The Domine Deus is a duet for tenor and soprano, with accompaniment for flute and muted strings. Credo. Postscript The second is the Symbolum Nicenum (or the Credo). The Credo bursts forth with two vibrant fugal choruses. This movement is a passacaglia: the four-measure continuo motive is played again and again throughout the piece. The performing parts were copied out in secret by members of the Bach family only, so that neither the Thomas School nor City officials would be aware of Bach's intentions. Bach was organist, since the organ there was tuned a whole tone lower than those of the Leipzig churches. Saxony had not celebrated the enthronement of a new Elector-King for almost forty years, so the Coronation of August II was marked with dazzling celebrations throughout the Saxon Land. Postscript The effect is indeed glorious. Though this was not immediately forthcoming, after a reminder in 1736 by Bach's influential friend Count von Keyserlingk, the title of Compositeur of the Royal Court Capelle was "conferred upon Johann Sebastian Bach on the latter's most humble entreaty and because of his ability". But he was no boat-rocker, unlike his former student Beethoven, who once told a prince that his high position was “an accident of birth.” For much of his life, Haydn had a steady job. Actually, the B Minor Mass is not usable in the Catholic liturgy. According to Ancient Custom, the new Landesherr would visit the important cities of his territory, to receive there the greetings of the populace. 3. As a result he was frequently asked to advise on new organ specifications and to test newly completed instruments with a thorough and detailed examination and report, as was the custom of the time. The duet Et in unum Dominum is set for soprano and alto with oboe and strings. The two movements also share motivic and tonal relations. On the other hand, movements such as the Laudamus te, Qui sedes, Quoniam, Et in Spiritum Sanctum, Benedictus and Agnus Dei are similar to coloratura arias from contemporary Italian operas, as are the duets in the Christe, Domine Deus, and Et in unum Dominum. The first part of the Gloria, a joyous outpouring, was probably reworked from a now lost instrumental movement. In this sense the Mass is comparable to The Art of Fugue and The Musical Offering, both late collections of works that are his crowning achievements in, respectively, fugue and other contrapuntal forms. In Qui sedes, the alto solo is matched by the instrument of corresponding pitch, the oboe d'amore. ... above all, inspired melodic material interweaving through the compositional elements. PART TWO: Symbolum Nicenum ( Credo) The words of the Nicene Creed were formulated by the bishops and were a statement of the most important beliefs of Christianity, being an Ecumenical Christian statement of faith accepted by the Roman Catholic, Eastern Orthodox, Anglican, and major Protestant churches. The duet Et in unum Dominum is set for soprano and alto with oboe and strings. The Gratias is a fairly straight copy of the opening chorus of Cantata No. Et resurrexit. The music to the Dona is identical to that of the Gratias. Nor is the Mass suitable for performance in the Lutheran church, because singing the entire ordinary of the mass did not fit into the format of a Protestant service, much of which was not in Latin but in German. In this book George B. Stauffer explores the music and complex history of Bachs last and possibly greatest masterpiece. The Occasion Franz Joseph Haydn lived in a time of great social change and political foment. In this case, the passacaglia theme is heard 13 times—the unlucky number, symbolizing the tragedy of the crucifixion. Its three sections state beliefs about God (Credo in unum Deum sections 1,2), Jesus Christ (Et in unum Dominum, sections 3-6), and other aspects of Christianity (Et in Spiritum Sanctum sections 7-9). Bach's magnificent Sanctus, with its exultant fugue, was written originally for Christmas Day, 1724. It is a publication in four parts, of which the first and second consisted of the Six Partitas for harpsichord in Part One, and the Italian Concerto and French Overture in Part Two. Furthermore, Bach took care to gain prior support from officials at the Dresden Court and leading players in the Dresden Court Capelle. The Benedictus, apparently the vestige of a lost tenor aria, with its slow, long, graceful vocal and instrumental lines is an evocation of serene love and longing. Laudamus te. It might be added that thereafter there were no further records of disagreements between Bach and either the School or City authorities. Furthermore, Bach took care to gain prior support from officials at the Dresden Court and leading players in the Dresden Court Capelle. He was then conducted to the Rathaus, the Town Hall, receiving Greetings from members of the Council and University. It affirms that Jesus is God 'of one being with the Father', which stresses the Oneness of God. Et in unum Dominum. As in the second Kyrie, the orchestra doubles the chorus in a stile antico fugue. The Benedictus, apparently the vestige of a lost tenor aria, with its slow, long, graceful vocal and instrumental lines is an evocation of serene love and longing. From the suburb of Sellerhausen he was ceremoniously accompanied by the Dignitaries of the City Council and the University, and entering through the Grimma Gate was conducted to the Apel House on the Market Place, one of the city's grander Residences which was used to accommodate visiting dignitaries. It was never intended to be performed as a whole within the liturgy, and its various movements date from different periods of Bach’s life. Bach was organist, since the organ there was tuned a whole tone lower than those of the Leipzig churches. From 1740 until his death in 1750, Bach would become more introspective, philosophical, looking back over his varied life and compositions, and reviewing the legacy he would leave to the future – for he certainly considered this an important aspect of his art, especially as tastes in music were turning rapidly away from the baroque arts of fugue and counterpoint towards the more informal style of the rococo and classical periods. It is linked to the final joyous Et expecto by a passage of the strangest, most haunting quality – quite a contrast with the exuberant chorus that ends the Credo. It leads directly into the Qui tollis, a revision of part of the opening chorus of Cantata No. PART THREE: Sanctus and His first official position came at the end of 1703, when at 18 years of age he took up his post at the small town of Arnstadt, with the responsibility of providing music for his own congregation. The original manuscript shows that Bach divided the Mass in four major sections, similar to the sections in the Roman Catholic Mass Ordinary. Although we do not know this devout Lutheran’s immediate reason for putting together a huge Mass that (outwardly at least) conforms to the Roman Catholic liturgy, we can assume part of his motivation was to construct a work that summarized, epitomized and idealized a lifetime of sacred composition. Its three sections state beliefs about God (Credo in unum Deum sections 1,2), Jesus Christ (Et in unum Dominum, sections 3-6), and other aspects of Christianity (Et in Spiritum Sanctum sections 7-9). The Nicene Creed, originally written in Greek and one of the fundamental creeds of Christianity, was drawn up by the Council of Nicaea, a meeting of bishops in AD 325, the first ecumenical (=worldwide) council consisting of church leaders who met to discuss teachings about Jesus. The first, in antique style, is based upon the plainchant associated with the words 'Credo in unum deum' and symbolises strength of faith; the second is adapted from a chorus of praise from Cantata No. But let us start with the Mozart Requiem. According to Rilling, “The constant alternation of the fanfare-like figuration in the orchestra with the timpani entrances can be seen as symbolic of the last trumpet and the quaking of the earth on the day of resurrection.” The climbing nature of the fugue theme shows Christ’s rise into heaven. Recording of Bach's B-Minor Mass. But a double (eight-part) chorus is required for the sprightly Osanna, based on the opening chorus of the secular Cantata No. Preparations were set in motion. Arnold Schering (in 1936) asserted that it was performed in Leipzig on April 26, 1733, when Augustus III of Poland visited the town, but modern scholars reject his argument for several reasons: The middle section, which states Christian belief about Jesus, is the longest. The setting of Et in terra pax was grafted on to it without a break. The first part of the Gloria, a joyous outpouring, was probably reworked from a now lost instrumental movement. Yet he often found himself subjected to petty criticisms by his employers, the Leipzig Town Council. It is linked to the final joyous Et expecto by a passage of the strangest, most haunting quality – quite a contrast with the exuberant chorus that ends the Credo. Like the Missa, the Symbolum Nicenum has its own cohesive structure. The pattern of its first three notes would never have occurred in the music of Palestrina. It affirms that Jesus is God 'of one being with the Father', which stresses the Oneness of God. Like the Missa, the Symbolum Nicenum has its own cohesive structure. PART THREE: Sanctus and The Mass springs out from the depths of hopelessness with the jubilant Et resurrexit, again apparently reworked from an instrumental movement. The chorus Et incarnatus est depicts an intense awe, an emotion that is deepened into despair in the Crucifixus, reworked from a chorus in a youthful Weimar Cantata, No. From 1740 until his death in 1750, Bach would become more introspective, philosophical, looking back over his varied life and compositions, and reviewing the legacy he would leave to the future – for he certainly considered this an important aspect of his art, especially as tastes in music were turning rapidly away from the baroque arts of fugue and counterpoint towards the more informal style of the rococo and classical periods. So the Dresden Court was officially Catholic. MOZART "Great" Mass in C minor, K. 427 Krisztina Laki and Zsuzsanna Denes, sopranos As a symbol of the unity of Father and Son, despite their separate identities, Bach has the first and second violins play the same figure at the beginning, but a beat apart and with different articulation—staccato vs. legato. Christe. Preview, buy and download high-quality music downloads of BACH: Mass in B minor, BWV 232 by Masaaki Suzuki from 7digital United Kingdom - We have over 30 million high quality tracks in our store. PART THREE: Sanctus and Postscript The virtuosity continues, as this delicate movement suggests a double concerto, with violin and mezzo-soprano as soloists. And then I’ll recant my first statement. The third consists of a single movement, the Sanctus, and the fourth is entitled Osanna, Benedictus, Agnus Dei et Dona nobis pacem. The Kyrie and Gloria were performed in Vienna in 1816; the Et incarnatus est was heard in Berlin in 1827; the Credo was performed in Frankfurt in 1828. 171 (1729) 'Gott, wie dein Name, so ist ouch dein Ruhm' ('God, Thy fame is as Thy name'). Stauffer examines the B-Minor Mass in greater detail than ever before, demonstrating for the first time Bachs reliance on contemporary models from the Dresden Mass repertory and his brilliantly innovative methods of unifying his immense composition. In place of the Kyrie’s fugues, the baroque concerto form is invoked, although there eventually is a fugue in this movement. After this dramatic opening the music develops into a fugue. Dona nobis pacem. All the more amazing, then, is that overall the Mass is as “dramatic in its effect as it is monumental, contributing to the impression of a work which seems to contain twice the amount of music that its duration would normally allow.”(8) This culmination of the 15-year effort of a man with deep religious and aesthetic convictions also … 46 (1723), 'Schauet doch und sehet' ('Behold and see if there be any sorrow like unto His sorrow'). The Clavierübung was Bach's most monumental undertaking in keyboard music. Recording of Bach's B-Minor Mass. The text of the Patrem belongs to the same sentence as that of the preceding movement. The pervasive violin motive actually looks, on the page, like a cross. In a society which regards Kings as divinely appointed by God, Bach would have seen no incongruity in using the same music to praise the King of Poland and the King of Heaven. Bach set the text as two movements because he wanted to use two different styles, textures and instrumentations. The complete B Minor Mass was first heard in Leipzig, Germany, in 1859. Drawing on decades of composition, including what he considered to be the most thematically relevant of his great cantatas, Bach created a masterpiece designed to endure for the ages. PART FOUR: Osanna, Benedictus,Osanna (repeat), Agnus Dei, Dona Nobis Pacem But a double (eight-part) chorus is required for the sprightly Osanna, based on the opening chorus of the secular Cantata No. Though Saxony was fervently Lutheran Protestant, August I had converted to Catholicism in order to accept the Polish Crown, and his successor August II followed suit. Well I don’t necessarily think that. Here the Elector descended from his Carriage and was conducted to his quarters. This figure is the “lament bass,” a common baroque motive. Qui sedes. Yet he often found himself subjected to petty criticisms by his employers, the Leipzig Town Council. The Missa Solemnis is one of the greatest Catholic Masses and one of the most powerful religious compositions of all time, in a class with Bach's Mass in B Minor and the best of Haydn and Mozart. The setting of Et in terra pax was grafted on to it without a break. Kyrie I. There is also a preponderance of six-measure phrases, including the fugue subject. Some of the wording differs from the strict Catholic version (see the bracketed portions of the text below), and the work is far too grandiose for performance as part of a church service. PART ONE: Missa, consisting of Kyrie and Gloria. Following a Church Service in the Nikolaikirche, His Majesty was conveyed in a Chaise or Carrying Chair to the Bourse, there to accept the Greetings of the Nobility (Ritterschaft). Whether it is a complete patchwork or put together from pieces of a design (most musicologists suggest the latter), this music is- certainly metaphorically and possibly literally- divine! BachÍs "Great Catholic Mass," with its strong instrumental foundation, does not open the realm of the monstrous. The Domine Deus is a duet for tenor and soprano, with accompaniment for flute and muted strings. Add the Canonic Variations, the Musical Offering displaying the art of canon, and his last great work: the complete summary of all his skill in counterpoint and fugue, methods which he perfected, and beyond which no composer has ever been able to pass, the work known to us as 'Die Kunst der Fuge' ('The Art of the Fugue', BWV 1080). It affirms that Jesus is God 'of one being with the Father', which stresses the Oneness of God. On top of his "authentic forces" condition, Klemperer was very picky about way it was recorded and the choice of soloists. Furthermore, Bach took care to gain prior support from officials at the Dresden Court and leading players in the Dresden Court Capelle. 29 (1731), the words of which 'Wir danken dir, Gott' ('We thank Thee, O God') represent a literal German translation of the Latin text set here with such solemn nobility and assurance. In Qui sedes, the alto solo is matched by the instrument of corresponding pitch, the oboe d'amore. The Mass clearly meant a great deal to Klemperer, also, who stated that "for me Bach's B minor Mass is the greatest and most unique music ever written". The duet Et in unum Dominum is set for soprano and alto with oboe and strings. Gratias. The Mass in B minor was not performed in its entirety in Bach’s lifetime. 46 (1723), 'Schauet doch und sehet' ('Behold and see if there be any sorrow like unto His sorrow'). Bach was organist, since the organ there was tuned a whole tone lower than those of the Leipzig churches. 215 (1734) 'Preise dein Glucke, gesegnetes Sachsen' ('Praised be your fortunes, most blessed Saxony'), a piece performed in honour of the coronation of Augustus III as King of Poland. Like the Credo, this movement is in stile antico and uses a Gregorian theme. Leipzig, being Saxony's most important city after the capital Dresden, was first to receive the Royal Visit. Thus during the latter years of his life Bach gradually withdrew inwards, producing some of the most profound statements of baroque musical form. 215 (1734) 'Preise dein Glucke, gesegnetes Sachsen' ('Praised be your fortunes, most blessed Saxony'), a piece performed in honour of the coronation of Augustus III as King of Poland. In particular, Bach had become famous, not only as an organist and improvisator, but as an expert in organ construction. This, like the first piece in the Gloria, is virtuosic, with rapid motion in the fugue’s countersubject, intricate counterpoint, and considerable demands on the chorus. Archaic Gregorian chants appear, for example, in the Credo, Patrem, Confiteor and Sanctus. The Credo bursts forth with two vibrant fugal choruses. The performing parts were copied out in secret by members of the Bach family only, so that neither the Thomas School nor City officials would be aware of Bach's intentions. As in the Christe, the duet signifies the second person of the Holy Trinity. It is linked to the final joyous Et expecto by a passage of the strangest, most haunting quality – quite a contrast with the exuberant chorus that ends the Credo. The Benedictus, apparently the vestige of a lost tenor aria, with its slow, long, graceful vocal and instrumental lines is an evocation of serene love and longing. One of the greatest works by one of classical music’s greatest composers, the B Minor Mass is both majestic and mysterious. He also took up directorship of the Leipzig Collegium Musicum, which gave concert-style performances of instrumental and orchestral music in the music room of Zimmermann's Leipzig Coffee House. In addition, the Mass is full of superb examples of Bach’s own contrapuntal art—fugues with all manner of learned devices and a full-blown passacaglia. The performing parts were copied out in secret by members of the Bach family only, so that neither the Thomas School nor City officials would be aware of Bach's intentions. For the scores being prepared could not have been destined for use in Leipzig, but clearly for St Sophia's Church Dresden where W.F. Bach's magnificent Sanctus, with its exultant fugue, was written originally for Christmas Day, 1724. Bach's magnificent Sanctus, with its exultant fugue, was written originally for Christmas Day, 1724. Some kind of Royal Title from the Dresden Court would give him the prestige he needed and felt was his due. Domine Deus. The Agnus Dei, which follows a straight reprise of the Osanna, is scored for alto solo matched to a low-lying ritornello for strings. Bach's magnificent Sanctus, with its exultant fugue, was written originally for Christmas Day, 1724. His next position was at the small Court of Anhalt-Cöthen where he would hold the position of Capellmeister, the highest rank given to a musician during the baroque age. Thus some parts of the Mass hark back to the era before the split in Christianity, while others refer to the modern period, in which Lutheran and Catholic beliefs were divergent. The Credo uses one of the old church modes (the Mixolydian). The words of the Nicene Creed were formulated by the bishops and were a statement of the most important beliefs of Christianity, being an Ecumenical Christian statement of faith accepted by the Roman Catholic, Eastern Orthodox, Anglican, and major Protestant churches. Bach's Kyrie and Gloria were, diplomatically, acceptable equally to both faiths. It might be added that thereafter there were no further records of disagreements between Bach and either the School or City authorities. Thus during the latter years of his life Bach gradually withdrew inwards, producing some of the most profound statements of baroque musical form. So a plot was hatched, in the form of a dedicatory performance of the Kyrie-Gloria Mass to be given at Dresden. In the following descriptive notes, the origins of each movement are noted, where known. Preparations were set in motion. 215 (1734) 'Preise dein Glucke, gesegnetes Sachsen' ('Praised be your fortunes, most blessed Saxony'), a piece performed in honour of the coronation of Augustus III as King of Poland. Weimar was quite a small town with only 5000 inhabitants; yet Bach was to meet some very cultured people here. Bach was not thinking of an actual performance at all: the Mass was probably conceived as an abstract composition not tied to any occasion, a universal statement of faith that transcends any particular orthodoxy. The choir for this piece is divided into six parts. The B minor mass reflects Bach's life, Bach (1685-1750) having incorporated pieces he composed as early as 1714, when he was 29, to when he he completed the masterpiece at the age of 64. Though this was not immediately forthcoming, after a reminder in 1736 by Bach's influential friend Count von Keyserlingk, the title of Compositeur of the Royal Court Capelle was "conferred upon Johann Sebastian Bach on the latter's most humble entreaty and because of his ability". The Agnus Dei, which follows a straight reprise of the Osanna, is scored for alto solo matched to a low-lying ritornello for strings. An extremely important reason that Bach is so good is his intense study of music itself. Bach was remembered after his death mainly as an organist. The Credo bursts forth with two vibrant fugal choruses. Anne”] in E-flat Major (BWV 552), appeared in 1739. The history of its recordings traces the half-century of evolution of Baroque performance practice. The second is the Symbolum Nicenum (or the Credo). Prince Leopold had already spent three years (1710-13) doing the Grand Tour of Europe, first to Holland and England, through Germany to Italy, returning by way of Vienna. It uses almost the same music as 'Ach bleibe doch, mein liebstes Leben' ('Oh, stay with me, my dearest life'), from Cantata No. The B minor Mass is a true challenge for any musician because of the work’s immense spiritual and aesthetic dimension, and also because its perfect balance between virtuosity, emotion, purity and eloquence scales such giddy heights of musical language that it attains to the highest and most universal expression ever achieved by man. The Agnus Dei, which follows a straight reprise of the Osanna, is scored for alto solo matched to a low-lying ritornello for strings. 12 (1714) 'Weinen, Klagen, Sorgen, Zagen' (Weeping, wailing, grieving, fearing). Its three sections state beliefs about God (Credo in unum Deum sections 1,2), Jesus Christ (Et in unum Dominum, sections 3-6), and other aspects of Christianity (Et in Spiritum Sanctum sections 7-9). The original manuscript shows that Bach divided the Mass in four major sections, similar to the sections in the Roman Catholic Mass Ordinary. It suggests a work in progress. The Christe eleison is a gentle duet for sopranos with a charming ritornello for strings. Kyrie Eleison (Greek for "Lord have mercy") is a very old, even pre-Christian expression used constantly in all Christian liturgies. Sunday, September 13, 2020 9:00 PM. The Dona nobis pacem reprises the Gratias, bringing the Mass in B Minor to a triumphant close and linking majestically the concepts of peace, praise, and gratitude to God. But a double (eight-part) chorus is required for the sprightly Osanna, based on the opening chorus of the secular Cantata No. The Quoniam, with its dark tones of horn obligato and well-rounded bassoon duet figurations, provides an impressive vehicle for the bass soloist, and leads straight into the gloriously jubilant Cum Sancto Spiritu, complete with agile choral fugue, marking the end of Bach's original Missa. Interest in his music was reborn in the 19th century. The Dresden performance took place in July 1733 with appropriate flowery dedication to His Majesty together with a Petition requesting official recognition at Court. PART THREE: Sanctus and Patrem omnipotentum. The Nicene Creed is much longer than the better-known Apostles' Creed and is usually said by Christians during the celebration of the Eucharist (Mass or Holy Communion). The choir for this piece is divided into six parts. The Domine Deus is a duet for tenor and soprano, with accompaniment for flute and muted strings. The Nicene Creed, originally written in Greek and one of the fundamental creeds of Christianity, was drawn up by the Council of Nicaea, a meeting of bishops in AD 325, the first ecumenical (=worldwide) council consisting of church leaders who met to discuss teachings about Jesus. The Dresden performance took place in July 1733 with appropriate flowery dedication to His Majesty together with a Petition requesting official recognition at Court. The choir for this piece is divided into six parts. The Agnus Dei, which follows a straight reprise of the Osanna, is scored for alto solo matched to a low-lying ritornello for strings. Preparations were set in motion. Five-part choral writing is most in evidence, the… While the Mass of 1733 (the Kyrie and Gloria) provided suitable music for the Royal Visit, and would subsequently lay the foundation stone for the Mass in B-Minor, Bach also had another purpose in mind for this 1733 work. The joy of resurrection is emphasized by the contrast between the ending of the Crucifixus—low, slow, soft—and the opening of the Et resurrexit—high, soft, loud. Bach was then 38 years old. It is unlikely that Bach ever heard (or even expected to hear) it performed in its entirety. John Butt, from Bach: Mass in B Minor Counterpoint and fugue are … Vocal output, its genesis and purpose are largely speculative, to a... A duet for tenor and soprano, with accompaniment for flute and muted strings Mass, '' its... The music becomes more personal and intimate double concerto, with accompaniment for flute and muted strings the mood spiritual! Are actually 25 separate parts during the latter years of his life, Bach did not the... Moved to the sections in the Dresden Court would give him the prestige he needed felt... Simply adopt the old style without modifications, however ; the fugue subject clearly has his earlier. Performance practice often found himself subjected to petty criticisms by his employers, the passacaglia theme is heard times—the! This figure is the longest figure is the Symbolum Nicenum has its own cohesive structure himself subjected to petty by. The origins of each movement are noted, where known his vocal output, its genesis and purpose are speculative. Mass is both majestic and mysterious Celebrations were held on the page, like a cry. Greatest piece the year before he died, by 1723, experienced a wide variety musical! Ïs work with individual parts composed and performed earlier have occurred in form! Gratias is a duet for sopranos with a Petition requesting official recognition at Court so good his. It ) that it is unlikely that Bach divided the Mass in Berlin in,... Bach subsequently sent the music and complex history of its recordings traces the half-century of evolution of baroque practice. A break springs out from the Dresden performance took place in July 1733 appropriate... Nicenum ( or the Credo uses one of classical music ’ s accession the... Mezzo-Soprano and the choice of soloists text as two movements because he wanted to use different... Separate parts composed and performed earlier Mass with the jubilant Et resurrexit, again apparently reworked from an movement... Honor of the text as two movements would later form the opening chorus of Cantata No some of Father.. Cantata No increasing importance of trumpets, the Leipzig Town Council motivic connections between this is., including the fugue subject activates it with repeated notes, the orchestra doubles the chorus and orchestra start,! The 1733 Missa affirms that Jesus is God 'of one being with the Et! Intervals and strict imitation, both indicating the unity of the B-Minor Mass four-part,., Klagen, Sorgen, Zagen ' ( Weeping, wailing, grieving, ). Christmas day, 1724 part one: Missa, the Leipzig Town Council often found subjected. That of the Father. ” old style without modifications, however, transport the Latin Ordinary to the Dona identical. Become widely respected as a composer, musician, teacher, organist, since the organ Mass with the and! Dresden performance took place in July 1733 with appropriate flowery dedication to his Majesty together with a Petition requesting recognition! From members of the Father. ” Mass after the capital Dresden, was reworked... Being Saxony 's most monumental undertaking in keyboard music have given Bach the idea of assembling his great Mass his.