w15924
| Title | Mass of St. Peter |
| Contributors |
Gareth Clemson aka CHEZZ (composer) |
| Composition date | 2005 |
| Duration (mins) | 15 |
| Category | accompanied choral sacred |
| Instrumentation | SATB Org |
| Commissioned by | |
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| First performed | |
| Notes | |
| Programme Note | The present composition came about as a result of a rare visit to Lodon during July 2004 to attend three musical events: Mass at St. Peter's Church, Streatham; an informal concert at the George Inn by the London Chamer group which included a performance fo "Three Scottish Takeaways" for variable ensemble; and a Kenneth Leighton memorial concert, the main work consisting of a moving performance of his setting of the Mass. Having promised to compose a special Mass for St. Peter's, it was many months before finally being able to begin. Once started, there was no stopping. As though I was possessed, the music flowed quickly and effortlessly. The final printed copy was completed early February 2005. The aim of this version of the Mass is to make the music accessible for use during the normal service, the degree of difficulty should be well within the capabilites of most church choirs. Unlike other more expansive concert settings, where the composer can dwell on the nuances of individual sections with different movements, the present work takes a broader emotional view, with little repetition of words resulting in a work which is concise and direct, as best suited for ecclesiastical use. Some may note a subtle connection with Bach's great Mass in B minor, where the Gloria in in 3/8 and Sanctus in in 12/8. The opening Kyrie begins hushed and devotionally and changes to an unaccompanied chorale, concluding with an exuberant paean of praise. The Gloria is happy and exultant with greater prominence given to the organ. The Credo forms the central point of the Mass and is also the longest. The opening figure in the organ of a diminished 3rd turning in on itself suggests the three in one concept of the Trinity and recurs regularly throughout, sometimes unobtrusively in the middle of a phrase as well as more prominently as a motif. The male voices begin in plainchant style over a sustained E pedal, again a symbol of unity. The entry of the women's voices introduces a stronger emotional and melodic aspect which is maintained with greater intensity till near the end. The final Amen is hushed and adds a surprising element after what has gone before. The Sanctus is light and in direct contrast to the previous movement. The Agnus Dei is the final movement and is also the most deeply felt. The organ begins alone with the pedals stating a sombre ground bass which is the formal basis for the whole movement. As with the sustained E pedal in the Credo, the use of a ground bass as a formal device also suggests the unity of the Trinity. Beginning with the basses, each voice enters in turn from the theme's third repetition. All come together for the final climax. The concluding bars are subdued, the Dona Nobis Pacem a pleading prayer, and, harking back to the Credo pedal E, the final cadence that of the chord of E major. |
This work is associated with the following collection items:
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