Johann Sebastian Bach: B minor Mass - Sheet music | Carus-Verlag

Johann Sebastian Bach B minor Mass

BWV 232 (BWV3 232.4)

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New Urtext Edition · Hybrid Edition

Although Bach's Mass in B minor is one of the most frequently performed works by the Cantor of St. Thomas's, it is full of puzzles and problems. This applies not only to the question, still unanswered to this day, of why Bach composed this work, but also to many details of the musical text. That is sufficient reason to present the Mass in B minor for the first time in a "hybrid" version which - linked bar by bar - also presents all the relevant sources to highly revealing effect in a DVD. As editor the services have been obtained of the highly experienced, renowned Bach and Mozart specialist Ulrich Leisinger.

The new edition
  • offers clear musical text of the invariable Carus quality
  • is not based only on the autograph and the "Dresden parts", but also on early copies, in order to eliminate from the musical text alterations made after 1750
  • includes the latest research findings with editing involving all the sources, the new Urtext edition and the critical report, together with an accompanying DVD
  • makes editorial decisions clearly evident, and is understandable in a way previously unknown
  • with the DVD it provides access to a fascinating event of musical history
  • facilitates rehearsal work by means of carefully prepared material (with music examples).
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Listen (27)
  • Purchase the work as a CD or download.
  • Kyrie eleison I
  • Christe eleison
  • Kyrie eleison II
  • Gloria in excelsis Deo
  • Et in terra pax
  • Laudamus te
  • Gratias agimus tibi
  • Domine Deus
  • Qui tollis
  • Qui sedes
  • Quoniam tu solus Sanctus
  • Cum Sancto Spiritu
  • Credo in unum Deum
  • Patrem omnipotentem
  • Et in unum Dominum
  • Et incarnatus est
  • Crucifixus
  • Et resurrexit
  • Et in Spiritum Sanctum
  • Confiteor
  • Et exspecto
  • Sanctus / Pleni sunt
  • Osanna
  • Benedictus
  • Osanna
  • Agnus Dei
  • Dona nobis pacem
more
Practise
  • carus music, the Choir Coach Üben mit carus music
    • Kyrie eleison I (Choir Coach, soprano 1)
    • Kyrie eleison I (Choir Coach, soprano 2)
    • Kyrie eleison II (Choir Coach)
    • Gloria in excelsis Deo (Choir Coach, soprano 1)
    • Gloria in excelsis Deo (Choir Coach, soprano 2)
    • Et in terra pax (Choir Coach, soprano 1)
    • Et in terra pax (Choir Coach, soprano 2)
    • Gratias agimus tibi (Choir Coach)
    • Qui tollis (Choir Coach)
    • Cum Sancto Spiritu (Choir Coach, soprano 1)
    • Cum Sancto Spiritu (Choir Coach, soprano 2)
    • Credo in unum Deum (Choir Coach, soprano 1)
    • Credo in unum Deum (Choir Coach, soprano 2)
    • Patrem omnipotentem (Choir Coach)
    • Et incarnatus est (Choir Coach, soprano 1)
    • Et incarnatus est (Choir Coach, soprano 2)
    • Crucifixus (Choir Coach)
    • Et resurrexit (Choir Coach, soprano 1)
    • Et resurrexit (Choir Coach, soprano 2)
    • Confiteor (Choir Coach, soprano 1)
    • Confiteor (Choir Coach, soprano 2)
    • Et exspecto (Choir Coach, soprano 1)
    • Et exspecto (Choir Coach, soprano 2)
    • Sanctus / Pleni sunt (Choir Coach, soprano 1)
    • Sanctus / Pleni sunt (Choir Coach, soprano 2)
    • Sanctus / Pleni sunt (Choir Coach, soprano 1)
    • Sanctus / Pleni sunt (Choir Coach, soprano 2)
    • Osanna (Choir Coach, soprano 1)
    • Osanna (Choir Coach, soprano 2)
    • Dona nobis pacem (Choir Coach)
    • Kyrie eleison II (Choir Coach, Slow mode)
    • Gloria in excelsis Deo (Choir Coach, Slow mode, soprano 1)
    • Gloria in excelsis Deo (Choir Coach, Slow mode, soprano 2)
    • Et in terra pax (Choir Coach, Slow mode, soprano 1)
    • Et in terra pax (Choir Coach, Slow mode, soprano 2)
    • Gratias agimus tibi (Choir Coach, Slow mode)
    • Qui tollis (Choir Coach, Slow mode)
    • Cum Sancto Spiritu (Choir Coach, Slow mode, soprano 1)
    • Cum Sancto Spiritu (Choir Coach, Slow mode, soprano 2)
    • Credo in unum Deum (Choir Coach, Slow mode, soprano 1)
    • Credo in unum Deum (Choir Coach, Slow mode, soprano 2)
    • Patrem omnipotentem (Choir Coach, Slow mode)
    • Et resurrexit (Choir Coach, Slow mode, soprano 1)
    • Et resurrexit (Choir Coach, Slow mode, soprano 2)
    • Confiteor (Choir Coach, Slow mode, soprano 1)
    • Confiteor (Choir Coach, Slow mode, soprano 2)
    • Et exspecto (Choir Coach, Slow mode, soprano 1)
    • Et exspecto (Choir Coach, Slow mode, soprano 2)
    • Sanctus / Pleni sunt (Choir Coach, Slow mode, soprano 1)
    • Sanctus / Pleni sunt (Choir Coach, Slow mode, soprano 2)
    • Sanctus / Pleni sunt (Choir Coach, Slow mode, soprano 1)
    • Sanctus / Pleni sunt (Choir Coach, Slow mode, soprano 2)
    • Osanna (Choir Coach, Slow mode, soprano 1)
    • Osanna (Choir Coach, Slow mode, soprano 2)
    • Dona nobis pacem (Choir Coach, Slow mode)
    • Kyrie eleison I (Choir Coach)
    • Kyrie eleison II (Choir Coach)
    • Gloria in excelsis Deo (Choir Coach)
    • Et in terra pax (Choir Coach)
    • Gratias agimus tibi (Choir Coach)
    • Qui tollis (Choir Coach)
    • Cum Sancto Spiritu (Choir Coach)
    • Credo in unum Deum (Choir Coach)
    • Patrem omnipotentem (Choir Coach)
    • Et incarnatus est (Choir Coach)
    • Crucifixus (Choir Coach)
    • Et resurrexit (Choir Coach)
    • Confiteor (Choir Coach)
    • Et exspecto (Choir Coach)
    • Sanctus / Pleni sunt (Choir Coach, Alto 1)
    • Sanctus / Pleni sunt (Choir Coach, Alto 2)
    • Sanctus / Pleni sunt (Choir Coach, Alto 1)
    • Sanctus / Pleni sunt (Choir Coach, Alto 2)
    • Osanna (Choir Coach, Alto 1)
    • Osanna (Choir Coach, Alto 2)
    • Gloria in excelsis Deo (Choir Coach, Slow mode)
    • Et in terra pax (Choir Coach, Slow mode)
    • Gratias agimus tibi (Choir Coach, Slow mode)
    • Qui tollis (Choir Coach, Slow mode)
    • Cum Sancto Spiritu (Choir Coach, Slow mode)
    • Credo in unum Deum (Choir Coach, Slow mode)
    • Patrem omnipotentem (Choir Coach, Slow mode)
    • Et resurrexit (Choir Coach, Slow mode)
    • Confiteor (Choir Coach, Slow mode)
    • Et exspecto (Choir Coach, Slow mode)
    • Sanctus / Pleni sunt (Choir Coach, Slow mode, Alto 1)
    • Sanctus / Pleni sunt (Choir Coach, Slow mode, Alto 2)
    • Sanctus / Pleni sunt (Choir Coach, Slow mode, Alto 1)
    • Sanctus / Pleni sunt (Choir Coach, Slow mode, Alto 2)
    • Osanna (Choir Coach, Slow mode, Alto 1)
    • Osanna (Choir Coach, Slow mode, Alto 2)
    • Dona nobis pacem (Choir Coach, Slow mode)
    • Kyrie eleison I (Choir Coach)
    • Kyrie eleison II (Choir Coach)
    • Gloria in excelsis Deo (Choir Coach)
    • Et in terra pax (Choir Coach)
    • Gratias agimus tibi (Choir Coach)
    • Qui tollis (Choir Coach)
    • Cum Sancto Spiritu (Choir Coach)
    • Credo in unum Deum (Choir Coach)
    • Patrem omnipotentem (Choir Coach)
    • Et incarnatus est (Choir Coach)
    • Crucifixus (Choir Coach)
    • Et resurrexit (Choir Coach)
    • Confiteor (Choir Coach)
    • Et exspecto (Choir Coach)
    • Sanctus / Pleni sunt (Choir Coach)
    • Sanctus / Pleni sunt (Choir Coach)
    • Osanna (Choir Coach, Tenore 1)
    • Osanna (Choir Coach, Tenore 2)
    • Kyrie eleison II (Choir Coach, Slow mode)
    • Gloria in excelsis Deo (Choir Coach, Slow mode)
    • Et in terra pax (Choir Coach, Slow mode)
    • Gratias agimus tibi (Choir Coach, Slow mode)
    • Qui tollis (Choir Coach, Slow mode)
    • Cum Sancto Spiritu (Choir Coach, Slow mode)
    • Credo in unum Deum (Choir Coach, Slow mode)
    • Et resurrexit (Choir Coach, Slow mode)
    • Confiteor (Choir Coach, Slow mode)
    • Et exspecto (Choir Coach, Slow mode)
    • Sanctus / Pleni sunt (Choir Coach, Slow mode)
    • Sanctus / Pleni sunt (Choir Coach, Slow mode)
    • Osanna (Choir Coach, Slow mode, Tenore 1)
    • Osanna (Choir Coach, Slow mode, Tenore 2)
    • Kyrie eleison I (Choir Coach)
    • Kyrie eleison II (Choir Coach)
    • Gloria in excelsis Deo (Choir Coach)
    • Gratias agimus tibi (Choir Coach)
    • Qui tollis (Choir Coach)
    • Cum Sancto Spiritu (Choir Coach)
    • Credo in unum Deum (Choir Coach)
    • Patrem omnipotentem (Choir Coach)
    • Et incarnatus est (Choir Coach)
    • Crucifixus (Choir Coach)
    • Et resurrexit (Choir Coach)
    • Confiteor (Choir Coach)
    • Et exspecto (Choir Coach)
    • Sanctus / Pleni sunt (Choir Coach)
    • Sanctus / Pleni sunt (Choir Coach)
    • Osanna (Choir Coach, Basso 1)
    • Osanna (Choir Coach, Basso 2)
    • Dona nobis pacem (Choir Coach)
    • Kyrie eleison II (Choir Coach, Slow mode)
    • Gloria in excelsis Deo (Choir Coach, Slow mode)
    • Et in terra pax (Choir Coach, Slow mode)
    • Gratias agimus tibi (Choir Coach, Slow mode)
    • Qui tollis (Choir Coach, Slow mode)
    • Cum Sancto Spiritu (Choir Coach, Slow mode)
    • Credo in unum Deum (Choir Coach, Slow mode)
    • Patrem omnipotentem (Choir Coach, Slow mode)
    • Et resurrexit (Choir Coach, Slow mode)
    • Confiteor (Choir Coach, Slow mode)
    • Et exspecto (Choir Coach, Slow mode)
    • Sanctus / Pleni sunt (Choir Coach, Slow mode)
    • Sanctus / Pleni sunt (Choir Coach, Slow mode)
    • Osanna (Choir Coach, Slow mode, Basso 1)
    • Osanna (Choir Coach, Slow mode, Basso 2)
    • Dona nobis pacem (Choir Coach, Slow mode)
more
Additional material
  • Purchase additional material as a download product.
  • I. Missa

    Kyrie

    1. Coro

    Lord, have mercy on us.

    2. Soprano & Alto

    Christ, have mercy on us.

    3. Coro

    Lord, have mercy on us.

    Gloria

    4a. Coro

    Glory be to God on high.

    4b. Coro

    And on earth peace to men of good will.

    5. Soprano

    We praise thee; we bless thee; we adore thee; we glorify thee.

    6. Coro

    We give thee thanks for thy great glory.

    7a. Soprano & Tenore

    Lord God, heavenly King, God the almighty Father.
    O Lord, the only-begotten Son, Jesus Christ,
    O Lord God, Lamb of God, Son of the Father.

    7b. Coro

    ...
  • I. Missa

    Kyrie

    1. Coro

    Herr, erbarme dich unser.

    2. Soprano & Alto

    Christus, erbarme dich unser.

    3. Coro

    Herr, erbarme dich unser.

    Gloria

    4a. Coro

    Ehre sei Gott in der Höhe.

    4b. Coro

    Und Friede auf Erden den Menschen, die guten Willens sind.

    5. Soprano

    Wir loben dich, wir preisen dich,
    wir beten dich an, wir rühmen dich.

    6. Coro

    Wir danken dir,
    ...
  • I. Missa

    Kyrie

    1. Coro

    Kyrie eleison.

    2. Soprano & Alto

    Christe eleison.

    3. Coro

    Kyrie eleison.

    Gloria

    4a. Coro

    Gloria in excelsis Deo.

    4b. Coro

    Et in terra pax hominibus bonae voluntatis.

    5. Soprano

    Laudamus te, benedicimus te, adoramus te, glorificamus te.

    6. Coro

    Gratias agimus tibi propter magnam gloriam tuam.

    7a. Soprano & Tenore

    Domine Deus, Rex caelestis,
    ...
  • Text from the CD Carus 83.314

    Ulrich Leisinger
    Translation (abridged): J. Bradford Robinson, David Kosviner

    The idea of an autonomous work of art that has governed discussions of art ever since the nineteenth century was alien to Johann Sebastian Bach and his contemporaries. Almost all of Bach’s compositions were written for external occasions, whether in fulfillment of his duties as concert- and chapel-master or to meet the needs of his lessons. Remarkably, however, he returned to some of his works again and again over long periods of time. Some of the alterations he made went far beyond what was necessary for a simple revival, suggesting that he was intent on putting these works into a “definitive”shape.

    The circumstances surrounding the Mass in B minor BWV 232, to use the name we give it today (Carl Philipp Emanuel Bach called it “the great Catholic Mass” to distinguish it from his father’s Kyrie-Gloria Masses, BWV 233–236), are especially complex. Its genesis was spread over a period of more than fifteen years, and the work, though finished at the time of Bach’s death (on 28 July 1750), still awaited a final revision to put it into performable condition. Despite

    ...
  • Booklet-Text der CD Carus 83.314

    Ulrich Leisinger

    Die Idee des autonomen Kunstwerks, die die Diskussion von Kunst seit dem 19. Jahrhundert bestimmt, war Johann Sebastian Bach und seinen Zeitgenossen fremd. Nahezu alle Kompositionen Bachs sind auf äußere Veranlassung hin entstanden, sei es aus seinen Dienstpflichten als Konzert- und Kapellmeister oder aus der Notwendigkeit des Unterrichts heraus. Bemerkenswert ist aber, dass er sich mit einigen seiner Werke über größere Zeiträume immer wieder auseinandergesetzt hat. Die Eingriffe, die er dabei vornahm, gingen zum Teil deutlich über das hinaus, was für eine bloße Wiederaufführung notwendig gewesen wäre, und lassen ein Bemühen erkennen, eine „endgültige“ Werkgestalt zu schaffen.

    Besonders komplex sind die Verhältnisse bei der h-Moll-Messe BWV 232, wie wir sie heute nennen (Carl Philipp Emanuel Bach nannte sie in Abgrenzung von den Kyrie-Gloria-Messen BWV 233–236 „die große catholische Messe“), denn ihre Entstehungsgeschichte erstreckt sich über einen Zeitraum von mehr als 15 Jahren, und das Werk war zum Zeitpunkt des Todes von Johann Sebastian Bach am 28. Juli 1750 zwar

    ...
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Purchase
full score, with DVD Carus 31.232/01, ISMN 979-0-007-14338-1 312 pages, clothbound
available
214,00 € / copy
full score Carus 31.232/00, ISMN 979-0-007-14259-9 312 pages, paperback
available
87,00 € / copy
vocal score Carus 31.232/03, ISMN 979-0-007-14339-8 184 pages, paperback
available
15,95 € / copy
vocal score, XL in large print Carus 31.232/04, ISMN 979-0-007-18786-6 184 pages, DIN A4
available
27,00 € / copy
choral score Carus 31.232/05, ISMN 979-0-007-17229-9 80 pages, DIN A4, without cover Minimum order quantity: 20 copies
available
from 20 copies 11,60 € / copy
from 40 copies 10,44 € / copy
from 60 copies 9,28 € / copy
study score Carus 31.232/07, ISMN 979-0-007-14596-5 312 pages, DIN A5, paperback
available
18,50 € / copy
set of parts, complete orchestral parts Carus 31.232/19, ISMN 979-0-007-14511-8 23 x 32 cm, without cover
available
273,00 € / copy
  • 1 x set of parts, harmony parts, flute 1, flute 2, oboe 1, oboe 2, oboe 3, 2 bassoons, 3 trumpets and timpani, horn (31.232/09)
    each: 101,00 €
    5 x individual part, violin 1 (31.232/11)
    each: 11,90 €
    5 x individual part, violin 2 (31.232/12)
    each: 11,90 €
    4 x individual part, viola (31.232/13)
    each: 11,90 €
    5 x individual part, basso continuo (31.232/14)
    each: 11,90 €
    1 x individual part, organ (31.232/49)
    each: 38,10 €
individual part, organ Carus 31.232/49, ISMN 979-0-007-21104-2 72 pages, 23 x 32 cm, without cover
available
38,10 € / copy
show all editions
full score digital (download), pdf file Carus 31.232/00-010-000, ISMN 979-0-007-25861-0 312 pages
available
78,30 € / copy
text (without music) for download, html file, Introductory text, German Carus 31.232/00-310-000
available
25,00 € / copy
text (without music) for download, html file, Introductory text, English Carus 31.232/00-320-000
available
25,00 € / copy
text (without music) for download, html file, Singing text, German translation Carus 31.232/00-350-000
available
3,00 € / copy
text (without music) for download, html file, Singing text, english translation Carus 31.232/00-360-000
available
5,00 € / copy
text (without music) for download, html file, Singing text, original Carus 31.232/00-380-000
available
3,00 € / copy
  • Johann Sebastian Bach is one of the most important composers of Western music history. He came from a widely ramified musical dynasty, which produced numerous musicians and organists in the Thuringian-Saxon area.

    Bach vocal

    Ever since Carus-Verlag was founded in 1972, publishing the music of Johann Sebastian Bach has been a special focus for us. In the 2017 Reformation anniversary year we completed the Bach vocal project. Bach's complete sacred vocal works are now available in modern Urtext editions, together with performance material. A complete edition of all the full scores is also available in a high quality box set. Personal details

Reviews

Die Hybrid-Edition eines der meistaufgeführten Werke der Musikgeschichte, der Messe in h-Moll von Johann Sebastian Bach, ist ein wahrer Gewinn für Dirigenten und Musikwissenschaftler.
Die Tonkunst, April 2016

Das Druckbild der Partitur mit ausführlichem Vorwort und Kritischem Bericht ist übersichtlich und lässt keine Wünsche offen... Diese editorische Spitzenleistung ist sehr zu empfehlen.
Forum Kirchenmusikalische Mitteilungen 6/2015

Diese DVD ist...etwas für ausgewiesene Liebhaber und Entdeckergeister, als Beispiel für eine zeitgemäße Edition...richtungsweisend. Die praxistaugliche Druckausgabe ist durch umfassende Aufführungshinweise ergänzt.
Chorzeit 05.2015

une edition papier, toujours tres soignée et tres claire chez Carus
Crescendo 25.01.2015

 ...Es ist geradezu eine atemberaubende Entdeckungsreise, wie man sie sich sonst nur mit langen Untersuchungen an den Originalquellen oder in Faksimileausgaben erarbeiten kann. ...
KiEK, Kirchenmusik im Erzbistum Köln, Heft 1/2015

Man kann auf der beigefügten DVD die autographen Stimmen im Faksimile mit der gedruckten und anderen Fassungen direkt vergleichen. Im kritischen Bericht erwähnte Besonderheiten klickt man an und schon erscheint die bewusste Stelle in der originalen Handschrift. So macht Quellenstudium Spaß!
Gabriel Dessauer, Kirchenmusik im Bistum Limburg, 1/2015

... Die vorliegende Partitur gehört jedenfalls zu einer repräsentativen Dokumentation dieses zentralen Werks der Musikgeschichte und sollte in einschlägigen Bibliotheksbeständen vorhanden sein.
Albert Raffelt, Informationsmittel (IFB) : digitales Rezensionsorgan für Bibliothek und Wissenschaft, http://ifb.bsz-bw.de/bsz41453011Xrez-1.pdf

... Eine enorme Erleichterung für alle, die das Werk von den Quellen her betrachten und begreifen möchten. Für eine historisch informierte Aufführung ist neben einem gut spielbaren, griffigen Klavierauszug das komplette Orchestermaterial erhältlich.
Gustav Danzinger, CHOR aktuell, Dezember 2014

... eine enorme Erleichterung für alle, die das Werk von den Quellen her betrachten und begreifen möchten.
Toccata, Nov.-Dez. 2014

The Carus edition is extremely well set out and the print is bolder and often larger than others. Carus also includes a disc with, among other things, a facsimile of the full score as well as the Dresden parts What more can the inquisitive enthusiast want? It's not just being able to see the sources but the ability to produce different versions of specific bars. It is definitely worth finding a library that has it.
Clifford Bartlett, Early Music Review, October 2014

Als Hybridausgabe enthält [die Ausgabe] hochauflösende Scans sämtlicher relevanten Quellen sowie die wissenschaftlich-kritische Notenausgabe auf DVD und ermöglicht durch die taktweise Verlinkung neue Einblicke in Bachs musikalisches Vermächtnis. Für eine historisch informierte Aufführung ist neben dem gut spielbaren Klavierauszug das komplette Orchestermaterial erhältlich.
musik & liturgie, 6/14

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Frequent questions about this work

The Kyrie and Gloria differ considerably from the well-known musical text in a few places. Why?

After composing the work in 1733, Bach had parts copied, indeed he even wrote out a considerable number of these himself. And, as is so often the case, in these parts many performance details (such as tempo, colla parte part-writing, and much else) which were unclear in the full score were clarified. When Bach compiled the Mass in B minor towards the end of his life, he no longer had access to the parts. Once more he altered a few variant readings, but failed to settle questions of performance practice which were not notated in the full score. Older editions mixed the version found in the full score with that found in the parts, and where there were discrepancies an arbitrary decision was made. Our edition consistently follows the parts, thereby offering a form authorised by Bach.
The Quoniam is the only movement which Bach clearly reworked in the late revision of the score. We offer the earlier version of the parts as the main text, and the later revision in ossia staves.
The Credo was thoroughly checked through by Bach’s son Carl Philipp Emanuel and slightly altered in many places; CPE Bach also performed the Credo in this version in Hamburg. For a long time, many of these markings were thought to be a final revision by JS Bach, but often the different handwriting can barely be distinguished. Thanks to earlier copies, and a specialist scientific examination of the score (2007/08), with most of the passages we now know exactly who wrote what, and of course we follow JS Bach wherever possible. But JS Bach left a few passages which are incomplete and contradictory. Here, the editors sometimes had to choose CPE Bach’s revisions.
Absolutely! Both the Missa (Kyrie and Gloria) and the Sanctus existed for a long time as independent compositions, before they became part of the Mass in B minor. And it is also perfectly possible for the other sections to be performed separately. In Leipzig Bach had no use for the complete Mass, but all the individual sections would have been performed separately in Leipzig church services. Incidentally, the early version of the Sanctus which Bach performed several times is available as a separate edition from Carus (31.232/50).
As a rule, Bach did not figure scores, but only notated the figuring in the continuo part. As this only exists for the Kyrie and Gloria, an autograph figuring for the other sections is missing. The figuring of the Credo in the autograph score was mainly made by Carl Philipp Emanuel Bach and follows other principles than his father’s figuring. We have therefore avoided adopting this figuring.
No. Occasionally it has been discussed whether the Confiteor should be strengthened instrumentally – like the Kyrie II, Gratias, and Dona nobis pacem. As there are no original parts for the Credo, we cannot completely rule this out. But as the instrumental strengthening is also hinted at in the autograph score of both the Kyrie II and the Gratias, and is even written out in the Dona nobis pacem, we think it is rather unlikely that Bach had an instrumental strengthening in mind here.
The Dona nobis pacem is based on the Gratias. In the original set of parts, the bassoon part in the Gratias differs from the continuo and is orientated more towards the vocal bass line. We also find similar cases in other vocal works of Bach. No original part survives for the Dona nobis pacem. The editor of our edition has therefore devised a separate bassoon part for the Dona nobis pacem from the bassoon part of the Gratias.
In 1733 Bach composed the Kyrie and Gloria for the new Saxon Elector Frederick August II, the son of the deceased August the Strong (d. 1.2.1733). Bach submitted the specially-prepared parts, together with a famous petition in which he simultaneously asked for a court title for himself. Since then, the parts have been preserved in the Königliche Privatmusikaliensammlung in Dresden, and have been described in the literature as the Dresden parts. The parts contain a (Dresden) version which differs from the score – partly because Bach altered details when writing out the parts, and partly because the score which remained in his possession was thoroughly checked through when creating the Mass in B minor.
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