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Mass(music)FromWikipedia,thefreeencyclopedia
TheMass(latin:Missa),aformofsacredmusicalcomposition,isachoralcompositionthatsetstheinvariableportionsoftheEucharisticliturgy(principallythatoftheCatholicChurch,theAnglicanCommunion,andLutheranism)tomusic.MostMassesaresettingsoftheliturgyinLatin,theliturgicalsacredlanguageoftheCatholicChurch'sRomanliturgy,butthereareasignificantnumberwritteninthelanguagesofnonCatholiccountrieswherevernacularworshiphaslongbeenthenorm.Forexample,therearemanyMasses(oftencalled"CommunionServices")writteninEnglishfortheChurchofEngland.MusicalMassestaketheirnamefromtheCatholicliturgycalled"theMass"aswell.
Massescanbeacappella,thatis,withoutanindependentaccompaniment,ortheycanbeaccompaniedbyinstrumentalobbligatosuptoandincludingafullorchestra.ManyMasses,especiallylaterones,wereneverintendedtobeperformedduringthecelebrationofanactualmass.
Contents
1FormoftheMass1.1Ordinarium
1.1.1I.Kyrie1.1.2II.Gloria1.1.3III.Credo1.1.4IV.SanctusandBenedictus1.1.5V.AgnusDei
1.2Shortandsolemnmasses1.2.1Missabrevis1.2.2Missasolemnis1.2.3Missabrevisetsolemnis1.2.4OthertypesofMasseswithlessthanfiveoftheusualpartsoftheordinarium
1.3Othersections1.3.1Proprium(TridentineMass)1.3.2Otherdenominations
2Musicalsettings2.1MiddleAges2.2Renaissance2.3BaroquethroughRomantic(CatholicandLutherantraditions)
2.3.1Majorworks2.420thand21stcentury
2.4.1MusicalreformsofPiusX2.4.2Majorworks
2.5MasseswrittenfortheAnglicanliturgy
3Seealso4References5Notes6Externallinks
FormoftheMass
Adistinctionismadebetweentextsthatrecurforeverymasscelebration(ordinarium,ordinary),andtextsthataresungdependingontheoccasion(proprium,proper).ForexamplefortheTridentineMass:
Ordinarium PropriumIntroit
KyrieGloria
GradualwithHallelujahorTract(Sequence)Credo
OffertorySanctus,includingBenedictusandHosannaAgnusDei
CommunionIte,missaestorBenedicamus
Ordinarium
AMissatota("fullMass")consistsofamusicalsettingofthefivesectionsoftheordinariumaslistedbelow.
I.Kyrie
TheKyrieisthefirstmovementofasettingoftheOrdinaryoftheMass:
KyrieeleisonChristeeleisonKyrieeleison(..)
LordhavemercyChrist,havemercyLord,havemercy.
Thisisfromtheancient(BiblicalNewTestament)Greeklanguage,unliketherestofthemasswhichisLatin.
Kyriemovementsoftenhaveastructurethatreflectstheconcisionandsymmetryofthetext.Manyhaveaternary(ABA)form,wherethetwoappearancesofthephrase"Kyrieeleison"consistofidenticalorcloselyrelatedmaterialandframeacontrasting"Christeeleison"section.OrAAABBBCCC'formisalsofoundlateron.Famously,Mozartsetsthe"Kyrie"and"Christe"textsinhisRequiemMassasthetwosubjectsofadoublefugue.
II.Gloria
TheGloriaisacelebratorypassagepraisingGodtheFatherandChrist:
GloriainexcelsisDeoetinterrapaxhominibusbonaevoluntatis.Laudamuste,benedicimuste,adoramuste,glorificamuste,gratiasagimustibiproptermagnamgloriamtuam,
GlorytoGodinthehighest,andonearthpeacetomenofgoodwill.WepraiseYou,weblessYou,weadoreYou,weglorifyYou,wegiveyouthanksforYourgreatglory,
DomineDeus,Rexcaelestis[coelestis],DeusPateromnipotens.
LordGod,heavenlyKing,GodtheAlmightyFather.
DomineFiliunigenite,JesuChriste,DomineDeus,AgnusDei,FiliusPatris,quitollispeccatamundi,misererenobis
LordJesusChrist,onlybegottenSon,LordGod,LambofGod,SonoftheFather,Youwhotakeawaythesinsoftheworld,havemercyonus
quitollispeccatamundi,suscipedeprecationemnostram.QuisedesaddexteramPatris,misererenobis.
Youwhotakeawaythesinsoftheworld,hearourprayers.YouwhositattherighthandoftheFather,havemercyuponus.
QuoniamtusolusSanctus,tusolusDominus,tusolusAltissimus,JesuChriste,cumSanctoSpirituingloriaDeiPatris.Amen.
ForYouarealonearetheHolyOne,youalonetheLord,youalonetheMostHigh,JesusChrist,withtheHolySpiritinthegloryofGodtheFather,Amen.
InMasssettings(normallyinEnglish)composedfortheChurchofEngland'sBookofCommonPrayerliturgy,theGloriaiscommonlythelastmovement,becauseitoccursinthispositioninthetextoftheservice.InOrderOneofthenewerCommonWorshipliturgy,however,itisrestoredtoitsearlierseason.
III.Credo
TheCredo,asettingoftheNiceneCreed,isthelongesttextofasungMass:
CredoinunumDeum,Patremomnipotentem,
IbelieveinoneGod,theFatherAlmighty
factoremclietterrae,visibiliumomniumetinvisibilium.
Makerofheavenandearth,ofallthingsvisibleandinvisible:
EtinunumDominum,JesumChristum,
AndinoneLord,JesusChrist,
FiliumDeiunigenitum,etexPatrenatumanteomniasaecula.
theonlybegottenSonofGod,bornoftheFatherbeforeallages
DeumdeDeo,LumendeLumine,DeumverumdeDeovero,
GodfromGod,LightfromLight,trueGodfromtrueGod
genitumnonfactum,consubstantialemPatri
begotten,notmade,consubstantialwiththeFather,
perquemomniafactasunt.
byWhomallthingsweremade
Quipropternoshominesetpropternostramsalutemdescenditdeclis.
WhoforusmenandforoursalvationcamedownfromHeaven.
EtincarnatusestdeSpirituSanctoexMariaVirgine,ethomofactusest.
andwasincarnatebytheHolyGhostoutoftheVirginMary,andwasmademan:
CrucifixusetiampronobissubPontioPilatopassus,etsepultusest,
HewasalsocrucifiedforusunderPontiusPilateHesufferedandwasburied:
etresurrexittertiadie,secundumScripturas,
AndonthethirddayroseagainaccordingtotheScripture:
etascenditinclum,sedetaddexteramPatris.
AndascendedintoHeaven,andsitsontherighthandoftheFather:
Etiterumventurusestcumgloria,iudicarevivosetmortuos,
AndHeshallcomeagain,withglory,tojudgethelivingandthedead:
cuiusregninoneritfinis
OfHisKingdomthereshallbenoend
EtinSpiritumSanctum,Dominumetvivificantem,
AndIbelieveintheHolySpirit,theLord,andGiverofLife,
quiexPatreFilioqueprocedit.
WhoproceedsfromtheFatherandtheSon
QuicumPatreetFiliosimuladoraturetconglorificatur:
Who,withtheFatherandtheSon,istogetheradoredandglorified,
quilocutusestperprophetas.
WhohasspokenthroughtheProphets.
Etunam,sanctam,catholicametapostolicamEcclesiam.
AndIbelieveinOne,Holy,Catholic,andApostolicChurch,
Confiteorunumbaptismainremissionempeccatorum.
IconfessoneBaptismfortheremissionofsins.
Etexpectoresurrectionemmortuorum,
AndIawaittheResurrectionoftheDead:
etvitamventurisaeculi.Amen.
AndtheLifeoftheworldtocome.Amen.
Organizersofinternationalcelebrations,suchasWorldYouthDay,havebeenencouragedbyRometofamiliarizecongregantsintheLatinchantsfortheOurFatherandtheCredo,specificallyCredoIII(17thcentury,FifthMode)fromtheMissadeAngelis.ThepurposeofsingingthesetwotextsinLatinistoengenderasenseofunityinthefaithful,allofwhomthussingtheprayerofJesusandthesharedbeliefoftheuniversalChurchinthesamelanguage.
IV.SanctusandBenedictus
TheSanctusisadoxologypraisingtheTrinity:
Sanctus,Sanctus,SanctusDominusDeusSabaothplenisuntcoelietterragloriatua
Holy,Holy,HolyLordGodofHostsHeavenandeartharefullofYourglory.
Hosannainexcelsis
Hosannainthehighest.
AvariantexistsinLutheransettingsoftheSanctus.Whilemosthymnalsettingskeepthesecondpersonpronoun,othersettingschangethesecondpersonpronountothethirdperson.ThisismostnotableinJ.S.Bach'sMassinBminor,wherethetextreadsgloriaejus("Hisglory").MartinLuther'schoraleIsaiah,MightyinDaysofOld,andFelixMendelssohn'ssettingoftheHeilig!(GermanSanctus)fromhisDeutscheLiturgiealsousethethirdperson.
TheBenedictusisacontinuationoftheSanctus:
BenedictusquivenitinnomineDomini.
BlessedisHewhocomesinthenameoftheLord
HosannainexcelsisisrepeatedaftertheBenedictussection,oftenwithmusicalmaterialidenticaltothatusedaftertheSanctus,orverycloselyrelated.
InGregorianchanttheSanctus(withBenedictus)wassungwholeatitsplaceinthemass.However,ascomposersproducedmoreembellishedsettingsoftheSanctustext,themusicoftenwouldgoonsolongthatitwouldrunintotheconsecrationofthebreadandwine.ThiswasconsideredthemostimportantpartoftheMass,socomposersbegantostoptheSanctushalfwaythroughtoallowthistohappen,andthencontinueitaftertheconsecrationisfinished.Thispracticewasforbiddenforaperiodinthe20thcentury.
V.AgnusDei
TheAgnusDeiisasettingofthe"LambofGod"litany:
AgnusDei,quitollispeccatamundi,
LambofGod,whotakesawaythesinsoftheworld,
misererenobis.
havemercyuponus.
AgnusDei,quitollispeccatamundi,
LambofGod,whotakesawaythesinsoftheworld,
misererenobis.
havemercyuponus.
AgnusDei,quitollispeccatamundi,
LambofGod,whotakesawaythesinsoftheworld,
donanobispacem.
grantuspeace.
InaRequiemMass,thewords"misererenobis"arereplacedby"donaeisrequiem"(grantthemrest),while"donanobispacem"isreplacedby"donaeisrequiemsempiternam"(grantthemeternalrest).
Shortandsolemnmasses
ThereissomeadditionalterminologyregardingMasssettingsindicatingwhetherornottheyincludeallfiveusualsectionsoftheordinarium,andwhetherornotthemassisintendedforexceptionallyfestiveoccasions.
Missabrevis
Missabrevis(literally:shortmass)may,dependingontimeandconventions,indicatethesettingofasubsetofthefiveordinarymassparts(e.g.MassescontainingonlyasettingoftheKyrieandtheGloria),oramasscontainingalltheseparts,butrelativelyshortinduration,oramassinasettingthatislessextendedinvocalandorchestralforcesthanthatofaNeapolitanmass.
Missalonga("longMass")canindicatethecounterpartofMissabreviswhentheaspectofdurationisconsidered.
Missasolemnis
Missasolemnisindicatesasolemnmass,usuallyforspecialfestiveoccasionsandwithanextendedvocalandorchestralsetting.InthatsenseMissabrevisissometimesusedtoindicatethecounterpartofaMissasolemnis.
Missabrevisetsolemnis
TheMissabrevisetsolemnis(shortandsolemn)isanexceptionalformat,foritsbestknowninstancestiedtotheSalzburgofarchbishopHieronymusColloredo,althoughearlierexamplesareextant.Mozartdescribeditthusinaletterhewrotein1776("theArchbishop"inthisquotationreferstoColloredo):[1][2]
OurchurchmusicisverydifferentfromthatofItaly,sinceaMasswiththewholeKyrie,theGloria,theCredo,theEpistlesonata,theOffertoryormotet,theSanctusandtheAgnusDeimustnotlastlongerthanthreequartersofanhour.ThisapplieseventothemostSolemnMassspokenbytheArchbishophimself.Specialstudyisrequiredforthiskindofcomposition,particularlyastheMassmusthaveafullcontingentofinstrumentstrumpets,drumsandsoforth.
The"brevisetsolemnis"descriptionappliestoseveraloftheMassesMozartcomposedinSalzburgbetween1775and1780,theSparrowMassbeingconsideredasitsfirstinstanceforthiscomposer.[1][2]
Tongueincheek,andnotindebtedtoViennesetraditions,GioachinoRossiniqualifiedoneofhislastcompositions,amass,asboth"petite"("small")and"solennelle"("solemn").Inthiscase"small"ratherreferstothemodestforcesneededforitsperformance,and"solemn"toitsduration,althoughlater
commentatorswoulddescribethecompositionas"neithersmallnorsolemn".[3]
OthertypesofMasseswithlessthanfiveoftheusualpartsoftheordinarium
Missasenzacredo("MasswithoutaCredo")indicatesamusicalsettingoftheusualpartsoftheMassordinarywithexceptionoftheCredo.
DuringLent(inLatin:Quadragesima)andAdvent(inLatin:Adventus)theGloriaisnotsung.ThusMissa(in)tempore(Adventuset)Quadragesimae,"Massfortheperiodof(Adventand)Lent"indicatesaMasscompositionwithoutmusicfortheGloria.MichaelHaydncomposedamasssuitableforLentandAdvent,theMissaTemporeQuadragesimae,inDminorforthemodestforcesofforjustchoirandorgan.
Othersections
TheProperoftheMassisusuallynotsettomusicinaMassitself,exceptinthecaseofaRequiemMass,butmaybethesubjectofmotetsorothermusicalcompositions.SomeMasscompositions,likeforinstanceRossini'sPetitemessesolennelle,dohowevercontainpartsoutsidetheOrdinarium.SomeMasscompositionsevenconsistentirelyofsuchadditions:Schubert'sDeutscheMesse,asetofeighthymnswithepilogue,[4]isanexampleofsuchamass.
Proprium(TridentineMass)
InaliturgicalMass,thereareothersectionsthatmaybesung,ofteninGregorianchant.Thesesections,the"Proper"oftheMass,changewiththedayandseasonaccordingtotheChurchcalendar,oraccordingtothespecialcircumstancesoftheMass.ThesectionsoftheProperoftheMassincludetheIntroit,Gradual,AlleluiaorTract(dependingonthetimeofyear),OffertoryandCommunion.
Otherdenominations
FollowingthedistributionoftheSacrament,itiscustomaryinmostLutheranchurchestosingtheNuncDimittis.
Musicalsettings
MiddleAges
TheearliestmusicalsettingsoftheMassareGregorianchant.ThedifferentportionsoftheOrdinarycameintotheliturgyatdifferenttimes,withtheKyrieprobablybeingfirst(perhapsasearlyasthe7thcentury)andtheCredobeinglast(itdidnotbecomepartoftheRomanmassuntil1014).[5]
Intheearly14thcentury,composersbeganwritingpolyphonicversionsofthesectionsoftheOrdinary.Thereasonforthissurgeininterestisnotknown,butithasbeensuggestedthattherewasashortageofnewmusicsincecomposerswereincreasinglyattractedtosecularmusic,andoverallinterestinwritingsacredmusichadenteredaperiodofdecline.[6]Thenonchangingpartofthemass,theOrdinary,thenwouldhavemusicwhichwasavailableforperformanceallthetime.
Twomanuscriptsofthe14thcentury,theIvreaCodexandtheAptCodex,aretheprimarysourcesforpolyphonicsettingsoftheOrdinary.Stylisticallythesesettingsaresimilartobothmotetsandsecularmusicofthetime,withathreevoicetexturedominatedbythehighestpart.MostofthismusicwaswrittenorassembledatthepapalcourtatAvignon.
Severalanonymouscompletemassesfromthe14thcenturysurvive,includingtheTournaiMasshowever,discrepanciesinstyleindicatethatthemovementsofthesemasseswerewrittenbyseveralcomposersandlatercompiledbyscribesintoasingleset.ThefirstcompleteMassweknowofwhosecomposercanbeidentifiedwastheMessedeNostreDame(MassofOurLady)byGuillaumedeMachautinthe14thcentury.
Renaissance
Mainarticles:CyclicMassorCantusfirmusMass,ParaphraseMass,ParodyMass
ThemusicalsettingoftheOrdinaryoftheMasswastheprincipallargescaleformoftheRenaissance.Theearliestcompletesettingsdatefromthe14thcentury,withthemostfamousexamplebeingtheMessedeNostreDameofGuillaumedeMachaut.IndividualmovementsoftheMass,andespeciallypairsofmovements(suchasGloriaCredopairs,orSanctusAgnuspairs),werecommonlycomposedduringthe14thandearly15thcenturies.CompleteMassesbyasinglecomposerwerethenormbythemiddleofthe15thcentury,andtheformoftheMass,withthepossibilitiesforlargescalestructureinherentinitsmultiplemovementformat,wasthemainfocusofcomposerswithintheareaofsacredmusicitwasnottobeeclipseduntilthemotetandrelatedformsbecamemorepopularinthefirstdecadesofthe16thcentury.
Most15thcenturyMasseswerebasedonacantusfirmus,usuallyfromaGregorianchant,andmostcommonlyputinthetenorvoice.Thecantusfirmussometimesappearedsimultaneouslyinothervoices,usingavarietyofcontrapuntaltechniques.Laterinthecentury,composerssuchasGuillaumeDufay,JohannesOckeghem,andJacobObrecht,usedseculartunesforcantusfirmi.ThispracticewasacceptedwithlittlecontroversyuntilprohibitedbytheCouncilofTrentin1562.Inparticular,thesongL'hommearmhasalonghistorywithcomposersmorethan40separateMasssettingsexist.
OthertechniquesfororganizingthecyclicMassevolvedbythebeginningofthe16thcentury,includingtheparaphrasetechnique,inwhichthecantusfirmuswaselaboratedandornamented,andtheparodytechnique,inwhichseveralvoicesofapolyphonicsource,notjustone,wereincorporatedintothetextureoftheMass.Paraphraseandparodysupplantedcantusfirmusasthetechniquesofchoiceinthe16thcentury:Palestrinaalonewrote51parodymasses.
YetanothertechniqueusedtoorganizethemultiplemovementsofaMasswascanon.TheearliestMassesbasedentirelyoncanonareJohannesOckeghem'sMissaprolationum,inwhicheachmovementisaprolationcanononafreelycomposedtune,andtheMissaL'hommearmofGuillaumeFaugues,whichisalsoentirelycanonicbutalsousesthefamoustuneL'hommearmthroughout.PierredeLaRuewrotefourseparatecanonicmassesbasedonplainchant,andoneofJosquindesPrez'smatureMasses,theMissaAdfugam,isentirelycanonicandfreeofborrowedmaterial.[7]
TheMissaSinenomine,literally"Masswithoutaname",referstoaMasswrittenonfreelycomposedmaterial.SometimestheseMasseswerenamedforotherthings,suchasPalestrina'sfamousMissaPapaeMarcelli,theMassofPopeMarcellus,andmanytimestheywerecanonicMasses,asinJosquin'sMissaSinenomine.
ManyfamousandinfluentialmasseswerecomposedbyJosquindesPrez,thesinglemostinfluentialcomposerofthemiddleRenaissance.Attheendofthe16thcentury,prominentrepresentativesofacappellachoralcounterpointincludedtheEnglishmanWilliamByrd,theCastilianTomsLuisdeVictoriaandtheRomanGiovanniPierluigidaPalestrina,whoseMassforPopeMarcellusissometimescreditedwithsavingpolyphonyfromthecensureoftheCouncilofTrent.BythetimeofPalestrina,however,mostcomposersoutsideofRomewereusingotherformsfortheirprimarycreativeoutletforexpressionintherealmofsacredmusic,principallythemotetandthemadrigalespiritualecomposerssuchasthemembersoftheVenetianSchoolpreferredthepossibilitiesinherentinthenewforms.Othercomposers,suchasOrlandedeLassus,workinginMunichandcomfortablydistantfromtheconservativeinfluenceoftheCouncilofTrent,continuedtowriteParodyMassesonsecularsongs.MonteverdicomposedMassesinstileantico,theMissainillotemporewaspublishedin1610,oneMessaa4dacappellain1641aspartofSelvamoraleespiritualealongwithsinglemovementsoftheMassinstileconcertato,anotherMessaa4dacappellawaspublishedafterhisdeath,in1650.
BaroquethroughRomantic(CatholicandLutherantraditions)
TheearlyBaroqueerainitiatedstylisticchangeswhichledtoincreasingdisparitybetweenmasseswrittenentirelyinthetraditionalpolyphonicmanner(stileantico),whoseprincipaladvancementsweretheuseofthebassocontinuoandthegradualadoptionofawiderharmonicvocabulary,andthemassinmodernstylewithsolovoicesandinstrumentalobbligatos.ComposerssuchasHenriDumont(16101684)continuedtocomposeplainsongsettings,distinctfromandmoreelaboratethantheearlierGregorianchants.[8]
Afurtherdisparityarosebetweenthefestivemissasolemnisandthemissabrevis,amorecompactsetting.ComposerslikeFuxinthe18thcenturycontinuedtocultivatethestileanticomass,whichwassuitableforuseonweekdaysandattimeswhenorchestralmasseswerenotpracticalorappropriate,andin19thcenturyGermanytheCecilianmovementkeptthetraditionalive.TheItalianstylecultivatedorchestralmassesincludingsoloists,chorusandobbligatoinstruments,spreadtotheGermanspeakingCatholiccountriesnorthoftheAlps,andusedinstrumentsforcolorandcreateddialoguesbetweensolovoicesandchorusthatwastobecomecharacteristicofthe18thcenturyViennesestyle.Thesocalled"Neapolitan"or"cantata"massstylealsohadmuchinfluenceon18thcenturymasscompositionwithitsshortsectionssetasselfcontainedsoloariasandchorusesinavarietyofstyles.[9]
The18thcenturyViennesemasscombinesoperaticelementsfromthecantatamasswithatrendinthesymphonyandconcertotoorganizechoralmovements.ThelargescalemassesofthefirsthalfofthecenturystillhaveGloriasandCredosdividedintomanymovements,unlikesmallermassesforordinarychurches.ManyofMozart'smassesareinmissabrevisform,asaresomeofHaydn'searlyones.Latermasses,especiallyofHaydn,areofsymphonicstructure,withlongsectionsdividedintofewermovements,organizedlikeasymphony,withsoloistsusedasanensembleratherthanasindividuals.Thedistinctionbetweenconcertmassesandthoseintendedforliturgicalusealsocameintoplayasthe19thcenturyprogressed.[9]
Majorworks
AftertheRenaissance,themasstendednottobethecentralgenreforanyonecomposer,yetsomeofthemostfamousofallmusicalworksoftheBaroque,Classical,andRomanticperiodsaremasses.ManyofthemostfamousofthegreatmassesoftheRomanticerawereRequiemmasses.
AmongtheMasseswrittenfortheOrdinaryoftheMassare:
MessaConcertatabyCavalli(1656)MissaScalaAretinabyFrancescValls(Barcelona,1702)MassinBminor(Flash(http://oregonbachfestival.com/digitalbach/cuepoints/))andfourMissaebyBach"HighMasses"byCzechBaroquecomposerJanDismasZelenkaGreatMassinCminorand18othersbyMozart(1782)RequiemMassinDMinorbyMozart12massesofJosephHaydn,includingNelsonMassandMassinTimeofWarMassinCmajorandMissaSolemnisinDMajorbyBeethovenMassinGMajorand5othersbySchubertMissaChoralisandHungarianCoronationMassbyLisztMassinDMinor,MassinEMinorandMassinFMinorbyBrucknerSt.CeciliaMassand13othersbyGounodMessabyPucciniPetitemessesolennelle(1863)byGioachinoRossiniMassinDminor,op.10(1866)byJohnKnowlesPaineRequiembyGabrielFaurRequiembyGiuseppeVerdiRequieminBflatminor(1890)byAntonnDvokMassinDmajor,Op.86(1887)byAntonnDvok
20thand21stcentury
Bytheendofthe19thcentury,composerswerecombiningmodernelementswiththecharacteristicsofRenaissancepolyphonyandplainchant,whichcontinuedtoinfluence20thcenturycomposers,possiblyfueledbytheMotuProprio(1903)ofPopePiusX.TherevivalofchoralcelebrationofHolyCommunionintheAnglicanChurchinthelate19thcenturymarkedthebeginningseveralliturgicalsettingsofMasstextsinEnglish,particularlyforchoirandorgan.[10]ThemovementforliturgicalreformhasresultedinrevisedformsoftheMass,makingitmorefunctionalbyusingavarietyofaccessiblestyles,popularorethnic,andusingnewmethodssuchasrefrainandresponsetoencouragecongregationalinvolvement.[10]Nevertheless,themassinitsmusicalincarnationcontinuestothrivebeyondthewallsofthechurch,asisevidentinmanyofthe21stcenturymasseslistedherewhichwerecomposedforconcertperformanceratherthaninserviceoftheRomanRite.
MusicalreformsofPiusX
PopeSt.PiusXinitiatedmanyregulationsreformingtheliturgicalmusicoftheMassintheearly20thcentury.HefeltthatsomeoftheMassescomposedbythefamouspostRenaissancecomposersweretoolongandoftenmoreappropriateforatheatricalratherthanachurchsetting.HeadvocatedprimarilyGregorianplainchantandpolyphony.HewasprimarilyinfluencedbytheworkoftheAbbeyofSolesmes.Someoftherulesheputforthincludethefollowing:
ThatanyMassbecomposedinanintegratedfashion,notbyassemblingdifferentcompositionsfordifferentparts
ThatallpercussiveinstrumentsshouldbeforbiddenThatideallythechoirshouldbeallmaleThatthecongregationitselfshouldideallybetrainedtosingthevariousmodesofGregorianchantalongwiththechoir.
Theseregulationscarrylittleifanyweighttoday,especiallyafterthechangesoftheSecondVaticanCouncil.Quiterecently,PopeBenedictXVIhasencouragedareturntochantastheprimarymusicoftheliturgy,asthisisexplicitlymentionedinthedocumentsoftheSecondVaticanCouncil,specificallySacrosanctumConcilium116.[11]
Majorworks
20thcentury
Inthe20thcentury,composerscontinuedtowritemasses,inanevenwiderdiversityofstyle,formandfunctionthanbefore.
RequiemMassbyHerbertHowellsRequiembyMauriceDuruflMassinGbyFrancisPoulencMesseSolennellebyJeanLanglaisGlagoliticMass(1926)byLeoJanekMassinGminorbyRalphVaughanWilliamsMassbyIgorStravinskyMassbyLeonardBernsteinWarRequiembyBenjaminBrittenRequiem,forsopranoandmezzosopranosolo,mixedchorusandorchestra(196365)byGyrgyLigetiRequiembyAndrewLloydWebberMassinFMinorbyTheElectricPrunesMassbyDavidMaslankaBerlinerMesseandMissaSyllabicabyArvoPrtMassbyFrankMartinASymphonicMassbyGeorgeLloydMissaLaudatePueribyBertoldHummel[1](http://www.bertoldhummel.de/english/commentaries/opus_98B.html)MassoftheChildren,Requiem,andGloriabyJohnRutterMassToHopebyDaveBrubeckMisaCriollabyArielRamrezMisabyRodrigoPratsNewPlainsongMassbyDavidHurdMassinHonorofSt.CeciliabyLouHarrison
AfricanSanctusbyDavidFanshawe
21stcentury
MissaLatina:proPacebyRobertoSierraMissaproPace(MassforPeace)byKentaroSatoTheArmedMan:AMassforPeacebyKarlJenkinsSonofGodMassbyJamesWhitbournMissaCarolae(MassfromChristmasCarols)byJamesWhitbournBrightMasswithCanonsbyNicoMuhlyMisaFlamencabyPacoPeaRequiembyChristopherRouseMissaBrevisbyDouglasKnehansMissaGongso,forchoirandgamelan,byNeilSorrell
MasseswrittenfortheAnglicanliturgy
Thesearemoreoftenknownas'CommunionServices',anddiffernotonlyinthattheyaresettingsofEnglishwords,butalso,asmentionedabove,inthattheGloriausuallyformsthelastmovement.SometimestheKyriemovementtakestheformofsungresponsestotheTenCommandments,1to9beingfollowedbythewords'Lordhavemercyuponusandinclineourheartstokeepthislaw',andthetenthby'Lordhavemercyuponusandwriteallthesethylawsinourhearts,webeseechthee'.Sincethetextsofthe'Benedictusquivenit'andthe'AgnusDei'donotactuallyfeatureintheliturgyofthe1662BookofCommonPrayer,thesemovementsareoftenmissingfromsomeoftheearlierAnglicansettings.CharlesVilliersStanfordcomposedaBenedictusandAgnusinthekeyofFmajorwhichwaspublishedseparatelytocompletehisserviceinC.
WithreformsintheAnglicanliturgy,themovementsarenowusuallysunginthesameorderthattheyareintheRomanCatholicrite,leading,accordingtosome,tothemusicalintegrityofthesettingsbeingsomewhatcompromised.ChoralsettingsoftheCreed,themostsubstantialmovement,arerarelyperformedinAnglicancathedralsnow.
WellknownAnglicansettingsoftheMass,whichmaybefoundintherepertoireofmanyEnglishcathedralsare:
DarkeinFDarkeinEDarkeinAminorIrelandinCStanfordinC&FStanfordinBflatStanfordinASumsioninFOldroyd,MassoftheQuietHourJacksoninG
Howells,CollegiumRegaleLeightoninDNobleinBminorHarwoodinAflatWoodinthePhrygianmode
Seealso
Alternatim
References
GustaveReese,MusicintheRenaissance.NewYork,W.W.Norton&Co.,1954.ISBN0393095304HaroldGleasonandWarrenBecker,MusicintheMiddleAgesandRenaissance(MusicLiteratureOutlinesSeriesI).Bloomington,Indiana.FrangipaniPress,1986.ISBN089917034XLewisLockwood,"Mass"TheNewGroveDictionaryofMusicandMusicians,ed.StanleySadie.20vol.London,MacmillanPublishersLtd.,1980.ISBN1561591742TheNewHarvardDictionaryofMusic,ed.DonRandel.Cambridge,Massachusetts,HarvardUniversityPress,1986.ISBN0674615255M.JenniferBloxham,"MassesonPolyphonicSongs",inRobertScherr,ed.,TheJosquinCompanionOxfordUniversityPress,1999.ISBN0198163355http://classicalmusic.about.com/od/theordinaryofthemass/f/gloria.htmDennisArnold,JohnHarper,"Mass16002000"GroveMusicOnline.OxfordMusicOnline."MusicoftheMass".CatholicEncyclopedia.NewYork:RobertAppletonCompany.1913.
Roche,ElizabethandAlexLingas."Mass"TheOxfordCompaniontoMusic.Ed.AlisonLatham.OxfordMusicOnline.
Notes
1. ^abEisen,CliffKeefe,Simon,eds.(2006).TheCambridgeMozartEncyclopedia(http://books.google.com.au/books?id=8o6mVjlSzM4C&dq).p.271274.
2. ^abWalterSenn,NMASeriesI:GeistlicheGesangwerke,GroupI(MassesandRequiem),DivisionI:Masses,Volume2,Preface,pp.VIIIIX(http://dme.mozarteum.at/DME/nma/nma_cont.php?vsep=3&gen=&l=1&p1=25)1975.
3. ^LaPetiteMesseSolennelledeRossini(http://www.lepetitjournal.net/011016148853LaPetiteMesseSolennelledeRossini.html_887)inLepetitjournal,10April2014
4. ^BrianNewbould.Schubert:TheMusicandtheMan,pp.284285.(http://books.google.com.au/books?id=Faikq3F8VYC&pg=PA285&dq=%22set+of+eight+hymns+with+epilogue%22&hl=nl&sa=X&ei=ogl6VMqkNYztaPzlgegF&ved=0CBwQ6AEwAA#v=onepage&q=%22set%20of%20eight%20hymns%20with%20epilogue%22&f=false)UniversityofCaliforniaPress,1999.ISBN0520219570ISBN9780520219571
5. ^HarvardDictionaryofMusic,p.472.6. ^Lockwood,"Mass",Grove(1980)7. ^Bloxham,p.1968. ^BenjaminvanWye,ReviewofMarcAntoineCharpentier,MessepourlePortRoyal,inJournalof
SeventeenthCenturyMusic1999(http://sscmjscm.press.illinois.edu/v5/no1/vanwye.html)
9. ^abRoche,ElizabethandAlexLingas."Mass"TheOxfordCompaniontoMusic.Ed.AlisonLatham.OxfordMusicOnline.
10. ^abMcKinnon,JamesW.etal.Mass.GroveMusicOnline.OxfordMusicOnline.11. ^ConstitutionontheSacredLiturgySacrosanctumConcilium
(http://www.vatican.va/archive/hist_councils/ii_vatican_council/documents/vatii_const_19631204_sacrosanctumconcilium_en.html#116)
Externallinks
GLOBALCHANTDATABASEIndexofGregorianChant(http://www.globalchant.org/)ThelargestonlinedatabaseofMassmelodiesandtexts.JohannSebastianBach'sMassinBMinor(http://oregonbachfestival.com/digitalbach/bminor/)
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Categories: StructureoftheMass Christianmusicformats Medievalmusic RenaissancemusicMasses(music) Catholicmusic
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