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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