Missa Brevis
Concert band, Fanfare, Brass band, Choir, Flexible ensemble, and/or Organ
Grade: 3
Duration: 25:00
Hal Leonard Europe
Summary
Missa Brevis, Jacob de Haan’s first Mass, is a widely performed work for choir with various accompaniment options, known for its appealing Benedictus. The composition blends classical, romantic, and modern elements, making it suitable for both Catholic and Protestant liturgies. Each movement, from the solemn Kyrie to the serene Agnus Dei, captures the essence of the Mass. De Haan highlights how text transforms music composition, guiding the creative process. The work was commissioned to commemorate Pope Leo IX’s birth and premiered in 2002.
About Missa Brevis
Missa Brevis for choir and various options for accompaniment became worldwide a frequently performed work, not at least because of the very appealing and well-known Benedictus. This 1st Mass by Jacob de Haan sounds classical, romantic and modern at the same time.The mass movements Kyrie, Gloria, Credo, Sanctus, Benedictus and Agnus Dei are very suitable for both the Catholic Mass and the Protestant liturgy.
Each movement of Missa Brevis encapsulates a distinct aspect of the Mass, from the solemnity of the Kyrie to the exultation of the Gloria, the reverence of the Sanctus, and the serenity of the Agnus Dei. Jacob de Haan’s masterful composition skillfully captures the essence.
Jacob de Haan himself emphasizes the transformative power of text in music composition: “Text adds a whole new dimension and offers completely different ways to compose music, compared to composing without texts.” He further explains: “It is surprising to see where you end up. In some ways it provides a path and content; you start at the beginning and work your way through to the end. The rhythm and meaning of the text serve as a guide, so to speak. This brought me to a whole new place, to a kind of music I had never written before. It was an exciting experience for me.”
This work was commissioned by the Conseil Départemental pour la Musique et la Culture de Haute-Alsace. And was created to commemorate the millennium of Pope Leon IX’s birth in Éguisheim, France. The composer himself conducted the premiere on June 23, 2002, a momentous occasion broadcasted live on the French television channel France 2.
Performance notes
For this mass, various ways for performing in diverse variable strengths are possible. An instrumental performance is possible if the brass represents the choir parts. In this option, it is desirable for the brass to be positioned separately from the rest of the band (on a gallery, for example), so that the idea of two choirs is approached. In a performance with a large choir, the brass can work very well as a support. In that case, the dynamics of the brass should be adapted somewhat, since these are actually intended for an instrumental performance. You can also leave out the brass entirely for the benefit of the choir. For the accompaniment of smaller choirs, you can opt for a small ensemble from the band. This can also be a quartet, put together as desired.
For the performance of this mass, the obvious choice is one of the above options. However, as an alternative, a performance with a combination of these options (vocally/instrumentally) is also possible – not just from an artistic point of view (variation), but also from a practical starting point – for example in the case that the choir has rehearsed only two movements.
With a full strength, the conductor can vary the instrumentation to his or her liking. Then the brass can also play a role in the accompaniment (instead of supporting the choir). The following combinations are possible:
- clarinet choir (from Eb Clarinet to Bass Clarinet)
2. clarinet choir + saxophones
3. brass (flugelhorns, horns, euphoniums, bass section)
4. brass (2 trumpets / 2 trombones)
5. double reeds (optional + flute, optional + string bass)
6. tutti
7. all winds
8. all brass
Since there is also an organ part for the accompaniment, there are many more ways to perform the piece. This is an overview:
- choir + brass + band (without the brass)
2. choir + band
3. choir + organ (+ timpani)
4. brass + band (without the brass)
5. brass + organ (+ timpani)
6. choir + brass + band + organ
7. (chamber) choir + small instrumental ensemble (+ organ)
In a performance by brass band and choir, it is usually advisable to leave out option 1 (choir + brass + band). The choir sings self-reliantly, accompanied by a full brass band. In an instrumental performance, you can consider a combined quartet (two cornets and two trombones) + brass band.
An example of instrumentation
Now I give you more or less the instrumentation of the CD-recording. At first you see the several combinations of instrumentation. Then you can see which combination in what measure has been played in the several parts of the mass. Again I suggest to look for other combinations too, among others regarding the possibilities in you band.
- Tutti + Brass Quartet
B. Tutti without Brass Quartet
C. Tutti without piccolo/Brass Quartet
D. Wood + Contrabass without flutes/ piccolo
E. Wood + Horn + Contrabass without piccolo
F. Flugelhorn + Horn + Bariton + Bass Tuba
G. Clarinets + Saxophones + Contrabass
H. Clarinets + Horn + Bassoons
I. Oboe + Saxophones + Contrabass + Bassoon
J. Wood + Contrabass without Piccolo/Brass Quartet
Kyrie: 1C/ 12D/ 27B/ 32D/ 38B/ 50A
Gloria: 1D/ 8J/ 17B/ 20D/ 29B/ 31D/ 61E/ 67J/ 93F/ 102C/ 111A
Credo: 1J/ 27C/ 31J/ 35C/ 54H/ 68D/ 76F/ 80D/ 86J/ 96F/ 99J/ 102F/ 105J/ 109F/ 114C/120A/ 121B/ 125D/ 132D/ 136C/ 138A
Sanctus: 1D/ 9C/ 32A
Benedictus: 1I/ 25J/ 33I/ 48J/ 59A
Agnus Dei: 1F/ 5E/ 35 C/ 39F/ 46G