The Carus edition of Johann Sebastian Bach’s Mass in B minor was edited by Ulrich Leisinger, an experienced Bach and Mozart scholar. This edition offers a musical text that reflects the latest Bach research, reversing the changes introduced to the work after Bach’s death in 1750, in order to present Bach’s original composition as faithfully as possible.
Right up to the present day Bach’s Mass in B minor, one of the Thomaskantor’s most frequently performed works, is still full of mysteries and problems. These include not only the completely unresolved question of why Bach composed the work, but also some features of the musical text itself. Bach himself did not complete every detail of the second part of the Mass, probably for health reasons. After Bach’s death his son Carl Philipp Emanuel consequently made some editorial alterations in an effort to enable wider dissemination of the work. In addition the autograph has become almost illegible in many places due to ink corrosion and the poor quality of the paper.
- Clear musical text in the familiar Carus quality.
- Carefully prepared performance material, with text incipits to facilitate rehearsals.
- Based on both the autograph and the “Dresden parts,” as well as on early copies, in order to eliminate from the musical text any post-1750 changes.
- The clothbound score is designed as a hybrid edition. It contains a DVD with all relevant sources, the new Carus edition and the critical report, all linked measure by measure. Please note: the DVD (from 2014) will not work on all modern computers.
- For the first time, this edition also enables the possiblility of a separate performance of the 1733 Dresden version of the work, as the Kyrie-Gloria Mass.
- Stuttgart Bach Editions – produced in collaboration with the Bach Archive Leipzig.
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- 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
Practise
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Practice aids
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Practice aids voice part soprano
- 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)
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Practice aids voice part alto
- 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)
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Practice aids voice part tenore
- 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)
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Practice aids voice part basso
- 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)
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Additional material
- Purchase additional material as a download product.
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Digital text (without sheet music) incl. printing licence, html file, singing text, english translationhtml file, singing text, english translation (Sample)I. Missa Kyrie 1. CoroLord, have mercy on us.
2. Soprano & AltoChrist, have mercy on us.
3. CoroLord, have mercy on us.
Gloria 4a. CoroGlory be to God on high.
4b. CoroAnd on earth peace to men of good will.
5. SopranoWe praise thee; we bless thee; we adore thee; we glorify thee.
6. CoroWe give thee thanks for thy great glory.
7a. Soprano & TenoreLord God, heavenly King, God the almighty Father.
7b. Coro
O Lord, the only-begotten Son, Jesus Christ,
O Lord God, Lamb of God, Son of the Father....
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Digital text (without sheet music) incl. printing licence, html file, singing text, german translationhtml file, singing text, german translation (Sample)
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,
...
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Digital text (without sheet music) incl. printing licence, html file, singing text, originalhtml file, singing text, original (Sample)
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,
...
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, englishhtml file, Introductory text, english (Sample)Text from the CD Carus 83.314
Ulrich Leisinger
Translation (abridged): J. Bradford Robinson, David KosvinerThe 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
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, germanhtml file, Introductory text, german (Sample)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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Contents
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Composer
Johann Sebastian Bach
| 1685-1750Johann 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
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Editor
Ulrich Leisinger
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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Johann Sebastian Bach: Mass in B minor Full score, with DVD
An absolutely brilliant piece! It’s great fun to sing – a fantastic edition.
C.M. writes
An absolutely brilliant piece! It’s great fun to sing – a fantastic edition.
*This review was submitted in another language and has been translated for you.
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.
Why are there ossia staves in the Quoniam?
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.
In the Credo too, the musical text differs in places from the well-known versions. Why?
The Credo was thoroughly checked through by Bach’s son Carl Philipp Emanuel and slightly altered in many places; C.P.E. 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 J.S. 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 J.S. Bach wherever possible. But J.S. Bach left a few passages which are incomplete and contradictory. Here, the editors sometimes had to choose C.P.E. Bach’s revisions.
Is it legitimate to just perform just sections of the „Mass in B minor“?
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).
Why is the figuring largely missing from measure 13 of the Credo?
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.
Are there colla parte parts for the Confiteor?
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.
In other editions there is no bassoon part in the Dona nobis pacem. Where does the part come from?
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.
What is the Dresden version / what are the Dresden parts?
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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