Gioachino
Rossini (1792-1868):
Petite
Messe Solennelle
Despite
its title (meaning “little solemn mass”) this setting of the Latin
mass, lasting around 85 minutes, is neither little nor solemn! Rossini is best known as a
composer of comic
operas; but he finished writing his operas in 1829 aged 37 and only
started
composing again when he was in his sixties.
Many of these late pieces are quirky and written
with tongue partly in
cheek. Rossini
called them “the sins of old
age” and this mass “the
last mortal
sin of my old age”.
The
mass was written in
1863, when Rossini was over 70, for the dedication of a private chapel
owned by
a wealthy friend. Because
of the
circumstances the number of musicians needed was small: 12 singers
accompanied
by 2 pianos and a harmonium; but Rossini later recast the mass for 4
soloists and choir with full orchestra.
Nonetheless,
the piano/harmonium combination is still the more popular, though the
second
piano was simply intended to reinforce the first in some sections and
is not
vital for a performance.
Rossini
famously wrote at
the end of the score “I do not know if
this music is sacred or sacrilegious”.
But although the music is always
entertaining and sometimes
playful – not quite what we would associate with the solemnity of a
formal mass
– it is never irreverent. Rather,
it
highlights the joy and exuberance which reflect a genuine enthusiasm
for the
worship of God. This
is particularly
true in two fast fugal sections for the choir (Cum
Sancto Spirito
in the Gloria and In vitam venturi in the Credo). Throughout the work we can
recognise
Rossini’s supreme gift for artless melody and witty accompaniments; while his dramatic power is
especially evident
in some of the solo passages.
Rossini
set all the usual parts of the mass: Kyrie, Gloria, Credo, Sanctus and
Agnus
Dei. He also
included a setting (for
soprano solo) of a separate text, O Salutaris Hostia,
a devotional
prayer suitable for the Communion.
In
addition, between the Credo and the Sanctus, there is an extended solo
for the
piano (entitled Preludio religioso) which reveals
an
unexpectedly serious
and reflective side to the composer.
Peter Harbord, North
Yorkshire Chorus
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