Johann Sebastian Bach's Mass in B Minor is a polyphonic collection of settings of the regular parts of the Roman Catholic Mass, known as the Ordinary. These include the Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, which are integral parts of a Mass celebration. Bach's unique rendering of the entire Ordinary is, from a strict musical perspective, in the genre of the Missa Solemnis, or "Solemn Mass. This large work, comparable to major projects such as the Art of Fugue and the Clavier-Übungen series, written toward the end of Bach's life and often hailed as his magnum opus in vocal writing, has prompted much speculation about its purpose. Why did Bach write it? There seems to have been no specific occasion (he never heard it performed), nor any commission. The only conclusion that can be drawn is that Bach wrote it because he wanted to try his hand at composing a complete Mass, rather than a partial one consisting of Kyrie and Gloria, as was the custom in the Lutheran Church (Bach left behind four other Masses (BWV 233-236) consisting only of Kyrie and Gloria, called "missa brevis" or short Mass - in the Lutheran-Protestant tradition, the classical Latin Mass structure survived in this abridged form).
As Bach would do in his later years, for example in the Christmas Oratorio, he drew extensively on previously composed works, editing sections of both secular and sacred cantatas designed for Lutheran-Protestant services in Leipzig, but also adding newly composed movements. The composition seems to have its roots in Bach's presentation of a Kyrie and Gloria to the new Elector of Saxony in 1733, an unsuccessful attempt to secure a position at the Saxon (and Polish royal) court. Between 1748 and 1749, Bach expanded the composition by adding settings for the Credo (or "Symbolum Niceanum"), Sanctus/Benedictus, and Agnus Dei. The Mass includes Bach's very last pages of vocal music, including the Et incarnatus est, alongside the Crucifixus, an arrangement of one of his earliest cantatas, composed in 1714.
Between an awe-inspiring Kyrie and the jubilant closing Dona nobis pacem, the composition features nine arias and duets, impressive ensemble sections, instrumental solos, and a diverse range of styles. Bach completed the final five movements of the Mass in 1748-49, when he copied out the entire work.
Traditionally, the Kyrie in Bach's B Minor Mass is divided into three parts, with the Christe section separated from the Kyrie movements. The opening Kyrie features a triple invocation followed by a five-part choral fugue in B minor. Bach's contemporaries described B minor as "bizarre, joyless, and melancholy. In both vocal settings, the theme is repeated twice in both sopranos. Kyrie I uniquely blends fugal elements with ritornello features.
The Gloria is inspired by the song of the angels in Bethlehem (Luke 2:14) and the ancient hymn "Laudamus". The solo parts, consisting of three arias for soprano II, alto, and bass, and a duet for soprano I and tenor, showcase diverse vocal expression. Trumpets and timpani make their debut in Chorus No. 4, symbolizing the majesty of the celestial king in bright D major. The transition to No. 5 shifts to a peaceful 4/4 time, emphasizing minor keys and syncopation to evoke earthly peace. Solo Aria No. 6, "Laudamus te," is a virtuoso piece for Soprano II and solo violin.
The architecture of the Credo - the centerpiece - is remarkable, with Bach deliberately altering the original format to give central importance to key elements of the Christian faith. Bach follows a symmetrical structure that echoes Baroque forms. The Choral Fugue No. 13 is a strict seven-part fugue over a Gregorian melody. The Et incarnatus features descending motifs in the strings, depicting Christ's descent, while the Crucifixus uses a passacaglia style with chromatic descents, expressing pain. The Et resurrexit is a festive orchestral passage that contrasts the suffering with the anticipated glory.
The Sanctus stands out with six voices, including three oboes, in D major, symbolizing the heavenly realms. The Osanna continues in an energetic eight-part double chorus, followed by the tender Benedictus, a tenor aria. The Agnus Dei, with its chromatic half-steps, is thematically related to the Kyrie. The concluding Dona nobis pacem echoes the Gratias of the Gloria, uniting the two parts and transforming the plea for peace into a song of thanksgiving.
The term "Hohe Messe" for Bach's Great Mass was introduced in 1830 by the Berlin musician Adolf Bernhard Marx for the first edition of the choral parts of the composition. Despite its 19th-century origins, this title has persisted, although the historically accurate designation "Mass in B Minor" is beginning to gain ground.
At its core, Bach's B Minor Mass is a culmination of his artistic skill and creative innovation, demonstrating his ability to weave existing materials into a cohesive and rich musical tapestry. With its intricate structure and emotional depth, Bach's B Minor Mass remains a pinnacle of Baroque composition.
Listen to a superb performance by the Netherlands Bach Society, with Jos van Veldhoven, conductor; Hana Blažíková, soprano 1; Anna Reinhold, soprano 2; David Erler, alto; Thomas Hobbs, tenor; Peter Harvey, bass.