The world premiere performance of the "New Gothic Mass" for choir and organ, in San Francisco. 

Kyle Randall, conductor and composer 
Eric Choate, organist 
Collin Whitfield, assistant music director 

with a choir including: 
Kristina Blehm 
Sam Maurer 
Mark Shattuck 
Collin Whitfield 
Kevin Gino (soloist in the Sanctus) 
David Oorbeck 
and more 

Lyrics:

Sanctus, Sanctus, Sanctus // Holy, Holy, Holy 
Dominus Deus Sabaoth; // Lord God of Hosts; 
pleni sunt coeli et terra gloria tua // Heaven and earth are full of Your glory 
Hosanna in excelsis // Hosanna in the highest

Note:

I'm thrilled to share this work, and to bring it to realization with the help of some truly amazing musicians. This mass is particularly close to my heart; in some ways it's fairly traditional—it is a mass, after all—but there's something about it that I find intensely new and striking, and I hope this comes through in the recording.

Before I began working on this piece, I had been wanting to write a mass for some time. I tried starting into the project several times, but while each followed the sentiment of the mass and illustrated the words well, something seemed to be missing. I knew that I would only be happy with a setting if it not only brought the words to life but presented a vivid musical interpretation of the idea of a mass. The music, in other words, would need to speak completely for itself.

It wasn't until an extended period of traveling across the country that the right ideas began to come. The Kyrie began to take shape during these travels, and most of that movement came suddenly during a wild thunderstorm in Brooklyn, while I sat in an old building looking out at the stone walls of an old cathedral. The feel of that thunderstorm is still almost tangible to me—as is the peculiar exhilaration and awe that I felt at seeing it after having been away from dramatic weather for years since moving from the east coast to San Francisco—and it stayed with me as I wrote the rest of the mass.

This setting of the mass is particularly dark and tremendous, and some may complain that movements like the Gloria are less celebratory than is conventional. For me, though, this is a sincere and deeply human interpretation. It focuses on the human experience of worship in a way that is perhaps closer to the medieval or Renaissance tradition than to the Classical and Romantic interpretations, embracing the turmoil, fear, awe, wonder, and sublimity inherent in the text and practice of the mass, and refusing to shy away from the intensity of the experience. In this way, I hope it evokes the ageless sentiments of the mass and brings them to the present in a way that feels both ancient and electrifyingly real.

Sanctus

Ionut Mirel Udrea (Member Of APRA/AMCOS) is a music composer, piano player and music producer based in Sydney - Australia. 
Ionut Mirel Udrea composes emotive piano-based instrumental music.

www.kylerandall.com

Born and raised in the forests of New Hampshire, Kyle Randall is an internationally-performed, award-winning composer of a wide variety of music, with premieres from Carnegie Hall to La Schola Cantorum in Paris, and commissions from renowned groups such as the Harvard Glee Club and Choral Chameleon. He strives for vividness and sincerity in his music, and he is not afraid to draw on the past as well as the present in his writing. After receiving a B.A. from Harvard, he came to San Francisco Conservatory to study with David Garner for a Masters in composition. Kyle was a winner of the American Prize in Composition for 2015, and a finalist in the Morton Gould ASCAP Composer prizes.

(photo credit Heike Liss, http://heikelisscreativeportraits.tumblr.com/)

Sanctus

Kyle C Randall