Choral Mass No 1 in G Major
After completing my Mass No. 2 in G minor, I returned to an earlier work — a setting of the Kyrie and Gloria that I now describe as a Lutheran Mass.
But what is a Lutheran Mass?
In the 16th century, following the Reformation led by Martin Luther, the traditional Latin Mass was not abandoned altogether. Luther retained much of its structure and theology, particularly the Kyrie and the Gloria, but simplified the form for congregational worship. Many Lutheran composers therefore wrote shorter Mass settings consisting primarily of these two movements.
1. Kyrie - Lord Have Mercy
2. Gloria
3. Gratias
4. Domine Deus in A Major
“Domine Deus, Rex caelestis, Deus Pater omnipotens”(Lord God, heavenly King, God the Father almighty)Written in a stately triple time, the music unfolds with a sense of majesty and order, drawing inspiration from the great choral traditions of composers such as George Frideric Handel.Scored for full choir and orchestra (strings, flute, oboe, horn, and bassoon), the movement builds its strength through repetition and variation.
The principal idea returns four times, each appearance subtly transformed — allowing the music to grow in colour and expression while retaining its noble character.The choral writing alternates between bold, unified declarations and more intricate passages of counterpoint, where independent lines interweave to create energy and momentum beneath the surface.This is music of royal proclamation — not hurried or dramatic, but confident, grounded, and full of dignity.
5. Qui tollis peccata mundi
This movement sets one of the most expressive texts of the Gloria:
Qui tollis peccata mundi, miserere nobis
Qui tollis peccata mundi, suscipe deprecationem nostram
“You who take away the sins of the world, have mercy on us;
You who take away the sins of the world, receive our prayer.”
6. Quoniam Tu Solus Sanctus
This is the orchestrated mock-up of the 6th movement of Mass No. 1, my Lutheran Mass.
The work in C major is scored for full SATB choir, strings, trumpet, horn oboe and flute and breathes like a prayer of worship.
Quoniam tu solus Sanctus,
tu solus Dominus,
tu solus Altissimus, Jesu Christe.
“For you alone are holy,
you alone are the Lord,
you alone are the Most High, Jesus Christ.”
The music is written in C major and is scored for:• SATB Choir• Trumpet• Horn• Strings• Oboe• Clarinet• FluteThe character of the piece is spacious and lyrical, allowing the text to breathe and the choir to proclaim the words clearly. Earlier in the Gloria a jubilant Laudamus Te theme appears, announced by the trumpet.
This theme returns later in the movement, creating unity across the Gloria and lifting the music toward the final proclamation of praise.The movement prepares the way for the concluding doxology:Cum Sancto Spiritu in gloria Dei Patris. Amen.My aim in writing this Mass is simple: to create music of beauty and clarity that leaves the listener quietly awed by the glory of God.
7. Cum Sancto Spiritu in gloria Dei Patris. Amen
This is the orchestrated mock-up of the final movement of Mass No. 1, my Lutheran Mass.
The work is scored for full SATB choir, strings, oboe and flute. The character is hymn-like — direct, joyful and declarative — bringing the Gloria to its triumphant conclusion:
My aim in writing this movement was simple: to create music of beauty and clarity that leaves the listener quietly awed by the glory of God.
Rather than dramatic excess, the orchestration is transparent. The woodwind lines lift and illuminate the choral writing, while the strings provide warmth and foundation. The Mass begins and ends in G major — confident, grounded, and doxological.