The Mass in B minor completed in 1748 and it first performed in Leipzig, Germany in 1859. Bach put together the Mass from his different earlier works and represents his highest skill as a composer for solo instruments and voices, chamber ensemble (trio sonata), virtuoso chorus, and large orchestra. We can discover that the Mass incorporates ancient and modern styles, introverted and extroverted moods, the antico style and contemporaries from Palestrina and also Baroque dance forms and advanced counterpoint. This composition is an expression of the composer`s faith which lived through the music, referring to both early and recent sacred music and to both sacred and secular styles.
The text is in Latin of the Ordinarium missae. Every technique made in the setting of the text (division among movements, voicing, instrumentation, tonality, style, mood) reveals an awareness of its central narrative. Each of the vocal soloists and instrumental family of the orchestra has their moment and perfectly represented. For example, soprano II and strings (violin) in the Laudamus, soprano I, tenor and flutes in the Domine Deus, the alto and oboes in Qui sedes, the bass and brass (horn) in Quoniam. Bach did not use the traditional grouping of the text which was five sections (Kyrie, Gloria, Credo, Sanctus, and Agnus Dei). Instead, he split up each of these parts into several movements (actually 25 separate parts). Each of them expresses a different attitude of worship such as pleading for mercy in the primal Kyrie, celebrating in Gloria, beleiving and testifying in Credo, ecstasy in Sanctus, blessing in Benedictus and praying for peace in Agnus Dei.
Kyrie I
Kyrie eleison. – Lord have mercy upon us.
The Kyrie opens tutti and without orchestral introduction. After the dramatic opening, the music develops into fugue. The mood is spiritual (as it is supplication to the Father) with an increasing sense of urgency. Kyrie is also characterized by extreme dissonance and chromaticism.
Christe eleison
Christe eleison. – Christ have mercy upon us.
This movement has a mood of piece and serenity. The instrumental texture is straightforward. Bach uses duets to symbolize the duality of Christ (Son) and God (Father). The vocal duet uses parallel intervals and strict imitation to indicate the unity of Father and Son. The orchestra also divided in two. The unison violins (I and II) are in duet with the continuo instruments.
Kyrie II
Kyrie eleison. – Lord have mercy upon us.
Bach uses the style antico which is an archaic style of 16th century church music. It makes the mood more simpler and objective. This style avoids large skips, uses instruments to reinforce the voice parts and permits elongated and asymmetrical phrases. The theme begins with intervals such as minor and major seconds, which similar to the B-A-C-H motif. We can find a clear example of stretto which is overlapping fugual entrances followed by an offbeat. This movement can be connected to the opening Kyrie by its chromaticism and harmonic instability.
Gloria
Gloria in excelsis Deo – Glory to God in the highest
This movement used an extroverted style with trumpets, drums, and instrumental virtuosity. The opening section is based on a Baroque dance rhythm which closest to a gigue or passepied. The concerto form is also invoked in this movement which eventually turns into fugue. A clear example of the ritornello technique (restatement of a block of material to create a sense of arrival) can be heard when the entire orchestral introduction returns but this time as part of the choral texture.
Et in terra pax
et in terra pax hominibus bonae voluntatis – and on earth peace, good will toward men
This movement begins with an octave leap down in the basses which shifts our focus from the heavens to earth. The fugue is used to represent many nations and peoples of earth who respond to the good things brought by the angles. Its primary subject represented by the use of appoggiatura. Bach creates a pastoral scene by the tenors and basses emphasizing the word “piece”. The fugue draws to conclusion by repeating the word “piece” by the basses and the phrase “and on earth piece” by the chorus which emphasize Bach`s central point.
Laudamus te
Laudamus te. Adoramus te. Benedicimus te. Glorificamus te. – We praise thee. We adore thee. We bless thee. We glorify thee.
In this movement the virtuosity continues with a suggestion of double concerto using violin and mezzo-soprano as soloists. The vocal and instrumental solos alternate with the choral movements of the Gloria. This is a simple song of a praise containing two richly ornamented complementary and intertwined melodies. The soprano`s ascending opening line contains trills which are particularly characteristic. The slurred “et in terra pax” which used in the prior movement is echoed in the orchestra. Throughout the Mass, the slurred appoggiatura (means leaning) is used to deepen meaning, to soften edges, to intensify rhythm and chromaticism.
Gratias agimus tibi
Gratias agimus tibi propter magnam gloriam tuam. – We give thanks to thee on account of thy great glory
Similarly, to the second Kyrie, the orchestra doubles the chorus in a stile of antico fugue. At the climatic words “magnam gloriam” (“great glory”) Bach brings the trumpets in with an independent music which gives the piece a glorious effect.
Domine Deus
Domine Deus, rex coelestis, Deus Pater omnipotens. Domine Fili unigenite, Jesu Christealtissime. Domine Deus, Agnus Dei, Filius Patris. – Lord God, king of heaven, God the omnipotent Father. Lord the only begotten Son, Jesus Christ, the most high. Lord God, Lamb of God, Son of the Father:
The first two parts set as a duet between soprano and tenor which represents the intimate relationship between the Father and the Son. At the part of “Lamb of God, Son of the Father” the two voice join together. The use of G major and the solo flute strongly associated with the character of Jesus. The second section leads into the Qui tollis without break.
Qui tollis
Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. – Who takest away the sins of the world, have mercy upon us. Who takest away the sins of the world, hear our prayer.
This movement is a striking change from the sweet and innocent atmosphere that the previous movement had. A restrained mood is established by using only the second sopranos in this four-part chorus and also by the scoring which contains two flutes along with the strings. The doleful and dissonant chorus represents a scene where Jesus came to the real world where he is sullied by human sin. The instruments of the orchestra are layered rhythmically. The continuo instruments begin the piece, then the cello joins in with quarter notes. This followed by the violas with slurred eight-notes and finally the pair of flutes with sixteenth notes. The flutes paint a picture of someone who are trying to break free.
Qui sedes ad dextram Patris
Qui sedes ad dextram Patris, miserere nobis. – Who sittest at the right hand of the Father, have mercy upon us.
This is a solo movement. The restrained mood continues with a gentle aria for mezzo-soprano which accompanied by the soft tones of the oboe`d amore. Sometimes they are alternating and sometimes they are cooperating with each other which symbolize the interrelationship between the Father and the Son. The brief Adagio in this movement emphasize the prayer for mercy. Bach brings the focus back down to earthy sin by the soloist descending phrase ending on the word “nobis” (“us”).
Quoniam tu solus sanctus
Quoniam tu solus sanctus, tu solus Dominus, tu solus altissimus: – Jesu Christe For thou alone art holy, thou alone art God, thou alone art most high: Jesus Christ
Bach uses a unique instrumentation for this movement such as horn, two bassoons, and continuo. He also uses a bass soloist which represents the voice of Jesus. The text is richly ornamented with trills which emphasize the word “Sanctus” (Holy) and “Dominus” (Lord).
Cum Sancto Spiritu
Sancto Spiritu, in gloria Dei Patris. – Amen.with the Holy Ghost, in the glory of God the Father. Amen.
This final movement of the Gloria explodes with euphoric energy (almost continuous use of sixteenth notes) and a virtuosic concerto movement using the full forces of the orchestra and the five-part chorus. The movement ends with a burst of fireworks from the trumpets.
Credo in unum Deum
Credo in unum Deum – I believe in one God
This movement scored for a five-part chorus, accompanied by two independent violin lines (plus continuo). This creates a seven-voice contrapuntal texture. The style is reminiscent to the 16th century practices (mixolydian mode). The theme is introduced in each of the seven voice (in order: tenors, basses, altos, first sopranos, second sopranos, first violins and second violins). Bach applies a more sophisticated stile antico method which creates freer rhythms, more fluid vocal lines, shorten the doubling instruments and gain support only by a bass line. The use of the bass line indicates a modern touch which is essentially a Renaissance motet. The stile antico prevents a subjective statement of belief.
Patrem omnipotentem
Patrem omnipotentem, factorem coeli et terrae, visibilium omnium, et invisibilium. – the Father Almighty, maker of heaven and earth, and of all things visible and invisible.
Bach set the text as two movements because he wanted to create two different styles, textures, and instrumentation. The two movements also share motivic and tonal relations. The composer wanted to emphasize the unity of the textural idea. He used only four voices in the choral texture with a solo trumpet which basically substitutes for a fifth choral voice.
Et in unum Dominum
Et in unum Dominum Jesum Christum, Filium Dei unigenitum. 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 coelis. – And in one Lord Jesus Christ, the only-begotten Son of God, born of the Father before all ages; 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.
Similarly, to Christe, the duet signifies the second person of the Holy Trinity. This is the longest single movement text setting in the entire Mass. Bach uses the first and the second violin as a symbol of the unity of Father and Son. They are playing the same figure at the beginning but a beat apart and with a different articulation (staccato – legato). The staccato part which represents the Father comes first and it has a stronger feeling as the violin doubled by two oboes d`amore. The gentler legato part symbolizes the Son.
Et incarnatus est
Et incarnatus est de Spiritu Sancto ex Maria Virgine: ET HOMO FACTUS EST. – And was incarnate of the Holy Ghost by the Virgin Mary, AND WAS MADE MAN
This movement is mournful, dissonant, and strongly influenced by the Italian Baroque style. We can find several symbols of the cross in this part of the Mass. One example is the subject of the fugue which uses several sharpened notes. The sharp symbol is looks like crosses. The German words for sharp and cross are identical. Another example is the Kreuz figure in the violin line. The intensification of this Kreuz figure reminds us to the three crosses on Golgota.
Crucifixus
Crucifixus etiam pro nobis sub Pontio Pilato, passus, et sepultus est. – And was crucified also for us under Pontius Pilate; he suffered and was buried.
Another example how Bach laid the oldest music (the Crucifixus) next to the newest (the Et incarnatus est) and have the two collaborate successfully with each other. This movement is a passacaglia (chaconne) with four measure continuo motive. This is repeated 12 times throughout the piece with a 13th added to prepare the transition to the chorus that follows. This figure is the lament bass (basso lamento) which is descending chromatic bass figure and it is a common Baroque motive. Bach uses repeated notes which create a throbbing effect. The instruments of the orchestra play three overlapping pulses which remind us that Jesus was crucified alongside with two man. Similarly, to Qui tollis, the pair of flutes represents Jesus. After the extreme dissonance in the piece, the chorus settles into a lower range as Jesus was laid to rest.
Et resurrexit
Et resurrexit tertia die, secundum Scripturas. Et ascendit in coelum: sedet ad dexteram Patris. Et iterum venturus est cum gloria judicare vivos et mortuos, cujus regni non erit finis – And on the third day he rose again according to the Scriptures, and ascended into heaven, and sitteth on 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.
For the first time in Credo, the choir and the full forces of the orchestra enter as one to portray the jubilation of the resurrection. This mood is emphasized by the contrast between the ending of the Crucifixus (low, slow, soft) and the opening of the Et resurrexit (high, soft, loud). The close resemblance to the courante Baroque dance form, the instrumental interludes between the different families of the orchestra and the long sinfonia at the end add to the mood of celebration. The trumpets became important toward the end of the movement which symbolizes that Christ has joined to God.
Et in Spiritum sanctum Dominum
Et in Spiritum Sanctum, Dominum et vivificantem: qui ex Patre Filioque procedit. Qui cum Patre, et Filio simul adoratur et conglorificatur: qui locutus est per Prophetas. Etinunam, sanctam, catholicam et apostolicam Ecclesiam. – And I believe in the Holy Ghost, the Lord and Giver of life, who proceedeth from the Father and the Son, who with the Father and the Son is worshiped and glorified; who spake by the Prophets. And I believe in one holy Catholic and Apostolic Church.
This movement has a more detached mood. It is in a pastoral dance form performed by three solo voices. These voices represented by two oboes which symbolising the first and second persons of the Trinity and the bass which gives the aria a sacerdotal character.
Confiteor
Confiteor unum baptisma in remissionem peccatorum. Et expecto resurrectionem mortuorum… – I acknowledge one Baptism for the remission of sins, and I look for the resurrection of the dead…
Like the Credo, this movement is in stile antico and uses two complementary Gregorian themes over a walking bass line. There is a part where the basses and altos sing in a canon which is Gregorian chant. The dark and unstable harmonies in the Adagio brings towards to an uncertain outcome.
Et expect
Et expecto resurrectionem mortuorum. Et vitam ventura saeculi. Amen. – and I look for the resurrection of the dead, and the life of the world to come. Amen.
The Et expect is in a modern Baroque dance style with the rising figures at the beginning outlining a bourée rhythm. Linking the style antico and stile modern emphasize the timelessness and the timeliness of the creed. It is in a lively mood. The fanfare like figuration in the orchestra and the solo timpani are symbolic elements of an earthquake on the day of resurrection. The climbing nature of the fugue theme portrays Christ as he is rising into heaven.
Sanctus
Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria eius. Holy, Holy, Holy, Lord God of Hosts. – Heaven and earth are full of hisglory
The six-voiced choral texture symbolizes the six-winged seraphim, an order of angels who are strongly associated with fire and purification. The rumbling timpani represents the quaking temple. There is also a predominance of six-measure phrases which includes the fugue subject. At the text Pleni sunt coeli, Bach applies lively figures. The subject jumps from a high note on the word “heaven” to a low note for “earth”. The movement closes with a fiery mode of expression.
Osanna
Osanna in excelsis. – Hosanna in the highest.
The Osanna text is joined to the Sanctus in the Mass Ordinary. It is a polychoral concerto for two four-part choirs and instruments. The principal theme of the Osanna is taken from the Cantata 125 and it is also echoing the “fanfare” theme from the Sanctus. The piece concludes with an extended sinfonia which reminds me of a festive coronation banquet.
Benedictus
Benedictus qui venit in nomine Domini. – Blessed is he who comes in the name of the Lord.
Contrasting with the dense texture of the Osanna, Benedictus is calm and chamber like. It scored for tenor (the voice of Evangelist), solo flute (associated with the figure of Jesus) and continuo instruments. The tenor ends the piece alone without any instrumental accompaniment which symbolise the sacrifice that Jesus will make later. The Kreuz figure in the solo flute emphasize the strong sense that Jesus will leaving us. While in the Gloria there was a fluid connection between the arias and choruses, here the connections are abrupt with rapid mood shifts between them.
Agnus Dei
Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, miserere nobis.(final statementomitted by Bach) – Lamb of God, who takest away the sins of the world, have mercy on us. Lamb of God, who takest away the sins of the world, have mercyon us
This movement is based on an alto aria and has motivic connection (example appoggiatura) with the first Kyire. The music is meditative and tranquil with some intensity provided by the chromaticism. The texture is simple, stripped of the ornamentation found in the cantata.
Dona nobis pacem
Dona nobis pacem. – Grant us peace.
To end his masterpiece, Bach returns to music from the Mass itself. It begins with only the basses of the chorus) which leads the listener out of the doubtful and anxious Agnus Dei. Bach repeats the word “piece” three times. The effect of the chorus and the instruments is magical, a vast expansion of the choral orchestral texture.
References
Biography.com. 2014. Johann Sebastian Bach Biography. [online] Available at: <https://www.biography.com/musician/johann-sebastian-bach> [Accessed 22 May 2020]
Bach, J., 1748. J. S. Bach: Mass In B Minor. Available at: <https://www.youtube.com/watch?v=So704KMhspk> [Accessed 22 May 2020]
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