Messa Completa a Quattro Voci Piena (Leonardo Leo)

Tropp Music Editions

  • $ 9.00

"Complete" Neapolitan Mass (Kyrie, Gloria, Credo) scored for SATB Chorus and continuo. One movement for SA duet.
Approximately 20 minutes in length.

I. Kyrie eleison (1:15)
II. Christe eleison (1:30)
III. Kyrie eleison (1:45)
IV. Gloria in excelsis Deo (2:30)
V. Qui tollis peccata mundi (3:00)
VI. Amen (1:15)
VII. Credo in unum Deum (2:15)
VIII. Et incarnatus est (1:00)
IX. Crucifixus (Due: Canto e Alto) (1:45)
X. Et Resurrexit (3:30)
This product is available as a "Realized Score," which functions as both a full and a vocal score.
Standard part set includes two copies of the unrealized continuo part.
Realized part set includes a realized organ part and a realized violoncello part.
The typical Neapolitan mass setting of this time period includes only the Kyrie and Gloria texts. This piece’s title Messa Completa indicates that it also includes a Credo. The source for this edition is Egerton Manuscript 2448 in the British Library, part of a collection formerly owned by Edward Goddard, Vicar of Pagham from 1823 until 1850. The manuscript is a nineteenth century copy in an unidentified hand, bound together with masses by Pompeo Caniciari, Pietro Paolo Bencini, Giovanni Battista Pergolesi, and Andrea Basili, followed by a set of Terzettini for the Sundays in Advent by Palestrina. While the manuscript offers no composition date, it does specify that the piece was written for the Real Cappella. The setting is for choir and organ only and written in the style that typified Leo’s late “reforming” church pieces, leading the editors to believe that the piece was written after 1740 and possibly during Leo’s brief time as primo maestro in the months before his death.
Because it is a “complete” setting of the mass, rather than the typical Kyrie-Gloria one, the work was likely composed for a festival Sunday, such as Easter or Pentecost. Therefore, the music reflects the celebratory nature of these occasions. Even the Crucifixus movement, with its G-major tonality and rhythmic vitality, seems oddly joyous for the text at hand. 

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