Mass in B minor BWV 232: I. Kyrie: Kyrie eleison
Johann Sebastian Bach Lyrics


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Kyrie Eleison
Kyrie Eleison
Kyrie Eleison
Kyrie Eleison
Kyrie Eleison
Kyrie Eleison
Kyrie Eleison
Kyrie Eleison
Kyrie Eleison
Kyrie Eleison
Kyrie Eleison
Kyrie Eleison




Kyrie Eleison
Kyrie Eleison

Overall Meaning

The song "Kyrie Eleison" is a part of the larger work by Johann Sebastian Bach, known as the Mass in B minor BWV 232. The lyrics "Kyrie Eleison" are actually Greek, and they translate to "Lord, have mercy." This song is a plea for mercy and a humbling recognition of one's own flaws and shortcomings.


The song begins with a repetition of the phrase "Kyrie Eleison" twelve times, emphasizing its importance and urgency in the plea for mercy. The repetition of this phrase also serves as a structure for the song and creates a sense of unity and continuity within the piece. Each repetition builds upon the previous one, leading to a sense of mounting desperation.


The music itself is characterized by its soaring, almost ethereal quality, with a focus on the vocal harmonies and intricate counterpoint. The use of minor key tonality adds to the somber, reflective tone of the piece. The music starts softly and builds in intensity, adding layers of complexity and emotion with each repetition of the phrase.


Overall, the song "Kyrie Eleison" is a powerful expression of the human need for mercy and forgiveness. Its combination of expressive music and simple yet profound lyrics make it a timeless masterpiece that continues to resonate with audiences today.


Line by Line Meaning

Kyrie Eleison
Lord have mercy


Kyrie Eleison
Christ have mercy


Kyrie Eleison
Lord have mercy


Kyrie Eleison
Christ have mercy


Kyrie Eleison
Lord have mercy


Kyrie Eleison
Christ have mercy


Kyrie Eleison
Lord have mercy


Kyrie Eleison
Christ have mercy


Kyrie Eleison
Lord have mercy


Kyrie Eleison
Christ have mercy


Kyrie Eleison
Lord have mercy


Kyrie Eleison
Christ have mercy


Kyrie Eleison
Lord have mercy


Kyrie Eleison
Christ have mercy




Writer(s): Johann Sebastian Bach

Contributed by Eliana O. Suggest a correction in the comments below.
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Most interesting comment from YouTube:

@pannonia77

Orchestras with period instruments hardly ever play Bach at a'=440 Hz, they generally play Bach at a'=415 Hz, i.e. a semitone below today's standard. (Already Nikolaus Harnoncourt's first Bach recordings in the '60s, i.e. more than 50 years ago ! used this pitch standard. And every Bach recording made on period instruments ever since are at this pitch.) So the leading orchestras do not use today's pitch standard.

You may check some of my other Bach videos, they are all a semitone below modern pitch:

Missa in A major BWV 234 - Herreweghe: https://www.youtube.com/watch?v=FFGUGlWVwrY&list=PL2k8ekJXk4nXBQVaZZJTZ9YqKL0CkXhCF
Christmas Oratorio - Koopman: https://www.youtube.com/watch?v=DYc4LlsthAg&list=PL2k8ekJXk4nUZOakJFh1BWiZG50Z9ERLZ
St. John Passion - René Jacobs: https://www.youtube.com/watch?v=quBYEomIAZM&list=PL2k8ekJXk4nUVeflR4DaZvlbn3M7g5FZM

Händel as well:
Messiah - Gardiner: https://www.youtube.com/watch?v=KyQ3CU93i7E&list=PL2k8ekJXk4nXLCbHx5AteWsek1q3k0BfH
Ode for the birthday of Queen Anne - Simon Preston: https://www.youtube.com/watch?v=7MDfILJ3kaQ&list=PL2k8ekJXk4nXSgDLAq6zEBiynu8OXivP9
Water Music - Harnoncourt: https://www.youtube.com/watch?v=wELZrRz0RAA&list=PL2k8ekJXk4nUZ5QmnbwDlfF8Iqy6PW2Wg

Pachelbel: Canon - Il Giardino Armonico https://www.youtube.com/watch?v=zi2G1-nTNoI
Vivaldi: La Follia - Il Giardino Armonico https://www.youtube.com/watch?v=TjsRheVIADs

Viennese Classicism is generally played at around a'=430 Hz, i.e. a fourth-tone below today's standard:
Haydn: Paukenmesse - Harnoncourt https://www.youtube.com/watch?v=lQMvIQM0AuI&list=PL2k8ekJXk4nVYYTik9Bku_REyOLn_O3a1
Beethoven: Mass in C major - Hickox https://www.youtube.com/watch?v=3czPtuqqLe8&list=PL2k8ekJXk4nXo3ZNeI8sYDT4bDs-VhyhY



All comments from YouTube:

@johnsardo7499

The first four bars just flatten me every time I hear it. Sublime beyond words.

@riverstun

I can't figure it out. Loads of diminished 7ths, starts on the tonic triad, ends on the dominant major triad.. what happens in between I dont know. But yes, those four bars - if nothing else survived of Bach, his reputation as a master composer would be established.

@neilwalsh3977

@@riverstun the key to Bach are those diminished chords. They allow you to modulate as emotion moves you?

@Jimbarleyy

0:17 - 0:34 This always gets me, i just imagine a higher power roaming the earth.

@hoon_sol

@@riverstun:

The only way to understand Bach is to go back to the roots of true polyphony and to realize that music has only gotten progressively worse since his time, with e.g. Mozart, despite being believed by the hoi polloi to be a "master composer", just using simple harmonic concepts that grew out of the polyphonic tradition Bach was the apotheosis of.

In short, all the modern concepts of functional harmony are just oversimplifications of Bach's true polyphony, where multiple independent voices are moving in and out of phase with one another harmonically, so attempting to frame it through functional harmony alone is a futile endeavor; it's like trying to squeeze a marvelously complex structure like a stellated dodecahedron through a square hole.

@Chuzini

I sang high soprano in college. We did this in my freshman year. There's no high like it. It was so demanding and the rewards were so great.

@marcossidoruk8033

A 5 voice fugue in the chorus and 3 voice free counterpoint in the orchestra, the result, an 8 voice monster that still sounds fucking awesome. Simply J.S. Bach

@aggelos8256

Who are you?

@marcossidoruk8033

@@aggelos8256 your mom

@pseunition6038

@@marcossidoruk8033 hot

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