In the
Agnus Dei movement, the outer voices sing a lengthy pedal point an octave apart, while between them the mezzos intone the
Agnus Dei.
At the center of each movement is the crucifixion of Christ: the "Domine Deus" with its reference to Christ as the "lamb of God" ("
Agnus Dei") and the "Crucifixus"--"And was crucified for us under Pontius Pilate, suffered and was buried." The sacrificial lamb of God is the crucified Christ.
The closing
Agnus Dei prominently features the `Regina cell' chant at three different points where the voices are exposed and the tune is clearly audible.
A luscious choral blend enhanced the uplifting tonality of the
Agnus Dei.
Edward explains that it shows one of the Saint Alban's street processions with a rather fine view of the Ecce
Agnus Dei Adoremus banner.
As regards Bizet's
Agnus Dei (the prayer "Lamb of God, you who take away the sins of world, have mercy on us..."), one may imagine a slower tempo and less dramatic delivery than that of Koiena, yet, admittedly, the distinct melody invites an operatic performance, and since we know that she is able to sing both songs and early music in a non-operatic manner, we should acknowledge this case as her willing communication of feeling and conception--as an extremely poignant, not humble, prayer.
It follows the standard rite with a Requiem aeternam, Kyrie, Graduel, Offertoire, Sanctus,
Agnus Dei, Post-Communion.
Requiem is almost a misnomer since the work consists of only an Introit, Kyrie and a multi-sectioned Sequence, beginning with the Dies Irae and ending with the lacrimosa; missing are the usual Offertory, Sanctus,
Agnus Dei and closing Requiem sections.
The programme will include Allegri's sublime "Miserere", pieces by William Byrd, Henry Purcell, John Tavener and Hildegard of Bingen together with Samuel Barber's "
Agnus Dei" (a beautiful choral setting of his sublime Adagio for Strings).
Alas, the attention to detail, the cumulating power of the choruses in the "Sanctus," "Benedictus" and final "
Agnus Dei" were mostly lost in St.
