Events and Reviews
Mass for the Homeless
A Composition for Symphonic Orchestra, Chorus and Solo Voices
by Wilson Gault Somers with Joan Walworth Somers
Remarks on the Composition
by Anthony J. Kosar, PhD., Professor and Acting Chair
Music Composition, History and Theory Department | Westminster Choir College of Rider University, Princeton, NJ
May 3, 2004
Wilson Somers’s Mass for the Homeless, composed between 1990 and 1997, was premiered to a sold-out audience at the Grand Opera House in Wilmington, Delaware, with the Delaware Symphony Orchestra. The first performance raised $40,000 for local homeless agencies in Wilmington. Mr. Somers’s intentions, as stated in the liner notes to the CD, was “filling the needs of others by sharing God’s gift of music.” (The CD recording resulted from an encore performance on November 28, 1999, again with the Delaware Symphony Orchestra.) Not only did Mr. Somers compose music that was successful in raising both money for and awareness of the homeless situation in Wilmington, he also composed music that is well crafted and truly moving.
The twelve-section work, which lasts just under one hour, is scored for large orchestra (2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 trumpets, 2 horns, 2 trombones, harp, percussion and strings), with chorus, and coloratura soprano, lyric soprano, contralto, tenor and bass soloists. In addition to the Ordinary sections of the Mass (without Credo) – Kyrie, Gloria, Sanctus/Benedictus (all for chorus and orchestra), and Agnus Dei (for contralto soloist) Mr. Somers has added an Overture (for orchestra), the Invitation (for tenor soloist), the Marian Devotion (for soprano soloist), the Commission (for soprano soloist) and the Revelation (for soprano and tenor soloists). The added sections include a paraphrase of the first Beatitude from the Sermon on the Mount (“The Invitation”), an adaptation and combination of the Annunciation and Magnificat texts from the Gospel of Luke (“The Marian Devotion”), text derived from the judgement texts from the Gospel of Matthew (“The Commission”), excerpts from the passion narratives of several of the Gospels (“The Crucifixion”), and free quotations from Phillipians (“The Exultation”) and Revelations (“The Revelation”). All of the texts that are not liturgical are clearly Biblical in nature.
The writing throughout the Mass for both instruments and voices is idiomatic and effective. This idiomatic and effective use of the orchestra, clearly demonstrated throughout the Mass, is evident from the opening brass chords of the overture. The open fifths, used both harmonically and melodically, create a significant motive that returns at the end of the overture and later in the Mass at the choral opening of the Kyrie. This is but one example of the tight motivic organization that unifies this composition. Mr. Somers handles various orchestral effects with ease; and the overture moves seamlessly from a grandioso opening to a lovely pastorale section then to a dance section (titled “The Rejoicing”) before returning to the opening brass motive and a lovely transition that prepares the listener for the next section. “The Invitation” begins and ends with a tenor recitative. Within this section, one finds use of both the whole chorus, as well as extremely effective writing for three-part women’s choir.
Mr. Somers has written a two-part Kyrie. The first part is based on contrapuntal statements of the opening brass motive in the choir. The second part is a dance-like section in triple meter. Both parts demonstrate a masterful combining of orchestral and choral writing. The sparse orchestration and the lyrical writing for soprano in “The Marian Devotion” offer a very nice contrast to the movements before and after this one.
The longest movement of the Mass is the Gloria. All of the resources – orchestra, chorus, and soloists – are used in wonderful combinations. The opening dance-like section, anticipated in the overture, shows Mr. Somers masterful use of rhythm. These dance rhythms and sudden modulations create a wonderful interpretation of this joyous text. The changing meters at the end of the movement are particularly effective.
“The Commission,” begins with a wonderful texture created by combining soprano solo with solo ‘cello. The contrast with the previous movement is almost otherworldly. The full resources of orchestra, soloists, and chorus are joined for the magnificent Sanctus/Benedictus. The modal flavoring and the frequently changing meters, punctuated by quicker livelier rhythmic passages, combine to create a truly beautiful effect.
“The Crucifixion” is much more than a retelling of the passion of Jesus. The text relies on teachings from throughout the life of Jesus, as well as quotations from the passion narratives. The use of the orchestra accompanying the bass soloist is remarkable; particularly moving is the use of the percussion section (especially the hammering of the nails!). Providing a wonderful contrast (both in terms of text and in musical texture) is the a cappella choral section that follows (“The Exaltation”)
The lyrical writing for alto soloist in the Agnus Dei, alternating with the chorus, all accompanied predominately by lower strings with woodwinds used for the contrasting colors is very effective. Mr. Somers has a very good feel for melody. This movement leads directly into the Dona Nobis Pacem. After a brief alto solo with a texture similar to the previous movement, the chorus enters and builds to a very moving, yet subtle climax. What a wonderful painting of peace that the text is about!
The Mass ends with “The Revelation,” a section that combines two of the soloists (soprano and tenor), the chorus, and some very effective orchestral writing. The movement consists of a gradual crescendo throughout, ending with a tutti Amen, immediately answered by a choral Amen accompanied only by low strings and timpani. The quiet dying away after the long buildup is a fitting end for this work.
The idea behind Wilson Somers’s Mass for the Homeless, raising both money for and awareness of the homeless situation in Wilmington, is indeed laudable. But the musical result is a composition that deserves repeated performances.
Requiem for 9/11 Producers Help to Fund the Completion of Delaware’s Gold Star Memorial
Wilmington, Delaware | January 28, 2022
The leadership of Delaware nonprofit Mass for the Homeless, Inc. – Music with a Mission – presented a donation of $5,000 to Delaware Vietnam Veterans of America Chapter 83 to fund the completion of Phase II of the Delaware Hershel “Woody” Williams Gold Star Memorial at the Delaware Veterans’ Memorial Park in New Castle. The check was presented to Judy C. Campbell, Chapter 83 Gold Star Chair at its “Honor and Remember” luncheon, held January 15, 2022, at The Edge18 in Middletown., Photo below.
Maestro Somers was joined by his wife Joan, who serves as a creative consultant to the organization, MFTH, Inc. Board Chair Susan Booker and her husband, Board member Pete Booker.
“We chose Gold Star Families of Delaware as the beneficiary of the September 12, 2021 ‘Requiem for 9/11’ Ensemble Edition Concert to honor those men and women who have given the ultimate sacrifice to serve our nation, and also to honor their families who share in their commitment to service”, commented Maestro Somers. “These families carry the legacy of President Lincoln’s words; when he said it is our country’s challenge to create ‘a just and lasting peace among ourselves and with all nations’. Gold Star Families in America hold onto this promise and embrace it every night and day.”
The funds were raised at the 20th Anniversary ensemble performance of “Requiem for 9/11”, the critically acclaimed work by Delaware’s Emmy Award winning composer Wilson Gault Somers, presented to an enthusiastic audience of 500 on September 12, 2021, at Wilmington’s St. Helena’s Catholic Church.
About “Music with a Mission”: “Music with a Mission” is the operating brand of Mass for the Homeless, Inc. (MFTH), a Delaware not-for-profit corporation under Section 501 (c) (3) of the US Internal Revenue Code. MFTH exists to support the creative work of Wilson Gault Somers. Significant portions of net retained proceeds from its events are contributed to support important public causes at the local, regional, and national level. For more information, visit mass4thehomeless.org.
About Delaware’s Gold Star Families: Gold Star Families include the parents, spouses, children, and siblings of a loved one who died in service to our nation. They have made a sacrifice for our country right along with their loved ones, and they are a vital part of our country’s military community and history. Vietnam Veterans Chapter 83 organizes and supports Delaware’s Gold Star groups. Learn more about the monument at: https://woodywilliams.org/monuments/wilmington-de.html.
Mass for the Homeless, Inc. – Music with a Mission leaders presented a check for $5,000 to Delaware’s Gold Star Mothers and Families. The funds were raised from net proceeds of the 20th Anniversary performance of Delaware Composer Wilson Somers’ Requiem for 9/11, presented on September 12, 2021. Shown (L to R): Maestro Somers, MFTH creative consultant Joan Somers, Gold Star Chairperson Judy Campbell, MFTH, Inc. Chairperson Susan Booker and Board member Pete Booker.