I performed this piece with a local choir for the 1st time this weekend. I'm not overly familiar with Puccini's work, this mass being completely new to me. It reminds me of some his operas; expressive and dramatic vocal lines and a full, rich orchestral part. He uses large dynamic ranges and localised tempo changes to really emphasise the text and music. Unlike a lot of choral works, I get the impression Puccini wrote this with the idea that the orchestra should play as important a part in the performance as the choir. In the concert at the weekend we performed with piano duet instead of orchestra which I think spoils the work slightly; you lose the orchestral colouring and miss the impact of Puccini's brass and percussion writing.
Kyrie
Puccini begins with piano strings setting out some of the thematic material for the opening Kyrie. The voices enter with a smooth, flowing melody accompanied by minimal orchestral forces (strings and woodwind). The brass and percussion enter with the second thematic subject; a more emphatic and punchy theme hinted at by the strings in the opening.
Gloria
The opening Gloria chorus is a triumphant march which could be lifted straight out of one of his operas. It's interesting how easily Puccini moves from the Soprano and Alto theme in C major straight to Ab for the Tenors and Basses through 1 trumpet fanfare then back to C major again for the tutti section. The et in terra pax section is more reflective with homophonc writing for the chorus and orchestra; the opening trumpet fanfare being echoed in the horns.
The gratias agimus tibi, written for Tenor soloist, is my personal highlight of the piece. The opening Tenor phrases have all the character of an operatic aria, but Puccini shows just how much you can do with 1 motif. The music of the opening bar is shared all around the orchestra in different keys whilst interjected with short Tenor phases. A return of the Gloria chorus then leads into the domine deus. Here, the pianissimo homophonic chorus sits upon a return of the gratias agimus tibi theme in the orchestra which sets up the qui tollis peccata section. The opening bass melody, doubled by the bass parts in the orchestra is accompanied by pizz strings. When it returns with the sopranos, the orchestral accompaniment is more elaborate, with a counter melody in the woodwind before Puccini develops the melody line. The entire chorus then sings the original melody as a 2 part round which leads into a bridge passage before the cum sancto spiritu fugue which returns later in the movement.
Credo
The opening Credo passage shows the power of unison writing. Puccini achieves suspense and drama through sudden dynamic changes and changing orchestration; in particular the timpani rolls through cresendoing phrases. The Et incarnatus begins with unaccompanied Tenor and chorus to create a solemn feel, almost as though you've just been placed into the middle of a church service. Throughout the Credo, Puccini writes dramatic music that reflects the true meaning of the words. It's also interesting to see the power that comes across when the bass line doubles the vocal line. The movement ends with the et vitam section, a joyful, dance like section in 6/8, again reflecting the meaning of the words. The underlying viola and cello lines give a feeling of movement.
Sanctus
Unlike a lot of other choral works, the Sanctus is fairly restrained except the hosanna sections which sandwich the Baritone Benedictus. The vocal line is very simple, written on top of a restrained orchestra part. It's almost as though this movement is to provide a rest bite from the preceding movements.
Agnus Dei
The Agnus Dei features both soloists and chorus; the latter providing interjections between the solo lines. The orchestral accompaniment is simple, almost Polka like, with alternating bass and string chords. Again, Puccini is able to slip seamlessly between C and Ab major through the solo lines. The music dies away towards the end in a very similar way to the opening Kyrie movement.
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