With fanfares and whistles, the full orchestra, dominated by wind instruments, launches into an ecstatic D major jubilation allegro vivace. The choir also joins in at full volume: Gloria in excelsis Deo. Shifted accents confuse the expected sense of metre, an unconventional outburst of joy and jubilation and late Romantic musical expression for exuberant elation!
The exuberance is followed by a retreat into contemplation: A solo tenor finds a melody entitled ‘dolce’, which is taken over by the solo soprano and solo alto like a canon and continued by the soloists. The choir also joins in with this melody at first, but increasingly insists on peace on earth and then lapses into sceptical contemplation at bonae volutatis, as if there seems to be a lack of good will everywhere for real peace.
However, the Gloria call leads to the choir's Laudamus-Glorificamus song. The fanfare motif from the beginning can be heard again and leads into the collectively sung exclamation: Deus pater onmipotens.
After an orchestral interlude leading back to contemplation, the bass soloist praises the Domine Filius, the Son of God, with a new melody beginning in recitative. The solo alto takes over the same melody for the words Agnus Dei. Together, bass and alto sing their duet with their pleas for mercy despite the ‘peccata mundi’ and the injustice in the world, pleadingly supported and accompanied by woodwinds.
Finally, the choir also joins in the Miserere. Increasingly, the petition becomes a desperate, accusing cry (emphasised by the orchestral winds in pounding triplets) to the one who sits at God's right hand.
But the alto quietly reminds us of the sanctity of holiness and allows the despair to fade: Quoniam tu solus sanctus is sung by the solo alto and solo bass. The choir and orchestra also come to their senses and rise to glorify the Most High. The orchestra joins in again with its unconventional metrical rhythm. The choir rushes forward in great movement, completely focussed on the solus Dominus, and then lurches into a stumbling stammer. The music threatens to disintegrate and even break off.
However, the warm tone of the strings, the solo tenor (with a new rhythmic oboe accompaniment) and finally the solo alto with a comforting voice are reminiscent of the Sanctus Spiritus. The oboe rhythm of the accompaniment slowly transforms into a new orchestral upswing. The choir intones the final Gloria (in gloria Dei Patris) and sweeps everyone along in a jubilant, late-Romantic, grandly orchestrated frenzy.
After a brief intake of breath before the Amen, all the jubilation and joy of love reaches the final climax intended by the composer, ‘so as to enable a triumphant climax’ (Ethel Smyth).
