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Mass in B minor structure

The Mass in B minor (BWV 232), composed by Johann Sebastian Bach between 1724 and 1749, is a monumental musical setting of the Ordinary of the Roman Catholic Mass, renowned for its architectural complexity and synthesis of Baroque styles, encompassing 27 movements divided into four principal parts: the Missa (Kyrie and Gloria), the Symbolum Nicenum (Credo), the Sanctus, and the concluding section with Osanna, Benedictus, Agnus Dei, and Dona nobis pacem. Largely assembled through parody techniques—adapting music from Bach's earlier cantatas and secular works—this unfinished yet cohesive masterpiece reflects his lifelong exploration of counterpoint, fugue, and expressive vocal writing, performed in its entirety only posthumously in the 19th century and now regarded as one of the pinnacles of Western sacred music.^[1]^[2]^[3] Bach began the work in 1733 with the Missa section, presenting it to the Elector of Saxony as a token of allegiance, while the Sanctus originated as a Christmas piece in 1724; the Symbolum Nicenum and final movements were added in 1748–1749, incorporating newly composed elements like the chorus "Et incarnatus est" alongside parodies from cantatas such as BWV 29 (Gratias agimus tibi and Dona nobis pacem) and BWV 12 (Crucifixus). This piecemeal assembly over decades underscores the Mass's role as a capstone of Bach's oeuvre, blending medieval chant influences, Renaissance polyphony, and innovative Baroque forms without ever being performed complete in his lifetime. The scoring demands a large ensemble, including double choir (SATB/SATB), soloists (SSATB), and orchestra with trumpets, horns, oboes, flutes, and continuo, creating a timbral variety that enhances its dramatic and theological depth.^[1]^[2]^[3] Structurally, the work progresses through tonal centers of B minor and relative D major, with modulations providing emotional contrast—such as the plaintive B minor in the opening Kyrie shifting to radiant D major in the Gloria—while maintaining unity through recurring motifs and symmetrical pairings, like the repeated Osanna. Of the 27 movements, 18 are choruses emphasizing polyphonic density (e.g., the five-voice Gloria in excelsis fugue), nine are solos or duets for intimate reflection (e.g., the soprano-alto duet Et in unum Dominum in G major), including the unique six-voice Sanctus. Key parodies include the horn-accompanied bass aria Quoniam tu solus sanctus from Cantata BWV 79 and the chaconne-based Crucifixus from BWV 12, all adapted with textual and instrumental revisions to fit the liturgical framework.^[1]^[3] The following table outlines the movements, their types, and primary keys, highlighting the work's balanced architecture: This framework not only mirrors the Mass text's doctrinal progression—from supplication to triumph—but also exemplifies Bach's mastery in proportion and proportion, with the Symbolum Nicenum forming a symmetrical core flanked by the outer parts.^[1]^[3]

Introduction and Background

Overview of the Composition

The Mass in B minor, BWV 232, represents Johann Sebastian Bach's culminating achievement in vocal composition, assembled as an encyclopedic compilation of movements created over approximately 25 years from 1724 to 1749. This monumental work unifies disparate earlier compositions into a cohesive setting of the Ordinary of the Roman Rite Mass, adapted through a Lutheran lens that emphasizes theological depth and musical grandeur. Despite its roots in sacred tradition, the Mass transcends denominational boundaries, serving as a profound summation of Bach's lifelong exploration of polyphony, counterpoint, and expressive rhetoric in choral music.^[1] Unlike conventional liturgical masses, the B minor Mass was not intended for regular church performance but rather as a personal musical offering and artistic legacy, reflecting Bach's aspirations for recognition beyond his Leipzig duties. Its expansive scale—totaling around 100–120 minutes in duration—further underscores its non-practical nature, positioning it as a concert work or devotional compendium rather than a service piece. Bach drew on parody techniques from his earlier cantatas to repurpose material, creating a seamless yet intricate tapestry that highlights his mastery of form and harmony.^[3] The composition follows the traditional five-part structure of the Mass Ordinary—Kyrie, Gloria, Credo (Symbolum Nicenum), Sanctus, and Agnus Dei—but Bach adapted it into four major sections for performative coherence: the Missa (Kyrie and Gloria), Symbolum Nicenum, Sanctus, and the concluding Osanna–Benedictus–Agnus Dei–Dona nobis pacem. Notable structural innovations include a double Osanna, allowing for a repeated fugal chorus that amplifies celebratory exuberance, and a verbatim repetition of the Dona nobis pacem from the earlier Gratias agimus tibi, reinforcing cyclic unity and peaceful resolution. These choices emphasize the work's architectural sophistication and symbolic resonance.^[1] In 1733, Bach dedicated the initial Missa portion (Kyrie and Gloria) to Augustus III, Elector of Saxony and King of Poland, as a gesture aimed at securing royal patronage and affirming its universal scope; the complete work was later known as the "Great Catholic Mass".^[4]

Historical Context and Parody Origins

The Mass in B minor, BWV 232, was assembled by Johann Sebastian Bach over several decades, reflecting his evolving compositional practices in Leipzig. The Sanctus movement originated in 1724 for a Christmas Day performance at St. Thomas Church. The Kyrie and Gloria sections were composed in 1733 as a Missa brevis (BWV 232a) and presented to the Saxon Elector Friedrich August II (Augustus III) in Dresden. The Credo was added around 1748–1749, with final revisions to the autograph manuscript completed in 1749, organizing the work into four distinct parts without binding them into a single volume during Bach's lifetime.^[5]^[6] A defining feature of the Mass is its extensive use of parody technique, where Bach repurposed music from his earlier cantatas to form 14 of the 27 movements, adapting Lutheran texts to the Latin Ordinary of the Mass. This approach allowed efficient creation of a monumental work while preserving structural and melodic integrity, often involving key transpositions, rhythmic adjustments, and instrumental changes to suit the new liturgical context—for instance, the somber "Qui tollis peccata mundi" derives from the opening chorus of Cantata BWV 46 ("Schauet doch und sehet," 1723), shifted from D minor to B minor with added harmonic suspensions to evoke penitence. Similarly, movements from the Gloria were adapted for Cantata BWV 191 (ca. 1742), a Latin setting of Christmas texts. These adaptations transformed Protestant chorale-based expressions of faith into universal Catholic rite elements, aligning with Baroque principles of affective rhetoric.^[1]^[7]^[8] Bach's motivations for the Mass intertwined personal ambition with broader religious dynamics in 18th-century Saxony, where the Catholic Elector Augustus III ruled over a predominantly Lutheran population, including Bach's Leipzig congregation. The 1733 Missa submission sought a court title—Bach was appointed Composer to the Saxon Electoral Court in 1736—amid tensions from his restricted role at St. Thomas, blending Protestant cantata heritage with Catholic Mass form to appeal to Dresden's tastes. Recent scholarship, including the revised New Bach Edition (edited by Uwe Wolf, incorporating x-ray spectography of the autograph held by the Berlin State Library), confirms the 1749 version as Bach's definitive intent, revealing his layered corrections without evidence of significant posthumous alterations.^[9]^[10]^[11]

Musical Resources

Vocal and Choral Scoring

The Mass in B minor, BWV 232, by Johann Sebastian Bach employs a core four-part SATB chorus, expanded in several movements to five parts (SSATB) through the addition of a second soprano line, reflecting Bach's practice of enriching choral textures for expressive depth; while many choruses are in five parts (SSATB), others like Gratias agimus tibi are four-part (SATB). This configuration allows for intricate polyphony while maintaining structural clarity, with the second soprano often doubling or contrasting the first to heighten emotional intensity in sections like the Qui tollis peccata mundi. In the Osanna, the scoring escalates to a double choir (SATB/SATB), creating antiphonal effects that evoke jubilation and spatial dialogue, a technique Bach adapted from earlier cantatas.^[1] The solo vocal forces consist of two sopranos, one alto, one tenor, and one bass, each requiring distinct technical demands to convey the text's theological weight. For instance, the soprano parts feature coloratura passages in the Qui tollis, demanding agility and precision to articulate the plea for mercy amid the choral backdrop, while the chorus in Et incarnatus est incorporates extended melismas on words like "incarnatus," emphasizing the mystery of the Incarnation through fluid, ornamented lines in the five-voice texture. Duet textures, such as the soprano I and alto interplay in movements like Et in unum Dominum, provide intimate contrast to the fuller ensemble, driving formal development through dialogue and imitation. The full chorus returns powerfully in the Cum sancto spiritu, where SSATB forces unite in a triumphant fugue, underscoring the doxological climax.^[1]^[12] Performance considerations highlight the work's vocal challenges, including extreme ranges—such as the soprano reaching high A (a²)—which test endurance and intonation, particularly in sustained polyphonic passages. Historically, Bach likely envisioned one-to-a-part singing (one voice per part, or OVPP) with concertists serving as both soloists and core chorus, supported by ripienists for added weight in denser sections, totaling around 12-16 singers overall to ensure transparency and balance. Modern interpretations often employ larger choruses, raising issues of blend and agility, as the intricate counterpoint can blur without precise ensemble control; scholars advocate scaling back to historical forces for fidelity to Bach's intent.^[12]^[1]

Instrumental Ensemble

The instrumental ensemble of Johann Sebastian Bach's Mass in B minor, BWV 232, comprises a Baroque orchestra that reflects the composer's Leipzig practices while incorporating Dresden influences, featuring a core group of woodwinds, brass, percussion, strings, and continuo. The woodwinds include two flauti traversi (transverse flutes), two oboi (oboes), one oboe d'amore, and one oboe da caccia (a tenor oboe akin to the modern cor anglais), alongside two fagotti (bassoons) that often double the continuo or provide obbligato lines. The brass section consists of three natural trumpets and two natural horns (corni da caccia), with a pair of timpani completing the percussion for rhythmic emphasis in festive passages. Strings are scored for two violin parts, viola, and basso continuo, realized with violoncello, violone, organ, and harpsichord to underpin the harmonic structure and support both choral and solo textures.^[13]^[14] Specialized instrumental uses enhance the Mass's expressive variety, with trumpets and timpani deployed primarily in majestic, celebratory sections to evoke grandeur and divine glory, as seen in the opening of the Gloria in excelsis Deo where they punctuate the choral fanfares. The flutes serve as obbligato instruments in duet movements, such as the Domine Deus for soprano and tenor, adding a lyrical, pastoral timbre that contrasts with the fuller ensemble. In more intimate arias, like the Qui sedes ad dexteram Patris for alto, the oboe d'amore provides a melancholic, soloistic color, while the oboe da caccia and bassoons reinforce lower registers in movements requiring somber depth, such as the Quoniam tu solus sanctus, which uses oboe da caccia, two bassoons, and continuo. The Qui tollis peccata mundi employs two oboes d'amore for its plaintive tone, while flauti traversi appear in movements like Domine Deus and Benedictus. The bassoon frequently doubles the continuo bass line across the work, ensuring rhythmic stability without overwhelming the vocal elements.^[1]^[15] These instruments integrate structurally by delineating movement characters and facilitating the Mass's cyclical design; for instance, the full brass and timpani in the Gloria and Dona nobis pacem create symmetrical bookends with the opening Kyrie, while reduced forces—such as strings and continuo alone in the Agnus Dei—foster contemplative intimacy, allowing timbral shifts to underscore the text's theological progression from supplication to triumph. Woodwinds often pair with specific vocal lines to highlight soloistic or duet textures, as in the flute's melodic interplay in Domine Deus, which reinforces the work's parody origins by adapting cantata instrumentation for liturgical breadth. This orchestration not only defines individual movements but also contributes to the overall tonal plan, with brass entries signaling key modulations to brighter tonalities for triumphant themes.^[1]^[13] Historically, performances on period instruments have become standard in the 21st century through Historically Informed Performance (HIP) practices, which prioritize natural trumpets, baroque oboes, and gut-strung strings to achieve the lighter, more transparent textures Bach intended, as opposed to modern orchestras' denser sound with valved brass and metal strings. Research from the 2020s, including analyses of the autograph score, confirms the ensemble's flexibility—allowing one player per part in smaller sections—aligning with Leipzig court customs and avoiding the over-enlarged forces of 19th-century Romantic interpretations. Critical editions, such as those from the Neue Bach-Ausgabe, emphasize these distinctions, revealing how the oboe d'amore and da caccia were tailored for expressive nuance unavailable in modern equivalents.^[15]^[13]

Overall Architectural Design

Division into Four Major Sections

Bach's autograph manuscript organizes the Mass in B minor into four distinct sections, each with its own title page specifying the required voices and instruments: the Missa (encompassing the Kyrie and Gloria), the Symbolum Nicenum (the Credo), the Sanctus, and a concluding portion with the Osanna, Benedictus, Agnus Dei, and Dona nobis pacem. This division likely served practical purposes, such as facilitating the copying of parts for potential separate performances or storage as unbound fascicles, rather than indicating a unified liturgical intent.^[4] The structure deviates from the traditional five-part Ordinary of the Mass (Kyrie, Gloria, Credo, Sanctus-Benedictus, Agnus Dei) by isolating the Sanctus and integrating the Osanna—liturgically part of the Sanctus—with the ensuing movements, thereby condensing and reinterpreting the rite for artistic coherence.^[16] In terms of movement counts, the Missa comprises 12 movements, the Symbolum Nicenum 9 movements, the Sanctus 1 movement, and the final section 5 movements when accounting for the structural repeat of the Osanna to enclose the Benedictus, forming an A-B-A symmetry that enhances formal balance absent in standard Mass settings.^[4] This repetition of the Osanna, a double-chorus movement, not only mirrors liturgical practice but amplifies dramatic contrast around the introspective Benedictus aria, underscoring Bach's emphasis on architectural symmetry. Proportions across sections illustrate this equilibrium: typical performances last around 100 minutes, highlighting the work's carefully calibrated scale.^[17] Scholarly interpretations emphasize that this four-part division transcends mere liturgical adaptation, positioning the Mass as a comprehensive "summa" of Bach's stylistic achievements, integrating parody techniques, contrapuntal mastery, and diverse genres from earlier cantatas and instrumental works into a non-liturgical encyclopedic synthesis. For instance, recent scholarly analyses describe the organizational logic as a deliberate encapsulation of Bach's career-spanning innovations, blending Lutheran and Catholic elements while prioritizing musical unity over performative constraints.^[18] The vocal and instrumental demands vary across sections—drawing on parody sources like cantata movements for the Missa and Symbolum—but collectively demand a versatile ensemble, reinforcing the work's status as a capstone of Baroque sacred music.^[4]

Tonal Plan and Cyclic Features

The Mass in B minor demonstrates a carefully crafted tonal plan that establishes unity across its diverse movements, beginning in B minor for the Kyrie eleison and concluding in D major for the Dona nobis pacem, while employing strategic modulations to form an overarching tonal arch centered on D major as the gravitational key. This structure features excursions into relative majors and minors, such as D major for the expansive Gloria in excelsis Deo, which provides jubilant contrast, and F♯ minor for the introspective Crucifixus, heightening emotional depth through chromatic tension before resolving toward brighter tonalities like G major in the Et resurrexit.^[3] The arch-like progression reinforces the work's liturgical symmetry, with B minor reappearing in pivotal moments like the Benedictus to echo the opening's solemnity and frame the central Symbolum Nicenum. Cyclic motifs drawn from parody sources and original inventions further bind the composition, creating thematic recurrences that transcend its compiled origins. A prominent example is the exact musical reuse of the ostinato-driven Gratias agimus tibi (in D major) for the Dona nobis pacem, forging a direct link between expressions of gratitude and a final plea for peace, thus closing the work with a sense of resolution and return. Similarly, the symbol of the cross manifests through echoed descending lines and appoggiatura "sighing" motifs in the Et incarnatus est (B minor) and Crucifixus (E minor), where the latter's passacaglia bass—adapted from BWV 12—symbolizes Christ's suffering via its repetitive, lamenting descent, complemented by homophonic textures and rhythmic tremolos for expressive emphasis.^[19] These motifs, rooted in parody techniques, appear variably across sections, such as in the Christe eleison and Agnus Dei, promoting conceptual cohesion.^[3] Despite comprising 27 movements from varied sources spanning decades, the Mass achieves profound structural unity through interconnecting contrapuntal and motivic devices, exemplified by fugal entries that bridge doctrinal segments. The exuberant fugue in Cum sancto spiritu (D major), with its lively subject and stretto entries, prefigures the intricate polyphony of the Confiteor (F♯ minor), where both employ stile antico elements and layered imitations to evoke the Holy Spirit's unifying presence, linking the Gloria's praise to the Creed's confession.^[20] Schenkerian analyses illuminate deeper voice-leading cycles, such as the recurring F♯-E-D descending third progression serving as a primary tone across the Gloria and Symbolum Nicenum, which enlarges motivic correspondences at the middleground level to underscore large-scale tonal coherence beyond surface parody relationships. These techniques, including seamless modulations and proportional symmetries around the central Crucifixus, ensure the disparate parts cohere into a monumental whole.^[3]

The Missa (Kyrie and Gloria)

Kyrie Eleison Structure

The Kyrie Eleison in Johann Sebastian Bach's Mass in B minor (BWV 232) forms the opening tripartite structure of the Missa section, comprising three contrasting movements that together articulate a penitential plea for mercy through a progression from solemn gravity to intimate supplication and resolute affirmation. This design reflects the traditional liturgical form of the Kyrie, expanded into a dramatic arc that sets the tone for the entire composition.^[21] The first movement, Kyrie I, is a five-voice choral fugue in 4/4 time marked Adagio leading to Largo, set in B minor, and parodied from the opening chorus of the 1723 Cantata BWV 46, "Schauet doch und sehet." Bach adapted the original material by transposing from D minor to B minor, omitting the introductory sinfonia and final fugal entries, and altering rhythms to fit the Latin text "Kyrie eleison," replacing the German exclamations of sorrow with a universal cry for compassion; this results in a majestic, processional character evoking a collective lament, underscored by the orchestra's dotted rhythms reminiscent of a French overture.^[7]^[21] Following this, the Christe eleison is an original duet in 3/4 time, in D major (the relative major), for soprano I and alto with obbligato violins, presenting a lyrical, operatic-style dialogue that contrasts the surrounding choral intensity with tender, flowing lines. Chromatic inflections in the vocal parts heighten the expressive intimacy, symbolizing a personal appeal to Christ amid the broader plea.^[21] The concluding Kyrie II shifts to a four-voice choral fugue in alla breve time, in F♯ minor, parodied from the opening chorus of the lost Cantata BWV Anh. 169 (ca. 1726–27), a setting of "Kyrie Gott heiliger Geist." Bach modified the text to "Kyrie eleison," streamlined the polyphony for greater propulsion, and incorporated strettos in the fugue's later entries to build energetic momentum, transforming the original invocation of the Holy Spirit into a vigorous, dance-like affirmation of hope and resolution. This movement's lively pulse and imitative entries provide a dynamic close to the Kyrie, encapsulating the arc from majestic supplication to fervent assurance.^[7]^[21]

Gloria in Excelsis Deo Movements

The Gloria section of Johann Sebastian Bach's Mass in B minor, BWV 232, opens with the "Gloria in excelsis Deo," a five-voice chorus in D major and 3/8 time, original to the Mass, featuring a joyful fugue that proclaims divine glory. It unfolds across eight subsequent movements, transitioning from proclamations of peace on earth to an exalted doxology praising the Trinity. This sequence reflects a textual and musical progression that balances collective choral statements with intimate solo and duet expressions, building from serene earthly goodwill to triumphant heavenly glory. Bach employs a mix of original compositions and parodies from his earlier cantatas, adapting them to fit the Latin Mass text while enhancing emotional depth through contrasting textures and tonal shifts.^[22]^[1] The movements commence with Et in terra pax (chorus), a five-part choral setting in D major that evokes pastoral tranquility through its 12/8 compound meter and gentle, lilting rhythms, underscoring the theme of peace to humanity. This movement from the Mass was later adapted for the cantata BWV 191, Gloria in excelsis Deo (1742), where a similar pastoral character appears; its flowing lines and imitative entries create a sense of divine benevolence descending to earth.^[22]^[8] Next, Laudamus te (aria for soprano II with solo violin) shifts to A major in a da capo aria form, offering a lyrical contrast to the preceding chorus through its graceful, dance-like melody and descending scalar lines that symbolize adoration. As an original composition for the Mass (possibly based on a lost cantata), it highlights personal praise via the soloist's voice, providing intimate relief amid the section's broader choral framework and advancing the progression toward collective thanksgiving.^[22]^[1] Gratias agimus tibi (chorus) returns to the full ensemble in D major, structured as a double fugue in alla breve (4/2) meter, parodying the opening chorus of cantata BWV 29, Wir danken dir, Gott (1731), with adaptations including added flutes and a bassoon for richer timbre. The arch-shaped motifs and expansive voice leading convey profound gratitude, bridging earthly peace to divine worship through its motet-like polyphony and sense of musical sweep.^[22]^[1]^[8] In Domine Deus (duet for soprano I and tenor), set in G major, Bach crafts another original da capo form with obbligato flute and violin, evoking supplication through its pastoral trio sonata texture and gentle appoggiaturas. The soloists' dialogue-like exchange intensifies the plea for mercy, contrasting the prior choral grandeur and deepening the emotional arc toward redemption.^[22]^[1] Qui tollis peccata mundi (chorus) moves to B minor in a poignant chorale-like structure with sighing motifs—chromatic descents and suspensions—that express human sorrow and the plea for removal of sins, parodying the second half of the opening movement of cantata BWV 46, Schauet doch und sehet (1723), including a descending fourth progression (^8-^7-^6-^5). Its somber tone and unresolved dominant cadence heighten tension, marking a pivot from praise to humble intercession before resolving into brighter affirmations.^[22]^[1]^[8] The alto aria Qui sedes ad dexteram Patris (original, in B minor) features a florid violin obbligato in 6/8 meter, portraying Christ's mediatory role through soaring melismas and a da capo form that builds compassionate elevation. This solo moment offers reflective contrast, emphasizing intercessory prayer within the sequence's rising doxological trajectory.^[22]^[1] Quoniam tu solus sanctus (bass aria with continuo) is possibly based on a lost cantata, in D major, as a lively Italianate aria in 3/4 meter highlighting solo horn flourishes to affirm God's holiness; its concise, dance-inflected structure provides energetic soloistic focus, underscoring sanctity amid the aria-duet alternations.^[22]^[1] The section culminates in Cum Sancto Spiritu (fugue chorus), a brilliant five-part fugue in D major, original to the Mass and later adapted for BWV 191, with stretti and trumpet fanfares evoking the opening "Gloria in excelsis Deo" for cyclic unity. Its virtuosic entries and triumphant resolution elevate the progression to heavenly doxology, celebrating the Trinity's eternal glory through polyphonic exuberance.^[22]^[1]

The Symbolum Nicenum (Credo)

Patrem Omnipotentem to Et Incarnatus Est

The Symbolum Nicenum, or Credo, opens with a sequence of movements that affirm core Christian doctrines from belief in God the Father as creator to the mystery of the Incarnation, setting a tone of majestic affirmation through a blend of parodied and original compositions. These initial four movements—Credo in unum Deum, Patrem omnipotentem, Et in unum Dominum Jesum Christum, and Et incarnatus est—transition from the Gloria's exuberance by establishing a new tonal and stylistic foundation in the Mixolydian mode, emphasizing doctrinal solemnity with limited reliance on earlier cantata parodies to underscore the text's theological weight.^[1]^[23] The Credo in unum Deum launches the section as a five-part choral fugue in A Mixolydian, drawing on a parody of the opening chorus from the 1730 cantata BWV 120, "Gott, man lobet dich in der Stille," adapted to fit the Latin text of belief in one God. Its structure features 43 entries of the subject, derived from a Gregorian chant cantus firmus presented by the tenors in long notes over a steady continuo accompaniment, with voices entering in imitation (tenor, bass, alto, soprano I, soprano II) to evoke the unity and eternity of divine faith; the violins reinforce the theme, creating a layered polyphonic texture that builds to a homophonic close. This majestic opening, marked Moderato in cut time, uses the chant's archaic stile antico to symbolize the timelessness of the Nicene Creed, with numerological significance in the 43 entries linking to the German word "CREDO" (yielding 43 in gematria); the movement comprises 45 measures.^[7]^[23]^[3] Following seamlessly, Patrem omnipotentem continues in D major as a four-part homophonic chorus, parodied from the opening movement of BWV 171, "Gott, wie dein Name, so ist auch dein Ruhm" (1729), but extensively reworked with added instrumental splendor to depict God the Almighty as creator of heaven and earth. The form shifts to Allegro in 4/4 time, opening in the dominant A major before cadencing to D, with basses leading the proclamation and full ensemble—including oboes, trumpets, timpani, and strings—joining for a celebratory texture; a distinctive walking bass line in the continuo, featuring continuous quarter-note scales in wave-like patterns, evokes the act of creation and the world's visible and invisible order, while rapid syllabic setting on "visibilium et invisibilium" heightens the sense of divine omnipotence. This movement's 84 measures (7 × 12) pair structurally with the preceding Credo (totaling 129 bars, or 3 × 43) to unify the opening, prioritizing original adaptations over direct parody to emphasize the text's creational imagery.^[1]^[7]^[23] Et in unum Dominum Jesum Christum follows as an original soprano I–alto duet in G major, marked Andante in 4/4, serving as a lyrical interlude that affirms the Son's unity with the Father through canonic interplay. The voices enter a beat apart over oboi d'amore and violins in free canon, with the duet's flowing lines and imitative entries symbolizing the begotten nature "ex Patre natum ante omnia saecula"; the steady rhythm and processional quality in the accompaniment suggest a solemn advance, reinforcing textual themes of divine procession and equality, including "qui propter nos homines et propter nostram salutem descendit de caelis." This movement's auxiliary cadence structure links tonally to the surrounding choruses, using its original composition to highlight Christological doctrine without parodic borrowing.^[23]^[3] The sequence culminates in Et incarnatus est, an original five-part chorus in B minor, Andante maestoso in 3/4 time, composed late in Bach's life (circa 1749) to capture the Incarnation's profound mystery through suspended chromaticism and anguished expression. Its fugato structure, spanning 49 measures (7 × 7), features unison string obbligato and descending melodic lines on "de caelis" to depict Christ's descent, with chromatic neighbor tones (e.g., E♯) and an augmented sixth chord on "sancto" (mm. 11–15) resolving to the dominant, creating dissonant suspensions that evoke sorrow and awe; the text's emphasis on "et homo factus est" unfolds in jagged, earth-bound phrases, transforming the texture from ethereal to incarnate humanity. This movement's innovative harmonic tension, including a 7–6 suspension, underscores the doctrinal miracle without parody, distinguishing it as a pinnacle of expressive depth in the Credo.^[24]^[23]^[3]

Crucifixus to Et in Spiritum Sanctum

The Crucifixus, a choral movement depicting Christ's suffering on the cross, is a passacaglia in E minor that transitions to G major at its conclusion. Parodied from the opening chorus of the 1714 cantata Weinen, Klagen, Sorgen, Zagen (BWV 12), it features a repeating ostinato bass line—a descending chromatic tetrachord (E–D♯–D–C♯–B)—that cycles 13 times over a grave 3/2 meter, creating a relentless sense of lamentation.^[1]^[25] This structure builds expressive depth through polyphonic variations, with chromatic descents in the upper voices mirroring the bass to evoke collective grief, augmented seconds, and diminished seventh chords intensifying the tragic affect.^[1] The movement's binary form includes a brief contrasting section with ascending motion and homophony, but the overall descent culminates in a final soprano line that disrupts closure, symbolizing unresolved suffering before the tonal shift to the relative major anticipates resurrection.^[25] Following without pause, the Et resurrexit bursts forth as an original choral movement in D major, marked vivace e allegro in cut time, embodying triumphant resurrection through its energetic fanfares and fugal entries. Likely composed anew for the Mass or adapted from a lost source, it unfolds in a ternary-like form with homophonic proclamations of "Et resurrexit tertia die" leading to imitative polyphony on the ascension and judgment texts.^[26] Expressive contrasts arise from modal mixtures, including brief dips to the relative minor (B minor) and other keys like A major and F♯ minor, heightening the dramatic shift from suffering to glory with trumpet flourishes and a descending third progression (F♯–E–D) that reinforces tonal resolution.^[1] The chorus's jubilant drive, supported by full orchestral forces, conveys eschatological victory without explicit alleluias, focusing instead on textual vividness through rhythmic vitality and structural expansion.^[1] The Et in Spiritum Sanctum shifts to a serene bass aria in A major, parodied from the fourth movement ("O Seelen-Paradies") of the 1714 Pentecost cantata Erschallet, ihr Lieder (BWV 172), where oboes d'amore provide obbligato pastoral accompaniment evoking the Holy Spirit's gentle presence. Structured as a da capo form with ritornello framework, it features lyrical melodic lines over a descending third progression (C♯–B–A), with chromatic inflections adding subtle emotional warmth to the doctrine of the Spirit proceeding from Father and Son.^[26] The pastoral character emerges in the oboes' flowing, bird-like motifs and the bass's contemplative delivery, contrasting the preceding choral intensity while maintaining cyclic ties through recurring motivic elements from earlier Credo sections.^[1] This movement's concise elegance underscores theological procession without overt drama, bridging to the confessional close.

Confiteor and Et Expecto Resurrectionem

The Confiteor movement concludes the confessional portion of the Symbolum Nicenum with an original double-fugue setting for double choir (SSATB/SSATB) in F-sharp minor, emphasizing communal unity in the acknowledgment of baptism and forgiveness of sins.^[1] The structure unfolds in cut-C time across three continuous sections: an initial exposition (mm. 1–16) introduces the first subject, a descending lyrical motif on "Confiteor unum baptisma," with staggered entries beginning in the first sopranos and progressing through the choirs to end on the dominant; a second exposition (mm. 16–120) develops the second subject, a more angular theme on "in remissionem peccatorum," incorporating strettos and a cantus firmus derived from Gregorian chant in augmentation for textural depth. A transitional Adagio bridge (mm. 121–146) follows, marked by chromaticism, diminished seventh chords, and enharmonic shifts that heighten tension before resolving to the dominant of D major, linking seamlessly to the subsequent movement.^[27] This fugal design not only reflects the text's theme of collective confession through imitative polyphony but also achieves structural closure for the Credo by paralleling the double-fugue form and double-choir scoring of "Cum sancto Spiritu" from the Gloria, creating symmetrical framing for the doctrinal affirmations of the Missa and Symbolum Nicenum.^[1] The irregular yet dense counterpoint, drawing on prototypes like the first fugue of Toccata BWV 914 and the opening of Cantata BWV 25, builds to a dramatic pause, underscoring the movement's role in balancing the narrative arc from incarnation to redemption. The Et expecto resurrectionem mortuorum movement, parodied from the second movement chorus "Jauchzet, ihr erfreuten Stimmen" of Cantata BWV 120 (composed for Augsburg's city council inauguration in 1728–29), shifts to a single five-part chorus (SATB) with full orchestra including three trumpets in D major, capturing eschatological hope through its buoyant 3/4 meter and vivace e allegro tempo.^[28] Bach adapted the cantata's material by altering the text underlay and instrumentation while preserving the fugato structure: an introductory Adagio unison proclamation leads to entries on the rising subject "Et expecto resurrectionem," developed in lively strettos with trumpet fanfares evoking triumph, culminating in a fortified D-major cadence.^[27] This energetic form contrasts the preceding confessional gravity, propelling the Credo toward resolution and affirming resurrection as a pivotal Lutheran and Catholic tenet.^[28] Together, the Confiteor and Et expecto provide a cohesive eschatological finale to the Symbolum Nicenum, with the former's introspective polyphony yielding to the latter's jubilant propulsion, ensuring tonal and thematic symmetry within the Mass's overall cyclic design.^[1]

The Sanctus

Sanctus and Pleni Sunt Coeli

The Sanctus in Johann Sebastian Bach's Mass in B minor stands as an independent hymn of praise, positioned immediately after the Symbolum Nicenum to pivot from doctrinal confession to liturgical acclamation. Originally composed in 1724 for the Christmas Day service at St. Thomas Church in Leipzig, this movement was performed independently during Bach's lifetime and later incorporated into the Mass's 1748–49 autograph manuscript, highlighting its self-contained character predating the work's full compilation.^[29]^[15]^[30] The movement unfolds in a two-part structure without interruption, set in D major for a six-voice chorus (SSAATB) accompanied by an expansive orchestra featuring three trumpets, timpani for thunderous emphasis, three oboes, strings, bassoon, and continuo. The initial "Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth" section, marked Maestoso in 3/4 time, employs a homophonic texture with block chords and a descending bass octave motif to convey divine majesty and the quaking temple from Isaiah 6:3.^[29]^[15]^[1] Seamlessly continuing in Vivace 3/8 time, the "Pleni sunt coeli et terra gloria ejus" section shifts to whirlwind polyphony via a fugal exposition led by the tenors, whose subject leaps dramatically from low to high registers to symbolize the fullness of heaven and earth. Overlapping entrances across the voices build seraphic ecstasy, with rapid sixteenth-note melismas in parallel thirds among the upper voices and lilting string accompaniment enhancing the imagery of heavenly praise.^[29]^[31]^[1]

The Osanna, Benedictus, Agnus Dei, and Dona Nobis Pacem

Osanna in Excelsis

The Osanna in Excelsis serves as a jubilant double chorus movement in D major, setting the text "Osanna in excelsis, Benedictus qui venit in nomine Domini. Osanna in excelsis" for SSATB voices across two choirs. It employs a full Baroque orchestra including three trumpets, timpani, two oboes d'amore, two flutes, two violins, viola, and basso continuo, with the brass and percussion adding a majestic, celebratory pomp that underscores the processional quality of the text. This scoring draws from the movement's origins as a parody of the opening chorus from Bach's secular cantata BWV 215, Preise dein Glücke, gesegnetes Sachsen, composed in 1734 to honor Elector Frederick Augustus II, where Bach adapted only the A section and expanded it with new imitative material to fit the liturgical words.^[1] In 3/4 time, the Osanna unfolds as a ternary-like form alternating between homophonic fanfares and polyphonic fugati, evoking the style of a French overture through its initial dotted rhythms and stately entries that transition into lively contrapuntal development. The structure features three principal fugal sections: the first (mm. 14–28) introduces the subject in tonic entries across the choirs, the second (mm. 39–52) builds in the dominant with overlapping voices, and the third (mm. 63–77) culminates in strettos leading to cadences, all interwoven with arpeggiated motives and choral exchanges that heighten the exuberance. These fugal entries, with their imitative points and role reversals between the two choirs, emphasize the repetitive "Osanna" text, creating rhythmic drive and spatial antiphony suited to a grand liturgical procession.^[1]^[3] The movement's repetition—performed in full immediately following the Benedictus—frames that solo as a central interlude, establishing liturgical symmetry and a palindromic close to the final portion of the Mass through this exact reprise, which reinforces the theme of divine praise while providing structural balance to the Sanctus and ensuing sections. This design not only mirrors the textual demands of the Ordinary of the Mass, where the Osanna traditionally recurs, but also unifies the work's overarching architecture via shared motivic elements like descending third progressions in the background voice leading.^[1]

Benedictus, Agnus Dei, and Concluding Dona Nobis Pacem

The Benedictus, a tenor aria in B minor, features a virtuosic flute obbligato that intertwines with the solo voice to evoke a sense of intimate blessing and pastoral serenity. Composed anew for the Mass around 1748–49, this movement employs a da capo form, with the flute introducing a lyrical, descending melodic line that the tenor echoes and elaborates, creating a dialogue of praise for "him who comes in the name of the Lord." The flute's elaborate runs and trills, demanding technical precision, symbolize the "hosanna" of divine entry, framing the aria within the broader Osanna context while emphasizing personal devotion over communal exuberance.^[15]^[1] Following the Benedictus, the Agnus Dei presents an alto aria in G minor, parodied from the soprano aria "Ach, bleibe doch, mein liebster Freund" in the Ascension Oratorio BWV 11 (composed 1735), adapted here to a trio sonata texture with the alto voice accompanied by unison violins and continuo. This movement unfolds in a ternary structure mirroring the threefold text ("Lamb of God, who takes away the sins of the world"), with sighing appoggiaturas—dissonant notes resolving stepwise, often in descending motion—conveying the lamb's sacrificial humility and a plea for mercy through chromatic lamentations and subdued dynamics. The shortened adaptation, reducing the original's length while preserving its emotional core, heightens the supplicatory intimacy, shifting from the Benedictus's lyrical tenderness to profound sorrow.^[32]^[1] The Mass concludes with the Dona nobis pacem, a four-part chorus in D major that directly reuses the music of the earlier Gratias agimus tibi from the Gloria, providing cyclic closure through this direct reuse of the music, with the text changed to "Dona nobis pacem." Structured as a stately French overture in binary form with a fugal second section, the movement builds from a dotted-rhythm introduction to imitative entries, resolving in a serene V-I cadence that echoes the opening Kyrie's tonal plan while affirming peace. This reuse, minimal in alteration beyond orchestration, transforms the Gloria's gratitude into a final prayer for tranquility, completing the expressive arc from supplication to resolute calm in B minor's overarching tonality.^[15]^[1]

References

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[PDF] bach's mass in b minor: an analytical study of parody movements
The next movement is the already analyzed “Gratias agimus tibi.” For this chorus, Bach returns to the central key of D major and, as previously explained, the ...
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Christoph Wolff Elucidates Bach's Mass in B Minor - The Boston ...
Apr 30, 2025 · The Mass is in four sections, each composed at different times, from 1723-4 to 1749, and it was never bound as one manuscript in Bach's lifetime ...
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Johann Sebastian Bach's Mass in B Minor was his last completed work and an acknowledged masterpiece of the then-prevalent practice of parody.
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It is made up of music composed over a 25-year period, some of it adapted, some of it new. Its manuscript is divided into four large sections with no overall ...Missing: assembly timeline
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[PDF] Parody and transcription in the B-Minor Mass
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What might have inspired Bach to select particular movements for inclusion into the Mass in B Minor? Composers of the Baroque period widely embraced a theory of ...
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All the parodies so far have been closely modelled on their original sources, both musically, in textual context, and in holding to the original key. The final ...
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J.S. Bach (Eisenach 1685–Leipzig 1750) never wrote a mass in B minor. Though this statement may surprise you, it is, strictly speaking, correct.
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[PDF] Bach's Mass in B-Minor: a Panorama of Old and New Styles
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I propose a different choral work as a model for Chopin's E- minor Prelude: the 'Crucifixus' from Bach's B-Minor Mass (1748–. 49). The functions of these works ...
[26]
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[29]
[PDF] Mass in B minor - A Gertus History of Music
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[30]
[PDF] Mass in B minor JS Bach (1685-1750) - Dunedin Consort
Bach's Mass in B Minor is undoubtedly his most spectacular choral work. Its combination of sizzling choruses and solo numbers covering the gamut of late ...
[31]
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Carl Philipp Emanuel Bach archived this work as the Great Catholic Mass. On 1 February 1733, Augustus II Strong, Polish King, Grand Duke of Lithuania and ...
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The Agnus Dei shows many of the characteristic we associate with Bach's style in general, including many items also discussed in the St. Matthew Passion.