Tesis Olaj

OLA GJEILO’S SUNRISE MASS:
A CONDUCTOR’S GUIDE
by
Eric Posada, B. M., M. M.
A Dissertation
In
Choral Conducting
Submitted to the Graduate Faculty

of Texas Tech University in
Partial Fulfillment of
the Requirements for
the Degree of
Doctor of Musical Arts
Approved
Richard Bjella
Chair of Committee
John Hollins
Stacey Jocoy
Mark Sheridan
Dean of the Graduate School
August, 2015
Copyright 2015, Eric Posada
Texas Tech University, Eric Posada, August 2015
ACKNOWLEDGEMENTS
First, and foremost, I would like to thank God. Secondly, I could not have accomplished
this milestone without the support of my extended family. To my dad, Juan Manuel Posada;
uncle, Raul Posada; grandma, Manuela Posada; and grandpa, Simon Posada, your legacy is
indelible, and though you are gone, it has helped shape me into the man I am today. Next, I am
forever indebted to my committee members: Richard Bjella, John Hollins, and Stacey Jocoy.
Professor Bjella, when we first met, I told you I had no living father figure. You lived up to that
expectation, personally and musically. Dr. Hollins, I will never meet a more beautiful spirit than
yours. I cannot put into words my level of gratitude. Dr. Jocoy, thank you for imparting your
wisdom and grace to me. Ola, I am honored to have had this opportunity. More importantly,
after spending those first three hours talking to you, I knew that we were kindred spirits. I will
treasure our friendship forever. Thank you for sharing your time and insight with me. Century
Singers, it has been a joy working with you. Your will and resolve to make this performance
“perfect” for me is something I will never forget. I cannot fathom having embarked upon and
sharing this journey with another choir. This project would not have been completed without
the technological aid and emotional support of Adam Hightower. Thank you, my dear friend, for
coming to my rescue time and again. I can never fully repay you. Marcelo Bussiki, mil gracias, mi
hermano. Had you not invited me to conduct on a program that featured Star Wars and Icarus
at the Edge of Time, I would still be searching for a document topic. Paul Sikes, our collaboration
was historic. Thank you for lending me your orchestra, and for your pedagogical input; it played
a significant role in my document. Finally, Marisella Mercado, you are my rock. Your tireless and
unwavering support pulled me through. When Ola shared with me that this journey was like a
“baby…floating around in his mother’s womb,” I knew this epoch was blessed by God. I look
forward to meeting our son, Logan Rawl, soon and loving both of you until the end of time.
ii
TABLE OF CONTENTS
ACKNOWLEDGEMENTS ii
LIST OF FIGURES v
CHAPTER
I. INTRODUCTION 1
II. BIOGRAPHY 5
III. CONTEXT AND BACKGROUND 8
IV. THE SPHERES 11
V. SUNRISE 23
VI. THE CITY 35
VII. AN IN DEPTH EXPLORATION OF THE CITY 48
VIII. IDENTITY AND THE GROUND 57
IX. REHEARSAL CHALLENGES 65
X. MOTETS 73
XI. CONCLUSION 80
BIBLIOGRAPHY 84
APPENDIX A: LITURGICAL LATIN TEXTS AND TRANSLATIONS 85
APPENDIX B: FORMAL ANALYSIS 87
APPENDIX C: COPYRIGHT & LICENSING 89
APPENDIX D: FULL SCORE 92
iii
ABSTRACT
Ola Gjeilo (b. 1978) is a Norwegian composer that exploded on the choral scene in 2007.
His recent and rapid meteoric rise has left a lacuna in literature regarding the composer and his
masterwork for double SATB chorus and string orchestra, the Sunrise Mass. The Mass was
commissioned in 2007 by Tore Erik Mohn for performance by two combined choruses,
Majorstua Kammerkor and Kammerkoret Nova, and was premiered on November 2, 2008. Since
then, the Mass has been presented in concerts both stateside and across the world to grand
acclamation.
Gjeilo’s compositional style and fingerprint is distinct and is the result of an
amalgamation of cinematic and classical influences with sacred and secular elements. His
Sunrise Mass was clearly composed with one eye on the big screen, influences by today’s
hottest motion picture composers, and one eye towards the past in the direction of Brahms,
Britten, Duruflé, and Bach. Whether preparing a high school or professional chorus for a
performance in a recital hall or church venue, the Sunrise Mass is accessible and versatile
enough to be included on most any program.
This document will serve as an accessible blueprint of Ola Gjeilo’s Sunrise Mass for
conductors, performers, and scholars. The purpose will be to guide and aid conductors and
performers in exploring Gjeilo’s composition and to facilitate success in the preparation of the
work. Contained within this study is a conductor’s analysis of the entire Mass along with a
running commentary as seen from a conductor’s perspective; the identification of the essential
melodic themes and corresponding musical examples; excerpts of works by composers that
directly inspired Gjeilo; comparisons of Gjeilo’s music and those of other notable composers; a
discussion of problematic areas in the Mass and suggestions in remedying them; and an
exploration of Gjeilo’s two motets that were derived from the Mass.
iv
LIST OF FIGURES
Figure 1. Aaron Jay Kernis’ Musica Celestis, mm. 1-15 12
Figure 2. Instrumental opening of “The Spheres,” mm. 1-12 13
Figure 3. Theme I “Augmented,” mm. 1-20 15
Figure 4. “Clash” of c minor and first inversion g minor, mm. 29 16
Figure 5. Choir two resolution of A-flat chord into c minor, mm. 33-37 17
Figure 6a Theme I conclusion on c minor, mm. 18-21 18
Figure 6b Theme I deviation to g minor, mm. 56-59 19
Figure 7. Theme II, mm. 69-74 20
Figure 8. Theme II extended, mm. 75-80 20
Figure 9. Theme I, mm. 81-84 21
Figure 10. Dies irae plainchant 22
Figure 11. Violin solo, mm. 96-100 22
Figure 12. Theme III presented by violins, mm. 3-10 23
Figure 13. Samuel Barber’s “Adagio for Strings,” mm. 25-26 24
Figure 14. Theme III sung by the sopranos, mm. 51-58 25
Figure 15. Theme I inverted, mm. 71-74 26
Figure 16. Theme IV, mm. 96-103 26
Figure 17. Dómine Déus section, mm. 127-132 28
Figure 18. Johannes Brahms’ Ein Deutsches Requiem, “Herr, lehre doch mich,” mm. 171-175 30
Figure 19. Word painting by altos and tenors, mm. 196-205 32
Figure 20. Benjamin Britten’s War Requiem, conclusion of “Requiem Aeternam” 33
Figure 21. E-flat major conclusion to Amen 34
Figure 22. Theme V, mm. 3-6 35
v
Figure 23. Double bass motive, mm. 9-12 36
Figure 24. Theme VI, mm. 45-48 36
Figure 25. “Hollow” open fifth cadence, mm. 63-65 37
Figure 26A. Theme I 38
Figure 26B. Theme I embellished, mm. 68-71 38
Figure 27. Return of Theme I with Crucifixus text, mm. 94-97 38
Figure 28A. Latter portion of Theme V, mm. 17-20 40
Figure 28B. Return of the latter part of Theme V, mm. 129-133 40
Figure 29. Return of Theme I augmented, mm. 166-171 41
Figure 30. Genesis of “The Apocalypse,” mm. 166-167 42
Figure 31. Amen motive, mm. 192-194 43
Figure 32. Inception of Gjeilo’s “Turba Chorus,” mm. 192-193 44
Figure 33. Maurie Duruflé’s Requiem, “Pie Jesu,” p. 63 45
Figure 34. Johann Sebastian Bach’s Matthäuspassion, “Auf das Fest aber,” pg. 189 46
Figure 35A. Chríste motive, “The Spheres,” mm. 89-92 48
Figure 35B. Chríste motive embellished 49
Figure 35C. Combination of embellished Theme I and Christe motive, mm. 72-79 and 80-87 49
Figure 36. “Sanctus” from Requiem, Gabriel Fauré mm. 5-7 50
Figure 37. “Offertoire” from Requiem, Gabriel Fauré mm. 66-68 51
Figure 38A. Baritone solo from Requiem, Gabriel Fauré, mm. 65-69 51
Figure 38B. Entire texture from Fauré Requiem, mm. 65-68 52
Figure 39. Alto solo Line serving as a pedal, mm. 72-75 52
Figure 40. “To What You Said” from Songfest, Leonard Bernstein; cello motive, mm. 12-14 53
Figure 41. “To What You Said” from Songfest, Leonard Bernstein; baritone obbligato, m.50-54 53
vi
Figure 42. “To What You Said” from Songfest, Leonard Bernstein; full texture mm. 50-54 54
Figure 43. Maurie Duruflé’s Requiem, “Pie Jesu,” three measures after square 57 55
Figure 44. Violin Solo reminiscent of Credo theme (Theme V) 57
Figure 45. Johann Sebastian Bach’s Johannes-Passion, “Dein Will’ gescheh’, Herr Gott,” pg. 18 59
Figure 46. Gjeilo’s Chorale “The Ground,” mm. 42-49 60
Figure 47A. Thomas Tallis’ If Ye Love Me mm. 1-4 61
Figure 47B. Opening of “The Ground,” mm. 42-49 61
Figure 48. Britten’s War Requiem, conclusion of movement VI “Libera Me,” pg. 238 62
Figure 49. Gabriel Fauré’s Requiem, “Agnus Dei,” mm. 45 64
Figure 50. The Spheres motet, mm. 53-59 75
Figure 51. The Spheres, mm. 81-92 77
vii
CHAPTER 1
INTRODUCTION
Ola Gjeilo (b. 1978) is a Norwegian composer that exploded on the choral scene in 2007.
Though he had already composed Ubi Caritas, an a cappella motet for chorus, and recorded
“Stone Rose,” his first piano-oriented album, it was not until years later that Gjeilo solidified his
spot amongst the top choral composers in the world today.1 In 2012, the Grammy winning
Phoenix Chorale recorded an album that contained several of his now most acclaimed pieces:
“The Ground,” “Serenity” (O Magnum Mysterium), “Northern Lights (Pulchra es, amica mea),
Tota Pulchra Es, and “Phoenix” (Agnus Dei).2 Soon thereafter, in 2013, the digital EP from
Cantare Houston was released, and it featured two works for chorus, piano, and string quartet:
“Dark Night of the Soul” and “Luminous Night of the Soul.”3 As a direct result of these
recordings, Gjeilo’s repertoire has taken its place in the choral limelight and is considered “must
do” by conductors across the world. Today, Ola Gjeilo is in tremendous demand as a composer
and collaborator, and his work will again be underscored as he was most recently honored with
the 2016 Raymond W. Brock Commission through the American Choral Directors Association
(ACDA).
Other than having sung “Phoenix” (Agnus Dei) during my tenure as a doctoral student, I
had previously been unsuccessful in incorporating Gjeilo’s music into my programs. This option
1
Gjeilo, Ubi Caritas (Chicago: Walton Music Corp., 2007); Gjeilo, Stone Rose, released October
18, 2007, Lindberg Lyd 2L48SACD, compact disc.
2
Northern Lights: Choral Works by Ola Gjeilo, with the Phoenix Chorale, conducted by Charles
Bruffy, 2012, Chandos CHSA5100, compact disc; Gjeilo, The Ground from Sunrise Mass (Chicago: Walton
Music Corp., 2010 and 2011); Gjeilo, Serenity (Chicago: Walton Music Corp., 2012); Gjeilo, Northern Lights
(Chicago: Walton Music Corp., 2010); Gjeilo, Tota Pulchra Es (Chicago: Walton Music Corp., 2009); Gjeilo,
Phoenix (Chicago: Walton Music Corp., 2010).
3
Ola Gjeilo: Dark Night-Luminous Soul, with Cantare Houston, conducted by Kevin Riehle,
released June 1, 2013, Cantare, EP.
1
simply had not been feasible until this past year, when I was fortunate enough to program the
Sunrise Mass twice. Throughout the incessant search for repertoire I discovered and studied
several of Gjeilo’s aforementioned pieces and additional ones, from “Away in a Manger” and
“The Holly and the Ivy” to Sanctus and Ubi Caritas (SSAA arrangement).4
Upon confirmation that the Sunrise Mass would be part of my choral repertoire for the
spring of 2015, I began vehemently searching for written resources composed about Ola Gjeilo
and his Mass. What I unearthed was a lacuna in literature regarding these topics. While there
have been numerous interviews and articles referencing Gjeilo and his compositional philosophy
and process, there have only been two dissertations written specifically about Gjeilo’s output
and one scholarly paper composed about the Sunrise Mass. Unquestionably, this is a
consequence of his recent and rapid meteoric rise to the top. The shortage of literature has
yielded an earnest, undeniable need to explore Gjeilo’s repertoire in a more scholarly manner.
Consequently, this document will serve as an accessible blueprint of Ola Gjeilo’s Sunrise Mass
for conductors, performers, and scholars. The purpose will be to guide and aid conductors and
performers in exploring Gjeilo’s compositional styles and to facilitate success in the preparation
of the work.
Contained within this study is a conductor’s analysis of the entire Mass along with a
running commentary as seen from a conductor’s perspective; the identification of the essential
melodic themes and corresponding musical examples; excerpts of works by composers that
directly inspired Gjeilo; comparisons of Gjeilo’s music and those of other notable composers; a
discussion of problematic areas in the Mass and suggestions in remedying them; and an
exploration of Gjeilo’s two motets that were derived from the Mass. Unfortunately, there are
4
Gjeilo, The Holly and The Ivy from Christmas Carols-Vol. 2 (Chicago: Walton Music Corp., 2012);
Gjeilo, Sanctus (Chicago: Walton Music Corp., 2008); Gjeilo, Ubi Caritas (Chicago: Walton Music Corp.,
2008).
2
several domains that are beyond the scope of my project. The first is the creation of a new,
more efficient piano-vocal score. Upon studying and thereafter rehearsing the Mass, I
uncovered this major deficiency that will be discussed in greater detail in Chapter 9. Other
limitations of this document include the absence of: a chord-by-chord analysis, a lyrical textual
investigation, and a meticulous examination of the string pedagogy contained in the work.
Because I am neither a string player nor string professor, all orchestra pedagogical issues
addressed and subsequent suggestions stated here were conferred upon and made with Dr.
Paul Sikes, Director of Orchestras at Texas A&M University.
The fundamental substance of this document is rooted in the study, research,
preparation, and the conducting of the work. An extensive interview process with the composer
also informed this document significantly. Chapter 2 will consist of a biography of the composer,
along with insight into Gjeilo’s compositional process, information about current and past
collaborations and accolades, and closing remarks about commissioned works. In the third
chapter, the focus is placed on the genesis of the Sunrise Mass. One will read about the
commission, the content, and Ola Gjeilo’s inspiration and intent. From Chapters 4-8, I explore
the music from beginning to end. Because the third movement of the Mass, “The City” is the
most complex and intricate, I have added a chapter that takes a more in depth look and delves
further into the essence of the movement. “Rehearsal Challenges” are addressed in Chapter 9
providing firsthand knowledge about the issues that face the chorus and orchestra through my
experiences with the Century Singers, Texas A&M’s eighty-voice mixed chorus consisting of non-
music majors, and the Brazos Valley Symphony and Texas A&M Chamber Orchestra,
respectively. Chapter 10 probes and differentiates between the Mass and the two standalone
motets extracted from the Mass: The Spheres and The Ground. I conclude the document in
Chapter 11 with closing remarks about the Mass. Finally, in the appendices, I have included the
3
Latin text and English translation of the Mass, a Herford bar analysis of each movement, and a
copy of the full score.5
To investigate, rehearse, and perform the Sunrise Mass is to embark upon a spiritual
and relatable humanistic journey. In the composition of the Mass, Gjeilo creatively and
artistically weaves together a tapestry of cinematic and classical elements with sacred and
secular components. Influenced by both today’s hottest motion picture composers and the
preeminent classical composers of yesteryear, Gjeilo sets the Latin text of the Roman Mass:
Kyrie, Gloria, Credo, Sanctus, and Agnus Dei to conventional secular and worldly scenes: “The
Spheres,” “Sunrise,” “The City,” “Identity and The Ground.” He scores this tour de force for a
double SATB chorus and string orchestra, and the result is a supernal adventure certain to
captivate the minds and souls of the audience and performers for years to come.
5
Julius Goldstein (1901-1981), known as Julius Herford, was born in Anklam, Germany. Following
his touring career as a concert pianist, he joined the faculty at Teachers College of Columbia University in
New York and later served on faculties at the Juilliard School of Music, Berkshire Music Center, Union
Theological Seminary, Manhattan School of Music, and Westminster Choir College. He retired as Professor
Emeritus from the Indiana University School of Music in 1980. Amongst his most distinguished students
were Robert Shaw, Roger Wagner, Margaret Hillis, and Elaine Brown. Today, Herford is hailed as one of
the most prominent figures in American Choral history, and each year ACDA awards one student with the
Julius Herford Dissertation Prize for “outstanding doctoral terminal research project in choral music.”
4
CHAPTER 2
BIOGRAPHY
On May 5, 1978, composer and pianist Ola Gjeilo was born in Skui, Norway to Inge Gjeilo
and Anne-May Gjeilo. At the tender age of five years old, Ola began playing the piano and
composing music. In Sinfini Music’s article “10 Questions to Ola Gjeilo,” Gjeilo states that he,
“…had a pretty good ear as a child, so I could listen to things and then play them back…..I never
really thought that there was an alternative: I just always wanted to be a composer and a
pianist.”6 During his high school years, Gjeilo began taking composition lessons with Wolfgang
Plagge (b. 1960), and prior to his schooling in Oslo at the Norwegian Academy of Music, he
traveled to Manchester, England to begin his collegiate studies in music at the Royal Northern
College. Upon Gjeilo’s homecoming to Oslo, he studied church music and even played the organ,
which he deemed to be extremely difficult. At the age of twenty-three, Gjeilo moved to the
United States and commenced his composition studies in New York City at the Juilliard School.
Finally, he earned his Bachelor’s degree in composition at the Royal College of Music in London
in 2004. Gjeilo resumed his education at Juilliard and in 2006 received his Master’s degree in
composition. Of his diverse and transient collegiate studies, Gjeilo confesses, “I was never a
good student. Composition is really hard to teach because it’s so subjective. It is a little bit
dangerous when you listen to your teachers too much as a composer; the danger is that you are
going to end up sounding like them which is the last thing that you want. I was very head strong
and wanted to do my own thing. I think I wanted to travel around and try to see new things.”7
After Juilliard, Gjeilo made one final yet crucial stop academically. Often not included in
his biography is his tenure at the University of Southern California (USC) in Los Angeles. Here,
6
“10 Questions to Ola Gjeilo.”
7
Unless otherwise indicated, all quotes of Ola Gjeilo come from interviews with the author,
conducted on March 9, 2015.
5
Gjeilo studied film music and began learning how to “score for a picture.” Undoubtedly, USC
fostered his creative thirst for film music and impassioned him to pursue it further
professionally.
Regarding his compositional process, Gjeilo says, “I try not to write at the piano so
much as it’s such a specific sound, but I do write at the keyboard quite a lot, working with
samples.” He goes on to state, “When I started out I still used pen and paper, but it’s a lot more
practical to use technology for me personally.8 Gjeilo’s debut album as a pianist-composer Stone
Rose was proceeded by its sequel, Piano Improvisations in 20129. Many of Gjeilo’s works are
currently being featured and performed throughout the entire world. From 2009-2010, Gjeilo
served as the composer-in-residence for the Phoenix Chorale, and his choral works are featured
on Northern Lights: Choral Works by Ola Gjeilo, the album recorded by the two-time Grammy
award winning ensemble in 2012.10 Not only did Gjeilo compose each piece recorded on the
album, but was also the pianist for each of the works orchestrated for piano and chorus.
Recent, current, and future projects for Gjeilo include the 2016 Raymond W. Brock
Memorial Commission for the American Choral Directors Association. His work will be featured
at all seven of the 2016 ACDA Division conferences throughout the United States and performed
by the world-renowned a cappella group Voces8. In January 2015, the Bay-Atlantic Symphony
and the Choral Arts of Southern New Jersey presented a concert series “Modern American
Masters” featuring artists-in-residence Ola Gjeilo and Morten Lauridsen (b. 1943).11 In 2014,
8
“10 Questions to Ola Gjeilo.”
9
Ola Gjeilo, Piano Improvisations, released April 9, 2012, Lindberg Lyd 2L-062-SABD, compact
disc.
10
Northern Lights: Choral Works by Ola Gjeilo, with the Phoenix Chorale, conducted by Charles
Bruffy, 2012, Chandos CHSA5100, compact disc.
11
“Modern American Masters: Ola Gjeilo & Morten Lauridsen in Concert.”
6
Manhattan Concert Productions presented the World Premiere of Gjeilo’s other large-scale
work Dreamweaver at Carnegie Hall.
About his compositions and current projects, Gjeilo imparts:
There are always commissions, but the thing is you never know what it’s going to be.
What I learned is that you never know which commission is going to be the most
meaningful. It could be the piece that you write for this amazing professional group, but
it could be the piece that you write for a high school group. It’s the one that you love
and that you want to publish. That’s why I can never say which I’m most excited about
because you don’t really know until you’re done. Right now, I’m most excited about
recording. I love recording. That’s my favorite thing, and we are working on some high-
profile label things over in London that I hope will happen. That’s what I’m most excited
about.
7
CHAPTER 3
CONTEXT AND BACKGROUND
COMMISSION
When asked about the commission of the Sunrise Mass in 2007, Ola Gjeilo responded:
There was a conductor in Norway that spoke about commissioning something from me.
He got another choir on board, as well. There were two chamber choirs that
commissioned the piece. I said, ‘I’d love to write a Mass,’ because I had always wanted
to, and I grew up listening to and loving those Masses by Bach (1685-1750) and
Bruckner (1824-1896). Many great pieces had come out of and had been inspired by
that text. So that was actually my idea that I’d love to do a Mass, and then that’s what I
did. It’s my only Mass so far.
The conductor that approached Gjeilo about the commission was Tore Erik Mohn, and
the two choruses that combined on the project were the Majorstua Kammerkor and
Kammerkoret Nova. Sunrise Mass was premiered on November 2, 2008, and also featured a
twenty-four member orchestra.12 Gjeilo indicated that he would not mind composing another
Mass; however, at this time the Sunrise Mass is being performed stateside and across the world
to grand acclamation.
CONTENT
Having conducted the Mass twice and on two entirely separate programs, I can say
without reservation that Sunrise Mass is engaging for both musical and non-musical audiences
alike. The Mass can be programmed in the traditional manner: on a choral and orchestral
concert sprinkled with other classical repertoire (Texas A&M Century Singers and Chamber
Orchestra Spring Concert 2015), or in an innovative manner such as our (Century Singers)
collaboration with the Brazos Valley Symphony on March 28, 2015.13 On this particular concert,
12
Ola Gjeilo: Sunrise, with Kammerkoret Nova, Majorstua Kammerkor, and, 24 piece string
orchestra, conducted by Tore Erik Mohn, recorded on November 2, 2008, Majorstua Kammerkor, compact
disc.
13
The Texas A&M Century Singers and Chamber Orchestra concert was presented on May 2,
2015 at Rudder Auditorium in College Station, TX.
8
“In a Galaxy Far, Far Away,” the partnership was part of the Physics and Engineering Festival
presented by the Texas A&M Physics & Astronomy and Aerospace Engineering Departments.
The repertoire on this program featured the Star Wars Medley by John Williams (b. 1932),
Gjeilo’s Sunrise Mass, and Philip Glass’s (b. 1937) Icarus at the Edge of Time, which was replete
with narration by Brian Greene and multimedia presentation.14 This playbill made for an
entertaining night for all who were in attendance. The appeal to the general masses can be
attributed to not only the cinematic influence on Gjeilo’s compositions but in his humanistic
approach as stated by the composer himself:
This isn’t academic music. It’s not music that you have to twist your brain to figure it
out. It’s all there even though there are things that are conscious in terms of the
architecture of it. Mainly it’s an attempt to communicate with people in a way that’s
hopefully not sentimental or superficial. Most of my favorite composers are film
composers, and I really think the best composers alive right now are working in
Hollywood, more or less.15 The Sunrise Mass is a little bit reflective of that in that I
wanted to bring that cinematic style into the choral world, which isn’t really done a lot. I
wanted to bring that lush, evocative kind of sphere into choral music so that’s been kind
of my baby.
INSPIRATION
When asked by the author about the inspiration for Sunrise Mass, Gjeilo offered the
following statement, “The Mass is kind of inspired by the Howard Shore film score for ‘Lord of
the Rings.’ I just loved how he used choir in that score and then just the mix of how he would
combine choir and strings together into this beautiful mesh. I wanted to use quite a lot of that in
this piece. Just the combination of strings and choir which is one of the most beautiful sounds
attainable.”
14
Brian Greene (b. 1963) is an American theoretical physicist and string theorist. He is also widely
recognized for his appearance on “The Big Bang Theory” and for authoring books such as The Elegant
Universe, Icarus at the Edge of Time, and The Hidden Reality.
15
Gjeilo recognized John Williams, Thomas Newman (b. 1955), Howard Shore (b. 1946), Dario
Marianelli (b. 1963), and Alexandre Desplat (b. 1961) as a few of his personal favorite, preeminent
composers of film scores today.
9
INTENT
As Gjeilo mentioned previously, his goal was to not only experiment with bringing the
“cinematic style” into the choral canon, but to also be deliberate in his conversation with the
audience. He wishes to transport them on a journey: “It’s truly just that I wanted the Mass itself
to go from the most eerie, nebulous to gradually from heaven down to earth, and becoming
more and more earthier [sic]. This is often the opposite of a Requiem when you end with the “In
Paradisum.” You end up in heaven, right? I wanted it to become more and more human and
relate to the human experience.”
The seminal concepts behind Gjeilo’s composition of the Mass also relate to his
impressions about the human life cycle and how new life relates to the world around it. Of the
allegorical nature of the Sunrise Mass, Gjeilo discloses:
It’s really also a metaphor for human growth in a way like being a baby which is like
“The Spheres.” You’re in this kind of nebulous world. You don’t really have an identity
yet and at first, you’re just floating around maybe in your mother’s womb. You’re just
kind of floating around stars or whatever that is. That’s what I wanted and then
gradually, through “The Sunrise,” there’s an awakening. “The City” is more than the
awakening. There’s a collective consciousness. And finally, it is called “Identity and The
Ground.” That’s when the emergence of an identity is symbolized by the solo violin. This
is the emergence of the identity itself and then it turns to “The Ground” which is like a
mature sense of self. That’s the journey.
Creating a musical image of the spiritual-human life journey is therefore a central
concept to Gjeilo’s compositional approach in Sunrise Mass. The supernal odyssey one embarks
upon while listening to or performing Sunrise Mass is one that everyone can relate to in some
manner-from the avid classical music fan to first-time concert goers-all can equally enjoy Ola
Gjeilo’s music.
10
CHAPTER 4
“THE SPHERES”
This first movement of the Sunrise Mass is entitled “The Spheres.” As defined by the
Merriam-Webster dictionary, a sphere is characterized as, “the apparent surface of the heavens
of which half forms the dome of the visible sky” and as “a planet or star; globular body.”16
Taking these two definitions into consideration, I believe Gjeilo intended to create an aural and
visual embodiment of the spheres. Of the Mass’s creative genesis, he states, “I started with
‘Spheres.’ I went to that movie one night called ‘Beowulf.’ It’s a Robert Zemeckis movie and had
a great score by Alan Silvestri (b. 1950).”
Measure 1 sets the precedent or pattern of a set of the voices in one choir, along with
the instruments that are doubling them, presenting a chord which is then answered, most often,
two measures later by the same vocal parts in the second choir along with their respective
accompanying instruments. Visually, these clusters of voices and instruments have the
appearance of spheres on the musical score. Each vocal and instrumental part is asked to
perform a small messa di voce (pp to mp, then back to pp) effect per block of measures. As each
set of spheres tapers off, the subsequent voices and instruments from the other choir enter,
thus, overlapping the texture and creating rich dissonances and resolutions, the result of:
seventh chords, ninths, and bitonality. Of this overlay of chords, Ola divulges, “The fade in, fade
out overlapping chords came from a piece by Aaron Jay Kernis (b. 1960), a pretty well-known
New York composer with lots of symphonic stuff. He has a piece that uses that kind of technique
with strings and I thought, ‘Oh that sounds really cool’ so I wanted to do that with choir. The
combination of those two things kind of ended up inspiring ‘The Spheres.’”
16
“Sphere.”
11
Figure 1 depicts the opening fifteen measures of Kernis’ piece Musica Celestis. The
similarities between the introduction of his work and Gjeilo’s “The Spheres” are palpable.
Kernis’ scored this work for string orchestra in 1991 and based it on the second movement of his
String Quartet. In the first measure the upper strings begin on an A major chord in first
inversion. The lower part of the violin 2’s starts on a c-sharp, the upper violin 2 part on an a-
natural, and the violin 1s sound an e-natural.
12
Figure 1. Aaron Jay Kernis’ Musica Celestis17, mm. 1-15
As seen in Figure 2, Ola Gjeilo’s opening chord in “The Spheres,” consists of the viola’s beginning
on a c-natural, the upper violin 2 line on a g-natural, and the top violin 1 line on an e-flat.
Though Gjeilo’s composition begins in c minor, the structure of the opening chord is strikingly
similar.
Figure 2. Instrumental opening of “The Spheres,” mm. 1-1218
The tempi are also comparable between the two works. In Musica Celestis, Kernis has
indicated that the half-note should equal forty-eight. In “The Spheres,” the tempo indication is
for the quarter-note to equal eighty-four, though, Gjeilo reveals later in this document that “The
Spheres” should be conducted in a brisker tempo than is indicated and that an updated edition
17
Kernis, Musica Celestis for String Orchestra (Full Score).
18
All excerpts of Sunrise Mass used in this document come from: Ola Gjeilo, Sunrise Mass Full
Score (Chicago: Walton Music Corp., 2010).
13
of the work will reflect that. Prior to my interview with Gjeilo, the movement seemed to flow
with more ease closer to Kernis’ metronome marking in Celestis. The most prominent similarity
between the two works, and the primary inspiration for Gjeilo, is the aforementioned
overlapping of chords in Kernis’ piece. In Musica Celestis, the first and second violins often
present a chord and crescendo and diminuendo to and from piano marking. Two thirds of a
measure later, the violas and cellos respond with a subsequent chord and repeat the same
pattern dynamically causing an overlap. This procedure creates an ethereal aural effect.
Undoubtedly inspired by Kernis’ textures and sonorities, Gjeilo adopted this approach and
expanded upon it by adding double SATB choirs to effect musical imagery for “The Spheres.”
To commence the Sunrise Mass, Gjeilo sets the traditional opening words of the Roman
Catholic Mass: Kýrie eléison, Chríste eléison, Kýrie eléison.19 Harmonically, Gjeilo utilizes a
sequence consisting of a descending third and rising second chord pattern: c minor, A-flat major,
B-flat major, g minor, A-flat major, and f minor. This harmonic pattern (shown in Figure 2) lays
the foundation for the primary theme not only of this initial section of music but also for the
entire Mass. This main theme can be heard by combining the pitches from both of the soprano
parts in the first fourteen measures of music: e-flat, c-natural, d-natural, b-flat, c-natural, a-flat,
g-natural, a-flat, g-natural, and concluding with the two alto parts in measures sixteen through
eighteen: c-natural and e-flat. The first time Theme I is presented it is done so in augmentation
as illustrated in Figure 3. Regarding the principal theme, Gjeilo states, “I liked the main theme
[of Beowulf] so that was the spark for the main theme of ‘Spheres.’”
19
All English translations of the Latin texts used in this document, unless otherwise indicated, can
be found in: Jeffers, Translations and Annotations of Choral Repertoire, 48.
14
Figure 3. Theme I “Augmented,” mm. 1-20
This opening section of material, or the “A” section, concludes at measure 22 with the
insertion of an empty 6/4 measure following a c minor chord. Gjeilo employs this measure to
allow the music to breathe and to guide the often ambiguous manipulation of silence, providing
a tangible count of pulses. As Gjeilo states, “I wanted to do what felt natural. You never really
know [apropos note duration]; it depends on the space, the choir, and the tempo they’re doing
it in. Most of the time, I want them to do this movement in two.”
At square “A” the next portion of the Kyrie text is presented: Chríste eléison. It is here
that one finds the advent of the first second inversion chord of the work in measure 23. This f
minor 6/4 triad on the word “Christ” is slightly varied enough to add spice to what initially
appears to be identical material to the opening. This next section of music, the formal “B”
section, is significantly shorter than the introductory section containing only sixteen measures of
material. One of the most beautiful clashes in the music occurs in measure 29. As depicted in
Figure 4, the c minor chord in choir one rubs against the first inversion g minor triad in choir
15
two; the product is an e-flat versus a d-natural in the soprano voices and the tenors’ c-natural
against a b-flat.
Figure 4. “Clash” of c minor and first inversion g minor, mm. 29
There is no longer a descending thirds pattern harmonically, however, and Gjeilo has removed
the cellos and basses from the texture. Rhythmically there is no change. In this section, Ola
Gjeilo no longer gives dynamic indications. Whereas before the music clearly stated pianissimo
to mezzo piano dynamics, there is no guidance or suggestion made here. The same type of
16
musical ambience is to be created for this section as was the case previously. This section ends
with the insertion of another 6/4 measure following a c minor chord. As exhibited in Figure 5,
this particular chord is significant because it is the only one in the entire movement that is
sustained as one chord (A-flat) by the voices in one choir and then resolves two measures later
into a different chord (c minor 6/4) via the common tone principle though within the same
chorus.
Figure 5. Choir two resolution of A-flat chord into c minor, mm. 33-37
Measure 39 marks the return of “A” section material. Here the texture becomes
significantly denser and richer through the added voices and doublings. Thirteen separate vocal
lines can be identified here: the alto and bass parts in both choirs and the tenors in choir two
split into parts, while the sopranos remain as a unified vocal line in each choir. The string writing
calls for all of the parts to divide except for the double basses. Gjeilo offers his reasoning for this
compositional decision, “You’re returning to the same theme. I want us to arrive at a different
destination from where we were before. I just feel like your eyes are here in need of something
17
full, something thick, and lush. It wouldn’t be right to go back to the sparse, the kind of three-
partish [sic] course of the first part.”
The chief melodic theme returns once more and is located in the soprano line of choir
one at measure 39. This time, however, there is a subtle difference. In measure 56, instead of
the theme concluding with an e-flat, the mediant of c minor, Gjeilo elects to have the sopranos,
altos, and violin I’s end on a b-flat instead (found in Figures 6a and 6b). Thus, the section ends
on g minor, the minor dominant chord in c minor. Though a warm timbre is inevitably created
here in the female voices of choir one, Gjeilo indicated that they share this note for practical
purposes; the pitch would not be heard if it was not reinforced.
Figure 6a. Theme I conclusion on c minor, mm. 18-21
18
Figure 6b. Theme I deviation to g minor, mm. 56-59
The orchestra, however, proceeds to cadence on c minor for the final eight measures of this
section to preempt the forthcoming “C” section of music. Regarding dynamics from Letter B and
on, Gjeilo now indicates a rise and fall from piano to forte and back to piano, another homage to
Kernis and the intensification of dynamics in his introduction of Musica Celestis (mm. 10-15).
Instead of ending this “B” section with a fermata or caesura, Gjeilo simply inserts a quarter rest.
He explains, “I wanted to push forward at this point because we already had a couple of silences
before Letters A and B. At this point I just want to move forward, but I just wanted a slight break
before we embark on the build of the cluster.”
Measure 69 is where the “C” section of music begins. Gjeilo conceived and hears the
second melodic theme at a much slower tempo: quarter-note equals sixty-nine. This theme
consists of a c-natural minor scale (found in Figure 7). In their respective registers, the
instruments ascend through the scale, and as each note is sounded, one instrument continues
to sustain that particular pitch while the rest of the instruments continue to rise. Thus, by
19
measure 74 each note of the scale including the upper octave is being sustained. As the scale is
being played, the strings crescendo from mezzo piano to fortissimo and beyond.
Figure 7. Theme II, mm. 69-74
At rehearsal letter D, the second iteration of Theme II occurs. This time there are several
notable differences. First, Gjeilo adds the double-bass to the texture for support. Secondly, as
noted in Figure 8, he chooses to not conclude the scale with the upper c-natural, but instead
chooses to add a d-natural to the scale. Gjeilo does this for two reasons: for variance, and his
goal is to lead to the soprano e-flat in the next measure. Aurally, one wants to hear the tonal
cluster with the added d-natural leading tone on top to resolve. However, the gratification is
delayed for a minimum of seven beats and at a dynamic of fortissimo until the resolution to the
e-flat in measure 81, the mediant of c minor.
Figure 8. Theme II extended, mm. 75-80
Ola Gjeilo describes the significance of Theme II and this collective section of music: “It’s
sort of like transitioning out of chaos. Because what’s come before still has that kind of slightly
nebulous feel due to overlapping chords constantly. So, it still has that kind of spacey [sic] feel to
it, floaty. But, the building clusters have a more grounded element to it and that’s leading into
20
Letter E, which is a pure chorale. It’s clear. This is the chorale and there’s no messing around
with textures or anything. This is the theme.”
The A section of music returns at measure 81. At this point, all thirteen voices unite as
one four-part choir. Whereas before the spheres and entities were apportioned, they now
amalgamate and declaim homophonically: Kýrie eléison. Hence Gjeilo’s referencing of these
twenty-two measures as a “chorale.” Theme I can be traced in the soprano part and provides
catharsis to this opening movement as related by the composer: “I think that Letter E is a
moment of clarity. I’m giving the audience a clear iteration of the theme that they’ve been
hearing throughout the beginning of the movement. However, here I’m just giving them sort of
a mono-clarity like this is the actual theme that you’ve been hearing because it’s going to come
back later in ‘The City.’” Theme I, in its purest form, can be seen in Figure 9. Though only four
measures in duration, Gjeilo is able to capture both Theme I in its entirety and the full statement
of Kýrie eléison.
Figure 9. Theme I, mm. 81-84
Though not influenced by it, Gjeilo’s primary theme in the Mass harkens back to the
plainchant Dies irae (c. 1260), often found in settings of the Missa pro defunctis. The chant has
also been quoted or inserted into other major works such as symphonies, operas, sonatas,
musicals, and films of renowned composers such as Hector Berlioz (1803-1869), Camille Saint-
Saëns (1835-1921), Charles Gounod (1818-1893), Nikolai Myaskovsky (1881-1950), Stephen
21
Sondheim (b. 1930), Alan Menken (b. 1949), and countless others. By tracing the chant
(displayed in Figure 10) from the f-natural on the word irae to the d-natural, one can detect the
coincidental semblance between the two melodies.
Figure 10. Dies irae plainchant20
“The Spheres” concludes with a violin solo played by the entire section in measure 96
that is then doubled by the violas in measure 99. This codetta-like solo, represented in Figure
11, is borne out of the spheres, symbolizes the “self,” and becomes a unifying element that
foreshadows the end of the entire work.
Figure 11. Violin solo, mm. 96-100
20
“The Dies Irae.”
22
CHAPTER 5
“SUNRISE”
The second movement of the work is entitled “Sunrise.” Kira Rugen writes that Gjeilo
considers this music to be a “symphonic, metaphorical sunrise” that “begins quietly and slowly”
and “grows into a spectacular and joyful section.”21 This movement commences with an eighth-
note motive in the second violin and viola parts that outlines f-sharp minor. One can imagine a
light mist hovering above the city before dawn. In addition to the vivid imagery evoked by this
musical opening, the composer sheds light on its purpose:
It’s an awakening. The first movement, “The Spheres,” is static in a lot of ways,
homophonic. There’s little movement going on most of the time, but the beginning of
the “Sunrise” has movement right away. It has eighth-note movement, a sort of post-
minimalist kind of rhythm going on.22 I wanted this kind of beginning of life, in a way. It’s
like having been born out of a “black hole” or perhaps a baby or person. There’s an
actual pulse here, and pulse is the basis of everything. It’s a beginning of life on Earth.
And out of this, you have little melodies coming in and out.
The third theme, a tender legato melody, is introduced in the first violins. The first eight
measures of the theme serve as an antecedent in the key of f-sharp minor (see Figure 12) with a
half cadence on c-sharp in measure 10.
Figure 12. Theme III presented by violins, mm. 3-10
21
Rugen, “About Ola Gjeilo’s Sunrise: Symphonic Mass for choir and String Orchestra,” 4.
22
Gjeilo specified that the use of the term “post-minimalist” instead of “minimalist” is
intentional. Coupled with the repetitive nature of the eighth-note rhythm specified above is an
overarching melody and a symphonic element to the entire movement. Thus, while there is a minimalist
component found within the context of the movement, it is merely an atom when examining the
microcosm.
23
The consequent begins much like the opening measures of this theme, but is reshaped and
resolves in a manner congruent to melodic material from Samuel Barber’s (1910-1981) “Adagio
for Strings” from String Quartet, Op. 11. In the consequent to Gjeilo’s Theme III, the pitches are:
c-sharp, b-natural, c-sharp, d-natural, and b-natural beginning in measure 17. As exhibited in
Figure 13 of the Barber excerpt, the melody tapers similarly beginning on beat three.
Figure 13. Samuel Barber’s “Adagio for Strings,” mm. 25-2623
With the addition of the first two measures or introduction of the movement, both the
antecedent and consequent total the first twenty measures of music. As the first violin
introduces Theme III, the cello simultaneously presents a lush countermelody that begins in
measure 5. As one of these parts rises, the other falls, and vice versa. This is reminiscent of the
overlapping chords in the first movement of the Mass.
At Letter A the key center shifts from f-sharp minor to f minor. This time, however, the
celli begin the conversation that is then answered by the violins one measure and a half later.
This approach alters the function of the cellos. Rather than responding to the violin 1 melody,
their new objective is to provide a harmonic platform from which the violin 1s can launch. The
motor, or eighth-note rhythmic figure, continues in the second violins and violas while the
dialogue continues between the cellos and the first violins. At measure 30, the roles reverse
once more and the violin 1s take the lead in c minor followed closely by the cellos, condensing
23
Barber, Adagio for Strings.
24
the imitation to create the sense of a stretto. This is only brief as the two parts come together in
unison for the first time in the second half of measure 32 in a moment of spiritual unity.
At Letter B, the harmonic movement intensifies along with the tempo created by the
prescribed accelerando. While the second violins maintain the eighth-note pattern established
in the previous section of music, the violin 1s and cellos move simultaneously changing on beat
three of each measure. When paired with the dialogue between the violas and contrabasses, a
dissonance occurs during the first half of each new bar. The violas typically conflict with the first
and second violins for two beats prior to resolving. In measure 51, following two measures of
lead-in, Theme III returns but this time in the soprano part and with Gloria text as notated in
Figure 14.
Figure 14. Theme III sung by the sopranos, mm. 51-58
The violin 1s provide support as they double the theme up one octave. Rather than the
second violins playing the eighth-note motive, Gjeilo notates tremolos that paint a heavenly
scene of cherubs flapping their wings. Rugen writes, “Gjeilo imagines this line as angels singing a
subtle, dream-like incantation.”24 The composer expounds upon this by adding, “I never really
bought in to that whole ‘army of angels.’ Most of the time, Gloria movements in Masses can be
bombastic fun from the start. But, it’s the angels speaking the text about peace on earth. To me,
I wanted it to be more mystical and peaceful.” Evoking the Holy Trinity, the sopranos state the
24
25
word Glória thrice before adding in excélsis Déo. Upon arrival at measure 69, only the violin 1
remains as it continues to double the sopranos. This line, along with the sopranos, serves as a
link to the response by the bottom three voices grounding the music with the text, et in térra
pax. The theme is presented here by the altos and is an inversion of the opening theme found in
the first movement of the Mass (as displayed in Figure 15).
Figure 15. Theme I inverted, mm. 71-74
After a 6/4 bar, the text is repeated, but this time colla parte by the strings, sans double
bass. Finally, the sopranos reenter the texture at measure 80 while the tenor and bass parts
split. The text hominíbus bónae voluntátis is sung beginning at measure 86, and there is a
collective and dramatic crescendo until the sun rises breathtakingly from beyond the horizon.
At the metaphoric sunrise there is a drastic change in the musical character. The strings
introduce an accented and festive sixteenth-note motive while the long notes of the cello I and
double basses highlight the tonic and dominant pitches. From measures 96-103, as illustrated in
Figure 16, the choir joyfully announces Theme IV and the text “we praise you, we bless you,” in
unison. The sustained and legato vocal lines presented are often in duets: soprano/tenor and
alto/bass and in unison at times.
26
Figure 16. Theme IV, mm. 96-103
Letter F is highly similar to Letter E in the pairings of and unisons amongst the voices.
Within this texture, one particular chord shimmers and then vanishes quickly like a cloud in the
heavens. The first time it is sounded is in measure 114, on beat three. The alto 2s sing an f-sharp
that completes the secondary dominant chord, V/ii; this chord then leads to the supertonic in
the next measure. Soon thereafter, the melody soars across the heavens, and at measure 121,
Gjeilo imparts strength and power to texturally and musically paint the word mágnam by having
the entire chorus come back together in unison.
Following a dramatic crescendo to fortissimo, a new, majestic section of music begins at
Letter G (see Figure 17). Because of the new metronome indication by Gjeilo, the half note from
the previous section should now equal the new quarter note. This shift in tempo, along with the
fortitude of dynamics and declamatory nature of the text, “Lord, God, King of Heaven, God
Father almighty,” creates and contributes to the stately character of these eight measures. Of
this vignette, Gjeilo asserts:
I wanted a change of texture. I wanted the choir to have a chance to shine. It’s also a
little reminiscent of the repeated notes of the Brahms’ (1833-1897) Requiem and the
third movement. It has a pedal forever and has that syncopated rhythm. That’s one of
my favorite musical moments of all time. The Brahms’ Requiem was unbelievable. This is
the most regal, obviously, part of the movement. It’s about a king, Rex. It’s in one key
center, and I wanted it to be very bombastic, strong, and unshakable.
At this juncture, the choir is unassisted as the orchestra almost completely dissipates on the
downbeat of measure 127. The double basses remain steadfast by sounding a d-natural on
every quarter-note as they lay the groundwork for the orchestral texture layering. The cellos,
and subsequently the violas, incorporate a well-known compositional technique, often used by
Brahms, of displacing the bar line. Gjeilo executes this compositional device by having the latter
27
two instrumental parts carry a tied note from beat four to beat one and then re-articulating the
pitches on beat two.
Figure 17. Dómine Déus section, mm. 127-132
Figure 18 displays the opening of the fugue in the third movement of Brahms’ Requiem.
This fugue has also been recognized as the “pedal-point fugue.” The fugue in this movement
begins at measure 173 and continues until the end of the movement at measure 208. Brahms
ensures that the d-natural is heard by scoring it in the organ, basses, celli, timpani, tuba, and
28
trombones. In this musical example, the syncopated rhythm that Gjeilo used can be found in the
cellos of the Brahms. Brahms, however, delved even deeper rhythmically by juxtaposing
augmented syncopation in the upper double basses. In the musical excerpt, Brahms is setting
the text, “But the souls of the righteous are in the hand of God, and there shall no torment
touch them.”25 Thus, the various layers of pedal tone portray the all-encompassing hand of God.
25
“Brahms’s A German Requiem-text.”
29
Figure 18. Johannes Brahms’ Ein Deutsches Requiem, “Herr, lehre doch mich,” mm. 171-17526
26
Brahms, German Requiem In Full Score.
30
Though textually and texturally different, Gjeilo is clearly also employing pedal tone and
syncopation to portray the stately majesty and kingship of an almighty God. Each vocal part
presents the subject or answer both melodically and textually in the Brahms, whereas in the
Mass, Gjeilo maintains a homophonic texture for emphasis. Furthermore, this bombastic section
in the Mass remains steadfastly in D major, while Brahms’ fugue unfolds and develops in D
major, A major, and G major.
At measure 135, Letter H, the scalar material of Movement I (Theme II) is reintroduced.
Though this is a new section of music, it can still be loosely linked to the Brahms. The pedal d-
natural remains while the texture of the orchestra unfolds. This time, however, Gjeilo uses a D
major scale instead of a c-natural minor scale as in the second theme. Furthermore, the theme
is not limited to the strings parts only. Gjeilo begins the theme in the viola and choral basses as
they sing the pitches: d-natural, e-natural, and f-sharp. The theme treks up through the tenor
part: g-natural, a-natural, b-natural, and c-sharp. Next, the violin 2s, alto 2s, and tenor 1s sing
the theme: d-natural, e-natural, and f-sharp. Finally, the theme concludes in the vocal lines with
the altos singing: g-natural, a-natural, b-natural, c-sharp and the sopranos on a d-natural. The
violin 2s, however, continue the scale all the way up to g-natural. The relaying of the theme to
different instruments and vocal lines is also similar to the fugue being introduced and answered
in different lines of the Brahms. Of this material, Gjeilo states that, “This whole chorus is joy. It’s
not humility but facing upward in joy.”
Measure 148, Letter I, provides a bridge into the recapitulation of the material from
measure 96. This time, Theme IV is sung with the text qui tóllis peccáta múndi and up one whole
step to E major. This section of music concludes at measure 185, rehearsal Letter K. The tempo
slows down slightly and there is a reintroduction of material from the opening of “Sunrise”
31
beginning with the post-minimalist motive and Theme III. Only soloists from the orchestra
summon the eighth-note rhythm from earlier, while the altos evoke Theme III at measure 188.
This combination of utilizing only soloists in the orchestra and scoring the melodic material
solely for the altos, paints the text “for thou alone holy” but this time in e minor or one whole
step down from the earlier section in a gesture of humbleness. The tenors acquiesce and join
the texture in unison with the altos at measure 196 representing the text “thou alone are Lord;
thou alone most high” (seen in Figure 19).
Figure 19. Word painting by altos and tenors, mm. 196-205
The basses, baritones, and tenors enter collectively at Letter L with Amen. According to
Gjeilo, their function is harmonic and their purpose is to join the strings and be subservient to
the melodic material presented above in the upper voices.
There is an abrupt silence at measure 224, rehearsal Letter M. Gjeilo then composes an
entirely new section of music. This D section of music or Amen concludes the second movement
of the Mass, and as Gjeilo articulates, was inspired by Benjamin Britten’s (1913-1976) War
Requiem, “The Amen is new material that has nothing do with the rest of the movement but
also comes back at the end of the piece. I sang the Britten once in Oslav; I was a member of the
Oslav Philharmonic Choir. When I got to sing it, it was a really powerful experience, such a heart-
32
wrenching Requiem. He had those a cappella thick endings to a couple of movements. When I
heard that, I was like ‘Oh my God, that’s really affecting.’”
Figure 20. Benjamin Britten’s War Requiem, conclusion of “Requiem Aeternam”27
In the War Requiem, the ten measures found in Figure 20 are located at the conclusion
of the first movement, “Requiem Aeternam.” He chose to separate the Introit and Kyrie by
inserting a tenor solo “Anthem for Doomed Youth.” Britten includes a tritone in the bells: c-
natural and f-sharp, and uses tritones throughout these ten bars of music. These tritones, along
with suspensions and open fifths, inherently affect a haunting sense of unrest. While Gjeilo was
unquestionably affected by Britten, his setting of the Amen is also awe inspiring. As previously
mentioned, and similar to Britten’s setting, the Amen concludes a major movement of the work.
27
Britten, War Requiem, Op. 66 Full Orchestral Score.
33
Both settings accentuate the choir and the text by being unaccompanied and flowing
homophonically. The pair allows for the conductor’s interpretation based on sentiment, as well
as, acoustic: Britten by the notation of fermati and Gjeilo through the inclusion of prescribed
rests. Finally, Britten’s concluding F major chord on a quadruple piano and Gjeilo’s E-flat major
chord evocative of the Father, the Son, and the Holy Spirit, conclude with the mediant on top
and bestow sanctification upon the performers and audience (exhibited in Figure 21).
Figure 21. E-flat major conclusion to Amen
34
CHAPTER 6
“THE CITY”
“The City,” opens with accented sixteenth notes in the strings that instantaneously set
the tone for the movement and resemble “the bustle of a large city.”28 In the third measure the
tenors and basses begin their thematic material, Theme V, in unison, outlining the key of d
minor and a d minor seventh chord.
Figure 22. Theme V, mm. 3-6
The text is from the Credo of the Mass, and Gjeilo has juxtaposed the frenetic string
parts with the legato, sustained melody in the voices (see Figure 22). The double bass entrance
in measure 9 is significant. Because this movement evokes the drama and bedlam associated
with what the “self” encounters in life, the double basses here can be characterized as
foreboding and necessary. Continuing with the idea and inspiration of movie themes, the double
basses, with staccato and accented articulation abounding, portray a menacing and sinister
element, resembling John Williams’ leitmotif for the great white shark in the motion picture
“Jaws” (see Figure 23).
28
Rugen, “About Ola Gjeilo’s Sunrise: Symphonic Mass for choir and String Orchestra.”
35
Figure 23. Double bass motive, mm. 9-12
At Letter A, or measure 23, the sopranos finally enter and are in unison with the tenors
and basses in singing the reiteration of Theme V back in d minor. At measure 29 the altos break
away from the unison singing and split into two parts. They provide harmony to the ongoing
unison lines of the other three vocal parts. Parallel to the opening section of music, Gjeilo once
more modulates into E major. After twenty measures of material, Letter B provides the
emergence of new material. In the key of D-flat major, the sopranos sing Theme VI, as seen in
Figure 24, and are joined and supported by the altos in a vocal duet.
Figure 24. Theme VI, mm. 45-48
In measure 48 the tenors and basses merge into the texture, and collectively, all four
parts present the text in a declamatory, homophonic nature. As the music approaches Letter C,
the movement modulates again into E major. Finally, at measure 65 the music cadences on a
minor sixth chord, c-sharp minor, and the mediant is omitted, creating a hollow open fifth
(displayed in Figure 25).
36
Figure 25. “Hollow” open fifth cadence, mm. 63-65
Following the 2/4 measure, Gjeilo introduces an entirely new section of music at Letter
D, and this section can be designated as the fulcrum of the entire work. Because of the previous
cadence at measure 65 and due to the strings, sans double basses, being composed in a legato,
contrapuntal manner, these twenty-five measures of music invoke thoughts of a Renaissance
motet. Gjeilo, however, had other sentiments in mind:
We’re slowly reintroducing the theme to the audience again in the strings. What
happens at Letter D is another version of the main theme of the Mass, the “Spheres
theme.” It’s just a longer version of it, but I wanted to break it up especially after all the
homophonic material that happened before that. I needed the music to loosen-up and
have a more polyphonic feel to it. I wanted to bring back the theme which is building up
to Letter E, where the theme returns for real.
Figures 26A and 26B display the original Theme I and the fresher, embellished version of the
theme found in the strings beginning at measure 68.
37
Figure 26A. Theme I
Figure 26B. Theme I embellished, mm. 68-71
During the second iteration of the ornamented “Spheres theme” at measure 72, the altos
present a solo line in a chant-like or “incantation” manner. This solo line is repeated three more
successive times with each repetition being augmented by one measure. Its function will be
explained in Chapter 7.
At measure 93 via a molto crescendo and molto ritardando, the drama mounts and
overflows into Letter E, the recapitulation of the first theme of the entire work. Here, the
masses passionately sing, homophonically, crucifíxus or “crucified” at a fortissimo dynamic. As
depicted in Figure 27, Theme I and the music from “The Spheres” return at Letter E. This
dramatic scene is bolstered through the string writing: more weight in the bowings through the
addition of tenuto markings and with the doubling of each line.
Figure 27. Return of Theme I with Crucifíxus text, mm. 94-97
38
For Gjeilo, this is the climax of the entire work: “The theme comes back for real at Letter E, but
more forcefully than in “The Spheres” due to all of the marcato eighth-note movement
underneath. I wanted it to feel even bigger than it did before since I never want something to
sound exactly the same. I always want to feel like there’s been a journey. There may be
something added or subtracted, but never the same. The text crucifíxus is a huge part of that.”
Similar to composers throughout the course of music history, Gjeilo intentionally
composes Sunrise Mass in cyclic form: “I think it’s important to see how the themes come back
in different durations. That’s really important, I think, because that’s such a big part of the
musical logic of the whole piece and how I wanted people to feel that the things are coming
back and there are things they can hang on to though not in the most obvious way all the time.
It’s really important part of making sense of the musical structure of the piece.”
The meno mosso indication at Letter F marks the new section of music et resurréxit
translated to “and he rose on the third day.” The orchestration is stripped away, and a solo cello
line presents the ascending or “rising” line portraying Christ’s resurrection on the third day. The
sheer metaphysical mystery of resurrection and the associated sense of mystical transformation
profoundly impacted Gjeilo’s compositional conception for this section of music. As Gjeilo
articulated, “It is one of those feelings of mysticism, like a mystical build. We’re talking about
the resurrection of a human being. It’s a crazy, mystical, magical thing so I wanted a rise similar
to the cluster rise [Theme II] leading up to the Kýrie in Movement I. This one is more harmonic,
not a cluster, but a harmonic build with a mystical feel to it. It’s not joyful and reaches its climax
on ascéndit. Here, you return to the ‘Credo theme’ [Theme V].” This is another example of
Gjeilo’s deliberate composition of unifying elements. In Figures 28A and 28B, one can see the
39
latter part of Theme V as composed by Gjeilo earlier in the movement and how it is then
brought back clandestinely later.
Figure 28A: Latter portion of Theme V, mm. 17-20
Figure 28B: Return of the latter part of Theme V, mm. 129-133
Finally, at Letter G, the recapitulation of this movement is presented. The strings return
with their frenzied sixteenth notes accompanying Theme V being sung by the tenors and basses.
Regarding performance practices in this section, Gjeilo adds, “It’s important to not perform
Letter G too fast. If it is done too fast, then the violins can’t play the tremolo at measure 150. It’s
got to be doable for them to play it at that tempo.” Though this material is reminiscent of the
opening of the movement, Gjeilo changes it. Besides the different text, Et íterum ventúrus, the
entire opening is truncated. Tenors and basses present material for ten measures rather than
the twenty-two measures earlier in the movement. Once the sopranos and altos join the tenors
and basses, they do not all sing in unison. The altos immediately begin their own part instead of
waiting for six measures. The material moves through A-flat, D-flat, E, and D major. Finally, at
measure 165, the music comes to an abrupt cessation. This pause prepares the audience for the
most dramatic part of the Mass, though as previously mentioned, not the climax of it according
40
to Gjeilo, “In a way I think that the climax of ‘The City’ is at Letter E. Letter H is more of an
epilogue to the movement. We’re starting again with the Credo text and it’s almost like a
transition to the next movement. I wanted this epilogue to bring elements together, to start to
bring it all together in preparation for the final movement.”
At Letter H, the altos and tenors enter with the augmented version of Theme I, or the
“Spheres theme” with the Credo text (see Figure 29).
Figure 29. Return of Theme I augmented, mm. 166-171
The dynamic is fortissimo amongst the instrumental and vocal parts, alike. Technically, this
tempest in the strings, or what seems to be “The Apocalypse,” is the most difficult portion of
music to perform in this entire work (as will be discussed in Chapter 9). As portrayed in Figure
30, the aural and visual representation of the undulating waves in the strings interlaced with the
augmented rhythm of Theme I and the fortissimo dynamics throughout contribute to this being
a highly electrifying section of the entire Mass.
41
Figure 30. Genesis of “The Apocalypse,” mm. 166-167
At Measure 172 the tenors and basses begin their duet with the reiteration of the text
but this time in e-flat minor rather than c minor as in the previous statement. At Letter I the
sopranos and altos continue singing Theme I, whilst Gjeilo places Theme V, or the “Credo
theme” in the tenor and bass duet. The harmony is now in e minor and modulates into d minor
before all four parts proclaim crédo or “I believe” simultaneously in c and f minor.
42
The next significant change occurs at Letter J. The basses commence with a legato,
diatonic ascending movement on Amen while the upper three parts serve as a “turba chorus” of
sorts reminiscent of Johann Sebastian Bach. This Amen sung by the basses, exhibited in Figure
31, remains unwavering and faithful in the midst of chaos in the strings and uncertainty by the
crowd.
Figure 31. Amen motive, mm. 192-194
Figure 32 displays the genesis of the sung Amen by the basses, along with, the upper three
voices singing in a Sprechstimme manner and characterized as Gjeilo’s “turba chorus” by the
author.
43
Figure 32. Inception of Gjeilo’s “Turba Chorus,” mm. 192-193
Of the spiritual turmoil and tumult found in this section, Gjeilo provides context:
You have those insistent chords, but under all of it is the diatonic movement that
ascends. This is a bit inspired by the Duruflé (1902-1986)) Requiem. There is an organ
movement [“Pie Jesu”] that I love that goes up like that. I also wanted there to be this
relentless frenzy to create a relief in terms of the next movement. I wanted it to have a
lot of drama so by the time you get to “The Ground,” there’d be a sense of, “Oh, here’s
some peace, something good.” It wouldn’t feel the same, though, if it wasn’t preceded
by all that drama.
Figure 33 depicts the outset of the diatonic rise in the “Pie Jesu” of Duruflé, the source of
inspiration for the basses’ Amen. This will be discussed further in Chapter 7.
44
Figure 33. Maurice Duruflé’s Requiem, “Pie Jesu,” p. 6329
An example of a Bach “turba chorus” can be found in Figure 34. In this excerpt, the
Evangelist, or tenor is narrating about this particular scene where Pontius Pilate asks the crowd
who they would prefer to release: Barabbas or Jesus. Then the crowd, consisting of a double
SATB chorus, interjects, “Barrabas!” on a d-sharp diminished chord. Prior to and after this
declamation, the soloists continue their dialogue that then transitions to a chorus.
29
Duruflé, Requiem.
45
Figure 34. Johann Sebastian Bach’s Matthäuspassion, “Auf das Fest aber,” pg. 18930
30
Bach, St. Matthew Passion in Full Score.
46
This can be loosely related to Gjeilo’s writing from Letters J through L (shown in
Appendix D, pg. 154-166). Amidst the maelstrom and chaos below in the orchestra, Gjeilo’s
basses remain steadfast proclaiming Amen unabashedly while the people offers their petitions.
The harmonic rhythm is swift; it commences in g minor and modulates in every measure: to f
minor, e-flat minor, f-sharp minor, a minor, and g minor. Once the masses have concluded their
prayer synchronically with Amen, in f minor, the light at the end of the tunnel appears and
everyone rushes to a fiery ending replete with a dramatic crescendo and multiple stratifications
of the beat. Gjeilo justifies the compositional devices utilized in this closing section of “The City:”
I wanted that relentless kind of motion and this harmony that went into circle, more and
crazier. I wanted that upward movement that comes back in the Mass. It’s in that
cluster in the first movement [Theme II], in the joyful section of the second movement
[Letters G and H], and it comes back here in the third movement but in a darker version.
There’s always an upward movement, though, and I feel like that is the point of this
Mass. It’s a sunrise Mass. It’s a hopeful, positive, affirmative piece of music without
being sentimental, hopefully. The movement is generally upward even in this more kind
of crazy, dark-feeling section.
47
CHAPTER 7
AN IN DEPTH EXPLORATION OF THE CITY
The third movement of Sunrise Mass is unequivocally a mosaic. There are moments that
are extremely difficult to sing and play, the overall form of the movement is more intricate, and
the length of the movement is the most extensive. There are many sophisticated elements and
influences to more profoundly survey in this movement.
First, and as depicted earlier in Figures 26A and 26B, Ola Gjeilo brings back Theme I at
rehearsal Letter D, measure 68. However, this time the theme is embellished and difficult to
aurally discern. Upon initial perusals of the music, the author did not notice this theme
presented in its entirety nor the fragments of it included here since the primary focus is
seemingly on the alto solo incantation. As Gjeilo himself stated to the author, “It [Theme I] is in
stealth mode.” After Gjeilo reestablishes the first half of the theme, one may recognize that he
also recalls the second portion of the “Spheres theme” (Figure 35A), also known as the “Chríste
motive” in measure 76. This occurs as an addendum to the second iteration of the embellished
first theme. True to his word, Gjeilo does not bring back this motive precisely as it was first
heard in Movement I, but instead ornaments it as exemplified in Figure 35B. Between measures
72-79 and 80-87, Gjeilo has woven both of the themes together. This is evidenced in Figure 35C.
Figure 35A. Chríste motive, “The Spheres,” mm. 89-92
48
Figure 35B. Chríste motive embellished
Figure 35C. Combination of embellished Theme I and Chríste motive, mm. 72-79 and 80-87
For Gjeilo this was “the big one” and the basis of the C section of “The City.” As stated
previously, Gjeilo also revealed that one of his objectives is the incorporation of unifying
elements throughout the entire work. Consequently, this is the first instance that a theme has
returned, thus buttressing my designation of this as the fulcrum of the Mass. Upon learning
about the return of Theme I in this section, a few things made more sense. I realized why Gjeilo
did not call the alto solo incantation a “theme” even though it would seem that their vocal line is
being featured. Gjeilo, instead, included the theme proper in the contrapuntal writing
underneath the vocal line. I came to the realization that this entire section of music reminded
me of a similar compositional technique utilized by Gabriel Fauré (1845-1924) in his Requiem.
One of the most famous violin solos in choral literature can be found in the third
movement of the Fauré Requiem. The featured solo seems to descend from the heavens as the
49
chorus proclaims “Holy, Holy, Holy Lord.” The “Sanctus” is composed in E-flat major paying
homage to the Holy Trinity. This violin solo is depicted in Figure 36.
Figure 36. “Sanctus” from Requiem, Gabriel Fauré mm. 5-731
What is typically overlooked, though, is the fact that Fauré foreshadows this solo in the
opening “Introit and Kyrie” and in the movement immediately preceding it. While this melodic
line is sung by the sopranos and thus given prominence in the first movement by Fauré, it is not
as distinguishable in the “Offertoire.” Fauré draws most of the listener’s attention in the latter
half of the “Offertoire” to the baritone soloist supplicating “Sacrifices and prayers of praise, O
Lord, we offer to thee.”32 At Letter F of the Requiem, the final twelve measures of the baritone
solo, Fauré includes the aforementioned violin solo theme in the strings and played at a piano
dynamic (see Figure 37). In essence, this theme, much like Gjeilo’s embellished first theme, is
also in “stealth” mode, and its identity and deliberate use may not be easily recognized.
31
Fauré, Requiem.
32
Jeffers, Translations and Annotations of Choral Repertoire, 78.
50
Figure 37: “Offertoire” from Requiem, Gabriel Fauré mm. 66-68
Another compositional device used by both Fauré and Gjeilo can be located within the
same respective sections of the Requiem and Sunrise Mass: the practice of a solo vocal line
functioning in a supporting role. In Fauré’s Requiem, the baritone soloist serves as a pedal or
obligato line in these final twelve measures of the solo while Fauré concomitantly reintroduces
the aforementioned theme as illustrated in Figure 38A.
Figure 38A. Baritone solo from Requiem, Gabriel Fauré, mm. 65-69
In Figure 38B one can clearly see the different layers of the previously discussed compositional
devices and how they all amalgamate to produce a memorable moment in the Fauré Requiem.
51
Figure 38B: Entire texture from Fauré Requiem, mm. 65-68
Ola Gjeilo composes his alto solo incantation in a similar way. As shown in Figure 39,
from measures 72-75, the line operates as a pedal point rather than melodically. This occurs
while Gjeilo recalls Theme I in the strings clandestinely and embellishes it (as depicted in
Chapter 6, Figure 26B).
Figure 39: Alto solo Line serving as a pedal, mm. 72-75
52
These compositional device comparisons between Fauré and Gjeilo can also be linked to
those found in a work by the late composer Leonard Bernstein (1918-1990). In his collection,
Songfest, there is a movement entitled “To What You Said.” This movement features a lush
melody played throughout by the solo cello line. I first heard this piece on “PBS: Great
Performances” with Michael Tilson Thomas conducting the New York Philharmonic, Yo-Yo Ma
playing the cello, and Thomas Hamson singing the baritone solo. The melody is hauntingly
gorgeous, and the text is by Walt Whitman. In the movement, the tutti cello section introduces a
brief descending motif that is similar to Gjeilo’s Theme I (found in Figure 40).
Figure 40. “To What You Said” from Songfest, Leonard Bernstein; cello motive, mm. 12-14
Halfway through the movement, the baritone commences his solo with the opening
motive that was first introduced by the cello section. Soon thereafter, though, the baritone
soloist becomes complementary to the solo cello. Though it is not scored this way in the music,
the solo cellist often plays the gli atri vocal line which contains the principal theme of the
movement. As the solo cellist, the clarinets, and flutes play the theme, the baritone soloist
becomes an obbligato instrument as displayed in Figure 41.
53
Figure 41. “To What You Said” from Songfest, Leonard Bernstein; baritone obbligato, mm. 50-54
Though the Walt Whitman poetry sung by the baritone soloist is crucial to this
movement, Bernstein chooses to not give the baritone soloist the melody, but instead
accentuates the theme with the doublings in the instruments. In the musical excerpt below
(Figure 42), one can not only see the gestalt of the texture created by Bernstein, but one can
also identify an additional and previously examined compositional element utilized by Johannes
Brahms and Ola Gjeilo, the displacement of the downbeat in the violin 1 part.
54
Figure 42: “To What You Said” from Songfest, Leonard Bernstein; full texture mm. 50-54
Another separate yet equally as interesting a topic to explore from “The City” is the
previously mentioned influence, as affirmed by Gjeilo, of Maurice Duruflé. At Letter J, of this
movement, Gjeilo composes a bass line that was derived from Duruflé’s Requiem. Akin to
Fauré’s “Pie Jesu,” the crux of the movement is the entrancing soprano solo. Ensconced in
Duruflé’s instrumental part, however, is a rising motive (displayed in Figure 43) that is first
introduced in the organ, and is answered by the cello line.
Figure 43. Maurice Duruflé’s Requiem, “Pie Jesu,” three measures after square 57
This ascending motive lasts for nineteen measures and is played concurrently as the soprano
soloist innocently sings “Merciful Lord Jesus, grant them rest.”33
Antithetical to his previous compositional decisions, Gjeilo now chooses to bring to the
forefront music previously heard in a secondary function. In Sunrise Mass, the ascending melody
finds prominence in the bass voices in measure 192 (see Figure 31). Similar to Duruflé’s motive,
33
Jeffers, Translations and Annotations of Choral Repertoire, 70.
55
the duration of the bass Amen is nineteen measures before it is finally answered briefly by the
tenors, altos, and sopranos of the choir to conclude the third movement.
56
CHAPTER 8
“IDENTITY AND THE GROUND”
“IDENTITY”
The first half of Movement IV, or the initial forty-one measures, recapitulates the first
movement of the entire work “The Spheres.” Of “Identity” Kira Rugan writes, “The pathos that
‘Identity’ creates is yearning, searching, and acutely pensive. The Mass begins in the stars during
the Kyrie, and then it circles back to the same material to symbolize the individual. It is as if it
looks toward the stars, then mirrors what it sees, and only now is self-aware.”34 Upon
concluding the Amen of “The City” in f minor, Gjeilo transports the music back to c minor, the
minor dominant. Similar to the initial movement of the Mass, Gjeilo once more divides the choir
into two SATB choruses and recapitulates Theme I. In this closing movement, however, Gjeilo
adds a violin solo that begins literally midway through “Identity” on beat three of measure 20.
The violin solo not only echoes the conclusion of the first movement but is also correlated to
Theme V as made clear by Gjeilo, “The theme when the solo violin comes in is reminiscent of the
main theme of the Credo [Theme V], though only at the beginning, because it then moves up
one step higher (see Figure 44). We are coming back to this nebulous kind of floaty sphere, but
combined with the emergence of an identity of a self, of a person that is still aware of its origins
but now is a real being. This is symbolized by the violin.”
34
57
Figure 44. Violin Solo reminiscent of Credo theme (Theme V)
The solo ascends and emerges from the texture soon after Letter A, and then gradually
descends. This motive repeats itself once more, though this time the violin solo soars to a high
g-natural for twelve and one-half beats. “Identity” concludes with the strings on a unison middle
c that serves as a pivot or common tone into a more grounded F major.
“THE GROUND”
Of the movement, Ola describes it with descriptors such as “resolution,” “release,” and
“relief.”35 In her paper, Kira Rugan states, “After all the tension and dark crevices that the music
has visited in the work, ‘The Ground’ is the place of absolute peace, tranquility, and relief. It is
also the point at which one feels that one has arrived and is finally ’grounded.’ No longer is the
music floating in the spheres, rising with the sun, bustling in the city, or discovering the self. The
music now depicts being one with humanity and the Earth; herein lays a sense of awareness of
everything grounded and real.”36
Ola Gjeilo pays homage to Johann Sebastian Bach and pens this part of the movement
as “Chorale.” A desire for simple and fundamental unification and synthesis clearly undergirds
Gjeilo’s evocation of the chorale:
It’s not the strictest chorale in terms of the Bach kind of sense, but it’s melodic,
homophonic, and unified musically. I wanted everything to come together in that way at
the end of the Mass so that’s why in this section I’m doubling the strings with the choir
almost the whole time. I wanted it to be an innocent, benign kind of melody that, is a
relief from the drama that came before, all the deconstruction that happened before. I
wanted something simple, melodic, that feels good to listen to. This section builds and
builds and travels through keys.
Figure 45 displays the first four measures of a typical Bach chorale. The homophonic
texture of chorales makes the text clearly and easily discernible by audience members and
35
Ibid.
36
Ibid.
58
performers alike. Harmonic rhythm is rather fast, with chord changes occurring on most every
quarter note. Approximately every two measures Bach composes a cadence. At these cadential
points, there is a fermata placed over the pitches indicating the end of a phrase. Below the bass
line, the organo e continuo accompanies the chorus and has figured bass notated. This
particular twelve measure chorale begins and ends in d minor.
Figure 45. Johann Sebastian Bach’s Johannes-Passion, “Dein Will’ gescheh’, Herr Gott,” pg. 1837
The structure of a Gjeilo chorale is slightly different than that of Bach’s: harmonic
rhythm is slower, cadences are fewer, there is no figured bass, the harmonies are repetitive,
dynamics are added, and the text is in Latin. There is, however, a palpable semblance between
the two. All vocal parts move concurrently, which allows for an easily distinguishable and
understood text. The chorales are constructed symmetrically. There is an underpinning below
the voices: both composers have the strings reinforce the voices colla parte. Finally, the
37
Bach, St. John Passion in Full Score.
59
termination of phrases is broadened. The first eight measures of Gjeilo’s chorale in F major can
be viewed in Figure 46 below.
Figure 46. Gjeilo’s Chorale “The Ground,” mm. 42-49
Though in ¾, the melodic contour of Gjeilo’s chorale Pléni sunt coéli et terra is remindful
of the English composer Thomas Tallis’ (1505-1585) notable anthem, “If Ye Love Me.” Both
60
themes are in F major and reach their apex at B-flat or the subdominant. The similarities
between both melodies can be examined in Figures 47A and 47B.
Figure 47A. Thomas Tallis’ If Ye Love Me mm. 1-438
Figure 47B. Opening of “The Ground,” mm. 42-49
Though there are connections between the two, Gjeilo articulated that the melody here was not
inspired by Tallis, but rather “from the main theme of a movie.” He added, “It was perfect
because I wanted that kind of inspiration for this melody.” The double choirs in Gjeilo’s chorale
have now become one single choir and the colla parte strings provide a sense of unification. In
general, “The Ground” can be divided into eight-measure phrases that repeat. The communal
crescendo to fortissimo, “stretching” of the tempo, and modulation into D-flat major all create a
warm, glorious moment that is the zenith of Gjeilo’s chorale at Letter D. All sins have been
absolved, and the “self” emanates.
To close the Sunrise Mass, Gjeilo awakens the Britten-inspired conclusion of Movement
II and interpolates it here in the finale:
38
Tallis, If Ye Love Me.
61
I wanted to bring it back as an Amen kind of section, but I wanted to have the violin as
reinforcement of the idea of identity as a full mature human being. But, it could be the
development of anything. I think the process is so similar. It’s almost like it’s similar to
the process of composing a piece or the process of the world: the big bang and starting
from this nothing and this big explosion and then slowly there’s an emergence of
amoeba and people. It’s really an attempt at sort of emulation of the creative process in
any form, really.
Figure 48 depicts the conclusion to Britten’s War Requiem. It is equivalent to the
manner in which he concluded “Requiem Aeternam,” but different from the ending of his “Dies
Irae.” As one may recall, Gjeilo was viscerally roused by the “a cappella thick endings of a couple
of [War Requiem’s] movements,” and thus employed the same method in setting the Mass
endings of the second and fourth movements: nearly identically. Here, the tenor and baritone
soloists in the Britten sing “Let us sleep now,” before Britten embeds the same text but in Latin
and adds an Amen. As Britten did previously, he harmonizes these final seven measures with
half-diminished chords, open chords, and minor sevenths, includes tritones; and finally, finishes
the entire work on an F major chord.
Figure 48. Britten’s War Requiem, conclusion of Movement VI “Libera Me,” pg. 23839
39
Britten, War Requiem, Op. 66 Full Orchestral Score.
62
In Gjeilo’s setting, there are minute alterations from the original material found at the
closure of “Sunrise.” Though the music is essentially identical there are an augmented number
of measures this time due to the interpolation of measures and delayed resolution at the end of
the work. The most conspicuous variance is the addition of the solo violin in the texture.
Symbolic of the Holy Trinity, the solo rises and falls thrice until it finally finds its wings and soars
on a high g-natural to end the work. One may recall that this g-natural also concluded “Identity”
earlier in the fourth movement. The “self” has fully realized its identity with the promise of one
day being reunited with its Creator.
There is one final magical moment in the Sunrise Mass. Perhaps, it will go unnoticed
throughout the course of the Mass’ performance history, but it is a special moment in this work
nonetheless. At measure 122, the entire orchestra, except for the violin soloist and the chorus,
lifts on beat four of that measure. For one fleeting moment, the listener receives a final glimpse
of the “soul” being accompanied by the guardian angels through the journey of life. This “halo-
like” moment, evoking Fauré (see Figure 49), serves as a reminder and reassurance of what is
good in this world and provides a sense of hope and comfort.
63
Figure 49. Gabriel Fauré’s Requiem, “Agnus Dei,” mm. 4540
The rest of the orchestra enters and reinforces the ending of the work by providing an
everlasting foundation, or “ground.” The final movement is classified as tripartite, and in
conjunction with E-flat major, symbolizes the Father, the Son, and the Holy Spirit.
40
Fauré Requiem.
64
CHAPTER 9
REHEARSAL CHALLENGES
This chapter will speak to the challenges and obstacles discovered throughout the
rehearsal process, and suggestions made to overcome them. At first glance, Movement I
appears to be the least difficult. One may begin to believe that recreating the sounds of the
Phoenix Chorale and combined Majorstua Kammerkor and Kammerkoret Nova will be effortless.
On the page, it is easy to dismiss the complexity of the movement because the music consists of
chords that overlap one another. However, tuning chords in this scenario is no facile task. Three
things make this process difficult: the duration of each chord, the tonal concept in which the
chords must be executed, and the type and inversion of the chords. First, the duration of each
chord ranges from anywhere between twelve beats to sixteen. Tuning chords successfully by
each choir becomes quite challenging once the dimension of experiencing the dissonances
caused by the ensuing choral entrances is added.
Also, to create the ambiance of the piece, the choir must sing with a lean tone. Other
monikers for this particular type of tone, depending on the conductor, may include “straight-
tone,” “senza vibrato,” or singing with “as little vibrato as possible.” For amateur singers with no
formal vocal study, this may prove to be a daunting task. Often times, choirs may perceive
“straight-tone” to mean singing with a laser-like quality. In doing so, though, the choir may have
no “lift” in the sound, no space in the back of the throat, and sing with a low soft palate. This can
create severe intonation issues in all voice parts due to undesired tension, hypophonation, and
hyperphonation. Singing with this quality of sound for the duration required by Gjeilo can also
leave the singers gravely fatigued by the end of the movement.
The conductor must have a highly active imagination that leads to something tangible
for the singers and string players. It is not enough to know the themes, the chord progressions,
65
and divisi. The conductor must know precisely how (s)he wants to shape each choral and
instrumental entrance. The duration of crescendos and diminuendos must be carefully
discerned, planned, and executed. The manner in which they are written in the score does not
always allow for the dissonances or the “crunch” to occur between the two choirs. For example,
the opening chord of the entire work is a c minor chord phonated by the tenors, altos, and
sopranos in choir one. In measure 3, the second choir tenors, altos, and sopranos enter on an A-
flat major chord. If one adheres strictly to what is notated, then not much of the dissonance
created by the overlapping chords, specifically the g-natural in choir one’s altos versus the a-flat
in choir two’s tenors, would be heard. However, if one shifts the crescendo to continue until
three beats later, or until the next chord is initially sounded, and adjusts dynamics accordingly
and in relation to the size of the choir, then Gjeilo’s ambience will be successfully manifested.
Balance, in all forms and amongst all thirteen parts, must also be achieved. Not only must all
parts be heard equally, but the conductor may also realize that one of the choirs has more
effective command over dynamics, crescendos, and diminuendos while the other has a more
effective tone quality.
With only twelve rehearsals remaining we experienced severe flatting throughout the
opening of the work. The solution to this entailed employing a slightly quicker tempo and
adjusting the vowel landscape toward the opposite end of the spectrum. Resonating with and
striving tirelessly for Paul Salamunovich’s philosophy and approach regarding choral tone:
openness and warmness, yet with no harshness in the sound, I conceded that the prototypical
approach had not been effective.41 The solution was to try closing as many vowels as possible.
41
Paul Salamunovich (1927-2014) was a Grammy-nominated choral conductor from California.
He retired as Music Director Emeritus of the Los Angeles Master Chorale, following a tenure that spanned
from 1991-2001, and served as Director of Choral Music at St. Charles Borromeo Church for sixty years. He
is considered to be an expert in Gregorian chant, and built his choral tone philosophy upon this
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For example: the word Kýrie, instead of a spread [i] or tall [I], became a rounded and puckered
[i] with “oo” lips. The next syllable “ri” was also altered to be puckered. Finally, the “e” was
changed to a closed [E] vowel leaning more towards [e] or “ay.” The word eléison changed
thusly: “[e]-l[e]-[i] (puckered lips)-z[O]n.” On the final syllable, a closed [O] vowel was requested
and executed rather than the typical “aw” modification. Chríste eléison was transformed to
“Kr[i] with puckered lips-st[e] [e]-l[e]-[i]-z[O]n”. Every vowel was as close to [i] as possible with
minimal space in the lips. Careful attention also needed to be paid to each d-natural that
occurred in the opening. At times this pitch can be found in the soprano parts and at others in
the alto and has a tendency to be sung severely on the bottom side of the pitch.
In “Sunrise,” the primary hurdle to overcome is the minimalistic motive in the strings.
One cannot stress enough how treacherous this figure can be for the orchestra and conductor.
Keeping this motive rhythmically accurate and in tune is a challenge. The spinning nature of this
motive can cause individuals and entire sections to accelerate unintentionally. Compounding the
issue, the lower pitch in the violin 2 part continues to change while the upper a-natural is to
remain steady and honest. Because of the changing pitches, string players are called upon to use
different hand positions and shifts while attempting to maintain the tempo. These obstacles
were formidable enough to overcome, but once the lush theme and countermelody are added
to the texture, another level of complexity had to be dealt with: the players needed to avoid
being lulled and influenced rhythmically by the melodies. In addition to the issues presented
above, the tuning of thirds between the violin 2 and viola parts needed careful regard.
foundation. Salamunovich also held academic positions at Mount St. Mary’s College, Loyola Marymount
University, and at the USC Thornton School of Music, and his film credits totaled over 100.
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Furthermore, one should take into account that the higher the violin 1 plays, such as in this
opening sinfonia, the more serious the intonation concerns due to a much smaller room for
error. The toughest conducting test of the entire Sunrise Mass occurs at Letter E of “Sunrise.”
Most challenging is internalizing the proper tempo for the transition from dawn to sunrise. The
only way to master this tempo change is to practice the transition tirelessly until it is
memorized. In measure 103, the cellos have a complex two measures of music. Here, the
players have a string crossing to work through. A possible solution is to leave out the a-natural
since the violas are also playing it. At Letter G, due to the metric displacement and the
conductor’s distance from the choir, coordination between the choir and orchestra may be
problematic. Encourage the musicians to watch the baton intensely. Two measures before
Letter K is another deceptive transition. The conductor may choose to incorporate a ritardando
beginning in measure 183 in order to settle comfortably into the ensuing tempo. Aligning the
eighth and sixteenth notes can be difficult due to the return of the minimalistic motive one
pulse later.
“The City” provides challenges to the singers and instrumentalists alike. When listening
to recordings of this movement, one may notice the apparent intonation problems in the vocal
lines, particularly while singing the “Credo theme.” Because of the register shifts, high tessitura,
and key issues, singers must make a conscious decision as to when to use chest voice or head
voice and also have the dexterity to switch between the two frequently. Furthermore, the
singers truly need to hone in on their aural skills in order discern between altered and unaltered
pitches and have a keen awareness of their harmonic function. An example of these pitches is
the occurrence of b-flats and a-naturals versus their counterpart b-naturals and a-sharps.
From measures 45 to 57 it is imperative that the violas add staccato articulation to their
parts in order to avoid an obvious discrepancy in note length value amongst the orchestra. The
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most challenging section of music for the choir in the entire movement can be found at Letter F.
Regarding this section, the composer chuckled and said, “You got to love it!” It is definitely
demanding and requires meticulous attention to pitch accuracy and tuning. This is why Gjeilo
included the solo cello line. In addition to the seemingly symbolic nature of the cello, the
instrument is also there to aid the chorus in maintaining good intonation. Rehearse this section
regularly; the singers need to internalize it aurally and vocally. The transition back into the
“bustle of the city” at Letter G can also be problematic if the appropriate tempo is not foreseen.
As previously stated, Gjeilo suggests that the tempo be more on the conservative side for the
tremolo motive in the violin 1 part or else the passage will be impossible to play. For the
orchestra, Movement III consists of three spots worthy of critical discussion. At measure 68,
having played eighth and sixteenth notes up until this point, the orchestra may have a tendency
to rush the eighth notes in this contrapuntal section. If this occurs, then the entire character of
prayerful supplication is lost. Encourage the orchestra to sing the lines as a singer would, with a
full sense: of legato, duration of the eighth notes, and breath to the line. If this is not achieved,
then each eighth note is shortchanged which causes the entire section to speed up and lose the
sense of mysticism in this section. Measure 150 poses potential struggles for the violin 1 part. At
quarter note equals eighty-eight, it is troublesome to execute the tremolos that Gjeilo has
subscribed. The string players must be reminded to use a shorter portion of the bow, and to use
only fingers and wrists with no involvement of the elbows. In essence, the players are to use as
little motion as possible. Letter H is the most technically challenging for the orchestra. The
tempo here is quite brisk and there are unusual finger patterns, string crossings, and slurs to
overcome. The bottom parts of the string divisi have the tougher parts. This is because at Letter
I, the upper parts have better fingerings and easier string crossings. Some suggestions include
having the orchestra aim for the downbeats to be strong, in tune, and on time. They can play
69
the rest of the sixteenth note figures more softly for better accuracy. The repetitive nature of
these sixteenth note passages aids in the practicing and learning of them. However, the string
players must be aware of changes in the pattern such as at measure 178. The sextuplets in
measures 218 and 222 between the violin 1a and cello 1a sections need to be precise, as well.
This can be easily remedied by the conductor getting out of the way of the players while they
work collectively to perform these rhythms exactly. As the storm occurs in the strings, it is
important that the “turba chorus” remains rhythmically undeterred and together. It is crucial
that the vocalists fully internalize the subdivision and do not push ahead since the strings are
unable to play any faster than they already are.
One of the most harrowing aspects of preparing the chorus is doing so without the
support of an effective piano-vocal score. Although preparing a new piano-vocal score is beyond
the scope of this document, it is crucial to be generally aware of the shortcomings of the current
piano-vocal score. In Movements I and IV, the piano-vocal score is suitable since mostly
everything is doubled in the piano accompaniment. However, for the two most challenging
movements, II and III, the vocal score does little to acquaint the chorus with the string parts. For
instance, in “Sunrise” the entire sinfonia is included in the piano-vocal score. However, once the
sopranos enter with Theme III, the piano part merely mirrors the vocal line. Then, four measures
after the transition is made into the metaphoric sunrise, the sixteenth notes vanish and the
piano part simply doubles the vocal parts. This does not give the choir an accurate depiction of
what they will encounter in a live setting with the orchestra. At the Brahms inspired Dómine
Déus section, the accompaniment remains colla parte rather than stripping away the
accompaniment and only providing the thumping d-naturals in the strings along with the
offsetting of the measures by the other instrumental parts. Once the movement transitions back
into the sixteenth notes found earlier at the sunrise, there is nothing remotely similar to this in
70
the piano-vocal score; it is all colla parte. At Letter K, when the “post-minimalistic” material
returns in the orchestra, the piano-vocal score does capture this but only until the altos enter
four measures later. These spots are crucial to keep together and without an awareness of this
through the piano-vocal score, the choir is left unequipped to deal with this challenge until the
choir and orchestra combine to rehearse.
In “The City,” the “bustle” can be heard for the opening two measures in the piano-
vocal score. Once the tenors and basses enter in unison with the theme, however, the sixteenth
notes disappear. A more appropriate underpinning would help the singers work independently
on their intonation. At Letter D, when the altos sing the solo incantation, the contrapuntal
writing in the strings is absent from the piano-vocal score after the four-measure introduction.
Again, the accompaniment simply reflects what the altos are singing. Once Theme I returns at
Letter E, there is nothing in the piano-vocal score to resemble the string parts and their
respective change of character with the addition of more weight, tenuto markings, and the “sigh
motives” notated in the full score. This section, along with its parallel moment in the “The
Spheres,” can pose a problem when attempting to nuance the strings’ eighth note playing with
the choral parts. Letter F, which is the most difficult choral section of the entire work has
nothing besides colla parte chords written in rather than including the cello line to help prepare
the singers for the sparse nature of this section. In the bridge from this section back to “the
bustle of the city,” there are no sixteenth notes to reset the character of the movement. Finally,
in the most technically demanding passage for the orchestra, “The Apocalypse,” the piano-vocal
score presents only a doubling of the vocal parts. It is vital that the choir becomes accustomed
to hearing the tempest below them while attempting to keep their parts rhythmically and
harmonically solid. In the finale of the work, “The Ground,” the violin solo-one of the most
significant and symbolic lines of the entire work-has been unfortunately omitted in the piano-
71
vocal score. In the absence of an effective piano-vocal score, it is suggested that the conductor
add the most critical missing parts for the singers.
72
CHAPTER 10
MOTETS
THE SPHERES
On the inside cover of “The Spheres” motet, Gjeilo asserts that this is his a cappella
version of the first movement of the major work, and that it “will be the only a cappella piece
derived from the Mass.” He goes on to state that, “This a cappella version of ‘The Spheres’ was
premiered by the 2009 ACDA College Honor Chamber Choir with conductor Gary Graden in
Oklahoma City, and the piece is dedicated to Mr. Graden.”42 As Gjeilo expounded to the author,
he invariably had an urge, upon completion of the Mass, to extract the movement from it and
score it as a “standalone” unaccompanied motet. The opportunity presented itself in 2008 when
Graden was interested in having the ensemble perform the piece.
Meter and tempo indication are immediately recognizable differences between the
motet and the Mass movement. Gjeilo has written this version in 2/2 time and with the half-
note equaling fifty-six. In the Mass, as one may recall, the first movement is written in 4/4 time
with the quarter-note equaling eighty-four. As mentioned in Chapter 4, Gjeilo stated that in the
next edition of the Mass, he will also have it written in two. “Most of the time, I kind of want
them [conductors] to do this movement in two. A lot of times it is in four, which ends up being
too slow. Whenever I’m there and I work with them, I usually ask them do it in two, actually.
That kind of speeds things up a lot of the time. The next edition, I think we will have a slightly
faster tempo as a suggestion.” Because the motet is now in 2/2, the empty 6/4 measures in the
Mass have been transformed into measures of 2/2, such as in measures 22 and 38 of the motet.
Another notable alteration from the Mass is that the motet now has a key signature
included: e minor. In the Mass, there was no key signature indicated for any of the movements.
42
Gjeilo, The Spheres from Sunrise Mass.
73
The choral layout in the motet is also different from that of the Mass. In the Mass, the first
movement is divided into two SATB choirs from top to bottom. In the motet, Gjeilo has simply
divided the entire choir into SSAATTBB vertically.
At measure 39, or Letter B, the dynamic indications are different from the Mass. Instead
of beginning at piano and intensifying to forte and back to piano, the choir is asked now to
messa di voce from mp to f and back. At measure 52, and as indicated in Figure 50, the layout of
the text has been varied. In the Mass, choir one sings le- of eléison, followed by i two measures
later and son also two measures after that. The Spheres motet, however, indicates that those
entering in measure 52 should reiterate e, sing le in measure 54, i in 56 and son in 59 and 60.
The entire choir holds out the c minor chord for eight measures in the motet, whereas it is the
strings in the Mass that hold this same chord.
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Figure 50. The Spheres motet, mm. 53-5943
One of the major deviations from the Mass is at Letter C, measure 69, in both scores. In
the Mass, this is where the strings played Theme II, the cluster theme. Here, Gjeilo has replaced
the strings with the actual voices of the choir in the motet. He has also changed the tempo
indication from quarter-note equals sixty-nine to quarter note equals seventy-two and has
omitted the poco accelerando indication that appears in the Mass.
43
Ibid.
75
From Letter E to the end, in both scores, is another notable difference. In measures 84,
88, and in 102 of the Mass, the strings play an ascending eighth-note motive. The string parts
take turns playing this motive: from cello-to cello plus violin 2-to violin 1b, viola, and cello
combined. The motet, however, uses different vocal combinations to substitute for these spots
originally composed for strings: alto 2 plus tenor 1, 2, and baritones in measure 84; alto 1, tenor
1, and baritone in 88; and finally, at measure 92, altos, tenor 1 and 2, and baritone (see Figure
51). Gjeilo adds the word eléison to these moving notes.
76
Figure 51. The Spheres, mm. 81-92
Lastly, the quasi-violin solo, labeled as such by the author due to its performance by the
tutti section rather than a soloist, that concludes the first movement of the Mass, is now sung by
the soprano section in the motet and then passed on to the altos, tenors, and basses. Once
77
more the text that is utilized here is eléison. The choir is asked to crescendo in the final measure
until their release whereas the strings in the Mass will inherently and aesthetically fade away in
the final three measures of music.
THE GROUND
The Ground has been adapted from being written for string orchestra colla parte to
being scored for piano and an optional string quartet or ensemble. The motet begins with an
eight-measure piano introduction in G major, whereas in the Mass, Gjeilo utilized a common
tone c-natural from “Sanctus” to modulate immediately into F major for “The Ground.” The
tempo in the motet is slightly quicker at quarter-note equals seventy-six, versus seventy-two in
the Mass. Dynamic indications are also slightly different; they are approximately one dynamic
stronger per section of music in the motet. Since The Ground can be performed as a standalone
piece, Gjeilo has added a minimalistic yet improvisational accompaniment. It is not only
reminiscent of the “heartbeat” or “pulse” from Movement II of the Mass, but it also composed
in a manner to reinforce the chorus in a graceful, unimposing manner. This piano part is written
in a style and texture similar to that of another living composer, Morten Lauridsen, whom one
may recall from Chapter 2, Gjeilo was united with in a concert featuring the composers’ works.
From measures 9 through measures 24 in the motet, the vocal parts are exactly as found in the
Mass. Gjeilo inserts five measures into The Ground motet as a transition into the B major
Benedíctus. At Letter B, the motet shifts into E-flat major for the climax of the piece, when in
fact, the Mass modulates here into D-flat major for Agnus Déi. At the conclusion of this section,
the motet takes an unexpected, deceptive turn and cadences on A-flat major at Letter C. Gjeilo
then adds six new measures of new music to be sung on “mmm.” These measures help bridge
the gap into the concluding dóna nóbis section. Gjeilo adds a twinkle to the motet in measure
85. He inserts an a-natural into the piano part that gleams while tonicizing B-flat. At this point in
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the Mass, Gjeilo has composed the final section of music with the third rendition of the Britten
War Requiem a cappella chorale. The latter time he adds the violin solo to symbolize the “self.”
In The Ground, however, Gjeilo omits the solo line while leaving the piano element and changing
the textual layout, chord structure, note durations, and dynamics.
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CHAPTER 11
CONCLUSION
Sunrise Mass is much more than a major work; it is a spiritual journey that all can relate
to regardless of religious affiliations or beliefs. The Mass is also a humanistic expedition about
one’s life as experienced through the good times and bad. It is about believing in something,
overcoming adversity, and discovering one’s own worth through personal growth.
Avid moviegoers, performers, and audience members, alike, may be transported back to
scenes in a far off land reminiscent of a battle between the warrior Beowulf and the monster
Grendel or on an adventure with Bilbo Baggins. Gjeilo’s fingerprint on the choral world lies
herein with the marriage of cinematic and classical influences to his choral music. Compounded
to this is the partnership of a string orchestra and chorus and the union of secular and sacred
elements that make Sunrise Mass rather unique. Because of these distinctive qualities,
concertgoers of all ages and levels of musical acumen can enjoy this work.
There is great merit in exploring, preparing, and conducting the Sunrise Mass, and the
work has taken its rightful and necessary place in the choral canon. When contemplating which
major work to program next, a number of practical factors must be taken into consideration.
These may include: value, forces, rehearsal time, difficulty, performance space, benefit, and
audience. Often times, all roads lead to the same pieces. Though it is incumbent upon the
conductor to teach tried and true choral literature, one must also strive to discover new works
that could become standard repertoire in years to come.
Gjeilo’s Sunrise Mass is one of several good solutions. Its symphonic nature allows for it
to be programmed creatively and collaboratively, and the a cappella motets excerpted from the
Mass would enhance any performance. The Mass is scored for string orchestra and chorus, thus,
making the economics of such a performance more appealing. Furthermore, the masterful
80
combination of sacred and secular dimensions opens the realm of possibility for performance
venues from the recital hall to the church sanctuary. Accordingly, since the conception of this
project the number of available recordings of the Mass has multiplied considerably, and the
number is sure to flourish as more people discover it.
Gjeilo’s compositional style can best be described as a kaleidoscope of influences,
elements, and affects. His Sunrise Mass was clearly composed with one eye on the big screen,
and one eye towards the past, in the direction of Brahms, Britten, Duruflé, and Bach. The regal
Dómine Déus replete with pedal tones and metric displacement, the ineffable and awe inspiring
a cappella endings to Mass movements, the steadfast ascending Amen figure, and the elegant
Pléni sunt caéli chorale are all examples of Gjeilo’s music propelled by the works of these
eminent composers. Additionally, Aaron Kernis’ overlapping chords and bitonality found in
Musica Celestis served as the prototype upon which Gjeilo built and created the nebulous and
ethereal first movement “The Spheres.” In addition, echoes of Fauré and Bernstein can be heard
in the veiling of thematic material within Gjeilo’s musical texture and in the constructing of vocal
lines to serve secondary functions to the instruments.
Sunrise Mass’s compositional elements make it accessible and rewarding to choirs
ranging from secondary levels to professional choirs. Gjeilo’s melodic material is cantabile and
often has a mellifluous chant-like contour. This is evidenced in all four movements of the Mass
from the “Spheres” and “Credo” themes to the angelic “Gloria” melody, the mystical alto solo
incantation, and the comfort of the Pléni sunt caéli chorale.
The Mass’s overall harmonic structure is tonal. While Gjeilo’s momentary dissonances
and enharmonic spellings spice up the texture, the harmony never strays far from a tonal
center. When a melodic or harmonic cluster is created, the strings either carry the brunt of the
responsibility or provide a staunch foundation for the voices. In the Et resurréxit section, when
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the chords modulate with more frequency, Gjeilo adds a solo cello line to symbolize Christ’s
resurrection on the third day and to provide harmonic support for the choir as they strive for
unwavering intonation.
Rhythmically, the writing is straightforward in the vocal parts. However, Gjeilo uses the
rhythmic fabric of the strings to create vivid ambiances. For example, one can hear a post-
minimalistic eighth-note pulse and a “glorious” sixteenth-note outpouring of praise in “Sunrise.”
Moreover, in “The City,” Gjeilo depicts an energized scurry through the use of sixteenth notes
and an undulating, unrelenting tempest through the incorporation of multiple stratifications of
the beat.
Gjeilo’s vessel is his musical synthesis and amalgamation from a wide array of
composers, periods, and styles, and through it he seeks to communicate directly with everyone
by painting a lucid, evocative scene that singers, instrumentalists, and the audience can fully
respond and actualize. Since it is Gjeilo’s desire to relay his message in a manner that is neither
“superficial” nor “artificial,” the Sunrise Mass tells a sincere, honest story about a journey that is
identifiable to all.
The tale begins with “The Spheres,” and much like the Kyrie of the Mass, represents the
genesis or creation of something. The eerie and nebulous nature of this first movement may be
interpreted as the “big bang theory” or the dawn of life, whether it be in space or in a mother’s
womb. The Gloria, or “morning prayer,” is represented by Gjeilo as a “Sunrise.” The angels sing
the hymnus angelicus and awaken the people to unite and sing God’s praise. In “The City,”
Gjeilo’s approach is vast and cosmopolitan. While the people assert their beliefs through the
recitation of the Creed or Credo, the music reflects the energetic rhythm of the city, a
contrapuntal mysticism, the resurrection of Christ, and the storm of Revelation. Finally, like the
phoenix rising from the ashes, the self emerges and finds refuge in the final movement,
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“Identity and The Ground.” As the “floaty” music from “The Spheres” returns, all look up to the
heavens in thanksgiving and sing the Sanctus, or Thrice Trisagion. The mature self, symbolized
by the violin solo, emerges in “The Ground.” The Agnus Dei is a movement of reflection and
appreciation for the blessings God has bestowed on us and for the lessons life’s voyage has
taught us.
Through the process of writing this document and performing the work, a friendship
with the composer was forged and has continued to thrive to this day. Because of this, the
future is bright regarding potential performance collaborations and combined scholarly
presentations. Regarding the Sunrise Mass, one of my sincerest aspirations is to contribute to a
fresh piano-vocal score. Conductors and choristers, alike, would greatly reap the benefits of
such a project. In addition to presenting clinics on and submitting scholarly written material
about the Sunrise Mass, another score of interest is Gjeilo’s most recent major work,
Dreamweaver. I am anxious to explore and fully investigate this work due to the study and
performance of the Sunrise Mass.
No matter the outcome of the previously suggested professional development, one item
remains for certain, I will forever be grateful for the journey. The Sunrise Mass experience
mirrors most of our lives. It is a process that is never easy, and can be painful at times. Once it is
over, though, and to borrow from my new friend Ola Gjeilo, there is a “relief, a peace in it…and
hopefully, there’s a growth and openness.”
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BIBLIOGRAPHY
“10 Questions to Ola Gjeilo,” Sinfini Music, accessed February 6, 2015,

http://sinfinimusic.com/uk/features/interviews/composer-interviews/10-questions-for-
norwegian-composer-ola-gjeilo.
“About,” Ola Gjeilo, accessed February 8, 2015, http://olagjeilo.com.
Bach, Johann Sebastian. St. John Passion in Full Score From the Bach-Gesellschaft Edition.
Edited by Wilhelm Rust. New York: Dover Publications, Inc., 1993.
---St. Matthew Passion in Full Score From the Bach-Gesellschaft Edition.
Edited by Julius Rietz. New York: Dover Publications, Inc., 1990.
Barber, Samuel. Adagio for Strings From String Quartet, No. 11. New York: G. Shirmer, Inc.,
1939.
Brahms, Johannes. German Requiem In Full Score: From the Breikopf & Härtel Complete Works
Edition. Edited by Eusebius Mandyczewski. Mineola, NY: Dover Publications, Inc., 1987.
Britten, Benjamin. War Requiem, Op. 66 Full Orchestral Score. London, UK: Boosey & Hawkes
Music Publishers, Ltd., 1997.
“The Dies Irae,” Exploring the Arts Foundation, accessed June 9, 2015,
http://www.electricka.com/etaf/muses/music/ancient_music/dies_irae/dies_irae.htm
Duruflé, Maurice. Requiem. Paris, FR: Durand, 1961.
E. Davis, “Brahms’s A German Requiem-text,” BBC Music Magazine, May 6, 2015,
http://www.classical-music.com/requiem.
Fauré, Gabriel. Requiem. Edited by John Rutter. Chapel Hill, NC: Hinshaw Music, 1984.
Gjeilo, Ola. Sunrise Mass Vocal Score with Keyboard Reduction. Chicago, IL: Walton Music Corp.
2010 and 2012.
---The Ground from Sunrise Mass. Chicago, IL: Walton Music Corp., 2010 and 2011.
---The Spheres from Sunrise Mass. Chicago, IL: Walton Music Corp., 2010.
---Sunrise Mass Full Score. Chicago, IL: Walton Music Corp., 2010.
Jeffers, Ron. Translations and Annotations of Choral Repertoire. Corvallis, OR: Earthsongs, 1988.
Kernis, Aaron Jay. Musica Celestis for String Orchestra (Full Score). New York City: Associated
Music Publishers, Inc., 2008.
Kira Zeeman Rugan, “About Ola Gjeilo’s Sunrise: Symphonic Mass for Choir and String
Orchestra,” Ola Gjeilo, January 2015, http://olagjeilo.com/admin/wp-content/uploads/SUNRISE-
MASS-Kira-Rugen-paper.pdf.
“Modern American Masters: Ola Gjeilo & Morten Lauridsen in Concert,”
http://www.choralnet.org/449834 (accessed January 2015).
Ola Gjeilo, interview by Eric Oliver Posada, March 9, 2015.
“Sphere,” Merriam-Webster, accessed July 21, 2014, http://www.merriam-
webster.com/dictionary/sphere.
Thomas Tallis, If Ye Love Me, ChoralNet, March 2015, http//www.cpdl.org.
84
APPENDIX A
LITURGICAL LATIN TEXTS AND TRANSLATIONS
Kyrie
Kýrie eléison, Lord have mercy,

Chríste eléison, Christ have mercy,
Kýrie eléison, Lord have mercy,44
Gloria
Glória in excélsis Déo. Glory in highest to God.

Et in térra pax And on earth peace
homínibus bónae voluntátis. to men of good will.
Laudámus te. Benedícimus te. We praise thee. We bless thee.
Adorámus te. Glorificámus te. We worship thee. We glorify thee.
Grátias ágimus tíbi Thanks we give to thee
propter mágnam glóriam túam. because of great glory thy.
Dómine Déus, Rex coeléstis, Lord God, King of heaven,
Déus Páter omnípotens. God Father almighty.
Dómine Fíli unigénite, Jésu Chríste. Lord Son only begotten, Jesus Christ.
Dómine Déus, Agnus Déi, Lord God, Lamb of God,
Filius Pátris. Son of Father.
Qui tóllis peccáta múndi, Who take away sins of world,
miserére nóbis. have mercy on us.
Súscipe deprecatiónem nóstram. Receive supplication our.
Qui sédes ad déxteram Pátris, Who sit at right hand of Father,
miserére nóbis. have mercy on us.
Quóniam tu sólus sánctus. For thou alone holy.
Tu sólus Dóminus. Thou alone Lord.
Tu sólus Altíssimus, Jésu Chríste. Thou alone most high, Jesus Christ.
Cum Sáncto Spíritu With Holy Spirit
in glória Déi Pátris. Amen. in glory of God Father. Amen.
Credo
Crédo in únum Déum, I believe in one God,

Pátrem omnipoténtem, Father almighty,
factórem coéli et térrae, maker of heaven and of earth,
visibílium ómnium, et invisibílium. visible of all things, and invisible.
Et in unum Dóminum Jésum Chrístum, And in one Lord Jesus Christ,
Fílium Déi unigénitum. Son of God only begotten.
44
Ron Jeffers, Translations and Annotations of Choral Repertoire (Corvallis: Earthsongs, 1988), 48
85
Et ex Pátre nátum ante ómni saécula. And of Father born before all ages.
Déum de Déo, lúmen de lúmine, God from God, light from light,
Déum vérum de Déo véro. God true from God true.
Génitum, non fáctum, Begotten, not made,
consubstantiálem Pátri: of one substance with Father,
per quem ómnia fácta sunt. by whom all things made were.
Qui propter nos hómines, Who for us men,
et propter nóstram salútem and for our salvation
descéndit de caélis. descended from heavens.
Et incarnátus est de Spíritu Sáncto And made flesh was of Spirit Holy
ex María Vírgine. Et homo factus est. of Mary Virgin. And man made was.
Crucifíxus étiam pro nóbis sub Póntio Piláto: Crucified also for us under Pontius Pilate,
pássus, et sepúltus est. suffered, and buried was.
Et resurréxit tértia díe, And he rose third day,
secúndum Scriptúras. according to Scriptures.
Et ascéndit in caélum: And he ascended into heaven,
sédet ad déxteram Pátris. he sits at right hand of Father.
Et íterum ventúrus est cum glória, And again going to come he is with glory,
judicáre vívos et mórtuos: to judge living and dead;
cújus régni non érit fínis. of whose kingdom not will there be end.
Et in Spíritum Sánctum And in Spirit Holy
Dóminum, et vivicántem: Lord, and lifegiver
qui ex Pátre Filióque procédit. who from Father and Son proceeds.
Qui cum Pátre, et Fílio Who with Father and Son
simul adorátur et conglorificátur: together is adored and glorified,
qui locutus est per Prophétas. who spoke through Prophets.
Et únam, sánctam, cathólicam And one, holy, catholic
et apostólicam Ecclésiam. and Apostolic Church.
Confíteor únum baptísma I confess one baptism
in remissiónem peccatórum. for remission of sins.
Et expécto resurrectiónem mortuórum. And I expect resurrection of dead.
Et vítam ventúri saéculi. Amen. And life to come of age. Amen.
Sanctus/Benedictus/Agnus Dei
Sánctus, Sánctus, Sánctus, Holy, Holy, Holy

Dóminus Déus Sábaoth. Lord God of Hosts.
Pléni sunt coéli et térra Full are heaven and earth
glória túa. of glory thy.
Hosánna in excélsis. Hosanna in highest.
Benedíctus qui vénit Blessed who comes
in nómine Dómini. in name of Lord.
Hosánna in excélsis. Hosanna in highest.
Agnus Déi, Lamb of God,
qui tóllis peccáta múndi: who take away sins of world,
dóna nóbis pácem. grant us peace.
86
APPENDIX B
FORMAL ANALYSIS
“The Spheres”
Section A B A C A
Mm. 1-22 23-38 39-68 69-80 81-102
(2+2++2+2+3+2+2+ (2+2+2+2+2+2+ (2+2+2+2+3+2+2+2+3+2+4 (6+6) (4+4+4+4+3
2+5) 4) +4) +3)
Text Kýrie eléison Chríste eléison Kýrie eléison Kýrie eléison
Theme I I II I
Key C minor
“Sunrise”
S A B C B A D
M 1-48 49-92 93-126 127-147 148-184 185- 224-
(2+4+4+4+6+4+5 (2+4+4+4+4+4+ (4+4+4+4+4 (4+4+4+ (3+4+4+4+4+ 223 243
+4+5+3+4+3) 4+6+5+3+4) +4+4+6+) 5+4) 4+4+4+3+3) (3+4+4 (5+4+
+4+5+ 5+6)
3+4+4+
4+4)
T Glória in Laudámus Dómine Qui tóllis Qniam. Amen
excélsis Déo. te. Déus
T III III, down one IV II, in IV, up one- III
half-step major step
K f# minor F minor D major E major e minor Eb
major
87
“The City”
S A A B C D E A F
M 1-22 23-44 45-67 68-93 94-118 119-139 140- 166-227
(2+4+4+ (4+2+4+ (4+4+3+3 (4+4+2+ (4+4+4+4 (4+3+4+4 165 (6+7+3+3+3+4+3+3
3+3+6) 4+4+4) +4+3+2) 4+2+3+ +4+5) +2+4) (4+4+2 +3+4+3+3+3+2+2+
5+2) +4+6+4 4+6)
+2)
T Crédo Et in Déum de Qui Crucifíxus Et Et Crédo
únum Déo propter resuréxit íterum
T V V VI I I V V I, V
K d, Bb, d, E, D E, f#, c# d multiple d, Ab, c, eb, e, c, f, g, f, f#,
Db, E, D, Db, e, b, a, g, f
B D
“Identity and The Ground”
Section A B C
Measures 1-41 42-97 98-127
(2+2+2+2+3+2+2+2+2+3+ (4+4+4+4+4+4+4+ (3+2+4+5+2+3+3+3+5)
2+2+2+2+2+2+4+3) 3+3+3+4+4+4+7)
Text Sánctus Dóminus Plénisunt caéli et terra Dóna nóbis
Themes I Chorale
Key c minor F major E-flat major
88
APPENDIX C
COPYRIGHT & LICENSING
89
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APPENDIX D
FULL SCORE
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OLA GJEILO’S SUNRISE MASS:

Eric Posada, B. M., M. M.

Submitted to the Graduate Faculty

Doctor of Musical Arts

III. CONTEXT AND BACKGROUND 8

IV. THE SPHERES 11

VI. THE CITY 35

VII. AN IN DEPTH EXPLORATION OF THE CITY 48

VIII. IDENTITY AND THE GROUND 57

IX. REHEARSAL CHALLENGES 65

APPENDIX A: LITURGICAL LATIN TEXTS AND TRANSLATIONS 85

APPENDIX B: FORMAL ANALYSIS 87

APPENDIX C: COPYRIGHT & LICENSING 89

APPENDIX D: FULL SCORE 92

Gjeilo’s compositional style and fingerprint is distinct and is the result of an

enough to be included on most any program.

Figure 1. Aaron Jay Kernis’ Musica Celestis, mm. 1-15 12

Figure 2. Instrumental opening of “The Spheres,” mm. 1-12 13

Figure 3. Theme I “Augmented,” mm. 1-20 15

Figure 4. “Clash” of c minor and first inversion g minor, mm. 29 16

Figure 6a Theme I conclusion on c minor, mm. 18-21 18

Figure 6b Theme I deviation to g minor, mm. 56-59 19

Figure 7. Theme II, mm. 69-74 20

Figure 8. Theme II extended, mm. 75-80 20

Figure 9. Theme I, mm. 81-84 21

Figure 10. Dies irae plainchant 22

Figure 11. Violin solo, mm. 96-100 22

Figure 12. Theme III presented by violins, mm. 3-10 23

Figure 13. Samuel Barber’s “Adagio for Strings,” mm. 25-26 24

Figure 14. Theme III sung by the sopranos, mm. 51-58 25

Figure 15. Theme I inverted, mm. 71-74 26

Figure 16. Theme IV, mm. 96-103 26

Figure 17. Dómine Déus section, mm. 127-132 28

Figure 19. Word painting by altos and tenors, mm. 196-205 32

Figure 20. Benjamin Britten’s War Requiem, conclusion of “Requiem Aeternam” 33

Figure 21. E-flat major conclusion to Amen 34

Figure 22. Theme V, mm. 3-6 35

Figure 23. Double bass motive, mm. 9-12 36

Figure 24. Theme VI, mm. 45-48 36

Figure 25. “Hollow” open fifth cadence, mm. 63-65 37

Figure 26A. Theme I 38

Figure 26B. Theme I embellished, mm. 68-71 38

Figure 27. Return of Theme I with Crucifixus text, mm. 94-97 38

Figure 28A. Latter portion of Theme V, mm. 17-20 40

Figure 28B. Return of the latter part of Theme V, mm. 129-133 40

Figure 29. Return of Theme I augmented, mm. 166-171 41

Figure 30. Genesis of “The Apocalypse,” mm. 166-167 42

Figure 31. Amen motive, mm. 192-194 43

Figure 32. Inception of Gjeilo’s “Turba Chorus,” mm. 192-193 44

Figure 33. Maurie Duruflé’s Requiem, “Pie Jesu,” p. 63 45

Figure 35A. Chríste motive, “The Spheres,” mm. 89-92 48

Figure 35B. Chríste motive embellished 49

Figure 36. “Sanctus” from Requiem, Gabriel Fauré mm. 5-7 50

Figure 37. “Offertoire” from Requiem, Gabriel Fauré mm. 66-68 51

Figure 38B. Entire texture from Fauré Requiem, mm. 65-68 52

Figure 39. Alto solo Line serving as a pedal, mm. 72-75 52

Figure 44. Violin Solo reminiscent of Credo theme (Theme V) 57

Figure 46. Gjeilo’s Chorale “The Ground,” mm. 42-49 60

Figure 47A. Thomas Tallis’ If Ye Love Me mm. 1-4 61

Figure 47B. Opening of “The Ground,” mm. 42-49 61

Figure 49. Gabriel Fauré’s Requiem, “Agnus Dei,” mm. 45 64

Figure 50. The Spheres motet, mm. 53-59 75

Figure 51. The Spheres, mm. 81-92 77

Paul Sikes, Director of Orchestras at Texas A&M University.