Sacred A Cappella Composition in France from Pius X to Vatican II

During the early to mid-twentieth century, some of France's finest composers produced a body of choral music which, although somewhat smaller than that of other European nations, proves proportionately larger in specifically sacred and liturgical a cappella composition. (Liturgical music uses the texts of the Eucharist and Office [canonical hours] of the Roman Catholic Church; whereas "sacred" music broadly contains not only the liturgy, but paraliturgical texts from the Bible and religious poetry as well.) Although this repertory is modest in volume-containing fewer than three dozen motets and masses-it proves comparatively high in quality and individuality within the total body of a cappella church music composed in Europe between the historical edicts of Pius X (1905) and the radical reformations of the Second Vatican Council (1962-65). The composers of this repertory are: Jehan Alain (1911-1940), André Caplet (1878-1925), Maurice Duruflé (1902-1987), Jean Langlais (1907-1991), Olivier Messiaen (1908-1992), and Francis Poulenc (1899-1963). All were born in France during the Third Republic. This dissertation investigates and analyzes the a cappella literature under consideration with the aim of clarifying its unique attributes and historical value in twentieth century church and sacred concert music. The method of presentation consists of three stages: First, an historical summary of Church and State relations (post-Revolution through and just beyond the Franco-Prussian war of 1870-71) precedes an v examination of nineteenth century scholarly rediscovery and implementation of authentic plainsong in worship in addition to the strengthening of conservative ordinances governing the manner and style of church music; and the rise of artistic radicalism (with France the cynosure of activity). Second, a biographical summary of each composer focuses a beam of inquiry on how, and to what extent, the turbulent conditions in the relationship between Church and State-along with the church's conservatism conflicting with artistic modernism-shaped the composers' compositional philosophy and style. Third, a detailed analysis of each work points to similarities, differences, and influences between and among composers, as well as the integrity and quality of individual motets and movements in themselves and their place in each composer's a cappella production. Principles of a cappella composition are adduced and instantiated through musical examples drawn from numerous representative works, rigorously parsed. The conclusions summarize both objective and subjective rankings/comparisons of the works in toto and by the individual composer with respect to volume, quality, historical value, placement within the choral repertory, and enduring popularity.