A Mass for the Dead

The liturgy of the Mass is an ancient Christian order of worship, which, over the centuries, came to be followed principally in worship through music.  If you attend a Roman Catholic, Episcopalian/Anglican, and some Lutheran churches, you will find that they follow the choral mass each week.  In other settings it is carried out primarily in spoken language.

Presbyterians, in our Reformed tradition that tried to distance itself from the Roman church, we have not followed the structure of the mass, but some elements of it do make their way into our eucharistic liturgy, primarily the Sanctus and Benedictus. 

As a choral singer, however, I have participated in the singing of many versions of the mass in concert form and have come to appreciate the way in which the story of the mass moves us from a place of penitence to a place of adoration and thankfulness.  In particular I am amazed how these ancient words continue to inspire composers to set them to music and the messages that are portrayed through the different interpretations of the texts by the composers.

My friend Jimmy tweeted this week that for Holy Week he was going to listen to a different Requiem (a mass for the dead) every day.  This led me to reflect on the variety of musical settings the mass has taken over the years, and how we continue to find new meaning in it.  To experience some of the variety, below are recordings of the Agnus Dei movement from several different settings of the mass.  Listen to the variety and difference in each piece, and see what new discoveries you can make.  Blessings on your Holy Week.

Translation:
O Lamb of God, who takest away the sins of the world,
have mercy upon us.
O Lamb of God, who takest away the sins of the world,
have mercy upon us.
O Lamb of God, who takest away the sins of the world,
grant us peace.

Faure Requiem (1890)

Vierne Solennelle Messe (1906)

Durufle Requiem (1947)

Rutter Requiem (1985)

Karl Jenkins' Armed Man Mass (2001)