Missa resurrexit - Chorpartitur

“Missa Resurrexit”, written for SATB, Soprano, Tenor and Baritone soloists, Piano and Strings, is comprised of nine movements blending musical influences and periods resulting in an elegant, fresh choral style. Composers, Richard and Katherine have worked extensively in and been influenced by the classical, pop, musical theater, church and gospel music worlds. You will hear some of those “worlds” referenced in the “Missa”. Each movement tells its own story. “Christus Ressurexit” (Paschal Tropario) ~ Rather than an explosive beginning the story of resurrection with bold exclaimatons, the writers see it as a quiet ruffling of the grave clothes. At the beginning, the basses quietly announce “Christ is risen from the dead . . . “Then all the parts build with harmonies and a rising melody with restrained excitement. “Kyrie”: The warmth at the beginning, opens the door of mercy to all. The hollow E minor chord of the instrumental interlude tells the story of a desolate life lost in exile; then the kyrie melody begins to appear, with warmer harmonies as that life begins to find mercy. New friends and loves come, ultimately producing shouts of “kyrie, kyrie, kyrie eleison”: rejoicing in having found mercy. Then we settle in with a hymnlike expression, sealing our confidence in God’s mercy. “Gloria”: All happily lift praise in the energetic 6/8 metered “Gloria”. “Credo”: brings an opportunity to refelect on how the writers see the characteristics of God. Hear the structural chords suggesting a majesty as the text take us into “God the Father, the almighty”. Then the tenderness of the Son, descibing His birth, the pain of His trial, crucifixion, the brilliance of His resurrection and glory of His ascencion into heaven. Finally the power of the Holy Sprit expressed in structural chords as similar to the beginning. “Exsultet”: the a cappella choir singing overlapping melodies might suggest something baroque with a modern twist. And in the same piece, hear a  hint of gospel and jazz in the close harmonies. “Sanctus”: The writers intend to suggest the kind holiness of God as we gently begin the “Sanctus”.  The sweeping “hosannas” lift us to a place of bold expressive praise to the Almighty. Then we bow in humble worship with our quiet hosannas. “Pater Noster”: The flowing melody is intended to bring us to a quiet place of prayer. The Tenor soloist, representing the role of the priest, takes us into the Doxology (Quia Tuum Est Regnum”). “For thine is the kingdom . . .”, another expression of highest praise. “Agnus Dei”: The elegant ¾ meter cradles us, as a lullaby, bringing peace and healing. “Ite In Pace”: Finally, as the priest proclaims at the end of mass, “Go in Peace” Alleluia”, the a cappella choir fills the room with glorious chords of hope, “Ite In Pace”. Then gently sending us on our way,  worshipping with gentle “alleluias”.