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Matches in DBpedia 2014 for { ?s ?p The Mass in B minor is Johann Sebastian Bach's only setting of the complete Latin text of the Ordinarium missae (short: mass). Towards the end of his life, mainly in 1748 and 1749, he composed it as a complex symmetric structure.Some parts of the mass were used in Latin even in Lutheran Leipzig, and Bach had composed them: five settings of the Missa, containing Kyrie and Gloria, and several additional settings of Kyrie and Sanctus. To achieve the Missa tota, a setting of the complete text of the mass, he combined his most elaborate Missa, BWV 232a, written in 1733 for the court in Dresden, and a Sanctus, written for Christmas of 1724. He added a few new compositions, but mostly derived movements from cantata movements, in the technique known as parody.The Mass "represents Bach's last major artistic undertaking". It is a compendium of his styles in vocal composition, containing Gregorian chant, "stile antico" reminiscent of Renaissance music and the Baroque concertante style of his own time, fugal writing and dances, arias and a movement for two four-part choirs. Formally, the mass is a missa solemnis. Similar to architecture of the period, Bach achieved a symmetry of parts, with the profession of faith (Credo) in the center and the movement Crucifixus in its center. Bach scored the work for five vocal parts (two sopranos, alto, tenor and bass, SSATB). While some choral movements are for only four parts, the Sanctus is scored for six voices (SSAATB), and the Osanna even for two four-part choirs. Bach called for a rich instrumentation of brass, woodwinds and strings, assigning specific varied obbligato parts to different instruments.Bach structured the work in four parts: No. 1 Missa No. 2 Symbolum Nicenum No. 3 Sanctus No. 4 Osanna, Benedictus, Agnus Dei et Dona nobis pacemBach derived many movements as parodies of his earlier cantatas, dating back as far as 1714. For several movements their base is known, for some others it is lost but the score shows that they are copied and reworked. Bach selected movements that carried a similar expression and affekt. Crucifixus (Crucified) is based on the general lamenting about the situation of the Christian, Weinen, Klagen, Sorgen, Zagen (Weeping, lamenting, worrying, fearing), which Bach had composed already in 1714 as one of his first cantatas for the court of Weimar. New compositions are three choral parts of the Credo, its opening Credo in unum Deum, Confiteor and Et incarnatus est. Bach quoted the Gregorian chant twice, in the Credo in unum Deum as a theme, in the Confiteor as a cantus firmus embedded in complex polyphony.Its first publisher, Hans Georg Nägeli, described it in 1818 as "the greatest musical work of all times and peoples". It is often described as Bach's "artistic legacy".. }

• Mass_in_B_minor_structure abstract "The Mass in B minor is Johann Sebastian Bach's only setting of the complete Latin text of the Ordinarium missae (short: mass). Towards the end of his life, mainly in 1748 and 1749, he composed it as a complex symmetric structure.Some parts of the mass were used in Latin even in Lutheran Leipzig, and Bach had composed them: five settings of the Missa, containing Kyrie and Gloria, and several additional settings of Kyrie and Sanctus. To achieve the Missa tota, a setting of the complete text of the mass, he combined his most elaborate Missa, BWV 232a, written in 1733 for the court in Dresden, and a Sanctus, written for Christmas of 1724. He added a few new compositions, but mostly derived movements from cantata movements, in the technique known as parody.The Mass "represents Bach's last major artistic undertaking". It is a compendium of his styles in vocal composition, containing Gregorian chant, "stile antico" reminiscent of Renaissance music and the Baroque concertante style of his own time, fugal writing and dances, arias and a movement for two four-part choirs. Formally, the mass is a missa solemnis. Similar to architecture of the period, Bach achieved a symmetry of parts, with the profession of faith (Credo) in the center and the movement Crucifixus in its center. Bach scored the work for five vocal parts (two sopranos, alto, tenor and bass, SSATB). While some choral movements are for only four parts, the Sanctus is scored for six voices (SSAATB), and the Osanna even for two four-part choirs. Bach called for a rich instrumentation of brass, woodwinds and strings, assigning specific varied obbligato parts to different instruments.Bach structured the work in four parts: No. 1 Missa No. 2 Symbolum Nicenum No. 3 Sanctus No. 4 Osanna, Benedictus, Agnus Dei et Dona nobis pacemBach derived many movements as parodies of his earlier cantatas, dating back as far as 1714. For several movements their base is known, for some others it is lost but the score shows that they are copied and reworked. Bach selected movements that carried a similar expression and affekt. Crucifixus (Crucified) is based on the general lamenting about the situation of the Christian, Weinen, Klagen, Sorgen, Zagen (Weeping, lamenting, worrying, fearing), which Bach had composed already in 1714 as one of his first cantatas for the court of Weimar. New compositions are three choral parts of the Credo, its opening Credo in unum Deum, Confiteor and Et incarnatus est. Bach quoted the Gregorian chant twice, in the Credo in unum Deum as a theme, in the Confiteor as a cantus firmus embedded in complex polyphony.Its first publisher, Hans Georg Nägeli, described it in 1818 as "the greatest musical work of all times and peoples". It is often described as Bach's "artistic legacy".".