Retablo I:
Pange lingua opens with an improvisatory,
virtuosic introduction that moves quickly into a driving dance propelled by
shifting meters and strong accents. The dance dissolves into a mysterious,
ethereal centerpiece in which the pedal part carries the chant and the manual
parts have flowing, undulating progressions based on the chant motives. The
original dance returns in the form of a toccata in which the rhythms and motives
are expanded and embellished. Cadenza-like pedal passages and large, broad
chords bring the work to a close. Retablo II:
Ubi caritas allows the chant to be foreshadowed
by a hushed pedal line entering very softly, answered by a hypnotic chord
progression. The chant is then stated in a solo melody with lush sustained
harmonies supplied by the other parts. The next section moves intensity forward
by presenting the chant in highly embellished form accompanied by an ostinato.
A dance follows, with rhythms that call to mind the patterns of the Pange
lingua setting. A recapitulation of the lyrical opening serves
as a transition into a full-textured, ostinato-based toccata above
the ornamented chant in the pedal part. The work closes with another reference
to the gentle opening section, setting again the mood of mystery and contemplation.
Retablo III: Victimae paschali
has an ominous, powerful beginning with massive double pedaling and large,
extended chords in the manual parts. A subito piano entry
on strings and celestes prepares the way for the chant to enter in the pedal
(4’). This lyrical section develops until there is a lush passage in
which all three chants in the set are presented in contrapuntal juxtaposition.
The next section is an Argentinean dance with the chant as its melody. This
dance leads seamlessly into a very slow and hypnotic progression in the manual
parts over a development of the inversion of the chant presented by the pedal
(8’ reed). The sudden, startling appearance of a powerful toccata adds
intensity to the effect of ever-increasing energy. Motives from the chant
are developed and transformed in many ways as the toccata unfolds. The final
section is an evocation of massive bells, with tolling chords in the manual
parts and a flying pedal ostinato. A grand broadening and thickening
of the harmonies over double pedaling makes the final statement.