Book excerpt from Jon Gillock's latest release, Performing Messiaen's Organ Music...
PERFORMING
MessiaEn’s O R G A N M U S I C
66 Masterclasses
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p e r f or m i n g
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Messiaen’s
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66 Masterclasses
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Jo n Gi l l o c k
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Indiana University Press bloomington and indianapolis
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This book is a publication of Indiana University Press 601 North Morton Street Bloomington, IN 47404-3797 USA www.iupress.indiana.edu Telephone orders Fax orders Orders by e-mail
800-842-6796 812-855-7931
[email protected]
© 2010 by Jon Gillock All rights reserved
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No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses’ Resolution on Permissions constitutes the only exception to this prohibition.
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R The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ansi z39.48-1992.
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Manufactured in the United States of America
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Library of Congress Cataloging-in-Publication Data
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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
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1 2 3 4 5 15 14 13 12 11 10 Éditions Musicales Alphonse Leduc, Paris, 175 rue Saint-Honoré granted permission to publish the 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’s texts 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 in the Alps. This is where he spent his summers and did most of his composing. His house and studio were situated between two lakes: behind him to the north (seen in the photo), Lake La¤rey and Lake Petichet to the south, all surrounded by mountains. photo: y. loriod-messiaen, by permission
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to John Cowell
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(1920–2007)
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who, early on, recognized my natural instincts as a musician and taught me how to use them, giving me the confidence necessary to use the innate gifts God had bestowed on me.
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to Olivier Messiaen
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(1908–1992)
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and his music, which provided the perfect environment for two souls to meet. By learning all of his organ music completely on my own (with no help whatsoever), it allowed me to become an independent musician, literally teaching me how to bring every musical and artistic means in my possession and imagination to bear in my musical interpretations. It also taught me how to believe in the spiritual.
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contents
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List of Figures Foreword by Yvonne Loriod-Messiaen
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Preface
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Acknowledgments
Part 1. The 66 Masterclasses
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Note to Reader: How to Use This Book
xi xiii xv xix xxi
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i n t ro d u c t i o n : A Philosophy of the Performer’s Role as an Interpreter
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2. Diptyque (1928)
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3. Apparition de l’Église éternelle (1932)
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4. L’Ascension (1933, version for organ) I. Majesté du Christ demandant sa Gloire à son Père II. Alléluias sereins d’une Âme qui désire le Ciel III. Transports de Joie d’une Âme devant la Gloire du Christ qui est la sienne IV. Prière du Christ montant vers son Père
37 37 40
5. La Nativité du Seigneur, Nine Meditations (1935) I. La Vierge et l’Enfant II. Les Bergers III. Desseins éternels IV. Le Verbe V. Les Enfants de Dieu
49 52 57 62 65 72
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1. Le Banquet céleste (1928)
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Contents
VI. VII. VIII. IX.
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Les Anges Jésus accepte la Souffrance Les Mages Dieu parmi nous
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6. Les Corps glorieux, Seven Short Visions of the Life of the Resurrected (1939) I. Subtilité des Corps glorieux II. Les Eaux de la Grâce III. L’Ange aux Parfums IV. Combat de la Mort et de la Vie V. Force et Agilité des Corps glorieux VI. Joie et Clarté des Corps glorieux VII. Le Mystère de la Sainte Trinité
99 100 105 109 115 122 128 134 143 144 147 152 155 158
8. Livre d’Orgue, Seven Pieces (1951) I. Reprises par Interversion II. Pièce en Trio III. Les Mains de l’Abîme IV. Chants d’Oiseaux V. Pièce en Trio VI. Les Yeux dans les Roues VII. Soixante-Quatre Durées
162 163 167 170 174 179 184 188
9. Verset pour la Fête de la Dédicace (1960)
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7. Messe de la Pentecôte (1950) I. Entrée—Les Langues de Feu II. Offertoire—Les Choses visibles et invisibles III. Consécration—Le Don de Sagesse IV. Communion—Les Oiseaux et les Sources V. Sortie—Le Vent de l’Esprit
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10. Méditations sur le Mystère de la Sainte Trinité (1969) I. (Le Père inengendré) II. (La Sainteté de Jésus Christ) III. (“La Relation réelle en Dieu est réellement identique à l’Essence”) IV. (“Je suis, je suis!”) V. (Dieu est immense, éternel, immuable—Le Souffle de l’Esprit—Dieu est Amour) VI. (Le Fils, Verbe et Lumière) VII. (“Le Père et le Fils aiment, par le Saint-Esprit, eux-mêmes et nous”)
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Contents
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VIII. (Dieu est simple) IX. (“Je suis Celui qui suis”)
240 244 248 250 256 263 269 276 282 289 294 299 306 314 322 327 332 334 340
12. Monodie (1997, posthumous)
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13. Offrande au Saint Sacrement (2001, posthumous)
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14. Prélude (2002, posthumous)
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11. Livre du Saint Sacrement (1984) I. Adoro te II. La Source de Vie III. Le Dieu caché IV. Acte de Foi V. Puer natus est nobis VI. La Manne et le Pain de Vie VII. Les Ressuscités et la Lumière de Vie VIII. Institution de l’Eucharistie IX. Les Ténèbres X. La Résurrection du Christ XI. L’Apparition du Christ ressuscité à Marie-Madeleine XII. La Transsubstantiation XIII. Les deux Murailles d’Eau XIV. Prière avant la Communion XV. La Joie de la Grâce XVI. Prière après la Communion XVII. La Présence multipliée XVIII. Offrande et Alléluia final
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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)
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16. Evolution of the Organ, 1930–1992
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17. Characteristics of the Organ since 1966
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a p pe n d i x a : A Biographical Sketch of Olivier Messiaen
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a p pe n d i x b : Pieces Appropriate for Specific Services and Feasts during the Liturgical Year
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Glossary of Terms and Techniques Unique to Messiaen
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Notes
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Bibliography
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figure 1. Olivier Messiaen and Jon Gillock
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frontispiece. Messiaen in his garden in Petichet
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figure 2. Messiaen’s Spirituality Passing through Jon Gillock (George J. Nicholson) figure 3. Messiaen at his “composing desk” in Petichet
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figure 4. Eymogramme of final vision of Combat de la Mort et de la Vie (Elisabeth Hemour)
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figure 6. La Joie de la Grâce, a sculpture in wood (Anton Mendizabal)
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figure 7. Program from the inauguration concert of the Trinité organ, May 28, 1935
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figure 8. Messiaen at the Cavaillé-Coll console, Trinité
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figure 5. A page from the manuscript of Livre du Saint Sacrement
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Jon Gillock came to Paris for several years to attend Olivier Messiaen’s class at the Conservatoire. Thus, he heard numerous works analyzed: operas, orchestral works, organ and piano works—in all styles— That is how he was imbued for life with Messiaen’s teaching, but also submerged!, 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 was not rare to see him at a “Turangalîla” in Germany—or at a “Transfiguration de Notre Seigneur Jésus-Christ” in Holland. Passionately in love with Messiaen’s music, and at the same time discreet, his ever faithful presence touched Messiaen’s heart! . . . When Jon Gillock performed Messiaen’s works at St. John the Divine in New York, his personality, his virtuosity, his registrations, his knowledge of sonority, and the faithfulness of his interpretation overwhelmed the Composer. There remains a very strong bond between the Maître and his Disciple, and the two will be in perfect communion when Jon Gillock accomplishes the feat of performing Messiaen’s complete works for organ in six concerts. Love of Beauty is contagious! and the public is going to vibrate with the Faith and Light that Olivier Messiaen knew how to communicate through his music. With thankfulness to Jon Gillock, who also knows how to perform these works with his heart. Yvonne Loriod-Messiaen paris, november 1998
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figure 1 . Olivier Messiaen and Jon Gillock at the Paris Conservatory, then located on Rue 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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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
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[He that eateth my flesh, and drinketh my blood, dwelleth in me, and I in Him.
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—Gospel according to St. John 6:56]
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This work uses the 2nd “mode of limited transpositions” in its three transpositions applied to the three good degrees: tonic, dominant, subdominant. Its subject is the Holy Communion and it is especially appropriate 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
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Messiaen’s first published work, Le Banquet céleste, began life as the slow, second theme of a symphonic poem entitled Le Banquet eucharistique, which used the Latin text O Sacrum Convivium (O Sacred Feast) as its subtitle. This work was begun 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. A note at the end of this piece says that it was “written in 1926 at Fuligny near Ville sur Terre.” This date, of course, refers to the orchestral version. Messiaen’s own personal, chronological catalogue of his works definitely gives 1928 as the date of composition for this organ piece. (Fuligny is a tiny village in the southern part of the Champagne region of France, not too far from Troyes, almost bordering 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 very personal musical style: modes other than major and minor (his “modes of limited transpositions”) as the basis for harmony and melody, and slow, sustained, expressive writing evoking the celestial and mystical. It consists of only twentyfive 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 played an 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 nothing to distract the listener from the message of the music. In flashy toccatas, brilliant passagework, or other kinds of technical show-off pieces, it is very easy to forget that the music has a message. Often, the public is content (or even prefers) to be wowed by the technical prowess of the performer, forgetting that the purpose of real music-making is to communicate a message, a message diªcult to express in words. That is the great power of music in the truest sense, and it is certainly the purpose of all of Messiaen’s compositions. It is in Messiaen’s simple, 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 one in which the composer, performer, and listeners contemplate the great mystery of 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 during the Eucharistic celebration, and the connection Christians feel with the Almighty 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; the second, a melody played by the feet, like “drops of water,” representing Christ’s blood “that was shed for us for the remission of sins.” The second theme enters midway through the piece, and over this second theme the first theme is developed in an orchestral crescendo and diminuendo. Messiaen’s interpretation of this act is one of utter gentleness and love. The first indications of this are the F # major key signature, Messiaen’s tonality of love, and the registration, Gambe and Voix céleste, Messiaen’s sound of love. The word extatique is another important sign: the piece is dominated by this intense emotion of love, the love that dwells in those who believe in him, in those who eat his flesh and drink his blood. Those are words of comfort and hope, 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 for interpretation given at the beginning of the piece. The work begins far away in the heavens—on the strings of the Récit, imitating muted strings of the orchestra, with the Swell box completely closed. We can just barely hear it. It is the voice of God slowly, gently, lovingly entering our hearts and minds. It transports us out of our everyday world. We begin to contemplate the spiritual. It speaks of a great mystery, the Communion, an act that has 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 archform. Further, that elongated arch is composed of smaller arch-type phrases (which are further subdivided into waves), which always build to the peak of the large arch and then release and descend from that point to the end, where there is complete repose. This long arch-form begins at the bottom of the keyboard, rises to the top, and then descends again. The touch in the hands must be absolutely legato. At times, this is very diªcult to accomplish because of the large chords involved and their spacing. The touch for the feet is completely different. Messiaen says that their theme should have a “short staccato” touch and sound like “drops of water.” This is much 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 second edition of this piece in 1960 in note values twice as long as the original to help visually communicate its slowness. He even added a metronome mark (very rare for him in organ music) to indicate the speed of the eighth note. It is important to have the tempo of the eighth note in mind when performing this piece—certainly, we should count eighth notes—but that is not the unit that we as interpreters should feel or communicate to the audience. That value is surely 3 the half note. After all, Messiaen used a traditional meter in this work: 2, three beats to the measure, the half note being the beat. Of course, with music moving so 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, I think that gets us started in the right direction. Coming to that conclusion, the next thing to determine is where the strong and weak beats occur in this meter of three. Certainly, this is neither a piece of twelve equal eighth notes per measure nor of six equal quarter note beats per measure. It is not even a piece of three equal half notes per measure! Meter itself implies strong and weak. To me, the first beats seem the strongest, the second beats the weakest, and the third beats are somewhere in between, usually giving the feeling of some kind of lift (stretch) to the next first beat. Of course, in a sublime piece like this, all of that must be treated very subtly. Once we can think in three, the slow tempo becomes much easier and more meaningful. Meter and tempo must work together to help communicate the mood of this piece. The slow tempo wants to give the impression of the timelessness of eternity—slow, never in a hurry, almost imperceptible. The passage of time has little or no importance in eternity. Meter, with its strong and weak sensations, gives a kind of regular movement or undulation to this slow passage of time. Let’s see how all of these elements are put to use in the first theme of this piece, the first phrase, measures 1–4.
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First, we must imagine that this music is always going on—just as the universe is always in motion. As the piece begins (as we begin to play), we are simply allowed to hear it. This idea is kind of like listening to a recording with the volume turned completely off—the CD is spinning but we hear nothing, and when we turn up the volume very, very slowly we begin to hear what is on the CD. That is similar to the concept here. The music of the universe is always happening; it is already set into motion. As we begin to play, we are going to tune into it and let it speak to us, but we are not going to set it into motion. Even though the tempo is very slow, this music is always moving. The first phrase is actually composed of two small arches of two measures each. The first arch moves toward the high G in the soprano—it crescendos slightly (not by use of the Swell box but though movement, pacing) to that point; then, there is a slight diminuendo and a release of that forward motion through the end of that measure. In measure 3, the second small arch begins, moving toward the E in the soprano. This arch mirrors the movement in measures 1 and 2, but at 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), the beginning of the second phrase. These small arches are composed of several “waves” which gently take us upward and then, just as gently, let us down. Notice how the first phrase is composed of waves of ecstatically loving sighs and caresses which correspond to 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 the measure—first wave. The two eighth notes which follow on the third beat mirror that sighing motion but caressingly turn upward into the last quarter note of the measure, bringing us the light of a G major harmony (in a new position), rising to a higher level—second wave, taking us higher on this small arch. Measure 2. That last quarter note harmony in measure 1, in turn, lifts us up to the F # major seventh chord on beat 1 of the next measure—the next strong beat: that motion is the third wave, taking us even higher on the arch. That long chord expands, sighing into the next quarter note C major chord (with the seventh, A # or B b) on the weak part of the weak second beat—the fourth wave. This is the top of the arch, the climax of the first phrase. We are taken to the top only very briefly and then the phrase immediately curves and begins to descend. The two eighth notes which follow, on the third beat, mirror the same sighing motion 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 of another C major harmony—the first descending wave. Notice also that bass notes are setting up a wave motion of their own by gently rocking between B and A #. Measures 3–4. We return to the starting point harmony but not to a restatement of the theme. These next two measures form the second half of the theme, continuing the relaxation, the downward side of the arch, already begun in measure 2. They are a kind of simplified version of measures 1 and 2, including its rising and falling movements. In other words, the descending part of this arch takes much more time to subside than the rising side took to mount. Its route is not as direct: it is going to slightly rise again, with a new forward-moving energy (crescendo), before it comes to rest. This forms the second small arch of the first phrase—smaller and less energetic than the first. Thus, in these two measures the essential harmonies and ideas of measures 1 and 2 are reiterated at a slightly lower pitch level (corresponding to energy level) to allow the complete relaxation of the phrase. Movement in measure 3 is only on the strong beats: beat 1 resolves downward, sighing into the second chord on beat 3. However, it immediately turns around and ascends (just as in measure 1), lifting us up to the first beat of measure 4, another F # harmony (this time without the seventh, thus less intense). As this F # harmony expands into the following quarter note, C major harmony (again with the seventh), we reach the top of this smaller, second arch. It immediately sighs into the long, weak second beat, again on F #. As the soprano descends chromatically on the third beat, the whole phrase sighs in complete repose 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 (pacing). Phrases naturally begin (unfold) with energy, with forward movement (crescendo), and close with repose (diminuendo), a slight giving-in to the tempo. The end of the phrase mark in measure 4 does not mean to lift or take a breath. If Messiaen had wanted a breath here he would have added another indication, 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 is structured in that manner. One arch-type phrase after the other builds on the previous phrases, mounting higher and higher on the arch, crescendoing, until we reach the climax of the piece in measure 17. At that point, other arch-type phrases 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, simply because 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 one long 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 also expanded until the end (measures 12–25).
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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, when the second theme enters it must sound completely natural, a logical complement to what has already been heard. Let’s now look at the whole in a little more detail:
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I, measures 1–4
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Statement of theme 1 in its simplest form, explained above in detail. II, measures 5–10
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First restatement of theme 1, now very gently crescendoing as it begins (peu à peu p, little by little piano), letting in a little more light. That distant voice is becoming a little more present. Measures 5–7 are exact repetitions of measures 1–3; measure 8 is an ornamentation of measure 4, creating a very longing sigh in 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. After the sequential eighth notes, the motion continues downward in pairs of ecstatically sighing quarter notes, losing energy by progressively leaning on (slightly lengthening) the first of each pair. Measure 11. As more and more crescendo is asked for (peu à peu f), the most pungent of these descending, sighing pairs is heard on the first beat, followed by two ascending pairs. During the development of the music heard in these measures, the celestial voice that we heard so faintly at the beginning has been coming closer and closer, 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 n missing). 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 beautiful, 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 naturally 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.
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III, measures 12–25
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Simultaneous second restatement and further expansion of theme 1 coupled with the exposition and expansion of theme 2.
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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 emotion 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 communicates. 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 Crucifixion 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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the 66 masterclasses
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Notice also that this theme is in perpetual motion, constantly flowing back and forth between its high and low curves. From this point onward it is expanded to coincide with the direction that theme 1 takes. It reaches the top of its arch just slightly after theme 1, in measure 17, very passionately on the high D #. Breathless, it can barely sing past the top and is forced to stop in mid-arch to take a breath. In measure 18, after an expressive breath, the downward side of that arch is completed as well as the beginning of another ascending arch, again interrupted by an expressive breath in the next measure. Measure 19 completes that arch, letting it descend even lower; it arrives on a C # in measure 20. This arch, mirroring the motion in the hands, is also letting down, 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, becoming even sweeter with the removal of the Flûte 4'. In measure 23, the eighths are repeated in an even more touching way, iridescent, rainbow-colored, poetic— now on the Nazard 2⅔' and Doublette 2'. Finally, in measure 24, only one note of this theme remains, the beginning D #—lingering longingly. As the hands continue their rocking motion, the pedal sound is changed to its 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 written above it and the words très profond (very profound) written just below the pedal note. This chord should sound for a very long time, the performer imagining 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 as possible. This piece is not over until the last bit of reverberation completely dies away—and even longer. If seen, the performer can greatly help with this image by remaining completely still in a prayerful attitude. By the time we reach the climax of this piece our hearts are filled with the love of God and we feel protected by his all-encompassing arms, which surround us. That represents the summit of our Communion with him. From that point 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 simply hear it no longer, even though it continues just as the motion of the universe continues, just as eternity. We will hear it and experience it again the next time we partake in this act. The registration of this piece is simple, but it is surprising just how diªcult it is to adapt to many organs. The addition of the Récit Bourdon and Flûte to the Voix céleste is not absolutely essential if your string stops alone and Swell box can provide an adequate crescendo, one which will balance the sound of the second theme in the Pédale. On the other hand, the character of the music changes considerably if the Bourdon 16' is not added in measure 12 and removed in measure 19. Obviously, the indication in the score for the hands to 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 colorful without being harsh, perfectly balancing the sound of the hands, being intermingled with them—not standing out. The exact pitches may differ from those printed in the score, but they must produce the same effect. If no 1' stop is available (an often-encountered problem), it might be possible to use two 2' stops of different intensities.
