Jean Langlais' Suite Médiévale - David Briggs at the Cathedral of St John the Divine, New York

Jean Langlais' Suite Médiévale (en forme de Messe Basse) - David Briggs at the Cathedral of St John the Divine, New York I have a vivid reflection of when I took the Suite Médiévale to Jean Langlais at St Clotilde, in one of my earlier lessons with him at St Clotilde in 1984. If I recall he didn’t say too much, except that he was so grateful that I was playing his music! I often think his oeuvre from the 1930’s and 1940’s is perhaps his strongest and most iconically recognisable. He simply adored chant, and the inherent the modality which engulfed it. This was, indeed, the style in which he used to improvise - the gregorian was never far away. His response was always totally empassioned - and full of freedom. If the chant wasn’t present for more than few seconds, he would stop you! Composed in 1947, Jean Langlais' Suite médiévale en forme de messe basse is, without doubt a cornerstone of 20th-century organ repertoire. I find it rather bewildering that it is so infrequently heard in France, these days - I really think it is such great music! Each of the five movements utilizes traditional Gregorian chant as its foundation, beautifully capturing the spirit of medieval liturgical practices while channeling the virtuosic French organ tradition. Jean Langlais (1907–1991) was a highly celebrated blind French organist, composer, and teacher. He succeeded Charles Tournemire as the Organiste Titulaire at the Basilica of Sainte-Clotilde in Paris - he used to talk about him a LOT. The subtitle of the suite, en forme de messe basse (in the form of a low Mass), nods to the French Catholic tradition where an organist would improvise throughout a spoken Mass during silent liturgical moments. 1. Prélude (Entrée) Beginning with a grand, imposing fanfare on full organ, this movement quickly gives way to the chant melody Asperges me, which is traditionally sung during the rite of sprinkling holy water. 2. Tiento (Offertoire) Paying homage to 16th- and 17th-century Spanish keyboard music, this movement features a loosely imitative four-voice fugato. The texture is periodically punctuated in the pedals by the Kyrie trope Fons bonitatis, honoring the medieval practice of inserting new melodies or texts within a standard chant. 3. Improvisation (Élévation) A short, reflective movement originally intended to be played during the consecration of the Eucharist. It features highly expressive, winding chromatic lines that create a sense of mystery and spiritual introspection. 4. Méditation (Communion) Arguably the most poignant and beautiful movement of the suite, it quotes two distinct plainsong melodies: the Holy Thursday antiphon Ubi caritas (Where charity and love are found) and Jesu dulcis memoria (Jesus, the very thought of thee). Langlais brilliantly weaves these two chants together, much like he would in his own legendary improvisations. 5. Acclamations (Sortie / Postlude) A rhythmic and dazzling concluding movement. It is based on Acclamations Carolingiennes, bringing the suite to a triumphant, festive close. On the 'Tutti Général’. I hope you enjoy this performance, in the glorious space of St John the Divine.