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was the end of any religious ardor. As Smyth later stat- come out of England since Purcell’s time.” For critic
ed, “I was near becoming one [Catholic] myself once. and Grove Dictionary editor J. A. Fuller Maitland:
Then I wrote a Mass, and I think that sweated it out of
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me.” The work definitely places the composer
The Mass was finished in 1891, premiering at the among the most eminent composers of her
Royal Albert Hall on January 18, 1893. The chorus time, and easily at the head of all those of
was the Royal Choral Society conducted by Sir Joseph her own sex. The most striking thing about it
Barnby; the work shared the program with Haydn’s is the entire absence of the qualities that are
Creation. Although the hall was packed and the audi- usually associated with feminine productions;
ence enthusiastic, the critical reception varied. The throughout it is virile, masterly in construction
conductor thought the mass was “over-exuberant,” and workmanship, and particularly remark-
and the Archbishop of Canterbury, who did not like able for the excellence and rich colour of the
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Smyth personally, remarked that “in this Mass God orchestration.
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was not implored but commanded to have mercy.” George
Bernard Shaw, in his less-than-positive review, claimed Theorist Donald Francis Tovey compared it favorably
that “the decorative instinct is decidedly in front of the to Beethoven’s Missa solemnis, calling it “God-intoxicat-
religious instinct all through, and … the religion is not ed music” and a “locus classicus” in choral orchestra-
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of the widest and most satisfying sort.” The Daily News tion.
snidely remarked on “the preference shown to this gift-
ed young English lady when numerous compositions Structure and Highlights
by prominent musicians still await a hearing by our The Mass in D is a substantial work, lasting just over
premier choral society.” 9 an hour and calling for SATB soloists, large mixed cho-
Others were considerably more enthusiastic. Con- rus, and full orchestra. Smyth’s six movements follow
ductor Hermann Levi claimed that “no living German the common practice of dividing the Sanctus text into
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composer … could have written it.” He also consid- separate Sanctus and Benedictus sections (Table 1). Al-
ered it “the strongest and most original work that had though the published score follows the liturgical order

Table 1. Structure of the Mass in D

Movement Initial Tempo Length Key Vocal Forces

Kyrie Adagio 263 mm. dm chorus alone

Credo Allegro con fuoco 284 mm. DM chorus + SATB solos

Sanctus Adagio non troppo 94 mm. DM chorus + A solo

Benedictus Andante 80 mm. CM soprano/alto voices + S solo

Agnus Adagio non troppo 203 mm. dm chorus + T solo

Gloria Allegro vivace 615 mm. DM chorus + SATB solos

CHORAL JOURNAL August 2025 Volume 66 Number 1 9