PROGRAM NOTES by the Composer

Missa pro nova aurora ("Mass for a new dawn") was completed during the spring of 2006 in Tampa, Florida. It was intended as a solemn sacred work commemorating the dawn of a new millennium for the church and the world.

The Mass was dedicated to Pope Benedict XVI, who in the summer of 2006 graciously received a copy of the mass, signed and returned another copy to the composer and cordially accepted the dedication.

Stylistically, the setting is eclectic and varied yet also conventional and austere. An important goal in the composition of this work was to balance concern for musical originality with an ever abiding respect for the centuries-old traditions and practices of Mass composition.

There are five movements, which are the five Ordinaries of the Mass: Kyrie, Gloria, Credo, Sanctus and Agnus Dei. The text is in Latin.

The Kyrie (in A minor) is polyphonic in texture and marked with a stoic yet expressive pathos and yearning. This is contrasted by the central Christe eleison (in C major) which assumes a more declamatory, homophonic character as the choir quietly utters Christe, evoking a dramatic sense of pleading as the text addresses the human person of Christ. The Kyrie then returns to its original stoicisms, yet this time somewhat varied.

The Gloria (in C major) is brisk and jubilant. Unexpected half-step modulations and sudden changes of mode are brought into play as the music speeds toward an animated fugato (Quoniam). The final In Gloria Dei Patris recapitulates earlier themes bringing the movement to a well-rounded close.

The Credo (in G major) is the longest and most involved movement. The text recounts the paschal mysteries, as well as the triune nature of God and essential aspects of the church. The music alternates between sections of homophonic, chant-like melodies and more complex polyphonic episodes. Meanwhile, there are also slower, recurring moments of densely chromatic music marked misterioso. These sections tie together the elements of the text that are shrouded in mystery: on the words invisibilium (God created things unseen), et incarnatus est (God became man) and et vitam venturi (the Church's belief in life everlasting). Other traditional conventions are observed here, too: such as the prevalent use of duple meter, an all white-note et incarnatus est (to visually signify Christ’s purity), a descending descendit, an ascending ascendit, melodic imitation at Deum de Deo, etc., and vivid tone painting to express the passion, death and resurrection of Christ. The movement ends on an unresolved chord to signify the unresolved expectation of the faithful who are still waiting for Christ to come again.

The Sanctus (in C major) is mostly polyphonic, highly rhythmic and built on sudden dynamic changes and short motifs. After an emphatic Hosanna the music modulates to G major for the Benedictus. This is set to a broad sort of "big tune," recalling Beethoven's treatment of the corresponding spot in his Missa Solemnis, except this tune is one of a more "Americana" flavor – more reminiscent of Gershwin than Beethoven. The hosannas then return for a spirited and emphatic close.

The Agnus Dei (in A minor) returns to the Kyrie’s austerities. It is a moderately paced fugue with episodes that make use of various harmonic sequences (miserere nobis), especially the descending third sequence which was anticipated in the Kyrie. (The use of sequence reflects the nature of the text which is a litany.) Toward the end, the modal inflections of the fugal subject begin to influence the whole ensemble, creating ever more frequent shifts in mode as the music strives to find resolution, moving from key to key. Finally there is rest in a unison pattern of rising fifths, evoking a horn call which heralds the morning. In the score nova aurora is inscribed above this figure suggesting a new dawn, as the final text of the mass is sung for the first time: dona nobis pacem ("grant us peace"). The music of the Kyrie then returns for a final setting of these words, bringing the Mass to a solemn close.

- Brother John