Poulenc would later claim that the idea for the Gloria began while he worked on his opera, Dialogues des Carmélites, although it has been impossible to establish the dating of his initial sketches with certainty.
The last line of the text, beginning "Gratias agimus..." is in a somber chromaticized mode, giving an other-worldly characteristic in the middle of the revelry of the movement.
The melodic lines are often pentatonic, and the quick tempo and rousing rhythms give a whirling and dancing impression, grounded by the constant return of the theme.
After the introduction, the main setting of the text is reminiscent of the first movement, with the sixteenth note toiling line in the upper strings above a walking bass.
The final "Amen" intoned by the soprano on a D relates to both the B minor and G major chords played simultaneously to end the piece.
Poulenc, who was in attendance, reported to Pierre Bernac that the premiere was “very good, very fine, a success,” but that he preferred Münch's “sublime” final rehearsal over the concert.
[1] Georges Prêtre, soloist Rosanna Carteri, and choirs prepared by Yvonne Gouverné debuted the Gloria in France on February 14, with the same forces subsequently making the premiere recording under the supervision of the composer.