When our choir is singing, they sing the Kyrie, Sanctus/Benedictus, and Agnus Dei of the choral Mass chosen for the day; the people sing the Gloria and the Creed. In summer non-choir season, it's all congregational; once or twice a year on a holy day, it's all choral. Been this way for a long time. An earlier Sunday Mass is always congregational (no choir).

I have the same questions as Jenny and am looking forward to other responses here. Jeff O.'s "Sherwin" Gloria is probably my favorite of all the English settings I've heard — the "Amen" at the end is exquisite! I'd love for our congregation to know this one.

But I am concerned a bit about its difficulty level. Thinking of Gavin's comment here, I made a couple of errors myself when sight-singing the melody. I guess I find it more "tricky" than difficult per se… there are just a couple spots where I have to remind myself that there are two pitches on that syllable rather than just one, or vice versa.

Also, especially for Glorias, it helps if there are melodic motifs that reoccur. When we approached the new translation, our parish had no history in the last 20 years of singing through composed Glorias, and now that's all we do.

I am quite wedded to the principle that the ordinary belongs to the people. They should have a repertory of at least three quality ordinaries: one for penitential seasons, one for Christmastide and Eastertide and Solemnities, and one for that portion of 'ordinary time' which follows Corpus Christi. (That portion of 'ordinary time' which follows Epiphany is actually the continuation of the Christmass cycle which ends on 2nd February, and should, therefore, use the Christmastide ordinary).

The more ordinaries the people know and the more they 'own' them, the less likely (and less appropriate) it becomes to object to cantorial and choral propers as shunting the people aside. If the people really own their hymns, ordinaries and dialogues, the more fittingly will they appreciate the choir's (or schola's, or cantor's) role in singing anthems and the propers. A rhythmic reciprocation which reverberates throughout the mass is established which all can see and experience the beauty of.
Though I am one of many who loves the polyphonic masses, I am not in favour of having them done except on the very rarest of occasions. There is Plenty of other polyphonic music which can better be used as anthems and motets to adorn the liturgy. Especially when on solemnities the choirs can be expected to embellish the liturgy with the choicest musical treasures at offertory, communion, descants, etc., the people should Not be relieved of the parts of the mass that belong to them. They should have been taught long ago a setting of the mass which is appropriately festive.

Forgive my confusion on two points!

Should I be reading between lines thus: A moderately simple [choral] setting by Jeff Ostrowski [of the Gloria from Paul Onnonhoaraton's congregational Mass in Honor of St. Sherwin]? Or, as it first seemed, is Paul an alter ego and the piece a one-movement missa brevis?

In either case a beautiful piece which would make me look forward to a Sanctus.

Also, the Mass is a fully-written ordinary, chant based, in English, with organ accompaniment. The choral arrangement of the Gloria is newly released. The rest of the Mass is (so to speak) yesterday's (good) news.

Jeff has expressed he'd like to SATB the whole mass, which would immediately put it on the top of my short list for OT1 of 2013 (Season of Epiphany).

Thanks Adam!

When I click on "Organ accompaniment", the first page of the pdf reads:

This packet contains 1. Organ accompaniments [as expected] 2. Vocalist scores, both Gregorian and 3. Modern 4. Congregational bookles [veel mazel met de Flamans!] (modern & Gregorian).

It might be worthwhile to relabel that button "complete Mass including Organ accompaniments".

The pamphlet sized square notes are much appreciated. I worry a little about the copyright date of 1973 for the texts, which can't be right, can it?

Sounds like I need to look at this, but I am afraid it will be some time before I can make corrections. :-(

It's fine to have a handle, folks, but please pick something pronounceable. I half suspect that even Jeff doesn't have a clear idea of how to pronounce his new one. (Where do you go to learn to pronounce Huron names from the 1600s?)

If you want to change your username, contact me to make the change.

Jeff O., I'm curious if someday you might share what inspired your devotion to the Jesuit Martyrs of North America, after whom so many of your wonderful musical works are named.

As best I can tell from a quick Google search, Paul Onnonhoaraton was "a young man of about 25 years, of great courage, who laughed at death, being animated with the hope of a better life," and who 'offered himself as a sacrifice in place of St. Isaac Joques.'

Everyone calls me by my last name, since it's a common man's first name. Or the most common mispronunciation of my first name is usually "Gay-vin." Somehow, that was very common in grade school; the other kids juuuust couldn't seem to get it right!

I think it works for a user name. Anyone can hunt me down whatever my name is, but not specifying my last name (or precise location) is at least a small layer of security.

AndrewK,

I would be interested to know if you share my strong belief:

It takes a lot of work to teach a congregation something new.

It must be done for a long time.

Then, take it away from them for a little while — rest it.

When you bring it back, they will sing with gusto !

I've had this experience many times with congregations. What's really cool is when (after you bring it back) people say about it, "Oh, I've sung this since I was a child." But, in reality, that is not true! But their mind tricks them into thinking it is true.

Settings like the St. Ralph Sherwin avoid what I have always considered to be the fatal flaw of Church music: "predictability" — but that is what will keep settings like the St. Sherwin interesting for years! :-)

I think the key, PO, is a short rest. I once tried teaching a congregation the Latin chants, with intermittent breaks at the seasons. Each time I brought it back, I got numerous complaints, usually including, "We've NEVER done this before!!"

So I think a few weeks' break is ideal, though the concept is sound.

From a director in California (who gives permission to reprint):

We had our first schola rehearsal tonight (Wednesday.) We read the Sherwin SATB through, paid heed to the phrasing, etc. The choir had not been prepped at all, in fact I never prep my choirs with recordings prior. All were enchanted. We read it a third time in SATB through, then to reinforce my strategy to have it chanted via melody only for four/five times, we chanted the melody. What I'd like to share is that the melody is incredibly intuitive, so motivic, verbatim repetition isn't really an issue.

Hey all,
Thought I'd weigh in with my recent experience using Jeff/Paul's lovely mass for St. Anne Line. New job, tough parish - so went in with staff - organist & section leaders who also play violin and viola. We did meticulous preparation before introducing this mass: created lovely programs, re-organized the Gloria (temporarily) so that the congregation could sing the "Glory to God in the highest..." three times at key points - (yes we were very careful about this) : had the violin solo out the melody of the "Glory to God" w/organ for an intro. - & had the violin play the melody from the choir loft as we sang it; taught it for two Sundays and then after several weeks of teaching, we dropped the response and sang it straight through - just as written. It was beautiful.

However, it didn't work for my parish I'm very sorry to say. Forgive me Jeff/Paul - for I have sinned - albeit w/good intentions,

The Gloria became a flashpoint for a barrage of dissent (which was coming anyway.) But, even our stalwart supporters with very good taste demanded that I stop using it. Why? Not because it isn't lovely - because they became too frustrated trying to learn it from the pews. Let's face it - most people need the repetition of a melodic phrase to actually learn music by audiation. My original gut feeling was to use the St. Ralph - which I think is a bit more memorable. But - in retrospect, even that wouldn't have worked.

I'm now using the Missa Simplex - which seems to be working - but only the Gloria. Someday, I'll take the Anne Line off the shelf and use it again - but I'll wait before exposing this lovely mass to undeserved ridicule.