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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Probably a parody, it is the only movement in the work using the horn.
The other voices enter in the sequence bass, alto, soprano I, soprano II, each one before the former one crucifiuxs finishes its line. Gratias agimus tibi 8.
Et in Spiritum sanctum – The countersubject on the second line “propter magnam gloriam tuam” for your great glorydevoted to the glory of God, is more complex in rhythm. Essays on his Life and Music”. This file is part of the Sibley Mirroring Project.
The theme is a Gregorian Chant first presented by the tenor in long notes on a walking bass of the continuo. The other instruments are grouped by brass, woodwinds and strings. Archived from the original Crufifixus on 9 December This contrast is reminiscent of the contrast between the two Kyrie movements and foreshadows the last two movements of the Symbolum Nicenum.
Retrieved 3 May The Credo begins with ” Credo in unum Deum ” I believe in one Goda polyphonic movement for five-part choir, to which two obbligato violins add independent parts.
Crucifixus: The Sacred Music of J.S. Bach by Johann Sebastian Bach on Spotify
Mass in G minor BWV Original version vocal parts of Et in unum Dominum with Et incarnatus est text. The suffering of Jesus is expressed in chromatic melodic lines, dissonant harmonies, and sigh-motifs. Sanctus in D minor BWV Bach selected movements that carried a similar expression and affekt.
Butt notes D major as the central key, corresponding to the “atonement of Christ”. Performer Pages Papalin recorder, chorus. Foreword by Arthur Sullivan; and F.
The three upper voices sing frequently alternating with the three lower voices, reminiscent of a passage by Isaiah about the angels singing “Holy, holy, holy” to each other Isaiah 6: Messen, Passionen, Oratorische Werke Band 1. The following thought, Benedictus”blessed is he who comes in the name of the Lord”, is sung by the tenor in an aria with an obbligato instrument, probably a flauto traverso,  leading to a repeat of the Osanna.
Mass in B minor, BWV 232 (Johann Sebastian Bach)
Et in unum Dominum. This page was last edited on 14 Decemberat Numbering of each piece according to that on D-B. Wilderer’s mass also has a slow introduction, a duet as the second movement and a motet in stile anticosimilar to late Renaissance music as the third movement.
Some parts of the mass were used in Latin even in Lutheran Leipzig, and Bach had composed them: Staatsbibliothek zu Berlin D-B: Retrieved from ” https: The section Kyrie is structured, following tradition, in a threefold acclamation of God, a chorus for the Kyrie I, a duet Christe, and a different chorus for Kyrie II.
Mass in B minor, BWV (Johann Sebastian Bach) – ChoralWiki
Both duets appear as the center of the symmetry within the respective part, Kyrie and Gloria. 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. Bach structured the work in four parts: It is structured in three sections, regarding Father, Son and Holy Spirit. As the text turns to the words ” Et expecto resurrectionem mortuorum ” and expect the resurrection of the deadthe slow music modulates daringly with enharmonic transformations through several keys,  touching E-flat major and G-sharp major, vividly bringing a sense of dissolving into disorder as well as expectation before the resurrection to come.
The word “resurrectionem” appears then in the runs in the voices, one after the other in cumulation.
Ccrucifixus Holy is an independent movement written for Christmasscored for six voices SSAATB and a festive orchestra with trumpets and three oboes. 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.
A second repetition of instruments, embedded voices and upward runs brings the whole section to a jubilant close on the words ” et vitam venturi saeculi.
More by Johann Sebastian Bach
The work is scored for five vocal soloists, chorus and orchestra. The first entrances build from the lowest voice in the sequence bass, tenor, alto, crucifixjs. The ritornello is played between the three sections, the second time shortened, and it concludes the movement.
It is based on the first choral movement of Wir danken dir, Gott, wir danken dir bacb, BWV 29 which also expresses the idea of thanks to God and praise of his creation but this cantata movement may have been derived from an even earlier source .