Agnus, Sanctus, Benedictus- Oh my!

Greetings fellow WC members! I hope you’ve all be enjoying the hints of spring in the air as much as I have. Nothing like knowing this Rochester winter will end soon enough!

This week I thought I’d talk a little bit about one of our biggest pieces this concert cycle: György Orbán’s Mass No. 6. This piece certainly has it’s own style or flavor, and it stands out to me because of the coloristic harmonies, frequently shifting rhythms, and interesting mix of unison versus part singing. All of these elements and more come together in Orbán’s unique writing for this “equal voice instrument.”

As many of you may know, and as Dr. Silvey has mentioned, these Latin texts come from the Catholic mass. Throughout history, composers have written a huge number of masses. Some composers were extremely religious and wrote masses as a way to pay homage to God, and some were simply trying to make a living and therefore wrote something that would be useful- the setting of a mass. During the lifetime of many Baroque, Classical, and even some Romantic composers, masses weren’t just pieces to be sung in concert; they were actual prayers sung as part of frequent church services. When one considers this practical use for the sung mass, it’s no wonder there are so many. (Just for reference, Mozart wrote 19 masses, Haydn wrote 14, Schubert wrote 6, and Bach wrote 5 complete masses and many other mass sections. And this is just the tip of the iceberg!)

When there are so many masses out there, it’s tough to pick a favorite. But even if it’s not a competition, it’s certainly interesting to compare how different composers set the same text, and what messages they choose to highlight in their music. For today, I’d love to offer you guys a few different takes on the Agnus Dei section of the mass. 

First of all, let me share the text:
Agnus Dei, Lamb of God
qui tollis peccata mundi, Who takes away the sins of the world,
miserere nobis.                             Have mercy on us.
Dona nobis pacem.                       Grant us peace.

This text refers to the Christian belief that Jesus, the lamb of God, was crucified so that we on earth could return to heaven after death. The text then implores that God have mercy on us, effectively asking forgiveness for our sins and hoping that we, too, will join God in heaven one day. Composers have approached this text differently throughout history. In the Orbán mass, for example, the Agnus Dei seems very serene, trusting in the mercy of God and knowing that, with his strength, all will be resolved. Listen to a great example here: http://www.youtube.com/watch?v=6dYyY4kSaTA

Bach’s setting of this same text in the B Minor Mass is rather different from Orbán’s. The melody is much more lamenting, the harmonies more chromatic, and the character much more despairing. In Bach’s setting, sustained notes give a feeling of heavy burden, and chromatic harmonies add to the anguish of the piece. Here, the speaker is not yet trusting that God’s mercy will straighten everything out. Rather, he or she seems weary and conscious of the guilt of sin as he or she implores God, “Please have mercy on us.” You can listen to an example with the score here: http://www.youtube.com/watch?v=pTyfXIM2dMM

A Schubert setting of the same text mixes soloists with choral singing while also showing the different dynamics of the same text. Throughout this five-minute movement, the piece constantly changes key from minor, to major, and back again. To me, this demarcates the difference between feeling the despair that we caused Christ to die and the desperation in asking for his mercy and the knowledge that Christ will give peace. Give it a listen and see what you think! http://www.youtube.com/watch?v=eOYQJbiS9iI 

Another setting by Elgar (which is absolutely stunning- PLEASE listen to it!) has again another character. Elgar’s setting begins quietly and reverently, almost in a contemplation of God’s mercy and sacrifice for us. Through a series of repeats, it grows more and more intense. As the intensity builds, the reverence turns to mixed with a hugely heartfelt, heart-wrenching request for mercy. The soprano descant is simultaneously urgent and other-worldly. What a contrast! Please give this fantastic piece a listen here: http://www.youtube.com/watch?v=Gy4qdzFCzo4

And finally, one more example of one of the most famous pieces ever inspired by this text: Barber’s Adagio for Strings, or Agnus Dei. While this work is instrumental, it is inspired by this text. This setting is perhaps the most anguishing version that I’ve ever heard. That’s my only comment. It is absolutely worth the listen, and I ask you to please give it the time! I promise you won’t regret it. ;-) Please let me know what you think! 

I hope you’ve enjoyed a musical sampling, ladies! Forgive my rambling- there are just so many wonderful masses! As always, let me know if you have questions or comments. :)

~Hailey