Beethoven's Gloria from Missa Solemnis
The Gloria is massive, really a full symphony in itself, as epic and bursting with energy as the finale of the 9th symphony. Beethoven’s setting of the word Gloria itself is marvelous in the way it ascends like a rocket ship to heaven.
The imitation, which foretells of the fugue to come, accumulates wave after of wave of propulsion of praise. It subsides in the phrase “and in peace on earth” with the choir quietly singing a chordal hymn.
The energy of the opening returns to speak of praise, adoration, and glorification. The Gloria is structured as a large sonata form and this third section concludes the Primary Area.
In the secondary area, the music abruptly changes key and mood. A beautiful theme enters to give thanks.
As a closlng section, the opening Gloria music returns to describe God as omnipotent to conclude the Exposition.
With the phrase “Who takest away the sins of the word,” the music changes gears dramatically, and we enter a slow emotional Development section, in which the soloists sing to operatic heights in expressive dialogue with the chorus.
Then the chorus alternates with the soloists who emotionally plead “Receive our prayer” (suscipe deprecationem nostram)
In a sudden shift to imperial fanfare, the chorus describes Jesus sitting at the right hand of the Father and then pleads for mercy (miserere nobis). The soloists arch expressively over this plea.
The plea for mercy becomes impassioned, and then ends with quiet echoes in the oboe and horn. Then with fanfare, the Quoniam sets up a retransition from the Development to the Recapitulation.
A retransition then announces with fanfare a return to the opening Gloria music. We expect a coda and quick end. Beethoven had other ideas. We get a full-fledged fugue with virtuoso melismas on the phrase Glory of God.
Then a coda ensues, continuing with the subject in augmentation, notes twice as slow—while the other voices continue the fugue at full speed. Listen for the augmentation first in the basses and then in the sopranos. Hearing two different speeds simultaneously is a thrill.
And still the movement isn’t over. A second fugue with the soloists begins on the word “Amen.”
And still the movement isn’t over! A final Presto section boosts the energy even higher, though it doesn’t seem possible. We hear quotes of Handel’s Hallelujah chorus. The movement ends with a celestial choral shout of Gloria that is unforgettable—a shout straight up into the cosmos.