Program Notes: Johann Sebastian Bach – Mass in B minor, BWV 232
Welcome, dear concert-goer, to a profound and awe-inspiring journey into the spiritual and musical cosmos of Johann Sebastian Bach. Tonight, we have the immense privilege of experiencing his monumental Mass in B minor, BWV 232 – a work universally regarded as one of the greatest masterpieces of Western classical music, a summation of the entire Baroque era, and a testament to human artistic and spiritual endeavor.
Bach: A Summation of Faith and Artistry
Johann Sebastian Bach (1685-1750) stands as an unparalleled figure in musical history. While his daily duties as Thomaskantor in Leipzig primarily involved composing Lutheran church music, the Mass in B minor is unique. It is a complete setting of the Latin Ordinary of the Catholic Mass (Kyrie, Gloria, Credo, Sanctus, Benedictus, Agnus Dei), a form not typically used in Lutheran worship in its entirety. This fact, along with its sheer scale and musical complexity, has led scholars to consider it less a liturgical work for a single performance, and more a grand theological and musical testament, a "summa" of Bach's compositional art.
A Decades-Long Creation, A Unified Vision
The Mass in B minor wasn't composed all at once. It was assembled over a period of many years, drawing upon some of Bach's earlier compositions (a practice known as parody or contrafactum, common at the time), and supplementing them with newly composed movements of breathtaking originality.
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The Kyrie and Gloria sections, often referred to as the "Missa," were compiled in 1733 and presented to the Catholic Elector of Saxony, Augustus III, perhaps in a bid for a court title.
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The Sanctus dates back to a Christmas performance in 1724.
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The remainder of the Credo, Benedictus, and Agnus Dei were primarily composed or assembled in the late 1740s, shortly before Bach’s death.
Despite its piecemeal creation, the entire Mass is bound together by a remarkable internal coherence, a unified B minor tonality that lends it profound gravity and spiritual depth, and Bach’s unparalleled genius for counterpoint and expression. It requires five vocal soloists (two sopranos, alto, tenor, bass), a large chorus (often in 4, 5, 6, and even 8 parts), and a brilliant Baroque orchestra featuring flutes, oboes, bassoons, horns, trumpets, timpani, strings, and continuo.
A Journey Through Faith and Sound:
The Mass unfolds as a series of movements, each responding to the sacred text with astonishing musical imagination, ranging from grand declarations to intimate reflections:
Part I: Kyrie
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Kyrie eleison (Chorus): A majestic, slow, and weighty plea for mercy, building from a deep, somber opening to powerful cries. It sets the tone for the entire work's spiritual gravitas.
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Christe eleison (Duet, Sopranos): A tender and lyrical duet, offering a moment of grace and intimacy.
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Kyrie eleison (Chorus): A faster, more agitated fugal chorus, emphasizing the urgency of the plea for mercy.
Part II: Gloria 4. Gloria in excelsis Deo (Chorus): A sudden explosion of joy and brilliance, with festive trumpets and timpani, announcing "Glory to God in the highest!" 5. Et in terra pax (Chorus): A serene and contemplative chorus, depicting "peace on earth." 6. Laudamus te (Aria, Soprano II): A joyful and agile aria, praising God. 7. Gratias agimus tibi (Chorus): A powerful and grand chorus of thanksgiving, based on the music from an earlier cantata. 8. Domine Deus (Duet, Soprano I & Tenor): A gentle and flowing duet, invoking "Lord God." 9. Qui tollis peccata mundi (Chorus): A deeply poignant and sorrowful chorus, reflecting on "who takes away the sins of the world." 10. Qui sedes ad dextram Patris (Aria, Alto): A tender and expressive alto aria, with a prominent oboe d'amore, praying to "Him who sits at the right hand of the Father." 11. Quoniam tu solus Sanctus (Aria, Bass): A majestic and authoritative bass aria, often with a powerful horn solo, proclaiming "for You alone are holy." 12. Cum Sancto Spiritu (Chorus): A dazzling, virtuosic, and exhilarating fugal chorus, concluding the Gloria in a blaze of glory "with the Holy Spirit."
Part III: Credo (Symbolum Nicenum) 13. Credo in unum Deum (Chorus): A grand, austere, and profoundly majestic opening, proclaiming belief in "one God." 14. Patrem omnipotentem (Chorus): A continuation of the powerful fugal style, asserting belief in the "Father Almighty." 15. Et in unum Dominum (Duet, Soprano I & Alto): A lyrical and intertwining duet affirming belief in "one Lord." 16. Et incarnatus est (Chorus): A deeply moving, awe-filled chorus, with pulsing rhythms and sustained chords, depicting "and was incarnate" – the mystery of the Incarnation. 17. Crucifixus (Chorus): One of the most heartbreaking movements, a lamenting chorus over a repeating bass line (a passacaglia), depicting the crucifixion. It famously ends on a dissolving, sustained chord, creating an unforgettable sense of emptiness. 18. Et resurrexit (Chorus): A sudden, triumphant outburst of joy, celebrating the resurrection with brilliant orchestral fanfares and energetic vocal lines. 19. Et in Spiritum Sanctum (Aria, Bass): A serene and contemplative aria, often with two oboes, affirming belief in the Holy Spirit. 20. Confiteor unum baptisma (Chorus): A powerful and dense fugal chorus, professing belief in "one baptism." 21. Et expecto resurrectionem mortuorum (Chorus): A magnificent, two-part chorus that builds from a solemn, slow opening to a majestic, fast fugue, expressing hope for the "resurrection of the dead."
Part IV: Sanctus, Benedictus, Agnus Dei, Dona nobis pacem 22. Sanctus (Chorus): A six-part choral and orchestral outpouring of praise, "Holy, holy, holy," soaring to a breathtaking climax. 23. Osanna in excelsis (Chorus): A dazzling, energetic, and joyous chorus, repeating the "Hosanna in the highest" from the Gloria. 24. Benedictus (Aria, Tenor): A tender and lyrical tenor aria, often with a solo flute or violin, blessing "Him who comes in the name of the Lord." 25. Osanna in excelsis (Chorus): A glorious reprise of the earlier "Hosanna," reinforcing the triumphant mood. 26. Agnus Dei (Aria, Alto): A deeply poignant and introspective alto aria, lamenting "Lamb of God, who takes away the sins of the world, have mercy on us." 27. Dona nobis pacem (Chorus): The final movement, a grand and resonant chorus that is a near-identical reprise of the "Gratias agimus tibi" from the Gloria, now transformed into a fervent prayer for "grant us peace." It brings the entire massive work to a powerful and profoundly moving conclusion.
A Pinnacle of Human Achievement:
The Mass in B minor is more than just a collection of brilliant musical pieces; it is an epic spiritual journey, a profound statement of faith, and an overwhelming demonstration of Bach's compositional genius. Its sheer scale, emotional range, and intricate polyphony demand supreme skill from its performers and offer an unparalleled experience for the listener. It is a work to be absorbed, to be lived with, and to marvel at its inexhaustible depth.
So, prepare to be transported. Let the sublime beauty, the intricate textures, and the overwhelming power of Bach's Mass in B minor envelop you. It is a testament to the human spirit and an enduring legacy from one of the greatest minds to ever grace the world of music.
