Sei sulla pagina 1di 203
ROSSINI Petite Messe solennelle Edited by / Herausgegeben von Patricia B. Brauner and / und Philipp Gossett Urtext Score / Partitur Barenreiter Kassel - Basel - London - New York « Praha BA 10501 ENSEMBLE / BESETZUNG Sol: Soprano, Contato, Tenore, Basso Core: Soprano, Contralte,Tenore, Basso 2 Pianos, Harmonium In addition tothe present full score; the vocal score (BA 10501) and the complete performance material (BA 1050) are also avilable, [eben dieser Partita sind der Klavierauszug (BA 105019) sowie ‘das Komplete Autfolrungsmaterial (BA 10 50} erhtich Supplementary edition to: Works of J Opere di Gioachino Rossini, published with the collaboration of the ‘Center for Haian Oper Studies. The Universit of Chieago, Genera eitr Philip Gossett, Vol. 3 Petty Mese sine, edited by Patricia B Brauner and Philip Gost "rganzende Ausgabe 2: Woks of / Opere di Gioachino Rossin, in Verbindung mit dem (Center fo Halian Opera Stade, The University of Chicago, Herausgegeben voa Philip Gossett ‘Band 3 Pete Messe sent, vorgelegt von Patrica B, Brauner un Philip Gesset (©2000 by Barenteitr Verlag Kae Votele GmbH fe Co.KG, Kassel ‘lle Rechte vorbehalten / All ights reserved / Printed in Germany Yervielatgungen jelicher Ar sind gesttzich verboten “Any unauthorized reproduction i profited by law ISMN S700 3935-0 INHALT / CONTENTS Preface Vorwort Petite Messe sokennelle Kyrie Kyrie eleison (Christe eleison Kyrie eeison Gloria Gloria in excelsis Deo (Terzettin) (Selo) (Duct) (Solo) ‘Cum Sancto Sp rato ‘Credo in unum Deo Crucifixus Et resurnexit Et vitam ventur soecul rite Relgiws periant 'Ofertore Sates Ritournelle pour le Sanctus Sanctus (0 salutaris host! Agus Dei Appendix I/ Anhang I "Ee incarnatus est” by / von Louis Niedermeyer Appendix IL Anhang It Salutans, de Campagne “hs pice was ade ter the pctrmance of 865 / Dc Satz wurde mach der Astra ts Mnzugeg w vu 0 2 2 2» a 33 oo 108 109 we 156 161 161 168 ma a 15 PREFACE 1, HISTORICAL BACKGROUND Rossini composed the Pile Messe salemelie in 1855, during his summer sojourn in his villa at Passy, in the suburbs of Paris, dedicating it to the Countess Louise Pllet.Will, Hardly less sensational than word that Rossini was again composing a major piece was ‘excitement about the new hit! for the Pals Wills at 12, rue Moncey, whose construction was completed in 1843, Count Alexis and his wife were intimate friends ‘of Ressini from early in his final stayin Paris, where Ihe ad arsed from Florence toward the end of May 1835, The Count guaranteed that Rossin could have the Finest performers. The soprano and contralto solo ists were two of the composer's favorites Carlotta and Barbara Marchisio, They were joined by the tenor kalo Gardoni and the bass Louis Agniez (Luigh Agnes. “The chorus consisted of fftn conservatory students In addition to the four soloists, so despite Rossin’ in- ‘structions (gee below) nineteen singers were involved in the promiore. The ensemble, conducted by ules Co hen, inchided! Georges Mathias as the principal plan ist and Andrea Peru2zi on second piano, with Albert Lavignae playing the “Harmonicorde-Debain” ‘The dress rehearsal on Sunday; #3 March 1864, and the performance on 14 March were by invitation only Rossini himself sen invitations fr the rehearsal which took place at 130 in the afternoon, “Yesterday, Sur ay.” wrote La presse on 35 March, “took place before a distinguished gathering, the dress rehearsal of the pew work by Rossini the Mass about which so much has been said over the last few months” The inset ‘entation was thought to be provisional, and orches- tration would follow: Rossin, who was present forthe dress rehearsal, did not attend the premiere The Petite Mesesolennelle was performed in concer, pot as music fora sacred ceremony. This is clear from, the printed program, as well as from reports of er thusiastc applause and encores of three movements, ‘Yet it was a sacred composition, and a review in Le iménésrel conveyed the sense thatthe performance can- stituted roigious event, though nat a liturgical one: “everyone could se, with that spontancons admiration great and beaut things garner, that this Putte Mane SSlenaile entered the word wellarmed under the sign of a Catholic Minerva, given hfe by the powerful and ‘eatve breath ofthe God ofthe Christian” wv Did the reviewer know Rossini own attitude toward the piece, as expressed in is postscrip? Gracious Lord ~ Here its finished this poor litle Mass Have I written Sacred Music or rather Damnest Masi? 1 twas born for comic opera, you know it well Not much lence a ite hear thats everything Be blessed then, and grant me Paradise” ‘This was one of two communications with God that Rossini entered on his manuscript the other reads “Pete Messe solennlle for four parts with the accompa- iment of 2 planos and harmonium. Composed during iy holday in Pasey. Twelve singers of three sexes Men, ‘Women, and Casta wil be stficent to pertorm eight forthe choruses four forthe solos atta of twelve Cher ‘ubims. Gracious Lod, parden me the felon compar son. Thereae alo telveApostesin the celsbrated morsel painted in resco by Leonard called The Last Supper ‘Who would believe i? Among your Disciples there are those who sing out of tune! Lord, rest asured fem thot there will beng Judas at my Supper and that mine wl singin tne and it vs your Praises and his te Composition whichis alas, the last mortal sin of my old age. G. Rossin, Pass. 1863" (One of the most starting fcts about the Petite Messe solennele, one not noticed by the many reviewers of the two performances, was discovered by the Ameri= can onganist Kurt Laeders, who, during research on ‘the music of French church composers in the mi- nineteenth century, found thatthe Christe cleison of Rossnis Petite Messe solennele was borrowed with no acknowledgment from the “Et incarnatus” section of 4 Messe solemelle by Rossin’ friend, the French com- [poser Lois Niedermeyer, frst performed atthe Santa Cecilia celebration of November 1849 (ee Appendix I ‘The following year, Rossini Mass was offered to much the same audience. Again, a dross rehearsal was held ona Sunday afternoon in Rossin presence with the formal performance (which he did not attend) fol- Towing the next evening, Monday, 24 April 1865. The ‘vocal soloists, instrumentalists, and conductor were identical to those who performed in 1864, Rossini reported on the second performance in a letter of 10 June 3865 to Francesco Flrime: am pleased to cll o your attention that about month ago Maat of mine wat performed for the second time in the home of my trend Count Pll Wl. Would you be lieve Parisian wise men with this work: have clasifed me among thee forms ane lst, Rossin ved Ros in ls Laugh fou wil. doo frend, and with you Will smile Mercadante and Cont whom T embrace with ection) my poor macst0 Matte were sil alive he right say: We hs tie Guoneckin hast dishonored ‘hu. That's what the poor man wrote ome athe beg ning of my theatrial carer, When you artive FU show ‘you my work and you wil judge whether Mattei judged fetter then oF now” Rossini may have thought about the possibility of or- chestrating the Petite Messe solennlle soon after these performances, On 6 February 2866 he attended a re- Inearsal a the Socité Acadkémique de Musique Saerée for a concert tobe held on 28 February: One item per- formed sas an “O Salutaris hostin” by Rossini, which may have helped lead the composer to incl tin the ‘orchestral version of his Mass. The version he heard was probably the original one, in E major (ee Ap- ‘pendix Il), Sometime after 25 March 1866 Rossini de- cided te proceed with orchestration of the Mass. It ‘would have been during this periad that he decided to add the “O Saltaris hostin” modifying it for So- pprano rather than Contralto and transposing i from E major to G major. Thus, in the Mass his Contralto would not have to sing the piece in its original key ‘of E major and immediately thereafter the final move- ment of the Mass, the Agnus, also in E minoe/majoe Having revised the work in preparation fr orchestra tion, he largely completed his work during the frst months of 2867, Making this effort to ensure that no fone else would do it after his death, as he told nue merous friends, the composer put anvay his eutograph manuscripts of both versions ofthe Petite Messe soln nelle, the revised version for two pianos and harmo rium and the version with full orchestra, allowing no further performances of either version daring his lifetime, After Rossini’s death, on 13 Novernber 868, his wid- ‘ov Clympe Piissier sold performance rights to the Petite Messe solennaleto the impresario Maurice Stra- kosch. The first public performance of the orchestal version took place on 24 February 1869, a the Theatre alien in Paris. A printed full score was issued by the firm of Brandus é& Dulour in Paris, and a number of hb |i> iis |)> Hll> ||] I> > > Chur Har par pie Chur par vie Allegro ye o 16 Chur pe pe Chur Hor pr pe Chor Cher Py poe Cheur ; pis Chu Limen| A — mer, pe pie ys Chaser rae pie a Chur eae Pir I Cheur rae pe Chur Har pat Chasse Har par pos Chew Hae. vie Cheur a pa ve Cheur par vie Choews Har par ve Chaur pa pir cheur pe pie heewr pe Chane pie pi Char poe hour par vie 36 Cheer pe re Cheur pe 56 Cheeue pie ooo eee _—— Cheeur Har pe ve hour ; pas Chur 76 SeRBUU ESE aTORSE I SoseneeseeuaTeeeE pesOUneeayennCe Cheur rie Pie Cher Chur pat ve Cheur par pie Cheer pe pie heer Hor pe Char Har pae vie Chur par vie o Cheewr Hs pa Pe Cheeur pa pie + pwitle SFE coven Cherwr pe choeur pre Alllegro Cristiano Credo Les vax Solo avec le Charur Sopra Con Teno Cheeur ‘Allegro Cristiano Harmonium 2 Pano Sinpieno ee 4 To Cher , vf Z Ge net : Ge Hoe, p2 rie hue pe a Chau Chau Har par cheer pre Cheewr eae Chews pa Chur par sib-stan nbs subesian sb-stan 100 per mn wm 0 Chur par Chur Har Chase pe 106 Andantino sostenuto 137 Sane Selo Ww sepul - tus es se-pul tus 17 10s sb Pon Har cscindo poco a) poco Hae, pa ry Allegro Sn 88 rae hour m 2 Char rae m7 Chaser pe Cheur p2 pie 2 16 Chur Hoe, pa pe Chur po rae Ghesr pe Chewr Hor, pa pe Tifa - que pro © que pro que pre Ww us cheer pa rie Chasse 19 10 Chaser Chee pe a 28 m. 1m Chase pa pre eur pa 16 Cher pas Chu chaur pa po Allegro Sopani t te Cott 7 ns Chews par pis Cheeus Chaeur 10 Gheur Har par vie haus Har par vie m 3S choeur Hoe pie pe 301 her pa 12 Chor pie Chew rae ctaeur par vie par ve rs 2 Cheur ri pe Chaur pe rip hour Cher cher Chae pe pie cheeur re pie Ww rs Cheeur Har re pie 2 Chose pas vie spwir. wate erat Me tate Fy cheur Har, par ve ae Charu Har par ve mt Chau pe pe Cer 12 Choewr re pee nw resend Chasse re p Chae pe rn Chewr pe 512 cheeur par pa 6 Cheur par pa Han 1s heur hour chaeur Hor, pe 150 Cherwe He, pa Po noe owt Chaar Pw But o & 132 Her pat eur Primo Tempo Prélude Religieux Pendant l’Offertoire Andante maestoso Piano 1? 1 Andantino mosso 7 ‘PW Here and at 05 the Ain ws. and grace note ins are acing, / Hien in 1 fle asin der se ar Vor a 158 «i xl «I a ag EIR sec cman a Do = micas Do - isms Deo us 8 [front a i Lo z = Ss: Say FP San = cts san = chs, sn tus Do ~ mi-nus, Do - mi-nus De- te 5 — ban 4 o Sow —— aE SSS eel Cady ames, ee Do = micomy Do - mime Done Se te i a aoa ees t rit, ¢ t Sas = Fel = Stee ort eceoeee fe eae 7 ri, ae f 1. r (oa ee = ee i oth. Ple-ni suntcae-li et ter a glh-ti-a, glo ni aw a aw : He a fk de pp joey ppanae- a 12 1 sotogh He : : eS : att "ae $e i san - na in ex-cel - sis. Bene Sola ———— BiSvace mae ie ir Te pe oe y Hosanna in ex. cel sis, Be ne ee 4 ot = i= sie sas <8 tue Beech ts ‘ ig + ose? E |] -c > mm be medi cus the mt ve = nit temine Do - mi 6 — whe ie 5 == et eS SS as be me —— = di cmb me ——=: Ot Ple-ni sumtcie-i et ter - a glo-nh-a Ww I SS . Soo i LS — | ay Peciamt arf term so - ok wk De 6 Se. =—— 2 6 z fags eit os x ™ Ple-nsunicae-ll et term gl-d-a go. oe a : He i sesh fe # # =e ar Pordtetige ewes wists Ho. 0 Sieg Fees 5 Hoan - min cal c soigh z losin =m in ool 5 eer ers ew : é be im pa St ge * = matt) ie S temi-m Do - m= ab ub went fn ome-i-ne Do-mh =k qu eeu n ” sate = 4h i BI sccmi-ne Do - mi- ai qu won pe-ainne Domi = akg weal in ell,» c= a peey TF pocmi-ne Do = m= a, ia nocmi-te Dovmi = akg weal in ” se kwa aes =: = 4h te gui vent ip mo mi ne Domi | ni gil vent in 156 Cue 16 rs ca . Ee 1 fo-san & ae vs ho-san Pa =e = ™ been pee. ‘ ros o L . 38 aft 7 mone Dem Hoan ma onan PW Se me , nui @ = i toni @ ee 5 a 7s i bs Oe mem Hoan =m hon m= 7 ui a foe > i * or Prom om Hon rs ho-san cas a tui a pee 2 $ a= ww Gur Pw * = te s woe o ae - : « eS —> E « Z $ t ; « ——— z 18 O Salutaris* Andante mosso 19. Somno 00 1 "This movement was added alter the pecformanceof 1865, / Diner Sats wurde nash dr Auli om 165 insu ie pein ho. 18 devo bor, fe 0 oranda Pino Trp re- mun m pre mun premunt ho = si = thea, ny, fy pre-munt ho - st Bel = ty pre-munt ho- 14 aie ri Part — 7 ie ¥ ae mi 5 4s a = 1s 7 —— aaa acries * a ors —A : = Tal, = 16) ‘ - F — — a S in iyo im Agnus Dei vs qu wl lispecea-ta mun Cheewr Tene Do-na nobis pa Do-na no-bis pa pas 1% pre 2 c Be Sage sons —— Do-ma n0-De pa com, do-ma mobi pa com Comat 3 |] enw no-bs pa com, El] ton Deena mobs pa cam, do7RE nO-bs pw - cam Basi Dosa no-bis pa - com, do-na no-bis pa ~ com Hor par vs gu Uspecea-ta gu sol Uspecenta mun ah, ss Hoe Hoe, pa Do-ma nobis pa - cam, Chou Tove pie 1s tint 182 is doo = ma no Cher pea mun eur pa rae sino. 186 Chaeur pos pat x fers oom 0 bis forse doom no - bis, oom no = bis do no forse aoc Chasse pe pe ww Appendix I / Anhang I “Et incarnatus est” by / von Louis Niedermeyer wt Et incarnatus est Louis Niedermayer ‘Adagio (d = 58) (isis) pice = eee rs Pike oo r rs in asm | Pa legac ——i pe 8 EP pcre Pee Eee ar Kg Plate unsaid é te peers eerrg oe cer eer on ae i 7 vs oo rar oo bes iv prea eee wo om eo Ea —— z == San = sre Hater : ve epee . mo = cas est on Home tus est cus ot tHe mm ; im wt “te fie ARR > Ho-mo fa ~ ~ clus ot, fo ts st L _——, — & - de ot He mo teat 5 a 9 = Appendix II / Anhang II O Salutaris, de Campagne Andante mosso OSalutaris, de Campagne RF w Conroe 16 ti-a, que use oie - ? nian un peino & pre-mant foe é v fs a pre-munt fos ra Primo Tempo 2 urea a Pra Teg bh pre-munt, 198 a Ry pre-mant ho pre-mant ho el pre-munt ho