NOT the 1979 BCP text. The interpolated “Christ has died / Christ is risen” make it inappropriate in its current Vigil spot but it could be used to good effect AFTER the Easter proclamation.
Full score & video.
Score & video. The Gloria is in my TOP THREE Dirksen pieces. Less than three minutes long, it opens with a liturgical joke and ends with an explosive Amen. Note his tempo!
Full scores & videos. By 1960 Dirksen had participated in Easter services at the Cathedral for 15 years and knew the forces intimately. This grand Mass features exceptionally brilliant writing for the brass and timpani, ground-breaking mixed meters (13/8 notoriously raised the choir’s eyebrows), and in the Agnus Dei some of his spookiest writing for the organ. It’s also noteworthy that two movements of a Mass in E major end on F# (Kyrie, Benedictus). That uncanny whole-tone lift comes a shock each time but prefigures the Gloria’s triumphant final modal cadence from D to E. He also orchestrated it for double wind quartet after the Stravinsky Mass.
This speculative work features obbligato handbell parts for 10 bells replicating / mimicking several change ringing methods in each movement as well as a carillon part for the Gloria.
Score & Audio. Liturgical setting, with bells – reworked from the 1966 / Rite I Communion Service in G.
For the visit of the Archbishop of Canterbury, 10/14/79. Three brilliant trumpet parts in the Gloria.
Score & audio. A two-part setting.
Dirksen’s Bernstein phase.
Score & audio. This material has many components in various styles and can be used in many different forms.
Once sung. never forgotten.
Three versicles and responses to open the Palm Sunday liturgy.