The summit of ecstasy

Handel - Hallelujah – Messiah
The very well known chorus piece “Hallelujah” is part of the oratorio “Messiah”, written by George Frideric Handel and based on the libretto written by Charles Jennens. Composed in the summer of 1741 and premiered in Dublin on the 13 Apirl 1742, the oratorio was taken from various parts of the King James Bible. It comprised of three parts, which includes, “The Birth”, “The Passion” and “The Aftermath” of Christ. The chorus piece concludes the Passion with text drawn from verses found in Revelations 19.

• After this I heard what sounded like the roar of a great multitude in heaven shouting: “Hallelujah! Salvation and glory and power belong to our God,

Revelations 19:1

• And the sevemth angel sounded and there were great voices in heaven, saying, The kingdoms of this world are become the kingdoms of our Lord, and of his Christ; and he shall reign for ever and ever.

Revelations 11:15

• Then I heard what sounded like a great multitude, like the roar of rushing waters and like loud peals of thunder, shouting: “Hallelujah! For our Lord God Almighty reign

Revelations 19:6

The practice where the audience rises to their feet during this chorus is traditionally associated to King George II who rose to his feet, upon being moved by the performances. This sense of bodily gesture may have accompanied a sense of ecstasy.

Reuben Morgan – Glory - Hope

The ablum “Hope” was recorded live at the Hillsongs Convention Centre in 2003, by Darlene Zschech and the hillsongs worship band. Among which the piece “Glory” is comparable to the piece “Gloria” by Palestrina. The words of glorification highlighted in bold in its first verse was almost identical to those of “Gloria” by Palestrina. It continues with the pre-chorus illustrating the glory of the risen king and the ends in the chorus with the exaltation of God. The piece was used in the church where I am Musical director over a three-year period. The rhythmic qualities of the piece were a source of engagement to the community invoking body movement, which accompanied a state of ecstasy.

“Glory” by Reuben Morgan
Verse 1

Great is the Lord God almighty
Great is the Lord on high
The train of His robe fills the temple
And we cry out highest praise

“Gloria” by Palestrina
(Translated from Latin)
Glory to God in the highest,
And on earth peace to men of good will
We praise you, we bless you,
We adore you, we glorify you,
We give thanks for your great glory,
Lord God, heavenly king, Almighty God and Father.

Palestrina - Gloria -Missa Papae Marcelli

“Gloria”-Missa Papae Marcelli by Palestrina in the Renaissance period, had text drawn from gospel of Luke.

• Glory to God in the highest, and on earth peace to men on whom his favor rests.

Luke 2:14

The music of the Roman Catholic Church came under the strict liturgical instructions of Pope Marcellus, who did not favour overly embellished polyphony arguing that it detracted from the importance of the spoken liturgy and the delivery of sacred texts. The Council of Trent in 1562-63 was concerned with the use of polyphonic music, which saw the mixture of secular music in liturgical music. Due to its unintelligibility of the word and interferences with the congregational devotion, the usage of polyphony was banned. Palestrina’s composition of this mass “Gloria” under these restrictions unfolded the possibilities of using polyphony yet maintaining the intelligibility of the word. The composer, Agostino Agazzari wrote that the confusion of words and the lack of grace, which arise from the used of lengthy and complicated singing, almost caused the banishing of music in the church. Yet, it was Palestrina’s remedy in the aspirating composition of the Missa Papae Marcelli that redeemed the use of polyphony and became a model for the study of Renaissance polyphony. (Taruskin, Richard, and Weiss, Piero, 1984). Those who heard it in the Sistine Chapel had often described the piece’s overwhelming beauty with utmost praise. Missa Papae Marcelli as the crowning representative of Palestrina’s second style is probably his greatest work.

• Taruskin, Richard, and Weiss, Piero. Music in the Western World: A History in Documents. Schirmer, 1984, p. 141

Music has always been connected to the Christian’s perspective of the human spirituality. The topic has been recognized and addressed by various writers, Will Durant points out that: “Music and religion are as intimately related as poetry and love; the deepest emotions require for their civilized expression the most emotional of the arts.” whilst Charles Kingsley suggests that “ Music is a sacred, a divine, a Godlike thing, and was given to man by Christ to life our hearts up to God, and make us feel something of the glory and beauty of God, and of all which God has made.” The awareness of music’s influence has shaped the Christian liturgical and musical practice premeditated by the church to connect, a believer of the church with the church of believers and ultimately to their divine maker. These individual, communal and cultural “islands” are essential to achieve the summit of ecstasy. The scientific rationalization between these dynamic “islands” are at times indistinct from explanation, due to challenges which include the embedded meanings and experiences within the increasingly changing spiritual environment.  

This paper responds to this query by examining and comparing the musicology of composition of spiritual music which is influenced by the church liturgical system and the ever-changing church paradigm. The study involves a purposively selected analysis of three prominent church composers and focuses upon specific works which are regarded as examples of great significance in the western church,  and critically acclaimed for their compositional techniques and social effect.  The examination comprised of a musicological literature study which incorporates philosophical perspectives and knowledge from prominent western church historians, musicologists, Bible theologians, and philosophers who provide a multiple lenses on the phenomenon of music and ecstasy. Specifically this paper incorporates a musical semiosis which explores the theme of “Praise and glory” within each specific structural sections of each piece and brings to light the musical stimulant used to connect the individual, communal and cultural “islands”. The co-relation between the musical stimulant and its effects on each “island”, will highlight insights about the relationship between music and ecstasy that may be of use to Church composers and directors. It is proposed that these musical insights will provide a basis for further compositional works within the church which are essential to identify and document the vigorous connections between the human spirituality and music from the contemporary western church viewpoint.

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