Thursday, 5 April 2012
|Opening Hymn||O God, beyond all praising (Michael Perry/Gustav Holst, arr. Richard Proulx)|
|Kyrie||Missal tone in English|
|Gloria||Glory to God (Peter Jones)|
|Responsorial Psalm||O Lord, I will sing of your constant love (Christopher Walker)|
|Gospel Acclamation||Glory and Praise (mcb)|
|Procession of the Oils||O Redeemer (Paul Ford/mcb)|
|Preparation of the Gifts||Crucifixus (Antonio Lotti, c.1667-1740)|
|Sanctus, Acclamation C, Amen||Missal tone in English|
|Agnus Dei||Missal tone in English & Missa Aeterna Christi Munera (G.P. da Palestrina, 1525-1594)|
|Communion||Take and Eat (Michael Joncas)|
God so loved the world (John Stainer, 1840-1901)
|Recessional Hymn||Holy God, we praise thy name|
This time last year I was expressing my doubts about the chant setting of the Mass ordinary given in the (then forthcoming) new translation of the Missal, feeling that the simple chant setting (my reservations mainly concerned the acclamations in the Eucharistic Prayer) was too bland to inspire committed singing from the assembly. I take it back. The missing ingredient last year was organ accompaniment, and this year we remedied that, courtesy of the arrangement generously made available by the music department of Leeds Cathedral. The singing of the Eucharistic acclamations was strong and confident, and after today’s experience I can well imagine using them again for a big occasion. The Kyrie and Agnus we kept unaccompanied, and these were fine that way, even if it jarred a little to switch from English to Latin and back as we digressed into Palestrina.
Peter Jones’s excellent reworking of his setting of the Gloria comes with a powerful brass arrangement, and Celebration Brass were on hand to do it justice. Peter is evidently a stadium rocker – his arrangement calls for three trumpets, three trombones and four timpani – probably the result of all the papal Masses he’s been involved with. I slimmed his version down to five brass players (2 Tpts, Hn, 2 Tbns) and three timps, which perhaps made it more suitable for playing indoors. And very successful it was: it felt as though this was the version the near-thousand-strong assembly had been singing for the last thirty years.