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Benedictus section is frequently a place of choral rest, and softer “Et in terra pax hominibus,” or the chro-
with the text given to multiple soloists; the chorus would matic minor for “miserere nobis.” Especially effective
then return for the obligatory repeat of the Osanna is Smyth’s massive buildup as she approaches the close
text (most often sung to a repeat of whatever Osanna of the movement (and the Mass). This begins with the
music concluded the Sanctus). Smyth, however, takes choral “tu solus Dominus,” then shifts to a solo section
an unusual and unexpected approach. She eschews the with an especially moving “cum Sancto Spiritu” by the
concluding Osanna text altogether, and the Benedictus alto soloist over a poignant reiterated oboe motive (Fig-
is performed by the soprano soloist and chorus women ure 2), and finally returns to full choral glory for the
only, the latter mostly in SSA combination but some- drive to the cadence. Smyth succeeded brilliantly in her
times with a second alto part added. This focus on so- desire for a positive ending to this work.
prano and alto voices provides an especially compelling
sonority for this movement.
The beginning of the Agnus presents a strong con- The Path to Recognition
trast to the preceding music. The switch to minor is Overall, the mass is a thrilling, powerful, composi-
appropriate now for the brooding plea for mercy; af- tion. Working with rich Brahmsian harmonies, Smyth
ter the extended tenor solo that begins the movement, shifts tempos and textures throughout to match the ev-
the powerful attack of the chorus underscores the an- er-changing text, using a sure hand with the orches-
guish of the plea. The chorus then provides the qui- tration to maximize the impact. Despite relatively few
et transition to the final tranquil “dona nobis pacem” performances since its premiere, the Mass is in fact one
and switch to major. Performers who wish to follow the of the major choral/orchestral works of the nineteenth
published score and end the Mass here, rather than us- century. It is, therefore, sobering to realize that this
ing Smyth’s preferred Gloria conclusion, will find it an piece was almost lost to the world.
effective and fitting close. The premiere was slow to happen in the first place.
Those who accede to Smyth’s wishes, however, will Thanks to the dominance of the Anglican Church in
proceed to the exuberant Gloria, where, as in the Cre- Britain and its preference for English texts, little in-
do, the composer changes tempo, meter, mode, and terest existed in the late nineteenth century for Lat-
texture as needed to bring out the text, whether it is in works by English composers, especially one, like
the brisk homorhythmic opening “Gloria,” the slower Smyth, trained in Leipzig rather than at home. Some

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