share the recording of the Petite Messe solemnelle (Little Solemn Mass) by Gioacchino Rossini, published by HM in 2001.
Composed at the end of his life, was released about five years before his death, this mass is a delicious example of sacred music, opera and "cooking", according to official history, but more: it is, as any Mass in music, a vortex, a year apart.
Little Mass belongs to the group of late works that the composer himself called "sins of old age": those sins are mostly a series of compositions for piano or voice very short in general, to the miniature, the dispossession, silent prayer tend to leak some of the twentieth century, which have a casual air, and sometimes gentle melancholy. The titles of these works remind us that compose Satie in Paris a few years later, as if the bulk of the operatic humor, it is now up and disenchanted intellectual gesture, fleeting Prelude, Prelude harmless, polka Little China, etc.
This beautiful Mass (last mortal sin) is "small" while you need to run two-piano, 12 singers (the CD version presents a chorus of 24 singers)-Rossini writes "twelve singer of the three sexes: men, women and castrati" - and a harmonium.
is an eclectic work, varied, "polyphonic" not so much in the musical sense, but in the sense of the theoretical construct referring to the great achievement of the nineteenth century: the novel ...
is also a beautiful reading-a reading is always a composition-of the ordinary of the Mass by an old opera buff, was one of the most popular musicians of his time.
When Hans Küng, the reformist - comments on Mozart's Coronation Mass (Mass in C Major, KV 317) says:
For the current listener Coronation Mass not must forget that roar, those clouds that crowd about the time to download in 1789, during the great Revolution in Paris . The throne is swept, and the altar is shaken for a while. The modern conception of the state and society is gaining ground in conflict with the feudal and medieval Church. Mass brevis, finally, religious music was ten years before a volcano erupt in Paris, the French Revolution and the proclamation of human rights. If you know the roar of the storm, that chasm that suddenly precipitate at the time, necessarily otherwise you will hear the powerful Kyrie in C major of the music, "Lord, have mercy on us. (Music and Religion, trans. J. Deike, Ed Trotta, Madrid, 2008, p.49)
Because we know it ad nauseum, every document of culture is both a document of barbarism. Mozart and the classic, passionate about the form and not the mimesis of nature, read the Mass a way that, however, would be the basis of a model indivdual, bourgeois composer (although the angel Mozart is much more). Each composer read the words of the Roman Mass and played his way traditional elements and ineludbles (polyphony, plainchant) well into the modern hippie (Vatican II), along with materials that historical moment, his being in the world, rather, contributed. Secularized nineteenth-century sacred music and missed a space for singing and rejoicing not know: today, through the speakers of the churches do not get a very nice music.
But each composition called "Mass" featured deviations and transformations of each voice to sexualized (embodied, transfigure, put out in the "Theatre of Dreams") an ancient model, mythical and sacred (in the language America, which Ratzinger again placed on the altar of the Romance languages). Mass should be impersonal, "little significant? imperceptible from the point of view of the composer (who cares what the man do or say?) and, provided, however, was an entity in the world that appeared so different from the same text ritual. Did poeticized is a voice? A voice, like the beautiful Masses Pergolesi-written to be performed in the Bay of Naples, "what else were to show love and lust but bright?
This mass of Rossini, have called it "ironic." Is it an irony devout snob Mass?
The first movement of the Kyrie eleison, an ancient pagan worship element that remains in the Roman church (the Roman paganism loves) - may serve to give an idea of \u200b\u200bwhat some call it irony for me is delightful cantabile , surrounded by the loving voice of harmonium, I do not know how to be sounded in that decade of far-away year of 1863, but here and now sounds like a burst of fog, the madding crowd and a certain melancholy. Moreover, the color is warm, friendly, Balkan ... In a gesture (for all that Rossini wrote in those years could only be great operatic gestures, as he had been, had given his operas to the bourgeoisie) could be called "mount", the next move (Christie eleison) is a capella, more severe and counterpoint, there could be the irony: from the traditional form of the Kyrie, exhibits a fluctuating range of composition, the harmony sounds like a river, a river that is a juxtaposition of styles (here a solo voice, and there a piano piece, a mild dissonance, etc..) and sixty years after the tandem apply Brecht- Weill operas (which relic!) such as "Rise and Fall of the City of Mahagonny."
This mass is doomed to be sacred music in the broadest sense: "Good Lord, Rossini wrote the score," I have finished here this poor little church. "This is sacred music (music sacrée) or is convicted Music (Sacred Music)?"
A ritornello (ghost of our battles), a shift at the hands of the harmonium, which incorporates the key principle to surrender to the voices of the choir. The harmonium air to breath and refocus its voices. The ritornello is "tra la la", he knew Rossini (well what Deleuze wrote): "Music is traversed by all minorities, however, up immense power. "Solemn Mass A small theater of human dreams and divine.
In the second part, from the ritornello, everything becomes towards the end of the Agnus dei, in a slight dissonance grows in order "Miserere" and culminating-smoothly, but firmly in a closing apoteótico is directed to a silence that gives way to some notes that keep the parent and, finally, a mini-Wagnerian statement:-p , a small piece
dissonance that gives way and finished in a tone burst. A minor hubris.
Rossini asked Pope Pius IX (pionono, archenemy of modernity, Baudelaire's favorite, who wanted to canonize Columbus) solo numbers that were sung by women (as it was prohibited for the participation of girls on stage, opera prohibited.) Rossini said that a good female voice, in this case soprano and alto - what a lovely voice, nice voice! - Could avoid the usual tune of untrained young children in the warbling divine. When love ends, begins fascism and Rossini, but accepted the third sex "could not help but love the female voice, the voice to which every Mass (Music) is designed .
Little Solemn Mass at speeds bursting juxtaposed, is contradictory, polyphonic sensual, oriental (all mass facing East) and rich in its temporal singularity.
(I share it, too, to those poets who make community with tradition and live in this time of despair, and who want to commune with the forms, though we drown.)
Good voices, ad Dei gloriam maiorem .
Petite Messe Solennelle - Gioachino Rossini
Krassimira Stoyanova
Birgit Remmert
Steve Davislim
Hanno Muller-Brachmann
Phillip Mayers, 1869 Pleyel piano
Phillip Moll, piano pleyel 1858
Rvoko Moroka, harmonium 1869 Debain
RIAS-Kammerchor
Marcus Creed, director
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