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Le Bien-aimé (2001) |
Symphonic suite for organ - c. 15'
Commissioned by the Berkhamsted Collegiate School, Hertfordshire, for the inauguration of its restored organ, Le Bien-aimé (The Beloved) is a suite of seven Gregorian paraphrases intended to alternate with the Great "O" antiphons for Advent. The pieces comment upon the musical and textual material and affirm by their titles, extracted from the Song of Solomon, as well as by their character, a loving faith in the Beloved. The opening movement, J'ai trouvé celui que mon cœur aime (I found him whom my soul loveth, Ct. 3, 4), declames the Gregorian chant in a registration and character that follows, as in all the cycle, the contours of the text. The following movement, Notre joie et notre allégresse (Our joy and gladness, Ct. 1, 4) is in strong contrast. The energetic declamation of "O Adonai" is used as a ritornello, a trochašc rhythm underlines the words "dux domus Israel", the grouping of bars 4/4, 2/8 (10 ostinato quavers) represents the Ten Commandments, the alternating chords evoke the burning bush ("in igne flammae rubi apparuisti") and the concluding arpeggio expresses "in brachio extento". It is with insistance, as in a loving appeal, that the slow introduction of Viens, mon Bien-Aimé (Come, my beloved, Ct. 7, 12) measures out the rhythm of "O Radix Jesse". Successively, flute, stopped diapason, quintaton, clarinet and cornet express, in different registrations, the supplication of the Bride. A repetitive episode in ascending, increasingly animated sequences on "quem gentes deprecabuntur", blossoms out in a joyous development of the melodic formula "Veni" before a soft coda recalling the introduction. Avant que souffle la brise du jour (Until the day break, Ct. 2, 17) opens with ascending arpeggios alternating with the nightwatchman's summons to the rhythm "O Clavis David". Then the plainsong appears in filigree in the left hand accompanied by a chordal melody evolving in 'bar form' (AAB). The melodic formula of "Veni" is then developed in ostinato. A line reaching from the bass to the treble underlines the sentence "Veni, et educ vinctum de domo carceris, sedentem in tenebris et umbra mortis". The conclusion recalls the echoing arpeggios of the opening. "O Oriens" inspired the following movement, Son aspect est celui du Liban, sans rival, comme les cèdres (His countenance is as Lebanon, excellent as the cedars, Ct. 5, 15). A monodic texture, oriental modality, irregular barrings, a registration based on reeds, and a percussive use of the organ constitute the originality of this piece. The quotations of "Lumen Christi" from the Easter vigil answer in a resolute way the "illumina sedentes in tenebris et umbra mortis" of the antiphon. Ses traits sont des traits de feu (The coals thereof are coals of fire, Ct. 8, 6) hammers the basses with clustered chords, appoggiatura groups are thrown off in trochašc rhythms. An episode based on "Veni, et salva hominem, quem de limo formasti" articulates the centre of this paraphrase with exuberant joy. The movement concludes with a vigorous tutti recapitulation. The finale, Voici qu'il arrive sautant sur les montagnes, bondissant sur les collines (Behold, he cometh leaping upon the mountains, skipping upon the hills, Ct. 2, 8), transfigures the plainchant with its very lively tempo, rhythm, major tonality, ornamentation, as well as with its brilliant descending arpeggios and playful character.
Naji Hakim
Translation by John Browne