CD - Todd Jolly: Two Masses
During these times of physical and idealogical separation come two pieces that were conceived as artistic bridges between cultures, between styles, and between nations. Those who feel some connection still with the Christian tradition, and yet wish that the theology pushed further and that communities encompassed a larger circle may find some resonance here.
Mazz: A Celebration of Twentieth-Century Prophets can either serve as liturgical music for an actual service of worship, or as a concert piece in its own right. Borrowing from early jazz styles, it includes a Charleston and the blues, as well as later styles, including be bop and swing. The text draws from the Roman mass, often adapting it (Glory to God in the highest, and on earth peace to all God’s feathery little creatures), plus some lines of scripture from the Bible, also adapted. The composer added original text, (for example, substituting his own words for the Nicene Creed), and set a passage by Howard Thurman for a cappella jazz choir. Bylines from the New York Times provide a backdrop for the Agnus Dei. The order of the mass departs slightly from tradition, placing the Amen at the end of the service, as happens in Protestant services. Like any jazz, this piece takes a given structure and plays with it. Composition took place from 1997 to 2001.
The Sanctus from Mass for World Communion dates from 1997, yet it took more than two decades for a mass to grow from that seed. Written in 2018 (except for the Sanctus), this composition lends itself even moreso to a worship service than does Mazz. In this setting, movements are in the correct order for a Catholic mass. However, the text for the Credo departs from the Roman rite, borrowing instead from John Muir, and original words provide the basis for the parts that are not from the ordinary of the mass. Scored for percussion ensemble, alto recorder (or atenteben, a flute from Ghana), and chorus, the overall work draws on musical traditions from Zimbabwe, China, Latin America, 20th century percussion ensemble repertoire, and a bit of jazz. Tunes are not restricted to the voices, recorder, and marimba; tom toms and congas sometimes carry the melody.
Both of these pieces were premiered at St. John's Presbyterian Church in Berkeley, CA.St. John's has a long and proud history of musical excellence, including a wonderful acoustic, rare and beautiful instruments, and accomplished musicians, both paid and volunteer.
During these times of physical and idealogical separation come two pieces that were conceived as artistic bridges between cultures, between styles, and between nations. Those who feel some connection still with the Christian tradition, and yet wish that the theology pushed further and that communities encompassed a larger circle may find some resonance here.
Mazz: A Celebration of Twentieth-Century Prophets can either serve as liturgical music for an actual service of worship, or as a concert piece in its own right. Borrowing from early jazz styles, it includes a Charleston and the blues, as well as later styles, including be bop and swing. The text draws from the Roman mass, often adapting it (Glory to God in the highest, and on earth peace to all God’s feathery little creatures), plus some lines of scripture from the Bible, also adapted. The composer added original text, (for example, substituting his own words for the Nicene Creed), and set a passage by Howard Thurman for a cappella jazz choir. Bylines from the New York Times provide a backdrop for the Agnus Dei. The order of the mass departs slightly from tradition, placing the Amen at the end of the service, as happens in Protestant services. Like any jazz, this piece takes a given structure and plays with it. Composition took place from 1997 to 2001.
The Sanctus from Mass for World Communion dates from 1997, yet it took more than two decades for a mass to grow from that seed. Written in 2018 (except for the Sanctus), this composition lends itself even moreso to a worship service than does Mazz. In this setting, movements are in the correct order for a Catholic mass. However, the text for the Credo departs from the Roman rite, borrowing instead from John Muir, and original words provide the basis for the parts that are not from the ordinary of the mass. Scored for percussion ensemble, alto recorder (or atenteben, a flute from Ghana), and chorus, the overall work draws on musical traditions from Zimbabwe, China, Latin America, 20th century percussion ensemble repertoire, and a bit of jazz. Tunes are not restricted to the voices, recorder, and marimba; tom toms and congas sometimes carry the melody.
Both of these pieces were premiered at St. John's Presbyterian Church in Berkeley, CA.St. John's has a long and proud history of musical excellence, including a wonderful acoustic, rare and beautiful instruments, and accomplished musicians, both paid and volunteer.
During these times of physical and idealogical separation come two pieces that were conceived as artistic bridges between cultures, between styles, and between nations. Those who feel some connection still with the Christian tradition, and yet wish that the theology pushed further and that communities encompassed a larger circle may find some resonance here.
Mazz: A Celebration of Twentieth-Century Prophets can either serve as liturgical music for an actual service of worship, or as a concert piece in its own right. Borrowing from early jazz styles, it includes a Charleston and the blues, as well as later styles, including be bop and swing. The text draws from the Roman mass, often adapting it (Glory to God in the highest, and on earth peace to all God’s feathery little creatures), plus some lines of scripture from the Bible, also adapted. The composer added original text, (for example, substituting his own words for the Nicene Creed), and set a passage by Howard Thurman for a cappella jazz choir. Bylines from the New York Times provide a backdrop for the Agnus Dei. The order of the mass departs slightly from tradition, placing the Amen at the end of the service, as happens in Protestant services. Like any jazz, this piece takes a given structure and plays with it. Composition took place from 1997 to 2001.
The Sanctus from Mass for World Communion dates from 1997, yet it took more than two decades for a mass to grow from that seed. Written in 2018 (except for the Sanctus), this composition lends itself even moreso to a worship service than does Mazz. In this setting, movements are in the correct order for a Catholic mass. However, the text for the Credo departs from the Roman rite, borrowing instead from John Muir, and original words provide the basis for the parts that are not from the ordinary of the mass. Scored for percussion ensemble, alto recorder (or atenteben, a flute from Ghana), and chorus, the overall work draws on musical traditions from Zimbabwe, China, Latin America, 20th century percussion ensemble repertoire, and a bit of jazz. Tunes are not restricted to the voices, recorder, and marimba; tom toms and congas sometimes carry the melody.
Both of these pieces were premiered at St. John's Presbyterian Church in Berkeley, CA.St. John's has a long and proud history of musical excellence, including a wonderful acoustic, rare and beautiful instruments, and accomplished musicians, both paid and volunteer.