Le Banquet céleste - Torbert Media



The Pennsylvania State University, State College, PA

April 8, 2008, 8 p.m., Pasquerilla Spiritual Center

A Program to Celebrate

Olivier Messiaen’s Centenary

Jon Gillock, Organist

I invite you to join me in a musical-spiritual journey, to meditate with Messiaen (and me) on the religious texts that he chose and which inspired him to compose these works. Although the inspiration for this music definitely comes from Catholic-Christian teachings, I also believe that through the universal language of music Messiaen’s music transcends this and also speaks of a universal spiritual truth. As with any great work of art, it can be interpreted on many different levels: I hope that each of you will be able to find the proper way for it to speak to you.

It is also interesting to remember these words of Messiaen himself regarding his music: “I’m a Christian...

and I think that in the present age of ecumenism — and, furthermore, in every era — we shouldn’t attach too much importance to religious differences. Everyone — Orthodox, Catholic and Protestant Christians, Israelites, even Buddhists — is seeking God, finding God. My work is addressed to all who believe — and also to all others.” - Jon Gillock

Apparition de l’Église Éternelle

Apparition of the Eternal Church, 1932

A

bove all, this is an apparition, a very simple, but powerful picture. Imagine arriving on the Normandy coast near Mont-Saint-Michel, this towering monument to the Christian faith barely visible in the distance. As we draw closer, the monastery and spire become clearer and clearer, seeming to ascend up out of the sea. As we arrive directly in front of this shrine, imagining the incredible feat of its construction and also countless Christian pilgrims who have mounted the top on their knees in homage, listening to the ceaseless waves that beat at the base of the edifice in an almost brutal way, an image of the Eternal Church looms up before our very eyes, magnificent, majestic, victorious. As we depart, always guarding this vision within our sight, this apparition slowly begins to fade away. As we draw farther and father away, the image gradually disappears — now, seemingly into the sea — but we are left with an unforgettable experience of awe and majesty.

It is an image similar to this description that this piece portrays. Little by little, we arrive at the full power of the organ as the vision of the Church Eternal is fully visible — the bass throbbing away, ceaselessly, brutally — and then, just as progressively, this vision fades away. Brightly and richly colored harmonies alternate with the hardness and coldness of empty fifths. All of this unfolds in a slow, majestic tempo, in a simple rhythmic pattern.

In describing this piece, Messiaen quotes the following text from the hymn Cælestis urbs Jerusalem for the Dedication of Churches: “Scissors, hammer, suffering, and tests, tailoring and polishing the elected persons, living stones of the spiritual edifice”, saying that the incessant rhythm in the bass expresses this unending travail. Thus, this piece, like the following one, is appropriate for services dedicating new churches.

Le Banquet Céleste

The Celestial Banquet, 1928

“He that eateth my flesh, and drinketh my blood, dwelleth in me, and I in Him.”

St. John 6:56

M

essiaen’s first published work, Le Banquet céleste, began life as the slow, second theme of an orchestral work, Le Banquet Eucharistique, begun around 1926-27, which was never finished. Thus, his first organ work is really a transcription. Written when he was around eighteen years old, we can already hear in it certain unmistakable elements of his very personal musical style: modes other than major and minor (his “Modes of Limited Transpositions”) as the basis for harmony and melody, slow, sustained, expressive writing evoking the celestial and mystical (only 25 measures requiring 7-8 minutes to perform). Looking back over his career, we can easily see that this kind of spiritual “sweetness” played an important part in his total output. It is, of course, a piece about the Holy Eucharist or Communion; and, it is especially appropriate to play it on the day of the Feast of the Holy Sacrament or Corpus Christi, eleven days after Pentecost. It is a piece with two themes: the first, slow, sustained, far away, mysterious, representing most of all the love God has for us by sacrificing his Son; 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”. Over this second theme, the first theme is developed in an orchestral crescendo and diminuendo.

La Nativité du Seigneur

The Birth of the Lord, 1935

L

a Nativité was first performed on February 27, 1936, at La Trinité in Paris by three organists who shared the program. Movements i-iii were played by Daniel-Lesur, movements iv-vi by Jean Langlais, and movements vii-ix by Jean-Jacques Grunenwald. Included on the program was also Le Banquet Céleste, performed by Grunenwald. Messiaen, in a letter to Marcel Dupré before the concert, wrote, “The performers are playing like angels.” This concert was presented by Les Amis de l’Orgue.

La Nativité is the first of Messiaen’s large cycles entirely conceived for the organ. Messiaen himself tells us that this work contains five principal ideas: 1 - Our predestination realized through the Incarnation of the Word (iii), 2 - God living in the midst of us (ix), God suffering (vii), 3 - Three births: the eternal birth of the Word (iv), the temporal birth of Christ (i), the spiritual birth of Christians (v), 4 - the description of several personages giving to the feasts of Christmas and Epiphany a special poetry: the Angels (vi), the Shepherds (ii), the Wise Men (viii), 5 - nine pieces in all to honor the motherhood of the Holy Virgin.

It is interesting to note from the beginning that La Nativité as a whole is a quiet work, meditating on aspects of the events and personages encountered in the Christmas Story. These enchanting, contemplative pieces explore many, many unusual and subtle colors of the organ and prepare for the main event of our narrative, the physical entrance of Christ into the world, which is not quiet, but is treated like a grand fanfare, full of excitement and joy.

This suite is probably the best-known of all the Messiaen cycles for organ. In Claude Samuel’s Conversations with Olivier Messiaen (1967), Messiaen says, “...La Nativité du Seigneur, [is] a work which gained great success in France and abroad (without deserving it, for I’ve done much better). But La Nativité with its Hindu rhythms nevertheless constituted a great change in organ music at a time when Franck represented the summit of modernism.”

I. La Vierge et l’Enfant

The Virgin and the Child

“Behold, a virgin shall conceive, for unto us a child is born, unto us a Son is given. Rejoice greatly, O daughter of Zion. Behold, thy King cometh unto thee: He is just and lowly.” Isaiah 7:14, [9:6]; Zechariah 9:9

In this reflective portrait of Mary, we are able to penetrate her innermost thoughts as she contemplates the birth of her child. First, through a very unusual registration and slow tempo, we see her pondering the miracle of virgin birth and why she has been chosen for this role.

Then, out of this great mystery, we see Mary rejoicing, filled with a great inner joy, expressed by the lively tempo, the supple rhythms, the very colorful (but not loud) registration. The music here is very repetitive in order to create a sense of timelessness, the sense of rapture that is going on in Mary’s head and heart as she gazes at the babe which is now in her arms, the mystical birth of the Lord. This vision gently fades away.

Finally, with a return of the original music simplified, Mary has accepted her destiny, that she is the mother of a just and lowly son. The concluding improvisatory phrase is perhaps Mary shuddering while realizing all this, and it brings to my mind these closing words from Purcell’s The Blessed Virgin’s Expostulation — “I trust the God, but oh! I fear the Child.” The piece ends in complete repose.

II. Les Bergers

The Shepherds

“Having found the babe lying in a manger, the sheherds returned, glorifying and praising God.” St. Luke 2:[16], 20

In another picture, we see the shepherds. In a very serene, mysterious, and slowly revolving introduction, they have just found the babe lying in the manger. In quiet adoration, they are hushed, full of awe. (Messiaen says this is colored like stained glass: “blue-violet, a touch of red, gold, and silver),

Preparing to depart, they begin to warm up the musical instruments they have brought with them.

On their return to their fields and flocks — amazed to have seen the infant Jesus lying in the manger, hardly believing their eyes — they play a Noël, glorifying and praising God. Thus, a simple, naïve melody comes forth in the style of an organ Noël popular during the French classical period (such as those of D’Aquin, Lebègue, and others, always with variations). First, we hear the simple melody — not loud and in a moderate tempo, still reflective — followed by its echo, taken by another instrument; and then, the melody ornamented, again repeated in echo. Perhaps two of the shepherds are taking turns playing while the others listen in contemplation.

III. Desseins éternels

Eternal Purposes

“God, having predestinated us unto the adoption of children by Jesus Christ to himself, to the praise and glory of his grace.” Ephesians 1:5, 6

Without doubt, this is one of the most intimate and beautiful of all Messiaen’s slow movements. It is extremely quiet (in its movement and its color) and inward. It is ecstatic in its deeply inner joy: that God has allowed lowly man to become his children, that man has the hope of salvation. It is very precious and tender, expressing the almost unbelievable emotion that God could love humankind in such an all encompassing way. It is like a vocalise, and it is profound. By the end of this third piece, we have completely entered into Messiaen’s mystical world, descending into a deep meditative state, with energy and dynamic levels reaching a low for the whole suite.

IV. Le Verbe

The Word

“The Lord hath said unto me, Thou art my Son. From the womb of the morning, this day have I begotten thee. From the beginning, I am the Image of the Goodness of God, I am the Word of Life.”

Psalm 2:7; Psalm 109 (110):3; Wisdom 7:26; 1 John 1:1

This is the first dramatic piece we have encountered so far; it is divided into two contrasting sections.

The first section is an aural description of the creation of the Son, which Messiaen treats with flourishes and fanfares. It is outward, declamatory, and fiery; it is the creator at work, “this day have I begotten thee”. In general, this first part is made up of three different thematic ideas, contrasting in color, tempo, and mood, treated very orchestrally.

The second section is the opposite of the first, returning us to the meditative world. It is conceived in a style more for the keyboard. It is solemn, hushed, inward — it is in the heart. It recalls part of the tender spirit of the third piece. Like the first section, this is another declamation — the solemn utterance of this truth: “I am the Image of the Goodness of God, I am the Word of Life”. This whole section is completely derived from its first two phrases: their ornamentation reminds us of the highly ornamented chorales of Bach, their repetitiveness reminds us of the repeated phrases of a plainsong Kyrie, the irregular length of their beats of Hindu ragas.

V. Les Enfants de Dieu

The Children of God

“But as many as received him, to them gave he power to become the sons of God. And God hath sent forth the Spirit of his Son into your hearts, crying, Abba! Father!” St. John 1:12; Galatians 4:6

The fifth piece brings us back to the present time. Again it divides itself into two large sections: the first is a real depiction of our power to become God’s children, and the second, which returns us to the spiritual world, is the receiving of this power into our hearts.

The third piece meditated on that fact that we are predestined to be God’s children through the love he has for us; the fifth piece tells us that if we receive him we have the “power” to become his children — two very different ideas that are closely related. Messiaen treats this power in the style of a French organ toccata — a power that we first hear brewing in the distance, which comes closer and closer to us, continually gaining in volume and animation. The climax of this build-up is the cry “Abba! Father!” Near the end of this section the animation broadens, eventually the motion slows down even more, and there is a diminuendo which leads to the calm and serenity of the second section. All of this is not unlike a huge storm which we can see approaching in the distance, which passes over us in a fury, and which we see spin itself out as it vanishes in the distance — the calm after the storm (the celestial second section), comprehension of a power greater than ourselves.

VI. Les Anges

The Angels

“A multitude of the heavenly host praising God, and saying, Glory to God in the Highest.”

St. Luke 2:13, 14

It is interesting to compare the texts that Handel and Messiaen chose for their “Messiahs”! They really have very few in common, but this is one of them. In reality, they share a common treatment — both are full of energy. (If you think about the string parts in Handel’s “Glory to God”, they have much the same kind of vitality that Messiaen’s “Angels” have.) Messiaen gives us a wonderful description of this piece: “fast and joyous, the music evolves constantly in the high register, the rhythm is extremely free — all contributes to a lively, majestic movement, freed of all mortal impediment”.

In this picture we see a very excited “armée céleste”, flying here and there, exclaiming “Glory to God in the Highest”. Angels move with their wings in total freedom, and it is this movement in something like a “swarm” (after all, it is a celestial “army”) that we should imagine. In flights of fancy and joyous excitement, they exclaim their “good news”, darting here and there, coming closer, moving off, coming close again. At the end, they fly off in a flurry of activity out of our sight and hearing!

VII. Jésus accepte la Souffrance

Jesus Accepts Suffering

“Wherefore when he cometh into the world, Christ saith to his Father: In burnt offerings and sacrifices for sin Thou hast had no pleasure, but a body hast Thou prepared me. Lo, I come.” Hebrews 10:5, [6], 7

Because most of us have a somewhat “romantic” idea of what Christmas is about — the babe in a manger, the shepherds, the wise men, the angels — the title and text of this piece may seem somewhat shocking. In fact, this may not seem like a piece for Christmas at all because it is about the passion, acknowledging the fact that Christ already knew before his birth that he would be sacrificed on the cross, that he would suffer to save mankind. Of course, it is completely logical: it is for this purpose alone that Christmas (or the Birth of our Lord) even exists. Nevertheless, this piece adds a solemn commentary to these joyful, yet contemplative, scenes of the Christmas story. Musically and theatrically it forms a dramatic contrast to the pieces around it and gives a slight relief to the mostly colorful, meditative, and naïve pieces that we have had thus far in the suite.

The opening musical gesture brings an instantaneous change of mood. It is saying, “Father, must I?” The response, although lyric, is affirmative and intense. The sorrowful music which follows on the string stops is again questioning. These two ideas are developed. A third idea, forming an arch of ascending/descending parallel harmonies, is again questioning, but also moaning and sighing. This leads to a restatement of the two opening motives which seems to foreshadow the agonies of the passion. The piece ends in triumph as Christ fully and unconditionally accepts his mission, “Not my will, but Thine be done”.

VIII. Les Mages

The Wise Men

“The Wise Men departed; and, lo, the star went before them.” St. Matthew 2:9

With Les Mages we return to the world of meditation, of quiet, subdued, impressionistic colors, into a “dream-like” state.

This is another portrait, this time picturing the wise men riding on camel back on a long voyage. They are tired, they are half-asleep on their camels, maybe even asleep some of the time — traveling at night so they can see the star, and resting during the day when it is probably too hot to travel over the desert sands. The “motion” of being on the camel is a mesmerizing movement, one that could put you to sleep, one that could make you feel as if you were in a dream, going on for days — a state of timelessness. This is the music of the right hand.

The music of the left hand is important in helping to establish the mood. Because it is sustained and “veiled” in the background, it greatly contributes to the filmy, impressionistic, almost unreal quality of this picture.

The melody, played by the feet, is the light of the star “drawing” the wise men toward the babe. It has a very luminous and colorful sound. This melody is also repetitive, which adds to the mesmerizing effect. It is the energy from the light of the star that seems to draw the caravan forward throughout the piece. Two times the music slows and slows — the first time, perhaps, it is because the wise men have gone to sleep, and the camels (not being urged onward) have decided to take a rest, which in turn wakes the wise men and off they go again.

After the second time, however, there is a change of tempo and registration: this is because the wise men have now reached their destination; they are kneeling at the manger of the infant Jesus, where they are presenting their gifts of gold, frankincense, and myrrh. The hushed atmosphere, created by the new slower tempo and the quieter and more simple registration, communicates wonderment at being in the presence of the sleeping baby (not wanting to awaken him), and, at the same time, the awe and reverence of being in the presence of God. The piece ends in F-sharp major (a sparkling of all possible colors, Messiaen’s key of love).

IX. Dieu parmi nous

God Among Us

Words of the communicant, of the Virgin, of the whole Church:

“So the Creator of all things gave me a commandment, and he that made me caused my tabernacle to rest. The Word was made flesh and dwelt among us. My soul doth magnify the Lord, and my spirit hath rejoiced in God my Saviour.”

Ecclesiasticus 24:8; St. John 1:14; St. Luke 1:46, 47

As the tender vision of the wise men kneeling at the manger fades away, a powerful fanfare interrupts our dream and brings us back to the night of Christmas. It announces the birth of the Lord as if we were experiencing and witnessing the event. With a tremendous descending figure (played by the feet) God in human form — the Incarnation — descends to earth and is now among us. This grandiose gesture is immediately answered by a theme of love (on the voix celeste), delicate, quiet, and magical, representing the communion. A joyous third theme follows, played in octaves like the supple song of a bird, representing the Magnificat (“My soul doth magnify the Lord...”). In a long first half, these three themes are developed: alternation of the first and third themes; the third theme in two-part counterpoint, the second theme played by the full string section of the orchestra in impressionistic style with pizzicatos in the pedal, all of this leading to a slower restatement of the opening theme with the descending pedal motif now in ascending motion.

This rather long first section, made-up of several smaller sections, forms an introduction. The main part of the piece is a thunderous, energetic toccata which is built on the opening descending pedal theme, overflowing with joy, echoing the words “of the communicant, the Virgin, of the whole church”: “My soul doth magnify the Lord, and my spirit hath rejoiced in God my Saviour”.

© Jon Gillock 2008

Olivier Messiaen

Olivier Messiaen is one of the great composers of the second half of the 20th century. He was born in Avignon, France, December 10, 1908. His father was a Professor of English who translated all of Shakespeare into French. His mother, the poetess Cécile Sauvage, wrote, while awaiting the birth of the composer, a volume of poems entitled “L’âme en bourgeon (Soul in Bud)”, where we read this premonition: “I suffer from a distant musical presence which I do not know...” The little Olivier spent his early childhood in Grenoble situated in the Dauphiné mountains of the Alps, which became his spiritual/inspirational home. It was in this region that he wrote nearly all of his works during his months of “summer vacation”.

Messiaen’s first musical interest as a little boy was Debussy’s Pelléas et Mélisande, the score given to him by his music teacher in 1918 while living in Nantes. In 1919 he entered the Paris Conservatory where he studied music traditionally; in 1930 he left the conservatory laden with first prizes: in piano accompaniment, organ and improvisation, counterpoint and fugue, and musical composition. At the same time, he pursued independently other non-traditional musical studies: Hindu rhythm, especially the Deçi-Tâlas, provincial rhythms of ancient India, Greek meter, plainsong, rhythms of the music of the Far East, the philosophy of time and duration. Later, he practiced ornithology and undertook the task of notating in music all the birdsongs of France, organized by their habitat and region: birds of the fields, of the edge of forests, high mountains, sea coasts, rushes, and of ponds and marshes. It was an immense undertaking without end.

In 1930, Olivier Messiaen became the titular organist of l’Église de la Saint-Trinité, Paris, a position he held for 61 years (until his death), where he gained great fame as an improviser.

In 1936, he founded, with André Jolivet, Yves Baudrier and Daniel-Lesur, the group called the “Jeune France (Young France)” which was committed to serious music with a human and spiritual quality.

Mobilized at the outbreak of the World War II in 1939 and taken captive in 1940, Messiaen was confined to a prison camp in Silesia, where he wrote le Quatuor pour la fin du Temps, played before thousands of fellow prisoners. He was liberated in 1941. In 1942 he was named Professor of Harmony at the Paris Conservatory, then in 1947 Professor of Philosophy of Music, and finally, in 1966, Professor of Composition. He retired from the Conservatory in 1978. During his years of teaching Messiaen showed himself to be an extraordinary pedagogue, sharing his passions, developing curiosity and questioning, opening the possibility to study all aspects of music. Pierre Boulez, Marius Constant, Nguyen-Thien Dao, Michael Levinas, François-Bernard Mâche, Gilbert Amy, Iannis Xenakis, Jean-Guy Bailly, Antoine Duhamel, Paul Mefano, Karlheinz Stockhausen, and Yvonne Loriod, among many others, were his students.

Towards the middle of the 1960’s was the beginning of formal recognition and honors: official commissions (Et expecto resurrectionem mortuorum, a work dedicated to the dead of the two world wars was commissioned by André Malraux, the first minister of culture in the French government), many festivals organized to present his music, nomination to the French Institute. In 1978, for his 70th birthday, more than one hundred of his works were given in concert throughout the whole world. For his 80th birthday, the Ensemble Intercontemporain commissioned Un vitrail et des oiseaux.

In 1989, the Paul VI Prize was conferred on him during a moving ceremony at the Cathedral Notre-Dame in Paris. This prize had been awarded only one time previously, to the great Swiss theologian Hans Urs von Balthasar.

Olivier Messiaen died on April 27, 1992.

Jon Gillock

American organist Jon Gillock was a student and friend of Olivier Messiaen. He gave the New York premiere of Livre du Saint Sacrement (from the composer’s manuscript), the New York and Japan (for the 30th Anniversary Celebration of the Japan Association of Organists) premieres of Méditations sur le Mystère de la Sainte Trinité, and the American premieres of Monodie, Prélude, and Offrande au Saint Sacrement, which were discovered after the composer’s death. He also gave the first performance of Messiaen’s Complete Works for Organ in New York.

At l’Église de la Sainte-Trinité in Paris, he participated in Festival Messiaen “Man of Faith” in 1995, gave a special performance of Méditations sur le Mystère de la Sainte Trinité to celebrate the Jubilee of the Church in 2000, and was featured in a televised broadcast from Trinité on All Saints’ Day 2002, which commemorated the 10th anniversary of Messiaen’s death.

In 2008, Jon Gillock will celebrate the centenary of Messiaen around the world: in Paris at La Trinité in Festival Messiaen “A Theological Rainbow”, in the Alps of southern France in Festival Messiaen “In the Country of La Meije”, in Boston, New York, Pennsylvania State University (State College), and Duquesne University (Pittsburgh), and he will give the first performance in Japan of Messiaen’s Complete Organ Works. He will participate as a judge in the International Organ Competition Musaschino-Tokyo, where a special Messiaen Prize will be awarded. His book about the interpretations of the organ works of Messiaen will soon be released by Indiana University Press, USA.

Jon Gillock has served as Organ Professor at The Juilliard School and the Manhattan School of Music in New York City as well as Montclair State University in New Jersey. He now resides near Paris. Each summer he participates as Artist Faculty with Yuko Hayashi in the Boston Organ Academy. He was named “International Performer of the Year, 1999-2000” by the American Guild of Organists, New York City. Among the awards he has received for his recordings are the Diapason d’Or and the 10 de Répertoire in France and the Deutsche Schallplatten Preis in Germany.

“Certain ones [organists] play it better than me...there is the excellent American organist Jon Gillock in New York...” Olivier Messiaen in Claude Samuel’s 1986 book, Entretiens Avec Olivier Messiaen

................
................

In order to avoid copyright disputes, this page is only a partial summary.

Google Online Preview   Download