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Messe h-moll: Agnus Dei, Dona Nobis Pacem (T. Koopman, ABO)
Messe h-moll: Agnus Dei, Dona Nobis Pacem (T. Koopman, ABO)
Johann Sebastian Bach (1685-1750)MESSE IN H-MOLL BWV 232Agnus DeiDona Nobis PacemTon Koopman, Amsterdam Baroque Orchestra and Choir [ More Detail ]
by StefanoF87 8min23sec, Views:105, Ratings:5.00pt, Votes:2, Comments:0, Added at:08/10/06 [ DownLoad ]
"Agnus Dei" and "Dona nobis pacem" 13
"Agnus Dei" and "Dona nobis pacem" 13:Agnus DeiDona nobis pacemMass in B minor, BWV 232Johann Sebastian BachThomanerchorLeipzig 2000 [ More Detail ]
J.S. Bach: H-Moll Messe "Agnus Dei" David Daniels
High resolution and stereo sound:http://www.youtube.com/watch?v=FeUVdr_epy4&fmt=18Johann Sebastian BachAgnus Dei H-Moll Messe, BWV 232In this recording:David Daniels, countertenorThe English Concert,Harry BicketVirgin Classics, 2008Thanks to my dear Marc for letting me use his score which allowed me to post this brand-new recording of Daniels' without delay. In part from Wikipedia, the free encyclopedia:"The Mass in B Minor is a musical setting of the Latin Mass. Although parts of the Mass in B Minor date to 1724, the whole was assembled in its present form in 1749, just before the composer's death in 1750. ...Due to its length--over two hours of music--it was never performed as part of a church liturgy. The first performance seems to have been after Bach's death, when his son Carl Philipp Emanuel Bach performed the Gloria section (but not the entire Mass) in Berlin. Large-scale performances of the entire Mass in B Minor were not staged until the 19th century."Latin Text:Agnus dei qui tollis peccata mundimiserere nobis.Translation:Lamb of God,who takes away the sins of the world,have mercy upon us. [ More Detail ]
4. Bach: Mass in F major (BWV 233) / Koopman
Stereo: http://br.youtube.com/watch?v=IZE_-_F65AM&fmt=18Johann Sebastian Bach (1685 - 1750).Mass in F major ("Lutheran Mass") (BWV 233).IV. Quoniam tu solus Sanctus.V. Cum Sancto Spiritu.The Amsterdam Baroque Orquestra and Choir.Dir: Ton Koopman.Johann Sebastian Bach is known to have composed four Missae Brevis (short masses, each of which comprises a concerted setting of the Kyrie, and a multi-movement Gloria for soloists and chorus) presumably either to fulfill the Lutheran Eucharistic liturgy, or as gifts to Catholic patrons such as Count Fraz Anton von Sprock of Bohemia, or the Court of Dresden. As is the case with the better-known Mass in B minor, these masses were a combination of elements, some newly written, and some culled from earlier cantatas. The first movement of the Missa Brevis in F, BWV 233, is an adaptation of an earlier freestanding Kyrie (BWV 233a), written in Weimar between 1709 and 1717. The borrowed cantata movements all date from the early Leipzig period 1723-1726; the composite form of this Mass may be as late as 1740. A Bass cantus firmus liturgically proper to the penitential seasons of Lent and Advent, and the Lutheran liturgical practice which allows for a concerted "Kyrie" on the First Sunday in Advent, together suggest that Sunday as a possible occasion.The three sections of the Kyrie are each fugal, and related as follows - the first Kyrie develops a contrapuntal motive, the Christe its inversion, and the second Kyrie counterpoises both simultaneously. The outer two voices frame this music within simultaneous and contrasting cantus firmi: an excerpt of Lutheran plainchant from the Great Litany in the Bassus voice, and the Protestant hymn-tune "Christe, du Lamm Gottes" in the Cantus. In Bach's later version of the Missa, this vocal line, whose text is a Lutheran chorale setting of the Agnus Dei, is rescored for oboes and horns. The Mass continues with a multimovement setting of the Glora, whose structure matches that of all four Missae Brevis: two choruses of four-part music (accompanied by strings, two oboes, and two horns) frame an inner trio of solo arias. Three of these five movements parody earlier cantata movements, another common feature of Bach's Mass settings. Two of the arias parody earlier arias from Cantata BWV 102, Herr, deine Augen sehen. Qui tollis, with its textual prayer to the One who carries the sins of the world, corresponds to the mournful aria Weh, der Seele, while Quoniam transposes an aria entitled Erschrecke doch. Both adaptations retain the original obbligato instrumental line and the basic harmonic plan of their models, but both rework idiosyncrasies in the other voices (the predominance of the "sighing" bass line in the first, and the melodic mimesis of shrieking in the second). The final chorus adapts music first used in the opening chorus of the Christmas Cantata BWV 40, Dazu ist erscheinen der Sohn Gottes, again lending an air of Advent liturgical propriety to the Mass as a whole. [ More Detail ]
by OedipusColoneus 6min10sec, Views:102, Ratings:5.00pt, Votes:4, Comments:1, Added at:08/10/04 [ DownLoad ]
3. Bach: Mass in F major (BWV 233) / Koopman
Stereo: http://br.youtube.com/watch?v=eT37QaByQsU&fmt=18Johann Sebastian Bach (1685 - 1750).Mass in F major ("Lutheran Mass") (BWV 233).III. Qui tollis peccata mundi.The Amsterdam Baroque Orquestra and Choir.Dir: Ton Koopman.Johann Sebastian Bach is known to have composed four Missae Brevis (short masses, each of which comprises a concerted setting of the Kyrie, and a multi-movement Gloria for soloists and chorus) presumably either to fulfill the Lutheran Eucharistic liturgy, or as gifts to Catholic patrons such as Count Fraz Anton von Sprock of Bohemia, or the Court of Dresden. As is the case with the better-known Mass in B minor, these masses were a combination of elements, some newly written, and some culled from earlier cantatas. The first movement of the Missa Brevis in F, BWV 233, is an adaptation of an earlier freestanding Kyrie (BWV 233a), written in Weimar between 1709 and 1717. The borrowed cantata movements all date from the early Leipzig period 1723-1726; the composite form of this Mass may be as late as 1740. A Bass cantus firmus liturgically proper to the penitential seasons of Lent and Advent, and the Lutheran liturgical practice which allows for a concerted "Kyrie" on the First Sunday in Advent, together suggest that Sunday as a possible occasion.The three sections of the Kyrie are each fugal, and related as follows - the first Kyrie develops a contrapuntal motive, the Christe its inversion, and the second Kyrie counterpoises both simultaneously. The outer two voices frame this music within simultaneous and contrasting cantus firmi: an excerpt of Lutheran plainchant from the Great Litany in the Bassus voice, and the Protestant hymn-tune "Christe, du Lamm Gottes" in the Cantus. In Bach's later version of the Missa, this vocal line, whose text is a Lutheran chorale setting of the Agnus Dei, is rescored for oboes and horns. The Mass continues with a multimovement setting of the Glora, whose structure matches that of all four Missae Brevis: two choruses of four-part music (accompanied by strings, two oboes, and two horns) frame an inner trio of solo arias. Three of these five movements parody earlier cantata movements, another common feature of Bach's Mass settings. Two of the arias parody earlier arias from Cantata BWV 102, Herr, deine Augen sehen. Qui tollis, with its textual prayer to the One who carries the sins of the world, corresponds to the mournful aria Weh, der Seele, while Quoniam transposes an aria entitled Erschrecke doch. Both adaptations retain the original obbligato instrumental line and the basic harmonic plan of their models, but both rework idiosyncrasies in the other voices (the predominance of the "sighing" bass line in the first, and the melodic mimesis of shrieking in the second). The final chorus adapts music first used in the opening chorus of the Christmas Cantata BWV 40, Dazu ist erscheinen der Sohn Gottes, again lending an air of Advent liturgical propriety to the Mass as a whole. [ More Detail ]
by OedipusColoneus 5min19sec, Views:34, Ratings:5.00pt, Votes:2, Comments:0, Added at:08/10/04 [ DownLoad ]
2. Bach: Mass in F major (BWV 233) / Koopman
Stereo: http://br.youtube.com/watch?v=dInf4IO5oJg&fmt=18Johann Sebastian Bach (1685 - 1750).Mass in F major ("Lutheran Mass") (BWV 233).III. Domine Deus.The Amsterdam Baroque Orquestra and Choir.Dir: Ton Koopman.Johann Sebastian Bach is known to have composed four Missae Brevis (short masses, each of which comprises a concerted setting of the Kyrie, and a multi-movement Gloria for soloists and chorus) presumably either to fulfill the Lutheran Eucharistic liturgy, or as gifts to Catholic patrons such as Count Fraz Anton von Sprock of Bohemia, or the Court of Dresden. As is the case with the better-known Mass in B minor, these masses were a combination of elements, some newly written, and some culled from earlier cantatas. The first movement of the Missa Brevis in F, BWV 233, is an adaptation of an earlier freestanding Kyrie (BWV 233a), written in Weimar between 1709 and 1717. The borrowed cantata movements all date from the early Leipzig period 1723-1726; the composite form of this Mass may be as late as 1740. A Bass cantus firmus liturgically proper to the penitential seasons of Lent and Advent, and the Lutheran liturgical practice which allows for a concerted "Kyrie" on the First Sunday in Advent, together suggest that Sunday as a possible occasion.The three sections of the Kyrie are each fugal, and related as follows - the first Kyrie develops a contrapuntal motive, the Christe its inversion, and the second Kyrie counterpoises both simultaneously. The outer two voices frame this music within simultaneous and contrasting cantus firmi: an excerpt of Lutheran plainchant from the Great Litany in the Bassus voice, and the Protestant hymn-tune "Christe, du Lamm Gottes" in the Cantus. In Bach's later version of the Missa, this vocal line, whose text is a Lutheran chorale setting of the Agnus Dei, is rescored for oboes and horns. The Mass continues with a multimovement setting of the Glora, whose structure matches that of all four Missae Brevis: two choruses of four-part music (accompanied by strings, two oboes, and two horns) frame an inner trio of solo arias. Three of these five movements parody earlier cantata movements, another common feature of Bach's Mass settings. Two of the arias parody earlier arias from Cantata BWV 102, Herr, deine Augen sehen. Qui tollis, with its textual prayer to the One who carries the sins of the world, corresponds to the mournful aria Weh, der Seele, while Quoniam transposes an aria entitled Erschrecke doch. Both adaptations retain the original obbligato instrumental line and the basic harmonic plan of their models, but both rework idiosyncrasies in the other voices (the predominance of the "sighing" bass line in the first, and the melodic mimesis of shrieking in the second). The final chorus adapts music first used in the opening chorus of the Christmas Cantata BWV 40, Dazu ist erscheinen der Sohn Gottes, again lending an air of Advent liturgical propriety to the Mass as a whole. [ More Detail ]
by OedipusColoneus 3min27sec, Views:33, Ratings:5.00pt, Votes:2, Comments:1, Added at:08/10/04 [ DownLoad ]
1. Bach: Mass in F major (BWV 233) / Koopman
Stereo: http://br.youtube.com/watch?v=nwnMBQa_npA&fmt=18Johann Sebastian Bach (1685 - 1750).Mass in F major ("Lutheran Mass") (BWV 233).I. Kyrie.II. Gloria.The Amsterdam Baroque Orquestra.Dir: Ton Koopman.Johann Sebastian Bach is known to have composed four Missae Brevis (short masses, each of which comprises a concerted setting of the Kyrie, and a multi-movement Gloria for soloists and chorus) presumably either to fulfill the Lutheran Eucharistic liturgy, or as gifts to Catholic patrons such as Count Fraz Anton von Sprock of Bohemia, or the Court of Dresden. As is the case with the better-known Mass in B minor, these masses were a combination of elements, some newly written, and some culled from earlier cantatas. The first movement of the Missa Brevis in F, BWV 233, is an adaptation of an earlier freestanding Kyrie (BWV 233a), written in Weimar between 1709 and 1717. The borrowed cantata movements all date from the early Leipzig period 1723-1726; the composite form of this Mass may be as late as 1740. A Bass cantus firmus liturgically proper to the penitential seasons of Lent and Advent, and the Lutheran liturgical practice which allows for a concerted "Kyrie" on the First Sunday in Advent, together suggest that Sunday as a possible occasion.The three sections of the Kyrie are each fugal, and related as follows - the first Kyrie develops a contrapuntal motive, the Christe its inversion, and the second Kyrie counterpoises both simultaneously. The outer two voices frame this music within simultaneous and contrasting cantus firmi: an excerpt of Lutheran plainchant from the Great Litany in the Bassus voice, and the Protestant hymn-tune "Christe, du Lamm Gottes" in the Cantus. In Bach's later version of the Missa, this vocal line, whose text is a Lutheran chorale setting of the Agnus Dei, is rescored for oboes and horns. The Mass continues with a multimovement setting of the Glora, whose structure matches that of all four Missae Brevis: two choruses of four-part music (accompanied by strings, two oboes, and two horns) frame an inner trio of solo arias. Three of these five movements parody earlier cantata movements, another common feature of Bach's Mass settings. Two of the arias parody earlier arias from Cantata BWV 102, Herr, deine Augen sehen. Qui tollis, with its textual prayer to the One who carries the sins of the world, corresponds to the mournful aria Weh, der Seele, while Quoniam transposes an aria entitled Erschrecke doch. Both adaptations retain the original obbligato instrumental line and the basic harmonic plan of their models, but both rework idiosyncrasies in the other voices (the predominance of the "sighing" bass line in the first, and the melodic mimesis of shrieking in the second). The final chorus adapts music first used in the opening chorus of the Christmas Cantata BWV 40, Dazu ist erscheinen der Sohn Gottes, again lending an air of Advent liturgical propriety to the Mass as a whole. [ More Detail ]
by OedipusColoneus 8min31sec, Views:101, Ratings:5.00pt, Votes:2, Comments:1, Added at:08/10/04 [ DownLoad ]
J. S. Bach · Agnus Dei
J. S. Bach · Agnus DeiMissa en si menor, BWV 232Toni Gubau, contratenorIl FondamentoManel Valdivieso, director [ More Detail ]
by fajardotoni 4min31sec, Views:49, Ratings:5.00pt, Votes:1, Comments:2, Added at:08/10/01 [ DownLoad ]
6. Bach: Mass in F major (BWV 233) / Herreweghe
Stereo: http://br.youtube.com/watch?v=7Ot1nQsVRMI&fmt=18Johann Sebastian Bach (1685 - 1750).Mass in F major ("Lutheran Mass") (BWV 233).VI. Cum Sanctu Spiritu (Chorus).Orquestra of Collegium Vocale.Agnès Mellon (Soprano).Gérard Lesne (Alto).Peter Kooy (bass).Dir: Philippe Herreweghe. [ More Detail ]
by OedipusColoneus 2min26sec, Views:171, Ratings:4.00pt, Votes:2, Comments:0, Added at:08/09/20 [ DownLoad ]
5. Bach: Mass in F major (BWV 233) / Herreweghe
Stereo: http://br.youtube.com/watch?v=UTnBZIb1VOk&fmt=18Johann Sebastian Bach (1685 - 1750).Mass in F major ("Lutheran Mass") (BWV 233).V. Quoniam tu solus Sanctus (Alto).Orquestra of Collegium Vocale.Agnès Mellon (Soprano).Gérard Lesne (Alto).Peter Kooy (bass).Dir: Philippe Herreweghe. [ More Detail ]
by OedipusColoneus 4min59sec, Views:119, Ratings:4.00pt, Votes:2, Comments:0, Added at:08/09/20 [ DownLoad ]
3. Bach: Mass in F major (BWV 233) / Herreweghe
Stereo: http://br.youtube.com/watch?v=uaof97qPeS4&fmt=18Johann Sebastian Bach (1685 - 1750).Mass in F major ("Lutheran Mass") (BWV 233).III. Domine Deus (Bass).Orquestra of Collegium Vocale.Agnès Mellon (Soprano).Gérard Lesne (Alto).Peter Kooy (bass).Dir: Philippe Herreweghe. [ More Detail ]
by OedipusColoneus 3min37sec, Views:108, Ratings:5.00pt, Votes:4, Comments:0, Added at:08/09/20 [ DownLoad ]
2. Bach: Mass in F major (BWV 233) / Herreweghe
Stereo: http://br.youtube.com/watch?v=Z4vm0_e3fK4&fmt=18Johann Sebastian Bach (1685 - 1750).Mass in F major ("Lutheran Mass") (BWV 233).II. Gloria (Chorus).Orquestra of Collegium Vocale.Agnès Mellon (Soprano).Gérard Lesne (Alto).Peter Kooy (bass).Dir: Philippe Herreweghe. [ More Detail ]
by OedipusColoneus 5min35sec, Views:128, Ratings:5.00pt, Votes:3, Comments:0, Added at:08/09/20 [ DownLoad ]
1. Bach: Mass in F major (BWV 233) / Herreweghe
Stereo: http://br.youtube.com/watch?v=skWiKMGjUFA&fmt=18Johann Sebastian Bach (1685 - 1750).Mass in F major ("Lutheran Mass") (BWV 233).I. Kyrie (Chorus).Orquestra of Collegium Vocale.Agnès Mellon (Soprano).Gérard Lesne (Alto).Peter Kooy (bass).Dir: Philippe Herreweghe. [ More Detail ]
by OedipusColoneus 5min23sec, Views:250, Ratings:5.00pt, Votes:5, Comments:1, Added at:08/09/20 [ DownLoad ]
Gloria in excelsis deo - Messe in B Mineur - JS Bach
Gloria in ExcelsisGloria in excelsis Deo et in terra pax hominibus bonae voluntatis. Laudamus Te. Benedicimus Te. Adoramus Te. Glorificamus Te. Gratias agimus Tibi propter magnam gloriam tuam. Domine Deus Rex caelestis, Deus Pater omnipotens. Domine Fili unigenite, Iesu Christe. Domine Deus Agnus Dei, Filius Patris. Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis. Quoniam Tu solus Sanctus. Tu solus Dominus. Tu solus altissimus, Iesu Christe. Cum Sancto Spiritu in gloria Dei Patris. Amen [ More Detail ]
by AGIntermedic 5min29sec, Views:166, Ratings:5.00pt, Votes:1, Comments:1, Added at:08/09/15 [ DownLoad ]
Kathleen Ferrier, Agnus Dei (Bach, Great Mass, rehearsals)
Morning rehearsals of Agnus Dei, 1950."...conjuring forth singing of rare depth and intensity...her voice takes on a quality that can only be called otherworldly...if bach 's is the voice of God , ferrier's here is surely that of one of his angels. karajan wept during that evening's performance..." (Richard Osborne) [ More Detail ]
Camerata Académica Bach, Requiem by Fauré
Agnus Dei [ More Detail ]
by julcorfer148 5min34sec, Views:55, Ratings:4.50pt, Votes:2, Comments:0, Added at:08/09/08 [ DownLoad ]
Bach - "Agnus Dei" - Deller, Leonhardt
Johann Sebastian Bach (1685-1750)Die h-Moll-Messe - Mass in B minor BWV 232 (Definitive version 1749)V. Agnus Dei"Agnus Dei", Adagio - ContraltoAlfred Deller - CountertenorLeonhardt Baroque EnsembleEduard Melkus, Marie Leonhardt - Baroque violinsKurt Theiner, Alice Hoffelner - Baroque violasNikolaus Harnoncourt - Baroque celloAlfred Planiawsky - Baroque bassGustav Leonhardt - Organ and ConductorStudio recording - 05/1954Text:Agnus Dei, qui tollis peccata mundi, miserere nobis [ More Detail ]
by Arsamene87 5min35sec, Views:425, Ratings:5.00pt, Votes:5, Comments:3, Added at:08/08/31 [ DownLoad ]
4. Bach: Mass in B minor (BWV 232)
Stereo: http://br.youtube.com/watch?v=JpdjeTfc5Ms&fmt=18Johann Sebastian Bach (1685 - 1750).Mass in B minor (BWV 232):V. Dona nobis pacem.Freiburg Baroque Orchestra.Dir: Thomas Hengelbrock.Bach did not give the work a title; instead, in the score the four parts of the Latin Mass are each given their own title page — "Kyrie", "Gloria", "Symbolum Nicenum" (otherwise known as the "Credo"), and "Sanctus, Hosanna, Benedictus, Agnus Dei" — and simply bundled together. Indeed, the different sections call for different numbers and arrangements of performers, giving rise to the theory that Bach did not ever expect the work to be performed in its entirety. On the other hand, the parts in the manuscript are numbered from 1 to 4, and Bach's usual closing formula (S.D.G = Soli Deo Gloria) is only found at the end of the Dona Nobis Pacem. Because of its length — nearly two hours of music — it was never performed in its entirety as part of a church liturgy.Although Bach was a committed Lutheran, it is uncertain whether he composed it for the Lutheran liturgy or composed it for the Elector of Saxony who had just been elected king of Poland and therefore had to convert to Catholicism. Bach produced four short masses (comprising these two sections only) for liturgical use.Early in 1733 Augustus II, King of Poland and Elector of Saxony, died. Five months of mourning followed, during which all public music-making was temporarily suspended. Bach used the opportunity to work on the composition of a Missa, a portion of the liturgy sung in Latin and common to both the Lutheran and Roman Catholic rites.His aim was to dedicate the work to the new sovereign Augustus III, a Catholic, and by doing so to hope to improve his own standing. On its completion, Bach visited Augustus and presented him with a copy of the Missa, together with a petition to be given a court title. The petition did not meet with immediate success, but Bach did eventually get his title: he was made court composer to Augustus in 1736.The Missa was first performed in 1733 during the festival of the Oath of Allegiance to Augustus III. It consisted of settings of the Kyrie and Gloria that now comprise the first part of the Mass in B Minor.At what point Bach decided to expand the Missa into a full-blown setting of the Catholic Mass is not known. Some researchers believe that the Symbolum Nicenum (or the Credo) was composed between 1742 and 1745, but others think it predates the Missa and was first heard in 1732. The remaining parts (Sanctus, Osanna, Benedictus and Agnus Dei et Dona nobis pacem) were all added in the late 1740s. [ More Detail ]
by OedipusColoneus 3min30sec, Views:457, Ratings:5.00pt, Votes:7, Comments:3, Added at:08/08/29 [ DownLoad ]
3. Bach: Mass in B minor (BWV 232)
Stereo: http://br.youtube.com/watch?v=AbjVxng4qwc&fmt=18Johann Sebastian Bach (1685 - 1750).Mass in B minor (BWV 232):IV. Agnus Dei.Freiburg Baroque Orchestra.Bernhard Landauer (Countertenor).Dir: Thomas Hengelbrock.Bach did not give the work a title; instead, in the score the four parts of the Latin Mass are each given their own title page — "Kyrie", "Gloria", "Symbolum Nicenum" (otherwise known as the "Credo"), and "Sanctus, Hosanna, Benedictus, Agnus Dei" — and simply bundled together. Indeed, the different sections call for different numbers and arrangements of performers, giving rise to the theory that Bach did not ever expect the work to be performed in its entirety. On the other hand, the parts in the manuscript are numbered from 1 to 4, and Bach's usual closing formula (S.D.G = Soli Deo Gloria) is only found at the end of the Dona Nobis Pacem. Because of its length — nearly two hours of music — it was never performed in its entirety as part of a church liturgy.Although Bach was a committed Lutheran, it is uncertain whether he composed it for the Lutheran liturgy or composed it for the Elector of Saxony who had just been elected king of Poland and therefore had to convert to Catholicism. Bach produced four short masses (comprising these two sections only) for liturgical use.Early in 1733 Augustus II, King of Poland and Elector of Saxony, died. Five months of mourning followed, during which all public music-making was temporarily suspended. Bach used the opportunity to work on the composition of a Missa, a portion of the liturgy sung in Latin and common to both the Lutheran and Roman Catholic rites.His aim was to dedicate the work to the new sovereign Augustus III, a Catholic, and by doing so to hope to improve his own standing. On its completion, Bach visited Augustus and presented him with a copy of the Missa, together with a petition to be given a court title. The petition did not meet with immediate success, but Bach did eventually get his title: he was made court composer to Augustus in 1736.The Missa was first performed in 1733 during the festival of the Oath of Allegiance to Augustus III. It consisted of settings of the Kyrie and Gloria that now comprise the first part of the Mass in B Minor.At what point Bach decided to expand the Missa into a full-blown setting of the Catholic Mass is not known. Some researchers believe that the Symbolum Nicenum (or the Credo) was composed between 1742 and 1745, but others think it predates the Missa and was first heard in 1732. The remaining parts (Sanctus, Osanna, Benedictus and Agnus Dei et Dona nobis pacem) were all added in the late 1740s. [ More Detail ]
by OedipusColoneus 5min43sec, Views:383, Ratings:5.00pt, Votes:3, Comments:1, Added at:08/08/29 [ DownLoad ]
2. Bach: Mass in B minor (BWV 232)
Stereo: http://br.youtube.com/watch?v=n5NbffRk3WA&fmt=18Johann Sebastian Bach (1685 - 1750).Mass in B minor (BWV 232):III. Qui tollis peccata mundi.Freiburg Baroque Orchestra.Dir: Thomas Hengelbrock.Bach did not give the work a title; instead, in the score the four parts of the Latin Mass are each given their own title page — "Kyrie", "Gloria", "Symbolum Nicenum" (otherwise known as the "Credo"), and "Sanctus, Hosanna, Benedictus, Agnus Dei" — and simply bundled together. Indeed, the different sections call for different numbers and arrangements of performers, giving rise to the theory that Bach did not ever expect the work to be performed in its entirety. On the other hand, the parts in the manuscript are numbered from 1 to 4, and Bach's usual closing formula (S.D.G = Soli Deo Gloria) is only found at the end of the Dona Nobis Pacem. Because of its length — nearly two hours of music — it was never performed in its entirety as part of a church liturgy.Although Bach was a committed Lutheran, it is uncertain whether he composed it for the Lutheran liturgy or composed it for the Elector of Saxony who had just been elected king of Poland and therefore had to convert to Catholicism. Bach produced four short masses (comprising these two sections only) for liturgical use.Early in 1733 Augustus II, King of Poland and Elector of Saxony, died. Five months of mourning followed, during which all public music-making was temporarily suspended. Bach used the opportunity to work on the composition of a Missa, a portion of the liturgy sung in Latin and common to both the Lutheran and Roman Catholic rites.His aim was to dedicate the work to the new sovereign Augustus III, a Catholic, and by doing so to hope to improve his own standing. On its completion, Bach visited Augustus and presented him with a copy of the Missa, together with a petition to be given a court title. The petition did not meet with immediate success, but Bach did eventually get his title: he was made court composer to Augustus in 1736.The Missa was first performed in 1733 during the festival of the Oath of Allegiance to Augustus III. It consisted of settings of the Kyrie and Gloria that now comprise the first part of the Mass in B Minor.At what point Bach decided to expand the Missa into a full-blown setting of the Catholic Mass is not known. Some researchers believe that the Symbolum Nicenum (or the Credo) was composed between 1742 and 1745, but others think it predates the Missa and was first heard in 1732. The remaining parts (Sanctus, Osanna, Benedictus and Agnus Dei et Dona nobis pacem) were all added in the late 1740s. [ More Detail ]
by OedipusColoneus 3min13sec, Views:273, Ratings:5.00pt, Votes:4, Comments:0, Added at:08/08/29 [ DownLoad ]