Note by note: Dupré Prelude and Fugue in A-flat

This is an extraordinary piece. I think it’s the finest of Dupré’s six Preludes and Fugues. The Prelude churns and alludes to the Fugue to a high – but not overdone – degree, and the Fugue is one of the most beautiful pieces ever composed for the organ. Dupré is not his usual gargoyle self here but rather a picture of nobility and soaring melody. Don’t know what came over him.

Before we begin: Graham Steed’s book The Organ Works of Marcel Dupré is a most helpful guide for history, some performance advice, and so forth. And it doesn’t take itself too seriously – imagine encountering humor in a book on Dupré.

Opening registration: In the U.S., I leave the Swell mixture off. The reeds are often enough to create the manual contrasts we’ll need, particularly if the Choir/Positif is weak by comparison (and it often is in the U.S.).

Measure 4: The Final D of the left hand should probably be D-flat. See Graham Steed.

Measure 11: I add the Positif to Pedal, if it needs it.

Measure 16: Graham Steed suggests the Great to Pedal remain off, in case that helps the balance. He suggests adding it in 24. At 16 he also advocates moving the left hand to the Great and the right hand to the Positif for this passage, to improve the balance. I concur, but I move the left hand to the Great at the final three sixteenths of measure 15. Easier to “thumb” that way. The hands can then follow the published manual indications again from 24.

Measure 22: The second F in the alto should be an eighth note, not a quarter. And if you don’t have the high A-flat and B-flat notes Dupré writes (and he didn’t either), then just play from the fourth beat of 22 without 8va. You can recover at the third beat of 24.

Measures 26-29: I achieve a bit more gradual decrescendo by:

- taking the final alto B of 26 with the left hand and moving the right hand to the Positif for the downbeat of 27;
- taking with the right hand all manual notes of the fourth beat of 27, plus the first sixteenth of 28;
- then moving each hand in turn as published in 28 and 29. 

Measure 32: Graham Steed recommends moving the dim into the middle of 33. I concur.

Measure 42: Graham Steed suggests the first D# in the left hand be D natural. I concur.

Measure 44: If you don’t have the high A# in the right hand (and Dupré didn’t), just play that one note an octave lower.

Measure 63: I move the right hand to the Positif there, to keep those higher notes from screeching so much.

Measures 73-75: In the interest of a more gradual decrescendo, I would play the left hand on the Great in 73, then on the Positif in 74.

Measures 74-76: The left hand and Pedal are vying for the same pitches, which makes some notes ‘disappear.’ Just remove the Pedal couplers (and beef up the Pedal a bit, if the sudden loss of the couplers renders it too weak).

Measure 93: I remove the Pedal stops and couple Récit and Positif to it, to help with the wide reaches. Pedal can be restored in 94.

Measure 98: Graham Steed and I agree the Pedal G should be G-flat.

Measure 102: I don’t play the left hand low A-flat. With a note that low and that quick, who’s going to notice? I feel the first-tenor subject statement there is more important than risking a misfire with rapid substitution after the low A-flat.

Measure 106: I remove all Pedal couplers, especially the Swell. The Swell is required to add stops in 108, but there is no need for those to transfer to the Pedal during its ongoing decrescendo.

Measure 108: I tend to leave the Swell 4-foot principal off, to keep the Swell from growing too much there. We still have a long way to go.

From here on, obey Dupré’s every staccato marking. If not marked staccato, then legato. And if one hand has one voice marked staccato and another one not, then your finger independence is about to get the workout of its life.

Measure 121: The second eighth notes in left hand and Pedal are not marked staccato. Misprint? Also, the final E-flat in the second tenor appears to be marked staccato. Dirty engraving plate?

Measure 130: The final eighth note in the right hand appears to be marked staccato. Dirty engraving plate?

Measures 134-136: I achieve a more gradual decrescendo by moving the right hand to the Positif on the downbeat of 134 and the left hand on the second half of beat 1. Then I move the left hand to the Swell on the downbeat of 135. I move Dupré’s Swell growth onto the sixth sixteenth of 136, so that the Swell growth doesn’t transfer coupled to the Pedal.

Measure 141: I move the left hand to the Positif on beat 2, rather than in measure 144.

I execute tiny crescendos via pistons at 147, 156, and 162, before the bigger growth begins in 169. These little growth spurts are only for a lingering Prestant here or another 8’ there. Maybe a small mixture here or a light reed there or a heavier Pedal 16’ there. Just a little something here and there to begin filling the room.

Measure 150-152: In the interest of a smoother crescendo, I take the first sixteenth of 150 with the right hand and move the left hand to the Positif on the second sixteenth. Then I move the right hand to the Positif at 152.

Measure 158: Graham Steed says the right hand first note G should be staccato. I concur, but I also say it should be G-flat. And the high B-flat on the downbeat is legato.

Measure 160: I believe the first two eighth notes of the left hand should be staccato, and that the final eighth of the left hand (B-flat) also be staccato.

Measure 161: ditto the final two eighth notes of the left hand.

Measure 163: I believe there is a ledger line missing on the second eighth of the left hand. That should be E-flat.

Measures 163 to the end: If you don’t have that high A-flat (and Dupré didn’t), then you’re missing out on one of the most sumptuous moments in organ literature. The French are forgiven, but American builders are not.

If you have been keeping score, you'll notice I have dealt with three of Dupre's six Preludes and Fugues. Those three -- B, A-flat, and C -- are my favorites. I have not learned the others and am having some trouble imagining doing so. Forgive me. (Or change my mind?)