Confessions of a Back Bench Bass

Confessions of a Back Bench Bass

Yes, I enjoy waving my hands, and having the responsibility of keeping instruments and voices all on track for yet one more performance of excellent music, as we seem to regularly enjoy here at Thomas More, but there is something very special in just disappearing into the row of other men at the back of the choir, and where my prime responsibility is holding my music right side up, and singing as directed. On Wednesday, July 26, together with three other singers from our parish, I will be “just a choir singer” for the Dedication Liturgy of our new Cathedral of the Holy Name of Jesus in Raleigh.

The list of music to be covered is rather daunting, and specialized. Even unique. The Entrance hymn was custom composed for the occasion by Michael Accurso, the Diocesan Director of Liturgical Music. Our challenge is to conquer the different languages – representing the various ethnic groups in our Diocese: English, Spanish, Vietnamese,  Igbo, Korean, Tagalog, Swahili, and wrapping it all up with a “Gloria Patri” in Latin. The Mass Acclamations will be those of the “Heritage Mass” – which we are also using here at St. Thomas More for July and August.

Unique music to be sung as the relics are deposited, and the Altar consecrated includes “O nata lux” [O Light born of Light] by Thomas Tallis, a British composer contemporary with our own Thomas More. Two pieces to be sung with full orchestra accompaniment are: Parry’s “I was glad” [Psalm 122] often used at British Coronation ceremonies, and Mendelssohn’s “And then shall your light” [from “Elijah”] which as the final anthem celebrates the “Holy Name of Jesus”  - the choir repeating over and over “Lord, our creator, how excellent thy name is in all the nations” [Psalm 8:1].