LATIN MASS FOR CHOIR, ORCHESTRA, SOPRANO, AND MEZZO-SOPRANO SOLOISTS. Paul G. Bonneau, B.M., M.M. Dissertation Prepared for the Degree of

Transcription

1 LATIN MASS OR CHOIR, ORCHESTRA, SORANO, AND MEZZO-SORANO SOLOISTS aul G onneau, M, MM Dissertation repared or the Degree o DOCTOR O MUSICAL ARTS UNIVERSITY O NORTH TEXAS May 00 AROVED: hil Winsor, Maor roessor Graham hipps, Minor roessor and Director o Graduate Studies, College o Music Joseph Klein, Committee Memer and Chair o Composition Department James C Scott, Dean o the College o Music C Neal Tate, Dean o the Roert Toulouse School o Graduate Studies

2 onneau, aul G, Latin Mass or Choir, Orchestra, Soprano and Mezzo- Soprano Soloists Doctor o Musical Arts (Composition), May 00, 98 pp, 10 tales, examples, titles The Latin Mass is a musical composition in ive movements, scored or large choir, standard orchestra, and to soloists The movements are the standard parts o the Roman Catholic Mass Ordinary The language is set mainly in Latin ith to exceptions: the Kyrie movement is set in Greek (hich is the standard Roman Catholic setting), and the Credo is simultaneously recited in English and sung in Latin The ork is scored using conventional notation techniques and employs rather conservative technical demands on oth the choir and orchestra No extended techniques are required o any o the perormers It is set in a modal harmonic language

3 ACKNOWLEDGMENTS I ould like to acknoledge the help rom hil Winsor, Graham hipps and Joseph Klein, memers o this doctoral committee, and three o the many proessors at the College o Music, University o North Texas, hose inluence and support have given me the conidence to pursue a career in music The musicians and memers o the oard o Directors o the loer Mound Chamer Orchestra, or encouraging me as its Music Director, and oering ull enthusiasm in the perormance o this and others o my compositions I ould also like to acknoledge Reverend Karen Chraska, Minister o Music at Trietsch Memorial United Methodist Church or her encouragement, patience and guidance in choral technique; and as her colleague on the music sta there, or alloing me unlimited time directing the Chancel Choir, ithout hich this proect ould have achieved ar less satisactory results Also, Reverend Jim Ozier, senior pastor at TMUMC, and the entire sta, Chancel Choir, and memers o the congregation or their endless, enthusiastic support throughout my tenure there And inally I ould like to acknoledge the support o my amily, John E, Kim L, enny, Lisa and Roert And ith most gratitude I ould like to acknoledge my ie Amy Margaret, ithout hose unavering patience, love, strength and understanding this ork ould still e a rustrated proect aiting to egin ii

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5 LIST O TALES Tale age 1 Instrumentation or the perormance o the Latin Mass xi Text and translation xii orm o Kyrie in medieval liturgical orship xiv orm o Kyrie in onneau Latin Mass xiv Tripartite orm o Gloria xxi oetic orm o Gloria text xxvi 7 Choir instructions or Gloria xxxv 8 orm o Credo movement xlvi 9 orm o Sanctus movement liv 10 orm o Agnus Dei lix iv

6 LIST O EXAMLES Example age 1 Male choir, measures -8xv Male choir, mm 10-1xv Male choir, mm 1-19xv emale choir, mm 7-1xvi Re-transition to C Aeolian, mm 1-8xvii Kyrie, mm -8xvii 7 Kyrie, mm 0-xviii 8 Kyrie, mm -7xviii 9 Kyrie, mm 1-endxix 10 Octatonic scale ith E rootxxi 11 Opening measures o the Gloria, ostinato motivexxii 1 Winds and rass, Gloria, mm 9-xxiii 1 Gloria, violins, mm -1, vorimitieren o vocal linexxiv 1 Choir entrance, Gloria, mm 8-xxiv 1 Choir and strings, Gloria, mm 7-77xxv 1 Clarinets, Gloria, mm xxvi 17 Gloria, mm 11-1, soprano, mezzo-soprano duetxxvii 18 Gloria, vocal texture, mm 1-1xxviii 19 Strings, Gloria, mm xxix v

7 age 0 Strings, choir, mm xxx 1 Choir, strings, Gloria, mm 11-0xxxi Strings, choir, Gloria, mm -xxxi Gloria, closing measuresxxxii Credo, opening measuresxxxiv Harmonic impetus or portions o Credo movementxxxv Credo, lute, soprano, clarinet canonxxxvi 7 Soprano, Credo, mm 0-xxxvii 8 Symmetrical scalexxxviii 9 Credo, asses, mm 1-19xl 0 Credo, mm 1-1xli 1 Credo, oodinds, mm 1-7xlii Credo, tutti, mm 1-7xliii Credo, inal cadencexlv Hexatonic scales used in Sanctusxlviii Sanctus, opening measuresxlviii Sanctus, mm 1-18xlix 7 Sanctus, oodinds, m 8li 8 Sanctus, mm -7li 9 Sanctus, oodinds and rass, mm 7-78lii 0 Sanctus, mm 79-8liii vi

8 age 1 Sanctus, nd Osanna statementlv Sanctus, closing measureslvi Harmonic asis or Agnus Dei movementlviii Head motive or Agnus Deilviii Agnus Dei, opening measureslix Agnus Dei, mm 8-1lx 7 Agnus Dei, clarinets, mm 1-7lx 8 Agnus Dei, oodinds, mm 8-lxi 9 Agnus Dei, choir and strings, mm -8lxi 0 Agnus Dei, oodinds, rass, percussion, mm -8lxii 1 Agnus Dei, mm 9-lxiii Agnus Dei, mm -7lxiv Agnus Dei, dona nois phraselxv Agnus Dei, closing duetlxvi vii

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14 MUSICAL ANALYSIS I Kyrie Eleison Kyrie Eleison Christe Eleison Kyrie Eleison Lord have mercy Christ have mercy Lord have mercy The Kyrie is one o the oldest portions o the mass It as part o the Christian liturgy eore Constantine encouraged Christians to orship reely ithin the Roman Empire early in the ourth century CE The Kyrie as irst sung in Greek and the Roman Catholics have not changed this portion o the liturgy rom its original language In singing this portion o the Mass the orshipers assume a posture o humility eore God as they ask or mercy rom God and Jesus, the Christ With this in mind, and ecause o the relationship o the tempo scheme o this Mass to the sonata da chiesa as discussed aove, I composed the Kyrie in a slo tempo so as to achieve a contemplative and introspective sound environment The orm o this movement ollos the orm o the text That is, it is in a threepart, A--A orm The practice o the medieval Roman Catholic Church as to sing each phrase o the text three times, resulting in an arch orm consisting o nine phrases The melody or the Christe phrase as a contrasting melodic line rom the irst and last three Kyrie lines The irst and last three Kyrie phrases oten ere identical to each other This orm is illustrated in tale xiii

15 Tale -- orm o the Kyrie movement in medieval liturgical orship Kyrie Eleison Sung three times, Melody A Christe Eleison Sung three times, Melody Kyrie Eleison Sung three times, Melody A I have used the orm as illustrated in tale to guide my decisions regarding the orm o the opening movement I have used poetic license in leshing out and ornamenting the asic elements o the medieval Kyrie design or example, I have provided contrast eteen the Kyrie phrases and the Christe phrases through a numer o means as illustrated in tale Tale orm o the Kyrie movement in the onneau Latin Mass Kyrie Eleison C Aeolian mode, Conunct motion, Contrapuntal texture, Male choir, String amily dominates texture Christe Eleison # Mixolydian mode, Disunct motion, Homophonic texture emale choir (1 st to phrases), Woodind amily dominates texture Kyrie Eleison C Aeolian mode, Conunct motion, Contrapuntal texture, Male choir, Strings and oodinds dominate texture The opening three Kyrie phrases (measures 1-1) are set in C Aeolian mode The Aeolian mode is a close relative to the Dorian mode in use during medieval Catholic orship service These irst three phrases primarily display conunct melodic shape and are set ithin a contrapuntal texture The male choir sings the opening three phrases The medieval practice ould have three iterations o the same melodic line Unlike the medieval model I have set each Kyrie phrase to a dierent melodic line The second o xiv

16 the three phrases is set in counterpoint Examples 1, and illustrate the conunct motion o the irst three Kyrie phrases in C Aeolian Example 1 -- Male choir; measures -8 Example -- Male choir; mm 10-1 Example -- Male choir; mm 1-19 The string amily dominates the accompanying instrumental texture I have used principles o 1 th century contrapuntal practice to inorm my compositional decisions, hoever a strict 1 th reading is not intended or this texture The oodinds take control o the texture eginning in measure 0 o the Kyrie to prepare or the Christe eleison portion o the text xv

17 The Christe portion o the movement (mm 7-) contrasts ith the Kyrie section in many ays The mode shits rom a dark C Aeolian mode to righter sounding # Mixolydian The Mixolydian mode as in common use in the medieval Catholic orship service The melodic contour o the Christe melody is disunct, in contrast to the conunct motion o the Kyrie The Christe melody, hose contour alone implies Ionian, is harmonized ithin a texture o # Mixolydian (see score, mm 7-) In contrast to the male voices in the Kyrie, the emale choir irst sings the Christe phrases eore eing oined in the third phrase y the male choir (m 9) The instrumental texture o the Christe section, dominated y the oodind amily, is homophonic And inally, all three phrases o the Christe share the same melodic motive Example illustrates the disunct melodic contour o the Christe phrase and the Ionian implication Example -- emale choir, mm 7-1 A rie re-transition in measure estalishes C Aeolian or the inal three reiterations o the Kyrie text (example ) Like the opening section, the inal three Kyrie phrases are composed in a conunct, contrapuntal texture The male choir again sings the text, ut the texture rom measure to the end o the movement is not a literal restatement o the material ound in measures 1-1 or example, the oodinds play a much more prominent role in the closing section o this movement and the melody lines xvi

18 o to o these inal three Kyrie phrases are dierent rom the opening Kyrie melodic lines Compare examples, 7, and 8 to examples 1, and Example -- Re-transition to C Aeolian, mm 1-8 Example -- Kyrie, mm -8 xvii

19 Example 7 -- Kyrie, mm 0- Example 8 -- Kyrie, mm -7 This Kyrie movement has many conscious reerences to the medieval Kyrie model, ut I have exaggerated the elements o contrast I have also used the practices o sixteenth century counterpoint to guide my treatment o dissonance The close o this movement intentionally rustrates the 1 th century model o a melodic cadence I avoid a sense o conclusion at the close o this movement y using unresolved dissonance in the inal measure (example 9) The ass line descends nearly an octave rom c 1 to d in the last phrase o this movement The approach to the C inalis is voiced only in the violins II, thus a true melodic cadence y to voices is avoided The cellos anticipate a resolution rom elo the C inalis in the penultimate measure, ut no resolution occurs The inal harmony contains dissonances o a perect th, minor 7 th and minor 9 th aove the ass note D This incomplete resolution o dissonance leads attacca to the next movement xviii

20 Example 9 -- Kyrie, mm 1- end xix

21 II Gloria in excelsis Deo Gloria Gloria in excelsis Deo, et in terra pax hominius onae voluntaus Laudamus te, enedicimus te, adoramus te, gloriicamus te Gratias agimus tii propter magnam gloriam tuam Domine Deus, rex coelestis, Deus ater omnipotens Domine ili unigenite, Jesu Christe Domine Deus, Agnus Dei, ilius atris Qui tollis peccata mundi, miserere nois Qui tollis peccata mundi, suscipe deprecationem nostram Qui sedes ad dexteram atris, miserere nois Quoniam tu solus sanctus, tu solus Dominus, tu solus altissimus, Jesu Christe, cum sancto Spiritu in gloria Dei atris, amen Gloria Glory to God in the highest, and on earth peace to men o good ill We praise you, e less you, e adore you, e gloriy you We give you thanks or your great glory Lord God, heavenly king, God the ather almighty Lord, the only egotten Son, Jesus Christ Lord God, Lam o God, Son o the ather You ho take aay the sins o the orld, have mercy on us You ho takes aay the sins o the orld, receive our prayer You, ho is seated at the right hand o the ather, have mercy on us or you alone are holy, you alone are the Lord, you alone, Jesus Christ, ith the Holy Spirit, are most high in the glory o God the ather, amen The Gloria is composed in a very energetic spirit This is to represent unrestrained exuerance in singing glory to God In this portion o the Catholic Mass orshipers acknoledge the supremacy o God, and likeise the trinity o God, aove creation I iner rom the text a passionate and celeratory condition and therey have tried to compose a texture that represents the excitement and conviction o the eliever The orm o the Gloria is articulated through a tripartite structure The division o the main sections occur at points in the text that irst reer to God the ather, then Jesus the Son, and thirdly to the Holy Trinity Tale illustrates the tripartite orm o the Gloria xx

22 Tale -- Tripartite orm o Gloria Section A: mm 1-10 Text ocused on God, the ather; Glory to God in the highest Octatonic scale, E root Allegro con vivo Thick, multi-layered, contrapuntal texture Section : mm Text ocused on Jesus, the Son; Lord, the only egotten Son, Jesus Christ Ionian mode, A root Moderato Vocal duet ith homophonic support Section A 1 : mm 18-8 Text ocused on Trinity; at the right hand o the ather, ith the Holy Spirit Octatonic scale, D root Allegro con vivo Thick, multi-layered, contrapuntal texture The octatonic scale, rom hich a large portion o this movement is constructed, is a series o alternating semi-tones and hole-tones (example 10) Example Octatonic scale ith E root The Gloria egins ith an ostinato motive using an octatonic scale hose root is E The ostinato is composed o short, irregular rhythms The irregular rhythms estalish a deinite pulse ut undermine a sense o regular meter The repetitions o the lo E estalish it as a structural root The contour o the ostinato rises a tritone rom E to (example 11) This E- relationship ill ecome signiicant harmonically as the movement unolds and the melody or the text is introduced xxi

23 Example Opening measures o the Gloria, ostinato motive The length o the ostinato is seven measures The texture increases in density and complexity ith each repetition o the ostinato pattern The strings irst are oined in unison y the lo rass and assoons (m 8) The lutes and clarinets enter in counterpoint at the rd and th phrase o the ostinato (m 1, m 0) hile the ooes oin in unison ith the violins The additive process o orchestration shits the color and removes ocus rom the strings The trumpets and horns at the th phrase (m 8) introduce an opposing ostinato that increases the melodic and harmonic tension o the texture The strings are removed orm the texture in this th phrase to prepare or an entrance ith ne melodic material Measures 9- clearly illustrate the density o the texture that anticipates the introduction o the melodic line or the text (example 1) The melodic line that ill eventually accommodate the text is irst voiced in the violins in measure This technique might e reerred to as a Vorimitieren, or a preimitation o the vocal line The contour o this melodic motive implies a Mixolydian harmony (example 1) hich is availale rom the pitches that are present in the xxii

24 octatonic scale hose root is E As suggested aove, the texture no places a dual emphasis on E- Example 1 -- Winds and rass, Gloria, mm 9- xxiii

25 Example 1 -- Violins, mm -1, Vorimitation o vocal line The active texture ith opposing and irregular ostinato patterns, along ith the use o dissonance and contrapuntal accompaniment are intended to evoke a sense o unrestrained exuerance The texture has een suiciently prepared or the choir to enter in exclaiming the text Glory to God in the highest, and peace to men o good ill The texture thins sustantially at measure 8 as the ull choir enters in unisons and octaves or the irst portion o the text; that hich has as its suect God the ather The ull choir enters ith the melody line that as introduced ith the violins at measure (example 1) I chose unison and octave voicing in the choir to imply solidarity o conviction y those o Christian aith Example 1 -- Choir entrance, Gloria, mm 8- The second sentence o the Gloria text introduces a motive that reinorces the tension eteen the structural notes E and The text Laudamus te, enedicimus te, xxiv

26 adoramus te, gloriicamus te is set in an homophonic texture in the choir, using harmonies that imply the Lydian mode This motive is set against punctuations in the orchestra that voice E maor harmonies The uxtaposition o E maor and maor chords eectively utilizes the dissonant, i-tonal implications that are availale in an octatonic environment (example 1) This rather rantic sounding, dissonant texture reinorces the nervous excitement implicit in the text We praise you, e less you, e adore you, e gloriy you Example 1 -- Choir and strings, Gloria, mm 7-77 The next to sentences o the Gloria text complete the irst portion o the movement These sentences are set in a musical texture similar to that descried aove A close oservation o the score reveals ho the dierent melodic and motivic elements o the texture are overlapped and uxtaposed to create orard motion and an increasing xxv

27 sense o urgency toard the next section o the movement The instrumental transition eginning at measure 10 comines all o the previous melodic elements and introduces another syncopated motive in the clarinets (example 1) This transition passage uilds in intensity and complexity, and leads to the second portion o the text; that hich deals ith Jesus the Son Example 1 -- Clarinets, Gloria, mm A great contrapuntal crescendo rom measures leads to a sudden shit in texture as the poetic orm o the text suggests a contrasting section The text shits ocus rom God the ather to Jesus the Son Tale illustrates the poetic orm o the Gloria text into three distinct sections Tale -- oetic orm o the Gloria text irst ocus: God, ather Glory to God in the highest, and on Earth peace to men o good ill We praise you, e less you, e adore you, e gloriy you We give you thanks or your great glory Lord God, heavenly king, God the ather almighty Second ocus: Jesus, Son Lord, the only egotten son, Jesus Christ Lord God, Lam o God, Son o the ather You ho takes aay the sin o the orld, have mercy on us You ho takes aay the sin o the orld, receive our prayer Third ocus: Holy Trinity You ho sits at the right hand o the ather, have mercy on us or you alone are holy, you alone are the Lord, you alone, Jesus Christ, ith the Holy Spirit, are most high in the glory o God the ather, amen xxvi

28 In general I have used shits in mode and color throughout the Mass hen the suect o the text shits rom ather to Son As discussed aove, the mode shits rom Aeolian (darker) to Mixolydian (righter) in the Kyrie movement In the Gloria I shit rom a very active and dissonant texture to a much more consonant and homophonic texture as the suect shits to Jesus, the Son An unaccompanied soprano and mezzo-soprano duet enter in a maor third and sing the phrase, Domine ili unigentite, Jesu Christe (Lord, the only egotten son, Jesus Christ) The phrase is composed in A Ionian (maor) mode (example 17) I chose A maor ecause o its distance rom E octatonic It is a perect th elo E, and the harmonies that I chose rom A Ionian are much righter and more consonant than those that I chose rom E octatonic Example Gloria, mm 11-1, soprano, mezzo-soprano duet xxvii

29 The tutti choir ollos the soloists in a very simple, homophonic texture The texture emphasizes stark contrast rom the previous section o this movement The vocal texture uses chains o suspensions and is composed as an allusion to 1 th century liturgical music (example 18) Example Gloria, vocal texture mm 1-1 The choir and vocal soloists continue in a like manner or the remainder o this section as the text continues its ocus on Jesus, the Son Woodinds are sotly and gradually introduced into the texture as the phrase approaches a cadence in A to close the section (see score mm 1-18) The text o the third portion o the Gloria incorporates the concept o the Holy Trinity into the praise and orship The text equates Jesus ith God ( at that right hand o the ather ) and states that Jesus Christ, ith the Holy Spirit, are most high in the glory o God the ather I chose musical elements rom the irst portion o the text; namely the octatonic scale and the uxtaposition o the harmonic possiilities therein to articulate an overall orm that is clearly intelligile xxviii

30 The third section o this Gloria egins at the sudden shit in dynamics and tempo in measure 18 ith the hammer los o the tutti orchestra using D maor chords eneath A maor chords (example 19) Example 19 Strings, Gloria, mm This third section o the Gloria is composed using harmonies rom a transposition o the octatonic scale to the level o D, a hole step elo the opening section The structural root movement is y perect ith The opening section in E octatonic is olloed y the middle section in A Ionian, hich in turn is olloed y the inal section in D octatonic The structural alling iths progression certainly is tried and true, and the very slo structural harmonic rhythm is reminiscent o the so-called minimalist style o the late 0 th century xxix

31 The strings again prepare the melodic material or the choir (as in examples 1 1 aove), ut in a truncated version (example 0) Example 0 -- Strings, choir, mm The choir continues ith the text in measure 19 using the same melodic material irst heard in measure ut transposed don a hole step As the text or this section is only to sentences ith an amen punctuation, the melodic material is presented in truncation and uxtaposed eteen the orchestra and choir (example 1) The truncation and uxtaposition o melodic ideas is a musical metaphor or the uxtaposition o the three identities o the Catholic Holy Trinity The musical uxtaposition and truncation o motives create an increased sense o urgency and excitement that is implicit in the text xxx

32 Example 1 -- Choir, strings, Gloria, mm 11-0 Melodic material rom the transition section mm (see example 1 aove) is used in the orchestra as support or the amen punctuation in the choir The amen is an expression o conviction, thus the choir sings amen in expanding homophonic voicings o an A maor chord over a contrapuntal orchestral texture (example ) Example -- Strings, choir, Gloria, mm - xxxi

33 The inal measures o the movement are a polychord voicing o A maor over D maor (example ) Example -- Gloria, closing measures, (oodinds not shon) xxxii

34 III Credo in unum Deum, Credo Credo in unum Deum, atrem omnipotentem, actorem coeli et terrae, visiilium et invisiilium Et in unum Dominum Jesum Christum, ilium Dei unigenitum, et ex atre natum ante omnia saecula Deum de Deo, lumen de lumine, Deum verum de Deo vero, genitum non actum, consustantialem atri, per quem omnia acta sunt Qui propter nos homines et propter nostram salutem descendit de coelis Et incarnatus est de Spiritu sancto ex Maria virgine, et homo actus est Cruciixus etiam pro nois, su ontio ilato passus et sepultus est Et resurrexit tertia die secundum scripturas, et ascendit in coelum, sedet ad dexteram atris Et iterum venturus est cum gloria udicare vivos et mortuos, cuus regni non erit inis Et in Spiritum sanctum, Dominum et viviicantem, qui ex atre ilioque procedit, qui cum atre et ilio simul adoratur et congloriicatur, qui locutus est per prophetas Et unum sanctam catholicam et apostolicam ecclesiam Coniteor unum aptisma in remissionem peccatorum Et exspecto resurrectionem mortuorum et vitam venturi saeculi, amen Credo I elieve in one God, the ather almighty, maker o heaven and earth, and o all things visile and invisile And in one Lord Jesus Christ, the only-egotten Son o God, orne o the ather eore all ages God o God, light o light, true God o true God egotten, not made, consustantial ith the ather, y hom all things ere made Who or us men and our salvation came don rom heaven And as incarnate y the Holy Ghost o the Virgin Mary, and as made man He as cruciied also or us, under ontius ilate suered and as uried And on the third day He rose again according to the scriptures, and ascended into heaven, and sits at the right hand o the ather And He shall come again ith glory to udge the living and the dead, and His kingdom shall have no end And in the Holy Ghost, the Lord the giver o lie, ho proceeds rom the ather and the Son, ho together ith the ather and the Son is orshiped and gloriied, ho has spoken y the prophets And in one holy catholic and apostolic church I coness one aptism or the remission o sins And I aait the resurrection o the dead, and the lie o the orld to come, amen The Credo movement o this Mass requires a rie synopsis as it contains more symolism and metaphor than is present in the other movements The Creed is a proession o aith that is recited y Catholics during regular orship service The creed itsel as a very controversial statement or early Christians and ent through many editions eore reaching this, its inal orm in 81 CE The Creed as irst drated in during a Council o ishops in Antioch in CE It as revised at the Great Council at Nicene later in and emerged in its inal, present orm at the Council o Constantinople in 81 As emperor o Rome, Constantine had ceased persecuting Christians and alloed them to orship reely (tax-ree) The neound reedom let the early Catholics ith a dilemma o deining hat Christianity truly means The source o the controversy as hether Jesus as o the same essence o God or hether God made xxxiii

35 Jesus ut not o God s essence The controversy as impassioned and oten violent 1 The existing proession o aith is no a canon o Christianity The canon o Christianity is the rules, las and ooks o the ile that Christians proess as truth I took this principle o liturgical canon and gave it musical application, thus my setting o the Credo is in a musical canon Musicians kno canon to e a contrapuntal technique in hich one or more voices ollo using the same musical idea as a previous voice My canon egins ith a solo lute I use the solo lute as a symol or the person o Jesus o Nazareth The solo soprano ollos the irst phrase in canon ith the lute and sings the Credo text in Latin (example ) In this movement the soprano soloist is a symol or the inception o a religion that as a result o the death and, as Catholics elieve, resurrection o Jesus Example -- Credo, opening measures 1 or a thorough discussion o this early schism o the Catholic Church I recommend Richard E Ruenstein s When Jesus ecame God, The Struggle to Deine Christianity during the Last Days o Rome (1999) xxxiv

36 The choir enters one person at a time, in hispers and sotly spoken phrases The manner o entrance and recitation are organized in a set o instructions that are shon in tale 7 elo The language o recitation in this case is English My intent is to have this portion o the Credo recited in the vernacular language o any country o perormance The choir is used as a symol or the development o Christianity rom small ands o underground, persecuted elievers to a orld religion o millions o people Thus each memer enters gradually throughout the irst hal o this movement, representing the groth o the religion one memer at a time Tale 7 -- Choir instructions or the Gloria The harmonic devices used or this movement are alternations o traditional modes, primarily Mixolydian, ith sections hose harmonic impetus is a -note chord o to perect iths that are separated y a hole step (example ) The speciics o these harmonic relationships ill e discussed elo Example -- Harmonic impetus or portions o Credo movement xxxv

37 The melodic material and phrase lengths or the musical canon are determined y the sentence structure o the text The irst sentence o text is set in Mixolydian mode The opening texture is simple, thin and transparent, as the very earliest Jesus movement as small and localized Examples a shos the entire irst melodic period The canon is in the lute and soprano or the irst phrase, and eteen the soprano and clarinet in the second phrase Accompanying instruments not shon in the examples enter in counterpoint ith truncations o the canon motives Example a -- lute and soprano solo canon, Credo, opening measures Example -- Soprano solo and clarinet canon, Credo, mm 19-9 xxxvi

38 The second sentence o the text continues in a melodic canon that is set primarily in Mixolydian There is a harmonic adustment made to the mode at the ords Jesu Christum These ords are set in a descending, ully diminished arpeggio The ully diminished chord is o course a symmetrical chord o stacked minor thirds Catholics elieve Jesus to e the only human incarnate ith perection, thus the invocation o his name is set in a perectly symmetrical harmony (Example 7) The descending motion o the arpeggio is symolic or Jesus initial descent rom heaven, here he is elieved to have resided ith God ante omnia saecula (eore all ages), to Earth to live and die in order to ulill scripture prophesy Example 7 -- Soprano, Credo, mm 0- The texture ecomes thicker as more instrumental voices rom the oodind amily enter to participate in the strict imitation o the canon (see score mm 0-7) The choir, in the meantime, is continuing to add to the texture as each additional voice gradually enters ith the Credo text The increasing instrumental texture and the additional entrances o the choir continue to represent the gradual groth o the ody o elievers during the irst centuries o the Christian era Shits in color and structural harmony occur in measure 8 The texture had een controlled y the oodind amily in a harmonic environment that centered around xxxvii

39 Mixolydian In measure 8 the string amily enters, estalishing a harmonic ield generated rom the chords shon in example aove When the notes o these chords are arranged horizontally, the resulting symmetrical scale is shon in example 8 Example 8 -- Symmetrical scale This scale is used to generate melodic material rom measures 8-11 The solo soprano still leads the points o imitation, ut in this section I do not employ a strict melodic canon The disintegration o a strict musical canon is a metaphor or the early history o the Catholic Church The Catholic Church experienced its irst maor internal division o philosophy in the th century, CE The disintegration o a strict musical canon represents the division o the Catholic Church that y then had spanned much o the Roman Empire including rance, Spain, Italy, Greece, Turkey, Alexandria, Syria and Jordan Measures 1-77 o this movement constitute a sloly evolving dynamic edge that uilds to the irst sell in dynamics at the phrase genitum non actum, con sustantialem atri, per quem omnia acta sunt (egotten not made, consustantial ith the ather, y hom all things ere made) That phrase is o proound signiicance or Catholics and as the cause o the irst schism that egan in, CE Many Catholics elieved that Jesus as made y God, ut not o the same essence o God, and as xxxviii

40 essentially lesser than God ut still divine This elie held that the Jeish God and the Christian God ere still one in the same Other Catholics elieved that Jesus as not less than God in essence ut as consustantial ith God rom all time This point as the cause o the irst great schism or the Catholics to determine that Jesus as egotten, not made and o the same essence and sustance o God (consustantial), meant that the Catholics ere proessing a God that as in act, entirely separate and distinct rom the Jeish God The Jeish God is o course not elieved to e consustantial ith Jesus The emale choir enters in unison ith the solo soprano at precisely this point in the text (in measures 7-8) to punctuate the signiicance o text A ritten out grand pause (m 8) is included to suspend the tension and urther symolize the separation eteen the Western and Eastern actions o the early Church The soprano resumes in measure 8 to egin a ne section in imitative counterpoint that dras its melodic material rom this movement s opening motive The structural root ascends y step rom D in measure 8 to E in measure 7 and to # in measure 90 The harmonies are derived rom those shon in example, aove An increase in texture density occurs in mm A second sell o dynamics occurs during the text et homo actus est (and ecame man) The solo soprano is oined again y the emale choir (mm107-11), this to emphasize the importance o these ords or Catholics The next section o the movement (mm 11-1) deals ith the cruciixion o Jesus This section is scored in a very tumultuous sound environment The agitation is Ruenstein, When Jesus ecame God, xxxix

41 expressed ith the uxtaposition o to minor harmonies hose roots are separated y a tritone In this case C# minor harmonies are superimposed over G minor harmonies The resulting sound is a metaphor or the tumult that must have existed or the olloers o Jesus hom ere itness to his cruciixion The phrase passus et sepultus est (suered and as uried) is scored in the ass voices ith help rom the ass clarinet hose setting is a rather ovious metaphor or the urial o Jesus (example 9) Example 9 -- Credo, asses mm 1-19 The next phrase Et resurrexit tertia de secundum scripturas, (And resurrected on the third day according to scripture) reers ack to the canons o the opening section ut continues using the harmonies as derived rom the symmetrical scale shon in example 8 The oodinds egin a more active contrapuntal texture in anticipation o the inal to sections o this movement The texture to the end o the movement ecomes very thick and heavy At times the soprano ecomes sumerged eneath the accompanying orchestral texture This as a conscious decision to portray the massive groth o a religious politic that at times seems to have lost sight o its original impetus I reer to the notorious Crusades and the Spanish Inquisition that committed untold atrocities in the name o Jesus, a amous peace lover ho ould surely have oected to xl

42 the inhumanity o those movements Example 0 shos the canon eteen the soprano and strings ith the eginnings o the accompanying oodind counterpoint Example 0 -- Credo, mm 1-1 The choir voices also return to the opening role o recitation o the text individually, contriuting even more to the eightiness o the texture Example 1 shos the emerging oodind counterpoint that contriutes to the complexity o the texture in this penultimate section o the movement xli

43 Example 1 -- Credo, oodinds, mm 1-7 The emale choir again oins the soprano, this time in a homophonic accompaniment hose harmonies are derived rom # Mixolydian mode The strings and rass amily are scored in imitative counterpoint ith melodic material that is estalished y the solo soprano The tessitura or the solo soprano is in her highest range The overall texture continues to increase in density rom this point to the end o the movement Nearly all instrumental voices are present, and the counterpoint is at its most complex o the entire movement All o these actors are meant to symolize the groth o the modern Christian Church ith all o its disparate actions, philosophies and splinter sects Example illustrates the complexity o the texture at its thickest point in this penultimate section o the Credo Movement xlii

44 Example -- Credo, mm 1-7 xliii

45 The inal section o this movement (mm 1-end) is scored in a massive homophonic texture that egins ith the phrase Et unum sanctum catholicam et apostolicam ecclesiam (And in one holy catholic and apostolic church) The previously contrapuntal texture merges into a homophonic texture as a symol or the ideal o a uniied, gloal ody o Christian elievers The mode or this section is # Mixolydian The structural rise rom the opening o the movement in Mixolydian to # does not have any symolic religious signiicance It is a decision ased on the control o tension and sound The structural rise rom to #, hile admittedly is not ovious to most listeners, ill have the suconscious eect o increased musical tension At the same time, or some, a maor mode in # ill have a righter sound than a maor mode in The male choir inally enters into the homophonic setting in measure, 17 ars rom the end o the movement The male entrance occurs ith the text Et exspecto resurrectionem mortuorum, et vitam venturi saeculi, amen (And I aait the resurrection o the dead, and the lie o the orld to come, amen) The addition o the male choir in homophony here is a symol or the resurrection and addition o the dead into the Kingdom o God The amen cadence o this movement (ex ) is a Mixolydian cadence on # ith the cadential voices eing in the 1 st tenors and asses The solo soprano line oldly rises aove the texture to a high D#, a note in a range that is shared only ith the lutes This douling eteen the soprano and lute provides an organic link to the opening o the movement that o course egins as a canon eteen the lute and solo soprano xliv

46 Example -- Credo, inal cadence xlv

47 The previous discussion o this movement reveals a through-composed orm that consists o ive parts The construction o each part as guided y a symolic interpretation o the text While each o the parts implies a separate symolic connotation, the parts are all linked organically (ith the exception o the middle section) y motivic, harmonic and/or textural means Tale 8 illustrates the through-composed orm o the Credo and its component parts Tale 8 -- orm o the Credo movement Section A Section Section C Section D Section E mm 1-7 Canon, Mixolydian, thin texture, solo soprano, oodinds, spoken choir mm 8-11 Imitative, harmonies derived rom example, roadening texture, solo soprano, emale choir strings, inds, spoken choir mm Non-imitative, contrapuntal, i-modal: (c# mi, g mi), thick texture, chaotic sound environment, solo soprano, tutti orchestra, tutti choir mm 11-0 Imitative, harmonies derived rom example, thick texture, solo soprano, emale choir, inds, rass, strings, spoken choir mm 1-8 Homophonic, # Mixolydian, massive texture, tutti inds, rass, strings, solo soprano, tutti choir xlvi

48 IV Sanctus Sanctus, santus, sanctus, Dominus Deus Saaoth leni sunt coeli et terra gloria tua Osanna in excelsis enedictus qui venit in nomine Domini Osanna in excelsis Holy, holy, holy, Lord God o Hosts Heaven and earth are ull o your glory Hosanna in the highest lessed is He ho comes in the name o the Lord Hosanna in the Highest While the previous movement (Credo) as composed entirely out o symolic and metaphorical consideration o the text, the Sanctus movement as composed ith virtually no symolic representation hatsoever All o the decisions made or this movement are derived purely rom astract musical consideration The Credo movement is rather slo in tempo and y the end its texture is massive and very eighty I have designed the Sanctus to e in stark contrast to the Credo; thereore its tempo is Allegro ma non troppo, and the texture is comparaly light The Sanctus is composed ith rhythmic characteristics o a scherzo in mind or me it is a study in metric displacement and syncopation The orm o this movement ollos that o the text The text may e divided into to parts, each part closed ith punctuation that is the phrase Osanna in the highest As I make no attempt to apply religious or historical symolism to the text, I chose to treat the text syllaically as opposed to using the text as groupings o ords In so doing the articulation o each syllale is separated y spaces o orchestral sound or large portions o this movement The choir articulates the text in staccato notes that are oten indecipherale as ords ith contextual meaning xlvii

49 The harmonic environment or the Sanctus movement is derived rom the to hexatonic (holetone) scales that are availale in the Western 1-note system Example shos the transpositions o the hexatonic scales that are used in this movement Example -- Hexatonic scales used in Sanctus The opening measures in the violins provide the impetus or the entire movement The texture is a single voice that uses a simple, three-note moti A syncopated macrorhythm is estalished y asymmetric articulations o the open G string o the violins (Example ) Example -- Sanctus, opening measures The macro-rhythm that is estalished through the articulations o the open G string unctions as the motivic source material or the choir articulation o the text The choir articulations are punctuated y the percussion amily and various cominations o oodind and rass instruments as the movement unolds Example shos the choir xlviii

50 entrance ith the timre punctuations provided y the percussion, lo oodind and rass instruments Example -- Sanctus, mm 1-18 The choir is instructed to articulate the syllales o the text in notes as short as possile This very short articulation o the syllales renders the text incomprehensile xlix

51 This as a conscious decision on my part; although the text has proound signiicance or the ody o Catholic orshipers, it as not the primary ocus or the aesthetic design o this movement A precedent or this technique may e heard in Luciano erio s Sinonia or Eight Voices and Orchestra The second movement o erio s ork is dedicated to the memory o the late Dr Martin Luther King Jr The text o that movement is composed rom the syllales o the name o its dedicatee The syllales (in Sinonia, nd movement) are articulated in short percussive attacks that render a contextual comprehension impossile until the inal articulations o the choir in that movement The texture in Sanctus continues in like ashion as the movement progresses orard I control shits in color through varying cominations o instrumentation or each phrase o the text An examination o the score in measures 1- ill illuminate this point The static harmonic progression in this movement prolongs hat is essentially an augmented triad that is derived rom the notes ithin the G hexatonic, hole-tone scale As an augmented triad is a symmetrical chord, any o its notes can unction as its root This element nulliies any sense o traditional tonal unction or the chord The note G receives range accent as I score it as the loest pitch in this opening section, and that, in addition to its syncopation accent, gives it a structural root unction A ridge leading to the close o the irst hal o this movement occurs in measures -78 The material in this ridge is derived rom material that is irst stated in the oodinds in measure 8 as instrumental punctuation to the text Example 7 shos the oodind material rom measure 8 Example 8 shos ho this material is expanded in measures -7 l

52 Example 7 -- Sanctus, oodinds, m 8 Example 8 -- Sanctus, mm -7 Example 9 shos ho the oodind material evolves into that hich ecomes the ridge to the irst Osanna statement o the text li

53 Example 9 -- Sanctus, oodinds and rass, mm 7-78 The Ossana in excelsis phrase punctuates the close o the irst section The phrase translates as an exclamation to the glory o God Thus I have set the text in a musical anare o trumpets and rass The anare is set in a tertian harmonic language in unctional tonality It is a progression rom A maor to D maor This tonal section lii

54 provides harmonic contrast to the static harmonic environment that accompanies the irst to sentences o text Example 0 shos the anare and Osanna phrase Example 0 -- Sanctus, mm 79-8 The Osanna in excelsis phrase marks a convenient dividing point in the text The poetic structure or the text o this movement may e descried as to short sentences olloed y the Osanna phrase, plus another short sentence and again the liii

55 Osanna phrase Thus the Osanna phrase is used to close to halves o a inary orm The orm or this movement is shon in tale 9 Tale 9 -- orm or Sanctus movement A section (mm 1-8) section (mm97-19) INTRO a 1 ST to lines o text a ridge x Osanna TRANS- ITION x, a rd line o text a ridge x Osanna CODA x, a mm 1-1 mm 1- mm -78 mm 79-8 mm 8-9 mm mm mm mm measures 1 m measures One ill notice that the irst hal o the inary orm is 8 measures long, hile the second hal is only measures I have compensated or the shorter length o the second hal y increasing its textural density: ecause the density o the texture is so much thicker than the irst part, the to parts do not eel unalanced The transition passage that oins the to parts is composed rom material ound in measures -78; that is the ridge connecting the irst to lines o text to the irst Osanna punctuation (shon as x material in the tale aove) The transition also uses material rom the opening measures o the movement (shon as a material in the tale aove) to prepare the texture or the third line o text Thus the transition that oins the to parts o the movement is linked organically to oth halves The harmonic liv

56 material or the transition is composed rom the C transposition o the hexatonic scale shon in example aove Apart rom the truncation o the second part o this movement, it is very closely related to the irst part and as such does not require a lengthy discussion here One ill notice that the orchestration is dierent, ut this is not an unusual eature In act the orchestration varies or each phrase o the text throughout the movement The corresponding ridge that leads to the second Ossana statement is also very similar to that in the irst part ut this time leads to a anare in C maor, up a maor third rom the irst statement Example 1 shos the second Osanna punctuation anare Example 1 -- Sanctus, nd Osanna statement lv

57 The coda is very similar to the transition A inal statement o the a material is presented in ull orchestration to close the movement (example ) Example -- Sanctus, closing measures lvi

58 V Agnus Dei Agnus Dei, qui tollis peccata mundi, miserere nois Agnus Dei, qui tollis peccata mundi, miserere nois Agnus Dei, qui tollis peccata mundi, dona nois pacem Lam o God, ho takes aay the sins o the orld, have mercy on us Lam o God, ho takes aay the sins o the orld, have mercy on us Lam o God, ho takes aay the sins o the orld, grant us peace The text o Agnus Dei is taken rom the Gloria hymn o praise: Domine Deus, Agnus Dei, ilius atris Qui tollis peccata mundi, miserere nois The reerence o Jesus as the Agnus Dei (lam o God) is a reerence to ile scripture that tells o the meeting o John the aptist and Jesus Upon seeing Jesus, John the aptist tells his olloers to ehold the lam o God, ho takes aay the sins o the orld (Jesus is thus reerred in metaphorical terms as a sacriice to redeem the sins o man), hereupon one in the crod is reported to have responded, Have mercy on us The appearance o the concise orm o the Agnus Dei as an independent portion o the Mass dates ack to the 7 th century The three phrases o this movement are still recited today y the priest in Mass Ordinary services My musical setting o this text is a relection o my oservation o contemporary gloal society In vie o recent and current socio-political hostility I have set the Agnus Dei as a desperate plea or mercy and peace I have tried to invoke a sense o desperation through harmonic and melodic treatment o the text lvii

59 The harmonic asis or this movement is again a uxtaposition o to perect iths Whereas the Credo movement uses to perect iths a hole step apart (see example, aove), this Agnus Dei movement uses to perect iths separated y a hal step (example ) The resulting dissonance that occurs hen these intervals sound simultaneously helps to invoke a sense o urgency and desperation Example -- Harmonic asis or Agnus Dei movement The melodic head moti or the Agnus Dei is a horizontal realization o the our notes shon aove The rising melodic motion represents the rising inlection in tone hen one articulates a plea; in this case a plea is made or mercy and peace The motive rom hich the movement is constructed is shon in example Example -- Head motive or Agnus Dei The orm o this movement is a simple phrase-period that ollos the orm o the text The movement is constructed in three short melodic phrases The three phrases lviii

60 comprise a single melodic period The melodic period is preceded y an instrumental introduction and olloed y a coda The orm is illustrated in tale 10 Tale orm o the Agnus Dei Introduction mm 1- Clarinet, lute, oodinds, percussion, strings hrase 1: irst sentence o text Tutti choir and orchestra, mm -8 Single melodic period Measures -79 hrase : Second sentence o text ith phrase extension on miserere nois Tutti, mm 9- hrase : Third sentence o text; dona nois pacem Tutti, mm -79 Coda mm 80-9 Solo clarinet, lute The movement introduction opens ith a ragment o the head motive and is voiced y solo clarinet and lute (example ) Example -- Agnus Dei, opening measures A sudden shit in tempo and a diminution o rhythm or the second phrase o the introduction suggests a sense o uncertainty and desperation; I intend this as a metaphor or the precarious state o the current gloal political climate Example shos the rhythmic diminution o the head motive lix

61 Example -- Agnus Dei, mm 8-1 The third phrase o the introduction in moderato (a tempo) is a consequent to the previous phrase It is a clarinet trio hose character suggests incomplete resolution to an unansered plea (example 7) Example 7 -- Agnus Dei, clarinets, mm 1-7 Another articulation o the head motive in diminution and at an allegro tempo sets up the main portion o the movement (example 8) lx

62 Example 8 -- Agnus Dei, oodinds, mm 8- The strings state the motive in unison moderato (mm ) eore the tutti choir enters in octaves in measure 8 Example 9 shos the irst phrase o text Example 9 -- Agnus Dei, choir and strings, mm -8 lxi

63 The D transposed hrygian mode as used to ill in the notes o the uxtaposed perect iths shon aove in example Woodinds, rass and percussion, using material rom the head motive provide counterpoint to the strings and choir (example 0) Example 0 -- Agnus Dei, oodinds, rass, percussion, mm - 8 lxii

64 The second phrase o text is orchestrated more ully at the reiteration o the plea to the Lam o God to grant us peace The harmonies shit up a hole step rom D hrygian to E Dorian The harmonic rise helps to increase tension and provides a sense o urgency to the phrase miserere nois (have mercy on us) A phrase extension and a repetition o the ords miserere nois urther emphasize the plea or mercy (example 1) Example 1 -- Agnus Dei, mm 9-, (oodinds not shon) lxiii