Missa Slavonica - Latin Mass setting to beloved Byzantine melodies
  • NihilNominisNihilNominis
    Posts: 1,066
    This began life about two years ago, but is finally complete and typeset!

    Let me know what you think.
    Thanked by 7CHGiffen FSSPmusic Chant_Supremacist Roborgelmeister CharlesW monasteryliturgist M. Jackson Osborn
  • dannyboi0513
    Posts: 29
    @NihilNominis
    Any recordings?
  • Chant_Supremacist
    Posts: 228
    Thank you, I’ll be trying this out with my choir at some point. Excuse my simple-minded questions, but the top voice on the Kyrie seems very familiar. Has it been previously set to English? Also, why is the Agnus in such a dramatically different style than the others? If I’m not mistaken that’s one of the traditional eastern melodic patterns, while the others (excepting the beginning and end of the Gloria) seem more through-composed and with a more tonal music objective.
    Thanked by 1NihilNominis
  • NihilNominisNihilNominis
    Posts: 1,066
    @dannyboi0513

    Yes! Live recordings of everything but the Gloria. See this playlist:YouTube link

    This was from my first season in my present post -- we've certainly done some tone-building since then!! Don't judge too harshly! Interesting to listen back, however.

    @Chant_Supremacist

    The Kyrie is based on a hymn-tune by Bortniansky (that I have heard liturgically used, especially to cover the Proskomide, e.g. this profoundly nostalgic recording). Its use in that context, covering the silent preparation of the gifts, reminded me so much of the moments in the Old Mass when the Kyrie covers the preparatory prayers (esp. if the Introit is used as processional) and incensation of the altar, and that inspired the whole Mass setting.

    It goes by the tune name SAINT PETERSBURG when it is found in hymnals.

    The Gloria is set to the formulaic "Greek chant", harmonized as the Slavic tradition churches do, the fast one sets the Ode Psalm 103 from the beginning of Divine Liturgy (a moment that feels like the Gloria), and the middle section the famous version from Great Vespers, also set by Rachmaninoff in his All-night Vigil.

    The Sanctus / Benedictus is taken from Kedrov's Otche Nash / Our Father. In the liturgies I have attended where this was used, the impact of this melody is a jaw-dropping moment of overwhelming beauty. Since the Paternoster in the Latin Mass is non-negotiably dialogical between priest and people, the Sanctus was the obvious choice for duplicating that "impact" in the Latin-Rite Mass, particularly in the profound silence, awe, and unhurried space of time provided by the Canon in the Old Mass.

    The Agnus Dei is set to a formula (as is the Gloria, so there's balance I think between through-composed Kyrie / Sanctus and formulaic Gloria / Agnus Dei), partly because I think the litanic character of the text comes through, and also leaving it "hanging" at the third seems to open it to the Communion Rite that follows, which is appropriate.

    Probably more than you asked!
    Thanked by 4Chant_Supremacist Roborgelmeister CHGiffen M. Jackson Osborn
  • Palestrina
    Posts: 501
    Croatia had permission to use the Missal of Pius V in Church Slavonic.

    Did they apply Church Slavonic to Gregorian melodies or use Slavonic-Byzantine models instead?
  • MatthewRoth
    Posts: 3,210
    NLM article here with video suggests the latter, but I don’t know if the examples are in any way comprehensive. I can’t recall seeing an antiphonale or graduale.
  • canadashcanadash
    Posts: 1,537
    I like this very much! During Covid I attended a Byzantine Church and your setting feels familiar because of that.
    Do you have a Gospel Acclamation?
  • monasteryliturgistmonasteryliturgist
    Posts: 508
    This is really beautiful. Nice work.
  • M. Jackson Osborn
    Posts: 8,486
    Nicely done!
    I think that St John Chrysostom would be pleased
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