This moving "tango mass" is scored for mezzo-soprano and tenor soloists, a solo bandoneón (a complex Argentine accordion), mixed chorus and orchestra. The text is in Spanish (which is in fact rather close to the sounds of the original Latin) but the composer did not employ the entire traditional text because he wished "to make room for those who do not necessarily share the same beliefs, emphasizing the aspects of God in the Mass which are common to Christians, Jews and Muslims" (Bacalov).

The Kyrie opens with subdued minor harmonies for the choir who gently pleads "Señor, ten piedad de nosotros" (Lord, have mercy on us). The bandoneón plays melismatic responses in flowing lines, marked molto libero, come recitativo (very free, like a recitative), between the moody choral passages, extending their feeling. With the entrance of the tenor and mezzo-soprano, a tempo is established with steady walking bass, and the bandoneón plays an equal part as a "voice." The chorus swells twice with the plea "piedad," and the Kyrie ends with the feeling of having been granted a sense of peace.

The Gloria begins as an energetic, festive affair in a syncopated rhythm treated to imitative counterpoint in the development section. The center section returns to a gentle, prayerful mood on the text "Te alabamos, te benedecimos, Señor, Dios Rey celestial" (We praise Thee, we bless Thee, O Lord God, heavenly King). The music then returns briefly to the joyous contrapuntal spirit of the opening.

The Credo begins surprisingly in a happy village rhythm (rather than the normally ponderous settings often given this section of the mass). It is an affirmation of happiness in faith developed into glorious harmonies and skillful interplay between the chorus and soloists. Then a gentle ending is given to the concluding words "Creador del cielo y de la tierra. Amen." (Creator of heaven and earth. Amen.)

A sultry, moody duet between a solo cello and the bandoneón opens the Sanctus. The chorus then enters on a rhythmic declaration accompanied by an off-beat bass pattern, and more of the traditional tango rhythm is used in the inter-rhythms, as well as Latin percussion like the gourd shaker and wood slap.

The Agnus Dei opens with the mezzo-soprano exchanging lines with the bandoneón and the tenor with the solo cello. The passion is held back yet intense under the surface. The choir builds the drama is steadily ascending chords which leads to some marvelous orchestral writing with sweeping gestures.

A cloying and catchy rhythm section follows which seems to express earthly passions and discontentment. The soloists enter again with the plea "Cordero de Dios que quitas los pecados del mundo, ¡ah! ten piedad de nosotros, da nos la paz" (Lamb of God, who takest away the sins of the world, ah! have mercy on us, grant us peace). The music becomes intimate and thoughful again in a minor key exchange between soloists and choir. The rhythm and descending chromatic lines remind us again of the tango as the mass concludes on a gentle major chord (Picardy third).

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