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Petite Messe Solennelle Gioachino Rossini

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Petite Messe Solennelle Gioachino Rossini Petite Messe Solennelle Gioachino Rossini (1792–1868) Did Napoleon III really say ‘it is neither little, nor solemn, nor particularly liturgical’’ when he heard Rossini’s Petite Messe Solennelle? The French Emperor (nephew of Napoleon Bonaparte) has some wonderful quotes accurately attributed to him, such as ‘this vice brings in one hundred million francs in taxes every year. I will certainly forbid it at once – as soon as you can name a virtue that brings in as much revenue.’ And we still argue over taxing cigarettes. So if the comment on the Rossini isn’t his, perhaps it should have been. Certainly the composer would have appreciated the witticism if he hadn’t been dead: the first public airing of this masterpiece took place three months after he died, the first actual performance having been given privately almost five years previously. Rossini would have been amused because he also appears to have had a gift for dry humour and called the work ‘the last of my péchés de vieillesse’, or sins of old age. This may all be entertaining enough (or not), but what has it got to do with the music, with Escafeld Chorale’s performance? Well, for a start the work may not be ‘particularly liturgical’ and certainly wouldn’t fit into a church service, however grand, but it wasn’t designed to fit Palestrina-like into Sunday morning worship. Major composers simply hadn’t written like that for a hundred years or more. Instead it fits elegantly into the tradition of the post-Enlightenment settings of the mass without indulging in the sentimentality of the romantic school of, say, Gounod. This also means it is solemnly expressive at times as well as exuberantly joyful when appropriate. But is it ‘little’? In a way, this is the most important question. It is almost twice as long as Haydn’s Nelson Mass (performed by Escafeld last year), so was a composer not known for his modesty, simply indulging his sense of humour in the title? Not necessarily; the work was originally scored simply for piano and harmonium, an ensemble small enough to be described as ‘petite’, and that’s how it was first performed, before Rossini, apparently fearful that the work might be overlooked The Harmonium Museum at Saltaire closed in 2011, but the collection owned by Pam and Phil Fluke is still intact and includes the instrument used tonight. It was made by the firm of Mustel of Paris (est. 1853), who are accepted as the finest makers of this type of harmonium which, because of its special and additional stops, is known as an Art Harmonium. This particular example was built in 1880. It has a ‘keen’ but ‘sophisticated’ tone, in keeping with the fashion of the times. or lost, orchestrated it. Also, for the first performance he specified only twelve singers, another indication of the character of the piece. Our performance will stay true to the original ‘petite’ interpretation with piano and harmonium, although obviously with more singers. The mass has fourteen sections split conveniently into two parts. Part 1 1. Kyrie: this is in ternary (ABA) form, notable for the wide-ranging dynamics in its pleas for mercy, but also note sudden a capella (unaccompanied) choir in the middle (B) section where there is a double canon: the basses and altos have exactly the same tune but two bars apart, as do the tenors and sopranos. A very old-fashioned device at the time but clever stuff and very moving. 2. Gloria: once again a movement of great contrasts: the explosive choral ‘Glory to God’ is followed by the pianissimo solos of ‘and in earth peace’. 3. Gratias: a trio for alto, tenor and bass where the soloists alternately imitate each other and come together on phrases like ‘Gloriam Tuam’. 4. Domine Deus: a tenor solo with competing rhythms, but dominated by the opening phrase stated on the piano, which returns in various forms throughout. 5. Qui Tollis: a duet for soprano and alto sometimes alternating and sometimes combining in thirds or sixths. 6. Quoniam: a long, florid bass solo. 7. Cum Sancto spiritu: opens with the same music as the Gloria section but is followed by a long choral fugue (imitative writing built on the strong opening theme). Just when you think it has reached a grand conclusion it sets off again to reach an even more grand conclusion. Interval – refreshments will be served at the back of the church Part 2 8. Credo: a dramatic rendition of the creed with choir and soloists alternating. The choir regularly interrupts with the single word ‘Credo’. 9. Crucifixus: a soprano solo lamenting the crucifixion. 10. Et Resurrexit: choir and soloists affirm the resurrection with some of the themes used in section 8, particularly the ‘Credo’ interruptions, but it ends with another massive choral fugue and magnificent ending. 11. Preludio Religioso: this is effectively a prelude and fugue with the rhythm of the prelude returning at the end. 12. Sanctus: the accompaniment falls silent as choir and soloists sing ‘Holy, holy, holy’. 13. O Salutaris: this ancient hymn text is not normally part of a mass setting, but the serene character of the text and Rossini’s soprano solo setting prepare the listener for the final section. 14. Agnus Dei: alto solo and choir alternate much of the time with the soloists ‘miserere’ followed by the choir’s ‘dona nobis pacem’ three times in different keys, before they combine in a final fortissimo plea. Part 1 1. Kyrie – Soloists and chorus Kyrie eleison. Lord, have mercy. Christe eleison. Christ, have mercy. Kyrie eleison. Lord, have mercy. 2. Gloria – Soloists and chorus Gloria in excelsis Deo. Glory be to God in the highest. Et in terra pax And in earth peace hominibus bonæ voluntatis. to men of good will. Laudamus te; benedicimus te; We praise Thee; we bless Thee; adoramus te; glorificamus te. we worship Thee; we glorify Thee. 3. Gratias – Alto, Tenor and Bass Gratias agimus tibi propter magnam We give thanks to Thee for Thy great gloriam tuam. glory. 4. Domine Deus – Tenor Solo Domine Deus, Rex coelestis, O Lord God, Heavenly King, Deus Pater omnipotens. God the Father Almighty. Domine Fili unigenite Jesu Christe. O Lord Jesus Christ, the only begotten Domine Deus, Agnus Dei, Filius Patris. Son. Lord God, Lamb of God, Son of the Father. 5. Qui tollis – Soprano and Alto Qui tollis peccata mundi, Thou that takest away the sins of the miserere nobis. world, have mercy upon us. Qui tollis peccata mundi, Thou that takest away the sins of the suscipe deprecationem nostram. world, receive our prayer. Qui sedes ad dextram Patris, Thou that sittest at the right hand of miserere nobis. the Father, have mercy upon us. 6. Quoniam – Bass solo Quoniam tu solus Sanctus, For thou only art holy, tu solus Dominus, thou only art the Lord, tu solus Altissimus, Jesu Christe. thou only art the most high, Jesus Christ. 7. Cum Sancto – Soloists and chorus. Cum Sancto Spiritu in gloria Dei Patris. Together with the Holy Ghost in the Amen. glory of God the Father. Amen. Part 2 8. Credo – Soloists and chorus. Credo in unum Deum; I believe in one God; Patrem omnipotentem, the Father almighty, factorem coeli et terrae, maker of heaven and earth, and of all visibilium omnium et invisibilium. things visible and invisible. Credo in unum Dominum Jesum And in one Lord Jesus Christ, Christum, the only begotten Son of God, Filium Dei unigenitum, begotten of the Father before all Et ex Patre natum ante omnia sæcula. worlds. Deum de Deo, lumen de lumine, God of God, light of light, Deum verum de Deo vero, true God of true God, Genitum non factum, begotten not made; consubstantialem Patri: being of one substance with the per quem omnia facta sunt. Father, by Whom all things were Qui propter nos homines, made. Who for us men and for our et propter nostram salutem salvationdescended from heaven; descendit de coelis. and was incarnate by the Holy Ghost, Et incarnatus est de Spiritu Sancto of the Virgin Mary, and was made ex Maria Virgine: et homo factus est. man. 9.Crucifixus – Soprano solo Crucifixus etiam pro nobis He was crucified also for us, sub Pontio Pilato, suffered under Pontius Pilate, passus et sepultus est. and was buried. 10. Et resurrexit – Soloists and chorus. Et resurrexit tertia die secundum And on the third day He rose again Scripturas. according to the Scriptures Et ascendit in coelum: and ascended into heaven. sedet ad dexteram Patris. He sitteth at the right hand of the Et iterum venturus est cum gloria, Father; and He shall come again with judicare vivos et mortuos: glory to judge the living and the dead; cujus regni non erit finis. and His kingdom shall have no end. Credo in Spiritum Sanctum, I believe in the Holy Ghost, Dominum, et vivificantem: the Lord and giver of life, qui ex Patre Filioque procedit. Who proceedeth from the Father and Qui cum Patre et Filio simul the Son, Who with the Father and the adoratur et conglorificatur: Son together is worshipped and qui locutus est per Prophetas. glorified; as it was told by the Credo in unam sanctam catholicam et Prophets. apostolicam Ecclesiam. Confiteor unum And I believe in one holy catholic and baptisma, in remissionem peccatorum. apostolic Church. I acknowledge one Et expecto resurrectionem mortuorum baptism for the remission of sins. And I et vitam venturi sæculi. await the resurrection of the dead and Amen. the life of the world to come. Amen. 11. Preludio Religioso 12. Sanctus – Soloists and chorus Sanctus, Sanctus, Sanctus, Dominus Holy, Holy, Holy, Lord God of Hosts.
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