Gioachino Rossini - "Kyrie" from "Petite Messe Solennelle"

"Dear God: here it is finished, this poor little Mass... I was born for opera buffa, you know it well! A little science, some heart, that's all..."
- composer's envoi to "Petite Messe Solennelle".
The "Little Solemn Mass" strikingly stands out from among the works of the late years of Rossini's life. Rossini called his little composition the "last mortal sin of my old age", emphasizing that eye-winking, completely ironic distance that speaks out of the postscript addressed to the Almighty, with which the last page of the score closes: "Good God, behold completed this poor little Mass... Is it indeed music for the blest ("musique sacrée") that I have just written or just some blessed music ("sacrée musique")?" The play of these lines on the suggestive double meaning of the word "sacré", give eloquent testimony to the ambivalence that Rossini saw even in the style of writing of his church music. The title is also contradictory: the Mass is at the same time "petite" (because of its chamber music format) and "solennelle" (in view of its length and entirely weighty bearing). The music itself seems completely unmannered in style, more classicist than belcanto, though admirers of Rossini's art are bound to single out some operatic pieces. Surprisingly, there is a sense in which Rossini's continuously extraordinary musical facility is one of his weaknesses. He once remarked: "Show me a laundry list and I will set it to music!". To some extent, this is what he has done in the "Messe". Of course, there are many sections which beautifully reflect the words, but in other places one feels that Rossini has paid little regard to the essential meaning and form of the text. Yet at no point in the work does the music become remotely dull or routine. Such was Rossini's genius that even when the spirit of the music seems to depart from the spirit of the text one can't help but be captivated by the beautiful melodies and sheer joie-de-vivre of the piece. As he himself said: "delight must be the basis and aim of this art" - and that is what he has achieved: a work not of profound religious insight, but one that is a delightful, life-enhancing musical experience. Rossini originally specified twelve singers in all, with the soloists doubling the SATB chorus, and scored it for two pianos and harmonium. This version is considered by most the authentic and the only true one. The singular scoring for soloists, choir and yet quite compelling accompaniment by two pianos and harmonium is partially due to the occasion for which the piece was composed. Its first performance was at the dedication (16 March 1864) of the private chapel in the hôtel of Louise, Comtesse de Pillet-Will, to whom Rossini dedicated this refined and elegant piece which avoids the sentimental opulence of most contemporary liturgical works, such as those by Charles Gounod.
And yet, in 1867, Rossini himself revised the work for orchestra and chorus, for fear that someone else might accomplish the task if he did not. The performance of this version took place only on the 28th of February, 1869, at the Theatre-Italien of Paris, after the composer's death. I'm going with the latter version for many reasons, chief amongst them being my preference of a full orchestra and chorus over a piano accompaniment.
As in the previous pieces, I'm providing the whole structure of the piece, while only noting the sections I'm posting. Also I have to mention that I'm using (both in the above and following texts) sections from John Bawden's, the musical director for Fareham Philaharmonic Choir, excellent notes on the work for a scholar overview of the work.
Nuccia Focile - soprano,
Susanne Mentzer - contralto,
Raul Gimenez - tenor,
Simone Alaimo - bass.
Kyrie.
1. Kyrie (the whole section is scored for chorus). The quiet A minor opening of the Kyrie Eleison contrasts sustained choral writing with a running bass line. This soon gives way to a brighter mood as the music moves into the major.
2. Christe. A deliberately archaic style is adopted, echoing the church music of Palestrina some 300 years earlier.
3. Kyrie. The section is resolved by a return to the serious mood in which it began.
Gloria.
4. Gloria in excelsis Deo (chorus & terzettino for contralto, tenor and bass).
5. Gratias (terzettino for the same).
6. Domine Deus (aria for tenor).
7. Qui tollis (duet for soprano and contralto).
8. Quoniam (aria for bass; in all three posted masses this movement is given to a bass soloist).
9. Cum sancto spiritu (chorus).
Credo.
10. Credo (chorus & quartettino for all soloists).
11. Crucifixus (aria for soprano).
12. Et resurrexit (chorus & quartettino for all soloists).
13. Il preludio religioso.
14. Sanctus - Benedictus (chorus with soloists' interjections).
15. O salutatis (aria for soprano).
16. Agnus Dei (aria for contralto with extensive choral interjections).

[@777theodora]

Magnifique et tourne Vers le Pere et le Fils, Merci mon Dieu..

[@robertnylund3859]

What a profound and moving way for Rossini to end his career as a composer!

[@xewi60]

C'est rare que je trouve de telles perles, peu connues mais si magiques , j'aimerais tellement en trouver plus ...

[@anaphainesai]

9 ans plus tard, il n'est peut-être pas trop tard pour partager des favoris pas trop connus, d'un autre type de magie... le Ständchen de Schubert, 1er mvt de la suite pour 2 pianos op.5 de Rachmaninov (Lugansky-Rudenko), The Fountain of the Acqua Paola de Charles Griffes, la Toccata Arpeggiata de Kapsberger, le Magnificat d'Arvo Pärt, les Litanies de Jehan Alain, Ancient Airs and Dances de Respighi

[@thomashogan16]

Sublimely beautiful. A storm on a Summer's evening blowing through the trees, then out over the sea with the moon rising, like the Host at Mass. Pure peace.

[@bhrutus7084]

Quelle beauté profond doux ca se voit que l'artiste a montrer sa face caché il s'est exprimer avec cette musoqe

[@teresaribeiro9886]

Toda la musica in Pedro Almodôvar films are rare Pearls. Such good taste. In fact the music is part of the story of his films. This one is wonderfull. Thank you Almodôvar for remind us of the beauty of the human soul.

[@hanyasvagytediszno]

NO! Thank you Rossini!

[@brasilebrasile2450]

The rossini messe solemne, ad stabat mater are one of the greatest sacred music masterpieces ever.

[@julieforgue9530]

Un vrai bijou, hélas trop peu connu 🎶❣️🎶

[@mariacristinamazzarotto]

Che costruzione musicale perfetta questo brano. L'equivalente in musica della Cappella Sistina.

[@serepax]

this music makes me cry, beautyfull!!!

[@thomashogan16]

Me too.

[@serepax]

I listened to the piano version and you are right, thas even better ;-)

[@concettalanteri9978]

Una pagina di musica sublime grande. Rossini

[@alphareehoorn]

Prachtige muziek!

[@Andrewkcollins]

dum, dum dum dum, dum dum dum, dum dum dummmm dum.

[@teresaribeiro9886]

If I'm not wrong "kyrie" in greek means 'my love'. This is pure beauty. Thanks for the one who posted. Tr 😙

[@TonBil1]

Kyrie = (Lord,) have mercy

[@LazarusAnimum]

"Kyrie Eleison" means "Lord have mercy"

[@peter-johndejong9880]

E perla di piedat.. e perla selestial di e mundu musikal, sea ameno, sea benigno, o deidat di musika deidat di shelu i tera omnipresente, ora pa pas i trankilidat pa humanidat.

[@LaurentJames]

« Rossini n’écrivit plus que des piécettes pour piano […] auxquelles s’ajouta en 1863, une Petite Messe Solennelle, qu’il dédiait à Dieu le Père en s’excusant auprès de lui des réminiscences de l’opéra bouffe qu’il y trouverait. Cette Petite Messe est d’ailleurs une vaste partition où les vocalises théâtrales voisinent avec les hommages d’un musicien cultivé aux vieux maîtres du XVIIè siècle italien » (Lucien Rebatet).

[@merenraa]

Unbelievably deep and serene piece. Thank you!

[@xpwili4391]

Super

[@aretherenamesleft9]

Very good!

[@YsAbTones]

Great Piece ;)

[@maxtanz]

bravi!

[@gradivazoe]

Una cosa más: La primera versión de Rossini no es una reducción para voces con acompañamiento, es la versión original de la pieza. Y, si hizo una segunda versión, orquestada, fue, como tú dices, para paliar un mal inevitable, pues sabía que el público querría escuchar una versión más convencional.

[@LindoroRossini]

I will try to :).

[@giusquiamo]

I'm waiting for credo, crucifixux and et resurrexit! :) Do you think to post them?

[@everthoogervorst1299]

Ik vind dit een goede uitvoering. helaas weet ik verder niets van de uitvoering of dirigent.

[@ridropukoice3609]

2:44

[@davidgeis8846]

Does anyone know the painting shown in this video?

[@thomashogan16]

It looks like something by David Teniers the Younger. I have one similar in my study. Beautiful and suitable.

[@AvntXardE]

The painting is by Thomas Cole named "the present".

[@clementgm2242]

Thomas Cole for sure

[@merenraa]

Unbelievably deep and serene piece. Thank you!