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 and . 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, and 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 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 (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. Deus Sabaoth. Heaven and earth are full of Thy glory. Pleni sunt coeli et terra gloria tua. Hosanna in the highest. Osanna in excelsis. Blessed is He that cometh Benedictus qui venit in nomine Domini. in the name of the Lord. Osanna in excelsis. Hosanna in the highest.

13. O Salutaris O salutaris Hostia, O saving Victim, opening wide Quæ cæli pandis ostium: The gate of Heaven to us below; Bella premunt hostilia, Our foes press hard on every side; Da robur, fer auxilium. Thine aid supply; thy strength bestow. Uni trinoque Domino To thy great name be endless praise, Sit sempiterna gloria, Immortal Godhead, One in Three. Qui vitam sine termino O grant us endless length of days, Nobis donet in patria. In our true native land with thee. Amen. Amen.

14. Agnus Dei Agnus Dei, Lamb of God, qui tollis peccata mundi, Who takest away the sins of the world, miserere nobis. have mercy upon us. Agnus Dei. Lamb of God. Dona nobis pacem. Grant us peace.

TONIGHT’S SOLOISTS

You can read about Lindsey James, this year’s associate Soloist, on the inside front cover of this programme.

Keren Hadas moved to the UK in 2006 and has lived here since then. Studying at the University of Sheffield, she graduated with a BMus in 2015 and is currently studying for a Masters in Law. She has been closely involved with the Royal College of Music since her teenage years in the Junior Department. She transitioned to singing from piano, her original first instrument, which she continues to study. Keren is an active chorister, appearing on BBC Radio 3 as part of the Royal College of Music Chamber Choir, performing the winning compositions from the King James Bible composition awards. She has also performed in Westminster Abbey as part of the Commonwealth Voices to commemorate Commonwealth Day. In March, Keren will be participating in another upcoming international tour with the Vigala singers, travelling to Mantua, Italy. Later in the summer, she will be performing in Budapest. Christopher Hughes was a chorister at Worcester Cathedral and has enjoyed a passion for all things choral ever since. Through choirs in Sheffield, Worcester and Kettering he has had opportunities for multiple solo engagements, including those in Mozart’s Coronation Mass, Haydn’s Nelson Mass, and several in Albion, a small ensemble with performance venues including Castleton’s Peak Cavern and on the back of a horse-drawn carriage through the streets of Tideswell. As a teenager, Chris was awarded various cups and certificates through the Kettering Eisteddfod annual music festival, twice including the Meikle Baird Championship Trophy for most promising under- 21 vocal performer. In addition to Albion, Chris sings regularly with the Cathedral choirs of Sheffield, York and Manchester, and with the choirs of the local churches of St John’s, Ranmoor and St Mark’s, Broomhill. Usually found behind the bar at the Devonshire Cat, Chris enjoys Belgian beer, Radio 4 and walks in the Peak District. Richard Longman was born in London and started his musical life as a joint first-study pianist and violinist. He won a scholarship to the University of Cambridge, studying the organ with David Sanger and voice with Robert Jones. Richard was appointed Assistant Director of Music at Birmingham Metropolitan Cathedral, before moving into the independent education sector, where he led two music departments over the course of a decade. He continued to work as a professional musician until a period of ill-health forced him to withdraw from musical life. Now, restored, he combines his musical activities with a doctoral studentship in the Faculty of Business at Oxford Brookes University. He is a prize-winning diploma holder of the Royal College of Organists and a Fellow of the Royal Society of Arts. He also enjoys ongoing associations with the Open University Business School, the City of London Corporation, and the Worshipful Company of Musicians. Andrew Randall was raised in the heart of the Peak District and is currently in the final year of a Masters of Music at Birmingham Conservatoire, having previously studied music at the University of Nottingham. Throughout his undergraduate years he was a semi- professional international in the sport of Archery, narrowly missing out on a position at the 2012 Olympics. Recent solo performances have included bass soloist in Handel’s Messiah with the Beaumaris Singers and the Kenilworth Choral Society, in Bach’s St John Passion with the Kidderminster Choral Society, in Mozart’s Requiem with the Tideswell Singers, and in Haydn’s Creation with Sheffield Singers. Andrew has also performed lead roles in many operatic works, most recently, Michael Wolters’s new opera, Ava’s Wedding, in which he created the role of Ian Hobbs, Count Almaviva in Mozart’s Le Nozze di Figaro, Sid in Britten’s Albert Herring, Marcello in Giacomo Puccini’s La Bohème, and the title role in Mozart’s Don Giovanni, with Eclipse Theatre Productions. On top of many other choral engagements, Andrew is a Bass Lay Clerk for St Phillip’s Cathedral, Birmingham. He has also had a very active competition season. He was a finalist in the Conservatoire Vocal Prize 2015 and will compete in the final of the prize again in 2016. He has won first prize for the Andrew Downes’ Contemporary Music competition, and was awarded second prize in the final of the Edward Brookes English Song Prize.

THANK YOU We are grateful to the Friends of Escafeld Chorale (Harry Armitage, John Eckford, Shirley Ellins, Jenny and Nick Etherington Dunn, Eve Fawcett, Carol Fleming, Arnold Lawson, Pam and Terry Popple, Simon Kingsley, Geoff Wood and two anonymous Friends) for supporting our work this season. If you would like to join our Friends scheme, please pick up a leaflet from the table at the back of the church.