Note by note: Dupré Prelude and Fugue in B

This piece is played a lot. Maybe too much. It’s flashy, but only if you’re the organist. If you’re a first-time audience for it, it’s either thrilling or it’s mush. That’s a nice way of saying that this piece is often played far too fast for its musical merit. Dupré’s metronome markings were notoriously (and impossibly or at least un-musically) fast, and he never achieved them on his recordings, anyway. Metronome markings were (and are) usually included at publisher’s insistence, and they are quite useless most of the time, going all the way back to Beethoven. So just don’t look at them, ever. And for the record, my tempo for the Prelude hovers around 90, and that for the Fugue hovers around 70.

Measures 1 and following: The opening flourish pattern has two instances of common tones: the B from the 6^th to the 7^th sixteenths, and the B across the barline. These can be tied; I don’t feel the sixteenth-note motion suffers from that.

Measures 4, 6, 8, etc.: The Pedal eighth rests may not be long enough if your tempo is really fast. You may need to release those a bit earlier to ‘clear the air.’ Always beware a sense of ‘panic’ to the sound.

Measures 6-7: The sixteenth-note motion has repeated notes across this barline. I tie them.

Measure 13: On the eleventh sixteenth, I take the alto G-sharp with the right hand, which allows the entire sixteenth-note pattern to remain legato into measure 14. And as we all know, any lengths we go to in order to preserve legato in this style is worth the time in the practice room. Don’t be lazy.

Measure 26: I would configure the organ in such a way that the two manuals you’ll be traveling back and forth among are adjacent to each other. Put in some clever ‘thumbing,’ and legato will then be preserved.

Measure 35: The addition of the Pedal couplers is necessary, but on many organs the Positif or Choir is so weak that its presence or absence is immaterial. I add only the Great to Pedal there, so that I don’t have to hit two couplers nor sacrifice a General piston.

Measure 36: I take the final sixteenth with the right second finger, thereby preserving legato in the sixteenths.

Measure 39: I take the final sixteenth with the right thumb, thereby preserving legato in the sixteenths.

Measure 42: I take the right-hand lower Fs with the left hand, to keep the thumbs out of each other’s way. Ditto the first E in measure 43.

Measures 57-65: Feel free to establish a gradual crescendo to your liking. Dupré just adds ‘cresc.’ in 59. I delay the FFF into 68, not only to add to the continuing crescendo, but also because there are no limbs left to hit a piston for the downbeat of 65. And I never sacrifice notes for pistons. Ever.

Measures 93-100: Same crescendo freedom as in measures 57-65.

Measures 100-102: Hold your horses. That pedal cadenza is still music.

The Fugue subject begins on an off-beat. Be sure it sounds like that. Don’t dwell on the first note – rather, arrive on the fourth note (the beginning of the second beat). Then release the quarter note in such a way that the next morsel of the subject is suitably propelled ahead.

Get those feet ready for their first subject appearance! Do your ankle exercises and prepare the first four notes all at once, heels and toes.

Throughout the Fugue, obey Dupré’s staccato markings. Any note without a staccato is to be played legato to the next note. And obey Dupré’s note values, such as in measure 111, where soprano and alto have different values on their first note.

Measure 113: The final C# in the left hand should probably be released early for the next downbeat. The A# need not be, since it is not going to be repeated.

Measure 114: The first C# in the left hand should probably be released in preparation for its re-striking on the next eighth. The upper F# need not be released early.

Measure 116: The first D# should probably be released early to allow for the restrike coming up in the soprano.

Measure 118: The alto G is common to two sixteenths in the middle of the measure. I tie it. Ditto the alto E-flat in 120.

Measure 122: As mentioned for measure 35, the Positif or Choir is often so inconsequential on many instruments that managing its coupler to the Pedal is much ado about nothing. I don’t employ the coupler for this Fugue until the end. Also in this measure, notice Dupré’s exact staccato marking on the first eighth note but not the second.

Measures 123-124: Again, obey Dupré’s exact staccato marks in the Pedal. Yes on beat 4 of 123; No on beat 1 of 124.

Measure 124: I take two notes with the right hand to preserve legato: beat 3 alto G#, and beat 4 alto A#.

Measures 129-151: It might be good to consider a good tempo for these measures before beginning the Fugue. This is where many organists lose their audience due to excessive speed. The rhythm is so vibrant in this section that it sounds plenty fast at a more humane tempo. And again, I just have to take issue with Dupré’s metronome marking – or at least sympathize with him for publishers’ myopic insistence on metronome markings. Italian tempo markings are always much more expressive and informative.

Measure 131: I move to the Récit there, instead of the Positif. It allows the left hand to be heard better at 133.

Measures 138-139. I tie all the common notes among the moving sixteenths.

Measure 140: Notice the staccato first eighth but full-value second eighth. Ditto measure 141.

Measure 144: I take the final two sixteenths with the right hand to smooth out the transition to the next manual. And I do agree with the editorial C# added above the final manual chord.

Measure 149: I take the final sixteenth with the right hand, to smooth out the transition to the Positif.

Measure 151: I take the third and fourth sixteenths with the right hand, to allow the left hand to get to the Great.

Measure 152, downbeat: Again, take Dupré quite literally with his staccato markings or lack thereof. Notice that the final soprano E of 151 will proceed into 152 legato, which in this case probably means tying. And notice that the Pedal low C will proceed to the F# of 152 legato, which means you’ll need the right foot prepared on F# (unless your left foot is really long and its ankle really flexible).

Measure 154: Beat 3, the left hand high F# will have to be released early, because the soprano is about to need to restrike that note. But don’t release early the remaining notes of the left hand there.

Measure 157: Beat 3: The final C# in the right hand will need to be played quite short, to allow the alto to use that note next.

Measure 160: Again, taking Dupré’s legato literally, the final two chords of the left hand should be legato.

Measure 161: The first chord of the right hand might well omit the lower G, since the left hand needs it for its sixteenth-note pattern.

Measures 166-168: The manual chords are not staccato there. They are real sixteenths and should be no shorter. And this section need not go faster. Again, with so much happening at the sixteenth-note level in this piece, a relaxed tempo still sounds fast. And exciting.

Measure 168: The final lower C# in the right hand may be taken by the left.

Measures 169-170: Tenutos are always a guessing game with these French guys. If tenuto means ‘to hold,’ then why can’t the usual, underlying rule of legato suffice here? Therefore, I believe that Dupré’s use of tenuto there actually means ‘release.’ At any rate, it makes sense to release these chords early, to add to the excitement. Dupré is rarely so careless with rhythmic indications.

Finally, if you are playing on a three-manual organ that really should have been two, you could relatively strengthen the Positif by not coupling it to the Great. That would give you some degree of contrast among the three manuals. Of course, couple the Swell to both manuals.

If all you have are two manuals, then you get to decide when you’ll move to each manual during the Fugue. My adoptions are:

Measure 125: Left hand to Great.
Measure 137: Récit.
Measure 145: Great. And stay there in 146.
Measure 150: Récit.