Download Mass in B minor, BWV 232 (1749)

Concerts of Thursday, February 28, and Friday, March 1, 2013, at 8:00p
Robert Spano, Conductor
Celena Shafer, Soprano I
Krisztina Szabo, Soprano II
James Laing, Counter-tenor
Thomas Cooley, Tenor
Stephen Powell, Bass
Atlanta Symphony Orchestra Chamber Chorus,
Norman Mackenzie, Director of Choruses
Johann Sebastian Bach (1685-1750)
Mass in B minor, BWV 232 (1749)
This concert will be performed without intermission.
Notes on the Program by Ken Meltzer
Mass in B minor, BWV 232 (1749)
Johann Sebastian Bach was born in Eisenach, Germany, on March 21, 1685, and
died in Leipzig, Germany, on July 28, 1750. The Mass in B minor is scored for two
solo sopranos, solo alto, tenor and bass, mixed chorus, two flutes, two oboes, two
oboe d’amore, two bassoons, horn, three trumpets, timpani, organ and strings.
Approximate performance time is one hour, forty-eight minutes.
First ASO Classical Subscription Performances: December 18, 19 and 21, 1969,
Atlanta Symphony Chamber Chorus, Robert Shaw, Conductor.
Most Recent ASO Classical Subscription Performances: March 26, 27 and 28, 1998,
Atlanta Symphony Orchestra Chamber Chorus, Robert Shaw, Conductor.
ASO Recording: Telarc CD-80233 (2-disc set), Atlanta Symphony Orchestra
Chamber Chorus, Robert Shaw, Conductor.
The history of Johann Sebastian Bach’s composition of his Mass in B minor—one of the
greatest sacred choral works—spans several years, and is somewhat complex. On
February 1, 1733, Friedrich August I, the Elector of Saxony, died. A five-month period
of mourning was declared in Saxony, during which time all musical performances were
forbidden. Bach took advantage of this hiatus in his official musical duties to compose a
setting for vocal soloists, chorus and orchestra of the Kyrie and Gloria portions of the
Catholic Mass.
On July 27, 1733, Bach presented the score of his new work to the successor to the
Elector of Saxony, his son, Friedrich August II. The following letter by Bach, requesting
a court appointment, accompanied the score:
To His Most Serene Highness, the Prince and Lord, Frederick Augustus,
Royal Prince in Poland and Lithuania, Duke in Saxony…My Most
Gracious Lord.
My Most Gracious Lord, Most Serene Elector, Most Gracious Lord!
To Your Royal Highness I submit in deepest devotion the present small
work of that science I have achieved in musique, with the most wholly
submissive prayer that Your Highness will look upon it with Most
Gracious Eyes, according to Your Highness’s World-Famous Clemency
and not according to the poor composition; and thus deign to take me
under Your Most Mighty Protection. For some years and up to the present
moment, I have had the Directorium of the music in the two principal
churches in Leipzig, but have innocently had to suffer one injury or
another, and on occasion also a diminution of the fees accruing to me in
this office; but these injuries would disappear altogether if Your Royal
Highness would grant me the favor of conferring upon me a title of Your
Highness’s Court Capelle, and would let Your High Command for the
issuing of such a document go forth to the proper place. Such a most
gracious fulfillment of my most humble prayer will bind me to unending
devotion, and I offer myself in most indebted obedience to show at all
times, upon Your Royal Highness’s Most Gracious Desire, my untiring
zeal in the composition of music for the church as well as for the
orchestra, and to devote my entire forces to the service of Your Highness,
remaining in unceasing fidelity Your Royal Highness’s most humble and
obedient servant.
Dresden, July 27, 1733
Johann Sebastian Bach
Since 1723, Bach had served as Kantor (Music Director) of the St. Thomas’s Church and
School in Leipzig. Bach remained in Leipzig for the remainder of his life. Nevertheless,
Bach found his dealings with the Leipzig authorities to be less than satisfactory. The
composer often felt that he was not accorded sufficient resources to carry out his musical
duties. Further, Bach was frustrated by the menial tasks he was frequently obligated to
perform at the Thomasschule.
As Bach’s letter indicates, the composer hoped that his gift of the Kyrie and Gloria to
Friedrich Augustus II would result in an improvement of his fortunes. However, it was
not until 1736 that the new Elector of Saxony appointed Bach as Court Composer.
It is clear that Bach viewed the Kyrie and Gloria he submitted to Friedrich Augustus II as
a self-contained work. Nevertheless, toward the end of his life, Bach returned to this
composition, adding the Credo, Sanctus and Agnus Dei portions to form what is now
known as the composer’s Mass in B minor, BWV 232.
The motivation for Bach’s revisiting of this work is uncertain. It is highly unlikely that
Bach envisioned that the Mass in B minor could be performed in its entirety—at least
under the circumstances of the composer’s time. Modifications to the prescribed Latin
text made the work unacceptable for presentation in the Catholic Church. Further, the
work’s epic length precluded its incorporation into any religious service. Many scholars
therefore surmise that Bach—who viewed all of his compositions as offerings to his
Lord—completed his Mass in B minor not for any practical purpose, but out of some
profound inner need.
Mention should also be made of Bach’s employment of “parody.” A common practice in
Bach’s time, “parody” involved the reworking of material from previous compositions.
Numerous portions of the Mass in B minor are, in fact, based upon earlier Bach works.
The Sanctus portion of the Mass, for example, is derived from music Bach composed for
Christmas, 1724. Additionally, music from several of Bach’s cantatas forms the basis for
sections of the Mass in B minor.
It is a testament to Bach’s genius that, despite the circumstances surrounding the
composition of the Mass in B minor, it emerges as a glorious, unified masterpiece.
German composer Karl Friedrich Zelter (1758-1832) praised Bach’s Mass in B minor as
“probably the greatest musical work of art that the world has ever seen.” His reverential
words were echoed by Swiss composer Hans Georg Nägeli (1773-1836), who acclaimed
Bach’s creation as the “greatest work of music of all ages and of all peoples.” Bach’s
Mass in B minor continues to inspire awe among all who are fortunate enough to make its
sublime acquaintance.
Texts and Translations
Kyrie
I. Kyrie eleison (Chorus)
Kyrie eleison.
Lord, have mercy.
II. Christe eleison (Soprano I, Soprano II)
Christe eleison.
Christ, have mercy.
III. Kyrie eleison (Chorus)
Kyrie eleison.
Lord, have mercy.
Gloria
IV. Gloria in excelsis (Chorus)
Gloria in excelsis Deo.
Glory be to God in the highest.
V. Et in terra pax (Chorus)
Et in terra pax
hominibus bonae voluntatis.
And on earth peace to men of good will.
VI. Laudamus te (Soprano II, Violin)
Laudamus te; benedicimus te;
adoramus te; glorificamus te.
We praise Thee; we bless Thee;
we adore Thee, we glorify Thee.
VII. Gratias agimus tibi (Chorus)
Gratias agimus tibi
propter magnam gloriam tuam.
We give thanks to Thee for Thy great glory.
VIII. Domine Deus (Soprano I and Tenor, Flute)
Domine Deus, Rex coelestis,
Deus Pater omnipotens.
Domine Fili unigenite, Jesu Christe, altissime.
Domine Deus, Agnus Dei,
Filius Patris,
Lord God, heavenly King,
God the Father almighty.
O Lord, the only begotten Son, Jesus Christ, Most High.
Lord God, Lamb of God,
Son of the Father.
IX. Qui tollis peccata mundi (Chorus)
Qui tollis peccata mundi,
miserere nobis.
Qui tollis peccata mundi,
suscipe deprecationem nostram.
Thou who takest away the sins of the world,
have mercy upon us.
Thou who takest away the sins of the world,
receive our prayer.
X. Qui sedes ad dextram Patris (Alto, Oboe d’Amore)
Qui sedes ad dextram Patris,
miserere nobis.
Thou who sittest at the right hand of the Father,
have mercy upon us.
XI. Quoniam tu solus sanctus (Bass, Horn)
Quoniam tu solus sanctus,
tu solus Dominus,
tu solus Altissimus, Jesu Christe,
For Thou alone art the Holy One,
Thou alone art the Lord,
Thou, Jesus Christ, art the Most High.
XII. Cum Sancto Spiritu (Chorus)
Cum Sancto Spiritu,
in gloria Dei Patris.
Amen.
With the Holy Ghost,
In the glory of God the Father,
Amen.
Credo (Symbolum Nicenum)
XIII. Credo in unum deum (Chorus)
Credo in unum Deum.
I believe in one God.
XIV. Credo in unum Deum/Patrem omnipotentem (Chorus)
Credo in unum Deum,
Patrem omnipotentem,
factorem caeli et terrae,
visibilium omnium et invisibilium.
I believe in one God,
The Father almighty,
Maker of heaven and earth,
and of all things visible and invisible.
XV. Et in unum Dominum (Soprano, Alto)
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,
only begotten Son of God,
and born of the Father
before all generations.
God from God, light from light,
true God from true God.
Begotten, not made,
one in substance with the Father:
by whom everything was made.
Who for us men
and for our salvation
came down from heaven.
XVI. Et incarnatus est (Chorus)
Et incarnatus est de Spiritu Sancto
ex Maria Virgine, et homo factus est.
And was made flesh by the Holy Spirit
of the Virgin Mary, and was made man.
XVII. Crucifixus (Chorus)
Crucifixus etiam pro nobis
sub Pontio Pilato,
passus, et sepultus est.
And was crucified also for us
under Pontius Pilate:
suffered, and was buried.
XVIII. Et resurrexit (Chorus)
Et resurrexit tertia die,
secundum scripturas.
Et ascendit in coelum,
sedet ad dexteram Dei Patris.
Et iterum venturus est cum Gloria
judicare vivos et mortuos,
cujus regni non erit finis.
And He was resurrected on the third day
according to the scriptures.
And ascended into heaven,
sitting at the right hand of the Father,
and He shall come again with glory
to judge the living and the dead,
His kingdom shall have no end.
XIX. Et in Spiritum Sanctum (Bass, Oboe d’amore I/II)
Et in Spiritum sanctum
Dominum et vivificantem,
qui ex Patre et Filioque procedit.
Qui cum Patre et Filio
simul adoratur et conglorificatur,
qui locutus est per Prophetas.
Et unam sanctam catholicam
et apostolicam ecclesiam.
And (I believe in) the Holy Spirit
Lord and giver of life:
Who proceeds from the Father and the Son
Who with the Father and Son
is equally worshipped and glorified,
who spoke by the prophets.
And (I believe) in one Holy Catholic
and Apostolic church.
XX. Confiteor (Chorus)
Confiteor unum baptisma
in remissionem peccatorum.
I acknowledge one Baptism
in the remission of sins.
XXI. Et exspecto resurrectionem (Chorus)
Et exspecto resurrectionem mortuorum,
et vitam venturi saeculi. Amen.
And I wait for the Resurrection of the dead,
and the Life of the world to come. Amen.
Sanctus
XXII. Sanctus (Chorus)
Sanctus, Sanctus, Sanctus,
Dominus Deus Sabaoth.
Pleni sunt coeli et terra
gloria ejus.
Holy, Holy, Holy
Lord God of Hosts.
Heaven and earth are full
of Your glory.
XXIII. Osanna in excelsis (Chorus)
Osanna in excelsis.
Hosanna in the highest.
XXIV. Benedictus qui venit (Tenor, Flute)
Benedictus qui venit
in nomine Domini.
Blessed is He Who comes
in the name of the Lord.
XXV. Osanna in excelsis (Chorus)
Osanna in excelsis.
Hosanna in the highest.
Agnus Dei
XXVI. Agnus Dei (Alto)
Agnus Dei,
qui tollis peccata mundi,
miserere nobis.
Lamb of God,
Who takes away the sins of the world,
have mercy on us.
XXVII. Dona nobis pacem (Chorus)
Dona nobis pacem.
Grant us peace.