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Program Notes
There is a tradition, centuries long, that musical settings of the Mass treat the five sections of the Mass whose
text never changes, known collectively as the Mass Ordinary. The reason for this is that such a setting could be
used (theoretically) any time the Mass was celebrated. A composer could certainly include additional portions
of the Mass, but any such portions would be from the Mass Proper which changes according to the season of
the church calendar and the particular Sunday.
This setting opens, then, with the Introit assigned in the Liber Usualis for the 18th Sunday after Pentecost (p.
1056). Sierra’s Offertory combines a Gradual and Alleluia from a Mass to Beg for Peace (p. 1285) with an
Offertory from the Mass for the Fourth Sunday of Lent (p. 562). The composer also adds to the Agnus Dei the
Communion from the Mass to Beg for Peace (p. 1287).
Sierra writes, “The concept of my Missa Latina ‘Pro Pace’ came directly out of my experience growing up as a
Catholic in Puerto Rico. I still recall vividly hearing the Mass in Latin in my hometown when I was a child. These
memories created a strong impression—one that has only deepened through the years: a sense of mystery
combined with power and compassion in hearing Gregorian chant intoned by the priest in a ritual involving this
‘dead’ language.
“The title I chose—Missa Latina—has dual meaning. On the one hand it refers to the traditional Latin text, while
on the other hand the work is infused with a ‘Latino’ character: full of Caribbean gestures that allude to my own
Hispanic heritage, and which are present in so many of my works. These sounds can be heard particularly in the
‘Laudamus te’ of the Gloria and the ‘Pleni sunt caeli’ of the Sanctus.”
Missa Latina was co-commissioned by the National Symphony Orchestra of Washington, D.C., Leonard Slatkin,
music director, through a generous gift from the John and June Hechinger Commissioning Fund for New
Orchestral Works, and the Choral Arts Society of Washington, Norman Scribner, artistic director, through a
generous gift from Anne B. Keiser and Charles Cerf.
* * *
The work’s opening movement uses the complete text of the selected introit. The text therefore is in three
sections: first the antiphon, a freely conceived prayer; next is a verse from a Psalm, in this case Psalm 121:1
(Roman Catholic numbering) (“Laetatus sum . . .” sung by the chorus); and finally the Doxology (“Gloria Patri,”
sung by the soprano solo). Unlike liturgical practice, the antiphon is not repeated. The music throughout has
florid melodic lines over drone-like sustained sonorities, having a distinctly Eastern character. The orchestral
postlude of the movement introduces the rhythm known in Puerto Rico as the tresillo, a 3 + 3 + 2 pattern that
will figure prominently throughout the Mass.
The Kyrie is a plea for mercy before a seemingly implacable God. The music takes on a more gentle character as
the soloists enter. The center of the movement, setting “Christe eleison,” moves more quickly and brings in the
tresillo rhythm.
The tresillo dominates the opening of the Gloria at a faster pace. As the baritone solo starts “Laudamus te,” the
dance rhythm changes to a cha-cha. The soprano at “Gratias agimus tibi” changes the music to a slower, gentler
quality. But soon an energetic 6/8 pace initiates “Domine Deus.”
An oboe solo brings the Eastern sound back for “Qui tollis peccata mundi,” with a very slow tresillo articulated
by the bass drum and other bass instruments. The dance character returns for “cum Sancto Spiritu,” which
leads to a recapitulation of both text and music of the movement’s beginning.
The motives introduced by the soloists at the start of the Credo organize the themes in this movement.
Contrary to the usual approach of setting the Credo to music, Sierra’s music is full of mystery and even doubt.
The movement is shot through with harmonies with non-resolving sevenths and ninths. “My Credo is more
introspective and of an intimate nature because it deals with the personal belief everyone has and does not limit
us to membership in *one+ church.”
There is a kind of homage to Stravinsky as God the Son’s origin (“ante omnia saecula”) briefly takes on a
primitive Russian quality. “Deum de Deo” is treated first as a mystery, then as a dance with the tresillo. But
mystery takes hold again at “Qui propter nos homines,” with Jesus’ descent from heaven to earth portrayed
vividly in the orchestra, and continues through his incarnation, crucifixion, and resurrection. The soprano
provides an equally vivid picture of Christ’s ascension.
With “et iterum venturi” the tresillo puts in a brief appearance, leading to another moment before the
implacable God at the final judgment. After declarations regarding the Holy Spirit, the tresillo in a very fast
tempo drives “et vitam venturi saeculi” with all the forces. A sense of resolution and peace is achieved with the
concluding “Amen,” sung in hushed tones.
As noted above, the texts assembled by Sierra for the Offertory are from a couple of Masses, but the texts are all
drawn from the Vulgate of the Psalms: first Psalm 121:6-7, Psalm 147:1, and Psalm 134:3 and 6 (with slightly
varied text). The movement has a violent orchestral introduction, suggesting those things from which we seek
the shelter of God’s peace. The texts are intoned, leading to a concluding “Alleluia” based on the tresillo
pattern.
The Sanctus features energetic, complex rhythms with changing meter signatures. After a pause the soprano
introduces “Pleni sunt caeli,” styled after the Cuban son that united Spanish and African styles and in turn was
the basis for salsa. Following tradition, “Benedictus” is slower, in a gentle 3/4 led, again, by the soprano. The
movement ends with a return of the faster “Hosanna” music.
The Agnus Dei concludes the work with the customary Ordinary text and adds an adaptation of Christ’s words
from John 14:27. The movement begins with a return to the florid melody and Eastern character combined with
moving pleas for peace. The text from John is sung a cappella by the soprano and chorus. There is a final
exhilarating “Alleluia” based on the tresillo pattern.
— ©2011, David Mead