Mass in G Minor
Mass No. 2 in G Minor – Demos
Mass No. 2 in G Minor is a complete setting of the Ordinary of the Mass, written with clarity of text, strong melodic identity, and expressive contrast at its heart.
While rooted in the classical choral tradition, the Mass aims to speak to contemporary choirs and congregations through clear structure, memorable themes, and music that moves somewhere emotionally and harmonically.
Each movement explores a distinct aspect of the text, allowing the Mass to unfold as a musical and spiritual journey—from plea and praise to peace, surrender, and rest.
Below are demo recordings of each section, with brief notes to guide you as you listen.
1. Kyrie in G Minor
The Mass opens with a plea for mercy, set in G minor to establish a serious and contemplative tone.
The music is spacious and expressive, allowing the weight of the text to breathe. Rather than urgency, the emphasis is on humility and dependence, inviting both choir and listener into a posture of prayer.
2. Gloria in G (Gloria Part 1)
The Fugal Gloria bursts into praise, contrasting strongly with the opening Kyrie.
Rhythmic vitality and forward momentum reflect the joy and confidence of the text. This movement acts as a foundation for several sections that follow, establishing thematic material that will later be developed and revisited.
3. Et in Terra Pax (Gloria Part 2)
Here the music softens to reflect the words “and on earth peace.”
This movement offers a moment of calm and lyricism, providing contrast within the broader sweep of the Gloria text. The harmony is gentler, allowing the sense of peace to be felt rather than proclaimed.
4. Laudamus Te (Gloria Part 3)
Joyful, energetic, and rhythmic, Laudamus Te is music of praise in motion.
This section celebrates worship itself—music that lifts and dances, while remaining firmly rooted in classical choral language. It is designed to feel alive and affirmative without becoming lightweight.
5. Qui Tollis Peccata Mundi in D Major (Gloria Part 4)
The mood turns inward again with Qui Tollis, focusing on the suffering and mercy of Christ.
The harmony darkens, and the musical pace slows, creating space for reflection. This movement acts as an emotional pivot point within the Gloria, reminding us of the cost that underpins praise.
6. Quoniam Tu Solus in Gb Major (Gloria Part 5)
This movement reasserts confidence and declaration: “For You alone are the Holy One.”
Strong lines and clear harmonic direction give the text a sense of authority and assurance, preparing the ground for the contrapuntal writing that follows.
7. Cum Sanctus Spiritu in G Minor (Gloria Pt 6)
Cum Sancto Spiritu is conceived as a lively and structured conclusion to the Gloria text.
With a sense of forward drive and cumulative energy, the music gathers what has come before and brings it to a confident and satisfying close, celebrating the unity of Father, Son, and Holy Spirit.
8. Sanctus in G Major
The Sanctus shifts into a sense of awe and wonder.
Rather than grandeur for its own sake, the music aims to capture holiness through clarity and space—reflecting the mystery of heaven meeting earth. The texture allows the words to shine while maintaining a strong musical identity.
9. Benedictus in E Flat Major
More intimate in character, the Benedictus feels personal and reflective.
Often conceived as a companion to the Sanctus, this movement offers contrast through warmth and lyricism, focusing on blessing and welcome rather than proclamation.
10. Agnus Dei in G Major
The Mass concludes with the Agnus Dei, returning to a prayerful and searching tone.
There is a sense of resolution here—not triumph, but peace. The music seeks rest rather than drama, allowing the Mass to come to a quiet, thoughtful close.
Review From Aya (Secretary Fareham Philharmonic Choir)
Thank you again for sending me your most impressive Mass in G minor. It was indeed a pleasure to listen to it and admire your great talent.
I am not a music critic, but I wish to share with you how I listened to your music and what I personally experienced during the process.
First, I always try to listen to new musical pieces without any prejudice, without reading any background notes and as anonymously as possible, if possible. I sit down comfortably, close my eyes and let the notes flow through me. I allow a few hours or even a day before I listen again, this time after reading and gaining information and understanding of the composer and the piece.
This is what I did, listening to your beautiful mass. I must note how accurately you described the changing mood of each part, and how well it reflected my own thoughts.
I believe that the Kyrie is the part that determines the fate of a mass: if well written, it will gain the attention of the audience and will lead to openness toward the rest of the piece. A good Kyrie will be remembered, whereas a less exciting one may seal the fate of the mass to be forgotten.
Your Kyrie is of the unforgettable sort. It is very classical, on the one hand, but also feels modern and current. For some unexplained reason, I felt that it had Russian influences which could be heard in the Cum Sanctus Spiritu as well.
Your various Gloria parts were very interesting with changing moods. Gloria 1 reflected a sense of happiness and optimism whereas the Laudamus Te sounded festive, formal and ornamented. The Sanctus felt mysterious and the Agnus Dei dreamy.
Your description next to each part was very accurate and I could feel it with and without the description.
The various parts are mainly quite short and unrepetitive which makes it interesting to listen to and to sing. It is not tedious but feels reviving and fresh, because it is simultaneously similar and different from other masses.
Thank you for the honour of sharing your creation with me.