Book contents
- Frontmatter
- Dedication
- Contents
- List of Illustrations
- Foreword, by Jesse Eschbach
- Preface
- Acknowledgments
- A Note to the Reader on Terminology
- Introduction
- Chapter One Duruflé's Childhood and Early Education
- Chapter Two Life at the Cathedral Choir School
- Chapter Three Lessons with Charles Tournemire
- Chapter Four Lessons with Louis Vierne
- Chapter Five The Conservatoire Student
- Chapter Six Duruflé's Distinctions
- Chapter Seven The Contested Successions at Notre-Dame and Sainte Clotilde
- Chapter Eight Duruflé's Performing Career
- Chapter Nine The Orchestral Musician
- Chapter Ten The Orchestral Musician
- Chapter Eleven Professor of Harmony at the Paris Conservatoire
- Chapter Twelve Marie-Madeleine Chevalier
- Chapter Thirteen Marie-Madeleine Chevalier
- Chapter Fourteen Duruflé's Compositions: Their Genesis and First Performances
- Chapter Fifteen Duruflé's Role in the Plainsong Revival
- Chapter Sixteen The Vichy Commissions
- Chapter Seventeen The Requiem
- Chapter Eighteen The Musical History of Saint Étienne-du-Mont
- Chapter Nineteen The Organs at Saint Étienne-du-Mont
- Chapter Twenty Duruflé as Organist and Teacher
- Chapter Twenty-One Duruflé and Organ Design
- Chapter Twenty-Two The Church in Transition
- Chapter Twenty-Three The North American Tours
- Chapter Twenty-Four The Man Duruflé
- Appendix A Maurice Duruflé
- Appendix B Discography
- Appendix C Stoplists of Organs Important to the Careers of Maurice and Marie-Madeleine Duruflé
- Notes
- Bibliography
- Index
- Eastman Studies in Music
Chapter Three - Lessons with Charles Tournemire
Published online by Cambridge University Press: 10 March 2023
- Frontmatter
- Dedication
- Contents
- List of Illustrations
- Foreword, by Jesse Eschbach
- Preface
- Acknowledgments
- A Note to the Reader on Terminology
- Introduction
- Chapter One Duruflé's Childhood and Early Education
- Chapter Two Life at the Cathedral Choir School
- Chapter Three Lessons with Charles Tournemire
- Chapter Four Lessons with Louis Vierne
- Chapter Five The Conservatoire Student
- Chapter Six Duruflé's Distinctions
- Chapter Seven The Contested Successions at Notre-Dame and Sainte Clotilde
- Chapter Eight Duruflé's Performing Career
- Chapter Nine The Orchestral Musician
- Chapter Ten The Orchestral Musician
- Chapter Eleven Professor of Harmony at the Paris Conservatoire
- Chapter Twelve Marie-Madeleine Chevalier
- Chapter Thirteen Marie-Madeleine Chevalier
- Chapter Fourteen Duruflé's Compositions: Their Genesis and First Performances
- Chapter Fifteen Duruflé's Role in the Plainsong Revival
- Chapter Sixteen The Vichy Commissions
- Chapter Seventeen The Requiem
- Chapter Eighteen The Musical History of Saint Étienne-du-Mont
- Chapter Nineteen The Organs at Saint Étienne-du-Mont
- Chapter Twenty Duruflé as Organist and Teacher
- Chapter Twenty-One Duruflé and Organ Design
- Chapter Twenty-Two The Church in Transition
- Chapter Twenty-Three The North American Tours
- Chapter Twenty-Four The Man Duruflé
- Appendix A Maurice Duruflé
- Appendix B Discography
- Appendix C Stoplists of Organs Important to the Careers of Maurice and Marie-Madeleine Duruflé
- Notes
- Bibliography
- Index
- Eastman Studies in Music
Summary
Maurice Emmanuel, the composer and musicologist who held a post as historian at the Paris Conservatoire from 1909 to 1936, played the crucial role in providing Duruflé an entrée to the Paris organ world. Emmanuel spent his summers at the country house he owned not far from Louviers, and was occasionally visited there by Charles Tournemire. When Duruflé's father was called to do some architectural work on Emmanuel's property, he asked him for some advice about his son's musical future. Emmanuel was also a friend of Jules Haelling, who is said to have mediated the contact between the elder Duruflé and Emmanuel. On the organ in Louviers, Maurice played for Emmanuel the Prelude and Fugue in A Minor, BWV 543, of Bach, which he had studied with Haelling. The Conservatoire professor suggested Duruflé do some preliminary study with Charles Tournemire in Paris before taking the entrance exam for the organ class at the Conservatoire.
Emmanuel and Tournemire were presently colleagues at the Conservatoire, as they had earlier been colleagues at Sainte Clotilde, where Tournemire had been titular organist since 1898, and where Emmanuel was maître de chapelle from 1904 to 1907. So in 1919, through Emmanuel's contact, Duruflé met Tournemire, the Conservatoire's professeur d’ensemble instrumental. Tournemire took him on as one of his rare private students.
A native of Bordeaux, Charles Tournemire (1870–1939) began early studies at the Bordeaux Conservatoire, and at the age of eleven won first prize in a piano competition. For three years he studied organ technique, repertoire, composition, and improvisation with César Franck at the Paris Conservatoire, and in 1891 he won a premier prix in Widor's organ class.
Tournemire accepted as students only those in whom he was genuinely interested. He did not teach technique, because he expected his students already to be technically proficient. Duruflé's fellow student Jean Langlais declared him a poor teacher and said he hated giving lessons, and Duruflé believed that he had little pedagogical ability. Duruflé commuted to Paris twice each week for his lessons with Tournemire, giving piano lessons in Louviers to help cover the cost of his new studies.
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- Maurice DurufléThe Man and His Music, pp. 24 - 28Publisher: Boydell & BrewerPrint publication year: 2007