Mass in B minor structure
Mass in B minor | |
---|---|
BWV 232 | |
by J. S. Bach | |
Form | Missa solemnis |
Related | Bach's Missa of 1733; several movements parodies of cantata movements |
Text | Latin Mass |
Composed | 1748?–1749, Leipzig |
Movements | 27 in 4 parts (12 + 9 + 1 + 5) |
Vocal | |
Instrumental |
|
The Mass in B minor is Johann Sebastian Bach's only setting of the complete Latin text of the Ordinarium missae.[1] Towards the end of his life, mainly in 1748 and 1749, he finished composing new sections and compiling it into a complex, unified structure.
Bach structured the work in four parts:[2]
- Missa
- Symbolum Nicenum
- Sanctus
- Osanna, Benedictus, Agnus Dei et Dona nobis pacem
The four sections of the manuscript are numbered, and Bach's usual closing formula (S.D.G =
Some parts of the mass were used in Latin even in
The Mass is a
History and parody
The Mass was Bach's last major artistic undertaking. The reason for the composition is unknown.[1] Scholars have found no plausible occasion for which the work may have been intended. Joshua Rifkin notes:
... likely, Bach sought to create a paradigmatic example of vocal composition while at the same time contributing to the venerable musical genre of the Mass, still the most demanding and prestigious apart from opera.[3]
Bach first composed
In deepest Devotion I present to your Royal Highness this small product of that science which I have attained in Musique, with the most humble request that you will deign to regard it not according to the imperfection of its Composition, but with a most gracious eye ... and thus take me into your most mighty Protection.[4]
He arranged the text in diverse movements for a five-part choir and solo voices, according to the taste in Dresden where sacred music "borrowed" from Italian opera with a focus on choral movements, as musicologist Arthur Wenk notes.[5]
Bach expanded the Missa of 1733 to a Missa tota from 1748 to 1749, near the end of his life.[3][6][7] In these last years, he added three choral movements for the Credo: its opening Credo in unum Deum, Confiteor and Et incarnatus est. The Sanctus was originally an individual movement composed for Christmas 1724 in Leipzig.[1]
Most other movements of the mass are
Bach quoted Gregorian chant twice, in the Credo as a
.Bach achieved a symmetry of the parts, with the profession of faith (Credo) in the center and the movement Crucifixus in its center. Markus Rathey, Associate Professor of Music History at the Institute of Sacred Music at the Yale School of Music, sees a similarity to architecture of the period, such as the Palace of Versailles. Bach knew buildings in that style, for example Schloss Friedrichsthal in Gotha, built in 1710.[10] Rathey continues:
The symmetry on earth mirrors the symmetric perfection of heaven. The purpose of art at this time—in architecture, the visual arts, and music—was not to create something entirely new, but to reflect this divine perfection, and in this way to praise God. We find such a symmetric outline in many pieces by Johann Sebastian Bach,19 but only in a few cases is this outline as consequent as in the B Minor Mass.[11]
The parts Kyrie, Gloria and Credo are all designed with choral sections as the outer movements, framing an intimate center of theological significance.
According to Christoph Wolff, the Mass can be seen as a "kind of specimen book of his finest compositions in every kind of style, from the stile antico of Palestrina in the 'Credo' and 'Confiteor' and the expressively free writing of the 'Crucifixus' and 'Agnus Dei', to the supreme counterpoint of the opening Kyrie as well as so many other choruses, right up to the most modern style in galant solos like 'Christe eleison' and 'Domine Deus'".[12] Bach made "a conscious effort to incorporate all styles that were available to him, to encompass all music history as far as it was accessible".[13] The Mass is a compendium of vocal sacred music, similar to other collections that Bach compiled during the last decade of his life, such as the Clavier-Übung III, The Art of Fugue, the Goldberg Variations, the Great Eighteen Chorale Preludes and The Musical Offering.[14]
Overview
Bach's
Comparison of Bach's titles to the parts of the mass Five usual sections of the
Mass ordinaryMass in B minor sections Number of
movementsYear
fromYear
toI. Kyrie I. Missa (consisting of Kyrie
and Gloria)3 1733 1733 II. Gloria 9 ? 1733 III. Credo II. Symbolum Nicenum 9 1714 1749 IV. Sanctus
including Hosanna and BenedictusIII. Sanctus 2 1724 1724 IV. Osanna, Benedictus,
Agnus Dei et
Dona nobis pacem3 1732 1749 V. Agnus Dei
ending on "dona nobis pacem"2 1725 1749
Scoring
The work is scored for five vocal soloists, chorus and orchestra. Its movements are listed in a table with the scoring of
The voices are abbreviated S for soprano, A for alto, T for tenor, B for bass. Bach asked for two sopranos. Practical performances often have only one soprano soloist, sharing the parts for the second soprano (SII) between soprano and alto. A four-part choir is indicated by SATB, a five-part choir by SSATB. The Sanctus requires six vocal parts, SSAATB, which are often divided in the three upper voices versus the lower voices. The Osanna requires two choirs SATB.
Bach based movements of the Mass in B minor on earlier compositions. What is known about reworked earlier material is indicated in the last two columns of the table (earlier composition; year of composition), including some educated guesswork, as found in the indicated scholarly literature. This does not include the 1733 version of Part I (the movements that constitute the Kyrie and Gloria), but earlier compositions which Bach used as basis for that version.
Structure
Movement | Instruments | Music | Origination | |||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|
NBA II | NBA I | Incipit | Solo | Choir | Brass | Wood | Strings | Key | Time | Tempo | Source[16] | Year |
I. Missa | ||||||||||||
1 | 1 | Kyrie | SSATB | 2Ft 2Oa Fg | 2Vl Va | B minor | Adagio – Largo | Kyrie in G minor? | ||||
2 | 2 | Christe | S S | 2Vl | D major | likely | ||||||
3 | 3 | Kyrie | SATB | 2Ft 2Oa Fg | 2Vl Va | F♯ minor | ||||||
4a | 4 | Gloria | SSATB | 3Tr Ti | 2Ft 2Ob Fg | 2Vl Va | D major | 3 8 |
Vivace | likely | ||
4b | 5 | Et in terra pax | SSATB | 3Tr Ti | 2Ft 2Ob Fg | 2Vl Va | D major | likely | ||||
5 | 6 | Laudamus te | SII | 2Vl Va | A major | likely | ||||||
6 | 7 | Gratias agimus tibi | SATB | 3Tr Ti | 2Ft 2Ob Fg | 2Vl Va | D major | BWV 29/2 | 1731 | |||
7a | 8 | Domine Deus | S T | Ft | 2Vl Va | G major | BWV 193a /5? (music lost) |
|||||
7b | 9 | Qui tollis | SATB | 2Ft | 2Vl Va Vc | B minor | Lento | BWV 46 | 1723 | |||
8 | 10 | Qui sedes | A | Oa | 2Vl Va | B minor | 6 8 |
likely | ||||
9a | 11 | Quoniam tu solus sanctus | B | Co | 2Fg | D major | 3 4 |
likely | ||||
9b | 12 | Cum sancto spiritu | SSATB | 3Tr Ti | 2Ft 2Ob Fg | 2Vl Va | D major | 3 4 |
Vivace | |||
II. Symbolum Nicenum | ||||||||||||
10 | 1 | Credo in unum Deum | SSATB | 2Vl | D Major / A Mixolydian |
Credo in G[15] | ||||||
11 | 2 | Patrem omnipotentem | SATB | 3Tr Ti | 2Ob | 2Vl Va | D major | lost, also source for BWV 171/1 | 1729 | |||
12 | 3 | Et in unum Dominum | S A | 2Oa | 2Vl Va | G major | Andante | lost, also source for BWV 213 /11? |
||||
13 | 4 | Et incarnatus est | SSATB | 2Vl | B minor | 3 4 |
||||||
14 | 5 | Crucifixus | SATB | 2Ft | 2Vl Va | E minor | 3 2 |
BWV 12/2 | 1714 | |||
15 | 6 | Et resurrexit | SSATB | 3Tr Ti | 2Ft 2Ob | 2Vl Va | D major | 3 4 |
BWV Anh. 9 /1? |
|||
16 | 7 | Et in Spiritum Sanctum | B | 2Oa | A major | 6 8 |
likely | |||||
17a | 8 | Confiteor | SSATB | F♯ minor | ||||||||
17b | Et expecto | SSATB | F♯ minor | Adagio | ||||||||
9 | Et expecto | SSATB | 3Tr Ti | 2Ft 2Ob | 2Vl Va | D major | Vivace e Allegro | BWV 120/2 | ||||
III. Sanctus | ||||||||||||
18a | Sanctus | SSA ATB | 3Tr Ti | 3Ob | 2Vl Va | D major | Sanctus | 1724 | ||||
18b | Pleni sunt coeli | SSAATB | 3Tr Ti | 3Ob | 2Vl Va | D major | 3 8 |
|||||
IV. Osanna, Benedictus, Agnus Dei et Dona nobis pacem | ||||||||||||
19 | 1 | Osanna in excelsis | SATB SATB | Tr Ti | 2Ft 2Ob | 2Vl Va | D major | 3 8 |
BWV Anh. 11/1? (→ BWV 215 ) |
1732 | ||
20 | 2 | Benedictus | T | Ft | B minor | 3 4 |
likely | |||||
21 | 3 | Osanna (repetatur) | ||||||||||
22 | 4 | Agnus Dei | A | 2Vl | G minor | BWV Anh. 196 /3? |
1725 | |||||
23 | 5 | Dona nobis pacem | SATB | 3Tr Ti | 2Ft 2Ob | 2Vl Va | D major | BWV 29/2 as Gratias | 1731 |
Parts and movements
No. 1 Missa
Kyrie and Gloria
The section Kyrie is structured, following tradition, in a threefold acclamation of God, a chorus for the Kyrie I, a duet Christe, and a different chorus for Kyrie II. Kyrie I is in B minor, Christe in D major, Kyrie II in F-sharp minor. The three notes B, D and F-sharp form the B minor triad. Butt notes D major as the central key, corresponding to the "atonement of Christ".[17]
The Gloria is structured in symmetry as a sequence of choral movements and solo movements, arias and a central duet, in three sections. The first is opened with a chorus followed by an aria, closed in the last section in symmetry by an aria followed with a chorus; the middle section alternates choral music with solo movements.
Kyrie I
The first movement is scored for five-part choir, woodwinds and strings. As the Dresden Mass style required, it opens with a short homophonic section,[19] followed by an extended fugue in two sections, which both begin with an instrumental fugue.[20]
The vast movement has aspects of both a fugue and a ritornello movement.[22] In the first fugal section, the voices enter in the sequence tenor, alto, soprano I, soprano II, bass, expanding from middle range to the extreme parts, just as the theme expands from the repeated first notes to sighing motives leading upwards. In the second fugal section, the instruments begin in low registers, and the voices build, with every part first in extremely low range, from bass to soprano I. In both sections, the instruments open the fugue, but play with the voices once they enter.[18]
Christe
The acclamation of Christ stresses the second person of the Trinity and is therefore rendered as a duet of the two sopranos.[23] Their lines are often parallel, in an analogy to Christ and God proclaimed as "two in one". Probably a parody of an earlier work, it is Bach's only extant duet for two sopranos, stressing that idea.[24] Rathey points out that the duet is similar in many aspects to the love duets of Neapolitan opera.[25] Typical features of these duets are consonant melodies, in parallel thirds and sixths, or imitating each other, with sigh motifs as on the word Christe.[26] Rendering Christe eleison as a duet follows the Dresden Mass style.[19]
Kyrie II
The second acclamation of God is a four-part choral fugue, set in stile antico, with the instruments playing
Gloria
The Gloria is structured in nine movements. The first and last are similar in style, concertante music of the eighteenth century.[28] In further symmetry, the opening in two different tempos corresponds to the final sequence of an aria leading to "Cum sancto spiritu", the soprano II solo with obbligato violin "Laudamus te" to the alto solo with obbligato oboe "Qui sedes", and the choral movements "Gratias" and "Qui tollis" frame the central duet of soprano I and tenor "Domine Deus".[17]
The text of the Hymnus Gloria begins with the angels' song from Luke's Christmas story. Bach used this section, the central duet and the concluding doxology as a Christmas cantata, Gloria in excelsis Deo, BWV 191 (Glory to God in the Highest), probably in 1745, a few years before the compilation of the Mass. The opening is set as a five-part chorus, beginning with an instrumental presentation of the material.[28] In great contrast to the first section Kyrie, it is in D major, introducing the trumpets and timpani.[29] The first thought, "Gloria in excelsis Deo" (Glory to God in the Highest), is set in 3/8 time, compared by Wenk to the Giga, a dance form.[30]
Et in terra pax
The continuation of the thought within the angels' song, "Et in terra pax" (and peace on earth), is in common time. The duration of an eighth note stays the same, Bach thus achieves a contrast of "heavenly" three eights, a symbol of the Trinity, and "earthly" four quarters.[31] The voices start this section,[28] and the trumpets are silent for its beginning, but return for its conclusion.[32]
Laudamus te
An aria for soprano II and obbligato violin express the praise and adoration of God in vivid coloraturas.[33] It has been argued that Bach might have thought of the Dresden taste and the specific voice of Faustina Bordoni.[28]
Gratias agimus tibi
A four-part chorus in stile antico illustrates the idea of thanks and praise, again with trumpets and timpani. It is based on the first choral movement of
Domine Deus
The section addressing God as Father and Son is again a duet, this time of soprano I and tenor. The voices are often in canon and in parallel, as in the
Rathey points out, that the scoring at first glance does not seem to match the text "Domine Deus, Rex coelestis" (Lord God, Heavenly King), but it matches the continuation "Domine Deus, Agnus Dei" (Lord God, Lamb of God), stressing the Lutheran "theologia crucis" (theology of the cross) that the omnipotent God is the same as the one revealed on the cross.[39]
Qui tollis
When the text reaches the phase "Qui tollis peccata mundi" (who takest away the sins of the world), the music is given
Qui sedes
The continuation of the thought, "Qui sedes ad dexteram Patris" (who sits at the right [hand] of the Father), is expressed by an aria for alto and obbligato oboe d'amore.[42][29] It is probably a parody. In Bach's earlier settings of the mass he had treated "Qui tollis and "Qui sedes" as one movement, here he distinguished Jesus at the right hand of the father by dance-like music.[39] Wenk likens it to a gigue.[30]
Quoniam tu solus sanctus
The last section begins with an aria for bass, showing "Quoniam tu solus sanctus" (For you alone are holy) in an unusual scoring of only corno da caccia and two bassoons.[29] Paczkowski points out the symbolic function of this corno da caccia as well as the polonaise.[43] By using the polonaise, Bach not only expressed the text by musical means, but also paid respect to the King of Poland and Elector of Saxony, August III, to whom the Mass is dedicated. Probably a parody, it is the only movement in the work using the horn.[44][45] The unusual scoring provides a "solemn character".[46] Butt observes that Bach uses a rhythmic pattern throughout the movement in the two bassoons which is even extended into the following movement, although they originally were independent. The repeated figure of an anapaest provides the "rhythmic energy of the texture."[47]
Cum sancto spiritu
On the continuing text "Cum sancto spiritu" (with the Holy Spirit), the choir enters in five parts, in symmetry to the beginning. A homophonic section is followed by a fugue.[48][29] The concertante music corresponds in symmetry to the opening of the Gloria, both praising God.[46]
No. 2 Symbolum Nicenum
The text of the profession of faith, Credo, is the Nicene Creed. It is structured in three sections, regarding Father, Son and Holy Spirit. Bach follows the structure, devoting two choral movements to the first section, beginning the second section with a duet, followed by three choral movements, and opening the third with an aria, followed by two choral movements. The center is the Crucifixus, set in E minor, the lowest key of the part. The Crucifixus is also the oldest music in the Mass, dating back to 1714.[18] The part begins and ends with a sequence of two connected choral movements in contrasting style, a motet in stile antico, containing a chant melody, and a concerto. The chant melodies are devoted to two of the key words of this part: Credo (I believe) and Confiteor (I confess).[49]
Credo in unum Deum
The Credo begins with "Credo in unum Deum" (I believe in one God), a polyphonic movement for five-part choir, to which two obbligato violins add independent parts. The theme is a
This movement in stile antico contrasts with the following modern concerto-style movement, Patrem omnipotentem. This contrast is reminiscent of the contrast between the two Kyrie movements and foreshadows the last two movements of the Symbolum Nicenum. Recent research dates the movement to 1747 or 1748 and suggests that it might have been the introduction to a Credo by a different composer, before Bach began to assemble the Mass.[53]
Patrem omnipotentem
The thought is continued in "Patrem omnipotentem" (to the Father, almighty), in a four-part choral movement with trumpets.[54] The movement probably shares its original source with the opening chorus of Gott, wie dein Name, so ist auch dein Ruhm, BWV 171 (God, as Your name is, so is also Your praise),[9] which also expresses the idea of thanks to God and praise of his creation.[49] The voices sing a fugue to a concerto of the orchestra. The bass introduces the theme, without an instrumental opening, while the other voices repeat simultaneously in homophony "Credo in unum Deum" as a firm statement. The theme contains all eight notes of the scale, as a symbol completeness.[18] Bach noted at the end of the movement that it contains 84 measures, the multiplication of 7 and 12, a hint at the symbolic meaning of numbers. The word "Credo" appears 49 times (7*7), the words "Patrem omnipotentem" 84 times.
Et in unum Dominum
The belief in Jesus Christ begins with "Et in unum Dominum" (And in one Lord), another duet, this time of soprano and alto, beginning in a canon where the second voice follows the first after only one beat. The instruments often play the same line with different articulation.[55] The movement is based on a lost duet which served already in 1733 as the basis for a movement of Laßt uns sorgen, laßt uns wachen, BWV 213. Bach headed the movement "Duo voces articuli 2" which can be translated as "Two voices express 2" or "the two vocal parts of Article 2". The text included originally the line "Et incarnatus est de Spiritu sancto ex Maria virgine et homo factus est", illustrating "descendit" by a descending figure for the violins. When Bach treated "Et incarnatus est" as a separate choral movement, he rearranged the text, and the figure lost its "pictorial association".[56]
Et incarnatus est
The virgin birth, "Et incarnatus est" (And was incarnate), is a five-part movement. It is probably Bach's last vocal composition, dating from the end of 1749 or the first weeks of 1750.
Crucifixus
"Crucifixus" (Crucified), the center of the Credo part, is the oldest music in the setting of the Mass, dating back to 1714. It is a passacaglia, with the chromatic fourth in the bass line repeated thirteen times.[59] Wenk likens it to a sarabande.[30] The movement is based on the first section of the first choral movement of Weinen, Klagen, Sorgen, Zagen, BWV 12.[9] Bach transposed the music from F minor to E minor, changed the instrumentation and repeated each bass note for more expressiveness.[57] Bach begins the movement with an instrumental setting of the bass line, while the cantata movement started immediately with the voices.[60]
The suffering of Jesus is expressed in chromatic melodic lines, dissonant harmonies, and sigh-motifs.[49] The final line, on the 13th repeat of the bass line, et sepultus est (and was buried) was newly composed, with the accompaniment silent and a modulation to G major, to lead to the following movement.[57] At the end, soprano and alto reach the lowest range of the movement on the final et sepultus est.[60] A pianissimo ending of this movement, contrasted by a forte Et resurrexit, follows the Dresden Mass style.[19]
Et resurrexit
"Et resurrexit" (And is risen) is expressed by a five-part choral movement with trumpets.[61] The concerto on ascending motifs[49] renders the resurrection, the ascension and the second coming, all separated by long instrumental interludes and followed by a postlude. "Et iterum venturus est" (and will come again) is given to the bass only, for Bach the vox Christi (voice of Christ).[61] Wenk likens the movement to a Réjouissance dance, a "light festive movement in triple meter, upbeat three eighth notes".[30]
Et in Spiritum Sanctum
A bass aria renders "Et in Spiritum Sanctum" (And in the
Confiteor
The belief in the baptism for the forgiveness of sins, "Confiteor" (I confess), is expressed in strict counterpoint, which incorporates a
Et expecto
The expectation of a world to come, "Et expecto" (And I expect) is a joyful concerto of five voices with trumpets.
No. 3 Sanctus
Sanctus
Sanctus (Holy) is an independent movement written for Christmas 1724, scored for six voices SSAATB and a festive orchestra with trumpets and three oboes.
Pleni sunt coeli
The continuation, "Pleni sunt coeli" (Full are the heavens), follows immediately, written for the same scoring, as a fugue in dancing 3/8 time with "quick runs".[70][29]
No. 4 Osanna, Benedictus, Agnus Dei et Dona nobis pacem
Osanna in excelsis
Osanna in excelsis (Osanna in the Highest) is set for two choirs and a festive orchestra, in the same key and time as the previous movement.
Benedictus
The following thought, Benedictus, "blessed is he who comes in the name of the Lord", is sung by the tenor in an aria with an obbligato instrument, probably a flauto traverso,
Agnus Dei
Agnus Dei (Lamb of God) is sung by the alto with obbligato violins in unison.
Dona nobis pacem
The final movement, Dona nobis pacem (Give us peace), recalls the music of thanks expressed in Gratias agimus tibi.[29][77] This concluding choral movement in Renaissance style follows the Dresden Mass style.[19] As the Gratias agimus tibi, the movement is based on the first choral movement of Wir danken dir, Gott, wir danken dir, BWV 29,[9] with minor alterations because of the different text. The text appears on both the theme and the countersubject, here stressing "pacem" (peace) at the beginning of the line.[18] By quoting Gratias, Bach connects asking for peace to thanks and praise to God. He also connects the Missa composed in 1733 to the later parts.[78]
References
- ^ a b c d e Wolf (2011).
- ^ J.S. Bach Mass in B Minor (1996).
- ^ a b Rifkin (2006).
- ^ a b Talbeck (2002).
- ^ Wenk (2011), p. 4.
- ^ Sherman (2004).
- ^ a b Libbey (2009).
- ^ Wenk (2011), p. 6.
- ^ a b c d e f g h i j Pérez Torres (2005), p. 5.
- ^ Rathey (2003), pp. 2–4.
- ^ a b Rathey (2003), p. 4.
- ^ Jenkins (2001), p. 2.
- ^ a b Butt (1991), p. 78.
- ^ Wenk (2011), p. 7.
- ^ a b "Mass in b minor (b-minor Mass) BWV 232". Bach Digital. Leipzig: Bach Archive; et al. 2019-05-08.
- ISBN 88-7063-028-5
- ^ a b c d Butt (1991), p. 93.
- ^ a b c d e f Bach Mass in B Minor (2011).
- ^ a b c d Wenk (2011), p. 5.
- ^ Bach Mass in B Minor (2011), pp. 2–17.
- ^ a b Wolff (1967).
- ^ Butt (1991), p. 77.
- ^ a b Scobel (2006), p. 4.
- ^ Bach Mass in B Minor (2011), pp. 18–25.
- ^ Rathey (2003), p. 6.
- ^ Wenk (2011), pp. 10–11.
- ^ Bach Mass in B Minor (2011), pp. 26–33.
- ^ a b c d Rathey (2003), p. 8.
- ^ a b c d e f g h i j k Amati-Camperi (2005).
- ^ a b c d e f g Wenk (2011), p. 13.
- ^ Scobel (2006), p. 5.
- ^ Bach Mass in B Minor (2011), pp. 34–52.
- ^ Bach Mass in B Minor (2011), pp. 53–58.
- ^ Cantata BWV 29 (allofbach.com)
- ^ Pérez Torres (2005), p. 11.
- ^ Bach Mass in B Minor (2011), pp. 59–65.
- ^ Bach Mass in B Minor (2011), pp. 66–75.
- ^ Rathey (2003), p. 10.
- ^ a b c Rathey (2003), p. 11.
- ^ Bach Mass in B Minor (2011), pp. 75–81.
- ^ Pérez Torres (2005), p. 18.
- ^ Bach Mass in B Minor (2011), pp. 82–86.
- ^ Paczkowski (2013), p. 82.
- ^ Bach Mass in B Minor (2011), pp. 87–94.
- ^ Jenkins (2001), p. 7.
- ^ a b Rathey (2003), p. 12.
- ^ Butt (1991), p. 86.
- ^ Bach Mass in B Minor (2011), pp. 95–114.
- ^ a b c d Rathey (2003), p. 14.
- ^ Scobel (2006), p. 7.
- ^ Bach Mass in B Minor (2011), pp. 115–120.
- ^ Butt (1991), pp. 81–82.
- ^ Rathey (2003), pp. 13–14.
- ^ Bach Mass in B Minor (2011), pp. 121–130.
- ^ Bach Mass in B Minor (2011), pp. 131–138.
- ^ Jenkins (2001), p. 3.
- ^ a b c Wolff (2009).
- ^ Bach Mass in B Minor (2011), pp. 139–142.
- ^ Bach Mass in B Minor (2011), pp. 143–147.
- ^ a b Pérez Torres (2005), p. 65.
- ^ a b Bach Mass in B Minor (2011), pp. 148–162.
- ^ Bach Mass in B Minor (2011), pp. 163–169.
- ^ Baxter 2013, p. 5.
- ^ Bach Mass in B Minor (2011), pp. 170–180.
- ^ Scobel (2006), p. 8.
- ^ Bach Mass in B Minor (2011), pp. 180–181.
- ^ Bach Mass in B Minor (2011), pp. 182–191.
- ^ Bach Mass in B Minor (2011), pp. 192–199.
- ^ a b c Rathey (2003), p. 15.
- ^ Bach Mass in B Minor (2011), pp. 199–209.
- ^ Bach Mass in B Minor (2011), pp. 210–229.
- ^ Dürr (1981), p. 670.
- ^ Pérez Torres (2005), p. 88.
- ^ Bach Mass in B Minor (2011), pp. 230–233.
- ^ Bach Mass in B Minor (2011), pp. 234–236.
- ^ Pérez Torres (2005), p. 95.
- ^ Bach Mass in B Minor (2011), pp. 237–243.
- ^ Pérez Torres (2005), p. 129.
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- Scobel, Cordula (2006). "h-Moll-Messe" (PDF) (in German). Frankfurter Kantorei. Retrieved 16 September 2013.
- Sherman, Bernard D. (August 2004). "Performing Bach's B minor Mass: Thirty Years of HIP". Goldberg. Retrieved 7 October 2012.
- Talbeck, Carol (2002). "Johann Sebastian Bach: Mass in B Minor / Everything must be possible. – J. S. Bach". sfchoral.org. Retrieved 13 September 2013.
- Wenk, Arthur (2011). "J.S. Bach and the Mystery of the B Minor Mass" (PDF). arthurwenk.ca. Archived from the original (PDF) on 9 December 2014. Retrieved 6 October 2013.
- Wolff, Christoph (1967). "Festschrift Bruno Stäblein zum 70. Geburtstag". In Martin Ruhnke (ed.). Zur musikalischen Vorgeschichte des Kyrie aus Johann Sebastian Bachs Messe in h-moll (in German). Kassel: Bärenreiter. p. 316.
- Wolff, Christoph (2009). Johann Sebastian Bach. Messe in h-moll.
- Wolf, Uwe (2011). Preface to the Piano Reduction. Bärenreiter.
- Bach Mass in B Minor / Piano Reduction based on the Urtext of the New Bach Edition / Revised Version. Bärenreiter. 2011.
- "J.S. Bach Mass in B Minor / Organization of Movements / Comparison with Catholic Mass". California Institute of Technology. 1996. Retrieved 7 October 2012.
External links
- Mass in B minor: Scores at the International Music Score Library Project
- Mass in B minor BWV 232. Text and its translation in several languages, details, list of recordings, reviews and discussions
- Free scores of this work in the Choral Public Domain Library (ChoralWiki)
- Mass in B Minor / Johann Sebastian Bach (1685–1750). Aylesbury Choral Society, 2004
- Eduard van Hengel, Kees van Houten: "Et incarnatus": An Afterthought? / Against the "Revisionist" View of Bach's B-Minor Mass. Journal of Musicological Research, 2004
- B Minor Mass Explorer worshipanew.net