Missa Octava, Missa Decima - for mixed choir and organ (or piano)
Published in 2020
Available at Rózsavölgyi Zeneműbolt & Webshop: HERE
Missa Octava
I.Kyrie
II.Gloria
III.Sanctus – Benedictus
IV.Agnus Dei
If you look through Selmeczi’s work list, it is clear, that sacred music is of real importance in his œuvre. No less than ten Masses, numerous Latin hymns and antiphons, Hungarian religious texts and canticles set to music for solo voices and choir, accompanied by various instrumental ensembles or just the organ... In the 8th Mass (2017), the liturgical text in Latin has a relatively simple organ (or possibly piano) accompaniment, in which the composer introduces with his characteristic light playfulness the musical elements of distant musical worlds (baroque, Gregorian, Hungarian folk song). The clear, simple choral parts – mostly limited to one or two female and one male part – can be easily learned by laymen, and this is precisely the goal. The successful music-making only enhances the enjoyment of the community moment, because what could be a better moment for a village's Sunday than a mass composed specially for the village? The "dedicatee" of the 8th Mass is Pilisborosjenő, the composer's residence.
Missa Decima
I.Kyrie
II.Gloria
III.Sanctus – Benedictus
IV.Agnus Dei
If you look through Selmeczi’s work list, it is clear, that sacred music is of real importance in his œuvre. No less than ten Masses, numerous Latin hymns and antiphons, Hungarian religious texts and canticles set to music for solo voices and choir, accompanied by various instrumental ensembles or just the organ... In his 10th Mass (2019), the composer sets to music the Hungarian version of the traditional liturgical text, with a relatively simple organ (or possibly piano) accompaniment – with one sole exception: an obbligato violin (or oboe) solo in the Agnus Dei movement. The clear, simple choral parts – mostly limited to one or two female and one male part – can be easily learned even by laymen, and this is precisely the goal. As the opposite of this simplicity Selmeczi mixes with his characteristic light playfulness the musical elements of distant musical worlds (baroque, Gregorian, Hungarian folk song), which results in a pleasantly eclectic sonority.
Missa Octava
I.Kyrie
II.Gloria
III.Sanctus – Benedictus
IV.Agnus Dei
If you look through Selmeczi’s work list, it is clear, that sacred music is of real importance in his œuvre. No less than ten Masses, numerous Latin hymns and antiphons, Hungarian religious texts and canticles set to music for solo voices and choir, accompanied by various instrumental ensembles or just the organ... In the 8th Mass (2017), the liturgical text in Latin has a relatively simple organ (or possibly piano) accompaniment, in which the composer introduces with his characteristic light playfulness the musical elements of distant musical worlds (baroque, Gregorian, Hungarian folk song). The clear, simple choral parts – mostly limited to one or two female and one male part – can be easily learned by laymen, and this is precisely the goal. The successful music-making only enhances the enjoyment of the community moment, because what could be a better moment for a village's Sunday than a mass composed specially for the village? The "dedicatee" of the 8th Mass is Pilisborosjenő, the composer's residence.
Missa Decima
I.Kyrie
II.Gloria
III.Sanctus – Benedictus
IV.Agnus Dei
If you look through Selmeczi’s work list, it is clear, that sacred music is of real importance in his œuvre. No less than ten Masses, numerous Latin hymns and antiphons, Hungarian religious texts and canticles set to music for solo voices and choir, accompanied by various instrumental ensembles or just the organ... In his 10th Mass (2019), the composer sets to music the Hungarian version of the traditional liturgical text, with a relatively simple organ (or possibly piano) accompaniment – with one sole exception: an obbligato violin (or oboe) solo in the Agnus Dei movement. The clear, simple choral parts – mostly limited to one or two female and one male part – can be easily learned even by laymen, and this is precisely the goal. As the opposite of this simplicity Selmeczi mixes with his characteristic light playfulness the musical elements of distant musical worlds (baroque, Gregorian, Hungarian folk song), which results in a pleasantly eclectic sonority.