Mass in G minor
Kyrie-Gloria-Messe (Lutherische Messe) BWV 235, 0Entstehungszeit vermutlich späte Leipziger Jahre
As well as the Mass in B minor, there are four further, shorter mass compositions by Bach, the so-called Lutheran or Kyrie-Gloria masses. Despite their high musical qualities, they are often overshadowed by other church works by Bach. With their six-movement structure (up to the "Cum sancto spiritu") they had their specific liturgical position in church services of the time of Bach. The masses largely comprise parodies, with the original music mainly taken from cantatas which Bach sometimes considerably reworked in his well-known style according to the new context of the work. Ulrich Leisinger has edited the four works for Carus in new critical editions.
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Digital text (without sheet music) incl. printing licence, html file, singing text, english translationhtml file, singing text, english translation (Sample)1. Coro Lord, have mercy on us.
Christ, have mercy on us.
Lord, have mercy on us.2. Coro Glory be to God on high.
And on earth peace to men of good will.
We praise thee. We bless thee. We adore thee. We glorify thee.3. Basso solo We give thee thanks for thy great glory.
Lord God, heavenly King,
almighty Father.4. Alto solo O Lord, the only-begotten Son, Jesus Christ,
O Lord God, Lamb of God, Son of the Father.5. Tenore solo Thou who takest away the sins of the world, receive our prayer.
Thou that sittest at the right hand of the Father, have mercy upon us.
For thou alone art the Holy One,
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Digital text (without sheet music) incl. printing licence, html file, singing text, german translationhtml file, singing text, german translation (Sample)
1. Coro Herr, erbarme dich.
Christus, erbarme dich unser.
Herr, erbarme dich unser.2. Coro Ehre sei Gott in der Höhe.
Und Friede auf Erden den Menschen, die guten Willens sind.
Wir loben dich. Wir preisen dich. Wir beten dich an. Wir rühmen dich.3. Basso solo Wir danken dir, denn groß ist deine Herrlichkeit. Herr und Gott, König des Himmels,
allmächtiger Vater.4. Alto solo Herr Jesus Christus, eingeborener Sohn.
Herr und Gott, Lamm Gottes, Sohn des Vaters.5. Tenore solo Du nimmst hinweg die Sünden der Welt, nimm an unser Gebet.
Du sitzest zur Rechten des Vaters, erbarme dich unser.
Denn du allein bist der Heilige,
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Digital text (without sheet music) incl. printing licence, html file, singing text, originalhtml file, singing text, original (Sample)
1. Coro Kyrie eleison.
Christe eleison.
Kyrie eleison.2. Coro Gloria in excelsis Deo.
Et in terra pax hominibus bonae voluntatis.
Laudamus te. Benedicimus te. Adoramus te. Glorificamus te.3. Basso solo Gratias agimus tibi propter magnam gloriam tuam.
Domine Deus, Rex coelestis,
Deus Pater omnipotens.4. Alto solo Domine Fili unigenite, Jesu Christe.
Domine Deus, Agnus Dei, Filius Patris....
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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 83.282
Klaus Hofmann
Translation (abridged): Elizabeth RobinsonJohann Sebastian Bach’s four Lutheran Masses (BWV 233-236) were composed towards the end of the 1730s and are so-called because they comprise just Kyrie and Gloria, as was customary in Protestant practice of the time. They are almost entirely parodies of cantata movements. With the Mass in G minor, Bach appears to have started with a plan to make full use of his cantata Es wartet alles auf dich (BWV 187) of 1726. Here, he used all the movements which were suitable for parody treatment in the mass. The opening chorus “Es wartet alles auf dich” became the final chorus with the text “Cum Sancto Spiritu in gloria Dei Patris. Amen”. The three solo arias in the cantata recur in the mass as inner movements (3–5) in the Gloria section. For the Kyrie and the opening movement of the Gloria, Bach needed two further choral pieces, and for these he drew on the opening choruses of cantatas BWV 102 and BWV 72, also written in 1726.
It goes almost without saying that Bach’s reworking is not limited to the underlay of the new text and associated modifications of the vocal parts. In two cases, in
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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 83.282
Klaus Hofmann
Johann Sebastian Bachs gegen Ende der 1730er Jahre entstandene vier Lutherischen Messen (BWV 233-236) – so genannt, weil sie sich nach protestantischer Praxis auf Kyrie und Gloria beschränken – bestehen fast vollständig aus Parodien von Kantatensätzen. Bei der Messe in g-Moll scheint Bach von dem Plan ausgegangen zu sein, seine Kantate Es wartet alles auf dich (BWV 187) aus dem Jahre 1726 möglichst ausgiebig zu nutzen. So hat er hier alle zur Parodierung überhaupt geeigneten Sätze (d. h. alles außer den beiden Rezitativen und dem Schlusschoral) in die Messe übergeführt. Der Eingangschor „Es wartet alles auf dich“ wurde zum Schlusschor mit dem Text „Cum Sancto Spiritu in gloria Dei Patris. Amen“. Die drei Soloarien der Kantate kehren in der Messe als Binnensätze des Gloria-Teils wieder. Für das Kyrie und den Anfangssatz des Gloria brauchte Bach noch zwei Chorstücke und griff hierfür auf die Eingangschöre der ebenfalls 1726 entstandenen Kantaten Herr, deine Augen sehen nach dem Glauben (BWV 102) und Alles nur nach Gottes Willen (BWV 72)
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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
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