9 Replies to “Psallite Mass Reviewed”

  1. I too would like to hear what this sounds like. The description is encouraging…it sounds as though it is exactly the kind of setting envisioned for the OF liturgy when it (the OF liturgy) was conceived. I love the "multi lingual" options – English, Spanish and LATIN! When was the last time we saw a Mass setting with those options? That seems to be what I would call forward looking.

    I am puzzled by the association of this setting with the composers mentioned on the Psallite site. Not what I would expect from Paul Inwood at the very least, but then again, "The Times, They Are A-Changin'"

  2. Having sound and visual samples of this mass setting would be most helpful. Parishes are going to be shelling out quite a bit of money for new music to serve the Mass and having some resource to see/hear would be most helpful in making the "right" decision(s).

  3. The Psallite Mass will be included in the resource "Lift Up Your Hearts: Music for the Order of Mass" published by Liturgical Press. This resource will include TEN mass settings plus the Order of Mass with ICEL chants for the Roman Missal. PDF review copies can download at: http://www.litpress.org/Detail.aspx?ISBN=9780814634004
    Mp3 files of the Psallite Mass will be available in the coming weeks.

    Gary Feldhege
    Music Editor
    Liturgical Press

  4. Thank you for posting the link, Gary.

    Kyrie I (Kyrie with invocations) has a simple but effective chant-like melody with a suitable accompaniment. The second option (Kyrie alone) is less successful. Its extension of the option one “Kyrie” figure works against the antiphonal grain of the text, being neither antiphonal nor otherwise binary in form, and the four instances of “Kyrie” just sound odd.

    The falling tritones of Kyrie II are likely to present congregations with an intonation problem.

    The Gloria is inoffensive, if a little unimaginative. I would have preferred to see something through-composed. It calls to mind the complaint of one of the Collegeville composers that he was having difficulty setting the new Gloria translation.

    The 3/4 regularity of the Gospel Acclamation, and its determination to set each syllable to one and only one note, deprive the text of the contemplative element of its character. The use of inversion in the accompaniment provides some interest, though I would suggest a d flat in the base and alto on the third beat.

    The syncopation and general busyness of the Lenten Gospel Acclamation are unsuited to the season, as is the suggested percussion.

    The Easter Gospel acclamation combines the rhythmic failings of the other two, with an added dash of the grandiose. The dominant ending of the verse tone serves to emphasise this.

    For the settings of the Creeds and the Our Father, see my comments on the Gloria, above.

    The simple, four-part chanted setting of the Sanctus, Memorial Acclamation and Amen, on the other hand, are attractive and fitting. The style is reminiscent of Anglican and Eastern European harmonised chant. If I suggest that the composer might like to study the range of invention in the Anglican form for the possibilities it suggests, it should not be taken as criticism of this setting.

  5. It's worth buying for the Credo alone! Finally, an easy way to introduce a congregation to singing this important text.

    (I wrote the above before reading Adam's review, which makes the opposite point!)

    Not sure what to make of the time signature for the Lenten Gospel acclamation. Is it really that jazzy?

  6. I believe I heard parts of this mass which were released by WLP a few months ago and I thought the same myself…it lends itself more toward the contemporary than the mystical. Personally, the Mass of Ralph Sherwin from ccwatershed and ostrowski lends itself more beautifully to a more solemn liturgy and blends beautifully with the SEP, which we are using in our parish every week. There are audio files for all to hear on that site.

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