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Kyrie in Beethoven’s Missa Solemnis and Rossini’s Petite Messe Solennelle:

Romantic prayer during revolution

Kyrie eleison, Lord, have mercy,

Christe eleison, Christ, have mercy,

Kyrie eleison. Lord, have mercy.

‘No other prayer, Catholic or Protestant, achieves the basic simplicity of [the Kyrie].
There are only six words and three of them are the same. It is precisely because they are so
simple that they can be set [to music] in so many different ways.’ (Fiske 1979, 32) This
simplicity and general nature of the liturgy allowed composers the musical freedom to set the
mood of the mass in its opening movement; the Kyrie, then more so than any other section of
the liturgy should allow one the greatest opportunity to examine the musical skill of the
composer.

This paper will look at the Kyrie of Beethoven’s Missa Solemnis and Rossini’s Messe
Solnnelle; both pieces were composed towards the end of the composers’ respective lives
(Beethoven died in 1827, Rossini, 1868). Despite these works coming from celebrated
composers, and both receiving some acclaim and success initially, they have since received
little to no attention from musicologists and the public alike compared to their other works
(Drabkin 1991; Nancy Pope Fleming 1986).

Beethoven’s Missa was intended to be sung at the ordination mass of his friend and
patron, the Archduke Randolph of Austria, who was to become the Archbishop of Olmütz.
However, due to factors such as a lengthy battle for custody of his nephew and other work
commitments, it was three years after this celebration that the Missa was completed.
Beethoven therefore had several considerations in composing the Missa: firstly, it was meant
to be sung at an eminent ecclesiastical function; secondly, this was not Beethoven’s first
dedication to the Archduke and ‘the Archduke was well aware of his responsibilities in this
respect [of reciprocating financially]’ (Fiske 1979, 16); and thirdly, due to financial burdens,
partly from the prolonged court battles, Beethoven needed to maximise the monies from the
work. To this end, he had special autographs prepared for various members of the aristocracy

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and nobility, and even sold ‘exclusive’ publishing rights to more than one publisher. To satisfy
these conditions, Beethoven’s Missa must have been constrained by the following: it could not
be too unorthodox that the church would reject it for performance, and that it needed to be
popular enough to sell; quite an uneasy balance to maintain! A unique challenge Beethoven
faced was that he would not be able to make changes to his music after the first run-throughs
or performances on account of his deafness. As such, Beethoven ‘could not improve passages
in which the balance was faulty… and probably on occasions he did not risk experiments of
which he could never judge the effect.’ (Fiske 1979, 94) therefore, there may be times when
Beethoven does not use the full extent of the instruments as he could not know first-hand what
the effect new advances in instrument making and playing techniques sounded like.

Rossini’s Messe, on the other hand, was composed when he was in semi-retirement in
Paris. There, the Rossinis would host a number of soirees that musicians, composers and other
distinguished persons would attend; and it was to one of these acquaintances, the Countess
Pillet-Will, that the mass is dedicated. Conceived as an intimate mass for his personal friends,
the mass is scored for two pianos and harmonium to accompany the four soloists and eight-
strong choir, and was first performed at the Pillet-Wills’ newly built hotel. The Messe, lasting
roughly ninety minutes, is thus petite in its performance forces, if not in its proportions.
Although Rossini would later go on to orchestrate the Messe at the urging of this admirers, this
version is labelled by Fleming as ‘clumsier and [an] impersonal orchestra transcription’
(Fleming 1986, 30). Rossini himself is recorded saying ‘I prefer it with the accompaniment of
solo piano1 and harmonium, as we performed it. (Rossini in Fleming 1986, 31)

A mere forty years separates Beethoven’s Missa Solemnis, composed between 1819
and 1823, and the Rossini Messe Solennelle, in 1863, nonetheless, this period was an era of
turmoil and revolution. Not only was music transitioning from Classical to Romantic, but
society as a whole was changing: this was the time as the Age of Enlightenment, with its
emphasis on the betterment of mankind, turned to Romanticism, where the focus shifted to the
self; Europe as a whole was reeling from the shock of the French Revolution as well as the
financial implications brought by the subsequent Napoleonic Wars. However, the power of
the church to dictate what could be performed in churches still held resolute: instruments

1
Early versions of the Messe did not include a second piano. The main role of the second piano in modern
editions is to support the principal piano, doubling to produce more volume.

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frowned upon by some in the clergy, and heaven forbid the ‘promiscuous mixing of the sexes
in church[!]’ (Rossini in Fleming 1986, 23).

This paper will analyse the textural treatment, melodic, and harmonic language used in
the Kyrie of these two great works to determine how this simple prayer changed in this
revolutionary period.

A note needs to be included on whether these two works are representative of their

respective composers, as ‘with a large-scale religious work there is the question of whether its

sincerity derives in part from the composer’s religious beliefs’ (Fiske 1979, 28). As an

Enlightened man, ‘Beethoven’s attitude to may be unorthodox, but his belief in a personal

Deity can hardly be in doubt… [the Missa was] preceded and accompanied by a diligent study

of ecclesiastical styles[; in fact,] Beethoven’s choice of D major for the Missa Solemnis was

significant, reflecting his love of Handel and the Baroque associations with resonant open

strings, trumpets and drums.’ (Matthews 1985, 201-202) This care in the work is echoed by

the performance direction ‘Mit Andacht’ (with devotion), and ‘Beethoven’s personal

aspiration… “From the heart – may it penetrate to the heart again!”’ (Cooper 1985, 224).

Rossini, in direct contrast to Beethoven, was ‘more than comfortably off [financially]’ (Kendall

1992, 212), having been assured of an annuity by the French state (Steen 2004, 261-262).

Rossini also had renowned wit: many of the titles in his Les Péchés de vieilesse (Sins of old

age) are whimsical, ‘[making] one suspect that Rossini was deliberately concealing what might

well have been a genuine sentiment, or a serious essay in a particular genre.’ (Kendall 1992,

207). This has led some to believe that the Messe is a Rossini joke (Steen 2004, 271); by calling

the work a ‘petite’ mass when, as noted, it is a substantial work, and the famous pun in his

dedication to God:

Dear God, here it is finished, this poor little Mass. Is this sacred music which

I have written or music of the devil? [Est-ce bien de la musique sacrée que je

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viens de faire ou bien de la sacrée musicque?] I was born for opera buffa, as

you well know. A little science, a little heart, that’s all. Be blessed, then, and

admit me to Paradise. (Osborne 2001, 116)

He even goes on to say that it was ‘the last mortal sin of [his] old age’! (ibid.) However, some

believe this is a simple veil over his true sentiments: firstly, Rossini resisted orchestrating the

mass, only capitulating under repeated urgings from his friends, and when he realised that if he

did not, others would and destroy his vocal lines and ‘thus killing [him] also’ (Nancy Pope

Fleming 1986, 21); secondly, he scored the mass for male and female singers instead of boys,

‘whose voices he considered harsh and unmusical’ (ibid., 22) even though this meant that there

was little chance of the mass being performed in church. This did not dissuade him from asking

Liszt and Luigi Crisostomo Ferrucci2 to implore the Pope for special dispensation. Finally,

Fleming also notes that ‘Rossini lavished an atypical amount of care on what he must surely

have known would be his final large-scale work’ (ibid., 81). These two mass settings then, are

important to their respective composers.

The text of the Kyrie immediately lends itself to a tripartite structure, and both the Missa

and the Messe employ this structure; we shall analyse each section in isolation, picking out

interesting points for discussion, as a bar-by-bar analysis is beyond the scope of this study.

Kyrie eleison:

Beethoven’s opening of the Kyrie ‘impresses at once with its stability of key’

(Matthews 1985, 201). We have a sustained chord in D, punctuated by the trumpets and

timpani, then a typical move to vi, before cadencing with the ii-V-I cadential formula.

2
a Latin scholar who had worked in the Vatican library

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Generally speaking, the harmony in orchestral opening, bb.1-211 is in the tonic; there is a two-

bar sequence in bb.6-7, 8-9, and 10-11 (extended, see below), in which the first melodic idea,

a, a stepwise rising and falling four-note motif is introduced to us, first in tonic, then flirting

with the subdominant and dominant. There are borrowed chords, such as the tonic minor (b.142)

and a V-i in the relative minor in bb.17-18, these are as a result of passing melody lines.

Melodically speaking, there are three ideas introduced to us: a, as mentioned above,

over which a falling third in the clarinet, then a falling tritone to an unresolved leading tone in

the oboe is played and b, two sets of falling steps:

Figure 1 Melodic ideas in orchestral introduction

The rising figures in a followed by the fall, coupled with the sequence gives a sense of yearning

and the falling interval of a third in the clarinet has associations with the idea of the trinity.

This call is taken by the oboe, but the tritone, the unresolved leading tone, along with the fact

that this is an unprepared dissonance gives one the sense of uncertainty. It is only in the next

few bars that we have the flute resolving this tension by falling a third stepwise from A to F#

(not shown), perhaps implying that the uncertainty can only be resolved through the trinity.

We then get the b idea, which is the top line of two chords in subdominant-tonic relationship,

repeated again in inversion to create four chords over a stepwise descending bassline. This

subdominant-tonic relationship again has religious connotations through the plagal cadence.

We see then, even though Beethoven’s melodic and harmonic materials are relatively simple,

reflecting the simple nature of this prayer, he manages to impart many messages within the

music, even before a single word is sung.

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In bar 21, the chorus finally enters, singing ‘kyrie’ to the tonic chord that opened the

piece; they are then answered by the solo tenor singing ‘kyrie’ the clarinet line in Fig.1. The

choir then sings the same material but in the subdominant and dominant, answered by the

soprano singing the oboe line and the alto singing the flute line above. This music, set to ‘kyrie’

corresponds to bb1-11, but developed with interjections from the chorus, underlining the

harmonic structure. The tonality of D major that was so important to Beethoven is further

underpinned by a tonic pedal. Although this seems like just a simple development or extension

of what we have heard before, there are subtle differences; the opening chord that was so

confident in stating the tonic D chord and sounded like a downbeat, is shown to be really an

upbeat here when the choir enters at bar 21, following on the heels of an apologetic tonic chord

played on beat 1 by the winds and for a crotchet only. This gives a sense of a “false start” with

the choir, possibly symbolising the flawed nature humankind, hurrying to catch up with the

music. Cooper says of this section:

In no other movement of the Missa Solemnis are the four solo voices so

closely integrated with the chorus as here, where their function is simply to

lead the main body of singers in the prayer for mercy and forgiveness, not to

be the mouthpieces of revelation or the heralds of mystery. It is the soloists

whose voices enter on the decisive first beat of the bar… [the chorus] enter

on the third beat, so that there is an implied urgency as the natural emphasis…

this is still further enhanced, in the third of the choral ‘Kyries’, [sic] by the

combination of tonic and dominant harmony. (Cooper 1985, 224-225)

Though Cooper believes that the soloists are leading the chorus, I believe their role is soothing

or comforting as they answer, rather than lead the cries of the chorus. The tonic/dominant

harmony he mentions is a result of the tonic pedal, coupled with the third extended phrase in a

shown in Fig.1.

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The next section is bridged through the solo alto who continues to sing the flute line,

running into b to ‘eleison’. This idea is taken up by the chorus, and although starting in

homophony, the tenor starts to introduce the idea of polyphony by echoing the b idea, singing

a forth (inverted fifth) below the sopranos; the phrase finishes in homophony however. This

type of imitation is reminiscent of fugal subject and answer and is a sign that Beethoven, the

radical transition composer, is acutely aware of past practices. We then a final cry – the

sopranos leaping a seventh, followed by a falling fourth, and a rising and falling third (again

invokeing the trinity) to finish this section in G major.

Figure 2 Soprano line bb.39-45

So far, the harmony is quite simple, the majority of the time rocking between

subdominant-tonic relationships (not necessarily in the tonic key). We start now to see more

complex harmonies as we move further away from the tonic. We see a staggered entry idea in

bb.46-48, 59-61 and 73-75, cascading down in the first instance, but rising from basses to

sopranos in the others; 59-61 in particular, sung to the word ‘eleison’, sounds like an anguished

plea for mercy. We travel through A major, the dominant, before settling into F# major, the

harmony rocking between C#7 and F# in bb.69-77. Fiske remarks: ‘Beethoven liked to

intrigue… by denying us certainty as to what he was up to.’ (Fiske 1979, 34) and here, after

the certainty of F# tonality, Beethoven suddenly introduces the E minor chord, and the final

‘eleison’ is sung to an F#-Em-F# progression giving doubt as to whether mercy will be given.

It is only at the last two bars of this section that Beethoven cadences in B minor, that we realise

that the F# tonality was really the dominant preparation for the next section.

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In direct contrast to Beethoven’s triumphant chords establishing the tonality of the work,

Rossini’s Kyrie starts with mysteriously with two As, spanning four octaves and played pppp

(Fig.3). One could not be more ambiguous; we cannot grasp any sense of tempo, key or even

tonality from such an opening. The second bar immediately gives us the key though, cadencing

into A minor by bar 3. We do not stay for long though as Rossini uses a rising sequence to

bring cadence in C major in bar 4 and what we would expect to be E major in bar 5; Rossini,

more so than Beethoven, lulls us into a false sense of security only to deny it through the simple

addition of the seventh, forces a change into a new chromatic descending bassline idea, leading

down to F major in second inversion (VI46 in A minor) and cadencing in A minor in bar 9. This

brief foray to C and E is an example of the increased tendency to modulate to keys a third apart,

rather than the more closely related keys used traditionally in the Classical period.

Figure 3 Opening bars in Piano 1 part of Rossini's Petite Messe Solonnelle

The opening music is repeated exactly but with the addition of the choir via staggered

entries: the tenors are followed by the basses a beat later and then the altos a bar after and

sopranos another bar after. The men start with an overlapped unison note and the choir grows

through contrary motion. This, coupled with the staggered entries, and the rising sequence

over which ‘kyrie’ is repeated gives the thickness to the texture and sense of a plea to the Lord

from the meek but growing more desperate with each cry. The ‘eleison’ is sung with

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homophonic texture, perhaps a representation of a united cry for mercy, with the basses

breaking ranks only once in bar 14 to sneak in a personal cry of eleison. The music then

modulates to the relative major, C, and changes from the syncopated and driving pattern we

see in Fig.3 to a more gentle one (Fig.4).

Figure 4 Second section of Rossini's Kyrie

Here we see a contrasting theme. The melody is smooth and gentle and is based on the tonic

C triad, but Rossini surprises with a, almost pastiche, sudden loudness on the diminished chord

in bar 19, perhaps is a vestige of his experience in opera. Certainly the music of this section

would not go amiss as an opera aria. We then have a cycle of fifths starting in bar 20, with the

sopranos supplying syncopated suspensions, leading use to a perfect cadence, not in C major,

but C minor, whereupon this section is repeated in the minor before entering the codetta.

In the codetta, we have a two-bar phrase that is reminiscent of Beethoven’s use of

intervals of a third. This is immediately repeated but subtly changed (bar 28 4) and

reharmonised with the E major chord, again using the tertian relation with C major/minor. The

ambiguity of key continues as we have an Fm-C ‘plagal’ cadence, and almost as if realising his

mistake, Rossini immediately follows with a traditional plagal cadence in C major. The ‘Kyrie

eleison’ section ends with two bars of the chorus singing the C major triad to ‘eleison’ and the

accompaniment mirroring the start with three Cs in octaves.

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Figure 5 Codetta in Rossini's Kyrie

Christe eleison:

Beethoven leads into the Christe eleison seamlessly from the Kyrie eleison. The tempo

increases, the time signature changes from cut time to 32, (both reminiscent of stile antico) only

the soloists are singing and we are in the key of B minor. There are two main melodic ideas

here – the ‘Christe’ falling third (evoking the trinity again), and the highly melismatic line used

for ‘eleison’ (Fig.6), which bears some resemblance to line in bar39 (Fig.2) – a leap followed

by downward steps. Fiske observes that ‘The two themes occur in double counterpoint; that is,

they make sense whichever one forms the bass.’ (Fiske 1979, 34)

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Figure 6 Themes in Beethoven's Christe eleison (reproduced from Fiske 1979, 34)

By having two such compatible ideas, Beethoven is able to develop this entire section through

‘the accumulation of short musical segments’ (Drabkin 1991, 33). Cooper also speculates that

the ‘[pairing] off in the euphonious “companionate” thirds [between altos and basses in bb.90-

91 for example, see Fig.6]… seem to have been associated in Beethoven’s mind with the idea

of Christ as man’s friend and helper.’ (Cooper 1985, 226)

Harmonically, we do not stay in B minor for long, modulating to G major via D major

(the subdominant of the original tonic, D, but also the key a third below B) by bar 99, but, due

to the flowing nature of the melodies, this is not confirmed in our ears until the chorus enters

at bar 104. The chorus and soloists both develop the two melodic ideas associated with this

section. In this way, this section is much more aligned with the Renaissance or Baroque style

of counter point writing. Eventually, the chorus is reduced to just interjecting with the falling

thirds of ‘Christe’, a call from the people as the soloists and then the orchestra abandon them

as they sing the last eleison in thirds.

The Rossini Kyrie eleison section ended in C major before finishing with three repeated

C notes in octaves. Unlike Beethoven, Rossini does not link the two sections together, but like

Beethoven, he also employs a form of stile antico. The metre changes to 42, using the minim as

the foundation of the beat, and the tempo increases slightly as well, but the music feels slow

due to the longer note values used. To further differentiate from the Kyrie eleison section prior,

and even more in keeping with the stile antico, this section is also sung a cappella. Rossini’s

Christe eleison is also a double canon, with the men starting and the women starting two bars

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after their respective entries (Fig.7). Although the previous section ended in C major, this new

section is in arguably C minor – arguably because there is a sense of modality to it. With the

a cappella setting, there is no help to anchor the tonality and the first G in the bass could be the

third of Eb major. It might even be dorian mode, an approximation of F minor, indeed the

middle section of this section analyses better under the assumption of F minor than C minor.

Figure 7 Opening of Rossini's Christe eleison

The harmonic rhythm is slow and the harmonies simple in order to facilitate the double canon.

This simple double canon is maintained in this fashion throughout and the phrases, with the

exception of the beginning phrases shown in Fig.7, all start with downward steps. The last

eleison is sung to a perfect cadence in homophony, and again Rossini makes a clear separation

from the next section by employing a grand pause.

Kyrie eleison (2):

Beethoven interrupts the last chorus ‘eleison’ of the previous section with the

introduction used in the beginning of the work, and the music used is exactly the same, until

the chorus enters nine bars early, therefore singing a G major chord as the progression has not

had time to move back to D major. This section corresponds to bb.21-33, but transposed to G.

The ‘eleison’ b idea (Fig.1) is still sung by the alto solo, but is now overlapped with the other

soloists singing ‘Kyrie’. When the chorus sings, Beethoven compresses their material,

‘[achieving] a climax by having it in rough stretto, that is, with the phrases overlapping’ (Fiske

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1979, 35). This section closes in what would have been a perfect cadence in G, but Beethoven

alters the chord to the subdominant in first inversion in the second half of bar 164, forcing the

music to continue, in which Beethoven further develops the ‘kyrie’ dotted rhythm theme and

the ‘eleison’ theme in overlapping fashion. This highly polyphonic section ultimately ends

homophonically, cadencing in D major, whereupon Beethoven develops the material that

begins with the staggered entries by embellishing the melodies though the length of this section

is significantly cut. We then enter the coda, which is a series of call and responses between the

women and men of the chorus, singing Ds in octaves, before finally they sing the last ‘eleison,

Kyrie eleison’ together, ending the piece with thirds only.

Rossini’s reprise of the Kyrie eleison, on the other hand, is very straight forward.

Where in the previous rendition, the music moved from A minor to C major with a brief

flirtation with C minor, this time, we start in C minor and move towards A minor via A major.

The music is transposed almost exactly, only changing to accommodate the modulations to

different key relationships before entering the final coda. The coda introduces a new three-bar

(trinity again!) phrase, sung to ‘eleison’. Nonetheless, this phrase starts with what seems like

a mockery of the trinity: a step up of a second followed by two semitone steps down, but in the

next bar, we have a rising forth followed by a step down to the third, and still another bar later,

we have a stepwise run of a third. This first phrase ends in A minor and is repeated, but with

the addition of C# at the last chord to convert it to A major, at which point the codetta material

is repeated in A major and the piece ends with three A major chords, dispelling the ambiguity

demonstrated earlier.

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Conclusions:

There are a number of similarities and differences between Beethoven’s and Rossini’s

treatment of the Kyrie liturgy. Overall, Beethoven preferred to have the Kyrie, Christe and

Kyrie sections run into each other to form a complete movement, while Rossini clearly

separated the three sections into discrete units. Both use the idea of stile antico to differentiate

their Christe section from the Kyrie, but Rossini probably more so through the use of a simple

double canon and a cappella singing.

Beethoven employs a strategy of developing simple thematic material, in fact, he

isolates each word (kyrie, eleison, christe and eleison) and associates them with their own motif

to build the movement and give it cohesion. Rossini on the other hand, tends to set the liturgy

to long flowing melodies. Melodically speaking, both Beethoven and Rossini pay homage to

the time-honoured tradition of using the interval of a third in their melodies to associate with

the idea of trinity, even if Rossini seems to have fun with this idea at the coda, bastardising the

third into a second. The pleading nature of the Kyrie is evident in both works, but in the

Beethoven, the soloists comforts the chorus, whereas in the Rossini, it is the chorus that

comforts itself.

In terms of harmony, Beethoven uses the plagal relationship more than Rossini, rocking

between subdominant and tonic chords for entire phrases. Beethoven employs a degree of

ambiguity in the tonality, but nowhere to the extent Rossini that exploits our expectations,

darting between keys, tonalities and even modes all within the space of a few bars. Again both

make use of tertian relationships when modulating, but whereas Beethoven only uses B minor,

ignoring brief modulations, Rossini’s entire structure is based on the A major/minor to C

major/minor relation; moreover, he also uses this tertian idea to set up his first sequence, going

from A to C to E.

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We see then, that traditional ideas about the mass and the trinity still holds sway over

both composers. Arguably, Beethoven is influenced by the Classical and Baroque and sought

to emulate them for the betterment of man, whereas Rossini’s little mass embodies the spirit of

self that becomes more apparent later in the Romantic period; and as he introduces a minor

fourth chord for a plagal cadence or an interval of a second instead of a third, he is perhaps

questioning whether the church is or should be the sole regulator of religion.

Word count: 4409

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Bibliography

Beethoven, Ludwig van, and Norbert Gertsch. 2000. Missa Solemnis: Für Soli, Chor Und

Orchester, Op. 123. Wiesbaden: Breitkopf & Härtel.

Cooper, Martin. 1985. Beethoven, the Last Decade, 1817-1827. Oxford: Oxford University

Press.

Drabkin, William. 1991. Beethoven, Missa Solemnis. Cambridge: Cambridge: Cambridge

University Press.

Fiske, Roger. 1979. Beethoven’s Missa Solemnis. London: Paul Elek Limited.

Fleming, Nancy Pope. 1986. “Rossini’s ‘Petite Messe Solennelle.’” DMA Thesis, University

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Gallo, Denise P. 2002. Gioachino Rossini: A Guide to Research. New York: Routledge.

JONES, RHYS. 2014. “Beethoven and the Sound of Revolution in Vienna, 1792–1814.” The

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Kendall, Alan. 1992. Gioacchino Rossini. London: Victor Gollancz.

Matthews, Denis. 1985. Beethoven. Oxford: Dent.

Osborne, Richard. 2001. Rossini. Oxford University Press.

Rosinni, Gioachino. 1999. Petite Messe Solennelle. Edited by Nancy P Fleming. Oxford:

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Steen, Michael. 2004. The Lives and Times of the Great Composers. Oxford: Oxford

University Press.

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Walsh, Linda, and Antony Lentin. 2005. “Unit 1 Course Introduction: Enlightenment and the

Forces of Change.” A207 From Enlightenment to Romanticism, C.1780-1830. Milton

Keynes: The Open University.

Discography

Beethoven, Ludwig van, 1770-1827, Missa solemnis: Op. 123. Edda Moser, Hanna Schwarz,

René Kollo 1937, Kurt Moll 1938, Leonard Bernstein 1918-1990, Groot Omroepkoor,

and Concertgebouworkest. 1986. Hamburg: Deutsche Grammophon.

Rossini, Gioacchino, Petite Messe Solonnelle. Krassimira Stoyanova, Birgit Remmert, Steve

Davislim, Hanno Müller-Brachmann, Marcus Creed, RIAS Kammerchor. 2001.

Germany: Harmonia Mundi.

(Beethoven and Gertsch 2000; Gallo 2002; Rosinni 1999; JONES 2014)

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