Sheet music

J.S. Bach: Mass in B Minor, BWV 232: I. Kyrie eleison

15 parts32 pages11:118 months ago420 views
Flute(2), Oboe(2), Bassoon, Strings(5), Voice(5)
The first movement of Bach's crowning achievement is one of the greatest examples of his sublime contrapuntal writing. The opening in itself is an unconventional series of diminished chords that climax in a dominant F sharp major. Bach then begins a grand fugue with the tempo marked "Largo
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The first movement of Bach's crowning achievement is one of the greatest examples of his sublime contrapuntal writing. The opening in itself is an unconventional series of diminished chords that climax in a dominant F sharp major. Bach then begins a grand fugue with the tempo marked "Largo
Read more

J.S. Bach: Mass in B Minor, BWV 232: III. Agnus Dei

5 parts3 pages06:114 months ago211 views
Strings(3), Voice, Other Woodwinds
Bach now enters the last section of the mass ordinary, the "Agnus Dei". Here, Bach decided to parody BWV 11, “Ach bleibe doch" (often called the Ascension Oratorio). This is based on a cantata about Christ's final appearance to His disciples before He left this world for the clouds. B
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Bach now enters the last section of the mass ordinary, the "Agnus Dei". Here, Bach decided to parody BWV 11, “Ach bleibe doch" (often called the Ascension Oratorio). This is based on a cantata about Christ's final appearance to His disciples before He left this world for the clouds. B
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J.S. Bach: Mass in B Minor, BWV 232: IV. Gloria - V. Et in terra pax

19 parts29 pages06:107 months ago187 views
Trumpet(3), Timpani, Flute(2), Oboe(2), Bassoon, Strings(5), Voice(5)
The fourth and fifth movements of the Mass in B Minor begin the text of the Gloria in excelsis. Here, the trumpets and drums are introduced in the bright key of D. The mood has changed from sombre to exultation. Bach writes a chorus almost mimicking the angels in heaven, but in robust German style.
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The fourth and fifth movements of the Mass in B Minor begin the text of the Gloria in excelsis. Here, the trumpets and drums are introduced in the bright key of D. The mood has changed from sombre to exultation. Bach writes a chorus almost mimicking the angels in heaven, but in robust German style.
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J.S. Bach: Mass in B Minor, BWV 232: VII. Et in Spiritum Sanctum

7 parts6 pages05:295 months ago153 views
Oboe(2), Voice, Bassoon, Strings(2), Organ
For "Et in Spiritum Sanctum", Bach writes for two obbligato oboes d'amore, bass soloist and continuo: three voices for the third person of the Trinity. The melody Bach writes is very dance-like, first, the oboes in unison, then in harmony; a very simplistic, but free-flowing and delightful
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For "Et in Spiritum Sanctum", Bach writes for two obbligato oboes d'amore, bass soloist and continuo: three voices for the third person of the Trinity. The melody Bach writes is very dance-like, first, the oboes in unison, then in harmony; a very simplistic, but free-flowing and delightful
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J.S. Bach: Mass in B Minor, BWV 232: I. Credo in unum Deum- II. Patrem omnipotentem

18 parts17 pages04:126 months ago136 views
Trumpet(3), Timpani, Oboe(2), Strings(5), Voice(5), Bassoon, Organ
After the thrilling conclusion of the "Missa", Bach begins the next section of the mass: the "Symbolum Nicenum", or Nicene Creed. This creed dates back to 325 AD, and has been a bulwark in the Christian faith for nearly 2,000 years. Bach returns to the stile antico, utilizing a Gregorian
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After the thrilling conclusion of the "Missa", Bach begins the next section of the mass: the "Symbolum Nicenum", or Nicene Creed. This creed dates back to 325 AD, and has been a bulwark in the Christian faith for nearly 2,000 years. Bach returns to the stile antico, utilizing a Gregorian
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J.S. Bach: Mass in B Minor, BWV 232: VI Laudamus Te

8 parts8 pages04:337 months ago136 views
Violin, Strings(5), Voice, Organ
The sixth movement of the Mass in B Minor features an aria written for soprano II and solo violin. Bach's skillful violin writing is put on full display here, as well as his writing for the soloist. Bach's music, along with the text, a prayer of praise, evokes just that, and uplifts the soul.

The
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The sixth movement of the Mass in B Minor features an aria written for soprano II and solo violin. Bach's skillful violin writing is put on full display here, as well as his writing for the soloist. Bach's music, along with the text, a prayer of praise, evokes just that, and uplifts the soul.

The
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J.S. Bach: Mass in B Minor, BWV 232: II. Benedictus

5 parts4 pages05:294 months ago132 views
Flute, Voice, Strings(2), Other Woodwinds
After the enormous "Osanna", Bach strips the remaining text of the Sanctus to a bare minimum; scored only for a tenor soloist, continuo, and flute. (The 1856 Breitkopf & Härtel edition as well as the 1925 Ernst Eulenburg edition score it for solo violin. In Bach's manuscript, he does
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After the enormous "Osanna", Bach strips the remaining text of the Sanctus to a bare minimum; scored only for a tenor soloist, continuo, and flute. (The 1856 Breitkopf & Härtel edition as well as the 1925 Ernst Eulenburg edition score it for solo violin. In Bach's manuscript, he does
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J.S. Bach: Mass in B Minor, BWV 232: IV. Dona Nobis Pacem

19 parts10 pages04:304 months ago131 views
Trumpet(3), Timpani, Flute(2), Oboe(2), Strings(5), Voice(4), Bassoon, Organ
The grand finale of Bach's "missa tota" is a parody of music from within the "Hohe Messe". After the lonly and melancholic "Agnus Dei", a music of thanks (Gratias) comes forth from the basses and up through each voice with the orchestra "colla parte". The
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The grand finale of Bach's "missa tota" is a parody of music from within the "Hohe Messe". After the lonly and melancholic "Agnus Dei", a music of thanks (Gratias) comes forth from the basses and up through each voice with the orchestra "colla parte". The
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J.S. Bach: Mass in B Minor, BWV 232: I. Sanctus

20 parts27 pages06:054 months ago125 views
Trumpet(3), Timpani, Oboe(3), Strings(5), Voice(6), Bassoon, Organ
For the next section of the mass, Bach reuses music from his 1724 Christmas day performance. Here, he writes for six voices: 2 soprano, 2 alto, tenor and bass. This unusual setup makes for a majestic declaration of the glory of the Godhead. The triplets signifying the Holy Trinity, the regal french rythms
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For the next section of the mass, Bach reuses music from his 1724 Christmas day performance. Here, he writes for six voices: 2 soprano, 2 alto, tenor and bass. This unusual setup makes for a majestic declaration of the glory of the Godhead. The triplets signifying the Holy Trinity, the regal french rythms
Read more

J.S. Bach: Mass in B Minor, BWV 232: IV. Et incarnatus est

10 parts3 pages02:566 months ago115 views
Strings(4), Voice(5), Organ
This movement is the last known choral work Bach wrote in his life. Composed for this mass, and not for any cantata, Bach returns to the key of B minor, the key associated with sin (e.g. Kyrie I. & Qui tollis), and is heavily influenced by the Italian baroque style. The opening motif from the violins
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This movement is the last known choral work Bach wrote in his life. Composed for this mass, and not for any cantata, Bach returns to the key of B minor, the key associated with sin (e.g. Kyrie I. & Qui tollis), and is heavily influenced by the Italian baroque style. The opening motif from the violins
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J.S. Bach: Mass in B Minor, BWV 232: V. Crucifixus

12 parts4 pages02:425 months ago112 views
Flute(2), Strings(5), Voice(4), Organ
Continuing from the sombre setting of the "Et incarnatus", Bach reuses transposed music from BWV 12, “Weinen, Klagen, Sorgen, Zagen” (Weeping, lamentation, worry, despair). This music is the oldest of Bach's that he reused for the mass, placing it right after to the newest, but yet the
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Continuing from the sombre setting of the "Et incarnatus", Bach reuses transposed music from BWV 12, “Weinen, Klagen, Sorgen, Zagen” (Weeping, lamentation, worry, despair). This music is the oldest of Bach's that he reused for the mass, placing it right after to the newest, but yet the
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J.S. Bach: Mass in B Minor, BWV 232: VIII. Domine Deus

9 parts12 pages06:257 months ago110 views
Flute, Strings(5), Voice(2), Organ
The eighth movement of the Mass in B Minor features a solo flute, soprano and tenor. The duet symbolizes the second person of the Trinity, Christ. This duet is taken from BWV 191, all of which was parodied in the B Minor Mass. The ending of this movement, however, leads right into the next without pause.
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The eighth movement of the Mass in B Minor features a solo flute, soprano and tenor. The duet symbolizes the second person of the Trinity, Christ. This duet is taken from BWV 191, all of which was parodied in the B Minor Mass. The ending of this movement, however, leads right into the next without pause.
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J.S. Bach: Mass in B Minor, BWV 232: XI. Quoniam - XII. Cum Sancto Spiritu

22 parts37 pages09:236 months ago109 views
French Horn, Trumpet(3), Timpani, Flute(2), Oboe(2), Bassoon(2), Strings(5), Voice(5), Organ
The eleventh movement is unusual due to its peculiar orchestration. Two obbligato bassoons with a corno da caccia (hunting horn), an instrument mostly used outdoors at the time of Bach, and a bass soloist. The horn opens with a "perfect" melody (D4-D5-C5-D5-D4) while the bassoons have a playful
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The eleventh movement is unusual due to its peculiar orchestration. Two obbligato bassoons with a corno da caccia (hunting horn), an instrument mostly used outdoors at the time of Bach, and a bass soloist. The horn opens with a "perfect" melody (D4-D5-C5-D5-D4) while the bassoons have a playful
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J.S. Bach: Mass in B Minor, BWV 232: III. Kyrie eleison (II)

13 parts6 pages04:228 months ago103 views
Flute, Oboe(2), Strings(5), Bassoon, Voice(4)
The third movement of Bach's Mass in B minor completes the first section with the final line of the Kyrie. Bach returns to a solemn tone, but now in cut time, marked "Alle breve". Bach writes for a four part fugue in F-sharp minor, thus making the opening three movements a B-minor chord.
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The third movement of Bach's Mass in B minor completes the first section with the final line of the Kyrie. Bach returns to a solemn tone, but now in cut time, marked "Alle breve". Bach writes for a four part fugue in F-sharp minor, thus making the opening three movements a B-minor chord.
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J.S. Bach: Mass in B Minor, BWV 232: VI. Et resurrexit

20 parts26 pages04:405 months ago102 views
Trumpet(3), Timpani, Flute(2), Oboe(2), Strings(5), Voice(5), Bassoon, Organ
Following very dark, and melancholic movements is a full-forced pronouncement of Christ's resurrection. The orchestra introduces a triplet motif that symbolize the third day. This movement is composed in a baroque-dance form, with a lenghty sinfonia at the end, and also a lenghty bass solo section.
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Following very dark, and melancholic movements is a full-forced pronouncement of Christ's resurrection. The orchestra introduces a triplet motif that symbolize the third day. This movement is composed in a baroque-dance form, with a lenghty sinfonia at the end, and also a lenghty bass solo section.
Read more