|
: : GENERAL INFORMATION : :
• PDF
acrobat version •
The First Mass of James
Fryar, FSSP
Missa Cantata "Summi et Aeterni Sacerdoti"
a mass in the style of
SACRED RENAISSANCE POLYPHONY
Composed by Jeff Ostrowski
INDEX
| 1) Introit (Gregorian Chant) |
8) Salve Regina |
| 2) Kyrie |
9) Sanctus |
| 3) Gloria |
10) Numquam Separari |
| 4) Lesser Alleluia (Gregorian Chant) |
11) Agnus Dei |
| 5) Greater Alleluia |
13) Ego sum Panis |
| 6) Credo (Gregorian Chant) |
14) Communion (Gregorian Chant) |
| 7) Offertory (Gregorian Chant) |
15) Cantate Domino |
BACK to top of page...
The First Mass of James
Fryar, FSSP
MAY 24th, 10:30am
• PDF
acrobat version •
The following pages contain all the music that will
be sung on May 24th, for the first Mass of my friend, Mr. James
Fryar. I can truthfully say that conducting this Mass will be the
absolute highlight of my musical life.
I composed the Kyrie, Gloria, Greater Alleluia, Sanctus,
Agnus, and the Ne Separari, and took many of passages from composers
such as Victoria, Croce, Palestrina, Gabrieli, Ingegneri, Manchicourt,
and Uttendal. I also edited and made changes in the other polyphonic
compositions.
The Mass will start at 10:30am in St. Joseph's Church (227 SW
Van Buren, Topeka, KS) on May 24th, 2004.
The singers MUST arrive at
the Church no later than 9:15am,
because we are having a practice before the Mass (this is the only
time we can practice as a full group, because the singers are coming
from many different parts of the United States).
There will be a professional DVD and CD made of the Mass, and that
is another reason why it is so important for everyone to practice!
Please! Don't put off practicing or it will be too late!
Every composition in this booklet can be practiced on-line by
going to the website (the address is on the front of this booklet).
I strongly, strongly recommend that all the singers practice their
music with the computer, as much as possible (I believe that you
will find it fun to practice off the computer). In addition, a practice
CD of all the pieces is being made, and this should be available
to all the singers soon. And, the CD will be available at the website
in the form of MP3's.
If there is anything at all that I can do to help you as a singer,
I demand that you get in touch with me and tell me. My E-mail is:
jeff@ostrowski.cc
I put my heart and soul into writing this Mass, and I am unspeakably
grateful to you for learning it as well as you can. On one hand,
I know that there is so much great music that we couldn't include
this time around. On the other hand, though, I am very proud of
the Mass, and I honestly believe that what we are doing is a project
of epic proportions and incredible importance.
Please learn the pieces in approximately this order:
(1) Gloria (longest and hardest piece)
(2) Salve Regina
(3) Kyrie
(4) Sanctus
(5) Numquam Separari
(6) Agnus Dei
(7) Greater Alleluia
(8) Ego Sum Panis
(9) Cantate Domino
I would remind you that it is much better (for everyone!)
if you learn half the pieces very well, rather than “learning”
all the pieces, but not thoroughly.
(Men, please start practicing the Gregorian chant only after you
have learned the polyphony thoroughly)
BACK to top of page...
: : A FEW NOTES ON THE MASS : :
SANCTUS:
Alto singers, please don't forget that there is an f-sharp
in the key signature in measure 77.
GLORIA:
There are tempo changes in the Gloria. Be ready for the tempo change
at any double barline, and around measures 46 - 53 and 105 –
112
BREATHING:
I have marked some important breaths with a big mark and some with
a small mark - Please don't take a very big breath on the small
marks.
Always breath on rests (obviously), and always take the breaths
I have marked, unless you can get along without them. However, PLEASE
do not get into the habit of ignoring my breath marks: they were
put there after much thought. If you need more breaths than are
marked, please stagger breath within your section.
It will be noticed that I have occasionally marked a quick breath
in the middle of a word or in the middle of a long note. This may
seem strange at first glance, but there is real logic behind it
(which I can't go into here).
Probably the two main reasons you need to trust me on the breath
marks: 1) sometimes they have to do with what is coming ahead; 2)
sometimes, I do not want the singers to connect an interval (slide)
so the little breath mark helps to make sure of this.
N.B. stands for “no breath,” and is accompanied by a dotted
line.
TUNING:
Whenever you sing a sharp on the last note of a piece (or section)
please don't sing it very loud: listen more than you sing, to make
sure it is in tune.
TRICKY ALTO PART:
Measure 13 in the Kyrie has a tricky leap (G to B-flat) in the alto
part.
THE WORD ALLELUIA:
Anytime you have the word “alleluia,” please try to sing
it like: Ah – leh – loo – yah. Please do not sing
it like: Ah – lay – loo – yuh.
THE LETTER “E” IN LATIN:
Whenever you have “e” in Latin, please try to sing it
as “eh” and not “ay.” For instance, in the Ego
Sum Panis, please don't start out by singing, “Ay-go sum Panis”
- instead, please sing, “Eh-go sum Panis...”
THE WORD “KYRIE” IN LATIN:
Please try to pronounce “Kyrie” as “Kee-ree-eh”
(and please always roll your r's in Latin). There are some people
who wrongly rhyme the first two syllables (ky-ri) with “eerie”...
GREGORIAN CHANT (men only sing the
chant, with the exception of the Credo):
Men, please be aware that in Gregorian Chant there are cantors and
choir. The cantors are a small group, and the choir means all the
men.
When you see words in brackets, like [Dig-nus est ag-nus] then that
means that only the cantors sing those words.
Sometimes you will see a little pointy arrow going up. That means
that the conductor will make an upward gesture on that note (like
a pick-up note).
One more thing: you will notice that when we are chanting, we sometimes
hold the long notes a little longer than merely “twice the
value of the short notes”... I can only say that I think you'll
become comfortable with this if you just watch the conductor's hand.
(Please note: I didn't usually mark brackets in the Gregorian notation
to signify cantors, because it is assumed that if you can read Gregorian
notation, you understand the rudiments of cantors/choir)
Later on, I may post some more notes on the website, for instance,
about how I am going to conduct certain parts
BACK to top of page...
|