A HISTORICAL STUDY OF CHARLES GOUNOD'S MESSE SOLENNELLE DE SAINTE-CECILE by ERICK G. ARENAS A THESIS Presented to the School of Music and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts August 2004 "A Historical Study of Charles Gounod's Messe solennelle de Sainte-Cecile," a thesis prepared by Erick G. Arenas in partial fulfillment of the requirements for the Master of Arts degree in the School of Music. This thesis has been approved and accepted by: Committee in charge: Accepted by: Dr. Anne Dhu McLucas, Chair Dr. Lori Kruckenberg Dr. Sharon Paul . . Dean of the Graduate School n Dr.��, E��amirring Committee IAytlfl-PM'? Date Erick G. Arenas in the School of Music An Abstract of the Thesis of for the degree of to be taken Title: A HISTORICAL STUDY OF CHARLES GOUNOD'S MESSE SOLENNELLE DE SAINTE-CECILE Approved: Dr. kn; ri'hu McLucas 1Il Master of Arts August2004 Church music has been given relatively little scholarly attention in the study of nineteenth-century music. While there is an array of mass settings that were composed by Romantic-era composers, current musicological research marginalizes them. Paris was one location where a tradition of composing new masses continued well into the nineteenth century. While best known for his works for the stage, Charles Gounod (1818-1893) was a leading French composer of sacred music and one of the most prolific sacred composers of his time. His most important liturgical composition is the Messe solennelle de Sainte-Cecile,which once enjoyed considerable international success. This thesis focuses on the history of this mass in biographical and historical context. I discuss the topics of music and religion in France from the Revolution to Gounod's time, the composer's long musical relationship with the church, the music of the Messe de Sainte-Cecile, and its reception. ✓ CURRICULUM VITAE NAME OF AUTHOR: Erick G. Arenas PLACE OF BIRTH: Fresno, California DATE OF BIRTH: January 2, 1979 GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon University of the Pacific DEGREES AWARDED: Master of Arts in Music History, 2004, University of Oregon Bachelor of Music in Music History, 2002, University of the Pacific PROFESSIONAL EXPERIENCE: Graduate Teaching Fellow, University of Oregon School of Music, 2003-2004 AWARDS Outstanding Graduate Scholar in Music History, University of Oregon School of Music, 2004 IV V ACKNOWLEDGMENTS I was fortunate to have had the aid and encouragement of numerous people during the preparation of this document. I would like to express sincere thanks to Professors Lori Kruckenberg and Sharon Paul for their valuable time and input. Thanks are also due to Dr. Marian Smith for her guidance during the development of the topic of this thesis. To my advisor, Dr. Anne Dhu Mclucas, I wish to extend my deepest appreciation. Her guidance and expertise were invaluable during the many months of research and writing. In addition, I must thank Steve McCormick for his assistance with some of the more difficult translations involved in this project and Simon Berry of St. Dominic's Church in San Francisco. Finally, I wish to also express my gratitude to my family and to Crystal M. Botham for their constant encouragement and support. Vl TABLE OF CONTENTS Chapter Page INTRODUCTION ................................................................................................. 1 I. HISTORIOGRAPHICAL ISSUES ANDREVIEW OF LITERATURE ........................................................................... 6 Mass History and Historiography ........................................................ 6 Review of Literature .............................................................................. 12 II. RELIGION AND MUSIC IN NINETEENTH-CENTURYFRANCE ........................................................................................................ 18 Sacred Music at the End of the Monarchy .......................................... 18 The Revolution ....................................................................................... 20 Aftermath of the Revolution and Empire of Napoleon Bonaparte ............................................................. 24 The Bourbon Restoration ...................................................................... 30 Sacred Music Education and Scholarship During the First Half of the Nineteenth Century ...................................... 31 Mass Settings in Nineteenth-Century France .................................... 37 III. THE LIFE AND SACRED MUSIC CAREEROF CHARLES GOUNOD ........................................................................... 39 Early Years and Education .................................................................... 39 Prix de Rome Sojourn: Rome, 1840-1842 ............................................. .48 The Sojourn Continues: A Year in Austria and Germany ................................................................ 59 Position at L'Eglise des Missions etrangeres ...................................... 64 First Stage Works and London Debut ................................................ 70 Marriage and Significant Career Appointments ............................... 76 1855-1856: A Short Break from the Stage, a Holiday and the Messe de Sainte-Cecile ................................. 80 Gounod in the Second Half of the Nineteenth Century ............................................................................... 82 Vll Chapter Page IV. THE MUSIC OF THE MESSE SOLENNELLEDE SAINTE-CECILE .................................................................................... 88 Introduction ............................................................................................ 88 A Note Regarding Musical Editions .................................................... 89 Orchestration .......................................................................................... 90 Kyrie ......................................................................................................... 97Gloria ...................................................................................................... 102 Credo ..................................................................................................... 110 Offertoire ............................................................................................... 124 Sanctus ................................................................................................... 127 Benedictus .............................................................................................. 136 Agnus Dei .............................................................................................. 138 Domine salvum .................................................................................... 145 Concluding Comments ....................................................................... 151 V. THE PREMIERE OF THE MESSE DE SAINTE-CECILE, ITSBACKGROUND AND ITS RECEPTION ................................................. 153 Sacred Music and the Association des artistes musiciens ................... 153 Feast of Saint Cecilia, 1855 .................................................................. 156 Reception ............................................................................................... 161 VI. CONCLUSION .......................................................................................... 168 Beyond 1855 .......................................................................................... 168 Concert Hall and Church .................................................................... 172 Suggestions for Further Research .................................................. .r ,;173 Conclusion ............................................................................................. 75 BIBLIOGRAPHY ............................................................................................... 177 LIST OF ILLUSTRATIONS Illustration 1. Gounod, Caricature by Coll-Toe V11l Page (Bibliotheque nationale de France) ...................................................... 86 2. The Octo-Basse(Adam Carse, The Orchestra from Beethoven to Berlioz (Cambridge: W. Heffer & Sons Ltd., 1948) ) ....................................... 94 3. Opening of the Kyrie ................................................................................... 98 4. Kyrie, mm. 33-39 ........................................................................................ 100 5. Opening of the Gloria ................................................................................ 103 6. Gloria, mm. 9-17 ......................................................................................... 105 7 Gloria, mm. 153-159 .................................................................................... 109 8. Opening of the Credo ................................................................................ 111 9. Credo, mm. 14-20 ....................................................................................... 113 10. Credo, mm. 101-108 ................................................................................. 116 11. Credo, mm. 159-167 ................................................................................. 119 12. Credo, mm. 253-260 ................................................................................. 122 13. Credo, mm. 261-263 ................................................................................. 123 14. Opening of the Offertoire ....................................................................... 126 15. Opening of the Sanctus ............................................................................ 129 16. Sanctus, mm. 74-80 ................................................................................... 133 17. Sanctus, mm. 81-87 ................................................................................... 134 IX Illustration Page 18. Opening of the Benedictus ...................................................................... 137 19. Agnus Dei, mm. 5-9 ................................................................................. 141 20. Agnus Dei, mm. 15-19 ............................................................................. 143 21. Domine salvum, mm. 5-16 ...................................................................... 148 22. Domine salvum, mm. 17-20 .................................................................... 149 23. Domine salvum, mm. 30-38 .................................................................... 150 24. A Saint Cecilia Mass at Saint-EustacheConducted by Charles Lamoureux (Bibliotheque nationale de France) .................................................... 160 1 INTRODUCTION The topic of church music is one that has been granted relatively little attention in the study of nineteenth-century music. Despite the fact that there is a significant array of sacred music by Romantic-era composers, scholarship has tended to marginalize such pieces in this period. The aim of this thesis is to contribute to a better understanding of this area by presenting a historical study of one prominent example of nineteenth-century church music, Charles Gounod's 1855 Messe solennelle de Sainte-Cecile. The Catholic Mass occupies a fascinating place in the history of Western music, for it has fostered a genre with which composers of every period have worked. The composed mass remained a major genre through the High­Classical period, in which W. A. Mozart and F. J. Haydn provided some of the most well-known examples. However, after the end of the eighteenth-century the prominence of the genre diminished. In the nineteenth century composers were no longer primarily tied to the courts of nobility or ecclesiastics and European culture gradually shifted to embrace the role of the independent musical artist. The composition of music on sacred texts was no longer routine as it was in the times of Palestrina, Bach or Haydn--a fact that makes the liturgical music of the period especially fascinating. The substantial liturgical compositions of the nineteenth century tended to be products of particular places and moments for which new large and artistic church music was deemed necessary or desirable; or they were products of a composer's own religiosity. In any case, the nineteenth century saw many composers produce large religious pieces, even pieces on liturgical texts, with less intention for the church than for the concert hall. 2 Paris was one important location where the production of new liturgical music continued in the nineteenth century. The output of many distinguished French Composers include various masses and other Latin church music, indicating that the nation's Roman Catholic heritage remained a strong influence in the musical scene. There were many such works composed by musicians better known and remembered for concert and/ or operatic music, as well as works by a few church music specialists. All, however, have tended to be overshadowed by the majority of secular works. Charles Gounod (1818-1893) is a composer best known for works for operatic works, especially Faust (composed 1856-1859). Throughout his life, however, he devoted considerable energy to religious music. The best known of his religious pieces have been the Messe solennelle de Sainte-Cecile, and the oratorio Mars et vita (1885). It is not often recognized, however, that Gounod was one of the most prolific mass composers of the Romantic Era. He is responsible for twenty-one masses, the first was composed when he was twenty-one years old and the last, a Requiem, was his final work.1 The Messe solennelle de Sainte-Cecile was Gounod's eighth mass. It is a product of the period in which his reputation as a leading composer was solidified. Composed in the same year as his first symphony (1855) and the year before he began work on Faust, this Mass is a setting of the complete ordinary, for large orchestra, choir and organ.2 It is one of only a handful of Gounod's masses .to be composed on a large scale and utilizing a full orchestra. The occasion for its composition was the 1855 celebration of the feast of Saint Cecilia, 1 Steven Huebner, "Charles Gounod," in The New Grove Dictionary of Music and Musicians (New York: Grove's Dictionaries, 2001), 10: 231. The Messe funebre of 1883 was arranged from Gounod's music by J. Dormois. 2 The mass also includes a setting of the Domine salvum, a prayer for the well-being of the monarch, which had once been particular to French liturgical music (see page 146). patron of musicians, which was organized by the Paris Association des artistesmusiciens. In its time it was favored with warm reception and has been perhaps the best known mass composed in France during the nineteenth century. The chapters that follow present information on this mass, its composer, and their historical background in an effort to highlight the complexities involved in understanding nineteenth-century French church music and the significance of Gounod in this area. Chapter one will offer a summary of historiographical issues that are relevant to the study of nineteenth-century church music and a review of literature on this topic. In this chapter I discuss the significance of the mass in western music history, its changing role in music over the centuries, and our general modem-day perceptions of it. I point out some gaps in our understanding of the musical history of the mass and the dearth of scholarly materials on the topic. 3 The second chapter explores religion and music in nineteenth-century / France in order to establish a cultural background for Charles Gounod's career as a church musician. I attempt to summarize the often unstable relationship between the French nation and Roman Catholicism that resulted from events during the French Revolution. I focus on the challenges and developments in the continuation of music for the church after the revolutionary years had brought sacred music in France to a halt. While the challenges mainly concerned reestablishing a sacred music tradition, developments included new styles and practices in church composition, and also movements to restore historic church music. Chapter 3 focuses on the life and early career of Charles Gounod. The -{composer had strong ties to the Catholic Church throughout his life but it was in the earlier years of his musical career that he was most associated with the 4 church. I discuss his earliest experiences in sacred music, his interest in the clergy as a young man and his first post as a maitre de chapelle. As a student and young composer Gounod was influenced by a number of experiences involving his religion. At the age of twenty-one he composed his first mass and directed it at the magnificent church of Saint-Eustache in Paris. While on his Prix de Romesojourn he was awed by the art and music of the Sistine Chapel. He composed three masses during the course his Prix de Rome travels (1840-1843) and assumed a church post upon his return to Paris. Before 1848 he twice considered pursuing a career in the clergy. This chapter describes important aspects of the composer of Faust that are not often remembered today. The fourth chapter concentrates on the music of the Messe de Sainte-Cecile. /I provide a discussion of the large instrumentation of the work and how aspects of it reflect nineteenth-century French taste and practice. A detailed overview addresses the music of each part of the mass. Finally I discuss the overall style and effect of Gounod's writing. The occasion of the premiere of the Messe solennelle de Sainte-Cecile is described in chapter five. I discuss the background of the Saint Cecilia celebration, the role of the Association des artists musiciens and details of the solemn mass of that day. The reception of this first performance of Gounod's mass is described using contemporary reviews and reminiscences. I also delve into the reputation of the mass in later years. Chapter six presents some final issues and brings this study to a conclusion. I offer a brief summary of history and reputation of the Messe deSainte-Cecile after its 1855 premiere, and cite reasons for the decline of its popularity. Some significant criticisms of the piece that have appeared over the years are also considered. I address the fact that, unlike some other nineteenth- 5 century sacred works, the success of the mass did not transfer to the concert hall. A number of suggestions for potential research related to this study are discussed, as well as issues to take into account when evaluating nineteenth­ century church music. 7 CHAPTER I HISTORIOGRAPHICAL ISSUES AND REVIEW OF LITERATURE Mass History and Historiography 6 Although there has been a continuous liturgical music tradition through the centuries of Western music history, secondary literature has left gaps in our understanding of it. The tradition of mass composition as it existed in the nineteenth century has been particularly difficult to evaluate. To highlight this issue, I would like to begin this study with a brief overview of the Roman Catholic Mass in European music history, highlighting some important areas that would benefit from deeper investigation. The Mass occupies a unique place in music history; its text has been a fixture since the early centuries of European music up through our own time. The Roman Catholic Liturgy was most intimately tied to some of the earliest music we study in traditional musicology, as it fostered a significant amount of the plainchant repertory and then vocal polyphony. Throughout the course of Western music history however, musical artistry gradually expanded beyond the boundaries of serving mainly the ecclesiastical institutions. Still, the liturgy, especially the mass, was a continuing motivation for musical composition. In the Renaissance no form approached the importance of the polyphonic mass setting. But the mass lost its supremacy as an art form with the expansion of the musical arts into secular and instrumental genres in the seventeenth century. By the Baroque period secular forms had achieved their own 7 preeminence, and composers, depending on the artistic outlets available to them, could pursue a number of lucrative opportunities in secular music composition. In our modern evaluation, the renowned composers of this age owed their reputation to both sacred and secular music, unlike most of the great composers of earlier centuries, who depended primarily on the church. It is clear that, in the age of Monteverdi and Bach, ecclesiastical demands were still a dominant force in the musical arts. The status of the mass tradition in Europe by the high Baroque period is difficult to evaluate. Two of the most revered composers of the age, J. S. Bach and Handel, are tied to Protestantism. And it was the Lutheran Bach who composed the most famous mass of his time, his great Mass in B minor. The prominent contemporary Italian composers tend to be revered mainly for their operatic and instrumental accomplishments; their sacred works are largely overshadowed by them. A number of sacred works by such composers that have remained popular are works based on texts outside of the mass liturgy, such as the more dramatic Stabat Mater hymn. Pergolesi and Vivaldi's Stabat Mater settings are important examples .. French taste in sacred music leaned strongly towards the para-liturgical grands motets favored by Louis XIV and the oratorio. Marc-Antoine Charpentier (1643-1704) stands out as the principal perpetuator of the high-mass composition tradition in France, yet his accomplishments are overshadowed by both the prevailing sacred music and the popular secular forms that satisfied the tastes of the highest classes. Other Baroque composers who specialized in Catholic Church music, Jan Dismas Zelenka (1679-1745) for example, have been historically overshadowed by composers who acheived greater fame in secular genres. In Austria the concerted mass tradition that was initially influenced by Italian styles was developed during the High Baroque; the tradition would reach its zenith in the masses of Franz Joseph Haydn and Wolfgang Amadeus Mozart. 8 It is not my intention to express a disparaging view of any of the genres and composers that are prominent in the traditional outline of the Baroque period (or any other period I discuss here); however I must point out that it is in the study of late-Baroque music that sacred music appears to become a victim of the musicological canon. The study of late-Baroque music traditionally focuses on the works of Johann Sebastian Bach and George Frederick Handel. It was their work that was revived and made known to nineteenth-century German audiences. Sacred and secular works by these two figures were elevated to landmark status not long before the advent of serious historical research in music. When considering the important works by contemporaries of Bach and Handel, music scholarship has generally focused on the secular, especially operas and instrumental pieces. The result of this inclination has been an overwhelming bias towards the secular and, where church music is considered, a taste for the Protestant. In this process we tend to lose track of the continuing tradition of setting the Catholic mass, which was still maintained in Catholic cities and courts. As mentioned above, the concerted mass has generally been more prominent in the study of the Classical period, but the best known works from this period are products of the canonic composers such as F. J. Haydn and W. A. Mozart. Though they did have some dependence on the church during their career, the lasting fame of these composers could otherwise rest almost entirely on their secular compositions. Their important works show us that the mass tradition was very active in the High-Classical period. However, the relative obscurity of a recognized contemporary church music master such as Johann Michael Haydn (1737-1806) shows us how history has had the tendency of remembering best only the sacred music of composers who achieved their 9 greatest fame outside of the church. Michael Haydn and other church music specialists of the eighteenth and nineteenth centuries have remained on the periphery in surveys of Classical-era music. Such tendencies have caused an insufficient understanding of the continuing sacred music tradition by the time of Mozart and Haydn. We are least clear in our understanding of the mass in the nineteenth century. During the eighteenth century the large-scale concerted mass had become popular in locations where composers were supported by patronage and where the important institutions regularly held grand liturgical ceremonies, as in Vienna and Salzburg, for example. With the changing European political and cultural climate at the end of the eighteenth century came a decrease in patronage by the noble establishments and high churches, resulting in less demand for large-scale mass celebrations and musical settings of the mass. Even in the regions that were historically and strongly Roman Catholic, the involvement of major musical figures in the production of church music decreased significantly. Thus, the nineteenth century would be the first in European history in which most of the major composers did not, for some part of their career, regularly concern themselves with church music. This lack of attention to church music is evident when we consider the German, Austrian and Italian (opera) composers of the nineteenth century. With the exception of Franz Schubert and later Anton Bruckner, this group of composers did not produce much new, practical church music. The best-known sacred music from the Romantic era tends to be by canonic composers. Examples include Beethoven's Missa Solemnis (one of only two masses by Beethoven), and the singular examples of Requiem settings by Berlioz and Verdi. With their lengths, grandeur and dramatic effects, such examples were hardly suited for actual liturgical use and have usually been heard as concert pieces. They are not 10 particularly useful in understanding the more liturgically functional church music of the time. There are other important works that represent a more practical type of mass composition, a type that is artistic and expressive yet more suitable for church use. One of the few popular examples of such a composition comes from the last years of the Romantic era, the Requiem by the Parisian Gabriel Faure. France is perhaps the most important location where the practice of composing masses for liturgies on important occasions continued during the nineteenth century. The importance of such works in the romantic vein begins with the grandiose works by Berlioz but the tradition is perpetuated in the more practical efforts of later composers who had stronger ties to the church. Composers such as Franck, Saint-Saens and especially Gounod were regularly involved in liturgical music. Many other distinguished composers in nineteenth­century France contributed to the liturgical music repertory, including Adolphe Adam, Leo Delibes and Ambroise Thomas. Yet, the sacred compositions of even these nineteenth century composers have been eclipsed by their successes in the concert hall and on the stage. They are also not composers readily recognized as part of the musicological canon, so not only have their biographies received less scholarly attention (compared to those of the canonic composers) but works, such as their compositions for the church, that did not achieve continuous popularity have received little investigation. A debate on whether such works belong or do not belong to the musicological canon is not relevant here, as it would be of little value to understanding the past. What must be emphasized is that France was a musical center in which the tradition of composing the mass remained important in the nineteenth century. Furthermore, this tradition extended past even the nineteenth century to distinguished twentieth-century composers such as Maurice Durufle (1902-1986). 11 In the study of the liturgical music tradition in France during the """""'--lnineteenth century, one composer, Charles Gounod, stands out as one of the J;/most prolific mass composers and one of the most important proponents of new religious music. Though he was famed as a church musician, Gounod earnedmuch of his fame from works for the concert hall or the stage, such as the opera Faust. Despite Camille Saint-Saen's proclamation that Gounod would beremembered best for his church works, Gounod's legacy rests largely on hisopera Faust.3 Unfortunately, music scholarship has done little to broaden thepublic's view of Gounod in recent years. There are very few modernbiographical works on the composer, and most publications relating to thecomposer deal with his operatic output. There exists at this time no completeworks edition or thematic catalog for the composer. It would seem thatmusicologists have considered this particular composer a low priority amongthe noted figures in nineteenth-century music.During the course of this summary I have discussed some of thechallenges in understanding liturgical music and pointed out particular issues instudying such music by composers and in areas apart from the musicologicalcanon. To these challenges must be added one more important concern in thestudy of liturgical music from our modern perspective. That is, since large scalemasses in general, but especially in the United States, are frequently heard asconcert pieces, it is difficult for listeners to appreciate them in their intendedcontext. On their own they are incomplete, for such pieces were not generallyconceived as mere multi-movement choral works but as elements of a highliturgical celebration. Some masses by Haydn and Mozart, for example, are well­known and widely enjoyed but rarely experienced in the architecturalenvironment of a church with the chanted prayers, readings, processions and 3 Camille Saint-Saens, Portraits et souvenirs (Paris: Calmann-Levy, n.d.), 117. 12 other actions that the works were intended to accompany. Such large choral and orchestral settings of the eighteenth and nineteenth centuries are intimately tied to a particular place and ceremony. ny evaluation of such a sacred musical composition is flawed without recognizing its function and liturgical circumstances in conjunction with its musical/ artistic qualities/ Review of Literature Understanding the background and music of a solemn mass setting such as Gounod's Messe de Sainte-Cecile requires investigation into a group of distinct topics, primarily: Catholic Church music history, history of French music, French cultural history, the composer and the composition itself and its reception. Since there are no major publications dealing exclusively with nineteenth-century church music, religious music in France, or the sacred music of Charles Gounod; I have had to draw information from a wide array of sources. Writings on Church Music History There are not many authoritative books that focus on church music throughout every age of Western music, and there are very few that devote considerable attention to sacred music in the nineteenth century. Franz Krieg's Katholische Kirchenmusik: Geist and Praxis of 1954, for example, is a substantial volume covering church music from the Middle Ages to the twentieth century. Unfortunately after the Baroque period, the book narrows its focus to Germany and Austria, providing no substantial information on activities in France.4 Karl Gustav Fellerer' s Geschichte der katholische Kirchenmusik, however, is closer to being comprehensive. The English translation by Francis A. Brunner, C. Ss. R. 4 Franz Krieg, Katholische Kirclienmusik: Geist und Praxis (Teufen: Verlag Arthur Niggli und Willy Verkauf, 1954). 13 (1961) was issued with the imprimatur of the Archbishop of Baltimore.5 Church music in France during the nineteenth century is discussed, if only briefly, as part of the greater Romantic movement in European church music. A substantial work on the history of Christian music is Elwyn A. Wienandt' s Choral Music of the Church, published in 1965. The nineteenth century is discussed at great length, addressing numerous important composers and works; however, Gounod is discussed only briefly. Wienandt discusses only one mass by Gounod, his Messe breve et salut, op. 1 (1846), leveling strong criticism against it: If criticism may be levelled [sic.] at the large concert works, the smaller compositions intended for church use are not exempt from harsh judgment. For public performance the composers were able to let their imaginations run wild; in church they were confined by the limitation of singers who were too few and too ill-prepared to undertake anything extraordinary. Added to these restrictions was the necessity for eschewing counterpoint. Gounod fell victim to these compound ills a number of times but never more than in his early Messe Breve et Salut [sic.] ... Much of the composition as a plodding , note-��nst-note movement that is unrelieved by either melodic interest -<»1t1◄. !!. • \\�.,. •. ' ., --- 104 The manner in which Gounod introduces the momentous line, "Glory to God in the Highest," would foil the expectations of any listener accustomed to the large, festive Gloria openings in masses such as the Haydn Nelson Mass, or Beethoven's Missa solemnis, for example. Instead of a grandiose proclamation, Gounod sets the words, Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis first as an ethereal soprano solo (Illustration 6). Even more remarkable is that he chooses to attempt a mystical-sounding accompaniment for this solo; in addition to the harps and tremolo strings, the voices of the choir are instructed to render their notes a bouche fermee--that is, humming the harmony. At measure 27 the solo statement of the line concludes and the text is sung in an almost chant­like melody by the dessus voices of the choir while the tenors and basses continue to hum the harmony. 105 r1fi·-'l·• \Illustration 6. Gloria, mm. 9-17. 106 The next section, beginning in measure 37, presents the next line of the text, beginning Laudamus te. Benedicimus te, etc. (We praise thee. We bless thee, etc.) with the grandiose treabnent. Here the music remains in D major but the tempo is specified as Allegro Pomposo and the full choir is joined by the strings and most of the wind sections in a loud homophonic rendering of the text. When we consider the opening of the Gloria, with its soprano solo and mystical quality of the accompaniment along with the ebullient section that follows, the possible rational for Gounod's technique is clear: The line Gloria in excelsis Dea, etc., is stated in a passive voice while the following lines, Laudamus te. Benedicimus te. etc., are clearly stated in the first person plural (we praise you, we bless you, etc.). It is a reasonable presumption that Gounod sought to portray the proclamation, "Glory to God in the highest and on earth peace to men of goodwill," as emerging from the heavenly realm, while the following statements of praise, blessing, adoration and glorification to God come from the faithful on earth, depicted musically as a large, united choral ensemble. At measure 54 the trio of soloists introduce the line beginning Gratias agimus (We give thee thanks). The full choir repeats this text at measure 62, emphasizing this statement of thanks. Meanwhile the orchestral accompaniment gradually becomes more involved. At measure 70 the orchestra becomes more important as the elaborator of the forceful statements of Domine and Deus. These statements alternate between the soloists and the choir. As the music proceeds through the words Rex coelestis, it drives towards a climax at the words Deus Pater omnipotens (God the Father almighty). With the last iteration of omnipotens, the orchestra begins a bold seven-measure conclusion to this section. After a brief, dramatic pause the music takes a pastoral tum. Here begins the most intimate segment of the Gloria, sung by only the soloists, with 107 accompaniment. At measure 96 the oboe begins an extended solo, and is joined by the bass solist, who becomes the focal point, at measure 100. The strings add a light, arpeggiated accompaniment. The choice of a pastoral sound for this section is unsurprising considering the text at this point in the Gloria deals with the Lamb of God: Domine fili unigenite Jesu Christe. Domine Deus, Agnus Dei, Filius Patris (Lord Jesus Christ, only son of God. Lord God, Lamb of God, son of the Father). At measure 116 this statement is completed in the tenor solo (accompanied by strings): Qui tollis peccata mundi, miserere nobis. At the end of the tenor solo the solo bass repeats the phrase Qui tollis peccata mundi which is the beginning also of the following phrase. At measure 127 the tenor and bass join to sing the completion of that phrase together: suscipe deprecationem nostram (receive our prayer). The soprano enters at 132, and the trio sings in unison Qui sedes ad dexterum Patris, miserere nobis (Who sits at the right hand of the Father, have mercy on us). The soloists repeat miserere nobis and are joined by the full choir at measure 143. This marks the first time that the choir and the soloists join together to sing the same line. The voices make a crescendo as they repeat the plea for mercy, reaching forte at measure 147. With a quick diminuendo, the music moves towards a B minor cadence at the end of nobis. The four measures that follow are of particular importance; the soft choral utterance of the words Domine, Domine Jesu! that occurs here is one of two places in the Messe de Sainte­Cecile where Gounod actually departs from the prescribed liturgy. The line Domine Jesu does not actually occur at this point in the Gloria, thus the Gloria, technically, is liturgically flawed. Gounod felt that this statement concluded this section appropriately, however, and the alteration was evidently considered permissible when the mass was first performed. 108 The Domine Jesu addition leads to the grandiose final section of the Gloria. In measure 156 the Allegro Pomposo music returns on the words Quoniam tu solus, etc. sung by the choir without the soloists, who are silent for the remainder of the movement (Illustration 7). The choir sings the lines Quoniam tu solus sanctus. Tu solus Dominus (For you alone are holy You alone are the Lord) and then Tu solus Altissimus, Jesu Christie (You alone are the most high, Jesus Christ). Around this point in the music the soloists would enter to sing in a trio, if done as earlier. Now, however, Gounod has chosen to propel the music forward to the end of the Gloria. The choir immediately begins the Cum Sancto Spiritu (measure 174), repeating these three words in a rapid, quasi-imitative manner for about eight measures, during which a crescendo is begun. Here also, the organ is heard for the first time in the Gloria. The forte is reached at measure 182 and in the following measure, the voices join together again in homophony to sing in gloria Dei Patris (in the glory of God the Father). Instead of proceeding directly to the Amen, the Cum Sancto Spiritu scenario as just described is repeated beginning in measure 194, but moves through different harmonies. A short statement of the Dei Patris concludes this section but the music proceeds, in the next measure, to the Amen. The Amen is sung three times, the last in slow fortissimo. The final page of the score shows that nearly the entire orchestra is heard at the end. 109 . ... :�· .• Illustration 7. Gloria, mm. 153-159. Quoniam tu solus. 110 The music of the Gloria displays evidence of great thoughtfulness by the composer. Both the delicate and heavier styles heard here appear to serve particular portions of the text. However, Gounod's slight changes to the Gloria show that he could also utilize words to serve the music. Credo The Credo, because of its spiritual gravity and its length, is the text of the Ordinary that is most fertile for musical-dramatic interpretation. While the spiritual-dramatic apex of the liturgy of the mass is the consecration itself, in large scale settings of the complete ordinary the Credo is customarily the musical apex. The Credo of the Messe de Sainte-Cecile is a lengthy, multi-section piece, 279 measures altogether. Its divisions are dictated by the organization of the prayer text itself. The music is based on an ABA form in which the "I believe" segments of the text are set in the A sections framing the middle portion of the text, which deals with the miracle of the Christ's incarnation, death and resurrection. The first 16 measures form an orchestral introduction in which many of the principal musical elements of the movement are presented (Illustration 8). The triumphal character of the Credo is heard at the outset with a fanfare-like first theme, played in unison by the chromatic trumpets and trombones, doubled by the clarinets and flutes. Measure 13 introduces the second theme in the same majestic manner. The melodic material is intensified by a continuous dotted­ rhythm accompaniment in the bassoons and low strings and by the multi-stop off-beats played by the violins and violas. In this thin texture the horns and natural trumpets are used mainly to elaborate the cadences with block triads, as in measures four and eight. il,rnlh,,1-' 1-.. ilt•'lli"' •If "l li ,mh rrn,1,,.L, "'"- I I \'1•l•J1o!f, •I ( ;;, fV' •¥ ': .... �JI 1'.'"' � ... ... f,·.w,n, Illustration 8. Opening of the Credo. 111 ' . ... .. 1_ .. ' . : , .... P,ttt,· I ,1 ,, i ',t =:: lt1,,,,n, \ ..... 11 ' !& �.111,, ,,, ... ir lt.•J IT•· ff , .. r� !►1:.: .. ,, • ,I In {. •. IH . ' . . • 112 When this majestic music is repeated at measure 17, however, it is not the woodwind and brass instruments rendering the fanfare-like melody as before, but the choir singing fortissimo in unison/ octaves the first sentence of the text: Credo in unum Deum, Patrem omnipotentem, factorem coeli et terrae, visibilium omnium et visibilium (Illustration 9). The next two sentences are set to similar music, but Gounod musically distinguishes them from the first sentence in a manner that conveys their semantic subordinance to the first statement. The Et in unum Dominum Jesum Christum Filium Dei unigentium (And in one Lord Jesus Christ, only begotten son of the father) is separated from the the first sentence by a four-measure orchestral transitional passage (mm. 33-36), and is marked forte instead of fortissimo. The next sentence, Et ex Patre natum ante omnia saecula (m. 53) is distinguished in similar fashion, but is sung piano, providing musical contrast to both the preceding and following music. At measure 61 the phrase ante omnia saecula is repeated, emphasizing the statement ("before all ages") and to provide a transition to the next sentence. Gounod makes the phrase (based on the second theme) transitional by re-contouring it so that it is heard as a melodic ascent, ending on the dominant. It is emphasized by a crescendo molto. The word saecula occurs at the melodic and dynamic apex, and here the four choral voices, to this point singing in unison, diverge to emphasize pitches of the dominant chord. The orchestra punctuates the phrase, following saecula (m. 64) with three marcato repetitions of the dominant in the winds and upper strings, bringing the music to a moment of high intensity before the return of the tonic at measure 65. 113 Illustration 9. Credo, mm. 14-20. Entrance of the choir. 114 What occurs with the climactic arrival at measure 65 is a reprise of the music of the first choral entrance. Since the phrase Credo in unum Deum, Patrem omnipotentem, the choral melodies to this point have been based on what I have identified above as the second theme. Both the first and second theme are heard here, with all of the grandeur of that first choral passage, altered rhythmically to accommodate new words. The reiteration of this music is used to present dramatically the poetic sentence Deum de Deo, lumen de lumine, Deum verum de Deo vero (God from God, light from light, true God of true God). At measure 76 the sentence Genitum non factum, etc. is sung, as visibilium omnium, etc. was at measure 29, but additional music accommodates the length of the text and also drives towards a stronger cadence (than that which occurred at m. 33) at measures 83-84 (a dominant seventh cadence on the words facta sunt). Since it stresses grandiose sound yet is comprised of very simple musical elements, the music heard in the first 84 measures of the Credo might strike some listeners as perfunctory. It is important to understand, however, that Gounod does present an appropriate and effective setting of the first five lines of the Creed text. As the opening of the profession, these opening sentences are of an expository nature. A straightforward rendering is perhaps more appropriate here than at any other point in the ordinary of the mass. The text here describes the most basic and absolute Catholic beliefs. Gounod's triumphal style in this portion underscores the potency of the words, and the dominance of unison/ octaves in the choral writing evokes the idea of unity. In contrast to the expository first five lines of the Creed, the next lines, dealing with the life and death of Christ are narrative. Thus the music shifts towards a more dramatic style here. Measures 85-99 convey the text, Qui propter nos homines et propter nostram salutem descendit de coelis (Who for us ... came down from heaven). This passage introduces the dramatic middle section of the 115 Credo, which starts at measure 101. Christ's descent from heaven is conveyed by the words, it is portrayed by the music here. These measures are set in a simpler style, marked pp and then ppp at measures 85 and 93, respectively. The orchestra provides simple harmonic support and ornamentation. The quiet tone of this passage is appropriate for emphasizing humility--either that of the people for whom Christ descended from the heaven or that of his incarnation on earth, depicted in the subsequent lines. Christ's descent is depicted by a chromatic, descending bass line in the choir (mm. 89-97). Measure 101 begins the B section of the movement. Heard here are the most solemn lines of the Credo, those dealing with the earthly incarnation of Christ (Illustration 10): Et incarnatus est de Spiritu Sancto Ex Maria virgine Et homo factus est And by the power of the Holy Spirit he was born of the Virgin Mary and became man. In the score Gounod directs the performers to sing with the utmost reverence for the profound mystery of the incarnation: Ce recit du mystere de l'Incarnation doit etre chante par les choeurs aussi piano que possible, de maniere a repondre, par le profond recueillement des voix, a l'impenetrable profondeur du sujet. This account of the miracle of the incarnation must be sung by the chorus as quietly as possible, as if to answer, by the profound meditation of the voices, the impenetrable depth of the subject. . . Illustration 10. Credo, mm. 101-108. Et incarnatus. 116 117 The mysterious and reverent tone is reflected by the music. The text is sung in a slow chant-like manner. This is done with harmony moving from an F major chord at measure 101 through E and E-flat to a D major chord at measure 117, above a slow chromatic descending bass line. The orchestral accompaniment here is minimal, the strings and upper woodwind voices quietly emphasizing the ends of phrases. The soloists are heard here for the first time in the movement. Each of the three text phrases is sung by the trio of soloists and then repeated by the choir. Stressing the quiet sound required here, Gounod marks the choir dynamic pppp throughout this passage. The D major harmony of measure 117 and the implied D dominant of the next measure prepare a shift to G minor that occurs with measure 119, the beginning of the Crucifixus. This segment, appropriately dark in its sound, is given a tense accompaniment by tremolos in the strings. In measures 119-124 the solo voices each proclaim the word crucifixus (He was crucified), the bass first, tenor second and soprano third. Subsequently, the three voices join to sing the text etiam pro nobis sub Pontio Pilato( ... for us, under Pontius Pilate). This sequence is then repeated by the choir. From measure 144 to 154, the passus (he suffered) is repeated by the choir, prolonging the dramatic tension. Here the upper voices sing the word in a half-note-quarter note descending figure in alternation with the lower voices, who answer with a staccato enunciation (on two eighth-notes separated by an eighth rest). Gounod enhances the forlorn tone of the choral writing with plaintive accompaniment figures in the thin orchestral texture. Finally, at measure 155, the choir proceeds to sing the remainder of the sentence: et sepultus est (and was buried). The Et resurrexit begins at measure 159 (Illustration 11). Here the music begins a return to the tonic, C major, through E minor, but G and D are emphasized. In this beginning measure the second dessus (soprano II) are heard 118 with only the accompaniment of tremolos in the violins and violas, similar to the beginning of the Crucifixus. As the first dessus (sopranos) and then the tenors enter to sing et resurrexit, a crescendo builds. The full choir enters together singing these two words, their parts marked with a crescendo molto. The miracle of the resurrection is underscored by the building of a monumental sound starting with the sparse texture of measure 159, and effectively conquering the anguish of the preceding Crucifixus. A climax is reached in measure 167 with the fortissimo statement et resurrexit tertia die secundum scripturas (And in the third day he rose again, according to the scriptures). This statement, however, ending with a G major chord serves only as a climactic prefiguration. The true climax of the entire movement occurs at measure 173, at which point is proclaimed: et ascendit in coelum, sedet dexteram Patris (And he ascended into heaven and sits at the right hand of the Father), in the tonic. Here, the choir is heard once again in unison and octaves. They are now joined by the full complement of the orchestra, including, for the first time, the piccolo and cymbals. 1' ,. 1_· .. T, -·- � . Illustration 11. Credo, mm. 159-167. Et resurrexit. ,­ .. t ,.lfi f.- _ li!! J �. � " ( .,, . • ... It. i 119 This dramatic return of the tonic brings also the return of the A section thematic material. This is not completely clear in measures 173-185, since here Gounod uses musical phrases that are related to the main subjects of the A l �.• t• 't•.1., l· .. ; "' � r F .f ,. l ""� t J ............... =- ,or:-J=! section, but are in a more agitated style. The use of melodic leaps and denser harmonies enhance the ecstatic nature of this musical and textual climax. 120 That this is a true return to the A section material becomes clear at measure 185, where the second subject returns with the text judicare vivas et mortuos, etc. Starting with the text Et in Spiritum Sanctum at measure 193, the choral writing mirrors the A section. The sequence of musical phrases heard here corresponds directly to the sequence beginning at measure 37. The return of the triumphal first subject elides two lines of the texts: qui locutus est and Et unam sanctam Catholicam et Apostolicam Ecclesia. The reprise of the A section is an obvious choice for the third section of the Credo. This is not merely to create a rounded musical form, but also because this section of the text is also expository­-a return, as mentioned above, to the "I believe" text. The text Et expecto ressurrectionem mortuorum. Et vitam venturi saeculi (I await the resurrection of the dead and the life of the world to come) is set as somewhat of an epilogue, musically. It is heard as a distinct section proceeding from the A section material at measure 242. Gounod stresses the idea of expectation by setting the text in a very simple imitative manner. He divides the choir into six parts, each part entering a measure apart (starting from the bottom voice and moving up) repeating the sentence Et expecto resurrectionem mortuorum. The effect is a quiet echo progression on those two words, emphasizing the idea of expectation. The choral voices sing on one note during this echo progression, each voice singing a pitch of the D minor seventh chord, the chord heard when all of the voices join (in third inversion). Ultimately, the voices sing resurrectionem mortuorum together in a progression leading to a half 121 cadence (G major). This whole et expecto sequence is repeated immediately, at measure 252 (Illustration 12), but this time leads to a cadence on the tonic (m. 261), which begins the slow, tranquil setting of Et vitam venturi saeculi (Illustration 13), followed by the Amen, which is sung three times before the final cadence. 122 Illustration 12. Credo, mm. 253-260. Second statement of Et expecto resurrectionem. !-It '11&�" �:---=- - 1- - " ... -- 123 .. ' .. h ,,, t • �, 'ii I ,..,,,, ft;, f104� ·- ,. h •j .. T• '): I � • ,ry ,1.� It 1·� ... Illustration 13. Credo, mm. 261-263. Et vitam venturi. 124 Offertoire Gounod's Offertoire is described in the score as an invocation pour l'orchestre seul, or invocation for orchestra alone. It is a brief, serene piece in A-flat that utilizes a small ensemble of flutes, oboes, bassoons, two horns, violins, violas, cellos and basses. Unlike much of the music in the Messe de Sainte-Cecile, the music of the Offertoire relies heavily on counterpoint and frequent shifts of harmony for its effect. Its forty measures of flowing lines and harmonies are played no louder than piano until measure 35. If used as a substitute for the sung offertory, Gounod's piece would be performed during the preparation of the eucharist. It may have been used in addition to an offertory; in any case it provides a few minutes for reflection or meditation after the intensity of the Credo and provides a prelude to the communion preface. The piece begins with a four-measure introduction in which an oboe is heard first and then joined gradually by the rest .of the ensemble. The violins, violas and cellos all play with mutes (Illustration 14). There is a crescendo through the second and third measures but all have a diminuendo in measure four. At measure five the ensemble reduces to just the strings, with the violins playing a simple descending melody lasting eight measures. A crescendo occurs in measures 10-11, followed by a diminuendo in measure 12, which is reminiscent of measures 2-4. At measure 13 the woodwinds enter, with the solo flute playing the descending melody. At the end of this second statement of the melody, a crescendo and diminuendo are heard once again. At measure 21, however, it is not another statement of the descending theme that is heard, but a section in which an oboe solo and then a bassoon solo are heard with the accompaniment of the strings. The tranquil character of the first twenty measures is retained in the section beginning at 21; however, greater rhythmic, 125 harmonic and dynamic activity are heard starting at measure 28. Gounod builds this activity to a mild climax in measures 34-36, where there is a crescendo to fortissimo and then a diminuendo to piano. Since the strings, with the exception of the basses, are muted throughout the movement, the moment of the fortissimo is still serene. The last four measures are marked pianissimo and all of the instruments are heard on the final tonic chord, in the last measure, which Gounod emphasizes with a final dynamic swell. �, .. ''" . J'.•,, 9· tt., "' tt• . •.. l!I 'Uf�Ftl\T,t►J R.E. Illustration 14. Opening of the Offertoire� 126 I'"' Yi I!!�. '\h 127 Sanctus The Sanctus is the hymn of unceasing praise of the angels and saints glorifying God; in the liturgy, the Sanctus represents the joining of the people in this praise. Though the text is relatively short, it does invite a dramatic setting. The Sanctus here is set for solo tenor, chorus and orchestra. The use of the solo tenor marks only the second time in this mass that a solo voice is featured. Until this movement, with the exception of the soprano solo in the Gloria, Gounod has mainly utilized the soloists in trio passages. The movement follows a general ABA form in which the orchestra and soloist present the first theme material. It is reworked in the middle section and then returns in a tutti choral and orchestral climax, followed by a brief, coda-like Hosanna. Clear declamation of the text with unobtrusive accompaniment, in both the musically intimate and musically grand passages, are important here, as in the other vocal movements. The Sanctus, however makes use of more frequent harmonic shifts and dynamic changes. Like the Kyrie and the Credo, the Sanctus begins with an orchestral introduction: in the first measure, a statement of the F major tonic chord is played by the woodwinds, upper brass, strings and the organ. In the second measure the winds and brass cease, leaving the strings, now playing tremolo, and the organ, which plays only through measure two. Into this hushed sound, woodwinds (solo flute, solo oboe, solo clarinets, bassoons) enter at measure three, introducing the first theme (Illustration 15). At measure eight the solo tenor takes over this theme, repeating it and then elaborating on it in a second phrase, with the first line of the text, Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. These first sixteen measures convey the text in a tranquil manner. The melodic design is relatively simple; the first phrase of the theme is almost chant like, however it is set in a somewhat waltz-like 9 / 8 meter. This phrase consists of 128 one two-measure motive which is heard twice, the second time raised a whole step above the first. The second phrase is like the first but with more ornamentation, mainly through scalar eighth notes. The accompaniment is delicate, with upper strings playing tremolo, providing harmonic support with the wind instruments. All are marked ppp. The first phrase is provided with a I­ IV-I harmony, and subsequent repetitions of this material are handled in the same manner. The second phrase of the first theme, heard in the tenor solo, is more interesting harmonically, with a greater emphasis on V leading, through iii and I, to the V7 at measure 21. The tremolo in the violin and viola parts is continuous from the second measure of the movement to the seventh measure before the end. t ! ,, ' • lf•·iil,,1, �:l.11 llwll,� �' ... , "' llt 10 lh . 'h \ f 1,., '◄ ,., • • iH ll ;._ H,�u ,I • I , ., Illustration 15. Opening of the Sandus. " • • l ii J • . ,-. ... ,. " "'· : .• - t: • ••.,.. ,. ,. l f i r .._., ...:!• t I l , .. n, ti 1'4 • -..- •�,..,.,. - ... -· .,. 129 .. ' ,!.y,' ,\ I " ri,J •• ,11,.,. '• I, \,,,I ,tr ,.,,,. 1..,,,;, !it,.r-1,.r,. ,.,. r.,i:: ·-=¥:· -;;- - . .. - -=-. • .. .. 130 The cadence at measure 17 which occurs on the final syllable of Sabaoth is remarkable A tonic cadence is heard at measure 16 but in the following measure there is a shift to an augmented sixth chord. Above it, the soloist completes one phrase and rests for two eighth-beats. With this unusual harmonic move Gounod creates a moment of subtle tension which resolves with the beginning of the next phrase. On the next measure comes the tenor's leap of a fifth (with the phrase Deus Sabaoth) to G and the harmonic resolution to the distant C major chord. This leads to the V-V7 half cadence in measures 20-21 which resolves to the tonic with the entrance of the choir at measure 22. The choir answers the solo, repeating the words Sanctus, Sanctus, Sanctus Dominus; Sanctus, sanctus Deus Sabaoth, Deus Sabaoth. The choral rendering is a chant-like simplification of the tenor solo theme (though in three-part harmony). Accompanying this, the woodwinds quote the tenor solo, so that this important first theme becomes the ornamentation of the choral passage; The harmonies heard here are simple, like those heard in the first sixteen measures (mainly I, passing through IV, V, and iii). In Measure 26 instruments alone are heard, linking the first and second choral phrases. Gounod uses the bass drum in this quiet movement to emphasis the slow rhythm heard in the brass at this moment. He goes on to use the bass drum similarly in measure 35. Measure 31 shows another example of Gounod using a diminished 7th to punctuate the end of one phrase and introduce the next, as at measure 17 (described above). Here the harmony moves from the tonic to an Fit diminished seventh chord. Again, this occurs on the last syllable of Sabaoth. The choir continues with the phrase Deus Sabaoth at measure 32, emphasizing the V harmony. This leads (through a [V7 / V]-V7) to a dominant seventh chord built on F in measure 36 which functions as the V7 of the B-flat that arrives in measure 39. 131 The solo tenor reenters at measure 37 with the text Pleni sunt coeli et terra gloria tua in a second theme which is similar in character but is distinctly different due to its greater range and and use of larger intervals. It is also distinguished by more interesting harmonic movement. In the first six measures of the solo (37-42) the IV is emphasized using secondary dominants. The harmony focuses onthe tonic in the next measures but cadences on an E dominant chord in measure 47 (the tenor on E); here once again a distant harmony is used to punctuate the end of a phrase. There is a strong return to the tonic on the following measure, where the tenor leaps to the A, the melodic climax of the solo, on the line Pleni sunt, pleni sunt gloria tua (full of your glory). This passage is repeated in the tenor solo before coming to rest on a perfect authentic cadence (mm. 55-56). In the section that follows, the choir reiterates the line Pleni sunt coeli et terra gloria tua, again in a chant-like manner, commencing the building up to the climactic return of the Sanctus. Here, however, Gounod has the basses, tenors and sopranos enter a measure apart, on the same pitch, in a very simple imitative style. This sequence occurs three times between measures 58-73, on Pleni sunt coeli (59), coeli et terra (64) and Gloria tua (69), the chant-like line moving up a semitone at each repetition. Measure 58 brings a shift to D-flat, at measure 64 the choir sings on D , at measure 69 they sing on D#. Elided to the gloria tua of 69 is a the reiteration of the full line Pleni sunt coeli et terra that begins at measure 73. With this another layering begins, but the choir is given a more melodic linethat moves upward as a crescendo builds. At 73 the organ is heard for the first time since the third measure, to emphasizes the building crescendo in the choral and orchestral forces (Illustration 16). This section emphasizes A major, but moves to V-V7 in measures 79-80. The climax arrives at measure 81 with the return to the tonic with the whole choir, marked fff, singing Sanctus, sanctus, sanctus Dominus Deus Sabaoth in 132 a harmonization of the first theme, to which the choir had only alluded previously (Illustration 17). The majestic effect is emphasized by a slowing of the tempo to Largo here. The full complement of the orchestra, with the exception of the piccolo and cymbals, is used. The organ plays full chords here and also emphasizes the eighth notes of the first theme. At measure 91, the musical excitement is enhanced with dotted figures evocative of a fanfare, played by the four horns. � ·)' ., I�� •• •· �· :• .. . ,., ... i •I .. ii ,. .. , ... ,- ... � z�; •-::­•. -Illustration 16. Sanctus, mm. 74-80. ... If' • ••a .. .. • ,. , � ft II' ,; . . . .. ,I • ,_.. JI • ·- '�t' /I, . •• .. . ...,n ti •· •. ,I ,I • I = .. •·--f T -_7 ,; • __ r ·, #-4 _:=] 133 __ ,.. ; -� l " Illustration 17. Sanctus, mm. 81-87. ., • • 11'· .. , ,, . I� I- • 134 ::.. ..... • 10-·-·· . t;- ,"I ...... � .• ff : {{('j J. �) 135 At measure 96 the music quotes the descending three dotted quarter-note motive that was heard in the melodic crest of the second theme of the tenor solo (e.g. measures 48, 52). Here it is used to stress the Deus of the final Deus sabaoth. This is followed by the Hosanna in excelsis (measure 99-102), the final words of the movement. With the Hosanna, there is a brief progression through D-flat, and B-flat minor before a cadence on the tonic at measure 102. With a sudden hush, the final six measures bring a quotation of the opening woodwind statement of the first motive of the first theme, but in a more gentle character. It is played here by the solo flute accompanied by the divided strings (the tremolo ending at this point) with pizzicato contrabass, and horns sustaining the tonic harmony in long notes. They are all marked ppp. The movement concludes with the winds and strings (except the contra basses) playing the final F chord, underlined by two soft beats of the timpani (F) and the bass drum. The Sanctus is remarkable for its overall effect. Gounod provides a very dramatic setting for its brief text, emphasizing it with both solemnity and grandeur. In the opening the solo tenor presents the text in a graceful melody but Gounod has the choir answer with an austere, chant-like statement of the text, as if to meditate on the words themselves. After the more melodically elaborate tenor solo on Pleni sunt coeli et terra, the choir answers again, but beginning the gradual buildup to the climax of the movement. The imitative and chant-like build up and crescendo creates an intense feeling of anticipation for the return of the Sanctus. At the climax it is the simple opening theme that returns, but now sung by the full choir and accompanied by the full orchestra. In this moment of grandeur, the text that had been conveyed in a mild manner at the opening is heard as a powerful proclamation. At the end the listener might have the impression that the he/ she had heard the text sung both from the earth by man and proclaimed from heaven by the angels and saints. 136 Benedictus The Benedictus is set in B-flat major for solo soprano, choir and strings. It is a small movement, just 36 measures in length. The text Benedictus qui venit in nomine Domine is sung first by the soloist (mm. 2-13) and then the choir (mm. 14- 31). The final Hosanna in excelsis is sung by the choir in the last five measures. The string sections, except for the contrabasses, are each divided throughout the movement, generating a rich sound. The tempo is adagio throughout the movement. In the first measure only the strings (each divided into two parts) are heard pp, on the tonic. The soprano enters in the second measure with another chant-like melody centered on D. Its range is only a perfect fourth, the lowest pitch being B-flat and the highest E-flat (Illustration 18). The solo is accompanied by uncomplicated harmonic movement, with the strings playing mainly block half and whole note chords. The tonic harmony is emphasized here; it is often repeated or revoiced. The first three measures are harmonized with tonic and dominant harmonies. In the four-measure second phrase the harmony proceeds from I to a half cadence on V. The five measure final phrase of the solo occurs over tonic and dominant harmonies. In the last three of these measures, Domine is emphasized with a dynamic swell and ends on a fermata. I' .. , .\1d,m ... Li ..... t \· u,-• t r� ...... r· 11.,,, ., tJd,, II ,.., •�, n,l� o. �• ► "-I\ 111, , '!\. '• L Illustration 18. Opening of the Benedictus. -" # ,, • I\, ::. . ' 137 l ........ II-" ;,; .... .� .. Iii I I,,.It- H -� 1J '\) � ·t... I • r, i. "''""' ,I•;.-,. ,, t I r l ""'• •t • IJ, _.1,. � t I 138 Measure 14 begins the choral section of the movement. What is heard through measure 24 is simply a choral version of measures 2 through 16. The same melody is heard, accompanied by the same harmonic progressions. There are, however, some new orchestral colors introduced. The strings are divided into more parts, enriching the sonority. The first violin plays an octave higher than it did in during the solo. This change in particular helps to make the overall sound more ethereal. The octo-basse is also added, doubling the contrabasses at the octave below. At measure 25 Gounod adds a section in which qui venit in nomine Domini is repeated. The sentence is broken into three small segments qui venit, In nomine, and Domine. The Domine is sung ppp. The Benedictus comes to a sudden climax in measure 32, where (just following the quiet Domine) the triumphal Hosanna in excelsis is sung in a ff outburst. Each syllable is set on a half note, except the last two which are set on longer notes (the last with a fermata). With it is heard a more interesting harmonic progression: I-VII-IV-vi-ii-V-1, that underscores the intensity of this conclusion. AgnusDei In the music of the Agnus Dei we hear a character distinctly different from that of the other movements of the mass. The lilting quality of the choral writing and the continuously flowing eighth-note accompaniment provide a feeling of tranquil perpetual motion throughout the setting. The movement opens with a short orchestral introduction and then proceeds to the first of three choral sections that present the three petitions of the Agnus Dei prayer: Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, dona nobis pacem Lamb of God, who takest away the sins of the world, have mercy upon us. Lamb of God, who takest away the sins of the world, have mercy upon us. Lamb of God, who takest away the sins of the world, grant us your peace 139 Between the three choral sections are two solo passages, the first featuring the tenor, the second the soprano. These solo passages contain a feature unique to the Messe de Sainte-Cecile; in these passages Gounod introduces a line from outside the actual Agnus Dei: Domine, non sum dignus, ut intres sub tectum meum, sed tantum die verbo et sanabitur anima mea. Lord, I am not worthy that Thou shouldst enter under my roof, but only say the word and my soul shall be healed. In liturgical context, this statement is normally said not long after the Agnus Dei, at Communion. Nonetheless, such an addition to a text of the ordinary is highly unusual. Gounod explained his motivation for this move in a letter to his mother: Entre chacun des trois Agnus qui sont chantes par le choeur, j' ai place une phrase de chant solo sur la mots: Domine non sum dignus, que j' ai pense pouvoir intercaler comme etant les paroles de l' office meme, au moment de la communion. La premiere fois, cette phrase est