Crucifixus: The Sacred Music of J.S. Bach. By Johann Sebastian Bach, Various Artists, Géza Oberfrank, Christian Brembeck, Matyas Antal. • 14 songs. Bach’s Mass in B minor (BWV ) is the synthesis of his life’s work. from a parody of a cantata (BWV 12, used in the Crucifixus) to probably the last vocal. Check out J.S. Bach: Mass In B Minor, BWV / Credo – Crucifixus by Carol Hall & Michael Chance & Wynford Evans & Stephen Varcoe & English Baroque.

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The two violins enter independently, reaching a seven-part fugue. The voices sing a motif of descending triads. Essays on his Cruxifixus and Music”. Preface to the Piano Reduction. Retrieved 3 May Oboe or Oboe d’Amore ad lib.

Crucifixus: The Sacred Music of J.S. Bach by Johann Sebastian Bach on Spotify

Et in unum Dominum. Practical performances often have only one soprano soloist, sharing the parts for the second soprano SII between soprano and alto. The suffering of Jesus is expressed in chromatic melodic lines, dissonant harmonies, and sigh-motifs. Rathey points out, that the scoring at first glance does not seem to match the text “Domine Deus, Rex coelestis” Lord God, Heavenly Kingbut it matches the continuation “Domine Deus, Agnus Dei” Lord God, Lamb of Godstressing the Lutheran “theologia crucis” theology of the cross that the omnipotent God is the same as the one revealed on the cross.

Archived from the original PDF on 3 March Masses, magnificat, passions and oratorios by Johann Sebastian Bach. Tomita, Yo; Leaver, Robin A. He arranged the text in diverse movements for a five-part choir and solo voices, according to the taste in Dresden where sacred music “borrowed” from Italian opera with a focus on choral movements, as musicologist Arthur Wenk notes.


Most other movements of the mass are parodies of music from earlier cantatas[7] dating back as far as Bach headed the movement ” Duo voces articuli 2 ” which can be translated as “Two voices express 2” or “the two vocal parts of Article 2”.

Mass in B minor, BWV (Johann Sebastian Bach) – ChoralWiki

Sanctus in D major. San Francisco Bach Choir. Et incarnatus est Probably a parody of an earlier work, it is Bach’s only extant duet for crucifxus sopranos, stressing that idea.

Retrieved 17 September The thought is continued in ” Patrem omnipotentem ” to the Father, almightyin a four-part choral movement with trumpets. The first part of the text, devoted to thanks, is a melody in even tempo that ctucifixus gradually and falls again. Qui sedes ad dexteram Patris Quoniam tu solus sanctus. The text included originally the line ” Et incarnatus est de Spiritu sancto ex Maria virgine et homo factus est “, illustrating ” descendit ” by a descending figure for the violins.

Christoph Wolff notes a similarity between the fugue theme and one by Johann Hugo von Wildererwhose mass Bach had probably copied and performed in Leipzig before From Wikipedia, the free encyclopedia.

Quoniam tu solus sanctus, Cum Sancto Spiritu. Sanctus in D major BWV Universal Editionn. We find such a symmetric outline in many pieces by Johann Sebastian Bach,19 but only in a few cases is this outline as consequent as in the B Minor Mass.

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When Bach treated crucitixus Et incarnatus est ” as a separate choral movement, he rearranged the text, and the figure lost its “pictorial association”. The movement is based on a choral movement dating from about which is used in Gott, man lobet dich in der StilleBWV and a related wedding cantata BWV a. The Mass was Bach’s last major artistic undertaking.

Whenever the word crucifiuxs appears, the voices sing long low notes, whereas “resurrectionem” is illustrated in triad motifs leading upwards. When he compiled the mass, he used these parts, added the Credoincluding new compositions, and concluded with Osannawhich is normally part of the Sanctus. Gloria in excelsis 5. Oboes and Oboes d’Amore ad lib. Bach’s Mass in B minor: Archived from the original PDF on 9 December Bach follows the structure, devoting two choral crucufixus to the first section, beginning the second section with a duet, followed by three choral movements, and opening the third with an aria, followed by two choral movements.


Wenk points out that Bach often used parody to “bring a composition to a higher level of perfection”. Thirty Years crucifixuss HIP”.

Mass in G major. The continuation of the thought, ” Qui sedes ad dexteram Patris ” who sits bbach the right [hand] of the Fatheris expressed by an aria for alto and obbligato oboe d’amore. More information about this can be found here. Sanctus Pleni sunt coeli IV. Et in terra pax. Wilderer’s mass also has a slow introduction, a duet as the second movement and a motet in stile anticosimilar to late Renaissance music[4] as the third movement.

Osanna, Benedictus, Agnus Dei et Dona nobis pacem. An aria for soprano II and obbligato violin express the praise and adoration of God in vivid coloraturas. The text ” ex Maria vergine ” out of the virgin Mary appears in an upward movement, “et homo factus est” and made man is even in upward triads.

Bach based movements of the Mass in B minor on earlier compositions. Bach-Gesellschaft AusgabeBand 44 Leipzig: