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Johann Sebastian Bach Mass in B Minor BWV 232 milana

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Johann Sebastian Bach-Mass in B Minor BWV 232


The Mass in B minor (BWV 232) is a musical setting (or more formally a missa tota) of the Latin Mass.Although parts of the Mass in B minor date to 1724, the whole was assembled in its present form in 1749, just before the composer's death in 1750.
Bach did not give the work a title; instead, in the score the four parts of the Latin Mass are each given their own title page—"Kyrie", "Gloria", "Symbolum Nicenum" (otherwise known as the "Credo"), and "Sanctus, Hosanna, Benedictus, Agnus Dei"—and simply bundled together. Indeed, the different sections call for different numbers and arrangements of performers, giving rise to the theory that Bach did not ever expect the work to be performed in its entirety. On the other hand, the parts in the manuscript are numbered from 1 to 4, and Bach's usual closing formula (S.D.G = Soli Deo Gloria) is only found at the end of the Dona Nobis Pacem. In any case, the Mass presents a powerful and unified musical experience. Due to its length—nearly two hours of music—it was never performed in its entirety as part of a church liturgy.

Bach was a committed Lutheran, and to compose a Latin Mass of this magnitude, part of the traditional liturgy of the Roman Catholic Church, is only superficially odd. It must be remembered that the Lutheran Churches of his day frequently retained Latin masses.

It is generally regarded as one of the supreme achievements of "classical" music. Alberto Basso summarises the work as follows: "The Mass in B minor is the consecration of a whole life: started in 1733 for 'diplomatic' reasons, it was finished in the very last years of Bach's life, when he had already gone blind. 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.

I. Kyrie

1. Kyrie eleison (1st). 5-part chorus (Soprano I, II, Alto, Tenor, Bass) in B minor, marked Adagio, Largo, C time.
2. Christe eleison. Duet (soprano I,II) in D major with obbligato violins, marked Andante, C time.
3. Kyrie eleison (2nd). 4-part chorus (Soprano, Alto, Tenor, Bass) in F# minor, marked Allegro moderato, split C time ("alla breve").

II. Gloria
Note the 9 (trinitarian, 3 x 3) movements with the largely symmetrical structure, and Domine Deus in the centre.

1. Gloria in excelsis. 5-part chorus (Soprano I, II, Alto, Tenor, Bass) in D major, marked Vivace, 3/8 time. The music was reused as the opening chorus of Bach's Cantata BWV 191.
2. Et in terra pax. 5-part chorus (Soprano I, II, Alto, Tenor, Bass) in D major, marked Andante, C time. Again the music was reused as the opening chorus of BWV 191.
3. Laudamus te. Aria (soprano II) in A major with violin obbligato, marked Andante, C time.
4. Gratias agimus tibi. 4-part chorus (Soprano, Alto, Tenor, Bass) in D major, marked Allegro moderato, split C time. The music is a reworking of the second movement of Bach's Ratwechsel Cantata BWV 29.
5. Domine Deus. Duet (soprano I, tenor) in G major, marked Andante C time. The music is reused as the duet from Cantata BWV 191.
6. Qui tollis peccata mundi. 4-part chorus (Soprano II, Alto, Tenor, Bass) in B minor, marked Lento, 3/4 time. The chorus is a reworking of the first half of Cantata BWV 46.
7. Qui sedes ad dexteram Patris. Aria (alto) in B minor with oboe d'amore obbligato, marked Andante commodo, 6/8 time.
8. Quoniam tu solus sanctus. Aria (bass) in D major with corno da caccia obbligato, marked Andante lento, 3/4 time.
9. Cum Sancto Spiritu. 5-part chorus (Soprano I, II, Alto, Tenor, Bass) in D major, marked Vivace, 3/4 time. The music is reused as the closing chorus of BWV 191.

III. Symbolum Nicenum, or Credo
Note the 9 movements with the symmetrical structure, and the crucifixion at the centre.

1. Credo in unum Deum. 5-part chorus (Soprano I, II, Alto, Tenor, Bass) in A mixolydian, marked Moderato, split C time.
2. Patrem omnipotentem. 4-part chorus (Soprano, Alto, Tenor, Bass) in D major, marked Allegro, split C time. The music is a reworking of the opening chorus of Cantata BWV 171.
3. Et in unum Dominum. Duet (soprano I, alto) in G major, marked Andante, C time.
4. Et incarnatus est. 5-part chorus (Soprano I, II, Alto, Tenor, Bass) in B minor, marked Andante maestoso, 3/4 time.
5. Crucifixus. 4-part chorus (Soprano II, Alto, Tenor, Bass) in E minor, marked Grave, 3/2 time. The music is a reworking of the opening chorus of Cantata BWV 12.
6. Et resurrexit. 5-part chorus (Soprano I, II, Alto, Tenor, Bass) in D major, marked Allegro, 3/4 time.
7. Et in Spiritum Sanctum. Aria (bass) in A major with oboi d'amore obbligati, marked Andantino, 6/8 time.
8. Confiteor. 5-part chorus (Soprano I, II, Alto, Tenor, Bass) in F# minor, marked Moderato, Adagio, split C time.
9. Et expecto. 5-part chorus (Soprano I, II, Alto, Tenor, Bass) in D major, marked Vivace ed allegro, split C time. The music is a reworking of the second movement (chorus) of Bach's Ratwechsel cantata BWV 120.

IV. Sanctus, Hosanna, Benedictus, and Agnus Dei

1. Sanctus. 6-part chorus (Soprano I, II, Alto I, II, Tenor, Bass) in D major, marked Largo, C time; Vivace, 3/8 time. Derived from an earlier, now lost, 3 soprano, 1 alto work written in 1724.
2. Hosanna. 8-part (double) chorus (Soprano I, II, Alto I, II, Tenor I, II, Bass I, II) in D major, marked Allegro, 3/8 time. A reworking of the opening chorus of BWV 215 — although they may share a common lost model themselves.
3. Benedictus. Aria for tenor with flute obbligato in B minor, marked Andante, 3/4 time.
4. Hosanna (da capo). 8-part (double) chorus in D major as above.
5. Agnus Dei. Aria for alto in G minor with violin obbligato, marked Adagio, C time. Derives from an aria of a lost wedding cantata (1725) which Bach also re-used as the alto aria of his Ascension Oratorio (BWV 11) but as the two different surviving versions are markedly different, it is thought they share a common model.
6. Dona nobis pacem. 4-part chorus in D major, marked Moderato, split C time. The music is the same as "Gratias agimus tibi" from the "Gloria".

Ripper...............: EAC (Secure mode) / LAME 3.92 & Asus CD-S520
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.2.0 20070715
Quality..............: Lossless, (avg. compression: 71 %)
Channels.............: Stereo / 44100 HZ / 16 Bit

*Helen Donath,soprano
*Brigitte Fassbaender,mezzo-soprano
*Claes H.Ahnsjö,tenor
*Roland Hermann,baryton
*Robert Holl,basse
*Choeur & Orchestre Symphonique de la Radio Bavaroise
*Eugen Jochum,conductor

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