Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published by Adrian Gagiu (A0.1277133). Missa Solemnis in B major, op. 27 (conductor's score). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the ā€˛Filioqueā€¯ (which would still fit the rhythm of the repeated ā€˛qui ex Patreā€¯, should any Catholics ever wish to perform this as a mass) make it rather a ā€˛liturgical oratorio for all nationsā€¯, more appropriate in the concert hall.Ā The work has had a long gestation: imagined in 1984 after the composerā€™s first contact with Beethovenā€™s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the Ā King of Kings), ā€˛rex caelestisā€¯ and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the ā€˛anabasisā€¯ gesture at ā€˛Gloria in excelsis Deoā€¯, ā€˛et ascendit in caelisā€¯, ā€˛in remissionem peccatorumā€¯ and the resurrection, a flute trill standing for the Holy Spirit who has come ā€™like a doveā€™ at ā€˛et incarnatus estā€¯, a cross-shaped texture at ā€˛crucifixusā€¯, and some word-painting (hushed sonorities at ā€˛et invisibiliumā€¯, anticipations between orchestra and chorus at ā€˛et exspectoā€¯ etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit).Ā ā€˛Kyrieā€¯ is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrinaā€™s serene modality and counterpoint. ā€˛Gloriaā€¯ begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. ā€˛Credoā€¯ has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn ā€˛Pange linguaā€¯, made famous by Mozartā€™s last symphony and by other Classical composers. Both ā€˛Gloriaā€¯ and ā€˛Credoā€¯ end with extended, powerful and elaborate fugues (ā€˛in gloria Dei Patrisā€¯ and ā€˛et vitam venturi saeculiā€¯, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the wordsā€™ accents, a la Stravinsky. The same sections plus ā€˛Agnus Deiā€¯ end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of ā€˛Sanctusā€¯). ā€˛Judicareā€¯ quotes the beginning of the well-known ā€˛Dies iraeā€¯ plainchant tune, and the Consecration between the ā€˛Sanctusā€¯ and ā€˛Benedictusā€¯ sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens ā€˛Agnus Deiā€¯, which includes another quotation (the famous ā€™Dresden Amenā€™ at ā€˛qui tollis peccata mundiā€¯ and ā€˛dona nobis pacemā€¯). In the final section, with its refined simplicity, the choral voices enter in descending order, and the ā€˛Kyrie eleisonā€¯ theme is briefly remembered, then it ends softly and peacefully.Ā Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
