Movements Missa Brevis (Bernstein)

1 movements

1.1 kyrie
1.2 gloria
1.3 sanctus
1.4 benedictus
1.5 agnus dei
1.6 dona nobis pacem

movements
kyrie

written in key of c, extensions beyond functional harmony, short movement last thirteen measures. setting of text quite unconventional in comparison settings other composers. while settings focus on word “eleison”, meaning “have mercy”, through repetition , elongation of word, bernstein focuses on word “kyrie”, meaning “lord”, instead. looking @ score becomes apparent each time word “eleison” sung, word kyrie” sung twice. focus on word “kyrie” creates percussive quality movement each “k” sounded. according bernstein’s markings, movement should crescendo start , peak forte @ measure 8 begins diminuendo towards half cadence goes next movement. bernstein’s focus on word kyrie combined slow drastic dynamic contrast creates sense of intense pleading. may have been inspired lark, sensation joan of arc might have felt hours before execution.

gloria

most of material movement directly derived chorus in lark titled, gloria. lengthened in published score of missa brevis fit additional text of laudate dominum.

although movement tonally centers around a, bernstein’s frequent placement of non-resolving non-harmonic tones create ambiguity in tonality of movement. first eleven measures fluctuation between major , minor before settles sort of e minor in measure twelve. serves introduction countertenor soloist.

the next twenty-five measures sets text laudamus te. during time bernstein moves e minor e major, taking movement text gratias, keeps shifting between c major , f major fourteen measures. settling in c minor, bernstein starts domine deus , longest portion of text in movement. continues quoniam , finishes movement in c minor bells playing @ fortissimo.

bernstein lays out instructions bell playing follows:

there 2 sets of bells, 1 in each wing or on each side of chorus, each having @ least 3 different notes (any notes @ all, preferably covering wide range). notes should sounded 1 @ time @ rapid possible tempo.

the harmonic language in movement described being blend of medieval , renaissance styles musical styles being produced in mid-twentieth century america. has been explained containing vital rhythms , pungent harmonies. general description missa brevis whole.

gloria not longest movement in missa brevis, considered difficult sing. movement demands perfect tuning straight tone singing while maintaining high tessitura sopranos, tenors, , basses. other movements of missa brevis, gloria cappella apart percussion not provide in terms of pitch singers singing hard tune added non-chord tones. combination of these factors can make challenging keep intonation throughout movement.

sanctus

an engrossing movement in terms of tonality, bernstein employs use of several modes in sanctus. of seems shifting between g major , sort of dorian mode set in g. countertenor solo main feature in movement. after first 4 opening measures, marked misterioso , piano, bernstein creates reminiscent of organum. each part in choir sustaining drone on pitches of g , d, countertenor soloist freely sing mixolydian chant starting deus, deus sabaoth.

the shifting of homophonic yet discant-like use of harmony followed drones florid melodic activity further perpetuates medieval quality. bernstein creates esthetic reminds ear of music 14th century.

benedictus

although beginning new set of text, benedictus considered continuation of sanctus. semi-movement proceeds use same structural format laid out in sanctus. of involves countertenor soloist performing chant-like recitative followed choral response on text osanna in excelsis.

the dynamics described explosively contrasting. use of crescendo in part of work quite extensive , there frequent movement between forte , piano.

agnus dei

bernstein leads opening material gloria start of agnus dei. opening chords same. tonally ventures major , minor f-sharp minor @ repetition found on measure 15. measure 30, bernstein dabs implementation of f-sharp major finish on text qui tollis pecata mundi , translates takes away sins of world.

dona nobis pacem

a continuation of benedictus , dona nobis pacem starts previous section of movement settles f-sharp major fluctuation of major , minor. result lands tonal center c major @ measure 11. here bernstein starts use 6 note stepwise scale starting on c basis melodic material.

rhythmically, final section of missa brevis dance-like. employs triple meter , although not printed, appears shifting between 3/4 , 6/8. percussion instructed improvise part creating each performance of piece unique in timbre , texture.