Wednesday, 12 April 2017
|Opening Hymn||All people that on earth do dwell (arr. Vaughan Williams)|
|Kyrie||Kyrie Eleison from Mass of the Redeemer (mcb)|
|Gloria||from New Mass for John Carroll (Michael Joncas)|
|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||We Come to Your Feast (Michael Joncas)|
|Sanctus, Acclamation C, Amen||Missal tone in English|
|Agnus Dei||Mass XVIII (chant) & Missa O Quam Gloriosum (T.L. de Victoria, c.1548-1611)|
|Communion||Come to Me and Drink (Bob Hurd)|
Eripe Me (Rihards Dubra, b.1964)
Soul of my Saviour
|Recessional Hymn||Hail Redeemer, King Divine|
There was a certain amount of vacillation in our preparation of Dubra’s beautiful Eripe Me. At the climactic moment the score gives the sopranos a top G natural over a chord of A♭ major, a sudden moment of arresting (if gentle) discord in a generally serene prayer for divine assistance. At a fairly late stage I found the recording by the Cambridge Chorale, in which the (apparently) offending note is amended to a more emollient G♭. Having foisted last-minute remedial learning on our soprano section, I then had a swift exchange of emails with Dubra’s publisher Musica Baltica, who assured me that the composer’s intentions were less conciliatory than the Cambridge Chorale might have reckoned, and recommending an alternative recording with the right note in. We went with their advice, and the result was satisfyingly gritty (in a beautiful serene sort of way) at the crucial moment.
At Bishop John’s suggestion during the planning stages, I ditched the lengthy choir piece I had intended for the Preparation of the Gifts, and gave the people their voice. It worked a treat.