omitting the words "Et in unum Dominum, Iesum Christum, Filium Dei unigenitum" ("And in one Lord, Jesus Christ, the only-begotten Son of God") from the Credo. The Benedictus is the only movement which is not in B-flat major, and set for a solo voice. Kyrie The Kyrie shows, according to the musicologist John Hsu "brilliant instrumental idioms and choral declamation. Credo The Credo is structured in three parts, the center being formed by an Adagio for the birth, suffering and death of Jesus, delivered by the choir mostly in homophony, accompanied by broken chords in the violins and repetition in the bass. The third section recapitulates music from the Gloria. Sanctus Sanctus is called by the voices in a fast sequence of entries, some as bell-like long notes, other in flowing triplets. For the Osanna, the voices enter from the lowest to the highest, only one measure apart. The instruments play colla parte with the voices, violins with soprano and alto, cello and violone with the bass. Benedictus The Benedictus, the longest movement, is a dialogue of soprano soloist and organ, described as "expressive, elegant, and ornate melodic lines". It is followed by a repeat of the Osanna. Agnus Dei Haydn marked the Agnus Dei carefully for dramatic contrast in dynamics, setting "Agnus Dei" (Lamb of God) as a fortissimo homophonic call versus a pianissimo prayer "Dona nobis pacem" (Give us peace). The end is marked "perdendosi, senza organo" (dying away, without organ), with a pizzicato bass. A reviewer of the Oxford edition summarized: "The work is accessible to most choirs. The music is not excessively difficult, but the solid musical structure and the many passages requiring expressive singing make the work a rewarding pleasure for any size choir. H. C. Robbins Landon, an editor of the composition, ascribed to the work a "quiet spirit of devotion, even of mysticism, that is most appealing". Versions While the mass was originally scored for choir, strings and organ, later versions include with trumpets and timpani, and clarinets. The mass was also used in Salzburg where the textual compression was deemed "unacceptable", therefore the composer's brother Michael Haydn expanded the Gloria, from 31 measures to 118. Very few performances however, use this expansion. However, the Oxford edition presents Michael Haydn's prolongation in the main body of the text and Joseph's short original as an appendix. Johann Georg Albrechtsberger wrote an alternate Benedictus. References