Rossini
PETITE MESSE SOLENNELLE
for choir, piano​ & harmonium
SATURDAY, 12th APRIL, 2025
All Saint's Church, Brenchley
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Following a long depressive illness Rossini returned to Paris in 1855 where his health and inspiration to compose returned. He produced what he called his Sins of old age, a collection of light-hearted pieces for piano, songs and works for small ensembles, which were performed at private occasions, attended by most of the important public and artistic figures in Paris at the time who were attracted by Rossini's wit, hospitality and love of good food.
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The Petite Messe Solennelle (Little Solemn Mass) is the most substantial of the works written, and one of the most remarkable compositions of his whole career, with beautiful melodies (often operatic in character), and an unfailing sense of colour and drama. Its title exemplifies Rossini's wit as it is neither 'petite' nor particularly 'solemn'! The music ranges from hushed intensity to boisterous high spirits and abounds in memorable tunes and vitality.
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Rossini ended his manuscript with:
Dear God, here it is finished, this poor little Mass. Have I written sacred music or damned music? You may well know I was born to write comic opera. It contains scant learning, but all my heart. Praise be to you, and grant me entry into Paradise!
​​Review of Petite Messe Solennelle
All Saints’ Church once again welcomed an audience to a sold-out performance by Brenchley Choral Society.
Gioachino Rossini, famous for his 39 operas, had stopped writing them for over 30 years when he composed his Petite Messe Solennelle. Written in 1863 this was first performed privately in March 1864. It was only performed publicly in 1869, the year after Rossini’s death. In his notes at the end of the score he remarked that the piece was ‘the last of my sins of old age’ and finished with ‘blessings to you and grant me Paradise’.
Originally composed for a choir of 12 voices (to signify the Disciples) Brenchley Choral Society swelled the numbers to over 60, performing under the excellent musical direction of Roland Millar.
Although later orchestrated, Rossini’s original intention was for the work to be accompanied by piano and harmonium. The pianist, Jong-Gyung Park’s great performance underpinned the entire piece. It was exciting to hear Christopher Harris playing the same model of the harmonium as the one Rossini had in the original performance, adding to the evening’s authenticity.
The choir opened with the Kyrie and sent layers of exquisite sound throughout the church. The Gloria, which followed, was for the choir and all soloists. Thereafter each piece featured the soloists, who gave exceptional performances. The terzetto of the Gratias was sung by Abbie Ward (mezzo soprano), Dominic Walsh (tenor) and Julian Empett (baritone). The Domine Deus, sung by Dominic Walsh, had echoes of Rossini’s earlier operas with its rhythm. Soprano Seohyun Go was joined by Abbie Ward in the Qui Tollis, then came Julian Empett’s rich tones for the Quoniam. The first half was completed by the choir singing the triumphant Cum Sancto Spiritu with evident relish after months of dedicated rehearsal.
After a highly sociable interval, with liquid refreshments, the audience settled back for the second half. This was opened by the soloists and choir singing the Credo, followed by Seohyun Go’s beautiful solo in the Crucifixus. Soloists and choir then performed Et Resurrexit and the Sanctus, with piano and harmonium solos in the Prelude Religioso (offertory) in between. O Salutaris gave the audience the opportunity to savour Seohyun Go’s lovely voice again. The final piece was the moving Agnus Dei where Abbie Ward took the solo lead, ably supported by the choir. As the final words ‘Donna nobis pacem’ (Grant us peace) echoed round the church warm applause erupted.
The delighted comments of the audience afterwards were a ringing endorsement of Brenchley Choral Society under Roland Millar’s expert and encouraging guidance, and great appreciation for the musical treat of hearing such accomplished soloists and musicians.
The sheer quality of the choir’s singing received high praise during the interval and after the performance. It is remarkable that this choir, drawn without audition from the local community, rehearses only from January to April annually and produces such a wonderful outcome.
Clare Marsh
12.04.25