J S Bach - Lutheran Masses I
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Label: BIS
Cat No: BIS2081
Format: Hybrid SACD
Number of Discs: 1
Genre: Vocal/Choral
Release Date: 1st June 2015
Contents
Works
Christe eleison in G minor, BWV242Mass in G major, BWV236
Mass in G minor, BWV235
Missa in C minor, BWVAnh26
Sanctus in D major, BWV238
Sanctus in D major, BWV241 (version in E major - Kerll, arr. JS Bach)
Sanctus in G major, BWV240
Artists
Hana Blazikova (soprano)Joanne Lunn (soprano)
Robin Blaze (countertenor)
Gerd Turk (tenor)
Peter Kooij (bass)
Bach Collegium Japan
Conductor
Masaaki SuzukiWorks
Christe eleison in G minor, BWV242Mass in G major, BWV236
Mass in G minor, BWV235
Missa in C minor, BWVAnh26
Sanctus in D major, BWV238
Sanctus in D major, BWV241 (version in E major - Kerll, arr. JS Bach)
Sanctus in G major, BWV240
Artists
Hana Blazikova (soprano)Joanne Lunn (soprano)
Robin Blaze (countertenor)
Gerd Turk (tenor)
Peter Kooij (bass)
Bach Collegium Japan
Conductor
Masaaki SuzukiAbout
By J S Bach's time, the Reformation had fundamentally altered the traditional forms of church service, and in German churches Latin had yielded to the country's own language. To a limited extent, however, the Latin mass text did remain in use in the Protestant church – in particular the Kyrie and Gloria sections, which were often set to music as an entity in their own right. Albeit incomplete, this form of mass setting was termed ‘Missa’, a name it retained even in Bach’s day.
Nowadays, to differentiate them from complete settings, these pieces are often referred to as 'Lutheran Masses'. Bach's famous Mass in B minor, later expanded into a complete mass, began its existence as a work of this type, and four other examples from Bach's pen have survived. They all make extensive use of earlier compositions, and the two masses on the present disc consist entirely of so-called parodies: reworkings of arias and choruses from cantatas, in which Bach demonstrates his skill in adapting existing music for new uses.
Performed by Bach Collegium Japan – who under the direction of Masaaki Suzuki have already recorded the original settings as part of their acclaimed cantata series – the Missae BWV 235 and 236 are here combined with four separate settings of the Sanctus, another section of the traditional mass that in Bach's time could be heard in the churches of Leipzig during important feast days.
Two of these are original compositions, whereas BWV241, and possibly also BWV240, is an arrangement of a setting by another composer. The 'Kyrie – Christe' BWV Anh. 26 is also an example of how Bach, in his task of providing the music for church services, used music by other composers. In this case he turned to a movement from a mass by his contemporary Francesco Durante from Naples, but adapted it for his own purposes by composing a new setting – a duet for soprano and alto – of the Christe eleison section, labelling it 'Christe di Bach' in his autograph.
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