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Almost Lost to History: Ethel Smyth’s Extraordinary Mass in D

of Kyrie, Gloria, Credo, Sanctus, Benedictus, and Ag- fortissimo octave motion in all voices—an exciting mo-
nus, it also contains Smyth’s surprising recommenda- ment early on in the Mass—before a return to the tempo
tion to sing the Gloria last, since she wished the Mass primo and a quiet conclusion. As an added benefit to
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to conclude joyfully. As it turns out, this reordering is singers, the motivic unification throughout this move-
beneficial to the chorus, as it means that the three most ment simplifies the learning process.
choral-heavy movements (Kyrie, Gloria, and Credo) The Credo presents an instant contrast with its fast,
are no longer consecutive. syncopated pulse and switch to D Major. The lengthy
Smyth begins the Mass with the only movement text presents numerous opportunities for contrast, such
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without soloists. Despite its very short text, this Ky- as the solo tenor for “Qui propter nos homines,” the
rie is substantial, with almost as many measures as the hushed slow motion of “et homo factus est” appropri-
text-rich Credo. The movement is dominated by its ately sung by divisi male voices, the descending chro-
opening motive (Figure 1) that serves as an ostinato for matic twists of the Crucifixus, and the imitative rising
the basses throughout the initial Kyrie but also recurs motives of “et resurrexit.” The movement concludes
in all voices throughout the movement and returns at with the expected fugue on “Et vitam venturi.”
the end. The quiet opening of the movement gives no The peaceful Sanctus, with its eight-part homo-
hint of the faster central section of the movement that rhythmic divisi chorus and alto soloist, is followed by
will come. This central section concludes with powerful the equally peaceful but very different Benedictus. The

10 CHORAL JOURNAL August 2025 Volume 66 Number 1