At the very outset the hearers are made aware that a work of unusual proportions is commencing. The words Kyrie eleison are sung in a massive five part adagio with independent orchestral parts, coming to a full close at the end of the fourth bar. Here an instrumental “largo ed un poco piano” commences and continues for twenty-five bars; it foreshadows the vocal fugue, of which the following is the impressive subject:
After this fugue has been worked at considerable length there is an instrumental interlude, and it recommences, the bass leading off with the subject in the tonic. The Christe eleison is set as a duet for two sopranos in D major, and the second kyrie as a fugue, alla breve, in four parts, in which the instruments double the voices. It has the following stirring subject:
The “Gloria” begins in D major, and consists of eleven movements, opening with a vigorous five part chorus vivace.
“Quoniam tu solus Sanctus” is a bass aria accompanied by Corno di caccia, two fagotti and continuo. There are no other instruments.
The Creed contains seven movements. The words “Credo in unum deum” are a fugue on the ancient Plainsong, which is in semibreves, with a perpetually moving bass on the organ in crotchets. The only orchestral instruments are two violins, which play independent parts.
“Et incarnatus est”