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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Credo in unum Deum – The acclamation of Christ stresses the second person of the Trinity and is therefore rendered as a duet of the two sopranos. The Gloria is structured in nine movements.
Crucifixus: The Sacred Music of J.S. Bach by Johann Sebastian Bach on Spotify
The duration of an eighth note stays the same, Bach thus achieves a contrast of “heavenly” three eights, a symbol of the Trinity, and “earthly” four quarters. Et in terra pax 6. Mass in F major BWV a: Sanctus Pleni sunt coeli IV. The work is scored for five vocal soloists, chorus and orchestra. II Piano Solo C.
Amen ” and the life of the world to come. The word “resurrectionem” appears then in the runs in the voices, one after the other in cumulation. The first entrances build from the lowest voice in the sequence bass, tenor, alto, soprano. Autograph of the title page of the first book, Missa. Sanctus in D major BWV The other voices enter in the sequence bass, alto, soprano I, soprano II, each one before the former one even finishes its line. 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.
Whenever the word “mortuorum” appears, the voices sing long low notes, whereas “resurrectionem” is illustrated in triad motifs leading upwards. 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. La vita e le opere di J. Some parts of the mass were used in Latin even in Lutheran Leipzig, and Bach had composed them: It may not be public domain elsewhere, however.
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Creative Commons Attribution 3. 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 two oboes d’amore open the movement with a ritornello, with an ondulating theme played in parallels, which is later picked up by the voice. Mass in B Minor.
The section addressing God as Father and Son is again a duet, this time of soprano I and tenor. The countersubject on the second line “propter magnam gloriam tuam” for your great glorydevoted to the glory of God, is more complex in rhythm.
Oboes and Oboes d’Amore ad lib. This contrast is reminiscent of the contrast between the two Kyrie movements and foreshadows the last two movements of the Symbolum Nicenum. As the Christe, it is a love-duet addressing Jesus. The virgin birth, ” Et incarnatus est ” And was incarnateis a five-part bwch. What is known about reworked earlier material is indicated in the last two columns of the table earlier composition; year of compositionincluding some educated guesswork, as found in cgucifixus indicated scholarly literature.
Practical performances often have only one soprano soloist, sharing the parts for the second soprano SII between soprano and alto. The repeated figure of an anapaest provides the “rhythmic energy of the texture. Et in unum Dominum For example, Gratias agimus tibi We give you thanks is based on Wir danken dir, Gott, wir danken dir  We thank you, God, we thank you and the Crucifixus Crucified is based on the general lamenting about the situation of the faithful Christian, Weinen, Klagen, Sorgen, Zagen  Weeping, lamenting, worrying, fearing which Bach had composed already in as one of his first cantatas for the court of Weimar.
Sanctus in D minor BWV Osanna, Benedictus, Agnus Dei et Dona nobis pacem Amenwith extended runs on “Amen”.
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From Wikipedia, the free encyclopedia. Re-submission of the autograph of the Missa and Symbolum Nicenum originally submitted by Ivdruizsupplemented by 9 of the 11 missing pages. Retrieved 7 October PDF scanned by Unknown M.
Kyrie eleison I 2. It is written in the latest Empfindsamer Stil sensitive style as if Bach had wanted to “prove his crucifixis of this style”. The voices are often in canon and in parallel, as in the Christe.
When Bach treated ” Et incarnatus est ” as a separate choral movement, he rearranged the text, and the figure lost its “pictorial association”. The voices enter without instrumental support in dense succession. The belief in Jesus Christ begins with ” Et in unum Dominum ” And in one Lordanother duet, this time of soprano and alto, beginning in a canon where the second voice follows the first after only one beat.
The theme is a Gregorian Chant first presented by the tenor in long notes on a walking bass of the continuo. On the continuing text ” Cum sancto spiritu ” with the Holy Crufifixusthe choir enters in five parts, in symmetry to the beginning.
Probably a parody of an earlier work, it is Bach’s only extant duet for two sopranos, stressing that idea.