Bach's Mass in B minor (BWV ) is the synthesis of his life's work. Drawing on And although the Kyrie-Gloria and Sanctus were in fact. On this edition of Exploring Music, we examine Bach's B minor Mass, Next is Palestrina's "Kyrie" from Missa Papae Marcelli, a piece that, like many Palestrina. Jump to Kyrie I - Christoph Wolff notes a similarity between the fugue theme and one by Johann Hugo von Wilderer, whose mass Bach had probably.
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As the Dresden Mass style required, it opens with a short homophonic section,  followed by an extended fugue in two sections, which both begin with an instrumental fugue.
Wilderer's mass also has a slow introduction, a duet as the second movement and a motet in stile anticosimilar to late Renaissance music as the third movement. In the second fugal section, bach mass in b minor kyrie instruments begin in low registers, and the voices build, with every part first in extremely low range, from bass to soprano I.
Mass in B minor - Wikipedia
In both sections, the instruments open the fugue, but play with the voices once they enter. Probably a parody of an earlier work, it is Bach's only extant duet for two sopranos, stressing that idea. The first entrances build from the lowest voice in the sequence bass, tenor, alto, bach mass in b minor kyrie.
The first and last are similar in style, concertante music of the eighteenth century. Bach used this section, the central duet and the concluding doxology as a Christmas cantataGloria in excelsis Deo, BWV Glory to God in the Highestprobably ina few years before the compilation of the Mass.
The opening is set as a five-part chorus, beginning with an instrumental presentation of the material.
Systematic Discussions of Bach's Other Vocal Works: Mass in B minor BWV - Part 1: Kyrie
If the music is going to delivered in slow-motion like this, at least it doesn't have to be like a steamroller flattening the macadam. Bach mass in b minor kyrie the notorious Klemperer 13'40"! The momentum builds up so nicely in these two: Richter's, by comparison, just moves along from one artificially terraced dynamic to the next The impression I get is that Richter was trying too hard to put across this music that doesn't need so much top-down management from the director.
Ehud Shiloni wrote March 6, I listened today to 23 [gasp. This is one incredible piece of music.
Mass in B minor structure - Wikipedia
I cannot say if the tenors enter in the dominant or on what bar - this technical stuff is all Greek [or Chinese] to me - but I felt 23 consecutive times a tremendous sense of elation.
I guess this is as cas an atheist or an agnostic can come to feel that bach mass in b minor kyrie might be something "up there" after all. Funny enough, I did not find any version which I did not like.
This came as a surprise, because the motivation to purchase yet another performance comes partly from the wish to find a "better" one. Certain versions which I remember as not liking [e.
King with the boys' choir] sounded highly likeable this time around. Go figure - the wonders of Bach!
HIP versus Modern - each tradition has its own special qualities. Though the effect may be different, each serves the music itself in its own "way": The modern instruments are brighter - the "period" ones sweeter.
Mass in B minor structure
The large choir is powerful - the compact choir is clear and focused - and the soloists' ensembles have the intimate, individual presence of the singers [at least the good ones. I alternated old and new and found them all fascinating on their different merits.
For Richter - who was discussed here - I reserve the term "Impressive", and that goes to both the '61 version and to the Tokyo TV concert as well. However, I sensed an over emphasis on the "metronomic" accentuation of the "beat", which I found to bach mass in b minor kyrie less then desired.
Peter Schreier's version had the same slight problem.