Gloria form Part I, the other movements are combined as Part II. In the following table of the movements, the markings, keys and time signatures are taken from the Ricordi choral score, using the symbol for common time (4/4). The table reflects the original scoring but includes the added movement "". In movements without notes, both piano(s) and harmonium accompany the voices. Music Fleming compares the mass to Rossini's operas and early mass settings and finds restrained vocal lines, even in the melismas of the Agnus Dei, but observes his "predilection for spicy harmonic twists". She summarizes his "optimistic and deeply felt faith. Robert King, the conductor of The King's Consort, notes: "It certainly is solennelle, for it is a heartfelt religious work which shows the extraordinary compositional capabilities of this astonishing man of the theatre: it is full of drama, pathos, colour and intensity." Kyrie The structure of the Kyrie, following the liturgical three appellations, "Kyrie eleison. Christe eleison. Kyrie eleison" (Lord, have mercy. Christ, ...), is ternary, in the form A–B–A'. "Kyrie eleison" Andante maestoso ( = 108) A minor (measures 1–35) "Christe eleison" Andantino moderato ( = 66) in C minor (measures 36–57) "Kyrie eleison" as a reprise of the first part, but in other keys (measures 58–90) The work opens in A minor, with two chords marked pppp, extremely soft. The piano then begins an ostinato motif which remains present throughout the movement. A continuous flow of sixteenth appears in a pattern of the first, third and fourth played in octaves by the left hand, while the second appears as a syncopated chord in the right hand. The harmonium introduces motifs repeated by the chorus. The voices pick up a slowly rising line on the word "Kyrie", marked sotto voce, in imitation: first tenor and bass, a measure later alto, a measure later soprano. The word "eleison" appears in contrasting homophonic chords marked forte, but smorzando to piano for the repeats of the word. A second appellation begins in measure 18 in C major, marked pppp for "Kyrie" but with another sudden forte and decrescendo for "eleison". The middle section, "Christe eleison", is a double canon in an archaizing style. Marked "tutto sotto voce e legato" it stays on one dynamic level, different from the dynamic contrasts of the first part. This music was composed by Rossini's friend Louis Niedermeyer as the "Et incarnatus" of a