their armies against the rider on the horse and his army (Rev. 19:19). Leclercq and Florentz viewed this war- rior on the white horse as Jesus Christ. As a poor old woman was healed in a service of reception at Notre-Dame Cathedral, Florentz may have wanted us to be healed by this music.
NOTES
1. (1) Jean-Louis Florentz, “The Question of Timbre and Harmonic Vibrations in Les Laudes, Op. 5, for organ.” ContemporaryMu- sic Review 8, Part 1 (1993), pp. 95–111. (2) Alain Truche, “The Music of Jean-Louis Flo- rentz: An Overview of Stylistic Traits and Modal System with Focus on the Organ Work, Laudes, Op. 5, DMA Thesis, Univer- sity of Nebraska-Lincoln (2007). 2. (1) Jean-Louis Florentz, “L’espace sym- phonique et la liturgie éthiopienne dans Debout sur le Soleil, Op. 8, pour orgue.” L’Orgue, 221 (Jan., Feb., and March 1992), pp. 21–42. (2) Jean-Louis Florentz, Debout sur le soleil, Op. 8, Chant de Résurrection pour Orgue (Paris: Alphonse Leduc, 1995; AL 28.229). 3. Jacques Leclercq, Debout sur le soleil. Paris: Seuil, 1980. Jacques Leclercq, born in 1923, was a priest at Notre-Dame de Paris. After spending 15 years in Cameroon as a missionary, he founded a service of recep- tion at Notre-Dame Cathedral in 1968. His books Le Jour de l’homme (The Day of the Man, Paris: Seuil, 1976) and Debout sur le soleil (Standing on the sun, 1980) are a re- flection of an overflowing spirituality of love. In the chapter “Miserere” of Debout sur le soleil, Leclercq described his experience at a service of reception. One day, a poor old woman came to attend the service. He com- pares the hopeless woman to the large sound of the organ and choir as representative of the presence of God. The author witnessed that thewomanwas healed through the Mass (Leclercq 1980, 213–15). Florentz sketched the outline of his Debout sur le soleil on this story. 4. Seven “I am” statements in the gospel of John, “I am”: the bread of life (6:35), the light of the world (8:12), the gate for the sheep (10:7), the good shepherd (10:11), the resur- rection and the life (11:25), the way, the truth, and the life (14:6), the true vine (15:1). 5. John Gordon Davies, The New Westmin- ster Dictionary of Liturgy and Worship (Philadelphia: Westminster Press 1986), p. 498. The phrase “Stations of the Cross” refers to scenes representing events in the fi- nal hours of the life of Jesus. These scenes are often depicted in a series of 14 pictures or sculptures located around the interior perimeter of churches. The devotional and liturgical practice of readings and prayer said in front of each station began with St. Francis of Assisi (1181–1226) and extend to the present time. 6. Florentz 1992, p. 31. In current practice, this is Psalm 95. 7. Ge’ez is a liturgical language of the Ethio- pian church. It is a Semitic language of the Southern Peripheral group, to which also be- long the South Arabic dialects and Amharic, one of the principal languages of Ethiopia. Here the alteration is all rendered in French (Encyclopedia Britannica). 8. 2 Corinthians 11:24. 9. Lumen Christi (“The Light of Christ”) is a versicle chanted by the deacon on Holy Sat-
38 THE AMERICAN ORGANIST
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