Music in the Mass (3): Singing it right at Mass

The selection of music in the Mass is subject to several principles. Fr MALCOLM McLAREN explains how these apply to the Agnus Dei, the Kyrie and the Prayer of the Faithful.

Last year I wrote a two-part article in The Southern Cross outlining some of the key liturgical principles that should be used to guide the selection of music during the Mass. Part 1 is entitled: “Music in the Mass: striking the right note”and part 2 is “Right hymns for the right part of the Mass”.

The context of these principles was to highlight those parts that should be sung (in preference to others) in a Mass where not all the parts will be sung. The article coincided with the imminent implementation of the revised English translation of the Mass.

Now, following implementation of the translation and publication of the Roman Missal (the book used by the priest at the altar), it seems appropriate to write this second article dealing specifically with the ordinary parts of the Mass, namely those parts which remain constant in every Mass such as the Kyrie, Lord’s Prayer and Agnus Dei. (The Sanctus and Gloria are also ordinary parts of the Mass, but they were discussed in the initial article.)

The ordinary parts of the Mass are significant musically because they occur in every Mass and so it is possible for them to be learnt and sung.

This revised English translation has also provided a welcome opportunity to restore the character and distinct nature of three parts which, strangely in the English tradition alone, were lost after Vatican II’the Kyrie, the Sanctus and the Agnus Dei.

The Sanctus is the most important of the three because it forms part of the Eucharistic Prayer. It is also distinct because it is the only one which is specifically a hymn (or acclamation). The Agnus Dei and Kyrie are not hymns but litanies: a series of petitions or prayers.

They may be compared to the appropriately named Litany of Saints which, for example, forms part of the Rite of Ordination and the Liturgy of Baptism at the Easter Vigil where there are baptisms.

During this litany, a solemn petition to God, the Church unites itself with the men and women who have witnessed to the faith, asking them to help inspire, strengthen and guide the newly ordained or baptised with their prayers, as well. It is difficult to imagine a litany that is recited rather than sung.

Agnus Dei (Lamb of God)

The Agnus Dei is a litany that forms part of the Communion rite.

Like the entrance and communion antiphons, it accompanies an action(s): the moment when the priest breaks the consecrated host and places a small part of it into the chalice, makes his own private preparation before Communion and, if needed, when consecrated hosts reserved in the tabernacle may be brought to the altar for use during Communion.

In larger celebrations, it should also accompany the distribution of consecrated hosts to the concelebrants.

Here it is important to stress that it is the Agnus Dei, and not a hymn traditionally sung during the sign for peace, which accompanies these actionsthe Missal does not ask for music during the sign of peace.

Choose a setting that accompanies these actions well. Bear in mind that while historically the first petition which ends have mercy on us together with the intonation Lamb of God was sung twice before the final petition grant us peace, this need not be the case. It is probably sufficient for many celebrations where the action calls for a short setting, but, the first petition and its intonation could be repeated three or four times (as many times as needed) before concluding with the final intonation and petition, grant us peace.

Some common sense is required as well: when it is known the action will take longer, choose a different or more elaborate setting rather than use seemingly endless repetition.

Kyrie (Lord have mercy)

The Kyrie, a litany pleading for mercy, is found in the Penitential Rite. However, like the Sanctus, it does not simply accompany an action, but is itself the action: it is a cry pleading for the Lord’s mercy.

It has a very clear structure. The plea is intoned (sung for the first time) by the celebrant or cantor or choir, and the congregation responds. In other words, the choir, for example, intones Lord have mercy or the Greek words Kyrie eleison, and the congregation then respond using the same or similar tone (tune).

This dynamic cannot be achieved with a hymn! The use of a simple tone makes the singing of this litany not only possible, but more profound. Moreover, the Kyrie does not need to be accompanied with instruments or the nervous dashing for hymn books: the congregation simply replies to what they heard, uniting themselves to the petition.

Some useful tones are now provided in the Roman Missal. A very simple setting could be used on weekdays (especially feast days), while a solemn or more elaborate setting of the Kyrie, perhaps with musical accompaniment, could be used during the penitential season of Lent. An elaborate Kyrie sung during Eastertide would seem inappropriate.

A second form of the Kyrie, which replaces the I confess, extends the intoned part using the various options or trophes found in the Roman Missal, for example:You were sent to heal the contrite of heart, Lord have mercy.

This longer form, which includes an acclamation together with the plea, can also be easily intoned, again not necessarily by the celebrant, but by the choir or cantor. Many useful settings exist.

Two words of caution: choir, cantor and priest must plan beforehand if the Kyrie is to be intoned. Secondly, stick to one form and one tone, whether it is English or Greek, until it is well known. There is nothing achieved in moving to a new tone when the first is not known.

This logic, of course, applies to each of the Ordinary parts of the Mass.

Prayer of the Faithful

Having discussed these two litanies of prayer/petition, a brief comment can be made regarding the Prayer of the Faithful (or general intercession).

Its structure suggests that a similar musical approach to the Kyrie might be adopted. This is already seen, although in a slightly different form, with the General Intercessions at the Liturgy on Good Friday.

In short, the deacon or another member of the congregation could announce aloud the prayer intention and, after a suitable pause during which the community actually pray for that intention, follow with words recited or sung such as, Let us pray to the Lord. The community then responds in song, Lord, hear our prayer!

This possibility is mentioned only in passing because many musical issues, including those which I highlighted in the initial article, remain of greater priority and are more worthy of attention.

However, the Prayer of the Faithful is a moment for prayer rather than rattled-off intentions, and this approach might help not only to unite the community, but also create the space for them to pray.

In the issue of July 25, Fr McLaren will discuss the Lord’s Prayer in the context of liturgical music.