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Will Todd’s Mass in Blue is a dynamic, uplifting, and highly popular jazz setting of the Latin mass. The work features driving grooves and blues harmonies, with provision for short piano solos (notated or improvised) and great moments of musical interplay between soprano soloist and choir. It’s a worthy centre-piece for any concert.
A set of notated parts for jazz trio (piano, with chord symbols, bass and drum kit plus an optional alto sax part is available separately on sale and on hire/rental. Afull backing CD, recorded by the Will Todd Trio, is also available on sale.
Mass in Blue has been performed hundreds of times around the world since its 2003 premiere, and recorded on Signum Classics.

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In the last decade, Penderecki composed a Sanctus and Benedictus for treble choir, and he has now used these movements as the basis of his Missa Brevis. The new mass setting adds male voices in fitting with the structure of the boys’ choir, which will be celebrating its 800th anniversary with the first performance of this work.
Penderecki’s oeuvre contains many sacred works, with numerous compositions based on sections of the Catholic Mass. Nevertheless, the Missa Brevis is, with the exception of his Polish Requiem, his first complete mass setting.

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This work with its calmly pleading character lives on the contrast between the freely metric, virtually Gregorian passages and the strict time-beating sections. It is especially in the 'Da pacem' call written in triplets that pressing, accelerating crescendos arise which can also be led into the forte excessively. The concluding Latin 'Da pacem' should then be sung in a deliberately introverted manner.

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This song is written by the Latvian composer Vasks. Silence is the theme of the whole piece that begins with one long note of piano part. Even when the choir joins in, the total volume should not increase too much. The piano keeps the music flowing forward, while the choir parts change the colors of the sound. The texture of the music is not complicated, however, it requires high singing techniques of the singers. It is a great piece for concerts to let the audience put its mind at ease and enjoy music.

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Many composers create versions of the famous psalm Sicut Cervus. Gyongyosi used slower tempo to interpret the verses like flowing streams: in the beginning, long notes imitate slow river, and the small notes move the music forward while gradually accelerating later on; in the middle section, the volume becomes louder gradually, small and quick notes symbolize splashing up the water; in the end, wide harmonies are used to create the impression of a river running towards the wide sea reminding the souls that long for the Lord.

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This is a short piece with high rhythmic energy. Quick and brief notes let the listener feel excited and at the same time the discords raise the tension within the music. Singers with high singing techniques are needed to perform this piece. In the final section, the tambourine accompaniment and handclaps make the sound richer and together with 3 plus 2 beats give the music a feeling of a dance. It is suitable for the concert programs.

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This piece is written with a very fast tempo. Contrast of the dynamics, variability of articulation, the glissandi, and temporarily appearing long notes make the texture of this song relatively difficult. The singers should keep the rhythm stable. Wide range of the pitches is also a challenge for female choirs. The song is composed for three parts and being not an easy piece which requires all the preciseness of singing techniques.

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Compared with the other works of Gyongyosi, this piece is considered to be a peaceful one. It is divided into six parts. There are many nuances between tritones and semitones. Vertical sound clusters change the color of the music throughout the piece – just like colors keep changing when looking into a kaleidoscope.

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This piece combines tradition and innovation. It begins with the alto part and then the mezzo and soprano parts join in successively. It sounds like a piece from the polyphonic period. As the music develops, it becomes more and more complicated. The second section starts with bar 70 and the voicing is divided into six parts. Changing into a contemporary one, it is no longer a traditional music style. The voices come in with imitation. The effect sounds like a river is falling down from a high cliff and then flows into a calm lake. The final accord of "Amen" is so quiet and pure that the listener can almost see the view of a clear, pristine lake.

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This Missa is composed without the ordinary part of "Credo". Instead, "Ite, missa est" is added in the end. The coro unisono parts and the texture make the music sound like from the polyphonic era. Indeed, the Missa contains modern music elements: discords, sound clusters, complicated rhythms, dynamic contrast, etc. "Kyrie" and "Agnus Dei" are filled with a peaceful atmosphere so that the audience could enjoy the changing color of the harmonies. "Gloria" and the second half of "Sanctus" show the brilliant and unique style of Gyongyosi. It is a 15-minute long work with many little surprises. The piece is suitable to be performed as a part of a concert or even for religious purposes in the churches.

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It is considered as a typical rhythmical piece of Gyongyosi. The lyrics talk about the birth of Jesus Christ. By using different voices, the composer tells us the story. The "Alleluia" sections play an important role in this song. They emphasize the joy of people welcoming the newborn king. The long Alleluia ending is the exceptional – arguably the most splendid – part of this work. High sing techniques are needed to perform this song. It can be a great choice for choral competitions.

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Cantus I is a rhythmical song that sounds as if the angels rejoice and celebrate the Resurrection of Christ. The "portamento" notes should be sung with a soft repercussion. This will make the piece more colorful.

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Cantus II begins with the Gregorian chant shown in neumatic notation. After that, female voices flow in an organum-like style forming four parts with male voices.

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Cantus III is an arrangement of the "Sactus" from Messe II in "Graduale triplex". The first part is a version of neumatic notation, while the second part is presented in modern notation. A short piece with solo and four part mixed choir.

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This version of "Ubi Caritas" was written for Olga Roudakova and Choeur Gregorien de Paris. We can feel its similarity to Durufle's "Ubi Caritas". The impressive melody of praying is repeated not once in the song. The last part is so touching that all voices end in the warm tone of F.

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The piece is written with open metrum in most of the parts. The chant-like sections mix with modern harmonies. It presents an interesting combination of both tradition and innovation.

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