Sitting on the parapet of the story where the towers arise from the massive corpus are all kinds of devilish things that were contrived by a grandiose imagination and captured in the grinning stone by a forceful and strict hand. Wondrous animals with long beaks, pointy claws, with misshapen ears and distorted mouths, devils with devout wings, midgets with long beards sit there and gape at the city with large, vicious, lurking eyes.1
While the history of Louis Vierne’s Sixième Symphonie (Sixth Symphony), opus 59, is well documented, the actual harmonic construction of the thematic material leaves interested performers in a bit of a predicament. Traditional and functional harmonic analysis is not the correct method for deciphering this music. Occasionally, one will find evidence in Vierne’s music that successfully allows this method. However, modal material will always be present. Thus, the use of the Modes of Limited Transposition becomes important. To date, no sources directly address this approach.2 The intent of this article is to apply the Modes of Limited Transposition and to prove their importance in the study of Louis Vierne’s organ works, focusing on the “Scherzo” from his Sixth Symphony.
Intriguingly during the time between the 24 Pièces de Fantaisie and the Sixth Symphony (1927–1930), Olivier Messiaen published Le Banquet céleste (1928) and Diptyque (1930). Both of these pieces use the Modes of Limited Transposition. Michael Murray makes reference to this in his book, French Masters of the Organ:
Though he was not yet twenty when he wrote Le Banquet céleste, he had already turned from prescribed harmony to the Modes of Limited Transposition that were to be a main feature of his early work, and it is these, or, more precisely, his uses of one of these, that create a distinctive harmonic movement dominant and tonic only by analogy.3
Based on the principle of modal evolution, the chronology of these works does not appear to be merely “coincidental.” However, the actual genesis of the Modes of Limited Transposition still remains a mystery.
It is impossible to tell if Vierne is responsible for the genesis of this modal material (later codified as the Modes of Limited Transposition by Messiaen). There is no known documentary evidence that allows this assertion. Messiaen also denied creating all of them.4 It is also unlikely that Vierne and Dupré collaborated on the use of these modes via improvisation practices.5 However, the evolution in composition regarding the use of these modern harmonies is evident. From evidence germane to this research, this evolution stems from the Paris Conservatoire.
Vierne remarked in his Mémoires about his excitement upon learning new, looser, and modern improvisational techniques from Adolphe Marty at the Institut National des Jeunes Aveugles in 1889. Later, Vierne drew on this inspiration while studying with his fellow pupils at the Paris Conservatoire. They all desired to be original. Charles Tournemire, in particular, was a prime example.6
The development of Vierne’s own original voice in regard to improvisation reached its initial height in 1897, when he took over Guilmant’s studio at the Conservatoire (he was leaving to go on a concert tour to the United States). Vierne’s enthusiasm was palpable: “I was . . . delighted to be able to express unrestrained my own ideas on free improvisation. We would ‘whoop it up’ with modern harmonies.”7
Through Vierne’s studies, collaborations, and improvisations, he would gradually incorporate all of his findings in his own music compositions. His modal usage began gradually. It is found extensively in his 24 Pièces de Fantaisie (1926–1927). However, at the time, for Vierne, this method was in its infancy. As his music progressed, more consistency in his dense modal writing is observed—at least thematically.
A close analysis of Vierne’s “Scherzo” from the Sixth Symphony, composed in 1930, exemplifies that his modal awareness has evolved. Thus, the modal usage becomes more logical in his writing. This is evident in the opening measures of “Scherzo.” There are no passing tones or chromatic alterations in the opening material. Modes 3 and 7 dominate the composition. (See Example 1. Mode 3 uses two transposition levels: 2 and 4. Mode 7 uses transposition 1, 2, and 5).8 Their common tone relationships are displayed in the examples of the main theme. However, for this opening material, the common tone of G is found in all transposition levels used by Vierne, thus allowing the free movement between each level on the opening measures (Example 1a).
Analytical chart of the opening page (measures 1–10):
Measure 1: M3, T4 (eighth-note opening flourish); sixteenth-note group: M3, T2
Measure 2: first sixteenth note: M3, T2; second group: M7, T1.
Measure 3: flourish: M3, T4; sixteenth notes: T2
Measure 4: sixteenth notes: M3, T2; 2nd group: M7, T1
Measure 5: flourish: M3, T4; sixteenth notes: M7, T2
Measure 6: flourish: M3, T2; sixteenth notes: M7, T1
Measure 7: first group of six notes: M3, T1; group of 4: M3, T2
Measure 8: first group of six: M3, T4; group of 4: M3, T2
Measure 9: flourish: M3, T4; sixteenth notes: M7, T2
Measure 10: first sixteenth notes: M7, T5; second group: M7, T2
While this article is not intended to provide an exhaustive analysis accounting for every note in each measure of the eighteen pages of “Scherzo”, a detailed analysis of page one illustrates a clear lack of functional harmony. One does not sense, aurally or visually, any traditional voice leading or harmonic progression. Thus, claiming that “Scherzo” is written “in the key of G minor” is erroneous. The material is modal, and knowledge of the Modes of Limited Transposition is paramount for understanding this music.
The most important analysis of “Scherzo” pertains to the main, cyclical theme (meaning, it is present in all five movements of the symphony).9 It comprises two parts—the first is six measures in duration; the second is ten measures.10 Here is the layout:
First statement
Part 1, measures 41–46: Mode 3, T1. See Examples 2 and 2a.
Part 2, measures 47–56: Mode 7, T2 (passing tone B in measure 55). See Example 3. (Mode 7, T2 is written in Example 1.)
Common tones (measure 46): E, D, C (allowing for modal shift).
Second statement (common tones G, D from previous measure)
Part 1, measures 57–62: Mode 3, T1, measures 41–46.
Part 2, measures 63–72: Mode 7, T2 (passing tone B in measure 71), measures 47–56. Common tones, E, D, C (from measure 62, allowing for modal shift).11
Third statement
Part 1, measures 113–118: Mode 3, T4. See Example 4 (M3, T4 is written in Example 1).
Part 2, measures 119–128: Mode 7, T1 (passing tone B-flat in measure 127).
Common tones (measure 118): E-flat, D-flat, C-flat. See Example 5.
Fourth statement (common tones: C, G-flat, D-flat, D from previous measure).
Part 1, measures 129–134: Mode 3, T2. See Example 6.
Part 2, measures 135–144: Mode 7, T6 (passing tone C-sharp in measure 143).
Common tones (measure 134): F-sharp, E, D. See Examples 7a and 7b.
Fifth statement
Part 1, measures 153–158: Mode 3, T4.12 See Example 8.
Part 2, measures 159–168: Mode 7, T3 (passing tone F-sharp in measure 167).
Common tones (measure 158): B, A, G. See Example 9.
Sixth statement (common tones: C-sharp, A, B-flat from previous measure)
Theme is inverted with a different accompaniment pattern; theme becomes segmented into three parts:
Part 1, measures 169–174: Mode 3, T4 (six measures). See Example 10a.
Part 2, measures 175–180: Mode 7, T5 (six measures).
Common tones (measure 174): A, B, C-sharp. See Example 10b.
Part 3, measures 181–184: Mode 7, T3 (passing tone C in measure 183) (four measures).
Common tones (measure 180): B-flat, C-sharp. See Example 10c.
Compared to Vierne’s earlier works in 24 Pièces de Fantaisie, “Scherzo” from Sixth Symphony is more modally consistent.13 The theme has virtually no chromatic alterations as seen in his previous compositions. Also, Sixth Symphony is Vierne’s last piece for solo organ. Rollin Smith states that “Vierne’s harmonic vocabulary by this time had become so intensely chromatic that one of the themes in each of the first two movements of this symphony utilizes all twelve notes of the chromatic scale.”14
We can conclude, then, that as the years progressed, these modal elements that were once used rather loosely took on a new structure and identity, one that piqued the interest of Olivier Messiaen. Through this interest, Messiaen wrote two compositions (between Vierne’s aforementioned pieces) and later codified these modal elements into the Modes of Limited Transposition. This codification was published in his La Nativité du Seigneur in 1936—one year prior to Vierne’s death.
Notes
1. Louis Vierne, Pièces de Fantaisie en quatre suites, Livre III, opus 53, ed. Helga Schauerte-Maubouet (Kassel: Bärenreiter-Verlag, 2008), XXII. A fitting quote to describe the imagery of “Scherzo.” This is further emphasized by Maurice Duruflé’s description of: “The Scherzo, although wishing to jest, neither succeeds in finding a true gaiety nor makes one forget the somber nightmares that haunt the Aria [Movement 2]. Instead, the composer, with sparkling verve, depicts the diabolical giggles of grimacing gargoyles.” Rollin Smith, Louis Vierne: Organist of Notre Dame Cathedral (New York: Pendragon Press, 1999), page 567.
2. The most recent document that analyzes Vierne’s Sixth Symphony is the dissertation of Emily Marie Meixner: Meixner, Emily Marie. n.d. “The Sixth Organ Symphony of Louis Vierne (1870–1937): An Analysis.” doi:10.7274/2227mp50s8q. It is a significant achievement and an interesting approach. Meixner does make reference to Vierne’s common use of the whole-tone scale (Mode 1 of the Modes of Limited Transposition) and the Gregorian modes (Phrygian and Mixolydian, respectively). My published articles in The Diapason and my dissertation, “Louis Vierne and the Evolution of His Modal Consciousness,” 2018, clearly outline my approach and methods. I will continue in this manner.
3. Michael Murray, French Masters of the Organ: Saint-Saëns, Franck, Widor, Vierne, Dupré, Messiaen (New Haven and London: Yale University Press, 1998), page 186.
4. Also, “Messiaen says he became fluent in his modes by often improvising on them in Dupré’s class. But he takes no credit for contriving them all.” Ibid., page 188.
5. By 1924 Vierne and Dupré, once close friends, were bitter enemies. The crux of the dispute was over the title of “Organiste titulaire de Notre-Dame de Paris.” This misuse by Dupré during his first American concert tour (he was Vierne’s assistant, not the sole organist of the cathedral) drove a wedge between these two men. The animosity lasted until Vierne’s death. Dupré even forbade any of his students to play Vierne’s compositions during their organ lessons at the Conservatoire. Smith, Louis Vierne, pages 330–343.
6. At this time (1890), César Franck was Vierne’s first teacher at the Paris Conservatoire. Vierne and Tournemire were also classmates. Regarding Tournemire, Vierne remarked that he was “a born improvisor” and the entire studio was “captivated by the harmonies he had discovered for the free theme,” in reference to a studio competition in 1890, where Tournemire was awarded “first accessit.” Smith, Louis Vierne, page 47.
7. Ibid., 125.
8. Be mindful of enharmonic equivalence when comparing music passages to scales. Having your own corrected score for study while reading this article is advised.
9. Maurice Duruflé referenced this in his description of the Sixth Symphony for the Paris premiere at Notre-Dame Cathedral in 1935. The full description is found in Smith, Louis Vierne, page 567.
10. This division is more for clarity than for phrasing/musicality. The mode changes at the created divisions.
11. The second statement is identical to the first, it is just written in the treble octaves. There are some notational changes in comparison. However, they are just enharmonic.
12. In the original score (published by Henry Lemoine in 1931), there is an error in the pedal theme in measure 155. The first pedal note in Lemoine’s score is an “E” moving down to “D.” This does not fit the regular pattern of the theme in previous statements. Also, it does not fit the Mode 3, T4 scale. On hearing this, it is an obvious engraving error. While Rollin Smith’s list of “Textual Corrections for the Six Symphonies” (Smith, Louis Vierne, Appendix E, pages 719–734) does not mention this correction, it is clearly made in Bärenreiter’s new 2010 edition (BA 9226). The correct pattern of measure 155 is “B” moving up to “D.” This also highlights the importance of understanding the Modes of Limited Transposition for analysis of Vierne’s organ works.
13. A composition of note is “Feux Follets.” The writing Vierne uses can best be described as a modally dense quilt patchwork of the work’s main theme and figurations. It is so highly chromatic that even the Modes of Limited Transposition do not work well as a form of analysis; it is chromatic writing.
14. Smith, Louis Vierne, page 565.
