Wednesday, 2 November 2016
|Entrance||Requiem: Introit (Fauré)|
|Kyrie||Requiem: Kyrie (Fauré)|
|Psalm||His goodness shall follow me (Chris O’Hara)|
|Gospel Acclamation||Alleluia Mode 2 (plainchant)|
|Preparation of the Gifts||Requiem: Libera Me (Fauré)|
|Sanctus, Acclamation, Amen||Missa pro Defunctis (chant)|
|Agnus Dei||Missa pro Defunctis (chant)|
|Communion||Requiem: Pie Jesu (Fauré)|
|Recessional||Requiem: In Paradisum (Fauré)|
A sung Mass for All Souls was a new departure for the Cathedral, and we were happy to rise to the opportunity with a choral setting of (parts of) the Requiem Mass. I wanted to leave the people’s proper sung role intact, which meant chant for the Sanctus in place of Fauré’s setting, and for other items not included in a Tridentine Requiem such as Fauré’s, including the Gospel Acclamation, and the Memorial Acclamation in the Eucharistic Prayer. The Introit and Kyrie, a single movement in Fauré’s setting, was conveniently divisible into two, which allowed it to sit comfortably with new (that is, post-Vatican II) Order of Mass. It would not have been so easy to pause between the Agnus Dei and Communion Antiphon (Lux aeterna), since the transition from one to the other is one of the most memorable and arresting moments in the Fauré. So we opted for chant here as well.
The very small congregation (it was, after all, a new venture that received hardly any publicity) meant that we more or less sang to ourselves, but musically it was a rewarding exercise. Our thanks go to Joseph Matthews, who accompanied in Anthony’s absence tonight as well as the previous evening. I hope we see more of him.