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Mass(music)
FromWikipedia,thefreeencyclopedia

TheMass(Latin:Missa),aformofsacredmusicalcomposition,isachoral
compositionthatsetstheinvariableportionsoftheEucharisticliturgy
(principallythatoftheCatholicChurch,theAnglicanCommunion,and
Lutheranism)tomusic.MostMassesaresettingsoftheliturgyinLatin,the
liturgicalsacredlanguageoftheCatholicChurch'sRomanliturgy,butthere
areasignificantnumberwritteninthelanguagesofnonCatholiccountries
wherevernacularworshiphaslongbeenthenorm.Forexample,thereare
manyMasses(oftencalled"CommunionServices")writteninEnglishfor
theChurchofEngland.MusicalMassestaketheirnamefromtheCatholic
liturgycalled"theMass"aswell.
MissaVirgoparensChristibyJacobus
Massescanbeacappella,thatis,withoutanindependentaccompaniment, Barbireau
ortheycanbeaccompaniedbyinstrumentalobbligatosuptoandincluding
afullorchestra.ManyMasses,especiallylaterones,wereneverintendedtobeperformedduringthecelebrationof
anactualmass.

Contents
1 FormoftheMass
1.1 Ordinarium
1.1.1 I.Kyrie
1.1.2 II.Gloria
1.1.3 III.Credo
1.1.4 IV.SanctusandBenedictus
1.1.5 V.AgnusDei
1.2 Shortandsolemnmasses
1.2.1 Missabrevis
1.2.2 Missasolemnis
1.2.3 Missabrevisetsolemnis
1.2.4 OthertypesofMasseswithlessthanfiveoftheusualpartsoftheordinarium
1.3 Othersections
1.3.1 Proprium(TridentineMass)
1.3.2 Otherdenominations
2 Musicalsettings
2.1 MiddleAges
2.2 Renaissance
2.3 BaroquethroughRomantic(CatholicandLutherantraditions)
2.3.1 Majorworks
2.4 20thand21stcentury
2.4.1 MusicalreformsofPiusX
2.4.2 Majorworks
2.5 MasseswrittenfortheAnglicanliturgy
3 Seealso
4 Notes
5 References
6 Externallinks

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FormoftheMass
Adistinctionismadebetweentextsthatrecurforeverymasscelebration(ordinarium,ordinary),andtextsthatare
sungdependingontheoccasion(proprium,proper).Forexample,fortheTridentineMass:

Ordinarium Proprium
Introit
Kyrie
Gloria
GradualwithHallelujahorTract(Sequence)
Credo
Offertory
Sanctus,includingBenedictusandHosanna
AgnusDei
Communion
Ite,missaestorBenedicamus

Ordinarium

AMissatota("fullMass")consistsofamusicalsettingofthefivesectionsoftheordinariumaslistedbelow.

I.Kyrie

IntheTridentineMass,theKyrieisthefirstsungprayeroftheMass
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ordinary.Itisusually(butnotalways)partofanymusicalsettingofthe
Mass.Kyriemovementsoftenhaveanternary(ABA)musicalstructurethat AGregorianchantKyrieeleison
reflectsthesymmetricalstructureofthetext.Musicalsettingsexistin
stylesrangingfromGregorianchanttoFolk.

Of226cataloguedGregorianchantmelodies,30appearintheLiberUsualis.Inwhatarepresumedtobetheoldest
versions,thesamemelodyisrepeatedforthefirsteightiterations,andavariationusedonthefinalline(thatis,
formally,aaaaaaaaa').TheserepeatsarenotatedbytheRomannumerals"iij"(forthreetimes)or"ij"(fortwice).
TheKyriefortheRequiemMassintheLiberUsualishasthisform.LaterKyrieshavemoreelaboratepatterns,
suchasaaabbbaaa',aaabbbccc',orabacdcefe'.Notethatthefinallineisnearlyalwaysmodifiedsomewhatin
somecasesthismaybebecauseitleadsintotheGloriabetter.Informsbothwithandwithoutliteralrepeats,most
KyriesintheLiberUsualishaveaclosingphraseusedinnearlyallofthelinesofthetext.Thisinfactparallelsthe
text,aseachlineendswiththesameword"eleison".

Becauseofthebrevityofthetext,Kyrieswereoftenverymelismatic.Thisencouragedlatercomposerstomake
tropesoutofthem,eitherbyaddingwordstothemelisma(ashowasequenceisoftenconsidered),orextending
themelisma.Infact,becauseofthelatedateofmostKyries,itisnotalwaysclearwhetheraparticularKyrie
melodyortheapparentlytropedtextcamefirstitcouldjustaseasilybethecasethatasyllabicsongwas
convertedintoamelismaforaKyrieverse.Insomecases,versesinterpolateLatintextbetweeneach"Kyrie"(or
"Christe")and"eleison".

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AstheKyrieisthefirstiteminsettingsofthemassordinaryandthesecond
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intherequiemmass(theonlymasspropersetregularlyoverthecenturies),
nearlyallofthethousandsofcomposersoverthecenturieswhohaveset TheintroductorywordsKrie
theordinariesofthemasstomusichaveincludedaKyriemovement. ElisonfromtheKyrialeMassXI,
OrbisFactor
Kyriemovementsoftenhaveastructurethatreflectstheconcisionand
symmetryofthetext.Manyhaveaternary(ABA)formknownasathree
foldkyrie,wherethetwoappearancesofthephrase"Kyrieeleison"consistofidenticalorcloselyrelatedmaterial
andframeacontrasting"Christeeleison"section.OrAAABBBCCC'formisalsocommonlyusedwhichisknown
asaninefoldkyrie.Famously,Mozartsetsthe"Kyrie"and"Christe"textsinhisRequiemMassasthetwo
subjectsofadoublefugue.

II.Gloria

TheGloriaisacelebratorypassagepraisingGodtheFatherandChrist.

InMasssettings(normallyinEnglish)composedfortheChurchofEngland'sBookofCommonPrayerliturgy,the
Gloriaiscommonlythelastmovement,becauseitoccursinthispositioninthetextoftheservice.InOrderOneof
thenewerCommonWorshipliturgy,however,itisrestoredtoitsearlierseason.

III.Credo

TheCredo,asettingoftheNiceneCreed,isthelongesttextofasungMass.

Organizersofinternationalcelebrations,suchasWorldYouthDay,havebeenencouragedbyRometofamiliarize
congregantsintheLatinchantsfortheOurFatherandtheCredo,specificallyCredoIII(17thcentury,FifthMode)
fromtheMissadeAngelis.ThepurposeofsingingthesetwotextsinLatinistoengenderasenseofunityinthe
faithful,allofwhomthussingtheprayerofJesusandthesharedbeliefoftheuniversalChurchinthesame
language.

IV.SanctusandBenedictus

TheSanctusisadoxologypraisingtheTrinity.AvariantexistsinLutheransettingsoftheSanctus.Whilemost
hymnalsettingskeepthesecondpersonpronoun,othersettingschangethesecondpersonpronountothethird
person.ThisismostnotableinJ.S.Bach'sMassinBminor,wherethetextreadsgloriaejus("Hisglory").Martin
Luther'schoraleIsaiah,MightyinDaysofOld,andFelixMendelssohn'ssettingoftheHeilig!(GermanSanctus)
fromhisDeutscheLiturgiealsousethethirdperson.

TheBenedictusisacontinuationoftheSanctus.HosannainexcelsisisrepeatedaftertheBenedictussection,often
withmusicalmaterialidenticaltothatusedaftertheSanctus,orverycloselyrelated.

InGregorianchanttheSanctus(withBenedictus)wassungwholeatitsplaceinthemass.However,ascomposers
producedmoreembellishedsettingsoftheSanctustext,themusicoftenwouldgoonsolongthatitwouldruninto
theconsecrationofthebreadandwine.ThiswasconsideredthemostimportantpartoftheMass,socomposers
begantostoptheSanctushalfwaythroughtoallowthistohappen,andthencontinueitaftertheconsecrationis
finished.Thispracticewasforbiddenforaperiodinthe20thcentury.

V.AgnusDei

TheAgnusDeiisasettingofthe"LambofGod"litany,containingtheresponsesmisererenobis(havemercyupon
us),repeatedtwice,anddonanobispacem(grantuspeace)onceattheend.
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InaRequiemMass,thewords"misererenobis"arereplacedby"donaeisrequiem"(grantthemrest),while"dona
nobispacem"isreplacedby"donaeisrequiemsempiternam"(grantthemeternalrest).

Shortandsolemnmasses

ThereissomeadditionalterminologyregardingMasssettingsindicatingwhetherornottheyincludeallfiveusual
sectionsoftheordinarium,andwhetherornotthemassisintendedforexceptionallyfestiveoccasions.

Missabrevis

Missabrevis(literally:shortmass)may,dependingontimeandconventions,indicatethesettingofasubsetofthe
fiveordinarymassparts(e.g.MassescontainingonlyasettingoftheKyrieandtheGloria),oramasscontaining
alltheseparts,butrelativelyshortinduration,oramassinasettingthatislessextendedinvocalandorchestral
forcesthanthatofaNeapolitanmass.

Missalonga("longMass")canindicatethecounterpartofMissabreviswhentheaspectofdurationisconsidered.

Missasolemnis

Missasolemnisindicatesasolemnmass,usuallyforspecialfestiveoccasionsandwithanextendedvocaland
orchestralsetting.InthatsenseMissabrevisissometimesusedtoindicatethecounterpartofaMissasolemnis.

Missabrevisetsolemnis

TheMissabrevisetsolemnis(shortandsolemn)isanexceptionalformat,foritsbestknowninstancestiedtothe
SalzburgofarchbishopHieronymusColloredo,althoughearlierexamplesareextant.Mozartdescribeditthusina
letterhewrotein1776("theArchbishop"inthisquotationreferstoColloredo):[1][2]

OurchurchmusicisverydifferentfromthatofItaly,sinceaMasswiththewholeKyrie,theGloria,
theCredo,theEpistlesonata,theOffertoryormotet,theSanctusandtheAgnusDeimustnotlast
longerthanthreequartersofanhour.ThisapplieseventothemostSolemnMassspokenbythe
Archbishophimself.Specialstudyisrequiredforthiskindofcomposition,particularlyastheMass
musthaveafullcontingentofinstrumentstrumpets,drumsandsoforth.

The"brevisetsolemnis"descriptionappliestoseveraloftheMassesMozartcomposedinSalzburgbetween1775
and1780,theSparrowMassbeingconsideredasitsfirstinstanceforthiscomposer.[1][2]

Tongueincheek,andnotindebtedtoViennesetraditions,GioachinoRossiniqualifiedoneofhislast
compositions,amass,asboth"petite"("small")and"solennelle"("solemn").Inthiscase"small"ratherrefersto
themodestforcesneededforitsperformance,and"solemn"toitsduration,althoughlatercommentatorswould
describethecompositionas"neithersmallnorsolemn".[3]

OthertypesofMasseswithlessthanfiveoftheusualpartsoftheordinarium

DuringLent(inLatin:Quadragesima)andAdvent(inLatin:Adventus)theGloriaisnotsung.ThusMissa(in)
tempore(Adventuset)Quadragesimae,"Massfortheperiodof(Adventand)Lent"indicatesaMasscomposition
withoutmusicfortheGloria.MichaelHaydncomposedamasssuitableforLentandAdvent,theMissatempore
Quadragesimae,inDminorforthemodestforcesofchoirandorgan.

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Missasenzacredo("MasswithoutaCredo")indicatesamusicalsettingoftheusualpartsoftheMassordinary
withexceptionoftheCredo.

AMissaferialis(weekdayMass)leavesoutboththeGloriaandtheCredo.

Othersections

ThesixthandlastpartoftheOrdinarium(eitherIte,missaest,or,inmasseswithoutGloria,BenedicamusDomino)
isusuallynotsetaspartofaMasscomposition.InaTridentineMassthatpartoftheOrdinariumisusuallyspoken,
orsungtotheGregorianmelodyprovidedintheRomanMissal,althoughearlypolyphonicsettingsforthe"Deo
gratias"response(e.g.inGuillaumedeMachaut'sMessedeNostreDame)andfortheBenedicamusDomino(e.g.
inMagnusLiberOrgani)areextant.

TheProperoftheMassisusuallynotsettomusicinaMassitself,exceptinthecaseofaRequiemMass,butmay
bethesubjectofmotetsorothermusicalcompositions.SomeMasscompositions,likeforinstanceRossini'sPetite
messesolennelle,dohowevercontainpartsoutsidetheOrdinarium.SomeMasscompositionsevenconsistentirely
ofsuchadditions:Schubert'sDeutscheMesse,asetofeighthymnswithepilogue,[4]isanexampleofsuchamass.

Alsopurelyinstrumentalcompositionscanbepartofamasscelebration,e.g.aSonatadachiesa,sometimeswitha
liturgicalfunction,likeMozart'sEpistleSonatas.

Proprium(TridentineMass)

InaliturgicalMass,thereareothersectionsthatmaybesung,ofteninGregorianchant.Thesesections,the
"Proper"oftheMass,changewiththedayandseasonaccordingtotheChurchcalendar,oraccordingtothespecial
circumstancesoftheMass.ThesectionsoftheProperoftheMassincludetheIntroit,Gradual,AlleluiaorTract
(dependingonthetimeofyear),OffertoryandCommunion.

Ordinariumandpropriumsectionsofaspecificliturgicalmassarenottypicallysettomusictogetherinthesame
composition.Theonemajorexceptiontothisruleisthemassforthedead,orrequiem.

Otherdenominations

FollowingthedistributionoftheSacrament,itiscustomaryinmostLutheranchurchestosingtheNuncDimittis.

Musicalsettings
MiddleAges

TheearliestmusicalsettingsoftheMassareGregorianchant.ThedifferentportionsoftheOrdinarycameintothe
liturgyatdifferenttimes,withtheKyrieprobablybeingfirst(perhapsasearlyasthe7thcentury)andtheCredo
beinglast(itdidnotbecomepartoftheRomanmassuntil1014).[5]

Intheearly14thcentury,composersbeganwritingpolyphonicversionsofthesectionsoftheOrdinary.Thereason
forthissurgeininterestisnotknown,butithasbeensuggestedthattherewasashortageofnewmusicsince
composerswereincreasinglyattractedtosecularmusic,andoverallinterestinwritingsacredmusichadentereda
periodofdecline.[6]Thenonchangingpartofthemass,theOrdinary,thenwouldhavemusicwhichwasavailable
forperformanceallthetime.

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Twomanuscriptsfromthe14thcentury,theIvreaCodexandtheAptCodex,aretheprimarysourcesfor
polyphonicsettingsoftheOrdinary.Stylisticallythesesettingsaresimilartobothmotetsandsecularmusicofthe
time,withathreevoicetexturedominatedbythehighestpart.Mostofthismusicwaswrittenorassembledatthe
papalcourtatAvignon.

Severalanonymouscompletemassesfromthe14thcenturysurvive,includingtheTournaiMasshowever,
discrepanciesinstyleindicatethatthemovementsofthesemasseswerewrittenbyseveralcomposersandlater
compiledbyscribesintoasingleset.ThefirstcompleteMassweknowofwhosecomposercanbeidentifiedwas
theMessedeNostreDame(MassofOurLady)byGuillaumedeMachautinthe14thcentury.

Renaissance
Mainarticles:CyclicMassorCantusfirmusMass,ParaphraseMass,ParodyMass

ThemusicalsettingoftheOrdinaryoftheMasswastheprincipallargescaleformoftheRenaissance.Theearliest
completesettingsdatefromthe14thcentury,withthemostfamousexamplebeingtheMessedeNostreDameof
GuillaumedeMachaut.IndividualmovementsoftheMass,andespeciallypairsofmovements(suchasGloria
Credopairs,orSanctusAgnuspairs),werecommonlycomposedduringthe14thandearly15thcenturies.
CompleteMassesbyasinglecomposerwerethenormbythemiddleofthe15thcentury,andtheformoftheMass,
withthepossibilitiesforlargescalestructureinherentinitsmultiplemovementformat,wasthemainfocusof
composerswithintheareaofsacredmusicitwasnottobeeclipseduntilthemotetandrelatedformsbecamemore
popularinthefirstdecadesofthe16thcentury.

Most15thcenturyMasseswerebasedonacantusfirmus,usuallyfromaGregorianchant,andmostcommonlyput
inthetenorvoice.Thecantusfirmussometimesappearedsimultaneouslyinothervoices,usingavarietyof
contrapuntaltechniques.Laterinthecentury,composerssuchasGuillaumeDufay,JohannesOckeghem,and
JacobObrecht,usedseculartunesforcantusfirmi.Thispracticewasacceptedwithlittlecontroversyuntil
prohibitedbytheCouncilofTrentin1562.Inparticular,thesongL'hommearmhasalonghistorywith
composersmorethan40separateMasssettingsexist.

OthertechniquesfororganizingthecyclicMassevolvedbythebeginningofthe16thcentury,includingthe
paraphrasetechnique,inwhichthecantusfirmuswaselaboratedandornamented,andtheparodytechnique,in
whichseveralvoicesofapolyphonicsource,notjustone,wereincorporatedintothetextureoftheMass.
Paraphraseandparodysupplantedcantusfirmusasthetechniquesofchoiceinthe16thcentury:Palestrinaalone
wrote51parodymasses.

YetanothertechniqueusedtoorganizethemultiplemovementsofaMasswascanon.TheearliestMassesbased
entirelyoncanonareJohannesOckeghem'sMissaprolationum,inwhicheachmovementisaprolationcanonona
freelycomposedtune,andtheMissaL'hommearmofGuillaumeFaugues,whichisalsoentirelycanonicbutalso
usesthefamoustuneL'hommearmthroughout.PierredeLaRuewrotefourseparatecanonicmassesbasedon
plainchant,andoneofJosquindesPrez'smatureMasses,theMissaAdfugam,isentirelycanonicandfreeof
borrowedmaterial.[7]

TheMissaSinenomine,literally"Masswithoutaname",referstoaMasswrittenonfreelycomposedmaterial.
SometimestheseMasseswerenamedforotherthings,suchasPalestrina'sfamousMissaPapaeMarcelli,theMass
ofPopeMarcellus,andmanytimestheywerecanonicMasses,asinJosquin'sMissaSinenomine.

ManyfamousandinfluentialmasseswerecomposedbyJosquindesPrez,thesinglemostinfluentialcomposerof
themiddleRenaissance.Attheendofthe16thcentury,prominentrepresentativesofacappellachoral
counterpointincludedtheEnglishmanWilliamByrd,theCastilianTomsLuisdeVictoriaandtheRoman
GiovanniPierluigidaPalestrina,whoseMassforPopeMarcellusissometimescreditedwithsavingpolyphony
fromthecensureoftheCouncilofTrent.BythetimeofPalestrina,however,mostcomposersoutsideofRome
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wereusingotherformsfortheirprimarycreativeoutletforexpressionintherealmofsacredmusic,principallythe
motetandthemadrigalespiritualecomposerssuchasthemembersoftheVenetianSchoolpreferredthe
possibilitiesinherentinthenewforms.Othercomposers,suchasOrlandedeLassus,workinginMunichand
comfortablydistantfromtheconservativeinfluenceoftheCouncilofTrent,continuedtowriteParodyMasseson
secularsongs.MonteverdicomposedMassesinstileantico,theMissainillotemporewaspublishedin1610,one
Messaa4dacappellain1641aspartofSelvamoraleespiritualealongwithsinglemovementsoftheMassin
stileconcertato,anotherMessaa4dacappellawaspublishedafterhisdeath,in1650.

BaroquethroughRomantic(CatholicandLutherantraditions)

TheearlyBaroqueerainitiatedstylisticchangeswhichledtoincreasingdisparitybetweenmasseswrittenentirely
inthetraditionalpolyphonicmanner(stileantico),whoseprincipaladvancementsweretheuseofthebasso
continuoandthegradualadoptionofawiderharmonicvocabulary,andthemassinmodernstylewithsolovoices
andinstrumentalobbligatos.TheLutheranMichaelPraetoriuscomposedamassfordoublechoirintheoldstyle,
whichhepublishedin1611inthecollectionofchurchmusicforthemassinLatin,MissodiaSionia.Composers
suchasHenriDumont(16101684)continuedtocomposeplainsongsettings,distinctfromandmoreelaborate
thantheearlierGregorianchants.[8]

Afurtherdisparityarosebetweenthefestivemissasolemnisandthemissabrevis,amorecompactsetting.
ComposerslikeFuxinthe18thcenturycontinuedtocultivatethestileanticomass,whichwassuitableforuseon
weekdaysandattimeswhenorchestralmasseswerenotpracticalorappropriate,andin19thcenturyGermanythe
Cecilianmovementkeptthetraditionalive.FrantiekBrixi,woworkedatthePragueCathedral,wrotehisMissa
aulica,aMissabrevisinC,forfourvoices,trumpets,violinandcontinuo,"cantabile"butsolovoicesjustsinging
shortpassageswithinchoralemovements.TheItalianstylecultivatedorchestralmassesincludingsoloists,chorus
andobbligatoinstruments.ItspreadtotheGermanspeakingCatholiccountriesnorthoftheAlps,using
instrumentsforcolorandcreatingdialoguesbetweensolovoicesandchorusthatwastobecomecharacteristicof
the18thcenturyViennesestyle.Thesocalled"Neapolitan"or"cantata"massstylealsohadmuchinfluenceon
18thcenturymasscompositionwithitsshortsectionssetasselfcontainedsoloariasandchorusesinavarietyof
styles.[9]

The18thcenturyViennesemasscombinesoperaticelementsfromthecantatamasswithatrendinthesymphony
andconcertotoorganizechoralmovements.ThelargescalemassesofthefirsthalfofthecenturystillhaveGlorias
andCredosdividedintomanymovements,unlikesmallermassesforordinarychurches.ManyofMozart'smasses
areinmissabrevisform,asaresomeofHaydn'searlyones.Latermasses,especiallyofHaydn,areofsymphonic
structure,withlongsectionsdividedintofewermovements,organizedlikeasymphony,withsoloistsusedasan
ensembleratherthanasindividuals.Thedistinctionbetweenconcertmassesandthoseintendedforliturgicaluse
alsocameintoplayasthe19thcenturyprogressed.[9]

Majorworks

AftertheRenaissance,themasstendednottobethecentralgenreforanyonecomposer,yetsomeofthemost
famousofallmusicalworksoftheBaroque,Classical,andRomanticperiodsaremasses.Manyofthemost
famousofthegreatmassesoftheRomanticerawereRequiemmasses.

AmongthemasseswrittenfortheOrdinaryoftheMassare:

MessaConcertatabyCavalli(1656)
Massfordoublechoir,fromMissodiaSionia,byMichaelPraetorius(1611)
MissaScalaAretinabyFrancescValls(Barcelona,1702)
MassinBminor(Flash(http://oregonbachfestival.com/digitalbach/cuepoints/))andfourMissaebyBach
"HighMasses"byCzechBaroquecomposerJanDismasZelenka
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GreatMassinCminorand18othersbyMozart(1782)
RequiemMassinDMinorbyMozart
12massesofJosephHaydn,includingNelsonMassandMassinTimeofWar
MassinCmajorandMissaSolemnisinDMajorbyBeethoven
MassinGMajorand5othersbySchubert
MissaChoralisandHungarianCoronationMassbyLiszt
MassinDMinor,MassinEMinorandMassinFMinorbyBruckner
St.CeciliaMassand13othersbyGounod
MessabyPuccini
Petitemessesolennelle(1863)byGioachinoRossini
MassinDminor,op.10(1866)byJohnKnowlesPaine
RequiembyGabrielFaur
RequiembyGiuseppeVerdi
RequieminBflatminor(1890)byAntonnDvok
MassinDmajor,Op.86(1887)byAntonnDvok

20thand21stcentury

Bytheendofthe19thcentury,composerswerecombiningmodernelementswiththecharacteristicsof
Renaissancepolyphonyandplainchant,whichcontinuedtoinfluence20thcenturycomposers,possiblyfueledby
theMotuproprioTralesollecitudini(1903)ofPopePiusX.TherevivalofchoralcelebrationofHolyCommunion
intheAnglicanChurchinthelate19thcenturymarkedthebeginningseveralliturgicalsettingsofMasstextsin
English,particularlyforchoirandorgan.[10]Themovementforliturgicalreformhasresultedinrevisedformsof
theMass,makingitmorefunctionalbyusingavarietyofaccessiblestyles,popularorethnic,andusingnew
methodssuchasrefrainandresponsetoencouragecongregationalinvolvement.[10]Nevertheless,themassinits
musicalincarnationcontinuestothrivebeyondthewallsofthechurch,asisevidentinmanyofthe21stcentury
masseslistedherewhichwerecomposedforconcertperformanceratherthaninserviceoftheRomanRite.

MusicalreformsofPiusX

PopeSt.PiusXinitiatedmanyregulationsreformingtheliturgicalmusicoftheMassintheearly20thcentury.He
feltthatsomeoftheMassescomposedbythefamouspostRenaissancecomposersweretoolongandoftenmore
appropriateforatheatricalratherthanachurchsetting.HeadvocatedprimarilyGregorianplainchantand
polyphony.HewasprimarilyinfluencedbytheworkoftheAbbeyofSolesmes.Someoftherulesheputforth
includethefollowing:

ThatanyMassbecomposedinanintegratedfashion,notbyassemblingdifferentcompositionsfordifferent
parts
Thatallpercussiveinstrumentsshouldbeforbidden
Thatideallythechoirshouldbeallmale
ThatthecongregationitselfshouldideallybetrainedtosingthevariousmodesofGregorianchantalong
withthechoir.

Theseregulationscarrylittleifanyweighttoday,especiallyafterthechangesoftheSecondVaticanCouncil.Quite
recently,PopeBenedictXVIhasencouragedareturntochantastheprimarymusicoftheliturgy,asthisis
explicitlymentionedinthedocumentsoftheSecondVaticanCouncil,specificallySacrosanctumConcilium
116.[11]

Majorworks

20thcentury

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Inthe20thcentury,composerscontinuedtowritemasses,inanevenwiderdiversityofstyle,formandfunction
thanbefore.

RequiemMassbyHerbertHowells
RequiembyMauriceDurufl
MassinGbyFrancisPoulenc
MesseSolennellebyJeanLanglais
GlagoliticMass(1926)byLeoJanek
MassinGminorbyRalphVaughanWilliams
MassbyIgorStravinsky
MassbyLeonardBernstein
WarRequiembyBenjaminBritten
Requiem,forsopranoandmezzosopranosolo,mixedchorusandorchestra(196365)byGyrgyLigeti
RequiembyAndrewLloydWebber
MassinFMinorbyTheElectricPrunes
MassbyDavidMaslanka
BerlinerMesseandMissaSyllabicabyArvoPrt
MassbyFrankMartin
ASymphonicMassbyGeorgeLloyd
MissaLaudatePueribyBertoldHummel[1](http://www.bertoldhummel.de/english/commentaries/opus_98
B.html)
MassoftheChildren,Requiem,andGloriabyJohnRutter
MassToHopebyDaveBrubeck
MisaCriollabyArielRamrez
MisabyRodrigoPrats
NewPlainsongMassbyDavidHurd
MassinHonorofSt.CeciliabyLouHarrison
AfricanSanctusbyDavidFanshawe
PolishRequiembyKrzysztofPenderecki
MissaLubabyGuidoHaazen
MissasupraParsifal(1985)byDimitriAguero[12]

21stcentury

MissaLatina:proPacebyRobertoSierra
MissaproPace(MassforPeace)byKentaroSato
TheArmedMan:AMassforPeacebyKarlJenkins
SonofGodMassbyJamesWhitbourn
MissaCarolae(MassfromChristmasCarols)byJamesWhitbourn
BrightMasswithCanonsbyNicoMuhly
MisaFlamencabyPacoPea
Mass(2000)byJamesMacMillan
Requiem(20012002)byChristopherRouse
MissaBrevisbyDouglasKnehans
MissaGongso,forchoirandgamelan,byNeilSorrell
MissaConcertante(2008)byMarcusPaus
Messebrve:"AcclamezleSeigneur!",inFrenchforchoirandorgan(2011)byJeanHuot[13]
StreetRequiem(forthosewhohavediedonthestreet)forchoirandorchestrabyKathleenMcGuire,
JonathonWelchandAndyPayne(2014)[14]
MessedelaMisricordedivine,inFrenchforchoirandorgan(2015)byJeanHuot[15]
MissaPapaeFrancisci(2015)byEnnioMorricone[16]

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MasseswrittenfortheAnglicanliturgy

Thesearemoreoftenknownas'CommunionServices',anddiffernotonlyinthattheyaresettingsofEnglish
words,butalso,asmentionedabove,inthattheGloriausuallyformsthelastmovement.SometimestheKyrie
movementtakestheformofsungresponsestotheTenCommandments,1to9beingfollowedbythewords'Lord
havemercyuponusandinclineourheartstokeepthislaw',andthetenthby'Lordhavemercyuponusandwrite
allthesethylawsinourhearts,webeseechthee'.Sincethetextsofthe'Benedictusquivenit'andthe'AgnusDei'
donotactuallyfeatureintheliturgyofthe1662BookofCommonPrayer,thesemovementsareoftenmissing
fromsomeoftheearlierAnglicansettings.CharlesVilliersStanfordcomposedaBenedictusandAgnusinthekey
ofFmajorwhichwaspublishedseparatelytocompletehisserviceinC.

WithreformsintheAnglicanliturgy,themovementsarenowusuallysunginthesameorderthattheyareinthe
RomanCatholicrite,leading,accordingtosome,tothemusicalintegrityofthesettingsbeingsomewhat
compromised.ChoralsettingsoftheCreed,themostsubstantialmovement,arerarelyperformedinAnglican
cathedralsnow.

WellknownAnglicansettingsoftheMass,whichmaybefoundintherepertoireofmanyEnglishcathedralsare:

DarkeinF
DarkeinE
DarkeinAminor
IrelandinC
StanfordinC&F
StanfordinBflat
StanfordinA
SumsioninF
Oldroyd,MassoftheQuietHour
JacksoninG
Howells,CollegiumRegale
LeightoninD
NobleinBminor
HarwoodinAflat
WoodinthePhrygianmode

Seealso
Alternatim

Notes
1.Eisen,CliffKeefe,Simon,eds.(2006).TheCambridgeMozartEncyclopedia(https://books.google.com/books?id=8o6m
VjlSzM4C&dq).pp.271274.
2.WalterSenn,NMASeriesI:GeistlicheGesangwerke,GroupI(MassesandRequiem),DivisionI:Masses,Volume2,
Preface,pp.VIIIIX(http://dme.mozarteum.at/DME/nma/nma_cont.php?vsep=3&gen=&l=1&p1=25)1975.
3.LaPetiteMesseSolennelledeRossini(http://www.lepetitjournal.net/011016148853LaPetiteMesseSolennelledeR
ossini.html_887)inLepetitjournal,10April2014
4.BrianNewbould.Schubert:TheMusicandtheMan,pp.284285.(https://books.google.com/books?id=Faikq3F8VYC&
pg=PA285&dq=%22set+of+eight+hymns+with+epilogue%22&hl=nl&sa=X&ei=ogl6VMqkNYztaPzlgegF&ved=0CBwQ
6AEwAA#v=onepage&q=%22set%20of%20eight%20hymns%20with%20epilogue%22&f=false)UniversityofCalifornia
Press,1999.ISBN0520219570ISBN9780520219571
5.HarvardDictionaryofMusic,p.472.
6.Lockwood,"Mass",Grove(1980)

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6/15/2017 Mass(music)Wikipedia

7.Bloxham,p.196
8.BenjaminvanWye,ReviewofMarcAntoineCharpentier,MessepourlePortRoyal,inJournalofSeventeenthCentury
Music1999(http://sscmjscm.press.illinois.edu/v5/no1/vanwye.html)
9.Roche,ElizabethandAlexLingas."Mass"TheOxfordCompaniontoMusic.Ed.AlisonLatham.OxfordMusicOnline.
10.McKinnon,JamesW.etal.Mass.GroveMusicOnline.OxfordMusicOnline.
11.ConstitutionontheSacredLiturgySacrosanctumConcilium(http://www.vatican.va/archive/hist_councils/ii_vatican_coun
cil/documents/vatii_const_19631204_sacrosanctumconcilium_en.html#116)
12.http://www.spectable.com/concertchoralelebontemperament/327442/359962
13.http://www.diosher.org/file/Ens_AVRIL.pdf
14.https://streetrequiem.teamapp.com
15.http://www.diosher.org/file/pdf/ensemble/Web_Ensemble_Vol_46_no_1_janv._2015
16.http://www.rai5.rai.it/articoli/missapapaefranciscimorricone/30466/default.aspx

References
GustaveReese,MusicintheRenaissance.NewYork,W.W.Norton&Co.,1954.ISBN0393095304
HaroldGleasonandWarrenBecker,MusicintheMiddleAgesandRenaissance(MusicLiteratureOutlines
SeriesI).Bloomington,Indiana.FrangipaniPress,1986.ISBN089917034X
LewisLockwood,"Mass"TheNewGroveDictionaryofMusicandMusicians,ed.StanleySadie.20vol.
London,MacmillanPublishersLtd.,1980.ISBN1561591742
TheNewHarvardDictionaryofMusic,ed.DonRandel.Cambridge,Massachusetts,HarvardUniversity
Press,1986.ISBN0674615255
M.JenniferBloxham,"MassesonPolyphonicSongs",inRobertScherr,ed.,TheJosquinCompanion
OxfordUniversityPress,1999.ISBN0198163355
http://classicalmusic.about.com/od/theordinaryofthemass/f/gloria.htm
DennisArnold,JohnHarper,"Mass16002000"GroveMusicOnline.OxfordMusicOnline.
Herbermann,Charles,ed.(1913)."MusicoftheMass".CatholicEncyclopedia.NewYork:Robert
AppletonCompany.
Roche,ElizabethandAlexLingas."Mass"TheOxfordCompaniontoMusic.Ed.AlisonLatham.Oxford
MusicOnline.
JeanPaulC.Montagnier,ThePolyphonicMassinFrance,16001780:TheEvidenceofthePrinted
Choirbooks.Cambridge:CambridgeUniversityPress,2017.ISBN9781107177741.

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