Book of the Holy Sacrament - Olivier Messiaen - Presentation 2023 David Vogels. All images are the property of their respective copyright holders.
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Olivier Messiaen Book of the Holy Sacrament Presentation © 2023 David Vogels. All images are the property of their respective copyright holders.
Part 1 Acts of Adoration
I. Adoro te
A B C
Measures 1-5, 6-9(’) 10-16 17-28
Design Chorale-like Pedal point on G Dynamic climax,
elements introduction (echo of “Sunken cathedral” fading to impenetrable
“Adoro te”?) eight-tone cluster
Sound-colors Indistinct stained glass Growing light and Breakthrough of color
Subdued Romantic space chords: green/pink,
registration indicating Hinting at C Major violet, blue/orange;
mystery, warmth, (white) gold, milky white,
adoration ending in dark gray
Comparison Apparition de l’église éternelle (1932)
II. The Source
of LifeA B C
A B C
Measures 1-3, 4-6(’) 7-11 12-18
Design Dialogue (Quintaton 16, Nazard 22/3 in Positive; Bourdon 16, Quinte 22/3
elements in Great; over “chord carpet” of Gambe, Voix Céleste in Swell)
Sound-colors Tritone melody (C#-G), Sighing motif Echo of dialogue
Cross motif Yellow (light and Combination of
Complementary colors: Word) and violet previous colors
yellow and mauve, red
and pale green
Comparison “Desseins éternels” from La Nativité (1935)
“Les eaux de la grâce” from Les Corps glorieux (1939)III. The Hidden God
A A' B
Measures 1-21 22-42 43-50
Design Alleluia, Corpus Christi Alleluia, Corpus Christi Olivaceous warbler
elements Flute monody Flute monody Music of adoration
Tristram’s grackle Tristram’s grackle
Music of adoration Music of adoration
Sound-colors Cross motif, fanfare Cross motif, fanfare Bowing motion leading
Bowing motion leading Bowing motion leading to E Major: Red (glory
to B7 (dominant of E) to E6 of Christ)
Comparison “Majesté du Christ demandant sa gloire à son père” from L’Ascension
(1934)
Theme of the star and the Cross from Vingt Regards (1944)
“Psalmodie de l’ubiquité par amour” from Trois petites liturgies de la
présence divine (1945)
Couleurs de la cité céleste (1963)
II from Méditations sur le mystère de la Sainte Trinité (1969)IV. Act of Faith
A A' A''
Measures 1-11 12-25 26-40
Design Rhythmic color chords Rhythmic color chords Rhythmic color chords
elements (Greek meters) (Greek meters) (Greek meters)
Turning chords Turning chords Turning chords
Monodic garlands Monodic garlands Monodic garlands
Descending sevenths Descending sevenths Descending sevenths
Repeated SF chords Repeated SF chords Repeated SF chords
Interlude: garlands
Sound-colors Father (symbolic No 3) Son (5) Holy Spirit (7)
Stained-glass windows
“Decision” theme (Red-orange)
Comparison “Jésus accepte la souffrance” from La Nativité (1935)
“Force et agilité des corps glorieux” from Les Corps glorieux (1939)
V from Méditations sur le mystère de la Sainte Trinité (1969)
“Bryce Canyon et les rochers rouge-orange” from Des canyons aux
étoiles . . . (1974)
“Decision” theme at end of second scene in Saint François (1983)Part 2 Mysteries of the Life of Jesus
V. Puer natus
est nobisA A' B-Coda
Measures 1-23 24-56 57-59, 60-67
Design Plainchant head motif Plainchant head motif Olive-tree warbler
elements Pastoral garlands Pastoral garlands Coda: Plainchant head
Plainchant head motif Plainchant head motif motif
Introit, Christmas Day Introit, Christmas Day Introit, Christmas Day
Descending triads Descending triads
Chordal improvisation Chordal improvisation
Sound-colors Horn signals (Holy Spirit) Cadenza (filiation with
Fifth (number of Christ) God)
G Major (Logos): Yellow, complement to purple Modal: White
Hindu meter: Rhythm of life
Transformation of plainchant theme
Comparison “La Vierge et l’Enfant” and “La Verbe” from La Nativité (1935)
“L’Échange” from Vingt Regards (1944)
“Perfecte conscius illius perfectae generationis” from La Transfiguration
(1969)
Alain: Le jardin suspendu (1934)VI. The Manna and the Bread of Life
A-Trans. B-Trans. A'' B’-Coda
Measures 1-15, 16-31(’), 39-49, 50-57 58-76 77-88, 89-97
32-38
Design Silence of desert Mourning wheatear Parallel chords Mourning wheatear
elements Parallel chords Cluster trill (wind) Chantlike melody, Cluster trills (wind)
Mourning wheatear Descending cascade harmonized Descending cascade
Chantlike melody (manna) Mourning wheatear Pedal fifths
Trans.: Harmonized Pedal fifths Chantlike melody, Desert lark
chant (horn motif) Desert lark harmonized Coda: Romantic
under desert theme Trans.: Horn motif chords
Muffled horn motif
Sound- Yellow, violet Blue, orange Yellow, violet Green, red
colors (Mount Sinai) Yellow, violet Coda: C# Major
Horn motif, wind (complementary (Passion,
(Holy Spirit) colors) Resurrection)
Comparison Le vent de l’Ésprit” from Messe de la Pentecôte (1950)
VII from Méditations sur le mystère de la Sainte Trinité (1969)
“Le Désert” from Des canyons aux étoiles . . . (1974)VII. The Resurrected and the Light of Life
A B A
Measures 1-7 8-17, 18-29(’), 51-57
30-50(’’)
Design RÉSURRECTION Flashing light figure RÉSURRECTION
elements Pedal melody below
trilling light figure
Leaping figure (light
and joy of resurrected)
Majestic chords leading
to tritone cadence
Sound-colors Communicable Greek meter in pedal Communicable
language (12 letters) Modes of limited language (12 letters)
transposition in trills
Color chords leading to
B, D-flat(’), C(’’) Major
(brilliant white light)
Comparison “Les Anges” from La Nativité (1935)
“Force et agilité des Corps glorieux” and “Joie et clarté des Corps
glorieux” from Les Corps glorieux (1939)
VI from Méditations sur le mystère de la Sainte Trinité (1969)
Conclusion of Saint François (1983)
“Les étoiles et la Gloire” from Éclairs sur l’au-delà . . . (1992)VIII. The Institution
of the EucharistA A' Coda
Measures 1-15 16-31 32-38
Design Descending gestures Descending gestures Words of Jesus, broken
elements First-inversion chords First-inversion chords up
in Bacchic rhythm in Bacchic rhythm Concluding Bacchic
Words of Jesus in Words of Jesus in chords
triads (“This is my triads (“This is my
Body”) Blood”)
Nightingale Nightingale
Bacchic chords leading Bacchic chords
to 12-tone cluster
Sound-colors Gray, mauve (pale nocturnal light of Upper Room)
A-flat Major: Blue-violet
Horn-like calls (Holy Spirit)
Nightingale (symbol of love, night, death)
Comparison Le Banquet céleste (1928)
“Perfect joy” in first scene, Angel-musician in fifth scene of Saint
François (1983)IX. The Darkness
A B C
Measures 1-14 15-24 25-27
Design First darkness: Second darkness: Third darkness: solar
elements betrayal and arrest in Crucifixion and Seven eclipse
Garden of Gethsemane Last Words, ending “It
is finished!”
Sound-colors Clusters around g, Upper parts in contrary Lonely, deep monody
chiastically interlaced motion (“tearing of Ending in dense, black
Descending chromatic distended limbs”) tone cluster based on
pedal line leading to Seven chromatic g
abyss exclamations,
increasing in intensity
Comparison “Jésus accepte la souffrance” from La Nativité (1935)
“Combat de la mort et de la vie” from Les Corps glorieux (1939)
“Amen de l’agonie de Jésus” from Visions de l’Amen (1943)
“Regard de la Croix” from Vingt Regards (1944)
Seventh scene (“Les Stigmates”) of Saint François (1983)X. The Resurrection of Christ
A B C
Measures 1-13 14-25 26-34
Design Three passages of Two passages of Final ascent with
elements ascending double-helix ascending chords increasing density,
sequences leading to pedal point
Sound-colors Luminous, rainbow Color chords (white Color chords (grave
color chords (top edge cloth, gold aureole), cloth); dominant pedal
of painting, red leading to pure major point on c#,
shroud, grave cloth) chords establishing F# Major:
“sparkling of all
possible colors”
Comparison Berg: First act, second scene of Wozzeck (1922)
“Résurrection” from Chants de terre et de ciel (1938)
“Combat de la mort et de la vie” from Les Corps glorieux (1939)
“Les choses visibles et invisibles (Offertoire)” from Messe de la
Pentecôte (1950)
“Choral de la sainte montagne” and “Choral de la lumière de gloire”
from La Transfiguration (1969)XI. The Appearance of the Risen Christ to Mary Magdalene
A-B C D A'
Measures 1-25, 26-29 30-109 110-139 140-159
Design End of the night Mary’s process of Jesus’ words of End of the night
elements Words of Jesus recognition, cry of commission Departure of Jesus
“Rabbouni!” White-throated
Mary’s kneeling robin over spelling
of Jesus’ words
and APOCALYPSE
Sound- Broken-up chords Rhythmic “Mysterious Echoes of opening
colors from Resurrection ascending chords” chords and motif,
movement, rising gestures, leading Quotation of now descending
and gaining to A Major Crucifixion “Mysterious
intensity Toccata of joy with movement chords” in muted
Darkness motif falling seconds in Communicable form
“Mysterious upper voice language: “Fils
chords” in Hindu Downward, vers Père, votre
meter kneeling gestures, Père; Fils vers
leading to A Major Dieu, votre Dieu”
Comparison I from Méditations sur le mystère de la Sainte Trinité (1969)
“Regard du Père” from Vingt Regards (1944)
“Zion Park et le cité céleste” from Des canyons aux étoiles . . . (1974)
Third scene (“Le Lépreux”) of Saint François (1983)Part 3 Prayers of Today’s Church in the Holy Sacrament
XII. The Transubstantiation
A B Coda
Measures 1-31, 32-73(’) 74-100 101-105
Design Serial row structure Extensive chordal, Simple modal
elements Common bulbul, rhythmic development harmonization of
laughing dove of plainchant theme plainchant
Communion, Corpus
Christi
Sound-colors 12 pitches, 4 timbres French Romantic Dialogue registration
(registrations), 3 registration Unaltered plainchant
dynamics Precise rhythm, quotation (reverse
Serialism: Colorless alternating 2, 3, or 4 development)
Plainchant head motif 32nd notes Modal harmony: White
interwoven with “Harmonic litanies”
birdsongs in two tempi Ending in mysterious
chord (G7)
Comparison Le Banquet céleste (1928)
“Mode de valeurs et d’intensités” from Quatre études de rythme (1950)
“Soixante-quatre durées” from Livre d’orgue (1951)
“La Chouette hulotte” from Catalogue d’oiseaux (1958)
Seventh scene (“Les Stigmates”) of Saint François (1983)XIII. The Two Walls of Water
Intro.-A B A'' Trans.-Coda
Measures 1-6, 7-40, 84-98 99-136 137, 138-149
41-83(’)
Design Intro.: Chordal “The standing Third wave toccata Trans.: Reprise of
elements flashes of light waves” Clamorous reed ascending chords
Ascending diatonic warbler Coda: Fortissimo
chords chords
Wave toccata
Melodious warbler
Sound- Intro: Rapid color “Torn-off” four- Most expanded Five- or six-voice
colors chords, “white” note arpeggios in toccata (water chords in
diatonic chords all three manuals, breaking over complementary
Toccata: Dense separated by Egyptians) colors, filling out
chords over tritone silences Even more tritone cantus
cantus firmus powerful birdsong firmus
Powerful song Ending in 11-note
(complete) of cluster on C#
green, gray,
yellow bird
Comparison “Transports de joie” from L’Ascension (1934)XIV. Prayer before
CommunionA B Coda
Measures 1-5, 6-10(’) 11-19 20-22
Design Alleluia, Consecration Sequence, Lauda Sion Slow, descending
elements of a Church Descending chordal chordal melody
Descending chordal prayer gestures
prayer gestures Gradual, Epiphany
Alleluia, Consecration
of a Church
Sound-colors Plainchant: Dialogue registration
C Major: White; added sixth: golden glow
G Major (dominant): Yellow
Color chords: White, gold, yellow
Comparison “Prière exaucée” from Poèmes pour Mi (1936)
Verset pour la fête de la Dédicace (1960)
II and VI from Méditations sur le mystère de la Sainte Trinité (1969)XV. The Joy of Grace
1 2 3 4 5 6 7 (Coda)
Measures 1-6 7-12 13-17 18-24 25-31 32-41 42-43
Design Common bulbul (except in Coda) from XII
elements Tristram’s grackle from III
White-throated robin from XI
Sound- Registrations using upper octaves and mixtures
colors Common bulbul: Fanfare
Tristram’s grackle: Red (E Major)
White-throated robin: White, yellow, gold, red (related to light and joy of resurrected
figure from VII)
Compar- “Les eaux et les oiseaux (Communion)” from Messe de la Pentecôte (1950)
ison Sixth scene (“Le Prêche aux oiseaux”) of Saint François (1983)
“Plusieurs oiseaux des arbres de vie” from Éclairs sur l’au-delà . . . (1992)XVI. Prayer after Communion
A B Coda
Measures 1-11, 12-29(’) 30-50 51-56
Design Refrain: Four Refrain Chordal passage over
elements descending four-note pedal point
arpeggios
Stanza: Four Third stanza: Extended
descending four-note four-note motifs and
motifs; 16th-note garlands
garlands
Sound-colors Dialogue registration Color chords:
Refrain: E Major (red)- Refrain: C# minor-F# complementary colors
A Major (blue) as in Major (sparkling of (yellow, violet),
stained-glass windows colors) confirming tonality of A
Stanza: Debussy Stanza: Major/modal Major
chords chords leading to A
Comparison Le Banquet céleste (1928)
“Séquence du verbe, cantique divin” from Trois petites liturgies de la
présence divine (1944)
“Première communion de la Vierge” from Vingt Regards (1944)XVII. The Presence Multiplied
A B Coda
Measures 1-3, 4-6(’) 7-9, 10-12(’) 13-17
Design Refrain: Three-part canon at the tritone Descending cascade
elements Stanza: Rhythmicized color chords Refrain expanded and
filled with color chords
Sound-colors Yellow (C#) and violet braced with lead gray Cadenza in unison
Refrain: 15 tritone intervals (C#-G) in each octaves
series of eight chords (ubiquitous) Canon expanded in
Third refrain: Ascending instead of descending durations
Fourth refrain: Raised one step (D#-A) and Pedal in contrary
extended motion to tritones in
Each phrase = three measures upper voice
Stanza: Iambic Greek meter (heartbeat, similar Ending on massive
to IV) unison C#
Melody similar to Sequence, Lauda Sion
Comparison “Les Anges” from La Nativité (1935)XVIII. Offering and Final Alleluia
A B C Coda
Measures 1-6 7-24, 25-42(’), 56-82 83-108
43-55(’’)
Design Offering: Leaping figure Development of Development of
elements Chantlike (light and joy of chordal light light motif
monody in three resurrected motif Ascending 10-
sections motif, from VII) Toccata of joy note scales
Toccata of joy Color chords Pedal melody
Alleluia-like extending over under chord trill
passages (except all three manuals “Rocket” of
in B’’) LA JOIE parallel scales
Seven hammer
blows
Final plunge
Sound- Echoes of horn Targets of A, C, Targets of B, D, Upward spiral
colors motif (VI), Major F Major (like standing
previous Pedal cantus Cross motif in waves in XIII)
monodies (III, firmus (like XIII) pedal Whole-tone
IX) Alleluias: Complementary scales followed
49 (7 x 7) notes birdsong-like color chords by modal scales
rhythms, based (XIII) Chord of total
on Gradual, Communicable chromaticism
Epiphany (XIV) language leading to low CA B C Coda
Measures 1-6 7-24, 25-42(’), 56-82 83-108
43-55(’’)
Comparison “Un reflet dans le vent” from Préludes (1929)
“Transports de joie” from L’Ascension (1934)
“Dieu parmi nous” from La Nativité (1935)
“Prière exaucée” from Poèmes pour Mi (1936)
“Danse de la fureur, pour les sept trompettes” from Quatuor pour la fin
du Temps (1941)
“Regard de l’Esprit de joie” from Vingt Regards (1942)
“Joie du sang des étoiles” from Turangalîla-Symphonie (1948)
“Les choses visibles et invisibles (Offertoire)” from Messe de la Pentecôte
(1950)
IX from Méditations sur le mystère de la Sainte Trinité (1969)
“Zion Park et la cité céleste” from Des canyons aux étoiles . . . (1974)
Conclusion of Saint François (1983)RECOMMENDED READING Bauer, Dorothee. Olivier Messiaen’s Livre du Saint Sacrement: Mystery of the Eucharistic Presence. Translated by David Vogels. Paderborn, Ger.: Brill | Schöningh, 2023. Gillock, Jon. Performing Messiaen’s Organ Music: 66 Masterclasses. Bloomington, Ind.: Indiana University Press, 2010. Hill, Peter, and Nigel Simeone. Messiaen. New Haven, Conn.:Yale University Press, 2005. Smith, Rollin. “Messiaen’s Organ.” The American Organist 56, no. 6 (June 2022): 52-61. Vogels, David. “The Birth of Messiaen’s Livre du Saint Sacrement.” The American Organist 57, no.1 (January 2023): 34-48.
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