The sole score of this
Mass setting based upon Sarum chant was lost soon after its composition
in the mid-60s. When it surfaced in 2004, I found the discipline
of canonic play within an entirely white-note palette (the "total
diatonic", neither modal nor tonal) produced such intriguing textures
and sonorities that I revized it from top to toe and gave it over
to op. 4 (thus displacing incidental music for Eliot's Sweeney
Agonistes, which had also, earlier, been worth the trouble
of revizing and re-copying).