8 more: 2. Christe eleison • 3. Kyrie eleison II • Gloria in excelsis, Et in terra pax • 6. Laudamus te • 7. Gratias agimus tibi • Domine Deus, Qui tollis.
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- Mass in B minor
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Work Title Mass in B minor Alt ernative. Kyrie eleison I 2. Kyrie eleison II 4. Gloria in excelsis 5.
Mass in B minor
Et in terra pax 6. Gratias agimus tibi 8. Qui tollis peccata mundi Qui sedes ad dexteram Patris Quoniam tu solus sanctus Cum Sancto Spiritu II. Symbolum Nicenum Credo Credo in unum Deum Et in unum Dominum Et incarnatus est Et in Spiritum Sanctum Sanctus Pleni sunt coeli IV. Osanna, Benedictus, Agnus Dei et Dona nobis pacem Duration minutes Composer Time Period Comp. Retrieved from " http: Contents 1 Performances 1. Oboe or Oboe d'Amore ad lib. Horn or Basset Horn, and Bassoons ad lib. Oboes and Oboes d'Amore ad lib.
Mass in B minor, BWV (Bach) - from CDA/2 - Hyperion Records - MP3 and Lossless downloads
Javascript is required for this feature. Performer Pages Papalin recorder, chorus. These file s are part of the Werner Icking Music Collection. Staatsbibliothek zu Berlin D-B: Re-submission of the autograph of the Missa and Symbolum Nicenum originally submitted by Ivdruiz , supplemented by 9 of the 11 missing pages. Pages are still missing from Bach Digital's scan.
Bach P Much of the Mass gave new form to vocal music that Bach had composed throughout his career, dating back in the case of the " Crucifixus " to , but extensively revised. To complete the work, in the late s Bach composed new sections of the Credo such as " Et incarnatus est ".
It was unusual for composers working in the Lutheran tradition to compose a Missa tota and Bach's motivations remain a matter of scholarly debate.
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The Mass was never performed in its entirety during Bach's lifetime; the first documented complete performance took place in Since the nineteenth century it has been widely hailed as one of the greatest compositions in musical history, and today it is frequently performed and recorded.
Five months of mourning followed, during which all public music-making was suspended. Bach used the opportunity to work on the composition of a Missa , a portion of the liturgy sung in Latin and common to both the Lutheran and Roman Catholic rites. In the last years of his life, Bach expanded the Missa into a complete setting of the Latin Ordinary. It is not known what prompted this creative effort. Wolfgang Osthoff and other scholars have suggested that Bach intended the completed Mass in B minor for performance at the dedication of the new Hofkirche in Dresden , which was begun in and was nearing completion by the late s.
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However, the building was not completed until and Bach's death in July prevented his Mass from being submitted for use at the dedication. Instead, Johann Adolph Hasse 's Mass in D minor was performed, a work with many similarities to Bach's Mass the Credo movements in both works feature chant over a walking bass line, for example. Stephen's Cathedral which was Roman Catholic on St. The chronology of the Mass in B minor has attracted extensive scholarly attention.
Bach did not give the B minor Mass a title. Instead, he organized the —49 manuscript into four folders, each with a different title. That containing the Kyrie and Gloria he called "1.
Missa "; that containing the Credo he titled "2. Symbolum Nicenum "; the third folder, containing the Sanctus, he called "3. Sanctus "; and the remainder, in a fourth folder he titled "4. Osanna Benedictus Agnus Dei et Dona nobis pacem ". John Butt writes, "The format seems purposely designed so that each of the four sections could be used separately. Further, Butt writes, "What is most remarkable about the overall shape of the Mass in B Minor is that Bach managed to shape a coherent sequence of movements from diverse material.
The first overall title given to the work was in the estate of the recently deceased C. Bach, who inherited the score. It is called that as well in the estate of his last heir in , suggesting to Stauffer that "the epithet reflects an oral tradition within the Bach family". The opening Kyrie, however, is in B minor, with the Christe Eleison in D major, and the second Kyrie in F-sharp minor; as Butt points out, these tonalities outline a B minor chord. The piece is orchestrated for two flutes , two oboes d'amore doubling on oboes , two bassoons , one natural horn in D , three natural trumpets in D , timpani , violins I and II, violas and basso continuo cellos, basses, bassoons, organ and harpsichord.
A third oboe is required for the Sanctus. Bach conducted the Sanctus, in its first version, at the Christmas service in Leipzig, and re-used it in Christmas services in the mids. Arnold Schering in asserted that it was performed in Leipzig on April 26, , when Augustus III of Poland visited the town, but modern scholars reject his argument for several reasons:. It also appears that the Bach family employed a copyist in Dresden to assist them. Scholars differ, however, on whether the Missa was performed in July in Dresden.
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.