Today’s music was chosen for either their commemorative texts or their place in the standard requiem mass ordinary. The ordinary of our service are those parts that we repeat (or can repeat) every week. They include the “Kyrie” or “Lord have mercy…”, the Gloria (Glory to God in the highest…), the Creed, the prayers associated with the readings, the prayers at the Offertory, the Eucharistic prayers, the Lord’s Prayer, the “Agnus Dei” or “Lord, have mercy,” and final blessing. Throughout music history, various (and all of these) have been set to music.
Offertory Anthem: “Kyrie” Sir Edward Bairstow (Franz) Joseph Haydn
from Missa in Angustiis (Mass for troubled times)
or Nelson Mass (Hob. XXII/11)
Haydn was an Austrian composer. Neither he nor his contemporaries used the name Franz, and there is no reason to do so today. He began his career in the traditional patronage system of the late Austrian Baroque, and ended as a ‘free’ artist within the burgeoning Romanticism of the early 19th century. Famous as early as the mid-1760s, by the 1780s he had become the most celebrated composer of his time, and from the 1790s until his death was a culture-hero throughout Europe. Since the early 19th century he has been venerated as the first of the three ‘Viennese Classics’ (Haydn, Mozart, Beethoven). He excelled in every musical genre; during the first half of his career his vocal works were as famous as his instrumental ones, although after his death the reception of his music focused on the latter (except for The Creation). He is familiarly known as the ‘father of the symphony’ and could with greater justice be thus regarded for the string quartet; no other composer approaches his combination of productivity, quality, and historical importance in these genres. In the 20th century he was understood primarily as an ‘absolute’ musician (exhibiting wit, originality of form, motivic saturation and a ‘modernist’ tendency to problematize music rather than merely to compose it), but earnestness, depth of feeling and referential tendencies are equally important to his art.
James Webster and Georg Feder. "Haydn, Joseph." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 4 Nov. 2017. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/44593>.
Communion Motet: “These are They Which Follow the Lamb” John Goss
John Goss was an English organist, composer and teacher. He was the son of Joseph Goss, organist of Fareham. In 1811 he became one of the children of the Chapel Royal under John Stafford Smith, and on leaving the choir became a pupil of Attwood. After a short period as a tenor in the chorus at Covent Garden, he became organist of Stockwell Chapel in 1821; in 1824 he was appointed organist of the new church of St Luke's, Chelsea, and in 1838 succeeded Attwood as organist of St Paul's Cathedral. On the death of William Knyvett in 1856 Goss was appointed one of the composers to the Chapel Royal. He was knighted in 1872, having composed the Te Deum and an anthem for the thanksgiving service on the recovery of the Prince of Wales. Shortly afterward he resigned his duties at St Paul's, although he retained the title until his death. He was created DMus at Cambridge in 1876. Apart from The Serjeant's Wife (1827), which ran over 100 nights, and two overtures, Goss composed only glees and sacred music. His glees enjoyed long popularity for their grateful vocal writing. As a church composer his reputation came later, through the grace and the careful word-setting of his anthems, composed mostly after 1850. A modest man, he was admired as an organist and sought after as a teacher; his pupils included Sullivan, Cowen and Frederick Bridge. His music, Barrett wrote, ‘is always melodious and beautifully written for the voices, and is remarkable for a union of solidity and grace, with a certain unaffected native charm’.
W.H. Husk and Bruce Carr. "Goss, Sir John." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 4 Nov. 2017. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/11505>.