Juliet Montgomery  Soprano

Imogen Garner  Mezzo-soprano

Joseph Buckmaster  Tenor

Aiden Edwards  Baritone

The choir's Musical Director, Marc Murray, conducts with Robin Stopford (piano) and James Lonsdale (organ).

St Mary's Catholic Church, Brownedge, Bamber Bridge, PR5 6SP

Rossini composed Petite Messe Solennelle in 1863, dedicating it to Count and Countess Pillet-Will. The premiere took place on 14 March 1864 at their new Paris residence, with eighteen-year-old Albert Lavignac conducting from the harmonium. Due to its popularity, the work was performed again the following day.

Rossini acknowledged his identity as an opera composer, inscribing on the first edition: “Good God – behold completed this poor little Mass … O Lord, Thou knowest well, I was born for comic opera. A little science, a little heart, that is all. So bless Thee and grant me Paradise! G Rossini – Passy 1863.” He is also credited with saying, “Give me a laundry list and I will set it to music.” This inscription shows unusual sincerity. Despite its grand appearance, Petite Messe Solennelle is a modest and sincere work, not a frivolous composition from Rossini’s later years. By composing this Mass, Rossini ensured his operatic talents served as a final offering to God, perhaps as a gesture of reconciliation for his career in comic opera.

Notes

Part 1
Petite Messe Solennelle follows the structure of a traditional liturgical mass, opening with the Kyrie eleison. The music develops gradually, with extended melodic lines supported by a steady accompaniment. ‘Christe eleison’ appears in a polyphonic Renaissance style before the Kyrie returns and shifts toward a major key.

The Gloria is assertive and fanfare-like, followed by soloists introducing rising triplet sequences. A trio for alto, tenor, and bass (Gratias agimus tibi) shows Rossini’s ability to develop a simple melodic idea into rich counterpoint. Domine Deus is arguably the most operatic movement, featuring a heroic tenor solo with wide leaps and sudden tonal shifts. In Qui tollis, the soprano and contralto soloists create a solemn atmosphere, pleading for forgiveness. The bass aria, Quoniam, is both declamatory and tender, building to a climax on ‘Jesus Christe’ and exploring the full bass range. The opening music of the Gloria returns and is expanded in Cum sancto spiritu, now with an energetic fugal theme. The movement explores various keys, melodies, and rhythms before reaching its conclusion.

Part 2
The Credo opens boldly, then transitions to a more expressive style as soloists exchange melodic ideas. The chorus interjects with ‘Credo!’ [I believe], then softens on ‘In Unum Deum’ [In one God]. The movement ends with a striking setting of ‘et homo factus est’ [and was made man]. Crucifixus features a lyrical soprano solo that conveys the sorrow of the crucifixion in operatic style. This section ends with a fugue for the chorus on ‘Et vitam venturi saeculi, Amen.’

The Preludio provides an instrumental interlude in fugal style, offering a respite for the singers. In the liturgical mass, this is when Bread and Wine are presented at the Altar, and the movement establishes a contemplative atmosphere.

The Sanctus and Benedictus are unaccompanied. The chorus and soloists here are in dialogue, starting quietly, but building to bursts of energetic dotted rhythms.

O salutaris hostia is not traditionally part of the liturgical mass. It is the first verse of a benediction hymn by Thomas Aquinas for the Feast of Corpus Christi. This aria is especially heartfelt and light.
The contralto solo aria for the Agnus Dei is virtuosic, showcasing the full vocal range. The chorus joins with ‘Dona nobis pacem’ [Grant us peace], building in intensity to a powerful conclusion, while the piano and harmonium bring the Mass to a quiet and unexpected close.