The mass composed to celebrate 200th anniversary of birth of Johann Gregor Mendel, for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, harp, string orchestra and mixed choir. Being the core of Mendel’s laws of inheritance, the dominance and recessiveness principle is used throughout the mass.
Kyrie – dominance and recessiveness is expressed via rhythmical and melodic elements. The voices intertwine in various ways, to finally reach a dominant rhythmical and melodic theme. In Christe, the principle of dominance and recessiveness becomes apparent as one motif gains strength while the other one gradually diminishes. First, the male voices become dominant and the female voices recede, later the situation is reversed.
Gloria – includes a contrast of a dominant, playful, dotted, virtually folk theme in two female voices, suddenly overwhelmed by a majestic male choir; nevertheless the male choir is a recessive attribute, and the initial, rhythmical style gradually prevails and is used to conclude this part. Moreover, the initial, seemingly dominant 3/4 time signature is replaced by 2/4 one in the end, being the real dominant metre.
Credo – the most diverse section of the mass, since it is both a prayer and a dramatic story, arching from the very beginning of the world till its last moment. The dominant role is inconspicuously manifested by a small harmonizing choir, repeated three times in Credo (to depict each of the persons of the Trinity; it is a dominant motif, accenting the prayer-nature of Credo). Against this, a single voice tells the entire Passion story described in Credo. The drama in Crucifixus is clearly expressed by virtually rock riffs in orchestra. Finally, Credo is concluded through the dominant, affirming Amen in the entire choir.
Sanctus – the dominant facet of this part is expressed in a majestic unison in the male choir, while the female choir “dances” around in many variations, as if trying to lead them astray; however, the lead motif finally becomes dominant. On contrary, Benedictus is a subtle intermezzo, which slowly winds up in unison again.
Agnus – uses a contrast between major and minor tonality; therefore, Agnus begins with an indefinite chord and transitions between sections do not contain major neither minor thirds. The final a-capella section starts in unison and gradually blossoms out in seven voices (perceived, written in eight voices), depicting seven characteristics of pea plant Mendel studied.