Missa In Epiphania Domini
  • Drake
    Posts: 80
    I am very excited to share a new choral Mass setting I just completed within the last week or two (pending tweaks of syllable placement or a note here and there) for SATB. The setting is written particularly to honor Our Lord's Epiphany. Much of my inspiration for the Mass was the painting Adoration of the Magi by Gentile da Fabriano. I have tried to work elements of Baroque, Renaissance, and even a bit of Byzantine sound into the setting, representing gold, frankincense, and myrrh, respectively.

    In addition to the usual ordinaries, there is an Et Incarnatus Est and an alternate intonation of the Sanctus for larger choirs (which may or may not work for a given space).

    I also elaborated on a theme from the Gloria as a postlude for organ. I'm taking an educated guess that it is playable based on my slight piano skills and my approximate fingering as noted on the score, but being my first organ composition, there may be some technical issues with it. I'm definitely not an organist, so I'd appreciate feedback from some of the organists in the group, if you are willing to take a look at it.

    As usual, PDFs are available for free download (creative commons). PDFs and digital renderings are available at: http://www.catholicliving.net/missa-in-epiphania-domini-drake/

    (Incidentally, if any of the videos fail to load, right-clicking on it and opening it in a new tab seems to make it load properly.)

    I welcome feedback and hope that the setting may be of use to someone here.
  • Exquisite!
    Thanked by 2Drake cesarfranck
  • I'm singularly impressed. (That takes some doing, so if I were wearing a hat, I would be doffing it for you.)

    Your parallel 7ths (which you mention) sound like a resolution in progress, whereas parallel octaves would sound rather like a cipher, a pedal point which wasn't quite doing its job properly. Don't change the 7ths!

    During the Et Incarnatus Est, the doubled pitches are surprising, and a little unsettling. May I suggest that the Bass pitch become a b-natural, instead?

    The tempo changes in the Gloria take place in logical places, as if you were observing the double bars in the chant.

    Thank you for providing transitional reference points for the Et Incarnatus Est.



    Thanked by 2Drake cesarfranck
  • Drake
    Posts: 80
    Thank you, Chris. I will make note of that bar in the Et Incarnatus Est as a spot to look at. I appreciate your thoughts; another pair of eyes/ears is very helpful.
  • Drake
    Posts: 80
    I've tried the b-natural and a couple other things also. There on measure 13 with the doubled notes on the fermata, I want to keep an open, unresolved suspense. Rather than the Bass doubling the alto, what do you think of the Bass going up to G (unison with the Tenor)? It has the extra perk that all voices come back in where they left off for et homo factus est while maintaining the open fifth.