And On Earth Peace: A Chanticleer Mass

1	Da pacem, Domine, in dieb
2	Deus, Deus meus, respice
3	Kyrie, for choir
4	(Gloria) Everywhere, for
5	Responsories (9) for Holy
6	Aestimatus sum, responsor
7	Credo / Ani Ma'amin, for
8	O salutaris Hostia, motet
9	Ravenna Sanctus, for choi
10	Peccantem me quotidie, mo
11	Agnus Dei, for choir
12	Da pacem, Domine, in dieb
And On Earth Peace: A Chanticleer Mass
1.	Da pacem, Domine, in diebus nostris, Antiphon and verse from Psalm 122 0:41
	Composed by Gregorian Chant
	Performed by Chanticleer
2.	Deus, Deus meus, respice in me, motet for 10 voices 2:53
	Composed by Andrea Gabrieli
	Performed by Chanticleer
3.	Kyrie, for choir 9:11
	Composed by Douglas J. Cuomo
	Performed by Chanticleer
4.	(Gloria) Everywhere, for choir 12:45
	Composed by Kamran Ince
	Performed by Chanticleer
5.	Responsories (9) for 6 voices, Sabbato Sancto: 5. O Vos Omnes 3:55
	Composed by Carlo Gesualdo
	Performed by Chanticleer
6.	Aestimatus sum, responsory for 6 voices, W. 7/87 4:10
	Composed by Carlo Gesualdo
	Performed by Chanticleer
7.	Credo / Ani Ma'amin, for choir 12:05
	Composed by Shulamit Ran
	Performed by Chanticleer
8.	O salutaris Hostia, motet for 8 voices 3:07
	Composed by Andrea Gabrieli
	Performed by Chanticleer
9.	Ravenna Sanctus, for choir 10:23
	Composed by Ivan Moody
	Performed by Chanticleer
10.	Peccantem me quotidie, motet for 5 voices, W. 8/36 4:31
	Composed by Carlo Gesualdo
	Performed by Chanticleer
11.	Agnus Dei, for choir 9:42
	Composed by Michael McGlynn
	Performed by Chanticleer
12.	Da pacem, Domine, in diebus nostris, Antiphon and verse from Psalm 122 1:34
	Composed by Gregorian Chant
	Performed by Chanticleer

Barnes & Noble

Chanticleer give new meaning to the term "Mass" with this gorgeous, newly composed cycle, And on Earth, Peace: A Chanticleer Mass. Commissioned by the all-male, San Francisco-based a cappella ensemble, the Mass is a collaborative work, with each of its principal sections claiming a different contemporary author: Douglas J. Cuomo (Kyrie), Kamran Ince (Gloria), Shulamit Ran (Credo), Ivan Moody (Sanctus), and Michael McGlynn (Agnus Dei). Interspersed between the new music are Renaissance pieces by Andrea Gabrieli and Carlo Gesualdo, while plainsong serves to open and close the cycle. With such a potpourri of composers from widely varied backgrounds, it's surprising how well the Mass holds together as a whole. For that, thank the shared stylistic austerity of much of the music and also Chanticleer's beautifully controlled, ethereal performances. In one of the more striking passages, the American Cuomo (of the Sex and the City theme) sets plainsong against shimmering tone clusters in the Kyrie, while in the work's boldest departure from convention, the Turkish Ince and Israeli Ran introduce languages beyond the traditional Latin (Sufi in the Gloria, English and Hebrew in the Credo). London-born Moody and Dubliner McGlynn claim strong medieval and Eastern Orthodox influences, respectively, in their music, which makes them perfect choices for this tradition-rooted project, and their movements often achieve a hypnotic timelessness. Channeling this age-old text through a culturally diverse 21st-century prism, Chanticleer have delivered a captivating Mass for modern times. EJ Johnson

All Music Guide

On the 10th anniversary of the death of Louis I. Botto, Chanticleer's founder, the male vocal ensemble commissioned five composers to write a composite mass in honor of his life. The movements of the ordinary of the mass are interspersed with works by Gesualdo and Andrea Gabrieli, and the whole is bookended by the plainsong "Da Pacem, Domine." The composers represent a variety of faith traditions, so this is not a traditional Roman Catholic mass; only Douglas J. Cuomo set the standard Latin text for his Kyrie. Kamran Ince used a poem by Rumi for the Gloria, Shulamit Ran set texts from Maimonides and from the Jewish Liturgy for the Credo, Ivan Moody's Sanctus is from the Greek Orthodox service, and Michael McGlynn uses both Gaelic and Latin versions of the Agnus Dei.

Chanticleer's remarkable sound is immediately evident; Gabrieli's "Deus, Deus meus, respice in me" bursts out of the simplicity of the plainchant that precedes it in a blaze of antiphonal radiance. Cuomo's Kyrie is one of the most musically striking of the newly commissioned movements. His eclectic use of speech juxtaposed with tightly chromatic clusters is hugely effective musically, as well as awe-inspiring for the security with which Chanticleer performs it. Moody's Sanctus is basically tonal, but its sparing use of grinding dissonance is a stark reminder of the otherness of the Holy. McGlynn's gorgeous setting of the Agnus Dei dramatically begins with a solo voice intoning a Celtic-inflected melody over a cluster of shifting drones before gradually morphing into a richly chromatic but more harmonically conventional Latin version, over which he floats a ravishingly simple repeating melody. Warner's sound is exemplary -- clear enough for the text to always be easily understood, but resonant and warm. Stephen Eddins