Duruflé & the Inebriation of the Spirit
One piece of music that has often moved me is Maurice Duruflé’s (1902–1986) organ work, Prelude, Adagio, and Chorale Variations on Veni Creator. All of its movements are based on the plainchant hymn to the Holy Spirit, the Veni Creator Spiritus (“Come, Creator Spirit”), whose words and music are at least a thousand years old.
Duruflé’s first movement is a scintillating toccata (that is, a piece of finger-work) which hints at the original chant, quoting elusive snatches of it here and there. In the slow Adagio movement that follows, the chant tune struggles to manifest itself clearly, groping its way towards a clear statement, but frustrated, as it were, by distortions of its harmony and its rhythm. The final movement begins when, at last, the entire melody of the chant bursts out clearly and unambiguously. When the chant tune is thus revealed in glorious clarity, Duruflé treats it to a series of variations, dressing it in extravagant harmonies and textures.
Overwhelming to Ear & Heart
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Christopher Hoyt is the organist/choirmaster at Good Shepherd Church in Tyler, Texas, and teaches Sacred Music at Cranmer Theological House (Reformed Episcopal) in Dallas. He was general editor of the hymnal, The Book of Common Praise/Magnify the Lord (2017) and is a composer of hymns and other church music (hoytcomposer.com).
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