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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This contrast is reminiscent of the contrast between the two Kyrie movements and foreshadows the last two movements of the Symbolum Nicenum. Credo I believe and Confiteor I confess.
Duration minutes Composer Time Period Comp. Creative Commons Attribution Non-commercial 3. As the Christe, it is a love-duet addressing Jesus.
Mass in B minor structure
Musicologist John Butt summarizes: It is a passacagliawith the chromatic fourth in the bass line repeated thirteen times. The work is scored for five vocal soloists, chorus and orchestra.
The Mass was Bach’s last major artistic undertaking. Retrieved 16 September The virgin birth, ” Et incarnatus est ” And was incarnateis a five-part movement.
The humiliation of God, born as man, is illustrated by the violins in a pattern of one measure that descends and then combines the symbol of the cross and sighing motifs, alluding to the crucifixion.
Please obey the copyright laws of your country. Butt notes D major as the central key, corresponding to the “atonement of Christ”. Bach headed the movement ” Duo voces articuli 2 ” which can be translated as “Two voices express 2” or “the two vocal parts of Article 2”.
Mass in B minor, BWV (Johann Sebastian Bach) – ChoralWiki
When Bach treated ” Et incarnatus est ” as a crucifixks choral movement, he rearranged the text, and the figure lost its “pictorial association”. It is written in the latest Empfindsamer Stil sensitive style as if Bach had wanted to “prove his command of this style”. The other voices enter in the sequence bass, alto, soprano I, soprano II, each one before the former one even finishes its line. Editor Friedrich Smend Gloria in excelsis 5.
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Crucifixus: The Sacred Music of J.S. Bach by Johann Sebastian Bach on Spotify
Mass in B minor, BWV 232 (Johann Sebastian Bach)
The text rcucifixus on both the theme and the countersubject, here stressing “pacem” peace at the beginning of the line. When the text reaches the phase ” Qui tollis peccata mundi ” who takes away the sins of the worldthe music is given attacca to a four-part choir with two obbligato flutes.
Bach quoted Gregorian chant twice, in the Credo in unum Deum as a theme and in the Confiteor as a cantus firmus embedded in complex polyphony. The Gloria is structured in symmetry as a sequence of choral movements and solo movements, arias and a central duet, in three sections.
Bach asked for two sopranos. The first movement is scored for five-part choir, woodwinds and strings. He arranged the text in diverse movements for a five-part choir and solo voices, according to the taste in Dresden where sacred music “borrowed” from Italian opera with a focus on choral movements, crucificus musicologist Arthur Wenk notes.