A Missa (Mass) of Johann Sebastian Bach is in general a composition of the Latin Mass by the German Baroque composer.
More specifically, Missa (or Missa brevis or Lutheran Mass) refers to one of his four short masses in F major, A major, G minor and G major, BWV 233 to 236. These masses consist of a Kyrie and a Gloria.
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Bach was a Lutheran church musician and devoted to the composition of sacred music in German. He wrote more than 200 cantatas for the liturgy, most of them in Leipzig. In 1724 he composed a Sanctus for Christmas, which he later integrated into his Mass in B minor. He composed a setting of the Magnificat in 1723, and then significantly revised it in 1733. In 1733 he composed a setting of Kyrie and Gloria for the court of Dresden, which would later form the first parts of his Mass in B minor, his only complete mass (or missa tota). He used three movements of this Gloria to compose his cantata Gloria in excelsis Deo, BWV 191, possibly for a performance in 1745.[1]
Bach wrote four other settings of Kyrie and Gloria, sometimes called Missa brevis (plural: Missae breves). The attribute brevis in this case means short in words, unlike the Missa brevis of the classical period which is short in duration. Sometimes the works are termed Lutheran mass, because the combination of only Kyrie and Gloria was used more frequently in the Lutheran liturgy.
They seem to have been intended for liturgical use, considering a performance time of about 20 minutes each, the average duration of a Bach cantata. They may have been composed around 1738/39.[2] Possibly they were written for Count Franz Anton von Sporck or performed by him in Lysá.[3]
Each Missa is in six movements, the Kyrie one choral movement in three sections, the Gloria in five movements. The first and last movement of the Gloria are also choral, framing three arias for different voice types. The music consists mostly of parodies of cantata movements.[1] He changed the music slightly to adjust to the Latin words, but kept the original instrumentation. The opening chorus of Es wartet alles auf dich, BWV 187, became the final movement of the Missa in G minor, Cum sancto spiritu. Occasionally he switched a voice part, for example he asked for a tenor in the Quoniam of that Missa, a parody of the soprano aria Halt ich nur fest an ihm of that cantata.
The four masses are
Movement | Title | for | from (or remark) |
---|---|---|---|
1 | Kyrie eleison – Christe eleison – Kyrie eleison | Chorus | earlier version: BWV 233a |
2 | Gloria in excelsis | Chorus | |
3 | Domine Deus | bass | perhaps BWV Anh18[5] |
4 | Qui tollis | soprano | BWV 102 |
5 | Quoniam | alto | BWV 102 |
6 | Cum sancto Spiritu | Chorus | BWV 40 |
Movement | Title | for | from (or remark) |
---|---|---|---|
1 | Kyrie eleison – Christe eleison – Kyrie eleison | Chorus | |
2 | Gloria in excelsis | Chorus | BWV 67/4 |
3 | Domine Deus | bass | |
4 | Qui tollis | soprano | BWV 179/5 |
5 | Quoniam | alto | BWV 79 |
6 | Cum sancto Spiritu | Chorus | Vivace part: BWV 136 (Opening chorus) |
Movement | Title | for | from (or remark) |
---|---|---|---|
1 | Kyrie eleison – Christe eleison – Kyrie eleison | Chorus | BWV 102 |
2 | Gloria in excelsis | Chorus | BWV 72 |
3 | Gratias | bass | BWV 187/4 |
4 | Domine Fili | alto | BWV 187/3 |
5 | Qui tollis – Quoniam | tenor | BWV 187/5 |
6 | Cum sancto Spritu | Chorus | BWV 187 |
Movement | Title | for | from (or remark) |
---|---|---|---|
1 | Kyrie eleison – Christe eleison – Kyrie eleison | Chorus | BWV 179 |
2 | Gloria in excelsis | Chorus | BWV 79 |
3 | Gratias | bass | BWV 138 |
4 | Domine Deus | soprano, alto | BWV 79 |
5 | Quoniam | tenor | BWV 179 |
6 | Cum sancto Spritu | Chorus | BWV 17 |