Masses, Passions, Oratorios is the subject of the second series of the Neue Bach-Ausgabe (NBA, New Bach Edition),The New Bach Edition, Series II: Masses, Passions, Oratorios at the Bärenreiter website a publication of Johann Sebastian Bach's music from 1954 to 2007. In the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions) masses, passions and oratorios refers to two chapters: Chapter 3: Messen, Messensätze, Magnificat (Masses, Mass movements, Magnificat), original range: BWV 232–243 Chapter 4: Passionen, Oratorien (Passions, Oratorios), original range: BWV 244–249 In the BWV, as in Series II of the NBA, the group thus also includes Bach's Magnificat and separate mass movements.
Further the second series of the NBA and/or the 1998 updated edition of the BWV (BWV2a) group some new additions to the BWV catalogue with the masses, passions and oratorios (e.g. Tilge, Höchster, meine Sünden, BWV 1083, Bach's adaptation of Pergolesi's Stabat Mater), and regroup some compositions that were formerly associated with other genres in the masses, passions and oratorios group (e.g. BWV 11, published as a cantata in the 19th century, added to the group as an oratorio).
Also various items in the BWV Anhang (BWV Anh., annex to the BWV), or even unmentioned in the BWV (BWV deest, lacking a BWV number) are associated with this group, for instance the motet Der Gerechte kömmt um, BC C 8, arranged, probably by Bach, from the Tristis est anima mea motet attributed to Johann Kuhnau. Such compositions or movements usually have a Bach Digital Work (BDW) page at the website.
Masses, mass movements and Magnificat
Mass with all usual sections BWV 232 – Mass in B minor
Kyrie–Gloria masses BWV 232I, early version – Missa in B minor for the Dresden court (1733), re-used as part I of the Mass in B minor BWV 233 – Missa in F major BWV 234 – Missa in A major BWV 235 – Missa in G minor BWV 236 – Missa in G major
Cantata based on BWV 232I BWV 191 – Cantata Gloria in excelsis Deo
Separate mass movements BWV 232II, early version – Credo in G major (1748–49?) BWV 232III, early version – Sanctus for six vocal parts (1724) BWV 233a – (early version of Kyrie from BWV 233) BWV 237 – Sanctus in C major BWV 238 – Sanctus in D major BWV 239 – Sanctus in D minor (based on the first section of the Gloria of Antonio Caldara's Missa Providentiae)Bach Digital Work BWV 240 – Sanctus in G major (spurious, unknown composer) BWV 241 – Sanctus in D major (arrangement of Sanctus from Johann Caspar Kerll's Missa superba) BWV 242 – Christe eleison in G minor (composed by Bach for a mass by Francesco Durante, BWW Anh. 26)
Latin Magnificat BWV 243 – Magnificat in D major BWV 243a – Magnificat in E major, early version of BWV 243, containing four Latin and German interpolations related to Christmas
German Magnificat cantatas BWV 10 – Meine Seel erhebt den Herren (German Magnificat) BWV 189 – Meine Seele rühmt und preist on a German paraphrase of the Magnificat text, attributed to Melchior Hoffmann.Cantata BWV 189 Meine Seele ruhmt und preist at Georg Melchior Hoffmann: Meine Seele rühmt und preist at BWV Anh. 21 – Meine Seel erhebt den Herren, a.k.a. Kleine Magnificat (small Magnificat), Magnificat in A minor, by Melchior Hoffmann.Spitta 1884, p. 374 ff.Frederick Hudson and Alfred Dürr. "An Investigation into the Authenticity of Bach's 'Kleine Magnificat'" in Music and Letters XXXVI (3), 1955 – pp. 233-236Andreas Glöckner. "Die Leipziger Neukirchenmusik und das 'Kleine Magnificat' BWV Anh. 21" in Bach-Jahrbuch 1982, pp. 97-102
Other BWV 1081 – Credo intonation in F major for a Mass by Giovanni Battista Bassani, BDW BWV 1082 – Bach's copy of the Suscepit Israel of Antonio Caldara's Magnificat in C major.Kirsten Beißwenger (ed.) Werke zweifelhafter Echtheit, Bearbeitungen fremder Kompositionen (Volume 9 of Series II: Masses, Passions, Oratorios from the New Bach Edition). Bärenreiter, 2000. BWV 1083 – Tilge, Höchster, meine Sünden, Bach's adaptation of Pergolesi's Stabat Mater. BWV Anh. 24 – Kyrie and Gloria in A minor from "Missa Sancti Lamberti" by Johann Christoph Pez; Bach copied its Kyrie in Weimar, adding a line different from the original continuo; Its Gloria was copied without modification in Leipzig.Mass, a BWV Anh. 24 / Anh. III 167‑>; BNB I/P/6 at BWV Anh. 25 – Kyrie–Gloria Mass in C major (sometimes attributed to Johann Ludwig Bach,Missa (Kyrie and Gloria), C BWV Anh. 25; BNB I/An/1 at copied & performed by J. S. Bach 1740-1742). BWV Anh. 26 – (by Francesco Durante; see above Christe eleison in G minor, BWV 242) BWV Anh. 27 – Sanctus in F major by Johann Ludwig Krebs. BWV Anh. 28 – Sanctus in B major (composer unknown). BWV Anh. 29 – continuo part for a Mass in C minorMass, c BWV Anh. 29; BNB I/An/2 at BWV Anh. 30 – Magnificat in C major for SSAATTBB choir and orchestra attributed to Antonio Lotti, and later to Pietro Torri (copied by Bach around 1742)Magnificat in C BWV Anh. 30; BNB I/An/7 at Magnificat in C major BWV Anh 30 at BWV Anh. 166 – Missa super cantilena "Allein Gott in der Höh sei Ehr": Kyrie–Gloria Mass in E minor composed in 1716 by Johann Ludwig Bach,Mass in E minor, BWV Anh 166 at previously attributed to Johann Nicolaus Bach,Geiringer, Karl and Irene. The Bach Family: Seven Generations of Creative Genius, footnote p. 117. New York: Oxford University Press, 1954. with part scores written out by J. S. Bach and others for performance in 1729, and a small addition (5 bars) by J. S. Bach at the beginning of the Gloria.Missa (Kyrie and Gloria), e JLB 38; BWV Anh. 166; BNB I/B/18 at The text of the Gloria is partly in German: it intersperses the Latin text of the Gloria with, as cantus firmus, all four stanzas of "Allein Gott in der Höh sei Ehr" (which is itself a paraphrase of the Gloria), a Lutheran hymn by Nicolaus Decius and Joachim Slüter. BWV Anh. 167 – Kyrie–Gloria Mass in G major for double SATB choir and orchestra, possibly by Johann Ludwig Bach or Antonio Lotti.Missa, G BWV Anh. 167; BNB I/An/3 at One of its 18th-century manuscript copies is partially in J. S. Bach's handwriting.D-B Mus. ms. Bach P 659 at Published and performed as J. S. Bach's in 1805.Alfred Dörffel. "Statistik der Concerte im Saale des Gewandhauses zu Leipzig" p. 3, in Geschichte der Gewandhausconcerte zu Leipzig vom 25. November 1781 bis 25. November 1881: Im Auftrage der Concert-Direction verfasst. Leipzig, 1884. BWV Anh. 168 – Kyrie (and German Gloria) composed by Wilhelm Friedemann Bach, BDW BWV deest – Bach's transposition from D minor to E minor and colla parte orchestration for the first two movements of Palestrina's Missa Sine nomine a 6, to be performed in Leipzig in the early 1740s as a Kyrie–Gloria Mass for SSATTB choir, and an orchestra consisting of cornets, trombones and continuo.Giovanni Pierluigi da Palestrina Missa sine nomine a 6 at Missa sine nomine (arr. of Kyrie and Gloria, copy of the following movements) at
Passions and oratorios
Passions composed by Bach BWV 244 – St Matthew Passion (Matthäus-Passion) BWV 244b – St Matthew Passion, early version(s) BWV 245 – St John Passion (Johannes-Passion), various versions, including:The New Bach Edition – Revised Edition St. John Passion, 2nd version, with opening chorus "O Mensch, bewein dein Sünde groß" (1725), BDW , containing: BWV 245a – Aria "Himmel reiße, Welt erbebe" BWV 245b – Aria "Zerschmettert mich, ihr Felsen und ihr Hügel" BWV 245c – Aria "Ach, windet euch nicht so, geplagte Seelen" St. John Passion, Bach's last revision (1749), BDW BWV 247 – St Mark Passion (Markus-Passion) (libretto is extant; although the music is lost much of it is reconstructable based on associated compositions) BWV deest – Weimarer Passion (lost, music partially recuperated in other compositions), BDW
Passions by other composers with movements by Bach BWV 246 – St Luke Passion (Lukas-Passion) by an unknown composer and librettist, includes one movement by Bach: BWV 246/40a – Chorale "Aus der Tiefen rufe ich", BDW BWV deest – St Mark Passion (attributed to Keiser), surviving in various (pasticcio) versions, with three movements associated with Bach: BWV 500a – Chorale "So gehst du nun, mein Jesu, hin", BDW BWV 1084 – Chorale "O hilf Christe, Gottes Sohn", BDW , and earlier version BDW BWV deest – Chorale "O Traurigkeit, o Herzeleid", BDW , and earlier version BDW BWV deest – Passion oratorio Wer ist der, so von Edom kömmt (pasticcio), with three movements associated with Bach: BWV 127/1 (variant) – Chorus "Herr Jesu Christ, wahr' Mensch und Gott", BDW BWV 1088 – Arioso "So heb ich denn mein Auge sehnlich auf", BDW BWV deest – Chorus "Der Gerechte kömmt um", also as separate motet (BC C 8), BDW
Other vocal compositions associated with Passion music BWV 244a – Trauermusik Klagt, Kinder, klagt es aller Welt (funeral cantata), music lost but largely reconstructable based on BWV 244b and 198 BWV 200 – Aria "Bekennen will ich seinen Namen", arranged by Bach from a Passion oratorio by Gottfried Heinrich Stölzel, BDW
Spurious BWV Anh. 169 – Passion text Erbauliche Gedanken auf den Grünen Donnerstag und Charfreitag über den Leidenden Jesum by Picander, not set by Bach (apart from some movements of the St Matthew Passion)
Oratorios and associated cantatas BWV 248 – Christmas Oratorio (Weihnachts-Oratorium), consisting of six cantatas composed for the Christmas season of 1734–1735: BWV 248I – Cantata Jauchzet, frohlocket! Auf, preiset die Tage BWV 248II – Cantata Und es waren Hirten in derselben Gegend BWV 248III – Cantata Herrscher des Himmels, erhöre das Lallen BWV 248IV – Cantata Fallt mit Danken, fallt mit Loben BWV 248V – Cantata Ehre sei dir, Gott, gesungen BWV 248VI – Cantata Herr, wenn die stolzen Feinde schnauben BWV 248VIa – textless cantata, model for BWV 248VI.Bach Digital Work BWV 249 – Easter Oratorio (Oster-Oratorium), also known by its incipit Kommt, eilet und laufet BWV 249a – Secular cantata Entfliehet, verschwindet, entweichet, ihr Sorgen BWV 249b – Secular cantata Verjaget, zerstreuet, zerrüttet, ihr Sterne BWV 11 – Ascension Oratorio (Himmelfahrts-Oratorium), previously known as Cantata Lobet Gott in seinen Reichen
Compositions in the third and fourth chapters of the Bach-Werke-Verzeichnis (1998)
|- id="BWV Chapter 3" style="background: #D8D8D8;" | data-sort-value="0231.z99" | 3. | data-sort-value="234.001" colspan="8" | Masses, Mass movements, Magnificat (see also: List of Masses, Mass movements and Magnificats by Johann Sebastian Bach) | data-sort-value="0288a" | Up ↑ |- style="background: #E3F6CE;" | data-sort-value="0232.000" | 232 | data-sort-value="234.002" | 3. | data-sort-value="1749-03-15" | Aug. 1748 – Oct. 1749 (compilation, completion) | Mass a.k.a. Hohe Messe, Mass in B minor | B min. | data-sort-value="ssatbSSAATB Trx3 Tmp Hn Flx2 Obx3 Obax2 Basx2 Vl Str Bc" | ssatbSSAATB 3Tr Tmp Hn 2Fl 3Ob 2Oba 2Bas Vl Str Bc | data-sort-value="000.06: 000" | 6 | data-sort-value="II/01: 000" | II/1rev 1 | data-sort-value="after BWV 0232/I e.v." | after BWV 232I e. v., II e. v., III e. v., 171/1, 12/2, 120/2, Anh. 11/1, Anh. 196/3; text after Ordinarium Missae | |- style="background: #E3F6CE;" | data-sort-value="0232.100" | 232I e. v. | data-sort-value="234.003" | 3. | 1733-07-27 | Kyrie–Gloria Mass for the Dresden court (Mass in B Minor, Part I: Missa; early version) | B min. | data-sort-value="ssatbSSATB Trx3 Tmp Hn Flx2 Obax2 Basx2 Vl Str Bc" | ssatbSSATB 3Tr Tmp Hn 2Fl 2Oba 2Bas Vl Str Bc | | data-sort-value="II/01: 103" | II/1a | data-sort-value="after BWV 0029/1" | after BWV 29/1, 46/1; text from Ordinarium Missae; → BWV 191, 232I | |- style="background: #F5F6CE;" | data-sort-value="0233.000" | 233 | data-sort-value="238.001" | 3. | data-sort-value="1738-12-31" | 1738–1739? | Kyrie–Gloria Mass | F maj. | data-sort-value="sabSATB Hnx2 Obx2 Bas Str Bc" | sabSATB 2Hn 2Ob Bas Str Bc | data-sort-value="000.08: 001" | 8: 1