Ah, you probably don’t even know what I’m talking about. A few years ago, I found a cartoon about the music of Olivier Messiaen that I “Liked” on Facebook and perhaps even copied. I thought perhaps I had saved a copy in my Photos on my phone, but as I laboriously looked through years 2000-2015 (when I guessed the cartoon might be found) of the pictures on my phone, it was to no avail. To let you know how tedious a task this has been, just be advised that I have over 51,000 photos on my phone!
And why, do you ask, did I want to find that particular cartoon? It’s because I’m already working on a concert I’ll be playing at Christmas time, on the Rosales organ at All Saints Episcopal Church where I teach every month. In addition to accompanying the Kauai Chorale, I’ll be playing some audience carols, some organ duets (with my student Daniel Welch) and several solo pieces, one of which is Olivier Messiaen’s “Dieu Parmi Nous” (God Among Us) from his “La Nativité du Seigneur” The complete suite is a set of nine meditations on the Nativity, representing the nine months of gestation for a human child. According to program notes by Dame Gillian Weir, “‘the Word was made flesh and dwelt among us. My soul doth magnify the Lord.’ This final reflection, the last of the suite’s nine meditations, gathers everything together into a triumphant close. First comes the descent of God to earth; then a few serene bars telling of the ‘sweetness of union.’ The music becomes increasingly impassioned (‘the exulting of the soul’) until a dazzling toccata signals the Incarnation.“
I must admit that it’s been ten years since I’ve played that piece and probably wouldn’t consider playing it during the Christmas season, although we have hilarious memories of hearing it at St. Martin in the Fields Church in London in 1992. I remember that the last hymn was “Of the Father’s love begotten (DIVINUM MYSTERIUM) which has 7 verses. Between the 6th and 7th verses, the organist played — who would have thunk it — the toccata part of Messiaen’s “Dieu Parmi Nous” (!) No matter that the hymn was pitched in E-flat — the organist launched right into the toccata which centers in E (not E-flat!). At the conclusion of those massive chords at the end, ending with a glorious E major chord, we returned to the hymn and sang the final verse, you guessed it, back in E-flat where we had started! A little bit jarring, perhaps?!
So, it’s been ten years since I’ve played the piece, and I’ve enjoyed relearning all those ten note chords (count ’em!) Yes, every single finger down on the keyboard!
In desperation to find the cartoon I remembered seeing, I turned to the Facebook Organists Association page, and posted this plea:
Today, Bryan Hoover of Louisville, Kentucky, posted the cartoon in response to my plea! Once I knew the exact quote I was able to find a clear copy on the internet, and here it is!
Notice the ladies holding their hands over their ears?!
To tell you the truth, I find playing “Dieu Parmi Nous” particularly appropriate for Pentecost, not for Christmas. However, with the right words of introduction and explanation, I think others can enjoy this piece, too.
I especially enjoyed reading the comments people made on my post:
Dave Ballard Proper practice… little sections in repetition, focusing on minutiae etc should be something people don’t enjoy listening to!
Jeff Howard Just use a single flute then register properly when people aren’t around. I remember John Scott telling me that’s what he had to do for years at St Paul’s.
Sally Holman Yes, irritating when you’re practising a hymn and the person sweeping can’t keep from whistling along with you, when you’re trying to get that tricky bit with too many notes at once. (Ed. Note: I don’t think many janitors will be whistling along Dieu Parmi Nous!)
Karl Isaac Johnson Aren’t you lucky. Nobody waits for me to finish practicing; they come in and act like whatever they are doing is more important. “Get out, we need to vacuum/look at slides/light candles/chit chat!!!!…”
Mark Brafield I once played DPN at church and someone punched me afterwards saying how I had ruined their day. (Ed. Note !!!!!)
Katherine Crosier The pastor used to call Dieu Parmi Nous “Revenge of the Body Snatchers!”—but he and the congregation LOVED the piece!
I do, too!
Here’s Olivier Latry playing this fabulous piece at the Cathedral of Notre Dame in Paris.