The Organ Works of Théodore Dubois
John Riley
Théodore Dubois is known to most organists primarily through no more than a handful of works, notably the famous Toccata. Yet these are but a fraction of the total of just over 100 works for organ. These vary considerably in length, mood, style and intended purpose. In this brief survey we shall examine both well- and lesser-known aspects of his organ output, highlighting both strengths and weaknesses of his writing. Certainly, Dubois’ organ works are, in comparison with those of many of his contemporaries, uneven in interest and quality. Yet it is also important to view these in the context of the organs and buildings for which they were intended, and also the cultural tastes and expectations of the time. (Liturgical ‘wallpaper’ is after all, something found in many traditions.)
Dubois was active in many roles and compositional genres, the total of published works numbering over 500. These consist of a large number of chamber, piano and orchestral works, though he found less than hoped-for success as a composer of comic opera. Dubois is perhaps best known, though, for his religious works, some of which have remained in the repertoire of French churches for decades, not least Les sept paroles du Christ (1867). The organ was not Dubois’ prime focus, nor was he a virtuoso, as such, compared with Saint-Saëns, for example. But the number of compositions still represents a significant output for the instrument.
Dubois was born into an ordinary and non-musical family – his father was a basket-maker. He was by nature shy and self-effacing and, despite his obvious talent, his humble background and lack of general knowledge made for a less-than-easy time upon entering Paris and the Conservatoire environment: ‘I was extremely unhappy and don’t know how I got through it all’, (Souvenirs de ma vie,1909).
