Missa Latina’s music is heavenly

The Texas premiere of Roberto Sierra’s inventive and exciting Missa Latina lends Event Status to this weekend’s performances by the Houston Symphony — especially as it’s under the masterful guidance of eminent conductor Leonard Slatkin, who commissioned the work and conducted its much-praised 2006 world premiere with the National Symphony in Washington, D.C.

“Con gran expresión” Sierra has marked his Kyrie, second of seven sections in the 85-minute work. Indeed, practically everything about the Missa Latina seemed con gran expresión at Thursday night’s performance — from the orchestra’s expansive playing to the rich sound of the Houston Symphony Chorus to the exemplary singing of soloists Heidi Grant Murphy and Thomas Meglioranza.

The “Latin” in the title has a double meaning — referencing both the language of the Roman Catholic mass and the Latin American influences Sierra has incorporated into his composition. Fusing classical music tradition with contemporary elements, the Missa Latina puts a secular spin on a sacred concept — as Leonard Bernstein achieved in somewhat different manner with his Mass.

Sierra follows the outline of the traditional mass, with slight variations and additions, stressing passages pleading for peace. That theme is established in the opening Introitus, its imploring lines exquisitely sung by Grant and the hushed chorus.

Yet the work quickly establishes its basic pattern of subdued passages punctuated by outbursts from the brass and enlarged percussion section, or alternating reverential expressions with celebratory ones bustling with propulsive Latin rhythms and salsa flavoring.

The overall effect is compounded of luscious harmonies, rhythms layered upon other rhythms, some haunting themes (especially in the Agnus Dei) and colorful orchestrations. A hymnlike interlude gives way to a calypso beat. A section stressing the standard symphonic complement of strings gives way to one sparked by xylophone, bongos and maracas. After an inspired a cappella passage for Murphy and chorus, the Allelulia finale bursts forth like a Caribbean holiday — a stroke of showmanship that ends the work on an exultant high.

Music lovers may debate whether the Missa Latina is ideally shaped or sustains musical inspiration throughout. Yet there’s no denying that it’s a largely successful synthesis of expressions stately and vivacious, respectful and festive. Sierra’s accomplished use of the orchestra, chorus and soloists, his level of invention and genuineness of feeling mark Missa Latina as a major achievement.

Slatkin commanded Thursday’s performance with insight and energy, marshaling the wide-ranging influences into a cohesive interpretation — and the musicians responded enthusiastically. Murphy used her shimmering, expressive soprano to fine effect. Meglioranza wielded a solid, steady baritone, but might have summoned greater projection when the massed forces were at full tilt. As prepared by Charles Hausmann, the chorus sustained a full and balanced sound, showing mastery in rhythmically tricky passages.

The program opened with Beethoven’s “little” (as he called it) Symphony No. 8, appealingly modest in comparison to its more imposing siblings Nos. 5, 6, 7 and 9. Slatkin and the orchestra conveyed the work’s playfulness and exuberance.

Especially enjoyable were the novelty of the second and third movements — the one with its ticktock rhythm kidding the chronometer (forerunner of the metronome), the other with its elegant minuet punctuated by boisterous outbursts. The insistent finale rang out with vigor and dash, with Slatkin guiding a particularly skilled handling of its extended, not done yet! coda.