the improvised works. In the

 

five improvisations these tempo changes generally follow a
pattern: in the beginnings of these pieces, statements of the
main theme are usually in a slower tempo than the episodic
sections which connect the statements. This practice is also
evident in the closing sections of Improvisations III and V.
Maurice Duruflé revealed in an interview the reason
for Tournemire's frequent changes in tempi in his composi—
tions: ". . . Tournemire . . . was impulsive, with a fiery

2
temperament."

Ornamentation

 

Ornamentation in the improvisations is limited to

trills, trills with added notes, tremolandi, and grace notes.

 

Both trills and trills with added notes are employed most and
under the same condition--they occur singly (with the excep—

tion of one double trill in Improvisation III). Grace notes,
however, occur in only a few instances. Example 52 shows

situations in which these ornaments are found.

2George Baker, "An Interview with Maurice Duruflé,"
The American Organist, November 1980, p. 58.

 

 

1 21
EXAMPLE 52 . ORNAMENTATION .

Trill (Improvisation I):

m .A/‘fi

    

tr

Trill with added note (Improvisation I):

t

 

Tremolando (Improvisation I):

 

 

Grace notes (Improvisation I):

Vl’

 

 

122

Elaborate closing figures in trills are rather common in his
written works; however, only two, short figures are found in
the improvisations. Both occur in the same piece, one fol—

lowing the other (Example 53).

EXAMPLE 53. TRILL WITH TAIL FIGURE IN IMPROVISATION IV.

183

bw~uw11 ¢h--~fl

       

Legistration

The registration used in the Gingilmprovisations fol—
lows the practices found in other French organ works of the
period. It does not exhibit the same great degree of experi—
mentation nor does it contain the kaleidosc0pic color changes

found in L'orgue mystique. For the most part, the registra-

 

tion of these improvisations is simple.

In the Petite rapsodie improviSEe only three basic
colors are used. The Cromorne 8' is assigned to the melody
and flutes to the accompaniment on the other manual and pedal
divisions; these sound qualities are used for a major portion
of the piece. The third sonority—-one which is also employed

in three other improvisations—-is the Voix humaine and

 

Bourdon combination which is used in the closing section of

the work. No complicated registrational changes are required

123

in this composition.

The use of the Voix humaine st0p is a point of inter—
est. In four of the five improvisations this stOp is used in
combination with others (most often with the Bourdon and
Tremolo). Its frequent use indicates that.Tournemire was
fond of this sound. The question of why he used it so much
will remain a mystery in light of his statement in the Petite
méthode d'orgggf "Voix humaine: reed stOp; in combining it
with the gambg, the Voix céieste, and the Bourdon 8', an
exquisite effect is obtained which, however, should not be
overdone."3

The registration of the Cantilene improvisée closely
resembles that of the preceding piece. Again only three
sonorities are used: a single flute color (with pedal flutes
at 16' and 8' pitches); a string celeste; and the ygix
humaine, Bourdon, and Tremolo combination. Unlike the Petite
rapsodie improvisée, no particular pattern is followed in
assigning these colors to certain portions of the piece.

The Improvisation sur le "Te Deum" utilizes a very
basic combination—_full organ-_with slight modifications. It
begins £333; and continues with that sonority for most of the
first half of the piece. At measure fifty the reeds are can-
celled in a manner found in Tournemire's written works—-they
are taken out of play on specific beats of the measure.

Example 54 shows the only instance where this practice is

 

3Charles Tournemire, Petite méthode d'orgue (Paris:
Editions Max Eschig, 1949), p. 33.

124
found in the Cinq improvisations.

EXAMPLE 54. SUBTRACTION OF STOPS IN IMPROVISATION III.

!
I2

 

 

   

      
   

(ream nummub saiumw Hnnw
Plum. Fowmnous FNNOAW$ u... 8 .4
Ib.%.4

After eight measures, the £233; is resumed until the end of
the first half of the composition. The second half begins
with a modification of the £253} sonority which is full organ
minus the Positi f, m 93533, and Pédale reeds. As the
concluding section of the piece approaches, the reeds are
added and the work ends as it began.

The Fantaisie—Improvisation sur l'"Ave maris stella"
is the most colorful of all the improvisations. It contains
many changes in registration——some subtle, some obvious. The
subtle ones, which consist of such things as adding or sub—
tracting a stOp or two of similar quality, occur mostly in
the first half and the more obvious ones appear in the
second.

This piece begins with an identical registration
(Bourdon 8', Elfitg 8') on two divisions and a basic founda-

tion sonority (Fonds 8' et 4') on the other for part of the

125
first half. Subtle additions are made to build the dynamic

levels of the two softer divisions. A fast decrescendo is
then achieved by quickly cancelling some of the stOps and

reducing the color to the Voix humaine, Bourdon, Voix

 

céleste, and Tremolo combination. After the break at mid-
point, the piece continues with a tutti sound until it, too,

is quickly reduced to a Bourdon, Voix humaine, and Tremolo

 

sonority that is used for the entire final section.

The Choral—Improvisation sur le "Victimaegpaschali"
is similar to Improvisation III in its coloration. With the
exception of the decrescendo at the end of the first half and

the soft Bourdon, Voix humaine, and Tremolo combination of

 

 

the second, the tutti is the predominant sonority. Only the
changes in manuals, slight subtraction and addition of stOps,
and changes in volume made by the expression pedal are given

in the music.

Devices

The improvisations, unlike their written counterparts,
contain only a few noticeable devices. These devices are
limited to the categories of pedal points and repeated—note
figures.

All of the ways that Tournemire used pedal points in
his written works are found in the improvisations. Single
and double pedal points, both short and long in duration,
occur frequently in these pieces. Inverted pedals, as in his
written compositions, rarely appear and exist in double note

form (Example 55).

 

126
EXAMPLE 55. INVERTED PEDAL POINT.

Fragment, Improvisation III:
E5)

 

 

ikEJU”—I ‘ ””—F w“\

 

Rapidly repeated note figures which are a hallmark of
his other organ works (refer to Example 27) are an integral
part of his improvisational vocabulary. The many forms of
these figures are employed almost to the same degree that
they were in his written compositions. In one of the
forms——the single repeated note figure--two minor differences
occur in the improvisations. First, this figure has a
slightly slower rhythm and, second, it is much shorter in

duration than that found anywhere else (Example 56).

EXAMPLE 56. REPEATED NOTE FIGURE.

Fragment, Improvisation I:

 

 

 

 

 

 

 

127

A similar figure which oscillates between two (or three)
notes an octave (or two) apart, is rarely used in the impro—
vised pieces (as in Improvisation III, measure 19) but is
well represented in his published organ literature. Rapidly
repeated intervals are nowhere to be found in these extempor—
aneous pieces.

A figure which also falls into this same category is
an arpeggiated one. Repeated arpeggios and arpeggios with
added notes are peculiar to the improvisations and atypical
of Tournemire's other organ works. They occur mostly in
episodic passages and in every improvisation but number II.

Example 57 illustrates some of the forms this figure assumes.

EXAMPLE 57. REPEATED NOTE FIGURES.

Fragment, Improvisation III:

    

0V

Fragment, Improvisation I:

231

 

Fragment, Improvisation V:

 

 

 

 

128
Table 6 list all the devices used in the Cinq Impro—

 

visations and cites their first occurence in each piece. The
arabic numerals refer to the page and measure respectively
where the item can be located. Roman numerals refer to the

numbering of the improvisations as they are listed in the

Durand edition.

TABLE 6. .MUSICAL DEVICES USED IN THE FIVE IMPROVISATIONS.

 

DEVICES IMPROVISATIONS
I II . III IV V

 

single
pedal points

double
pedal points

-~ --... .,

1:9 10:1 ' 18:13 T 1:13 22:9

 

 

 

‘ inverted“ ; " g -
pedal points z 18-1 g 10.1

9
F—-- -—- ,_..._..__I , ~~—— _,- -——~-— ”1 - . -— ~
l
I
l

 

 

 

single

repeated notes 32:11

‘4

 

 

double
repeated notes

multiple
repeated notes

E 14:6

 

 

arpeggiated . . . . .
figures 2.13 10.6 15.5 5.11 23.1

_i__imiui_.i-wm_sn- -s_i_- __qi- -

arpeggiated V
figures with 3:4 19:1 22:13
added notes

 

 

 

ostinato

cells 5:16 4:1 22:11

 

 

 

 

 

 

 

 

Form
Maurice Durufle captured the true value of form in

many of Tournemire's improvisations when he stated that

 

129

"Form was irrelevant; . . ."4 As one looks closely at these

five improvisations, however, one discovers that this state—
ment is only partially true. The highly rhapsodic nature of
these pieces conceals (in three of these improvisations) a
consistent form.

The Petite rapsodie improvisée begins with an intro-
duction in two parts. The first part prepares for the second
in which the introductory motive (later used in the conclu—
sion) is presented. The remainder of the composition is
divided into two sections—-the major body of the piece
(sixty—four measures in length) and the conclusion (thirty-
three measures). These sections are joined in two different
manners: the introduction and first part overlap, and the
first part and conclusion are connected by elision (Example

58).

 

4Duruflé, "My Recollections of Tournemire and Vierne,"

130
EXAMPLE 58. JOINING OF SECTIONS IN IMPROVISATION I.

Connection by overlapping:

 

introduction 1 first section—r
+-

mal b 'T '7]

    

 

Connection by elision:
+ middle socflon I d0 *3“? ""

 

A),

 

Within the first section Tournemire has grouped his
statements and episodes so that three smaller, less obvious
subdivisions are produced (Table 7). The first subdivision
contains four thematic statements each followed by an epi—
sodic passage (marked with a dotted line). In the subse-
quent sections this basic pattern is compressed to tighten
the form. The second part contains four statements and only

two episodes; and the third, two statements and two episodes.

131
TABLE 7. COMPOSITION OF SUBDIVISIONS IN IMPROVISATION I.

lst subdivision

 

A ------- A ----- B ------B --------

2nd subdivision

 

 

The second section which comprises two parts is the
conclusion. The first part is introduced by a return of the
introductory motive in the tonic. This motive leads into a
statement of the B portion of the theme (refer to Example 28)
which is so altered that it gives the impression of being a
new, closing theme. After an authentic cadence, which brings
this melody to a close, a cadential extension (the second
part) ends the piece.

The Cantilene improvisée Opens with a two measure
introduction which consists of a repeated pair of chords

derived from the accompaniment of subject A (Example 59).

132
EXAMPLE 59. INTRODUCTION OF IMPROVISATION II.

E] f—_—_1 r———1 F—:::F—~\\

/~ r-x

 

The remainder of the piece is based on the theme and varia—
tion technique with episodes of unrelated material joining
the variations. The statement of the themes extends from
measure three to measure eight. Before the two subsequent
variations (measures 13 and 42), there are definite breaks
(rests) in the piece, but there is no break before the last
variation (measure 60).

Tournemire used episodic passages in this improvisa-
tion to dnguise its basic structure. Its rhapsodic charac—
ter minimizes the sectional nature of the form often found in
that of other composers as well as Tournemire's only written
piece in that form—-movement V, Suite No. 36, L'orgue
mystigue. The structural scheme of this improvisation is
illustrated in Table 8 (vertical dotted lines represent

rests).

133
TABLE 8. FORM OF IMPROVISATION II.

:statement :1st var. §2nd var. 3rd var.
l | .
:3 :13 :42 60
Intro. :A B waiA B BMMB :A B B 13%vawa

The Improvisation sur 16 "Te Deum," Fantaisie-Impro-

 

visation sur l'"Ave maris stella," and Choral—Improvisation

 

sur le "Victimae paschali" have certain formal elements in

 

common and, for that reason, will be treated as a group.
First, they are all long compositions and, second, they
possess the same general design. This design consists of an
Opening statement which is set off from the rest of the
piece, a lengthy develOpment that is divided into two parts--
the second of which begins with an episodic passage—.and a
conclusion.

These three pieces are rhapsodic fantasies that
explore various treatments of their respective themes. Each
starts with a statement of the primary theme that leaves no
room for doubt in the listener's mind as to what that
thematic element is going to be. This is achieved by separ—
ating the first statement from the rest of the composition by
a definite cadence in the tonic followed by a period of rest.

Example 60 shows this practice.

134
EXAMPLE 60. SEPARATION OF THEMATIC STATEMENT AND DEVELOPMENT.

Fragment, Improvisation V:

r— _ fl r— dcv. ->

 

The second shared element of their form is the clear

beginning of the development section. After the rest which
follows the statement, the development begins in the same key
and the theme stated there is virtually the same as when it
was first announced, although it is altered half way through
(Example 61 compares the themes in both sections of each

improvisation).

EXAMPLE 61. ALTERATION OF THEMES.

Fragment, Improvisation III:

statement first recurrence

 

 

 

Fragment, Improvisation IV:
statement first recurrence

 

 

 

135
EXAMPLE 61 (continued).

Fragment, Improvisation V:

statement first recurrence

[I] .

" C'“‘J"I

‘
g—é—‘é—ir‘f‘ 4:4" A
[1131 l
J

«1*.

4::

' L
j

J

l

“nah

 

 

This develOpment section contains both thematic
statements and episodes and is where Tournemire presents his
musical ideas. It is subdivided by a clear cadence following
which is an episodic passage containing completely new mater-
ial.

The third element which these pieces have in common
is the pause near their midpoints. This break is preceded by
a strong cadence. The reason for this is not a musical one
but a pragmatic one. In the early years of recording, per—
formances were recorded directly on a disc without the con—
venience of magnetic tape. Because of the limited amount of
recording time available on each side of a twelve inch, 78
r.p.m. disc, the performer and engineer were restricted to
about five minutes per side. In the course of his improvis-
ing these longer works Tournemire had to plan to divide them
halfway through with a cadence that would occur before the
available recording Space was consumed on a given side. In

the Improvisation sur 1e "Te Deum" and the Choral-Improvisa—

 

tion sur le "Victimae_paschali" this pause does not affect

the musical direction of the piece; however, this is not so

 

136
in the Fantaisie-Improvisation sur l'"Ave maris stella."

This work seems rather aimless during the first half, but
after the break, it suddenly gains a greater sense of pur-
pose.

The concluding sections of these three improvisations
are marked by a return to the tonic and, in two instances
(Improvisations III and V), a restatement of the main theme.
In the fourth improvisation, however, a secondary theme is
used two measures after the final section is begun. These
conclusions usually contain new material and a cadential
extension at the end.

Of these five pieces, the Fantaisie—Improvisation sur

l'"Ave maris stella" is the most rhapsodic. AlthOUgh it con—

 

tains some similarities to the third and fifth improvisa—
tions, it lacks their coherence. Long episodic sections and
much use of material unrelated to the theme are factors which
contribute to its nebulous character.

After an initial statement which lasts for six
measures the development begins. The theme is stated once at
the beginning of this section, but it is quickly abandoned
for a succession of three different ideas, two of which
return before the theme is presented again at measure 47.

The remainder of the piece, until the conclusion at measure

236, contains thematic statements alternating with episodes.
In the final segment the second theme (introduced during the
develOpment) is treated extensively.

The final improvisation is distinctly different from

137
the preceding one. Although the general design is the same,

the composition of its inner segments is markedly different.
The first half of the develOpment section contains a rela-
tively even number of statements and episodes (10 and 7
respectively). Following the break, tail fragments of the
chant are incorporated in the long episodic section which
modulates back to the original key of G minor. The conclu-
sion begins with a restatement of the theme and continues
with successive portions of the cantus figmgs (stated for the
first time) being presented between short episodes (refer to
Example 28 for paraphrased portions of the chant used in this
section). A cadential extension of twenty—one measures
brings the piece to a close.

When one considers Tournemire's criteria for an
improvisation, one discovers that these latter three works
are perfect examples of what he described in the treatise:
they all begin with a statement of the subject matter ("a
good and concise exposition"), have a clear beginning of the
develOpment portion ("a definite mark of the develOpment"),
alternate statements with episodes ("a sensible return of
diverse periods"), and contain a conclusion. One can inter—
pret the variety of tonal combinations which Tournemire
employed in these works as what he meant by a "seductive
coloration." The strong relationship between his theory and
the transcribed improvisations as evidence leads one to
assume that Tournemire was usually consistent in the applica—

tion of his teachings. The cadence and break found in the

 

138

middle of each of these three longer improvisations does not
necessarily represent a marked departure from Tournemire's

five basic ingredients of improvisation.

CONCLUSION

During the course of Chapters II and IV of this
study, the basic elements of Tournemire's compositional style
were discussed within the context of both the written and
improvised pieces. Inasmuch as the objective of this
research is to determine what elements and techniques were
used specifically in the improvisations, this chapter will
present those findings.

Isolating and extracting a composer's improvisational
mannerisms from a very small body of recorded examples leaves
one with a partial understanding of the composer's style.
From the standpoint of a IOgical argument, devices drawn from
such a limited source as the Cing improvisations are only
valid as examples of the techniques used for that Specific
source and do not necessarily reflect Tournemire's total
improvisational style. The devices and techniques elaborated
upon in this chapter are only indigenous to the five recon—
structed improvisations and are not to be misconstrued as
applying to Tournemire's total improvisational vocabulary.
What follows is a summary of the elements used in these

works.

139

140
Thematic Materials

Several observations can be made about the thematic
material and its develOpment in the improvisations: (1) the
themes are modal; (2) they are relatively short; (3) they are
often fragments of paraphrased chant; (4) their basic treat-
ment is the same-—changing the initial theme through inter-
valic and rhythmic alteration, note addition or deletion, and
fragmentation; (5) some use is made of motives; and (6) the
themes, for the most part, remain in the same tonal area and
digress infrequently to others.

Also related to thematic treatment is the inclusion
of unrelated material in the improvisation. Between thematic
statements Tournemire would present new musical ideas, many
of which bear no resemblance to the themes themselves. Many
times these contrasting ideas are repeated and, when he chose
to lengthen the episodes in which they are found, Tournemire
sometimes followed them with one or more different ideas
instead of develOping the one stated first. One critic
(refer to the review cited in Chapter III) observed that
Tournemire made £233 use of this material than the themes

themselves.

Harmonic Structure
The improvisations, unlike their written counterparts
which exhibit a linear approach to composition, are, for the
most part, harmonically conceived. The combination of

melody-accompaniment writing, block chords, and arpeggiated

141

sections attests to this approach.

The harmonic rhythm varies in the improvisations.
The rhythm ranges from being slows—in some cases, one chord
lasting up to five measures——to quite fast. Although
extremes in harmonic rhythm are present in all of Tourne-
mire's compositions, a mixture of lesser extremes is the norm
for these improvisations.

Tournemire seemed to have a preference for certain
keys. Those most used in his improvisations were the minor
keys of D, E, F, G, A, and B-flat and F major (with the
exception of B—flat minor, all are found on the white keys of
the keyboard). Other tonalities used in the spontaneous
pieces, but to a lesser degree, are B minor, E-flat minor,
and E major. In the improvised works major keys are used
less than minor ones and keys with more than three sharps or
flats are generally avoided.

Harmonies consisting of seventh, ninth, and eleventh
chords are frequently employed as are triads, Open fifths,
Open octaves, and some thirteenth chords. These sonorities
often contain altered degrees such as the third, fifth, or
seventh; however, in most cases, the alteration is not made
to change the function of the chord, but the color. The
succession of these harmonies is varied to the point that
some produce parallel fifths and octaves which are sometimes
exploited in the magadizing technique used to emphasize
themes. Unlike many of their written counterparts, the

improvisations close with complete chords.

 

142
The use of parallel chords is an improvisational

device found more often in the improvisations than in the
written works. Passages containing both real and tonal
parallelism are present in the improvised pieces and tend to
be longer and more prominent than those found in the other

organ works.

Rhythmic Elements

 

In the category of metric style, two aspects are of
prime importance. First is the handling of meters within a
given piece and second is the division of the individual
beats and the relationships which those divisions produce.

The metric style that Tournemire used in his improvi—
sations was either a (basically) monometric one involving a
compound meter or a highly multimetric type (which he seemed

to favor). The pieces in the latter group incorporated

mostly :, i, and i meters interchangeably, with prominence
given to the 2 meter. The frequency of metric change found

in the improvisations places those works approximately in the
middle of the total spectrum of changes employed in Tourne-
mire's writing.

Tournemire preferred divisions of the beat into
groups of three, five, and seven. Bimetric relationships
produced by the combination of different divisions are mostly
limited to two even against three even divisions and (to a
lesser degree) three even against four even divisions.

Groups of five, seven, or more notes are not used in

 

143

conjunction with other divisions and, thus, do not form
bimetric relationships. The number of these various sub-
divisions found per page in the improvisations exceeds the
number occurring in Tournemire's written works by about three

to one.

Ornamentation
The only embellishments used by Tournemire were

trills (including those with added notes), tremolandi, and

 

grace notes. Most of the trills found in the improvisations
are single, with double trills being used to a much lesser
degree. This differs from his published pieces where there
is greater use of double trills, where they are often longer,
and where tail figures are employed to a greater extent.
Tremolandi are, for the most part, a characteristic of the
improvisations and grace notes, on the other hand, play an

insignificant role in the improvisations.

Registration

 

The registrations utilized in the Cing improvisations
do not exhibit the vast amount of color variation and experi—
mentation found in Tournemire's other compositions. By com—
parison, the sonorities present in the improvisations are
rather simple. Only two basic combinations of sounds are
employed extensively in the improvisations. The V235
humaine, used in conjunction with the Bourdon and Tremolo,

ocOUpies a prominent position in Tournemire's improvisational

 

144
tonal palette and is exploited in four of the five improvisa-

tions despite his admonition against using the stop too much.
The tutti combination, or a modification thereof, is Often
employed and occurs in the longer pieces based on Gregorian

themes.

Musical Devices

The devices employed in the Cinq improvisations have

 

their basis in Tournemire's compositional vocabulary.
Although fewer in number than those found in the published
works, these devices, nevertheless, show the strong relation-
ship between the improvised and written compositions.

The devices that are common to both species of com—
positions are pedal points and repeated-note figures. The
first category--pedal points-—consists of single, double, and
inverted pedals. As in Tournemire's written pieces (L'orgue
mystigue in particular), these single pedal points are used
most and are longer in duration than double pedals. Inverted
pedals are least frequent and are relatively short-—unlike
their counterparts in the other works.

The category comprising repeated-note figures con—
tains elements common to all Tournemire's organ pieces, as
well as elements peculiar to the improvisations. Those which
are shared by all works are single, double, and multiple
repeated notes and ostinato figures. Generally all of these
devices are shorter in duration than that found in the pub-

lished pieces and the repeated—note figures, particularly,

 

145
exhibit less variety in the improvisations than elsewhere.

Single repeated notes are used in the Cinq improviSatiOns
more Often than double or multiple ones.

Arpeggiated figures and arpeggiated figures with
added notes, like the tremolandi discussed earlier, are an
improvisational device rather than a compositional one (i.e.,
used in the written pieces). They appear in every improvisa—
tion and in varying lengths. These are the result of Tourne-
mire's homophonic approach to improvising, adding rhythmic
interest to passages of rather slow (or no) harmonic change.
Ostinato cells, on the other hand, are shared by both types
of compositions. They are placed exclusively in the pedal
part and, like those found in the published works, consist

of short cells.

sire

According to Duruflé, Tournemire's favorite form was
free form. Although this is evident in some of the larger
paraphrase movements of L'orgue mystique, only one piece from
the Cinq improvisations falls into this category-—Petite
rapsodie improvisée. The Cantiléne improvisée, on the other
hand, shows how Tournemire dnguised traditional forms in a
rhapsodic style of writing.

One particular scheme whose characteristics are men—
tioned in Chapter III (p. 62) is exemplified by the last
three improvisations. This scheme has certain formal

elements that seem to be a standard practice for Tournemire.

 

146

First, it contains an initial statement of the theme which is
set off from the rest of the piece. Second, the develOpment
is marked by a clear restatement of the theme in a slightly
altered version and contains additional restatements in
alternation with episodic sections containing new material.
Third, after a major cadence and pause, there is a continua-
tion of the develOpment which may or may not present material
related to the initial theme (i.e., other phrases Of the
cantus firmus from which the theme is taken). Fourth, a
return to the tonic marks the conclusion. This form, which
amounts to a modified ternary form, is the only one followed
consistently by Tournemire in the improvisations.

It cannot be stressed too much that Tournemire
invariably followed the inspiration of his fertile imagina—
tion rather than adhering to any of the traditional forms.
His subjective approach to improvisation allowed him not only
to present the many musical ideas at his disposal, but to
create an almost endless array Of forms.

This summary in no way gives us a complete account of
Tournemire's overall improvisational style; rather it
supplies us with a general framework based upon limited evi—
dence within which he probably worked. All of these tech—
niques appear to have served Tournemire well, for accounts of
his improvisations reveal great admiration for the man as an
improviser. There can be no denying the fact that, regard—
less of the techniques that he employed, his improvisations

inSpired many. A study of this kind can only suggest what

 

147

other improvisations may have sounded like; however, the
study of the Cinq improvisations has given us a glimpse into

Tournemire's art.

 

APPENDIX

 

APPENDIX

COMPLETE WORKS OF CHARLES TOURNEMIRE

 

 

Operas: Opus
Nittetis 30
Les dieux sont morts 42
La lggende de Tristan 53
Il Poverello di Assisi 73

 

Choral works:

 

 

 

 

 

 

Le sang de la sirene 27
Psalm LVII 37
Psalm XLVI 45
Trilggie: Faust, Don Qpichotte, Saint Franggis 52
La gueste du saint-graal 54
Apocalypse de Saint-Jean 63
La.douloureuse4passion du Christ 72

 

Orchestral works:

Symphony No. I 18
Symphony No. II 36
Symphony No. III 43
Symphony No. IV 44

148

 

 

149

Symphony No. V 47
Symphony No. VI 48
Symphony No. VII 49
Symphony No. VIII 51
tears 38

Chamber music:
Sonata--violin and piano 1

Suite-—oboe and piano 4

U1

Sonata-—violincello and piano

 

 

 

 

Romance--English horn and piano 6
Suite-~viola and piano 11
Trois sonates anciennes--violin and piano 12-14
Quartet--piano and strings 15
TriO-—piano and strings 22
Sonata de Bach--violin and piano 31
Eggmgf—violincello and piano 35
Pour une epigramme de Theocrite--woodwinds 4O
Musigue orante--string quartet 61
Sonata-Poeme——violin and piano 65

 

Legendes--trombone and piano —-
Fantaisie-—English horn and piano --

Recit et allegrO--contrabassoon and piano —-

 

Fantaisie-—trumpet and piano --

Piano music:

Serenade 9

150

Sonata
Sei petites pieces

Sarabande

 

Petites pieces

Rapsodie

Poeme mystique

Douze preludes—poemes

Cloches de Chateauneuf-du-faou

Etudes de chaque jour

Vocal music:
Trois melodies

Pater noster

 

Recueil de sept melodies

 

. \
Tr01s poemes

Trois lieder

 

Dialogue sacrée

Organ works:

Andantino

 

Sortie

Offertoire

 

Piece symphonique

Suite de morceaux

 

Variaegpreces
Triple choral

L'orgue mystique

 

 

17
2O
23
26
29
33
58
62

7O

25 and 28
39
46

50

1o
16
19. 24
21
41

55-57

 

151

Trois poemes

sei fioretti

Fantaisie symphonique
Petites fleurs musicales
Sept chorals-poemes

Postludes libres

 

Symphonie-Choral

 

o I
Symphonie sacree
Suite evocatrice
Deux fresques symphonigues sacrées

Cinq improvisations

PedagOgical works:

Petite méthode d'orgue

75 and

Precis d'éxécution de registration et d'improvisation

 

s l'orgue

59

6O

64

66

67

68

69

71

74

76

BIBLIOGRAPHY

BIBLIOGRAPHY

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