An introduction by Mark Gierling
Whenever
the
night
is
coming
to
an
end,
frosty
coldness
is
coming
up
from
the
ground
and
you
rather
dream
than
see
the
approaching
morning,
the
sky
appears
in
a
deep
blue.
Also
the
stars
can
be
seen
in
these
moments
very
intensively
and
the
morning star lives up to its name. But it is not only the approaching morning, but above all the living through the darkness.
This
is
the
pivotal
point
of
MASS
IN
DEEP
BLUE:
lostness,
resignation,
sadness,
hope,
doubt,
trust,
confidence
and
joy.
However,
not
necessarily
always
subjected
to
this
order,
but
as
a
kind
of
path
through
human
ups
and
downs.
What
do
these
ancient texts mean for us personally? Can we believe them? Where to put my doubts?
Seen
in
this
light,
MASS
IN
DEEP
BLUE
is
an
ecumenical
service
set
to
music,
using
the
very
ancient
structure
of
the
common
Christian
liturgy,
letting
the
Jewish
heritage
have
its
say
again
and
again,
and
wanting
to
accompany
the
listeners
through
symbolically
the
night
into
the
approaching
morning.
"Have
no
fear!"/"Fear
not!"
(Isaiah
43:1).
Nothing
has
to
remain
as
it
is.
And we do not have to go this way alone.
The
composed
"Mass"
is
primarily
a
musical
genre
of
the
Roman
Catholic
Church.
The
liturgical
form
of
the
"Roman
Mass"
specifies
certain
liturgical
parts
and
is
celebrated
in
this
form
all
over
the
world.
The
origins
of
the
individual
parts
go
back
to
antiquity or early Christianity.
Except
for
a
few
differences,
Martin
Luther
adopted
the
Roman
Mass
in
the
16th
century
for
Protestant
worship
as
well.
Strictly
speaking,
the
liturgy
of
both
denominations
differs
only
marginally:
Luther
"Germanized"
the
Latin
or
Greek
liturgy
and
created
fixed
liturgical
chants
from
it.
Only
the
components
concerning
the
Catholic
understanding
of
sacrifice
or
transubstantiation are missing.
The
texts
come
either
from
the
liturgical
fundus
or
from
the
Old
Testament
and
have
not
been
edited.
The
English-language
Bible
texts
come
from
different
translations
from
the
original
source
languages.
Here,
too,
there
are
different
translations
(comparable to Bible translations in German).
PRELUDE
With
the
orchestral
prelude
I
would
like
to
take
the
listeners
into
the
depths
of
a
dark,
restless
and
stormy
night.
The
prelude
is
based
on
the
melody
and
intention
of
the
psalm
song
"Aus
tiefer
Not
schrei
ich
zu
dir"
by
Martin
Luther
(a
rewriting
of
Psalm
130).
YOU ARE THERE - PSALM 139 (INTROITUS)
The
sung
entrance
psalm
has
its
roots
in
Jewish
worship.
This
tradition
was
adopted
by
the
first
Christian
congregations.
While
in
the
synagogues
the
psalm
was
still
a
solo
song
by
the
cantor,
to
which
the
congregation
sang
a
refrain,
in
the
early
church
it
became
customary
for
two
groups
(half
choirs)
to
take
turns
singing
it
verse
by
verse.
Thus,
the
introit
at
this
point
in
the
services developed from various liturgical traditions and ends with the "Gloria Patri" (the so-called "little Gloria").
With Psalm 139, the "MASS IN DEEP BLUE" thus begins with a piece of confidence.
KYRIE
The
"Kyrie"
was
originally
a
call
of
homage
from
pre-Christian
times.
In
Jesus'
time,
the
Roman
emperor
was
greeted
in
this
way.
The
Christian
"Lord,
pray
for
us,"
which
developed
from
it,
is
a
concise
form
of
worship
and
the
wish
for
salvation
from
misery
and
guilt
and
can
be
traced
as
a
component
of
the
Christian
liturgy
of
worship
since
the
4th
century.
Also
as
a
rejection
of
the
idolatrous
worship
of
earthly
rulers.
Early
on,
the
"Kyrie"
was
also
interwoven
with
the
confession
of
sins,
although
it
rather expresses powerlessness, helplessness, mental and physical distress.
Musically,
I
want
to
approach
the
above-mentioned
different
facets
with
this
"Kyrie"
and
begin
first
with
a
restless
7/8
groove,
to
which
the
Kyrie
call
resounds
insistently
and
recurrently.
The
beginning
is
followed
by
a
completely
different
solo
part:
the
Old
Testament
"Prayer
of
Jonah"
(so-called
Jonapsalm,
Jon
2:3-10).
It
describes
in
dramatic
words
the
maximum
distance
from
God
and
the
request
for
redemption.
As
if
from
a
distance,
the
Kyrie
call
resounds
here
again.
The
following
orchestral
section
reveals
a
more
traditional
Kyrie
form
(with
borrowings
from
Gregorian
chant)
and
approaches
the
conclusion
through
several
keys.
Finally,
one
finds
oneself
back
in
the
opening
section.
The
kyrie
ends
abruptly.
Unanswered.
It
fades
away.
In
nothingness?
GLORIA
The
"Gloria"
is
composed
of
the
angels'
song
of
praise
from
Luke
2
and
the
so-called
"Laudamus"
and
was
gradually
incorporated
into
the
service
since
the
4th
century.
In
the
Protestant
liturgies
of
the
19th
and
20th
centuries,
the
"Laudamus"
began to be shortened, omitted (thus reducing the Gloria to Luke 2:14) or replaced by other hymn verses.
Therefore,
in
Protestant
services,
the
"Gloria"
is
usually
found
in
the
liturgical
chorales
"Allein
Gott
in
der
Höh'
sei
Ehr"
or
"Glory to God in the highest". The Catholic liturgy has instead stuck to the old "Laudamus" (so also in this gospel mass).
Musically,
the
"Gloria"
in
the
"MASS
IN
DEEP
BLUE"
is
in
absolute
contrast
to
the
preceding
"Kyrie"
and
begins
with
a
peaceful
mood
that
prepares
the
ground
for
the
"Canticle
of
the
Angels."
The
middle
section
in
the
"gospel
sound"
is
meant
to
emphasize
the
joyful
aspect
of
this
message
and
finally
leads
into
a
quiet
meditative
conclusion.
Is
this
not
how
it
should
be?
Peace on earth!
LOOK ON ME - PSALM 13 (TRACTUS)
The
"tractus"
is
an
integral
part
of
the
service
in
the
ancient
liturgy
-
a
"psalm
chant
without
a
reciprocal
verse".
Probably
in
the
6th
century,
however,
this
was
replaced
on
all
appropriate
days
by
the
more
joyful
Hallelujah
chant,
so
that
the
tractus
chants with a corresponding more serious character were only sung on a few days (e.g., in the Passion season).
The psalm texts of the "Tractus" include motifs of penitence and mourning, but also those of hope, confidence, and joy.
The
prelude,
therefore,
is
a
marked
contrast
to
the
preceding
"blissful"
mood
in
the
"Gloria"
and
prepares
the
listener
for
the
urgent petitions of Psalm 13: Where are you, Lord, when I need you?
CREDO
The
center
of
the
gospel
mass
is
the
creed
in
the
ecumenical
version.
The
repeating
motif
in
the
electric
bass
forms
the
foundation
on
which
the
choral
singing
can
unfold.
The
transition
from
the
"kingdom
of
death"
to
the
resurrection,
which
is
kept
almost
incidental
in
the
text
of
the
creed,
is
musically
emphasized
and
colored
by
an
orchestral
interlude
with
quotations
from the old Easter chorale "Christ ist erstanden".
SANCTUS
The
"Sanctus"
(from
the
Latin
"Holy")
belongs
to
the
ancient
stock
of
Christian
worship
and
is
sung
in
the
Roman
Church
at
the
beginning
of
the
Eucharistic
Prayer
as
a
response
of
the
congregation
to
the
Preface
(in
the
Lutheran
service
immediately
before the "words of institution" of the Lord's Supper) usually by all participants together.
The
text
is
composed
of
various
biblical
passages:
Isaiah
6,
Psalm
118
(both
Old
Testament),
and
Matthew's
Gospel
21:9
(Jesus'
entry
into
Jerusalem
on
"Palm
Sunday").
By
origin.
In
general,
this
text
belongs
to
the
great
mysteries
of
the
Christian
faith.
The
thrice
holy
(Hebrew
kadosh
kadosh
adonai
zebaot)
mentioned
in
Isaiah
6:3
also
inspired
many
other
early
Christian
passages. The "Sanctus" first found its way into the liturgy in the 4th century.
I
have
thought
for
a
very
long
time
about
how
the
"Sanctus"
should
sound.
Somehow
it
is
also
difficult
to
grasp.
Like
something
that
happens
above
our
heads
-
not
comprehensible.
So
I
approach
this
part
with
different
levels:
It
begins,
how
could
it
be
otherwise, with the dominant brute orchestrally laid out acclamation of the angels.
This
is
followed
by
a
part
dedicated
to
the
"Praised
be
he
who
comes
in
the
name
of
the
Lord"
shout.
According
to
Christian
tradition,
this
shout
also
resounded
from
the
gathered
crowd
when
Jesus
entered
Jerusalem
on
a
donkey
shortly
before
his
execution
(Palm
Sunday
in
the
church
year).
Didn't
many
of
these
people
shout
"Crucify
him"
shortly
afterwards?
This
almost
mechanically
repetitive
cry,
musically
arrested
in
a
blues
pattern,
must
collapse
in
on
itself.
A
meditative
further
part
in
the
"gospel
sound"
should
again
open
the
hearts
a
bit
and
lead
to
the
core
of
the
text.
But
nevertheless
the
piece
ends
in
an
adaptation of the beginning part and ends with a bang played by the timpani.
OUR FATHER (LORD‘S PRAYER)
The
"Our
Father"
is
based
on
an
old
Jewish
form
of
prayer
(Kaddish)
and
in
its
simplicity
and
strength
is
still
a
never-ending
source
today.
In
my
interpretation,
one
aspect
is
central:
"Your
kingdom
come".
What
should
that
look
like?
A
society
at
peace
and in harmony with creation? Or only the "life after death"? A dream? A utopia?
I
do
not
want
to
take
the
listeners
to
the
Mount
of
Olives,
but
to
the
shore
of
the
Sea
of
Galilee.
Fishing
boats
lie
in
the
hot
midday
sun
and
the
waves
lapping
lazily
against
the
shore.
There
where
it
all
began.
Soon
a
young
itinerant
preacher
will
appear
here
and
invite
people
to
follow
him.
In
the
intro,
"thy
kingdom
come"
sounds
as
if
from
a
distance.
A
dialogue
between the precentor and the choir follows. But it remains a prayer. Prayed together - across all denominations.
AGNUS DEI
The
Agnus
Dei
(Lamb
of
God)
refers
to
the
Passover
lamb.
According
to
Christian
tradition,
shortly
before
his
crucifixion,
Jesus
celebrated
the
Passover
meal
together
with
his
disciples
(the
so-called
Lord's
Supper),
during
which,
according
to
Jewish
tradition,
unleavened
bread
and
wine
were
consumed
(in
commemoration
of
the
exodus
of
the
people
of
Israel
from
Egyptian
bondage).
In
liturgy,
the
"Agnus
Dei"
formula
has
been
known
since
the
7th
century.
In
the
Roman
Catholic
Church,
it
is
part
of
the
celebration
of
the
Eucharist.
In
the
communion
liturgy
of
the
Evangelical
Lutheran
Church,
it
is
sung
after
the
words
of
institution. Luther wrote a German version for it (the "Christe, du Lamm Gottes).
At
the
point
of
worship
where
Christians
should
come
together
most,
there
is
still
no
agreement
today
on
how
"Holy
Communion"
or
"the
Lord's
Supper"
can
be
theologically
related
to
each
other.
An
open
wound
of
ecumenism
that
has
not
been
healed until today.
In
the
MASS
IN
DEEP
BLUE
I
try
to
bring
the
apparent
contradictions
together
musically.
The
"Agnus
Dei"
begins
with
a
fugue-
like
structure
that
uses
the
melody
of
Luther's
chorale
"Christe,
du
Lamm
Gottes".
This
is
followed
by
a
Gregorian-like
"Agnus
Dei" theme that leads into the first choral section.
The
center
of
this
composition
is
a
solo
part
dedicated
to
the
so-called
"Servant
of
God
Songs"
(Isaiah
40ff)
from
the
Old
Testament
(6th
century
BC).
According
to
Jewish
understanding,
this
text
refers
to
the
Persian
king
Cyrus
II,
who
proved
to
be
a
friend
and
savior
of
the
Jews
or,
according
to
this
tradition,
is
to
be
understood
as
a
metaphor
for
the
people
of
Israel.
From
the
Christian
tradition,
however,
this
text
refers
to
the
imminent
coming
of
the
Savior.
Here,
too,
a
certain
irreconcilability
in
the interpretation of a text - fused into a piece of music.
The
concluding
"Agnus
Dei
[...]
Dona
nobis
pacem"
returns
to
Gregorian
mode,
ending
in
an
open
chord
(a
more
felt
E
minor).
However, a final interjection of the chorale "Christe, du Lamm Gottes" brings this piece to an end in a major key.
STAY WITH US - LK 24 (PRAYER)
The
meditative
opening
closing
prayer
refers
to
Luke
24
(the
Risen
Lord
shows
himself
at
Emmaus).
Philipp
Melanchthon,
a
companion of Luther, wrote a simple prayer for this in 1579 ("Vespera iam venit").
The repeating theme wanders through different keys. A request for assistance, no matter what the situation in life is.
HAVE NO FEAR (FINALE)
Dark
and
dragging,
the
final
piece
of
the
MASS
IN
DEEP
BLUE
begins
and
leads
into
a
text
of
hope:
Isaiah
43,
a
text
in
which
the
voice
of
God
speaks
from
Isaiah:
"Fear
not,
for
I
will
deliver
you;
I
will
call
you
by
your
name;
you
are
mine!"
-
a
reconciling message that should be at the end of this Gospel Mass and should be understood as a sign of hope and confidence.
In
my
understanding,
this
text
is
also
the
lowest
common
denominator
on
which
we
could
agree
after
all,
despite
all
denominational differences.
It
is
not
too
late,
a
better
world
is
possible
and
we
are
not
alone
in
this.
Special
attention
is
given
to
the
promise
"Have
o
fear,
for I will set you free!" - "I will set you free!".
The conclusion of the MASS IN DEEP BLUE is a final blessing, also from the "pen" of Isaiah (Isaiah 60:20):
„Your sun will never again go down, or your moon keep back her light;
for the LORD will be your eternal light and the days of your sorrow will be ended.“
INFO & REQUEST
Gospel Mass for Solo & Choir
Orchestra & Band
CONCERTS 2022/23
An introduction by
Mark Gierling
Whenever
the
night
is
coming
to
an
end,
frosty
coldness
is
coming
up
from
the
ground
and
you
rather
dream
than
see
the
approaching
morning,
the
sky
appears
in
a
deep
blue.
Also
the
stars
can
be
seen
in
these
moments
very
intensively
and
the
morning
star
lives
up
to
its
name.
But
it
is
not
only
the
approaching
morning,
but
above
all
the
living
through the darkness.
This
is
the
pivotal
point
of
MASS
IN
DEEP
BLUE:
lostness,
resignation,
sadness,
hope,
doubt,
trust,
confidence
and
joy.
However,
not
necessarily
always
subjected
to
this
order,
but
as
a
kind
of
path
through
human
ups
and
downs.
What
do
these
ancient
texts
mean
for
us
personally?
Can
we
believe
them?
Where
to
put
my doubts?
Seen
in
this
light,
MASS
IN
DEEP
BLUE
is
an
ecumenical
service
set
to
music,
using
the
very
ancient
structure
of
the
common
Christian
liturgy,
letting
the
Jewish
heritage
have
its
say
again
and
again,
and
wanting
to
accompany
the
listeners
through
symbolically
the
night
into
the
approaching
morning.
"Have
no
fear!"/"Fear
not!"
(Isaiah
43:1).
Nothing
has
to
remain
as
it
is.
And
we
do
not
have
to
go
this
way
alone.
The
composed
"Mass"
is
primarily
a
musical
genre
of
the
Roman
Catholic
Church.
The
liturgical
form
of
the
"Roman
Mass"
specifies
certain
liturgical
parts
and
is
celebrated
in
this
form
all
over
the
world.
The
origins
of
the
individual
parts
go
back
to antiquity or early Christianity.
Except
for
a
few
differences,
Martin
Luther
adopted
the
Roman
Mass
in
the
16th
century
for
Protestant
worship
as
well.
Strictly
speaking,
the
liturgy
of
both
denominations
differs
only
marginally:
Luther
"Germanized"
the
Latin
or
Greek
liturgy
and
created
fixed
liturgical
chants
from
it.
Only
the
components
concerning
the
Catholic
understanding
of
sacrifice
or
transubstantiation are missing.
The
texts
come
either
from
the
liturgical
fundus
or
from
the
Old
Testament
and
have
not
been
edited.
The
English-language
Bible
texts
come
from
different
translations
from
the
original
source
languages.
Here,
too,
there
are
different
translations
(comparable
to
Bible
translations
in
German).
PRELUDE
With
the
orchestral
prelude
I
would
like
to
take
the
listeners
into
the
depths
of
a
dark,
restless
and
stormy
night.
The
prelude
is
based
on
the
melody
and
intention
of
the
psalm
song
"Aus
tiefer
Not
schrei
ich
zu
dir"
by
Martin
Luther
(a
rewriting
of
Psalm
130).
YOU ARE THERE -
PSALM 139
(INTROITUS)
The
sung
entrance
psalm
has
its
roots
in
Jewish
worship.
This
tradition
was
adopted
by
the
first
Christian
congregations.
While
in
the
synagogues
the
psalm
was
still
a
solo
song
by
the
cantor,
to
which
the
congregation
sang
a
refrain,
in
the
early
church
it
became
customary
for
two
groups
(half
choirs)
to
take
turns
singing
it
verse
by
verse.
Thus,
the
introit
at
this
point
in
the
services
developed
from
various
liturgical
traditions
and
ends
with
the
"Gloria
Patri" (the so-called "little Gloria").
With
Psalm
139,
the
"MASS
IN
DEEP
BLUE"
thus
begins
with
a
piece
of
confidence.
KYRIE
The
"Kyrie"
was
originally
a
call
of
homage
from
pre-Christian
times.
In
Jesus'
time,
the
Roman
emperor
was
greeted
in
this
way.
The
Christian
"Lord,
pray
for
us,"
which
developed
from
it,
is
a
concise
form
of
worship
and
the
wish
for
salvation
from
misery
and
guilt
and
can
be
traced
as
a
component
of
the
Christian
liturgy
of
worship
since
the
4th
century.
Also
as
a
rejection
of
the
idolatrous
worship
of
earthly
rulers.
Early
on,
the
"Kyrie"
was
also
interwoven
with
the
confession
of
sins,
although
it
rather
expresses
powerlessness,
helplessness,
mental
and
physical
distress.
Musically,
I
want
to
approach
the
above-mentioned
different
facets
with
this
"Kyrie"
and
begin
first
with
a
restless
7/8
groove,
to
which
the
Kyrie
call
resounds
insistently
and
recurrently.
The
beginning
is
followed
by
a
completely
different
solo
part:
the
Old
Testament
"Prayer
of
Jonah"
(so-called
Jonapsalm,
Jon
2:3-10).
It
describes
in
dramatic
words
the
maximum
distance
from
God
and
the
request
for
redemption.
As
if
from
a
distance,
the
Kyrie
call
resounds
here
again.
The
following
orchestral
section
reveals
a
more
traditional
Kyrie
form
(with
borrowings
from
Gregorian
chant)
and
approaches
the
conclusion
through
several
keys.
Finally,
one
finds
oneself
back
in
the
opening
section.
The
kyrie
ends
abruptly.
Unanswered.
It
fades
away.
In nothingness?
GLORIA
The
"Gloria"
is
composed
of
the
angels'
song
of
praise
from
Luke
2
and
the
so-called
"Laudamus"
and
was
gradually
incorporated
into
the
service
since
the
4th
century.
In
the
Protestant
liturgies
of
the
19th
and
20th
centuries,
the
"Laudamus"
began
to
be
shortened,
omitted
(thus
reducing
the
Gloria
to
Luke
2:14)
or
replaced by other hymn verses.
Therefore,
in
Protestant
services,
the
"Gloria"
is
usually
found
in
the
liturgical
chorales
"Allein
Gott
in
der
Höh'
sei
Ehr"
or
"Glory
to
God
in
the
highest".
The
Catholic
liturgy
has
instead
stuck
to
the
old
"Laudamus"
(so also in this gospel mass).
Musically,
the
"Gloria"
in
the
"MASS
IN
DEEP
BLUE"
is
in
absolute
contrast
to
the
preceding
"Kyrie"
and
begins
with
a
peaceful
mood
that
prepares
the
ground
for
the
"Canticle
of
the
Angels."
The
middle
section
in
the
"gospel
sound"
is
meant
to
emphasize
the
joyful
aspect
of
this
message
and
finally
leads
into
a
quiet
meditative
conclusion.
Is
this
not
how
it
should
be? Peace on earth!
LOOK ON ME -
PSALM 13
(TRACTUS)
The
"tractus"
is
an
integral
part
of
the
service
in
the
ancient
liturgy
-
a
"psalm
chant
without
a
reciprocal
verse".
Probably
in
the
6th
century,
however,
this
was
replaced
on
all
appropriate
days
by
the
more
joyful
Hallelujah
chant,
so
that
the
tractus
chants
with
a
corresponding
more
serious
character
were
only
sung
on
a
few
days
(e.g.,
in
the
Passion
season).
The
psalm
texts
of
the
"Tractus"
include
motifs
of
penitence
and
mourning,
but
also
those
of
hope,
confidence, and joy.
The
prelude,
therefore,
is
a
marked
contrast
to
the
preceding
"blissful"
mood
in
the
"Gloria"
and
prepares
the
listener
for
the
urgent
petitions
of
Psalm
13:
Where
are
you,
Lord,
when
I need you?
CREDO
The
center
of
the
gospel
mass
is
the
creed
in
the
ecumenical
version.
The
repeating
motif
in
the
electric
bass
forms
the
foundation
on
which
the
choral
singing
can
unfold.
The
transition
from
the
"kingdom
of
death"
to
the
resurrection,
which
is
kept
almost
incidental
in
the
text
of
the
creed,
is
musically
emphasized
and
colored
by
an
orchestral
interlude
with
quotations
from
the
old
Easter
chorale
"Christ
ist
erstanden".
SANCTUS
The
"Sanctus"
(from
the
Latin
"Holy")
belongs
to
the
ancient
stock
of
Christian
worship
and
is
sung
in
the
Roman
Church
at
the
beginning
of
the
Eucharistic
Prayer
as
a
response
of
the
congregation
to
the
Preface
(in
the
Lutheran
service
immediately
before
the
"words
of
institution"
of
the
Lord's
Supper)
usually
by
all
participants together.
The
text
is
composed
of
various
biblical
passages:
Isaiah
6,
Psalm
118
(both
Old
Testament),
and
Matthew's
Gospel
21:9
(Jesus'
entry
into
Jerusalem
on
"Palm
Sunday").
By
origin.
In
general,
this
text
belongs
to
the
great
mysteries
of
the
Christian
faith.
The
thrice
holy
(Hebrew
kadosh
kadosh
adonai
zebaot)
mentioned
in
Isaiah
6:3
also
inspired
many
other
early
Christian
passages.
The
"Sanctus"
first
found
its
way
into
the
liturgy in the 4th century.
I
have
thought
for
a
very
long
time
about
how
the
"Sanctus"
should
sound.
Somehow
it
is
also
difficult
to
grasp.
Like
something
that
happens
above
our
heads
-
not
comprehensible.
So
I
approach
this
part
with
different
levels:
It
begins,
how
could
it
be
otherwise,
with
the
dominant
brute
orchestrally
laid
out
acclamation of the angels.
This
is
followed
by
a
part
dedicated
to
the
"Praised
be
he
who
comes
in
the
name
of
the
Lord"
shout.
According
to
Christian
tradition,
this
shout
also
resounded
from
the
gathered
crowd
when
Jesus
entered
Jerusalem
on
a
donkey
shortly
before
his
execution
(Palm
Sunday
in
the
church
year).
Didn't
many
of
these
people
shout
"Crucify
him"
shortly
afterwards?
This
almost
mechanically
repetitive
cry,
musically
arrested
in
a
blues
pattern,
must
collapse
in
on
itself.
A
meditative
further
part
in
the
"gospel
sound"
should
again
open
the
hearts
a
bit
and
lead
to
the
core
of
the
text.
But
nevertheless
the
piece
ends
in
an
adaptation
of
the
beginning
part
and
ends
with
a
bang
played by the timpani.
OUR FATHER
(LORD‘S PRAYER)
The
"Our
Father"
is
based
on
an
old
Jewish
form
of
prayer
(Kaddish)
and
in
its
simplicity
and
strength
is
still
a
never-ending
source
today.
In
my
interpretation,
one
aspect
is
central:
"Your
kingdom
come".
What
should
that
look
like?
A
society
at
peace
and
in
harmony
with
creation?
Or
only
the
"life after death"? A dream? A utopia?
I
do
not
want
to
take
the
listeners
to
the
Mount
of
Olives,
but
to
the
shore
of
the
Sea
of
Galilee.
Fishing
boats
lie
in
the
hot
midday
sun
and
the
waves
lapping
lazily
against
the
shore.
There
where
it
all
began.
Soon
a
young
itinerant
preacher
will
appear
here
and
invite
people
to
follow
him.
In
the
intro,
"thy
kingdom
come"
sounds
as
if
from
a
distance.
A
dialogue
between
the
precentor
and
the
choir
follows.
But
it
remains
a
prayer.
Prayed
together
-
across
all
denominations.
AGNUS DEI
The
Agnus
Dei
(Lamb
of
God)
refers
to
the
Passover
lamb.
According
to
Christian
tradition,
shortly
before
his
crucifixion,
Jesus
celebrated
the
Passover
meal
together
with
his
disciples
(the
so-called
Lord's
Supper),
during
which,
according
to
Jewish
tradition,
unleavened
bread
and
wine
were
consumed
(in
commemoration
of
the
exodus
of
the
people
of
Israel
from
Egyptian
bondage).
In
liturgy,
the
"Agnus
Dei"
formula
has
been
known
since
the
7th
century.
In
the
Roman
Catholic
Church,
it
is
part
of
the
celebration
of
the
Eucharist.
In
the
communion
liturgy
of
the
Evangelical
Lutheran
Church,
it
is
sung
after
the
words
of
institution.
Luther
wrote
a
German
version
for
it
(the "Christe, du Lamm Gottes).
At
the
point
of
worship
where
Christians
should
come
together
most,
there
is
still
no
agreement
today
on
how
"Holy
Communion"
or
"the
Lord's
Supper"
can
be
theologically
related
to
each
other.
An
open
wound
of
ecumenism
that
has not been healed until today.
In
the
MASS
IN
DEEP
BLUE
I
try
to
bring
the
apparent
contradictions
together
musically.
The
"Agnus
Dei"
begins
with
a
fugue-like
structure
that
uses
the
melody
of
Luther's
chorale
"Christe,
du
Lamm
Gottes".
This
is
followed
by
a
Gregorian-like
"Agnus
Dei"
theme
that
leads
into
the
first choral section.
The
center
of
this
composition
is
a
solo
part
dedicated
to
the
so-called
"Servant
of
God
Songs"
(Isaiah
40ff)
from
the
Old
Testament
(6th
century
BC).
According
to
Jewish
understanding,
this
text
refers
to
the
Persian
king
Cyrus
II,
who
proved
to
be
a
friend
and
savior
of
the
Jews
or,
according
to
this
tradition,
is
to
be
understood
as
a
metaphor
for
the
people
of
Israel.
From
the
Christian
tradition,
however,
this
text
refers
to
the
imminent
coming
of
the
Savior.
Here,
too,
a
certain
irreconcilability
in
the
interpretation
of
a
text
-
fused
into a piece of music.
The
concluding
"Agnus
Dei
[...]
Dona
nobis
pacem"
returns
to
Gregorian
mode,
ending
in
an
open
chord
(a
more
felt
E
minor).
However,
a
final
interjection
of
the
chorale
"Christe,
du
Lamm
Gottes"
brings
this
piece
to
an end in a major key.
STAY WITH US - LK
24 (PRAYER)
The
meditative
opening
closing
prayer
refers
to
Luke
24
(the
Risen
Lord
shows
himself
at
Emmaus).
Philipp
Melanchthon,
a
companion
of
Luther,
wrote
a
simple
prayer
for
this
in 1579 ("Vespera iam venit").
The
repeating
theme
wanders
through
different
keys.
A
request
for
assistance,
no
matter
what
the
situation in life is.
HAVE NO FEAR
(FINALE)
Dark
and
dragging,
the
final
piece
of
the
MASS
IN
DEEP
BLUE
begins
and
leads
into
a
text
of
hope:
Isaiah
43,
a
text
in
which
the
voice
of
God
speaks
from
Isaiah:
"Fear
not,
for
I
will
deliver
you;
I
will
call
you
by
your
name;
you
are
mine!"
-
a
reconciling
message
that
should
be
at
the
end
of
this
Gospel
Mass
and
should
be
understood
as
a
sign
of
hope
and
confidence.
In
my
understanding,
this
text
is
also
the
lowest
common
denominator
on
which
we
could
agree
after
all,
despite
all
denominational
differences.
It
is
not
too
late,
a
better
world
is
possible
and
we
are
not
alone
in
this.
Special
attention
is
given
to
the
promise
"Have
o
fear,
for
I
will
set
you free!" - "I will set you free!".
The
conclusion
of
the
MASS
IN
DEEP
BLUE
is
a
final
blessing,
also
from
the
"pen" of Isaiah (Isaiah 60:20):
„Your sun will never again go down,
or your moon keep back her light;
for the LORD will be your eternal
light and the days of your sorrow will
be ended.“
INFO & REQUEST
Gospel Mass for Solo & Choir
Orchestra & Band
CONCERTS 2022/23
