Kyrie–Gloria masses, BWV 233–236
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ToursExplore Lably’s 3D toursThey seem to have been intended for liturgical use, considering a performance time of about 20 minutes each, the average duration of a Bach cantata. They may have been composed around 1738/39. Possibly they were written for Count Franz Anton von Sporck or performed by him in Lysá (German: Lissa).
Each of the Kyrie-Gloria Masses is in six movements: the Kyrie is one choral movement (with Kyrie/Christe/Kyrie subdivisions) and the Gloria is in five movements. The first and last movement of the Gloria are also choral, framing three arias for different voice types. The music consists mostly of parodies of earlier cantata movements. Bach changed the music slightly to adjust to the Latin words, but kept the original instrumentation. For instance, the opening chorus of Es wartet alles auf dich, BWV 187, became the final movement of the Missa in G minor, Cum sancto spiritu. Occasionally he switched a voice part, for example he asked for a tenor in the Qui tollis of that Missa, a parody of the soprano aria Gott versorget alles Leben of that cantata.
History
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Compositions
Kyrie–Gloria Mass in F major, BWV 233
For the Missa in F major, BWV 233, scored for horns, oboes, bassoon, strings, SATB, and basso continuo, Bach derived most of the six movements from earlier cantatas as parodies. The first movement derives from Kyrie "Christe, du Lamm Gottes" in F major, BWV 233a, which may have been performed for the first time on Good Friday, 6 April 1708.
Kyrie–Gloria Mass in A major, BWV 234
For the Missa in A major, BWV 234, scored for flute, strings, SATB, and basso continuo, Bach parodied music from at least four earlier cantatas.
Kyrie–Gloria Mass in G minor, BWV 235
For the Missa in G minor, BWV 235, scored for oboes, strings, SATB, basso continuo, Bach derived all six movements from cantatas as parodies.
Kyrie–Gloria Mass in G major, BWV 236
For the Missa in G major, BWV 236, scored for oboes, strings, SATB, basso continuo, Bach derived all six movements from cantatas as parodies.
Reception
In 1818 the Missa in A major, BWV 234, was one of a very few of Bach's compositions for voices and orchestra to appear in print prior to the Bach Gesellschaft complete edition in the second half of the 19th century.