Bach: Mass in B Minor, BWV 232 Anke Vondung

• 1 Kyrie eleison (Chorus) 09:02
• 2 Christe eleison (Soprano 1 and 2) 04:34
• 3 Kyrie eleison (Chorus) 03:19
• 4 Gloria in excelsis Deo (Chorus) 01:37
• 5 Et in terra pax (Chorus) 04:15
• 6 Laudamus te (Soprano 2) 03:55
• 7 Gratias agimus tibi (Chorus) 02:31
• 8 Domine Deus (Soprano 1, Tenor) 05:03
• 9 Qui tollis peccata mundi (Chorus) 02:39
• 10 Qui sedes ad dextram Patris (Alto) 04:14
• 11 Quoniam tu solus Sanctus (Bass) 04:26
• 12 Cum Sancto Spiritu (Chorus) 03:59
• 13 Credo in unum Deum (Chorus) 02:02
• 14 Patrem omnipotentem (Chorus) 01:55
• 15 Et in unum Dominum (Soprano 1, Alto) 04:13
• 16 Et incarnatus est (Chorus) 02:55
• 17 Crucifixus (Chorus) 02:43
• 18 Et resurrexit (Chorus) 04:11
• 19 Et in Spiritum Sanctum Dominum (Bass) 04:54
• 20 Confiteor unum baptisma (Chorus) 02:46
• 21 Et expecto resurrectionem mortuorum (Chorus) 01:40
• 22 Et expecto resurrectionem mortuorum: Vivace e allegro (Chorus) 02:10
• 23 Sanctus (Chorus) 02:50
• 24 Pleni sunt coeli (Chorus) 02:07
• 25 Osanna (Double Chorus) 02:40
• 26 Benedictus (Tenor) 03:26
• 27 Osanna da capo (Double Chorus) 02:41
• 28 Agnus Dei (Alto) 05:20
• 29 Dona nobis pacem (Double Chorus) 03:04
• Total Runtime 01:41:11

Info for Bach: Mass in B Minor, BWV 232

Nearly 70 years after the death of Johann Sebastian Bach, the Swiss publis- her Hans Georg Nägeli undertook the daring task of preparing the manuscript score of the B minor Mass for publication. In 1818, to mark the occasion, the Leipzig Allgemeine Musikalische Zeitung described the Mass as “the Greatest Musical Work of All Times and All People.” This fulsome formulation was pri- marily a sales strategy: Nägeli was wooing subscribers for a composition that, until then, had been noticed only by a small number of cognoscenti. The an- nouncement does sound rather pompous to our ears today, but the Swiss pu- blisher’s judgement was a sound one. From the mid-19th century onwards, the Mass in B minor gradually became a xed part of the repertoire for all major choirs, and is now an integral part of the worldwide concert business. Howe- ver, unsolved questions incidental to this unusual work and its success story continue to preoccupy musicologists to this day: Why is an overall title page missing from the original manuscript, with its four individual folders? Were the four different sections, with their different orchestration, ever conceived as a single and cohesive mass? Was the work composed for any special occasion? And was a performance of the monumental mass even conceivable in around 1750? A look at the history of the music and its structure can bring us one step closer to possible answers.

Christina Landshamer, soprano
Anke Vondung, mezzo-soprano
Kenneth Traver, tenor
Andreas Wolf, bass
Chor des Bayerischen Rundfunks
Concerto Koln
Peter Dijkstra, conductor

No biography found.

Booklet for Bach: Mass in B Minor, BWV 232