Description
Hans Georg Nageli referred to Johann Sebastian Bach's B-Minor Mass as "the greatest musical artwork for all times and all people" in 1818, a sentiment that has been consistently echoed by audiences throughout the years. This composition uniquely bridges the realms of sacred and secular music, showcasing Bach's exceptional skill in compositional refinement and stylistic integration on a grand scale. However, the B-Minor Mass also presents a series of intriguing questions. When was it created? What was its intended purpose? How should it be performed? To what extent is its music original? For over a century, historians have grappled with these inquiries, and contemporary research has introduced additional complexities. Recent investigations into the Mass practices in Dresden indicate that Bach may have drawn more heavily from contemporary Catholic models than previously recognized. The adoption of a "one on a part" approach for Bach's choir has called into question the tradition of large ensemble performances. Furthermore, the recent unearthing of an early version of the "Credo" movement has reopened discussions regarding the compositional process. This volume seeks to reassess the intricate history of the B-Minor Mass while providing an in-depth analysis of its extraordinary music. Chapter 1 explores the origins of the Mass Ordinary text and its musical interpretations known to Bach. Chapter 2 delves into the circumstances that led to the creation of the B-Minor Mass. Chapters 3 to 5 offer a thorough examination of the music, integrating new insights into Bach's later compositional practices and the conventions of Mass in Dresden. Chapter 6 traces the performance history of the Mass up to the present day. Chapter 7 addresses specific aspects of performance practice, while Chapter 8 aims to identify the qualities that contribute to the B-Minor Mass's universal appeal, affirming its status as a work of art "for all times and all people."
