Richard Rice has adapted the setting he wrote on commission for the 2010 Sacred Music Colloquium so that it works with the new text. The entire setting is available for free download, offered in both modern notation with accompaniment or in traditional chant notation.
Here are some wonderful practice videos offered by Corpus Christi Watershed:
I'm confused as to why someone, in 2010, writing for the Ordinary form of the Mass in English would choose to employ a 9 fold Kyrie.
I use 9 fold if I'm using a piece from the Kyriale that was meant to be sung that way.
I would never write a new setting in that format.
I have the same question. The Chant Cafe contributors have made the point, over and over again, that we need liturgical music which allows us to sing the Mass using the prescribed texts and in the way that the Church intends for us celebrate the liturgy. When the text of the Missal calls for a sixfold Kyrie – why would a composer of a new setting write a ninefold Kyrie? I suppose that Richard Rice would have to answer that question for us, but it seems to me that this is a potential source of confusion to the faithful in the pews who would wonder why what we actually do is different from what the book says we are supposed to do. I would (and will) use this lovely setting of the ordinary, with the exception of the Kyrie.
Well, the Roman Gradual still provides for the 9-fold, which is actually more beautiful. The 6-fold that you find in the Missal pertains to the spoken Mass, and it can be sung too of course. But so can the Gradual version. This is hardly an unusual case. The sung proper texts are also different, and the Missal doesn't even print the Offertory antiphon, much less the Psalm text from the Gradual, so this is not unusual. What is sung at Mass is not restricted to the Missal text and can (and should) draw on the Gradual too.
Just beautiful! And singable!
And the music is serious enough to carry the weight of the words!
That's the problem with so many of the settings for the vernacular Mass: the music just isn't as serious as the words it is proclaiming (although at 62, I can remember some SATB Masses in the '50s and '60s here in the suburban parishes of Boston of which the same could be said: barbershop quartet Masses, we used to call them)!
But this is really lovely and the restored full text of the Gloria flows very nicely (although "people" in the first line should have been left "men"!)
Congratulations on a job well done. Thanks for a lovely and inspiring setting of the complete mass ordinary, credo included. I'm certain it is far superior to anything we will ever see from the folks at Paluch/World Library, GIA, Oregon Press, Collegeville, and the like (at which their idea of sacred music is whatever appeals to clapping the hands and stomping the feet). By the way, one of the newest settings I accidently came across (OCP, Mass of Glory, I believe) apparently calls for snapping the fingers … or so it is recorded! I do plan to use your chant setting, and who cares if it contains two Kyries or three. I like the idea of three, since the setting can be used in both the nervous ordo and extraordinary rites. Again, thanks for making this beautiful setting available to us.
Richard A. Wozniak
rwozniak@niu.edu
My generation has not learned to chant the ordinary of the Mass in any language. With the restored texts and the renewed emphasis on chant, it is a JOY to see such a singable real chant setting, in the vernacular. To your credit, I was able to follow the chant notation and sing along though I am not familiar with that either. This had to be the result of your careful composition. Thank you for this marvelous work.