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Rossini's "Agnus Dei" 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).2. Christe.3. Kyrie.Gloria.4. Gloria in excelsis Deo (chorus & quartettino for all soloists).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). The section can be considered the highpoint of musical urgency. The alto thrice-voiced entreaty for peace, steadily intensifying in expression, is answered by unaccompanied choir in the straightforward four-part texture of its Dona nobis pacem. Only at the very end of the movement is the anxious tension of this "dialogue" resolved in the surprisingly introduced E major of the shared closing prayer.

Author: LindoroRossini
Keywords: Rossini Petite Messe Solennelle Raul Gimenez Nuccia Focile Susanne Mentzer Simone Alaimo belcanto coloratura classical
Added: September 7, 2008

Rossini's "Il preludio religioso" from "Petite Messe Sol."

"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).2. Christe.3. Kyrie.Gloria.4. Gloria in excelsis Deo (chorus & quartettino for all soloists).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. Suprisingly chilling and errie, especially for a sunny composer like Rossini, piece. Originally, of course, for piano, but in the orchestral version the main line is played on organ which is left completely alone after a brief orchestral prelude to the "preludio" itself.14. Sanctus - Benedictus (chorus with soloists' interjections).15. O salutatis (aria for soprano).16. Agnus Dei (aria for contralto with extensive choral interjections).

Author: LindoroRossini
Keywords: Rossini Petite Messe Solennelle Raul Gimenez Nuccia Focile Susanne Mentzer Simone Alaimo belcanto coloratura classical
Added: September 7, 2008

Rossini's "Cum sancto" 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).2. Christe.3. Kyrie.Gloria.4. Gloria in excelsis Deo (chorus & quartettino for all soloists).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). After a repeat of the very first chords of the "Gloria", the piece, acting almost like an act finale, settles into an extended fugue. This is a real tour de force of musical craftsmanship, reflecting the thorough classical training in harmony and counterpoint that Rossini received all those years ago at the Bologna Academy.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).

Author: LindoroRossini
Keywords: Rossini Petite Messe Solennelle Raul Gimenez Nuccia Focile Susanne Mentzer Simone Alaimo belcanto coloratura classical
Added: September 7, 2008

Rossini's "Qui tollis" 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).2. Christe.3. Kyrie.Gloria.4. Gloria in excelsis Deo (chorus & quartettino for all soloists).5. Gratias (terzettino for the same). 6. Domine Deus (aria for tenor).7. Qui tollis (duet for soprano and contralto). The female duet with its' gentle harp accompaniment and melting use of the voices, in essence, is very similar to soprano - contralto duets Rossini wrote into many of his operas, making it seem a bit unsacred in nature. It wonderfully contrasts both the minor lament and the more luminous major sections.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).

Author: LindoroRossini
Keywords: Rossini Petite Messe Solennelle Raul Gimenez Nuccia Focile Susanne Mentzer Simone Alaimo belcanto coloratura classical
Added: September 7, 2008

Rossini's "Qui tollis" 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).2. Christe.3. Kyrie.Gloria.4. Gloria in excelsis Deo (chorus & quartettino for all soloists).5. Gratias (terzettino for the same). 6. Domine Deus (aria for tenor).7. Qui tollis (duet for soprano and contralto). The female duet with its' gentle harp accompaniment and melting use of the voices, in essence, is very similar to soprano - contralto duets Rossini wrote into many of his operas, making it seem a bit unsacred in nature. It wonderfully contrasts both the minor lament and the more luminous major sections.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).

Author: LindoroRossini
Keywords: Rossini Petite Messe Solennelle Raul Gimenez Nuccia Focile Susanne Mentzer Simone Alaimo belcanto coloratura classical
Added: September 7, 2008

Rossini's "Qui tollis" 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).2. Christe.3. Kyrie.Gloria.4. Gloria in excelsis Deo (chorus & quartettino for all soloists).5. Gratias (terzettino for the same). 6. Domine Deus (aria for tenor).7. Qui tollis (duet for soprano and contralto). The female duet with its' gentle harp accompaniment and melting use of the voices, in essence, is very similar to soprano - contralto duets Rossini wrote into many of his operas, making it seem a bit unsacred in nature. It wonderfully contrasts both the minor lament and the more luminous major sections.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).

Author: LindoroRossini
Keywords: Rossini Petite Messe Solennelle Raul Gimenez Nuccia Focile Susanne Mentzer Simone Alaimo belcanto coloratura classical
Added: September 7, 2008

Rossini's "Qui tollis" 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).2. Christe.3. Kyrie.Gloria.4. Gloria in excelsis Deo (chorus & quartettino for all soloists).5. Gratias (terzettino for the same). 6. Domine Deus (aria for tenor).7. Qui tollis (duet for soprano and contralto). The female duet with its' gentle harp accompaniment and melting use of the voices, in essence, is very similar to soprano - contralto duets Rossini wrote into many of his operas, making it seem a bit unsacred in nature. It wonderfully contrasts both the minor lament and the more luminous major sections.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).

Author: LindoroRossini
Keywords: Rossini Petite Messe Solennelle Raul Gimenez Nuccia Focile Susanne Mentzer Simone Alaimo belcanto coloratura classical
Added: September 7, 2008

Book Review: The Hunger Games by Suzanne Collins
Layered with more than a few surprises and chock full of nail-biting action and suspense, The Hunger Games is a plot deserving to be savored, a story demanding to be devoured, and, with the turn of each page, an adventure that leaves you craving more. (Grade: A+)
http://digg.com/arts_culture/Book_Review_The_Hunger_Games_by_Suzanne_Collins

Comment on Sheryl Suzanne Crow by admin
Vnertia.com/mnap The Best Video Jukebox on the Net. And it's safe (PG-13) unlike other video sites* that have 'inappropriate videos' mixed in with their content.*-Vnertia's Video Flash Player was created by a father/daughter team because the father was searching videos on video.google and on the 3rd index page there were 'porn' videos.
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Dr Suzanne’s Top Secret Fat Loss Secret
Dr Suzanne's Top Secret Fat Loss Secret has taken the internet by storm in the last few months, even though this product was not written by a professional fitness trainer. Unlike other popular fat loss products on the internet, this 49 page top secret fat loss secret book is written by Dr. Suzanne Gudakunst whose professional field is ....
http://digg.com/health/Dr_Suzanne_s_Top_Secret_Fat_Loss_Secret_5

LIO Cartoonist Mark Tatulli Interviewed by Washington Post
Mark Tatulli participated in an online interview hosted by Washington Postcomics page editor Suzanne Tobin. Mark talked to people who love his strip (and a couple people who can't stand it...) and talked about LIO books Happiness is a Squishy Cephalopod and his upcoming collection, Silent But Deadly.
http://digg.com/comics_animation/LIO_Cartoonist_Mark_Tatulli_Interviewed_by_Washington_Post

Suzanne Pagella TV Anchor's Tragic Downward Spiral & Suicide
Suzanne Pagella, also known as Suzanne Page Wangler, committed suicide last weekend after being arrested for embezzlement. The Detroit woman worked for WLAJ TV until days before her death. She resigned after her personal and legal problems began to collapse around her. Pagella’s life had been in a downward spiral that ended tragically.
http://digg.com/celebrity/Suzanne_Pagella_TV_Anchor_s_Tragic_Downward_Spiral_Suicide

Suzanne Wangler Suicide: Suzanne Page Hung Herself
Suzanne Wangler, 42, otherwise known as Suzanne Page, was a former WLAJ TV news anchor who hung herself in her apartment.
http://digg.com/people/Suzanne_Wangler_Suicide_Suzanne_Page_Hung_Herself

Photo Of Dead News Anchor Suzanne Wangler aka Suzanne Page
Suzanne Wangler aka Suzanne Page, (picture and photograph below) was a former TV news anchor in Michigan. She was accused of stealing from a guy she dated and advised financially. Now she's dead.
http://digg.com/people/Photo_Of_Dead_News_Anchor_Suzanne_Wangler_aka_Suzanne_Page

Suzanne Page murdered
The 42-year-old Wangler had retired last week from Lansing station WLAJ, where she worked under the name Suzanne Page. She had previously worked at WDIV-TV
http://digg.com/world_news/Suzanne_Page_murdered

WLAJ TV Anchor Suzanne Page Wangler Found Dead (Photos)
ROYAL OAK — Police are investigating the death of TV news reporter/anchor Suzanne Page Wangler, found Saturday afternoon in her home on Vinsetta Boulevard. She was arrested earlier in the week for embezzlement.
http://digg.com/television/WLAJ_TV_Anchor_Suzanne_Page_Wangler_Found_Dead_Photos

WLAJ TV Anchor Suzanne Page Wangler Charged with Embezzling
Suzanne Page Wangler, 42, a TV news anchor from television station WLAJ in Lancing, Michigan was arrested earlier this week and charged with bilking her boyfriend, Les Pingilley out of $149,000. She had previously worked at WDIV-TV in Detroit.
http://digg.com/world_news/WLAJ_TV_Anchor_Suzanne_Page_Wangler_Charged_with_Embezzling