Although it is an exceedingly long work, the Mass in D minor took Cherubini only six months to complete. It is rich in melody, harmony, and instrumentation, and at times takes on an operatic sense of drama; but, in keeping with Cherubini's aesthetic, it retains a tone of solemnity and is consistently tailored to the meaning of the mass text. The Gloria has five sections, the Kyrie three complete movements, and the Credo six distinct divisions. These divisions into sections reflect the fragmentation of the text of the Ordinary, a practice which is typical of the period. Lasting almost 30 minutes, the monumental Gloria is the longest movement. With all of the resources of counterpoint at his disposal, Cherubini created a truly memorable piece, with beauties on every page. Its opening is incredibly forceful, vigorous, and uplifting. However, the sections of the Gloria contrast in mood and scoring. The "Benedicamus te" is hymn-like and pious, while the "Pax in terra hominibus" is delicate and refined. The "Gratias agimus tibi," which immediately follows the Kyrie, features three solo voices and a richly lyrical style of writing. This is the breath of fresh air needed before the audience encounters the monumentally dramatic "Qui Tollis." Everything about this section is dramatic and vivid. Here, the meaning of the text comes through with truthfulness and energy. The tragedy of sin and the anguish of the hopeless are clearly depicted in the vocal forces and orchestral accompaniment. The music is filled with human pathos and operatic emotion. Toward its close, the music turns to a heavenly pianissimo, as hope for the hopeless seems to shine through. The Credo includes a section for solo voices which creates a poetic image of the incarnation, the voices singing purely and simply over a delicate orchestral accompaniment. In the Crucifixus, an atmosphere of mystery and magic is created when the choir gently sings while the orchestra holds on to a single sustained note. What follows is the "Resurrexit," which surprises the listener with its unbridled energy and vigorous vitality. The Sanctus, Benedictus, and Agnus Dei, are lesser movements, although the Benedictus is noteworthy for its operatic splendor and spaciousness.

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