Rossini's Messa di Gloria divides the Kyrie into three portions, the first a dotted-rhythm "Kyrie eleison" for chorus in E flat minor, the second, a more lyrical E-flat major "Christe eleison" for two tenors (unusual scoring, and likely forbidden for ecclesiastical purposes), with the first minor-key section rounding out the prayer. Rossini's own contrapuntal abilities were displayed to even better effect in his Stabat Mater, composed for Paris in 1845. Why he felt he needed Raimondi for this work is not clear.