performing messiaen's organ music: chapter 1
DESCRIPTION
Book excerpt from Jon Gillock's latest release, Performing Messiaen's Organ MusicTRANSCRIPT
P E R F O R M I N G
M e s s i a e n ’ sO R G A N M U S I C
66 Masterclasses
n
J o n G i l l o c k
p e r f o r m i n g
Messiaen’s
organ m us i c
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�p e r f o r m i n g
Messiaen’s
organ m us i c
66 Masterclasses
Jon G illo ck
Indiana University Press
bloomington and indianapolis
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This book is a publication of
Indiana University Press601 North Morton Street
Bloomington, IN 47404-3797 USA
www.iupress.indiana.edu
Telephone orders 800-842-6796
Fax orders 812-855-7931
Orders by e-mail [email protected]
© 2010 by Jon GillockAll rights reserved
No part of this book may be reproduced or utilized in any form or byany means, electronic or mechanical, including photocopying and recording,
or by any information storage and retrieval system, without permission in writingfrom the publisher. The Association of American University Presses’ Resolution on
Permissions constitutes the only exception to this prohibition.
R The paper used in this publication meets the minimum requirementsof the American National Standard for Information Sciences—Permanence of
Paper for Printed Library Materials, ansi z39.48-1992.
Manufactured in the United States of America
Library of Congress Cataloging-in-Publication Data
Gillock, Jon.Performing Messiaen’s organ music : 66 masterclasses / Jon Gillock.
p. cm.Includes bibliographical references and index.
isbn 978-0-253-35373-3 (cloth : alk. paper) 1. Messiaen, Olivier, 1908–1992. Organ music.2. Organ (Musical instrument)—Performance. I. Title.
ml410.m595g45 2009
786.5092—dc22
2009018779
1 2 3 4 5 15 14 13 12 11 10
Éditions Musicales Alphonse Leduc, Paris, 175 rue Saint-Honoré granted permission to publishthe author’s translations of Messiaen’s texts found in their editions (scores and writings).
The Messiaen Estate granted permission to publish the author’s translations of Messiaen’stexts found in Éditions Leduc, LP record jacket notes originally published by Ducretet Thomson,
as well as photos and texts to the author from Mme Messiaen.
frontispiece. Messiaen in his garden in Petichet, a tiny town near Grenoble inthe Alps. This is where he spent his summers and did most of his composing. Hishouse and studio were situated between two lakes: behind him to the north (seen inthe photo), Lake La¤rey and Lake Petichet to the south, all surrounded by mountains.photo: y. loriod-messiaen, by permission
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toJohn Cowell
(1920–2007)
who, early on, recognized my natural instincts as a musicianand taught me how to use them, giving me the confidencenecessary to use the innate gifts God had bestowed on me.
and
toOlivier Messiaen
(1908–1992)
and his music, which provided the perfect environmentfor two souls to meet. By learning all of his organ music
completely on my own (with no help whatsoever), it allowed meto become an independent musician, literally teaching me how to
bring every musical and artistic means in my possession andimagination to bear in my musical interpretations. It also
taught me how to believe in the spiritual.
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List of Figures xi
Foreword by Yvonne Loriod-Messiaen xiii
Preface xv
Acknowledgments xix
Note to Reader: How to Use This Book xxi
Part 1. The 66 Masterclasses
introduction: A Philosophy of the Performer’s Role asan Interpreter 3
1. Le Banquet céleste (1928) 12
2. Diptyque (1928) 22
3. Apparition de l’Église éternelle (1932) 32
4. L’Ascension (1933, version for organ) 37I. Majesté du Christ demandant sa Gloire à son Père 37
II. Alléluias sereins d’une Âme qui désire le Ciel 40III. Transports de Joie d’une Âme devant la Gloire du Christ
qui est la sienne 43IV. Prière du Christ montant vers son Père 46
5. La Nativité du Seigneur, Nine Meditations (1935) 49I. La Vierge et l’Enfant 52
II. Les Bergers 57III. Desseins éternels 62IV. Le Verbe 65V. Les Enfants de Dieu 72
contents
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VI. Les Anges 78VII. Jésus accepte la Souffrance 82
VIII. Les Mages 87IX. Dieu parmi nous 90
6. Les Corps glorieux, Seven Short Visions of the Life of theResurrected (1939) 99
I. Subtilité des Corps glorieux 100II. Les Eaux de la Grâce 105
III. L’Ange aux Parfums 109IV. Combat de la Mort et de la Vie 115V. Force et Agilité des Corps glorieux 122
VI. Joie et Clarté des Corps glorieux 128VII. Le Mystère de la Sainte Trinité 134
7. Messe de la Pentecôte (1950) 143I. Entrée—Les Langues de Feu 144
II. Offertoire—Les Choses visibles et invisibles 147III. Consécration—Le Don de Sagesse 152IV. Communion—Les Oiseaux et les Sources 155V. Sortie—Le Vent de l’Esprit 158
8. Livre d’Orgue, Seven Pieces (1951) 162I. Reprises par Interversion 163
II. Pièce en Trio 167III. Les Mains de l’Abîme 170IV. Chants d’Oiseaux 174V. Pièce en Trio 179
VI. Les Yeux dans les Roues 184VII. Soixante-Quatre Durées 188
9. Verset pour la Fête de la Dédicace (1960) 193
10. Méditations sur le Mystère de la Sainte Trinité (1969) 199I. (Le Père inengendré) 205
II. (La Sainteté de Jésus Christ) 210III. (“La Relation réelle en Dieu est réellement identique
à l’Essence”) 214IV. (“Je suis, je suis!”) 216V. (Dieu est immense, éternel, immuable—Le Souffle de
l’Esprit—Dieu est Amour) 219VI. (Le Fils, Verbe et Lumière) 224
VII. (“Le Père et le Fils aiment, par le Saint-Esprit, eux-mêmeset nous”) 227
viii Contents
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VIII. (Dieu est simple) 230IX. (“Je suis Celui qui suis”) 234
11. Livre du Saint Sacrement (1984) 240I. Adoro te 244
II. La Source de Vie 248III. Le Dieu caché 250IV. Acte de Foi 256V. Puer natus est nobis 263
VI. La Manne et le Pain de Vie 269VII. Les Ressuscités et la Lumière de Vie 276
VIII. Institution de l’Eucharistie 282IX. Les Ténèbres 289X. La Résurrection du Christ 294
XI. L’Apparition du Christ ressuscité à Marie-Madeleine 299XII. La Transsubstantiation 306
XIII. Les deux Murailles d’Eau 314XIV. Prière avant la Communion 322XV. La Joie de la Grâce 327
XVI. Prière après la Communion 332XVII. La Présence multipliée 334
XVIII. Offrande et Alléluia final 340
12. Monodie (1997, posthumous) 345
13. Offrande au Saint Sacrement (2001, posthumous) 347
14. Prélude (2002, posthumous) 349
Part 2. The Organ at L’Église de la Sainte-Trinité, Paris
15. Les Grandes Orgues de l’Église de la Sainte-Trinité à Paris(A Brochure by Olivier Messiaen, October 1980) 353
16. Evolution of the Organ, 1930–1992 361
17. Characteristics of the Organ since 1966 367
appendix a: A Biographical Sketch of Olivier Messiaen 379
appendix b : Pieces Appropriate for Specific Services and Feastsduring the Liturgical Year 385
Glossary of Terms and Techniques Unique to Messiaen 387
Notes 395
Bibliography 401
Contents ix
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frontispiece. Messiaen in his garden in Petichet ii
figure 1. Olivier Messiaen and Jon Gillock xiv
figure 2. Messiaen’s Spirituality Passing through Jon Gillock(George J. Nicholson) 2
figure 3. Messiaen at his “composing desk” in Petichet 11
figure 4. Eymogramme of final vision of Combat de la Mort etde la Vie (Elisabeth Hemour) 123
figure 5. A page from the manuscript of Livre du Saint Sacrement 283
figure 6. La Joie de la Grâce, a sculpture in wood(Anton Mendizabal) 328
figure 7. Program from the inauguration concert of theTrinité organ, May 28, 1935 356
figure 8. Messiaen at the Cavaillé-Coll console, Trinité 360
figures
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Jon Gillock came to Paris for several years to attend Olivier Messiaen’s class atthe Conservatoire. Thus, he heard numerous works analyzed: operas, orches-tral works, organ and piano works—in all styles—
That is how he was imbued for life with Messiaen’s teaching, but also sub-merged!, immersed by the genius which permeated Messiaen’s personality.However, for him that was not enough: he traveled, sometimes great distances,to hear orchestral concerts where works of Messiaen were being played! It wasnot rare to see him at a “Turangalîla” in Germany—or at a “Transfiguration deNotre Seigneur Jésus-Christ” in Holland.
Passionately in love with Messiaen’s music, and at the same time discreet, hisever faithful presence touched Messiaen’s heart! . . .
When Jon Gillock performed Messiaen’s works at St. John the Divine in NewYork, his personality, his virtuosity, his registrations, his knowledge of sonor-ity, and the faithfulness of his interpretation overwhelmed the Composer.
There remains a very strong bond between the Maître and his Disciple, andthe two will be in perfect communion when Jon Gillock accomplishes the featof performing Messiaen’s complete works for organ in six concerts.
Love of Beauty is contagious! and the public is going to vibrate with theFaith and Light that Olivier Messiaen knew how to communicate through hismusic.
With thankfulness to Jon Gillock, who also knows how to perform theseworks with his heart.
Yvonne Loriod-Messiaen
paris, november 1998
[For program Celebration Messiaen: The Complete Works for Organ, New York City, 1999]
foreword
xiii
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figure 1 . Olivier Messiaen and Jon Gillock at the Paris Conservatory, then located onRue de Madrid, in Messiaen’s classroom, Salle Gounod, 1977. photo: j. gillock
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figure 3 . Messiaen at his “composing desk” in Petichet, around 1991.photo: y. loriod-messiaen, by permission.
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12
one
Le Banquet céleste[The Celestial Banquet, 1928]
Celui qui mange ma chair et boit mon sang demeure en moi et moi en lui.
—Évangile selon Saint Jean, VI, 56
[He that eateth my flesh, and drinketh my blood, dwelleth in me, and I in Him.
—Gospel according to St. John 6:56]
This work uses the 2nd “mode of limited transpositions” in its threetranspositions applied to the three good degrees: tonic, dominant,subdominant. Its subject is the Holy Communion and it is especiallyappropriate to play it on the day of the Feast of the Holy Sacrament(or Corpus Christi, 11 days after Pentecost).1
� Olivier Messiaen
MASTERCLASS 1
Messiaen’s first published work, Le Banquet céleste, began life as the slow, secondtheme of a symphonic poem entitled Le Banquet eucharistique, which used theLatin text O Sacrum Convivium (O Sacred Feast) as its subtitle. This work wasbegun around 1926–27, while Messiaen was a composition student of Paul Dukas,and it was never finished. Thus, his first organ work is really a transcription. Anote at the end of this piece says that it was “written in 1926 at Fuligny nearVille sur Terre.” This date, of course, refers to the orchestral version. Messiaen’sown personal, chronological catalogue of his works definitely gives 1928 as thedate of composition for this organ piece. (Fuligny is a tiny village in the south-ern part of the Champagne region of France, not too far from Troyes, almostbordering Burgundy.)
Though it was written when he was around eighteen or nineteen years old,we can already hear in this piece certain unmistakable traits of Messiaen’s verypersonal musical style: modes other than major and minor (his “modes of lim-ited transpositions”) as the basis for harmony and melody, and slow, sustained,expressive writing evoking the celestial and mystical. It consists of only twenty-five measures of music but requires 7–8 minutes to perform. Looking back at
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his total output, we can easily see that this kind of spiritual sweetness playedan important role throughout his career.
What a simple piece this is, and what a diªcult one it is to play and interpret!Simple writing is often very diªcult to perform merely because there is noth-ing to distract the listener from the message of the music. In flashy toccatas, bril-liant passagework, or other kinds of technical show-off pieces, it is very easy toforget that the music has a message. Often, the public is content (or even pre-fers) to be wowed by the technical prowess of the performer, forgetting that thepurpose of real music-making is to communicate a message, a message diªcultto express in words. That is the great power of music in the truest sense, andit is certainly the purpose of all of Messiaen’s compositions. It is in Messiaen’ssimple, sweet music that many of his most sublime messages are revealed.
This piece is a tender meditation on the Eucharist. In other words, it is onein which the composer, performer, and listeners contemplate the great mysteryof the sacrifice of Jesus on the cross, how that sacrifice could save humankind,how ordinary bread and wine can become the body and blood of Jesus dur-ing the Eucharistic celebration, and the connection Christians feel with theAlmighty and each other when this act is experienced.
It is a piece with two themes: the first, slow, sustained, far away, mysterious,representing the love God has for us by sacrificing his Son to save mankind; thesecond, a melody played by the feet, like “drops of water,” representing Christ’sblood “that was shed for us for the remission of sins.” The second theme entersmidway through the piece, and over this second theme the first theme is devel-oped in an orchestral crescendo and diminuendo.
Messiaen’s interpretation of this act is one of utter gentleness and love. Thefirst indications of this are the F# major key signature, Messiaen’s tonality oflove, and the registration, Gambe and Voix céleste, Messiaen’s sound of love.The word extatique is another important sign: the piece is dominated by thisintense emotion of love, the love that dwells in those who believe in him, inthose who eat his flesh and drink his blood. Those are words of comfort andhope, and that is exactly what those who listen to this piece should feel.
Très lent, extatique,π (very slow, ecstatic, pianissimo), lointain, mystérieux,legatissimo (far away, mysterious, very, very legato): those are the directions forinterpretation given at the beginning of the piece.
The work begins far away in the heavens—on the strings of the Récit, imi-tating muted strings of the orchestra, with the Swell box completely closed. Wecan just barely hear it. It is the voice of God slowly, gently, lovingly entering ourhearts and minds. It transports us out of our everyday world. We begin to con-template the spiritual. It speaks of a great mystery, the Communion, an act thathas united Christians for centuries, one they must believe by faith alone.
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The piece as a whole is one long crescendo and diminuendo, one long arch-form. Further, that elongated arch is composed of smaller arch-type phrases(which are further subdivided into waves), which always build to the peak ofthe large arch and then release and descend from that point to the end, wherethere is complete repose. This long arch-form begins at the bottom of the key-board, rises to the top, and then descends again.
The touch in the hands must be absolutely legato. At times, this is verydiªcult to accomplish because of the large chords involved and their spacing.The touch for the feet is completely different. Messiaen says that their themeshould have a “short staccato” touch and sound like “drops of water.” This ismuch easier to accomplish in a reverberant space than in a dry room.
It is not easy to find just the right tempo. Messiaen even issued a secondedition of this piece in 1960 in note values twice as long as the original to helpvisually communicate its slowness. He even added a metronome mark (veryrare for him in organ music) to indicate the speed of the eighth note. It isimportant to have the tempo of the eighth note in mind when performing thispiece—certainly, we should count eighth notes—but that is not the unit that weas interpreters should feel or communicate to the audience. That value is surelythe half note. After all, Messiaen used a traditional meter in this work:
32, threebeats to the measure, the half note being the beat. Of course, with music movingso slowly it is very diªcult to feel this unit when starting to learn this piece.
Nevertheless, once we get the idea that this piece is rhythmically in three, Ithink that gets us started in the right direction. Coming to that conclusion, thenext thing to determine is where the strong and weak beats occur in this meterof three. Certainly, this is neither a piece of twelve equal eighth notes per mea-sure nor of six equal quarter note beats per measure. It is not even a piece ofthree equal half notes per measure! Meter itself implies strong and weak. Tome, the first beats seem the strongest, the second beats the weakest, and thethird beats are somewhere in between, usually giving the feeling of some kindof lift (stretch) to the next first beat. Of course, in a sublime piece like this, allof that must be treated very subtly.
Once we can think in three, the slow tempo becomes much easier and moremeaningful. Meter and tempo must work together to help communicate themood of this piece. The slow tempo wants to give the impression of the time-lessness of eternity—slow, never in a hurry, almost imperceptible. The passageof time has little or no importance in eternity. Meter, with its strong and weaksensations, gives a kind of regular movement or undulation to this slow passageof time.
Let’s see how all of these elements are put to use in the first theme of thispiece, the first phrase, measures 1–4.
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First, we must imagine that this music is always going on—just as the uni-verse is always in motion. As the piece begins (as we begin to play), we aresimply allowed to hear it. This idea is kind of like listening to a recordingwith the volume turned completely off—the CD is spinning but we hear noth-ing, and when we turn up the volume very, very slowly we begin to hear whatis on the CD. That is similar to the concept here. The music of the universe isalways happening; it is already set into motion. As we begin to play, we aregoing to tune into it and let it speak to us, but we are not going to set it intomotion.
Even though the tempo is very slow, this music is always moving. The firstphrase is actually composed of two small arches of two measures each. Thefirst arch moves toward the high G in the soprano—it crescendos slightly (notby use of the Swell box but though movement, pacing) to that point; then, thereis a slight diminuendo and a release of that forward motion through the endof that measure. In measure 3, the second small arch begins, moving towardthe E in the soprano. This arch mirrors the movement in measures 1 and 2, butat a lower level of intensity because it is at a lower pitch level. At measure 5,there is a restart (where the same music as in measure 1 begins over again), thebeginning of the second phrase.
These small arches are composed of several “waves” which gently take usupward and then, just as gently, let us down. Notice how the first phrase iscomposed of waves of ecstatically loving sighs and caresses which correspondto the strong and weak beat idea.
Measure 1. The very first chord (slightly dissonant, i.e., not major or minor),on beat 1, the strong beat, resolves downward, sighing into the second chord(a very consonant G major) on the weak part of beat 2, the weakest beat of themeasure—first wave. The two eighth notes which follow on the third beatmirror that sighing motion but caressingly turn upward into the last quar-ter note of the measure, bringing us the light of a G major harmony (in anew position), rising to a higher level—second wave, taking us higher on thissmall arch.
Measure 2. That last quarter note harmony in measure 1, in turn, lifts us upto the F# major seventh chord on beat 1 of the next measure—the next strongbeat: that motion is the third wave, taking us even higher on the arch. That longchord expands, sighing into the next quarter note C major chord (with the sev-enth, A# or Bb) on the weak part of the weak second beat—the fourth wave. Thisis the top of the arch, the climax of the first phrase. We are taken to the top onlyvery briefly and then the phrase immediately curves and begins to descend.The two eighth notes which follow, on the third beat, mirror the same sighingmotion of the corresponding rhythm in the first measure and again caressingly
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turn upward into the last quarter note of the measure, bringing us the light ofanother C major harmony—the first descending wave.
Notice also that bass notes are setting up a wave motion of their own by gen-tly rocking between B and A#.
Measures 3–4. We return to the starting point harmony but not to a re-statement of the theme. These next two measures form the second half of thetheme, continuing the relaxation, the downward side of the arch, already begunin measure 2.
They are a kind of simplified version of measures 1 and 2, including its ris-ing and falling movements. In other words, the descending part of this archtakes much more time to subside than the rising side took to mount. Its routeis not as direct: it is going to slightly rise again, with a new forward-movingenergy (crescendo), before it comes to rest. This forms the second small archof the first phrase—smaller and less energetic than the first.
Thus, in these two measures the essential harmonies and ideas of measures1 and 2 are reiterated at a slightly lower pitch level (corresponding to energylevel) to allow the complete relaxation of the phrase. Movement in measure 3is only on the strong beats: beat 1 resolves downward, sighing into the secondchord on beat 3. However, it immediately turns around and ascends (just as inmeasure 1), lifting us up to the first beat of measure 4, another F# harmony (thistime without the seventh, thus less intense).
As this F# harmony expands into the following quarter note, C major har-mony (again with the seventh), we reach the top of this smaller, second arch. Itimmediately sighs into the long, weak second beat, again on F#. As the sopranodescends chromatically on the third beat, the whole phrase sighs in completerepose as we return to the starting point in measure 5.
The feeling of phrases in all of Messiaen’s music has to do with timing (pac-ing). Phrases naturally begin (unfold) with energy, with forward movement(crescendo), and close with repose (diminuendo), a slight giving-in to thetempo. The end of the phrase mark in measure 4 does not mean to lift or takea breath. If Messiaen had wanted a breath here he would have added anotherindication, such as a breath mark, a rest, or even a staccato mark.
The remainder of the piece is built on those ideas. In fact, the whole piece isstructured in that manner. One arch-type phrase after the other builds on theprevious phrases, mounting higher and higher on the arch, crescendoing, untilwe reach the climax of the piece in measure 17. At that point, other arch-typephrases release into each other, subsiding lower and lower, diminuendoing,until we reach the end, where there is complete repose.
We could easily say that the piece divides itself into two halves, simplybecause about half of the piece is for hands alone using theme 1 and then
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midway the feet enter with theme 2 and the two continue to the end combined.However, I do not believe we actually hear this piece that way. I hear it as onelong crescendo and diminuendo constructed in this manner:
(1) Statement of the first theme (measures 1–4);(2) First restatement of the first theme, ornamented and expanded
(measures 5–11);(3) Second restatement of the first theme, greatly expanded to include the
ending, while the second theme is simultaneously stated and is alsoexpanded until the end (measures 12–25).
For me, all of these sections flow together quite naturally to create one long,sustained piece. We should not be aware of sections at all. Furthermore, whenthe second theme enters it must sound completely natural, a logical comple-ment to what has already been heard.
Let’s now look at the whole in a little more detail:
I, measures 1–4
Statement of theme 1 in its simplest form, explained above in detail.
II, measures 5–10
First restatement of theme 1, now very gently crescendoing as it begins (peu àpeu p, little by little piano), letting in a little more light. That distant voice isbecoming a little more present. Measures 5–7 are exact repetitions of measures1–3; measure 8 is an ornamentation of measure 4, creating a very longing sighin the descending eighth notes, a crescendo of movement.
What follows is an expansion of the theme:Measure 9 is a rising sequence of measure 8; the crescendo of ornamental
movement is now coupled with a crescendo of sound.Measure 10 is another rising sequence of measure 8. Here, at F, we reach
the top of the arch of this section, which is quite intense and passionate. Afterthe sequential eighth notes, the motion continues downward in pairs of ecstat-ically sighing quarter notes, losing energy by progressively leaning on (slightlylengthening) the first of each pair.
Measure 11. As more and more crescendo is asked for (peu à peu f), the mostpungent of these descending, sighing pairs is heard on the first beat, followedby two ascending pairs.
During the development of the music heard in these measures, the celestialvoice that we heard so faintly at the beginning has been coming closer andcloser, with more passionate intensity. We are now ready to listen to it with more
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intent and understanding. It is still sweet and comforting. We feel enveloped by
its reassurance and love. We feel totally accepted, even with our human faults.
We sense that the music is going to open up even more—in crescendo—filling
our hearts with even more love.
Just at this point, in measure 11 on beat 2, where theme 1 is ascending in pairs
of quarter notes, the color of theme 2 enters, singing a rising scale which is
really not part of the theme (this is mode 2 with the A nmissing). It is played by
the feet on a clear (clair in French), colorful sound, which is a combination of
stops found in the Positif: Flûte 4', Nazard 2⅔', Doublette 2', Piccolo 1'. These
exact stops will not be found on many organs, especially the Piccolo. Even if
they exist, they may not produce the same color! The important thing here is
to select a gentle, colorful combination which is extremely poetic and beauti-
ful, beginning at the 4' pitch.
While it is a clear sound, it should not dominate. The colors of both themes
should be equal. Both are marked f. Messiaen says that the touch for these
notes is “long staccato.” It should be a touch that lets this rising scale sing nat-
urally from the bottom to the top as a phrase, not a touch which emphasizes
each individual note, making them heavy. Further, it should be a sound that is
capable of producing a sound like drops of water falling into water (and all the
concentric circles of ringing “sound” that those produce) when theme 2 begins
in the next measure.
III, measures 12–25
Simultaneous second restatement and further expansion of theme 1 coupled
with the exposition and expansion of theme 2.
Theme 1
With the Swell box now completely open, we arrive at the second restatement
of theme 1. The sound blooms as we hear it now in two octaves—by playing an
octave higher than the beginning (just as written) and by adding a 16' Bourdon
which causes it to also sound an octave lower, in the range in which we first
heard this theme at the beginning. This greatly adds to the intensity of emo-
tion being expressed.
The theme is now restated exactly in measures 12–15. As the Flûte 8' is added,
giving more roundness to the sound (measure 15), we sense that the music
is reaching its apex as the strings soar upward in pairs of quarter notes, still
sighing in groups of two, pulsing, finally reaching the top of the arch (of the
whole piece) on the B# in measure 17. What an outpouring of love all that com-
municates. We are engulfed with tenderness and deep emotion.
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From this point onward, having reached the top of the arch, the phrases lose
energy and dissolve until the very end.
Curving around the top of the arch, in measure 17, the direction changes.
We now descend by pairs of ecstatically sighing quarter notes, the beginning of
which coincides with the peak of theme 2 on its D#.In measure 18, with the removal of the Flûte 8', we retake the sighing eighth
note ornamentation of the theme found in measure 8, which is followed by two
more pairs of sighing, descending quarter notes.
Measure 19 is a downward sequence of measure 18. As the music descends,
the Bourdon 16' is removed, which provides a lessening of the intensity. All this
allows the arch to descend, letting down, giving in.
From this point onward all hovers over a C# pedal point in the left hand.
Measure 20 starts as a melodic repetition of measure 18 an octave lower
(obviously at quite a lower level of intensity), but the quarter notes following
the eighths are now a tender repetition in augmentation of those same eighth
notes. Simultaneously a long diminuendo, now actually using the Swell box,
begins (dim. poco a poco).
Instead of continuing to the final C# of that figure, the last quarter note, D#,of the previous measure is suspended into measure 21, completely replacing
the C#. Then, measure 20 is tenderly repeated. Again, the final quarter of the
previous measure is suspended into measure 22, and measure 21 is repeated
in slow motion with all the eighths becoming quarters, ending on the C#. All
the while the diminuendo continues. From here to the end we rock back and
forth, cradled in the arms of God, repeating the last two sighing harmonies:
long/short, short/long, long/short, short/long, which subside more and more
slowly through a rallentando and rallentando molto.
Theme 2
In measure 12, theme 2 enters with a different touch, which imitates drops of
water. The Piccolo 1' at Trinité definitely helps give that effect. Intermingled
with the reassurance and hope that theme 1 brings, it reminds us of the Cruci-
fixion of the Son to save mankind. It represents his drops of blood that were
shed to save mankind.
Theme 2 is stated in measures 12–13, and it is restated in measures 14–15.
Notice that it is also constructed as an arch, by measure—making it very easy
to see—and that the height of its arch is on the second beat: its motion flows
forward to beat 2 and then relaxes. Also, notice that it is clearly beamed in
groups of four eighths, thus three beats to the measure. It is so easy to think of
this theme in groups of two, but that is clearly not what Messiaen intended.
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Notice also that this theme is in perpetual motion, constantly flowing back andforth between its high and low curves.
From this point onward it is expanded to coincide with the direction thattheme 1 takes.
It reaches the top of its arch just slightly after theme 1, in measure 17, verypassionately on the high D#. Breathless, it can barely sing past the top and isforced to stop in mid-arch to take a breath.
In measure 18, after an expressive breath, the downward side of that arch iscompleted as well as the beginning of another ascending arch, again inter-rupted by an expressive breath in the next measure.
Measure 19 completes that arch, letting it descend even lower; it arrives on aC# in measure 20. This arch, mirroring the motion in the hands, is also lettingdown, giving in.
From this point onward, the pedal sings in dialogue with the hands.In measure 20, it answers the four descending eighth notes of the hands by
singing a rising eighth note response.It does the same in measure 21, becoming even more tender by responding
with eighth notes which are now longer and by removing the Doublette 2'.In measure 22, where the hands have all quarters, its response is fragmented,
singing only three heartfelt eighth notes that are hardly detached, becomingeven sweeter with the removal of the Flûte 4'. In measure 23, the eighths arerepeated in an even more touching way, iridescent, rainbow-colored, poetic—now on the Nazard 2⅔' and Doublette 2'. Finally, in measure 24, only one noteof this theme remains, the beginning D#—lingering longingly.
As the hands continue their rocking motion, the pedal sound is changed toits lowest and quietest stops. As the final note is profoundly sounded, the pedal(no longer a solo) becomes a part of the texture of the hands.
The piece ends ecstatically and profoundly on a C# dominant seventh chord(of F# major). This final chord has a fermata as well as the word long writtenabove it and the words très profond (very profound) written just below thepedal note. This chord should sound for a very long time, the performer imag-ining that it is growing more and more faint, a vision that is disappearing.When the chord is finally released it should resonate in the room for as long aspossible. This piece is not over until the last bit of reverberation completelydies away—and even longer. If seen, the performer can greatly help with thisimage by remaining completely still in a prayerful attitude.
By the time we reach the climax of this piece our hearts are filled with thelove of God and we feel protected by his all-encompassing arms, which sur-round us. That represents the summit of our Communion with him. From thatpoint to the end, that intense feeling subsides. We have experienced the Divine.
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We have been fulfilled in this act of Christian love. As the music ends, we simplyhear it no longer, even though it continues just as the motion of the universecontinues, just as eternity. We will hear it and experience it again the next timewe partake in this act.
The registration of this piece is simple, but it is surprising just how diªcultit is to adapt to many organs. The addition of the Récit Bourdon and Flûte tothe Voix céleste is not absolutely essential if your string stops alone and Swellbox can provide an adequate crescendo, one which will balance the sound ofthe second theme in the Pédale. On the other hand, the character of the musicchanges considerably if the Bourdon 16' is not added in measure 12 and re-moved in measure 19. Obviously, the indication in the score for the handsto play on the Grand-Orgue with the Récit coupled is simply for convenience.Choosing the right sound for the Pédale is more complicated: it must be col-orful without being harsh, perfectly balancing the sound of the hands, beingintermingled with them—not standing out. The exact pitches may differ fromthose printed in the score, but they must produce the same effect. If no 1' stopis available (an often-encountered problem), it might be possible to use two 2'stops of different intensities.
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