This is like a fanfare. As such, it appeared to announce the tracks that followed. It was an
emotional build up, as if it were increasing the audience anticipation for what was to come. It did not try to tell a story, but rather announced to the audience that it could tell a story.
Contrasts greatly with the first track as singing voices are added. This has a sense of both foreboding and of desperation.
This was a totally different emotion; maybe, hope. The sound was light and airy. Much more light hearted, as indicated through running notes, and more staccato style. Also increased use of woodwinds. This contrasts with previous tracks heavy piano and percussion sound.
This seemed to convey fear, panic, a sense of impending doom, hopelessness, and loss. The strings are used to cry. The dynamics of the choir from nearly silent to booming. The later portion of the song, beginning around 8:30 however, seems to cast off the fear, and replace it with hope. There is a sense of banishment, or running forward. Toward something, and then of celebration
This was in some way celebratory, but tense. The use of minor keys and running notes in strings
Created a tension that never seems to resolve,
Very pianissimo beginning, especially when compared to the more blaring sound of other tracks. It is the story or feeling of an awakening as the high voices slowly crescendo. Bearing in mind he texts religious significance it must be of angels. Also promotes the emotion of exploration, and enlightenment. As if one is learning or discovering something of significance.
This is interesting because it clashes with itself. Terribly disharmonious, almost to the point of having no melody
In some ways this mirrors the introduction, to bring the music full circle. It gives the larger text a sense of closure.
I then analyzed the Agnus Dei. This begins with woodwinds playing pianissimo which are joined by choral voices that are in the soprano register. The vocal parts then break out to give the music both harmony and added texture. They slowly crescendo, but then this is reigned back in, near :58 where it returns to just woodwinds. The voices again begin a slow crescendo at 1:18. This seems like an announcement that is hesitant, in that the crescendoing voices repeatedly recede and then begin again. The texture and movement is similar to waves breaking on the sand. Until at 2:12 a single male voice takes over in place of the chorus. He sounds much less celebratory, but carries a single melodic line. He is joined by either a high male voice, and a metzo-soprano and high soprano in turn, during minute three, in what creates an echo effect, where the melodic line is passed between one singer and another. It then returns, just before 4:00 to a very faded woodwind melody, giving reprisal to the breaking waves of choral voices at 4:14, which mimic the opening measures of the piece. This is one of the most interesting features of the piece, in that the song is highly symmetric, and seems to operate in a way that is similar to a round, in its ability to create echoes or similar stanzas which closely reflect that which comes before and after it.
