In early November I had the opportunity to perform Antonín Dvořák’s Mass in D Major with the University Chorale of Boston College. While the entire Mass setting is worthy of discussion, I find Dvořák’s Credo—his setting of the Nicene Creed—particularly worthy. As the longest movement of the Mass, it, on its own, enhances the profession of the Catholic faith into a story unable to be expressed with words alone.
The movement starts with a series of lines from the Credo being sung mezza voce—in “half voice”—by the altos, which are echoed in full voice by the rest of the chorus. This combination of sounds evokes both the introspective and triumphant natures of the Credo, as if one is both quietly pondering and proudly confessing the mysteries of the first two persons of the Trinity.
Starting in the key of B-flat major, the movement modulates to a series of dissonant chords starting at the phrase “Deum de Deo”—“God from God”—until making a joyful return to B-flat major as God the Son “descends from heaven” at the phrase “descendit de coelis”. As the music fits the joyful nature of the Latin text describing Christ’s descent from heaven, Dvořák continues to capture the essence of the Latin as the altos serenely and tranquilly sing “et incarnatus est” as Jesus becomes incarnate of the Virgin Mary by the Holy Spirit and the rest of the chorus eventually joins in an equally serene and tranquil manner. Then the chorus slowly and quietly sings “et homo factus est” as Christ becomes man, as not to wake the Infant King.
Then suddenly, the beautiful pianissi-issimo becomes an unsettling fortissimo as Jesus is crucified under Pontius Pilate to a series of dissonant chords. The chorus reverts to a pianissi-issimo as Jesus is buried, but unlike the quiet of the lullaby previously sung for the Child Jesus, this is an uncertain, unresolved quiet.
Then, as if the sun is rising on the empty tomb, the tenors, with minimal instrumental accompaniment, proclaim “et resurrexit tertia die secundum scripturas”—”and he rose again on the third day according to the scriptures”—before the rest of the chorus and the accompaniment, like the entire Church on Easter Sunday, exultantly joins in proclaiming Christ’s resurrection. Dvořák parallels this musical phrase as Jesus ascends into heaven and is seated at the right hand of the Father. Then as the chorus sings that Jesus’ reign “non erit finis”—“will not end”—the piece falls on an F major chord, creating the unfinished sound of a half cadence in the B-flat major piece, just as Christ’s reign is not, and will never be, finished.
The movement returns to the call-and-response of the beginning phrases as the Latin text expresses the Church’s belief in the Holy Spirit, then the triumphant tone of the full chorus continues into the profession of the one, holy, catholic, and apostolic Church. The call-and response then shifts to the tenors, who “confess one baptism for the forgiveness of sins” before the rest of the chorus proclaims the expectation of the resurrection of the dead.
The tenors then lead the rest of the chorus in stating the expectation of the life of the world to come. The movement ends, like any good setting of a Mass ordinary, in a powerful “Amen”.
Dvořák’s Credo, in its faithful musical treatment of the text of the Nicene Creed, demonstrates the spiritual fruits of quality sacred music. With proper care in composition, good Mass settings and other works of sacred music can convey the truths of the faith more fully than words can alone.
Featured image courtesy of University Chorale Facebook
Adam is a senior from Columbus, Ohio. He previously served as Campus News and Culture Editor, and boasts the title of least cultured to ever serve as the latter. Holding a minor in Biology, he recently converted from STEM and now majors in Philosophy and Classical Studies. He currently leads Una Voce, the Latin Mass society at BC, and sings with the University Chorale of Boston College and the Chorale Chamber Singers. He enjoys Gregorian Chant, relearning the clarinet, and is an unabashed Ohio apologist.
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