Preces and Responses

Setting the Preces and Responses is a delicate balancing act, creating a microcosm with consistency and variety within a small span. Further, composers have options including whether to use traditional intonations for the officiant (as all four of these do), Rite I language (again, as all these settings do), and whether to include through-composed Lesser Litany and Lord’s Prayer.

Byron Adams composed his Preces and Responses for use with his Magnificat and Nunc dimittis in A, sharing his melodic and harmonic material between the compositions. Strong, logical harmonic motion typifies his language as well as a lively sense of rhythm. The landscape is conservative but not formulaic or derivative. Adams creates striking gestures throughout, although some longer passages meander. The key signature alternates between two- and three-sharps, requiring some special attention, but this setting is of only moderate technical dificulty with no part divisions. James Buonemani’s expansive harmonies and surprising twists in progression combine for an aurally intriguing set. Plentiful divisions, large interval leaps, and rich added-note chords make for challenging music to sing, but the easy comfortable tonal style is sure to be popular with choirs and congretations. David Jernigan’s approach is rather instrumental, posing challenges for singers. Several phrases include counter-intuitive rhythms that do not follow normal speech patterns. The wealth of imaginative gestures is engaging throughout with little musical material ever repeated.
The Journal of the Association of Anglican Musicians
November 2013
Also mentioned- Byron Adams, Preces and Responses for Evening Service in A, and James Buonemani, Preces and Responses “Westminster Abbey”