Mass In B Minor, BWV 232 / Sanctus: Osanna in excelsis - 1
Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a … Read Full Bio ↴Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations, and vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival he has been generally regarded as one of the greatest composers of all time.
The Bach family already counted several composers when Johann Sebastian was born as the last child of a city musician in Eisenach. Having become an orphan at age 10, he lived for five years with his eldest brother, after which he continued his musical formation in Lüneburg. From 1703 he was back in Thuringia, working as a musician for Protestant churches in Arnstadt and Mühlhausen and, for longer stretches of time, at courts in Weimar—where he expanded his repertoire for the organ—and Köthen—where he was mostly engaged with chamber music. From 1723 he was employed as Thomaskantor (cantor at St. Thomas) in Leipzig. He composed music for the principal Lutheran churches of the city, and for its university's student ensemble Collegium Musicum. From 1726 he published some of his keyboard and organ music. In Leipzig, as had happened in some of his earlier positions, he had a difficult relation with his employer, a situation that was little remedied when he was granted the title of court composer by the Elector of Saxony and King of Poland in 1736. In the last decades of his life he reworked and extended many of his earlier compositions. He died of complications after eye surgery in 1750.
Bach enriched established German styles through his mastery of counterpoint, harmonic and motivic organisation, and his adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include hundreds of cantatas, both sacred and secular. He composed Latin church music, Passions, oratorios and motets. He often adopted Lutheran hymns, not only in his larger vocal works, but for instance also in his four-part chorales and his sacred songs. He wrote extensively for organ and for other keyboard instruments. He composed concertos, for instance for violin and for harpsichord, and suites, as chamber music as well as for orchestra. Many of his works employ the genres of canon and fugue.
Throughout the 18th century Bach was primarily valued as an organist, while his keyboard music, such as The Well-Tempered Clavier, was appreciated for its didactic qualities. The 19th century saw the publication of some major Bach biographies, and by the end of that century all of his known music had been printed. Dissemination of scholarship on the composer continued through periodicals and websites exclusively devoted to him, and other publications such as the Bach-Werke-Verzeichnis (BWV, a numbered catalogue of his works) and new critical editions of his compositions. His music was further popularised through a multitude of arrangements, including for instance the Air on the G String, and of recordings, for instance three different box sets with complete performances of the composer's oeuvre marking the 250th anniversary of his death.
The Bach family already counted several composers when Johann Sebastian was born as the last child of a city musician in Eisenach. Having become an orphan at age 10, he lived for five years with his eldest brother, after which he continued his musical formation in Lüneburg. From 1703 he was back in Thuringia, working as a musician for Protestant churches in Arnstadt and Mühlhausen and, for longer stretches of time, at courts in Weimar—where he expanded his repertoire for the organ—and Köthen—where he was mostly engaged with chamber music. From 1723 he was employed as Thomaskantor (cantor at St. Thomas) in Leipzig. He composed music for the principal Lutheran churches of the city, and for its university's student ensemble Collegium Musicum. From 1726 he published some of his keyboard and organ music. In Leipzig, as had happened in some of his earlier positions, he had a difficult relation with his employer, a situation that was little remedied when he was granted the title of court composer by the Elector of Saxony and King of Poland in 1736. In the last decades of his life he reworked and extended many of his earlier compositions. He died of complications after eye surgery in 1750.
Bach enriched established German styles through his mastery of counterpoint, harmonic and motivic organisation, and his adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include hundreds of cantatas, both sacred and secular. He composed Latin church music, Passions, oratorios and motets. He often adopted Lutheran hymns, not only in his larger vocal works, but for instance also in his four-part chorales and his sacred songs. He wrote extensively for organ and for other keyboard instruments. He composed concertos, for instance for violin and for harpsichord, and suites, as chamber music as well as for orchestra. Many of his works employ the genres of canon and fugue.
Throughout the 18th century Bach was primarily valued as an organist, while his keyboard music, such as The Well-Tempered Clavier, was appreciated for its didactic qualities. The 19th century saw the publication of some major Bach biographies, and by the end of that century all of his known music had been printed. Dissemination of scholarship on the composer continued through periodicals and websites exclusively devoted to him, and other publications such as the Bach-Werke-Verzeichnis (BWV, a numbered catalogue of his works) and new critical editions of his compositions. His music was further popularised through a multitude of arrangements, including for instance the Air on the G String, and of recordings, for instance three different box sets with complete performances of the composer's oeuvre marking the 250th anniversary of his death.
Mass In B Minor BWV 232 / Sanctus: Osanna in excelsis
Johann Sebastian Bach Lyrics
We have lyrics for these tracks by Johann Sebastian Bach:
Air Erbarme dich, mein Gott, um meiner Zähren willen! Schaue h…
Air on a G String C21 Miscellaneous Hanging on a String I can't sleep I'm inco…
Ave Maria Ave Maria (De Bach e Gounod) Ave Maria Gratia plena Domin…
Cantata "Christ lag in Todesbanden" BWV 4: 6. Versus 5: "Hier ist das rechte Osterlamm" Стой! Пока ещё не выключен свет Я хочу услышать ответ Скажи,…
Cantata "Du Hirte Israel höre" BWV 104: 1. Chor: Du Hirte Israel höre Стой! Пока ещё не выключен свет Я хочу услышать ответ Скажи,…
Cantata "Du Hirte Israel höre" BWV 104: 5. Arie: Beglückte Herde Jesu Schafe Стой! Пока ещё не выключен свет Я хочу услышать ответ Скажи,…
Cantata 147: Jesus bleibet meine Freude Jesus bleibet meine Freude Meines Herzens Trost und Saft Ju…
Choral: Herzliebster Jesu was hast du verbrochen I and II Herzliebster Jesu, was hast du verbrochen, Daß man …
Choral: Herzliebster Jesu, was hast du verbrochen I and II Herzliebster Jesu, was hast du verbrochen, Daß man …
Herz und Mund und Tat und Leben Herz und Mund und Tat und Leben Muss von Christo Zeugnis…
Jesu bleibet meine Freude Jesus bleibet meine Freude Meines Herzens Trost und Saft Ju…
Jesu Joy Of Man's Desiring Jesus, joy of man's desiring Holy wisdom, love most bright D…
Jesu meine Freude Jesus bleibet meine Freude Meines Herzens Trost und Saft Ju…
Jesu, Joy of Man's Desiring Jesus, joy of man's desiring Holy wisdom, love most bright D…
Jesus bleibet meine freud Jesus bleibet meine Freude Meines Herzens Trost und Saft Ju…
Jesus bleibet meine Freude Jesus bleibet meine Freude Meines Herzens Trost und Saft J…
Largo BWV 1056 Hope, can be misleading Just like the boy who falls in…
Mass in B minor BWV 232: I. Kyrie: Kyrie eleison Kyrie Eleison Kyrie Eleison Kyrie Eleison Kyrie Eleison Kyri…
主よ、人の望みの喜びよ (教会カンタータより) イエスこそ私たちが望む喜びの根源 聖なる知恵、もっとも輝かしい愛 あなたに引き寄せられた私たちの魂は 始原の光へ導かれる…
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@bach
0:05 Kyrie eleison (Coro)
11:07 Christe eleison (Duetto)
15:56 Kyrie eleison (Coro)
19:43 Gloria in excelsis Deo (Coro)
21:25 Et in terra pax (Coro)
26:06 Laudamus te (Aria)
30:09 Gratias agimus tibi (Coro)
33:19 Domine Deus (Duetto)
38:39 Qui tollis (Coro)
41:39 Qui sedes (Aria)
45:50 Quoniam tu solus sanctus (Aria)
50:33 Cum Sancto Spiritu (Coro)
54:14 Credo in unum Deum (Coro)
56:13 Patrem omnipotentem (Coro)
58:15 Et in enum Dominim (Duetto)
1:02:38 Et incarnatus est (Coro)
1:05:52 Crucifixus (Coro)
1:08:58 Et resurrecit (Coro)
1:12:56 Et in Spiritum Sanctum (Aria)
1:18:13 Confiteor (Coro)
1:22:18 Et expecto (Coro)
1:24:30 Sanctus (Coro)
1:26:58 Pleni sunt caeli
1:29:19 Osanna in exelsis (Coro)
1:31:59 Benedictus qui venit (Aria)
1:36:22 Osanno in excelsis (Coro)
1:39:05 Agnus Dei (Aria)
1:45:17 Dona nobis pacem (Coro)
@patwolfie
Thank you, Netherlands Bach Society, for posting this. For five years, my wife and I lived on a hill above the beautiful carillon tower situated on the grounds of the Iwo Jima Memorial. The carillon, generously donated to the people of the United States by the people of the Netherlands, was near enough our apartment that we could hear its chimes. I came to treasure the pure, musical tones as a peak experience from those years. Thanks to the Society, I've just added a new peak experience of shivers and thrills from this superb recording.
Concerning the small number of voices, my experience in one of the choirs in which I've sung over the years prompts me to offer a comment. During my college years, I sang tenor in my university's touring choral group, "The Collegians." We were eighteen in number---four tenors, four sopranos, four altos and six basses. Our conductor, the late Gerald Ferguson, had made a side-study of physics. The first day of rehearsal he explained why he had limited membership to only eighteen voices when the previous conductor had admitted as many as fifty singers some years. Mr. Ferguson told us that, the larger the chorus, the greater the relative loss of some of the volume due to interference between the physical sound waves produced by voices singing at different amplitudes---that is, different volumes or levels of loudness.
Professor Ferguson showed us graphs of sound waves illustrating how differing wave amplitudes interfered with each other to cancel part of the total volume produced. In essence, volume is a self-limiting characteristic governed by the number of sources. In choruses this means the more voices, the greater the percentage fall-off from the volume that would, in theory, be reached if all voices could sing together in perfect unison (synchronization). Putting it another way, in a choir, each singer's small deviations from the ideal of everyone singing in perfect unison contribute to a total interference that will reduce the volume produced by more than a hundred singers to that produced by eighteen singers of equal ability. Professor Ferguson arrived at these numbers with the help of a fellow faculty member teaching in the university's physics department. As intuition would suggest, our smaller group was able to initiate and release notes in synch with each other, and enunciate lyrics with greater precision than is humanly possible with a large chorus.
That this greater precision made a significant contribution to our volume is supported by a newspaper review of a concert by the Collegians. Shortly before Christmas in 1968, we had performed an excerpted "Messiah" in the civic auditorium of the city of St. Joseph, Michigan. We were accompanied by the Twin Cities Symphonic Orchestra, conducted by Hendrik Deblij. The next morning came a review of our performance by Noel Gersonde, music critic of the Herald Palladium, a newspaper with subscribers throughout Southwest Michigan since the early 1800s. Gersonde said the following in his review, which I treasured enough to cut from the newspaper. From my yellowed and brittle clipping, here is an excerpt (italics mine):
"The old adage about strength being found in numbers cannot be applied to the Collegians. Only eighteen in number, they sounded like a group ten times that size, yet maintained every detail of quality from the enunciation of words to artistry in performing this difficult music. . . .This group, small as they are, pronounced each word so distinctly and sang each note with such warmth and understanding one came away with a feeling of great awe, both for them and for the music. The director, Gerald Ferguson deserves a great deal of credit for training such a superior group. . . ."
With such a glowing review, I happily overlook the connotation of surprise in Gersonde's wording, no doubt unintentional, that our precise enunciation suggested an inverse relationship of chorus size to clarity of pronunciation. That is, after all, the other great gain from performances of small choruses, as this wonderful video of Bach's great masterpiece demonstrates with this magnificent performance. While it's my opinion that performances of sacred choruses---for example, in the Messiah---too often drag out the tempo, I agree that the pace in this performance of Bach's choral masterpiece was spot on, as best served the music's magisterial message and purpose.
@bach
0:05 Kyrie eleison (Coro)
11:07 Christe eleison (Duetto)
15:56 Kyrie eleison (Coro)
19:43 Gloria in excelsis Deo (Coro)
21:25 Et in terra pax (Coro)
26:06 Laudamus te (Aria)
30:09 Gratias agimus tibi (Coro)
33:19 Domine Deus (Duetto)
38:39 Qui tollis (Coro)
41:39 Qui sedes (Aria)
45:50 Quoniam tu solus sanctus (Aria)
50:33 Cum Sancto Spiritu (Coro)
54:14 Credo in unum Deum (Coro)
56:13 Patrem omnipotentem (Coro)
58:15 Et in enum Dominim (Duetto)
1:02:38 Et incarnatus est (Coro)
1:05:52 Crucifixus (Coro)
1:08:58 Et resurrecit (Coro)
1:12:56 Et in Spiritum Sanctum (Aria)
1:18:13 Confiteor (Coro)
1:22:18 Et expecto (Coro)
1:24:30 Sanctus (Coro)
1:26:58 Pleni sunt caeli
1:29:19 Osanna in exelsis (Coro)
1:31:59 Benedictus qui venit (Aria)
1:36:22 Osanno in excelsis (Coro)
1:39:05 Agnus Dei (Aria)
1:45:17 Dona nobis pacem (Coro)
@PedroRojas1993
Thanks!
@lior1328
❤
@teepee431
Thank you very much.
@ynetsv136
Is there a possibility to buy the recorded music? As high quality Audio? I do not see the recordings on the Google Play store for example.
@JJJRRRJJJ
Domine Deus 😍
@LukaMagda1
There is a joke among musicians here in Croatia. I apologise if it sounds sacrilegious, it's just a joke. When Mozart died Saint Peter welcomed him in Heaven and took him to meet God. As they slowly made their way Mozart was thrilled to hear the heavenly sounds of what he thought was the most beautiful music one could imagine. It was Heaven's choir and orchestra. Thinking this he met the Lord and the Lord said unto him: "Oh Mozart! I am very pleased you're here. You will be in charge of the ensemble." And Mozart, a little bit confused, responded: "I would be most honored, oh Lord. But... Do I deserve such a position? I mean, isn't Bach around somewhere?" And God looked at him calmly and said: "I'm Bach."
@septima_de_dominante
HAHAHAHAHAHAHAHAHAHAHAHA!!!!!
I hadn't heard this joke before 😂😂😂😂😂
@zillie8167
This is BRILLIANT. I haven't laughed like that for so long...
@keremkeskiner7727
Awe-f*king-some!!!!