Furthermore, the words of the Mass — unlike those of the cantatas — are universal rather than being a product of their time. The Mass of The length of the Mass in B minor precludes it being sung in its entirety in a church service. Yet this does not mean that Bach could never have heard his creation performed live. It is just that it was performed in parts over the years. Most researchers now believe that Bach compiled his Mass largely of existing music, coming predominantly from the cantatas of course. Moreover, the form was extremely well suited to the custom in Dresden rather than that in Leipzig ; namely a Mass in separate movements, as in the Neapolitan style of Zelenka.
For the performance, Bach could call on the world-famous court orchestra, which included stars like the violinist Pisendel, the flautists Buffardin and Quantz, and the oboist Richter, who were each given a nice solo respectively Laudamus te, Domine Deus and Qui sedes. The effect must have been magnificent. The great variety of styles is also remarkable. For example, a true Baroque opera duet, Christe eleison, is followed by the second Kyrie in strong counterpoint.
Perfect proportions Bach only compiled the last five movements of the Mass when he notated the whole work in a score in The architecture of the Credo is striking. At the last moment, Bach very deliberately changed his initial format by separating the Et incarnatus est from the duet Et in unum Dominum, thus producing nine movements. In the new format, the core elements of the faith, i.
Incidentally, Bach sets the expecto fragment of text to music twice: Bach also borrowed from himself for the three Sanctus movements. After all, Bach often reused instrumental music in his vocal works. In addition, Jos van Veldhoven was guided by the texture of the score, also with regard to the orchestra line-up. Domine Deus, rex coelestis, Deus Pater omnipotens. Domine Fili unigenite, Jesu Christe, altissime.
Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Quoniam tu solus sanctus, tu solus Dominus, tu solus altissimus, Jesu Christe. Cum Sancto Spiritu in gloria Dei Patris. Credo in unum Deum. Patrem omnipotentem, factorem caeli et terrae, visibilium omnium et invisibilium. Et ex Patre natum ante omnia saecula. Deum de Deo, lumen de lumine, Deum verum de Deo vero. Genitum, non factum, consubstantialem Patri, per quem omnia facta sunt.
Qui propter nos homines et propter nostram salutem descendit de caelis. Et resurrexit tertia die secundum scripturas. Et ascendit in caelum, sedet ad dexteram Patris. Et iterum venturus est cum gloria judicare vivos et mortuos, cujus regni non erit finis. Qui cum Patre et Filio simul adoratur et conglorificatur, qui locutus est per prophetas. Et unam sanctam catholicam et apostolicam ecclesiam.
Bach's testament
Et expecto ressurectionem mortuorum, et vitam venturi saeculi. Sanctus, sanctus, sanctus, Domine Deus Sabaoth.
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Pleni sunt caeli et terra gloria ejus. Coro Osanna in excelsis.
Mass in B minor, BWV 232 (Bach, Johann Sebastian)
Lord God, heavenly king, God the Father almighty. Who takes away the sins of the world, have mercy on us. Who takes away the sins of the world receive our prayer. Since you alone are holy, you alone are the Lord, you alone are most high Jesus Christ. I believe in one God, the Father almighty, maker of heaven and earth and of all things visible and invisible.
God of God, Light of Light, very God of very God, begotten, not made, being of one substance with the Father, by whom all things were made. Who for us men and for our salvation came down from heaven. And on the third day he rose again according to the scriptures. And ascended into heaven. And sits at the right hand of the Father.
And he shall come again with glory, to judge both the quick and the dead; whose kingdom shall have no end. And I believe in one Catholic and Apostolic Church. And I await the resurrection of the dead, and the life of the world to come. Holy, Holy, Holy Lord God of hosts.
Heaven and earth are full of your glory. Blessed be he that comes in the name of the Lord. Chorus Hosanna in the highest. Kyrie eleison coro 2. Christe eleison duetto 3. Kyrie eleison coro 4. Gloria in excelsis Deo coro 4. Et in terra pax 5.
Munich Bach-Choir - Mass in B Minor, BWV No. 20, Confiteor - No. 21, Et expecto - KKBOX
Laudamus te aria 6. Gratias agimus tibi coro 7. Christoph Wolff argues that on July 26, at the Sophienkirche in Dresden, where Wilhelm Friedemann Bach had been organist since June, it "was definitely performed He would again perform a 2-hour Organ recital on 1 December at the Frauenkirche Dresden to inaugurate the new Gottfried Silbermann organ. Scholars agree that no other public performances took place in Bach's lifetime, although Butt raises the possibility that there may have been a private performance or read-through of the Symbolum Nicenum late in Bach's life.
The first public performance of the Symbolum Nicenum section under the title "Credo or Nicene Creed" took place 36 years after Bach's death, in Spring of , led by his son Carl Philipp Emanuel Bach at a benefit concert for the Medical Institute for the Poor in Hamburg. As recounted by George Stauffer, [35] the next documented performance not public in the nineteenth century was when Carl Friedrich Zelter —a key figure in the 19th-century Bach revival—led the Berlin Singakademie in read-throughs of the "Great Mass" in , covering the Kyrie; in he led read-throughs of the entire work.
The first public performance in the century—of just the Credo section—took place in Frankfurt in March, , with over performers and many instrumental additions. In the same year in Berlin, Gaspare Spontini led the Credo section, adding 15 new choral parts and numerous instruments. A number of performances of sections of the Mass took place in the following decades in Europe, but the first attested public performance of the Mass in its entirety took place in in Leipzig, with Karl Riedel and the Riedel-Verein.
The Bach Choir of Bethlehem performed the American premiere of the complete Mass on March 27, , in Bethlehem, Pennsylvania , though there is evidence that parts of the Mass had been performed in the USA as early as From early in the century, authors such as Albert Schweitzer , Arnold Schering, and Frederick Smend called for smaller performance forces, and experiments with relatively smaller groups began in the late s. The first complete recording of the work was made in , with a large choir and the London Symphony Orchestra led by Albert Coates.
Nikolaus Harnoncourt made the first recording with period instruments in his second Bach choral recording , and won High Fidelity's best record of the year award. Joshua Rifkin 's first recording using the one-voice-per-part vocal scoring he proposes was made in , [40] and won a Gramophone Award. The Mass in B minor is widely regarded as one of the supreme achievements of classical music. Alberto Basso summarizes the work as follows:. The Mass in B minor is the consecration of a whole life: This monumental work is a synthesis of every stylistic and technical contribution the Cantor of Leipzig made to music.
But it is also the most astounding spiritual encounter between the worlds of Catholic glorification and the Lutheran cult of the cross. Scholars have suggested that the Mass in B minor belongs in the same category as The Art of Fugue , as a summation of Bach's deep lifelong involvement with musical tradition—in this case, with choral settings and theology. Bach scholar Christoph Wolff describes the work as representing "a summary of his writing for voice, not only in its variety of styles, compositional devices, and range of sonorities, but also in its high level of technical polish Bach's mighty setting preserved the musical and artistic creed of its creator for posterity.
Two autograph sources exist: Bach the autograph has been published in facsimile from the source in the Staatsbibliothek zu Berlin. Bach, as was typical practice in the era, made additions to the autograph score for performance by adding a bar introduction, replacing the now-obsolete oboe d'amore with newer instruments clarinets, oboes, or violins and making other changes in instrumentation for his own aesthetic reasons. For this and other reasons, the Mass in B minor poses a considerable challenge to prospective editors, and substantial variations can be noted in different editions, even critical urtext editions.
The Bach Gesellschaft edition, edited by Julius Rietz, was published in based on several sources but without direct access to the autograph. When access was later obtained, the textual problems were so evident that the society published a revised edition the next year. The edition was the standard for the next century, but was later recognized to be even less accurate than the version due to inadvertent incorporation of C. Bach's alterations in the autograph. Christoph Wolff's edition, published by C.
Peters in , [50] uses two copies of the —50 manuscript made before C. Bach's adulterations to try to reconstruct Bach's original readings, and seeks to recover performance details by using all available sources, including cantata movements that Bach reworked in the B minor Mass. Bach emendations, but differs from Wolff in arguing that the —50 work is, to quote John Butt, "essentially a different entity from the Missa, and that a combination of the 'best' readings from both does not really correspond to Bach's final and virtually completed conception of the work"; [53] Rifkin's version seeks to adhere to this final version.
Bach's handwriting from the additions made by C.
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Bach's revisions and uses the Dresden parts as the primary source for the Kyrie and Gloria. The work consists of 27 sections. Tempo and metrical information and parodied cantata sources come from Christoph Wolff's critical urtext edition, and from George Stauffer's Bach: The Mass in B Minor. Regarding sources, Stauffer, summarizing current research as of , states that "Specific models or fragments can be pinpointed for eleven of the work's twenty-seven movements" and that "two other movements [the "Domine Deus" and "Et resurrexit"] are most probably derived from specific, now lost sources.
Butt points out that "only with a musical aesthetic later than Bach's does the concept of parody adapting existing vocal music to a new text appear in an unfavourable light" while it was "almost unavoidable" in Bach's day. As of [update] , recordings are listed on bach-cantatas, beginning with the first recording by a symphony orchestra and choir to match, conducted by Albert Coates.
From Wikipedia, the free encyclopedia. For other Masses in B minor, see Missa in B minor. Mass in B minor structure. Performed at Latin Cathedral in Lviv, Ukraine.
More by Johann Sebastian Bach
Run time is four minutes, 41 seconds. For selected recordings on period instruments and modern instruments, see Mass in B minor discography. Archived from the original on Mass in B minor, Rome". Also in The New Bach Reader: The Learned Musician, W. The Mass in B Minor , p.
Stauffer, Bach, the Mass in B Minor: The Mass in B Minor , pp. The Great Catholic Mass p. The Learned Musician , W.
