Most of Bellini's early works, including the majority of his sacred compositions, are difficult to date; only a few were published during his lifetime, and it is hard to guess from external evidence, such as letters, which of his many Salve reginas, Tantum ergos, or Masses are being referred to. This particular Mass is possibly the one commissioned by the Church of Gragnano, premiered in 1825.

The Kyrie, despite the quick-paced tempo, has a hint of melancholy. The chorus echoes the string introduction with hushed dynamics. A close duet for the soprano and contralto lead to a buildup, and as the melody is passed back and forth from the soloists to the choir, the mood changes from melancholy to pensive. The Gloria's vigorous and complex orchestral writing recall not only the Classical period, but even Handel and the Baroque. In this section, again, the soloists are confined to closely written duets. The "Laudamus te," for soprano and contralto, becomes more fluid in both orchestral and vocal parts. "Gratias agimus tibi" shows a still more obvious Rossini influence in its pizzicato accompaniment, fast pace, heavily accented vocal lines, and repetition during the climax. "Domine Deus" returns to the allegro maestoso tempo, and the horn, which dominates the accompaniment as well as the sonorous bass solo, emphasizes the maestoso aspect much as the opening emphasized the allegro aspects. This is somewhat more typical Bellini writing, with the dignified horn obbligato and more extended and gracefully ornamented vocal line. The "Qui tollis" section, a trio for soprano, contralto, and bass, is still more reminiscent of the mature Bellini, with an immediately gripping melody. The way the soloists each iterate and then join in duets and trios foreshadows the breathtaking "Angiol di pace" from Beatrice di Tenda. The following "Qui sedes," for contralto and bassoon, is gracefully written, the almost dance-like accompaniment and buildup to the climax in particular again showing Rossini's influence. The "Quoniam tu solus," for tenor and chorus, is less inspired, the extended "Amen" passage seeming rushed, though it does give a tenore di grazia a chance to show off his coloratura.

Overall, this is not one of Bellini's masterpieces, though presumably written during a time when he was producing genuinely inspired works. The writing, while fully competent, is not as compelling as that of his other works, with only hints of the customary lingering, arching lines of melody or occasional bursts of powerful virility.

© Anne Feeney, All Music Guide