So, ideally, the audience is doing more than listening. Well, it's been very interesting, especially the Credo . In the Credo, there are three different elements. There's a soprano soloist who takes the part of the Credo. First of all, the problem with the Credo, for every composer is there're all those words .
Bach splits it up into a large number of sections.
Stravinsky just gets through the words as fast as he can, you know, by using a kind of rhythmic recitation in that part of his Mass , which I think has always been my favorite piece of Stravinsky. But, the point is, there were all those words to deal with. So the approach that I took was that the singer would take only the words which would be important, or would be significant, at least in my eyes, to a individual today. Not necessarily totally involved, but an individual who wasn't necessarily totally involved with religion. Of her part.