Irish Composer Finds Musical Inspiration in the Liturgy and Dante
Irish classical and film score composer Patrick Cassidy has brought his immense musical talent both to the liturgy and to the Church’s greatest poet, Dante. Once an Applied Mathematics student at the University of Limerick, Cassidy instead devoted his professional career to music. Filmgoers who have heard Cassidy’s celebrated elegiac aria, “Vide Cor Meum,” written by Cassidy for the mini-opera sequence in the Ridley Scott film Hannibal, have heard Cassidy’s ability for musical transcendence. [Scott reused “Vide Cor Meum” to arguably better effect in Kingdom of Heaven.] Terrence Malick employed Cassidy’s music in trailers for his films The New World and The Tree of Life. And Cassidy remains true to his Irish roots, offering his services for such films as Calvary and Kill the Irishman.
Recently, however, Cassidy looked to the liturgy for The Mass, “the first symphonic setting of The Latin Mass by an Irish composer,” according to the artist’s website, patrickcassidy.com. In addition, Cassidy expanded on the aria composed for Hannibal into an entire opera, Dante, inspired by the life and work of the Florentine poet, whose 700th anniversary was celebrated in 2021. For Cassidy, the opera was the culmination of over twenty years of thinking about Dante’s enduring legacy.
On The Mass
1. What sparked your desire to compose The Mass? How long did it take you?
It had always been my intention to write a Mass. It seems to me that the texts of the Mass, Gloria, Osanna and Agnus Dei are meant to be sung.
My late father loved classical music and I had discussed the idea of composing a Mass with him. I am very grateful for the opportunity he gave me. So The Mass is dedicated to his memory. I spent one full year writing this Mass.
2. The Mass directly draws on medieval plainchant Masses as well as the work of Palestrina, Beethoven, and Mozart. Why these influences? Was this in some way your response to contemporary liturgical music?
I do not like contemporary liturgical music. I feel it is outside the tradition. Gregorian Chant is beautiful and the world yearns for beauty. Today, even outside a spiritual context, people listen to this music because it is peaceful and allows them to contemplate.
The Mass is one of the great musical forms, along with the symphony and concerto, and settings of the Latin Mass have been among the greatest compositions. Of course, this made my task of composing a setting of the Mass a huge challenge.
3. Your work prompts one to think about the great questions of life…love, death, God…is that fair to say? Is your work a reflection of your own spirituality?
Personally, working on The Mass was a very spiritual experience and it led me to ponder my own existence. I also hope people will enjoy listening to this Mass and I hope that they will find it beautiful and contemplative.
On Dante
1. How long has Dante haunted you? Were you interested in him before the composition of the Aria?
I was interested in Dante but the genesis of the opera was the aria “Vide Cor Meum” which I wrote for the movie Hannibal. So many people asked me over the years: “When are you going to complete this opera?” I now have written the opera which is titled Dante. It tells the story of Dante in the poet’s own words.
2. What of Dante’s work or life inspired you to compose an entire opera devoted to him?
Dante’s great works La Vita Nuova and La Divina Commedia are both in a sense autobiographical. So the idea came to me that it would be possible to tell Dante’s story in his own words. While reading Dante I learned the Italian language. The entire libretto of the opera Dante are the poet’s words unchanged.
3. In your opinion, why does Dante remain a fixture in our public consciousness?
He is an iconic figure in public consciousness and popular culture. Examples include the movie Seven and Dan Brown’s Inferno. Almost everyone knows something about Dante, in particular his love of Beatrice and his death in exile from Florence, the city he loved.
On your upbringing
1. How much of your Irish heritage informs your work?
My first big composition, The Children of Lir, was the first Cantata written in the Irish language. The story is also an allegory of the coming of Christianity to Ireland. So I am very connected to the culture and history of Ireland.
2. What prompted your vocational shift from applied mathematics to composing?
I have always played music even while I was studying Mathematics in College. I feel it is important to have a broad education and follow one’s own path. So there was no vocational shift, I was just very fortunate to be able to make a living doing the thing I loved. Mathematics was only ever plan B.
Find more of Patrick’s work here.