View source for Bach's church music in Latin

{{short description|none}}
Most of [[Johann Sebastian Bach]]'s extant [[church music]] in [[Latin language|Latin]]—[[Mass (music)#Ordinarium|settings of (parts of) the Mass ordinary]] and of the [[Magnificat]] canticle—dates from his [[Leipzig]] period (1723–50). Bach started to assimilate and expand compositions on a Latin text by other composers before his tenure as [[Thomaskantor]] in Leipzig, and he continued to do so after he had taken up that post. The text of some of these examples by other composers was a mixture of [[German language|German]] and Latin: also Bach contributed a few works employing both languages in the same composition, for example his early {{illm|Kyrie in F major, BWV 233a|scores|Kyrie in F major, BWV 233a (Bach, Johann Sebastian)|lt=Kyrie "Christe, du Lamm Gottes"}}.<ref name="BDW0292">[[Bach Digital]] Work {{BDW|0292}}</ref>
The bulk of Bach's sacred music, many hundreds of compositions such as [[church cantata (Bach)|his church cantatas]], [[motet (Bach)|motets]], [[Passions (Bach)|Passions]], [[List of oratorios by Johann Sebastian Bach|oratorios]], [[List of chorale harmonisations by Johann Sebastian Bach|four-part chorales]] and [[List of songs and arias by Johann Sebastian Bach|sacred songs]], was set to a German text, or incorporated one or more melodies associated with the German words of a [[Lutheran hymn]]. His output of music on a Latin text, comprising less than a dozen of known independent compositions, was comparatively small: in [[Lutheranism]], and Bach was a Lutheran, church services were generally in the native tongue, which was German for the places where Bach was employed. A few traditional Latin texts, such as the Magnificat and some excerpts of the [[Mass (liturgy)|Mass liturgy]], had however not been completely banned from worship practice during the [[Protestant Reformation]]. It depended on local traditions whether any of such Latin texts were used in church services occasionally. In Leipzig, compared to Lutheran practice elsewhere, an uncharacteristic amount of Latin was used in church:<ref>[[Philipp Spitta|Spitta, Philipp]]. [https://archive.org/stream/johannsebastia02spit#page/181/mode/1up "Book V: Leipzig, 1723-1734"] in ''Johann Sebastian Bach: his work and influence on the music of Germany, 1685–1750'', translated by Clara Bell and John Alexander Fuller-Maitland, In Three Volumes, Vol. II. London, [[Novello & Co]], 1884. p. 264</ref> it included music on Latin texts being performed on ordinary Sundays,<ref>Spitta 1884, p. 266 ff.</ref> on high holidays ([[Christmas]], [[Easter]], [[Pentecost]]), and the Magnificat also on Marian feasts ([[Annunciation]], [[Visitation (Christianity)|Visitation]], [[Feast of the Purification of the Virgin|Purification]]).
In his first years in Leipzig Bach produced a Latin Magnificat and several settings of the [[Sanctus]]. In 1733 he composed a large-scale [[Kyrie–Gloria Mass]] for the [[Roman Catholic|Catholic]] court in [[Dresden]]. Around the same time he produced the [[BWV 243|final version of his Magnificat]]. Probably around 1738–39 he wrote [[Kyrie–Gloria masses, BWV 233–236|four more Kyrie–Gloria Masses]], to a large extent based on earlier compositions. From around 1740 there was an increase of Bach copying and arranging [[Prima pratica|stile antico]] Latin church music by other composers, which sheds light on a style shift towards more outspoken [[polyphony|polyphonic]] and [[canon (music)|canon]]ic structures in his own compositions in the last decade of his life.<ref name="LISA">[https://lisa.gerda-henkel-stiftung.de/neuaufgefundenes_bach_autograph_in_weissenfels?nav_id=4421 Neuaufgefundenes Bach-Autograph in Weißenfels] at {{url|lisa.gerda-henkel-stiftung.de}}</ref> In the last years of his life Bach extracted a cantata on a Latin text from his 1733 Kyrie–Gloria Mass, and finally integrated that Mass, and various other earlier compositions, into his [[Mass in B&nbsp;minor]].
Bach's involvement with Latin church music thus stemmed from several circumstances:
* Assimilating music on a Latin text by other composers (e.g. Bach's [[Tilge, Höchster, meine Sünden, BWV 1083|German version]] of [[Stabat Mater (Pergolesi)|Pergolesi's Stabat Mater]]);
* A certain, but limited, demand for Latin church music in the places where he was employed as church musician (e.g. his Magnificat);
* Bach reaching outside the confines of the circumstances of his employment, e.g. soliciting an appointment as Royal and Prince-Electoral court composer with [[Mass for the Dresden court (Bach)|his 1733 Kyrie-Gloria Mass]].
That being identifiable motivations for his involvement with Latin church music, some questions remain however without conclusive answer, including:
* Did he compose the four Kyrie-Gloria Masses [[BWV]]&nbsp;233–236 for Leipzig or for elsewhere?
* As Bach generally only composed music for which he had a performance opportunity in mind, which performance opportunity, if any, could he have been thinking of for his Mass in B&nbsp;minor?
From the early 19th century there was a renewed attention for Bach and his music: his Latin church music, including {{nowrap|[[BWV Anh. 167]]}} (published as a composition by Bach in 1805), the Magnificat (published in 1811), [[BWV&nbsp;234]] (published in 1818) and the Mass in B&nbsp;minor (heralded as "the greatest musical art work of all times and nations" in 1818), received a fair share of that renewed attention – the first 19th-century publication of a work for voices and orchestra on a German text only followed in 1821.{{sfn|Forkel|Terry|1920|loc=Terry's first footnote p.&nbsp;[https://archive.org/stream/johannsebastianb00forkuoft#page/141/mode/1up 141]; p.&nbsp;[https://archive.org/stream/johannsebastianb00forkuoft#page/n22/mode/1up xvii]}} In the second half of the 20th century Bach's compositions on a Latin text were grouped in the [[List of compositions by Johann Sebastian Bach#BWV Chapter 3|third chapter]] of the ''[[Bach-Werke-Verzeichnis]]''.{{sfn|Dürr|Kobayashi|1998|pp=234–250}}
==Settings of (parts of) the Latin mass liturgy==
Bach composed five [[Missa brevis#Kyrie–Gloria masses|Kyrie–Gloria masses]], the first of which was later expanded to the [[Mass in B&nbsp;minor]]. He also set the Sanctus part of the mass liturgy a few times, and copied and arranged mass-related compositions by other composers.{{sfn|Dürr|Kobayashi|1998|pp=234–250}}
=== Mass in B minor, BWV 232, and related earlier compositions ===
{{further|Mass in B minor structure}}
Around 1748–49 Bach completed his Mass in B minor, [[BWV&nbsp;232]], [[Mass in B minor structure|based on various earlier compositions]] including cantata movements and the early versions of Part I [[Mass for the Dresden court (Bach)|Missa in B minor for the Dresden court (Kyrie–Gloria mass composed in 1733)]], of the first movement of Part II and of the Sanctus (Part III). The Mass in B minor is Bach's only setting of the complete ordinary of the mass.
====Sanctus for six vocal parts (1724)====
In 1724 Bach composed a Sanctus for six vocal parts ([[SATB|SSSATB]]) and elaborate orchestral score for the Christmas service. Bach revised it when he reused it in the Mass in B minor, changing its initial vocal scoring to SSAATB, and its meter from [[Time signature#Simple time signatures|₵]] to [[Time signature#Simple time signatures|C]].<ref>Christoph Wolff, Bach: The Learned Musician, W.W. Norton, 2000, p. 265, {{ISBN|0-393-04825-X}}</ref><ref name="steinitz" />
====Mass for the court at Dresden (1733)====
{{further|Mass for the Dresden court (Bach)}}
In 1733, Bach composed an extended [[Mass for the Dresden court (Bach)|Kyrie–Gloria mass for the court in Dresden]], a setting of two parts of the Latin [[Mass (music)|mass]], the [[Kyrie]] and [[Gloria in Excelsis Deo|Gloria]], scored for five vocal parts and orchestra.
====Cantata ''Gloria in excelsis Deo'', BWV 191 (around 1745)====
{{further|Gloria in excelsis Deo, BWV 191}}
Bach used three movements of the [[Gloria in excelsis Deo|Gloria]] of his 1733 Mass for the Dresden court to compose the cantata [[Gloria in excelsis Deo, BWV 191|''Gloria in excelsis Deo'', BWV 191]], possibly for a performance in 1745.<ref name="steinitz" /> The cantata was composed for a Christmas service sometime in the mid-1740s (between 1743 and 1746).<ref>[[Peter Williams (musicologist)|Peter Williams]], J.S. Bach: A Life in Music, Cambridge University Press, 2007, pp. 259, {{ISBN|978-0-521-87074-0}}</ref>
====Mass in B minor, BWV 232 (around 1748–49)====
{{further|Mass in B minor}}
In the last years of his life, Bach integrated the complete Mass for the Dresden court as Kyrie and Gloria in his Mass in B minor, his only complete mass (in Latin: ''[[missa tota]]'').<ref name="laurson" /> Scoring and structure are identical with the later work. Another part of this Mass was derived from the 1724 Sanctus for six vocal parts. Also the music of several movements of his earlier German cantatas was integrated in this mass.
[[Hans Georg Nägeli]] described the work, in 1818, as "the greatest musical art work of all times and nations."<ref name="WDL">{{cite web |url = http://www.wdl.org/en/item/11619/ |title = Missa in B Minor ("Kyrie" and "Gloria" of the B Minor Mass) |website = [[World Digital Library]] |year = 1733 |access-date = 2013-08-08 }}</ref>
=== <span id="BWV 233-236">Kyrie–Gloria masses, BWV 233–236</span> (1738–39?) ===
{{main article|Kyrie–Gloria masses, BWV 233–236}}
Apart from the 1733 Missa in B minor for the Dresden court (later incorporated in the Mass in B minor), Bach wrote four further Kyrie–Gloria masses. These compositions, consisting of the first two sections of the Mass ordinary (i.e. the [[Kyrie]] and the [[Gloria in Excelsis Deo|Gloria]]), have been indicated as [[Missa brevis|Missae breves]] (Latin for "short masses") or Lutheran Masses. They 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.<ref>[[Christoph Wolff]]: ''Johann Sebastian Bach'', 2nd edition 2007. S. Fischer, Frankfurt, {{ISBN|978-3-596-16739-5}}</ref> Possibly they were written for Count [[Franz Anton von Sporck]] or performed by him in [[Lysá nad Labem|Lysá]].<ref>{{cite web |url=http://www.baroquemusic.org/bqxsporck.html |title=Count Frantisek Antonin von Sporck |access-date=20 September 2010 |publisher=baroquemusic.org}}</ref>
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 [[aria]]s for different [[voice type]]s. The music consists mostly of [[Parody music|parodies]] of earlier cantata movements.<ref name="LCM">{{cite web |url=http://www.aucx96.dsl.pipex.com/Lbsdb/LBSDB_LC_INTRO.html |title=Bach's Latin Church Music |author=Margaret Steinitz |access-date=16 September 2010 |publisher=London Bach Society |archive-url=https://web.archive.org/web/20110715085014/http://www.aucx96.dsl.pipex.com/Lbsdb/LBSDB_LC_INTRO.html |archive-date=15 July 2011 |url-status=dead }}</ref> Bach changed the music slightly to adjust to the Latin words, but kept the original instrumentation.
====<span id="BWV 233">Kyrie–Gloria Mass in F major, BWV 233</span>====
For the {{lang|la|Missa}} in [[F major]], BWV 233, scored for horns, oboes, bassoon, strings, [[SATB]], and [[basso continuo]],<ref>{{Cite web |title=Missae Breves & Sanctus BWV233-242 - Details |url=https://www.bach-cantatas.com/Vocal/BWV233-242.htm |access-date=2024-07-31 |website=www.bach-cantatas.com}}</ref> Bach derived most of the six movements from earlier cantatas as [[Parody music|parodies]].{{sfn|Dürr|Kobayashi|1998|pp=234–250}}
====<span id="BWV 234">Kyrie–Gloria Mass in A major, BWV 234</span>====
For the {{lang|la|Missa}} in [[A major]], BWV 234, scored for flute, strings, SATB, and basso continuo, Bach parodied music from at least four earlier cantatas.{{sfn|Dürr|Kobayashi|1998|pp=234–250}}
In 1818 this was one of a very few of Bach's compositions for voices and orchestra to appear in print prior the [[Bach Gesellschaft]] complete edition in the second half of the 19th century.{{sfn|Forkel|Terry|1920|p=[https://archive.org/stream/johannsebastianb00forkuoft#page/n22/mode/1up p.&nbsp;xvii]}}
====<span id="BWV 235">Kyrie–Gloria Mass in G minor, BWV 235</span>====
For the {{lang|la|Missa}} in [[G minor]], BWV 235, scored for oboes, strings, SATB, basso continuo, Bach derived all six movements from cantatas as parodies.{{sfn|Dürr|Kobayashi|1998|pp=234–250}}
====<span id="BWV 236">Kyrie–Gloria Mass in G major, BWV 236</span>====
For the {{lang|la|Missa}} in [[G major]], BWV 236, scored for oboes, strings, SATB, basso continuo, Bach derived all six movements from cantatas as parodies.{{sfn|Dürr|Kobayashi|1998|pp=234–250}}
=== Separate movements, copies, and arrangements ===
Bach composed and copied separate movements on a text extracted from the Mass ordinary. He also copied and arranged larger Mass compositions (mostly Kyrie–Gloria masses).
====<span id="BWV 237">Sanctus in C major, BWV 237</span> (1723?)====
Bach composed the Sanctus in C major for SATB choir and orchestra, BWV 237, possibly for [[Nativity of St. John the Baptist|St. John's Day]], 24&nbsp;June&nbsp;1723.<ref>[[Bach Digital]] Work {{BDW|0296}}</ref>
====<span id="BWV 238">Sanctus in D major, BWV 238</span> (1723)====
Bach's Sanctus in D major, BWV 238, for SATB choir and orchestra, was first performed on [[Christmas]], 25&nbsp;December&nbsp;1723.<ref>[[Bach Digital]] Work {{BDW|0297}}</ref>
====<span id="BWV 239">Sanctus in D minor, BWV 239</span>, after Gloria of Caldara's ''Missa Providentiae'' (Bach manuscript from 1738-41)====
{{see also|Missa Providentiae#Sanctus in D minor, BWV 239}}
Bach's manuscript of the [[Sanctus in D minor, BWV 239]], dates from around 1738 to 1741.<ref>[https://www.bach-digital.de/receive/BachDigitalSource_source_00000827 D-B Mus. ms. Bach P&nbsp;13, Fascicle&nbsp;3] and [https://www.bach-digital.de/receive/BachDigitalSource_source_00003861 PL-Kj Mus. ms. Bach St&nbsp;113, Fascicle&nbsp;1 (olim: D-B Mus. ms. Bach St&nbsp;113, Fascicle&nbsp;1)] at [[Bach Digital]] website</ref> It is a composition for SATB voices, string orchestra and continuo, based on the Gloria of [[Antonio Caldara]]'s {{ill|Missa Providentiae|scores|Mass in D minor 'Providentiae' (Caldara, Antonio)|lt=''Missa Providentiae''}}.<ref>[[Bach Digital]] Work {{BDW|0298}}</ref><ref>{{RISM|212006716}}</ref><ref>[http://digital.slub-dresden.de/id426606841/23 Mus.2170-D-7] at [[SLUB Dresden]] website.</ref>
====<span id="BWV 240">Sanctus in G major, BWV 240</span> (Bach manuscript from 1742)====
Bach's manuscript of the Sanctus in G major, BWV 240, dates from 1742.<ref>[https://www.bach-digital.de/receive/BachDigitalSource_source_00000826 D-B Mus. ms. Bach P&nbsp;13, Fascicle&nbsp;2] and [https://www.bach-digital.de/receive/BachDigitalSource_source_00002465 D-B Mus. ms. Bach St&nbsp;115] at [[Bach Digital]] website</ref> The authenticity of this composition for SATB choir and orchestra is however doubted.<ref>[[Bach Digital]] Work {{BDW|0299}}</ref>
====<span id="BWV 241">Sanctus, BWV 241</span>, arranged from <span id="Missa superba">Kerll's ''Missa superba''</span> (Bach manuscript from 1747–48)====
The {{Interlanguage link multi|Sanctus, BWV 241|scores|Sanctus in D major, BWV 241 (Bach, Johann Sebastian)|lt=Sanctus for double SATB choir and orchestra, BWV 241}}, is Bach's arrangement of the Sanctus of [[Johann Caspar Kerll]]'s ''Missa superba''.<ref name="Beißwenger2000">Kirsten Beißwenger, editor. [[New Bach Edition]], [https://www.baerenreiter.com/en/catalogue/complete-editions/bach-johann-sebastian/nba/series-ii/ Series II: Masses, Passions, Oratorios], Volume 9: ''Latin Church Music, Passions: Works with Doubtful Authenticity, Arrangements of Music from other Composers'' ([https://www.baerenreiter.com/en/shop/product/details/BA5095_01/ Score] – [https://www.baerenreiter.com/en/shop/product/details/BA5095_41/ Critical Commentary]). [[Bärenreiter]], 2000.</ref><ref>[[Bach Digital]] Work {{BDW|0300}}</ref> Bach's manuscript of this Sanctus setting was written between July 1747 and August 1748.<ref>D-Cv A.V,1109,(1), [https://www.bach-digital.de/receive/BachDigitalSource_source_00002705 1a] and [https://www.bach-digital.de/receive/BachDigitalSource_source_00002706 1b] at [[Bach Digital]] website</ref>
====<span id="BWV 242">Kyrie–Gloria Mass in C minor after Durante, BWV 242</span> and <span id="BWV Anh. 26">Anh. 26</span> (Bach manuscript from 1727–32)====
In the period from 1727 to 1732 Bach produced the manuscript of a {{Interlanguage link multi|Mass in C minor (Durante/Bach)|scores|Mass in C minor (Durante, Francesco)|lt=Kyrie–Gloria Mass in C&nbsp;minor}} for SATB choir and orchestra, BWV Anh. 26, based on a composition by [[Francesco Durante]]. Bach's manuscript included his own setting of a {{Interlanguage link multi|Christe eleison in G minor, BWV 242|scores|Christe eleison in G minor, BWV 242 (Bach, Johann Sebastian)|lt="Christe eleison", BWV&nbsp;242}}. Elsewhere in the score there are some instances of Bach adjusting the text placement.<ref>[[Bach Digital]] Work {{BDW|0301}} and {{BDW|1334}}</ref><ref>{{cite book|last=Boyd|first=Malcolm|title=Oxford Composer Companions: J.S. Bach|year=1999|publisher=Oxford University Press|location=Oxford, England|isbn=0-19-866208-4|pages=[https://archive.org/details/jsbach0000unse/page/299 299]|url=https://archive.org/details/jsbach0000unse/page/299}}</ref>
====Sanctus in F major, BWV 325 (four-part chorale)====
BWV 325 is a [[List of chorale harmonisations by Johann Sebastian Bach|four-part chorale by Bach]], in F&nbsp;major, which appears with the text "Heilig, heilig, heilig" (i.e. the German translation of the Sanctus) in Part&nbsp;III (1786) of [[18th-century prints of Bach's four-part chorales#Chorales published by Breitkopf|Breitkopf's first edition of Bach's chorale harmonisations]], edited by [[C.&nbsp;P.&nbsp;E. Bach]]. In Part&nbsp;IV (1787) of the same edition the setting appears under the title "Sanctus, Sanctus Dominus Deus Sabaoth", that is the Latin text of the Sanctus. The [[hymn tune]] used for this setting is derived from the melody of ''Sanctus minus summus'', published in [[meter (music)|meter]]-less music notation in 1557 ([[Zahn number|Zahn No.]]&nbsp;8633). The [[common time]] version of the tune (Zahn No.&nbsp;8634) did not appear in print before the Breitkopf edition of Bach's chorales.<ref>{{BDh|395|00|2019-03-11|Work|Heilig, heilig, heilig / Sanctus, Sanctus Dominus Deus Sabaoth BWV 325}}</ref><ref>[http://www.bach-chorales.com/BWV0325.htm BWV 325] at Luke Dahn's {{url|www.bach-chorales.com}} website.</ref><ref>{{cite book
| last1       = Zahn
| first1      = Johannes
| author-link1= Johannes Zahn
| date        = 1892
| title       = [[scores:Die Melodien der deutschen evangelischen Kirchenlieder (Zahn, Johannes)|Die Melodien der deutschen evangelischen Kirchenlieder]]
| volume      = V
| location    = Gütersloh
| publisher   = [[Bertelsmann]]
| language    = de
| pages  = [https://archive.org/details/1508287113bsb11304503/page/n323/mode/2up 314–315]
}}</ref>
====<span id="Acroama missale">Masses from Bassani's ''Acroama missale''</span> (copied 1736–40) and <span id="BWV 1081">Credo intonation in F major, BWV 1081</span> (added 1747–48)====
The {{Interlanguage link multi|Acroama missale|scores|3=Acroama missale (Bassani, Giovanni Battista)|lt=''Acroama missale''}} is a collection of six Mass settings by [[Giovanni Battista Bassani]], first published in Augsburg in 1709. Between 1736 and 1740 Bach had these six Masses copied, without the Benedictus and Agnus Dei, writing himself the Credo lyrics in the score. BWV 1081 is a Credo intonation in F major for SATB choir which Bach composed in 1747–48 as an insertion in the fifth of these masses.<ref>[[Bach Digital]] Work {{BDW|1267}}; [http://www.bachdigital.de/receive/BachDigitalSource_source_00018332 D-B Mus. ms. 1160] at Bach Digital website</ref>
====<span id="BWV Anh. 24">Kyrie–Gloria Mass in A minor, BWV Anh. 24</span>, after <span id="Missa Sancti Lamberti">Pez's ''Missa Sancti Lamberti''</span> (Bach manuscript from 1715–17 and 1724)====
BWV Anh. 24 is a Kyrie and Gloria in A minor after the ''Missa Sancti Lamberti'' by [[Johann Christoph Pez]]. The Kyrie was copied, and expanded with a melody line different from the continuo, in Weimar (1715–17). The Gloria was copied without modification in Leipzig (1724).<ref>[[Bach Digital]] Work {{BDW|1332}}</ref>
====<span id="BWV Anh. 25">Kyrie-Gloria Mass in C major, BWV Anh. 25</span> (Bach manuscript from 1740–42)====
BWV Anh. 25 is a Kyrie–Gloria Mass in C major,<ref name="Beißwenger2000" /> sometimes attributed to [[Johann Ludwig Bach]]:<ref>[[Bach Digital]] Work {{BDW|1333}}</ref> copied by J.&nbsp;S. Bach {{circa}}1740-1742.<ref>[https://www.bach-digital.de/receive/BachDigitalSource_source_00003199 D-LEb Mus. ms. 9] at [[Bach Digital]] website</ref>
====<span id="BWV Anh. 27">Sanctus in F major by Johann Ludwig Krebs, BWV Anh. 27</span>====
BWV Anh. 27 is a Sanctus in F major by [[Johann Ludwig Krebs]].<ref name="Beißwenger2000" />
====<span id="BWV Anh. 28">Sanctus in B major, BWV Anh. 28</span>====
BWV Anh. 28 is a Sanctus in B major<ref name="Beißwenger2000" /> by an unknown composer.<ref>[[Bach Digital]] Work {{BDW|1336}}</ref>
====Continuo part of a <span id="BWV Anh. 29">Kyrie-Gloria Mass in C minor, BWV Anh. 29</span> (Bach manuscript from 1714–17)====
BWV Anh. 29 is a Kyrie-Gloria Mass in C minor of which only the continuo part survives,<ref>[[Bach Digital]] Work {{BDW|1337}}</ref> found in a manuscript Bach wrote in the period from 1714 to 1717.<ref>[https://www.bach-digital.de/receive/BachDigitalSource_source_00003868 PL-Kj Mus. ms. Bach St&nbsp;547 (olim: D-B Mus. ms. Bach St&nbsp;547)] at Bach Digital website</ref>
====<span id="BWV Anh. 166">Missa super cantilena "Allein Gott in der Höh' sei Ehr", BWV Anh. 166</span> (Bach manuscript from 1729)====
BWV Anh. 166 is a Kyrie–Gloria Mass in E minor composed in 1716 by [[Johann Ludwig Bach]], known as [[JLB 38|Missa super cantilena "Allein Gott in der Höh' sei Ehr", JLB&nbsp;38]].<ref name="BC-Anh166">[http://www.bach-cantatas.com/Vocal/BWVAnh166.htm Mass in E minor, BWV Anh 166] at {{url|www.bach-cantatas.com}}</ref> Previously the work had also been attributed to [[Johann Nicolaus Bach]].<ref name="CarusJBL38">[[Klaus Hofmann]] (editor). [https://www.carus-verlag.com/chor/geistliche-chormusik/johann-nikolaus-bach-missa-brevis-oxid.html ''Johann Nikolaus Bach: Missa brevis Allein Gott in der Höh sei Ehr''.] [[Carus Verlag]], 1976 (<sup>2</sup>1993)</ref><ref>[[Karl Geiringer|Geiringer, Karl]] and Irene. [https://archive.org/stream/bachfamilyseveng00geir#page/117/mode/1up/search/Anh.+166 ''The Bach Family: Seven Generations of Creative Genius'', footnote p. 117.] New York: Oxford University Press, 1954.</ref> The part scores were written out by J.&nbsp;S. Bach and others for performance in 1729.<ref>[[Bach Digital]] Work {{BDW|1477}}</ref> In his copy, J.&nbsp;S. Bach added 5 bars of music at the beginning of the Gloria.<ref name="BC-Anh166" /> J.&nbsp;S. Bach's variant of the incipit of the Gloria is rendered in Vol. 41 of the [[Bach-Gesellschaft Ausgabe]].<ref>[[Alfred Dörffel]] (editor). [[Bach-Gesellschaft Ausgabe]] Vol. 41: ''[[scores:Bach-Gesellschaft Ausgabe (Bach, Johann Sebastian)#Band 41: Kirchenmusikwerke. Erg.C3.A4nzungsband|Kirchenmusikwerke. Ergänzungsband]]'' [[Breitkopf & Härtel]], 1894. [http://imslp.nl/imglnks/usimg/a/a5/IMSLP15829-Bach_-_BGA_Band_41_Anhang_II.pdf p.&nbsp;276] {{Webarchive|url=https://web.archive.org/web/20160924150415/http://imslp.nl/imglnks/usimg/a/a5/IMSLP15829-Bach_-_BGA_Band_41_Anhang_II.pdf |date=2016-09-24 }}</ref> 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.<ref name="Max3CD">Maria Zadori, Lena Susanne Norin, Guy de Mey, Klaus Mertens, Veronika Winter, Gundula Anders, Hans Jörg Mammel, Hans-Joachim Weber, Annette Schneider, the [[Rheinische Kantorei]], the Kleine Konzert and [[Hermann Max]] (conductor). [https://www.jpc.de/jpcng/classic/detail/-/art/Johann-Ludwig-Bach-1677-1731-Trauermusik-f%FCr-SoliDoppelchor2-Orchester/hnum/1157089 ''Johann Ludwig Bach: Trauermusik (für Soli, Doppelchor, 2 Orchester)''.] Capriccio, 2011</ref><ref name="BC-Anh166" /><ref name="CarusJBL38" />
====<span id="BWV Anh. 167">Kyrie–Gloria Mass in G major, BWV Anh. 167</span> (Bach manuscript completed 1738–39)====
{{main article|Kyrie–Gloria Mass for double choir, BWV Anh. 167}}
[[BWV Anh. 167]] is a Kyrie–Gloria Mass in G major for double choir attributed to [[Christoph Bernhard]], [[Johann Philipp Krieger]] or [[David Pohle]],<ref>[[Bach Digital]] Work {{BDW|1478}}</ref>{{sfn|Wollny|2015|p=132}} formerly also attributed to Johann Ludwig Bach and [[Antonio Lotti]].{{sfn|Dürr|Kobayashi|1998|p=460}} One of its 18th-century manuscript copies, produced 1732–35 and 1738–39, is partially in J.S. Bach's handwriting.<ref>[http://www.bach-digital.de/receive/BachDigitalSource_source_00001721 D-B Mus. ms. Bach P 659] at [[Bach Digital]] website</ref>{{sfn|Wolff|1968}} Published and performed as J.&nbsp;S. Bach's in 1805.{{sfn|Schicht|1805}}{{sfn|Dörffel|1884|p=[https://archive.org/stream/DieGewandhausconcerteInLeipzig/Drffel-GeschichteDerGewandhausconcerteZuLeipzig#page/n284/mode/1up 3]}}
====Kyrie–Gloria <span id="BNB I/P/2">Mass, BNB I/P/2</span>, after <span id="Missa sine nomine a 6">Palestrina's ''Missa sine nomine a 6''</span> (Bach manuscript from c. 1742)====
Around 1742 Bach arranged the Kyrie and the Gloria of [[Giovanni Pierluigi da Palestrina|Palestrina]]'s {{illm|Missa Sine nomine a 6 (Palestrina)|scores|Missa Sine nomine (Palestrina, Giovanni Pierluigi da)|lt=''Missa sine nomine a 6''}}, and copied the other movements of this Mass, up to the Agnus dei, without modification ([[Bachs Notenbibliothek|BNB]]&nbsp;I/P/2; BWV&nbsp;[[Deest (music)|deest]]). Bach transposed the Kyrie and Gloria sections from D&nbsp;minor to E&nbsp;minor and provided a ''[[colla parte]]'' orchestration for these sections, written out as performance parts for a [[scores:Missa Sine nomine (Palestrina, Giovanni Pierluigi da)#Arrangements and Transcriptions|Kyrie–Gloria Mass for SSATTB choir, and an orchestra consisting of cornets, trombones and continuo]].<ref name="Beißwenger2000" /><ref>[http://www.bach-cantatas.com/Other/Palestrina-Missa-sine-nomine.htm Giovanni Pierluigi da Palestrina ''Missa sine nomine a 6''] at {{url|www.bach-cantatas.com}}</ref><ref>[[Bach Digital]] Work {{BDW|1676}}; [https://www.bach-digital.de/receive/BachDigitalSource_source_00000660 D-B Mus. ms. 16714 (olim: D-B Mus. ms. Bach P&nbsp;995)] at Bach Digital website</ref>
====Kyrie and Gloria of Gasparini's ''Missa canonica'' (copied and orchestrated by Bach c. 1740)====
{{see also|Francesco Gasparini#Missa canonica}}
Bach's manuscript copy of [[Francesco Gasparini]]'s ''Missa canonica'', BNB deest, was rediscovered in [[Weißenfels]] in 2013.<ref>[https://www.bach-digital.de/receive/BachDigitalSource_source_00022815 D-WFe 191] at [[Bach Digital]] website ({{RISM|250000899}})</ref> Bach probably performed his orchestrated version of the Kyrie and Gloria of this mass several times in Leipzig.<ref name="LISA" /> The [[Bach-Archiv Leipzig]], whose Deputy Director [[Peter Wollny]] discovered the Bach autograph, stated that it was an important model for Bach in his exploration of the [[Prima pratica|stile antico]] and of the [[Canon (music)|canon]] in his last decade.<ref name=BAL>{{cite press release |publisher=[[Bach-Archiv Leipzig]] |title=Unbekannte Handschrift Johann Sebastian Bachs entdeckt |date=6 June 2013 |url=http://www.nmz.de/kiz/nachrichten/273-jahre-alte-bachhandschrift-entdeckt |access-date=20 January 2015}}</ref>
==Magnificat settings==
Bach composed the [[Magnificat in E-flat major, BWV 243a]], in 1723, and then revised it around 1733 to the better known [[Magnificat in D major, BWV 243]]. In the early 1740s he copied and arranged two Magnificats by other composers, apparently in view of performing them.{{sfn|Thielemann|2012|p=217}}
===Magnificat in E-flat major, BWV 243a (1723)===
{{Further|Magnificat in E-flat major, BWV 243a}}
A few weeks after arriving at his new post as [[Thomaskantor]] in [[Leipzig]] in 1723, Bach presented a [[Magnificat]] for [[SATB|SSATB]] voices and orchestra at the [[Marian feast]] of [[Visitation (Christianity)|Visitation]] ([[2 July]])
Later that year, for Christmas, he presented this Magnificat again, with additionally four inserted hymns, partly in German and partly in Latin, related to the celebration of that feast.
===Magnificat in D major, BWV 243 (1733)===
{{further|Magnificat in D major, BWV 243}}
In 1733 Bach again presented this Magnificat, but [[Transposition (music)|transposed]] to the key of [[D major]] and in a somewhat more elaborated orchestration, for the feast of Visitation. It is this version of his Magnificat that would become the most frequently performed version.
===Bach's <span id="BNB I/C/1">copy</span> and <span id="BWV 1082">arrangement</span> of Caldara's Magnificat in C major, BNB I/C/1 and BWV 1082 (early 1740s)===
BNB&nbsp;I/C/1 refers to Bach's copy of a {{illm|Magnificat (Caldara)|scores|Magnificat in C major (Caldara, Antonio)|lt=Magnificat in C&nbsp;major}} by [[Antonio Caldara]].<ref>[[Bach Digital]] Work {{BDW|8841}}</ref> Bach started to copy Caldara's Magnificat on {{nowrap|31 May 1740}} and completed his manuscript, later classified as {{nowrap|D-B Mus. ms. 2755,}} Fascicle&nbsp;1, in 1742.<ref>[https://www.bach-digital.de/receive/BachDigitalSource_source_00018350 D-B Mus. ms.&nbsp;2755, Fascicle&nbsp;1 (olim: D-B Mus. ms. Bach P&nbsp;977)] at [[Bach Digital]] website</ref> Bach's manuscript also contained a reworked version (i.e., expanded with two upper voices) of the "Suscepit Israel" movement in E minor: Bach's arrangement of that movement is known as BWV 1082.<ref name="Beißwenger2000" /><ref>[[Bach Digital]] Work {{BDW|1268}}; {{nowrap|D-Bsa SA 301,}} [https://www.bach-digital.de/receive/BachDigitalSource_source_00002281 Fascicle&nbsp;1] and [https://www.bach-digital.de/receive/BachDigitalSource_source_00018891 Fascicle&nbsp;2] at Bach Digital website</ref>
===Bach's version of Torri's Magnificat, <span id="BWV Anh. 30">BWV Anh. 30</span> (c.1742)===
{{see also|Magnificat (Torri)}}
Around 1742 Bach copied [[Pietro Torri]]'s [[Magnificat (Torri)|Magnificat in C&nbsp;major]] for double [[SATB]] choir and orchestra, and then arranged it by adding a third trumpet part and a timpani part.{{sfn|Torri|2013|p=4}}<ref>{{RISM|467019500}}</ref><ref>[[Bach Digital]] Work {{BDW|1338}}</ref><ref>[https://www.bach-digital.de/receive/BachDigitalSource_source_00001067?lang=en D-B Mus.ms. Bach P&nbsp;195] at [[Bach Digital]] website.</ref><ref>[http://resolver.staatsbibliothek-berlin.de/SBB0001D99E00000000 Mus.ms. Bach P&nbsp;195] at [[Berlin State Library]] website.</ref> That Torri was the composer of the original work was only discovered in 2012:{{sfn|Thielemann|2012}} before that, the work had been attributed to Bach and to Antonio Lotti,<ref name="Beißwenger2000" />{{sfn|Wolff|1968|pp=21, 162 and 179}} and had been classified as {{nowrap|[[BWV Anh. 30]]}} in [[BWV Anh. II|Anh.&nbsp;II]], that is the {{lang|de|[[Anhang (disambiguation)|Anhang]]}} of doubtful works, in all 20th-century editions of the {{lang|de|Bach-Werke-Verzeichnis}}.{{sfn|Dürr|Kobayashi|1998|p=460}}
==Other adaptations of compositions originally on a Latin text==
Bach parodied and arranged Latin church music by other composers to church music on a German text.
===''Tilge, Höchster, meine Sünden'', BWV 1083, after Pergolesi's Stabat Mater (1745–47)===
{{see also|Tilge, Höchster, meine Sünden, BWV 1083}}
[[Tilge, Höchster, meine Sünden, BWV 1083|''Tilge, Höchster, meine Sünden'', BWV 1083]], is Bach's adaptation of [[Giovanni Battista Pergolesi|Pergolesi]]'s 1736 [[Stabat Mater (Pergolesi)|Stabat Mater]]. Bach's [[parody (music)|parody]], written around 1745–47, used a German version of [[Psalm 51]] as text.<ref>[[Bach Digital]] Work {{BDW|1269}}</ref>
===''Der Gerechte kömmt um'', after ''Tristis est anima mea'' attributed to Kuhnau (1723–50?)===
{{see also|Der Gerechte kömmt um (motet)}}
''[[Der Gerechte kömmt um (motet)|Der Gerechte kömmt um]]'', [[Bach Compendium|BC]]&nbsp;C&nbsp;8, is a motet on a German text parodied from the Latin [[Tristis est anima mea (attributed to Kuhnau)|''Tristis est anima mea'' motet]] attributed to [[Johann Kuhnau]], Bach's predecessor as Thomaskantor in Leipzig. On stylistic grounds the arrangement, including a transposition from F&nbsp;minor to E&nbsp;minor and an instrumental accompaniment, is attributed to Bach.<ref>[[Bach Digital]] Work {{BDW|1532}}</ref><ref name="Morton">{{cite book
| last = Morton
| first = Wyant
| url = http://arizona.openrepository.com/arizona/bitstream/10150/185862/1/azu_td_9229856_sip1_m.pdf
| title = Questions of authenticity in three motets attributed to Johann Sebastian Bach (Thesis)
| publisher = [[University of Arizona]]
| year = 1992
}}</ref><ref>[http://resolver.staatsbibliothek-berlin.de/SBB00015B7800090000 "Der Gerechte kömmt um", No. 39 of D-B Mus. ms. 8155] (i.e., as included in the ''[[Wer ist der, so von Edom kömmt]]'' pasticcio) at [[Berlin State Library]] website</ref>
==Hymns on a mixed German and Latin text==
[[Gottfried Vopelius|Vopelius]]' 1682 ''[[Neu Leipziger Gesangbuch]]'', the hymnal that was in use in Bach's Leipzig, contains a few hymns on a mixed German and Latin [[Macaronic language|macaronic]] text. According to Vopelius the usage originated in the time of {{illm|Petrus Dresdensis|de|Peter von Dresden|lt=Petrus of Dresden}}, a German-language [[Hussite]] active in the early 15th century: at the time native-language hymns, such as those sung by the Hussites, were barred from official church practice. As a response the Hussites sought, and eventually received, permission to mix native-language phrases in an otherwise Latin text.<ref>[[Gottfried Vopelius]]. ''[[Neu Leipziger Gesangbuch]]'', Leipzig: Christoph Klinger, 1682, [https://www.digitale-sammlungen.de/de/view/bsb10592508?page=85 p.&nbsp;39]</ref> Examples include:
* "[[In dulci jubilo]]" (''Neu Leipziger Gesangbuch'' [https://www.digitale-sammlungen.de/de/view/bsb10592508?page=85 pp.&nbsp;39–40]): harmonised by Bach as [[BWV&nbsp;368]] (also chorale preludes [[BWV&nbsp;608]] and [[BWV 729|729]])
* "[[Virga Jesse floruit]]" (''Neu Leipziger Gesangbuch'' [https://www.digitale-sammlungen.de/de/view/bsb10592508?page=123 pp.&nbsp;77–83]): partly included as [[BWV 243#D. Virga Jesse floruit|fourth laudes]] of the Christmas version of Bach's Magnificat (also: two of these four laudes are in German, two in Latin).
==Discography==
;BWV 191, ''Gloria in excelsis Deo'' : See [[Gloria in excelsis Deo, BWV 191#Selected recordings]]
;BWV 232(a), Missa/Mass in B minor : See [[Mass in B minor discography]]
;BWV 233–236, Kyrie-Gloria masses : See [[Kyrie–Gloria masses, BWV 233–236#Discography]]
;BWV 237–242, separate Sanctus and Christe Eleison compositions : See also [[Sanctus in D minor, BWV 239#Recordings]]
* Sanctus BWV&nbsp;238: Brilliant Classics 99376/4
* Sanctus BWV&nbsp;237, 239 and 240: Mona Spägele, Harry Van Berne, [[Stephan Schreckenberger]], [[Christiane Iven]], Bremen Baroque Orchestra, Alsfelder Vokalensemble, Gesualdo Consort and others conducted by [[Wolfgang Helbich]] (before 2014)<ref name="Helbich8CD">Mona Spägele, Harry Van Berne, [[Stephan Schreckenberger]], Christiane Iven, Bremen Baroque Orchestra, Alsfelder Vocal Ensemble, [[Gesualdo Consort]], etc. and [[Wolfgang Helbich]] (conductor). [http://www.arkivmusic.com/classical/album.jsp?album_id=1153384 ''The Sacred Apocryphal Bach'' (8-CD Set).] CPO, 2014</ref>
* Sanctus BWV&nbsp;241: [[Paul Steinitz]] conducting the [[London Bach Society]] and [[English Chamber Orchestra]] (1965)<ref name="Steinitz1965">{{OCLC|181673660}}</ref>
;BWV 243–243a, Magnificat : See [[Discography of Bach's Magnificat]], [[Magnificat (Bach)#Reception history]] and [[Magnificat in E-flat major, BWV 243a#Selected recordings]]
;BWV 1081–1082 and BWV Anh. 24–25
* BWV 1081–1082 and BWV Anh. 24–25: Mona Spägele, Harry Van Berne, Stephan Schreckenberger, Christiane Iven, Bremen Baroque Orchestra, Alsfelder Vocal Ensemble, Gesualdo Consort and others conducted by Wolfgang Helbich (before 2014)<ref name="Helbich8CD" />
;BWV Anh. 30 : See [[Pietro Torri#Discography]]
;BWV Anh. 166 : See [[Johann Ludwig Bach#Recordings]]
;BWV Anh. 167 : See [[Kyrie–Gloria Mass for double choir, BWV Anh. 167#21st century]]
==References==
{{Reflist
| colwidth =
| refs =
<ref name="steinitz">{{cite web
| last = Steinitz
| first = Margaret
| url = http://www.aucx96.dsl.pipex.com/Lbsdb/LBSDB_LC_INTRO.html
| title = Bach's Latin Church Music
| access-date = 16 September 2010
| publisher = [[London Bach Society]]
| archive-url = https://web.archive.org/web/20110715085014/http://www.aucx96.dsl.pipex.com/Lbsdb/LBSDB_LC_INTRO.html
| archive-date = 15 July 2011
| url-status = dead
}}</ref>
<ref name="laurson">
{{cite web
| last = Laurson
| first = Jens F.
| url = http://www.musicweb-international.com/classrev/2009/Aug09/Bach_Missa_2564690571.htm
| title = Johann Sebastian Bach (1685&ndash;1750) / Missa (1733)
| publisher = musicweb-international.com
| year = 2009
| access-date = 12 February 2013
}}
</ref>
}}
==Sources==
* {{cite book |last1=Dörffel |first1=Alfred |author-link1=Alfred Dörffel |date=1884 |chapter=Statistik der Concerte im Saale des Gewandhauses zu Leipzig |trans-chapter=Statistic of the concerts in the {{lang|de|[[Gewandhaus]]}} hall in Leipzig |chapter-url=https://archive.org/stream/DieGewandhausconcerteInLeipzig/Drffel-GeschichteDerGewandhausconcerteZuLeipzig#page/n282/mode/1up |title=Geschichte der Gewandhausconcerte zu Leipzig vom 25. November 1781 bis 25. November 1881: Im Auftrage der Concert-Direction verfasst |trans-title=History of the {{lang|de|Gewandhaus}} concerts in Leipzig from 25&nbsp;November 1781 to 25&nbsp;November 1881: As commissioned by the concert direction |url=https://archive.org/details/DieGewandhausconcerteInLeipzig |language=de |location=Leipzig }}
* {{cite book |date=1998 |editor1-last=Dürr |editor1-first=Alfred |editor1-link=Alfred Dürr |editor2-last=Kobayashi |editor2-first=Yoshitake |title=[[Bach-Werke-Verzeichnis|Bach Werke Verzeichnis: Kleine Ausgabe – Nach der von Wolfgang Schmieder vorgelegten 2. Ausgabe]] |trans-title=Bach Works Catalogue: Small Edition – After Wolfgang Schmieder's 2nd edition |language=de |others=Kirsten Beißwenger (collaborator). |edition=[[BWV2a|BWV<sup>2a</sup>]] |location=Wiesbaden |publisher=[[Breitkopf & Härtel]] |isbn=9783765102493 |postscript=. Preface in English and German. }}
* {{cite book |last1=Forkel |first1=Johann Nikolaus |author-link1=Johann Nikolaus Forkel |last2=Terry |first2=Charles Sanford |author-link2=Charles Sanford Terry (historian) |date=1920 |title=[[Johann Sebastian Bach: His Life, Art, and Work|Johann Sebastian Bach: His Life, Art and Work – translated from the German, with notes and appendices]] |location=New York |publisher=Harcourt, Brace and Howe }}
* {{cite book |date=1805 |editor1-last=Schicht |editor1-first=Johann Gottfried |editor1-link=Johann Gottfried Schicht |title=Messa a 8 voci reali e 4 ripiene coll'accompagnamento di due Orchestre, composta da Giov. Sebast. Bach: Partitura, copiata dalla partitura autografa dell' Autore |trans-title=Mass in eight real voices and four additional voices, accompanied by two Orchestras, composed by Joh. Sebast. Bach: Score, copied from the [[autograph (music)|autograph score]] of the Author |url=https://id.lib.harvard.edu/curiosity/digital-scores-and-libretti/37-990017314720203941 |language=it, la |location=Leipzig |publisher=[[Breitkopf & Härtel]] |at=[https://curiosity.lib.harvard.edu Harvard Digital Collections] }}
* {{cite book |last1=Thielemann |first1=Arne |date=2012 |chapter=Zur Identifizierung des Magnificats BWV Anh. 30 aus Johann Sebastian Bachs Notenbibliothek |trans-chapter=On the identification of the Magnificat BWV&nbsp;Anh.&nbsp;30 from Johann Sebastian Bach's music library |chapter-url=https://journals.qucosa.de/ejournals/bjb/article/view/1212 |editor1-last=Wollny |editor1-first=Peter |editor1-link=Peter Wollny |title=Bach-Jahrbuch 2012 |trans-title=Bach Yearbook 2012 |url=https://journals.qucosa.de/ejournals/bjb/issue/view/173 |series=[[Bach-Jahrbuch]] |language=de |volume=98 |others=[[Neue Bachgesellschaft]] |location=Leipzig |publisher=[[Evangelische Verlagsanstalt]] |pages=217–224 |doi=10.13141/bjb.v2012 |isbn=978-3-374-02668-5 |issn=0084-7682 }}
* {{cite book |last1=Torri |first1=Pietro |author-link1=Pietro Torri |date=2013 |editor1-last=Thielemann |editor1-first=Arne |title=Magnificat in C: BWV Anh. 30 |url=https://www.carus-verlag.com/en/choir/sacred-choral-music/pietro-torri-magnificat-in-c-major.html |series=Stuttgarter Bach-Ausgaben |volume=Full score |others=[[Johann Sebastian Bach|Bach, Johann Sebastian]] (arranger); Horn, Paul (basso continuo realization) |location=Stuttgart |publisher=[[Carus-Verlag|Carus]] |id=35.012 }}
* {{cite book |last1=Wolff |first1=Christoph |author-link1=Christoph Wolff |date=1968 |title=Stile antico in der Musik Johann Sebastian Bachs: Studien zu Bachs Spätwerk |trans-title=[[Prima pratica|Stile antico]] in the music of Johann Sebastian Bach: Studies on Bach's late work |series=Beihefte zum Archiv für Musikwissenschaft |language=de |volume=VI |location=Wiesbaden |publisher=Steiner |oclc=651793960 }}
* {{cite book |last1=Wollny |first1=Peter |author-link1=Peter Wollny |date=2015 |chapter=Vom „apparat der auserleßensten kirchen Stücke“ zum „Vorrath an Musicalien, von J. S. Bach und andern berühmten Musicis“: Quellenkundliche Ermittlungen zur frühen Thüringer Bach-Überlieferung und zu einigen Weimarer Schülern und Kollegen Bachs |title=Bach-Jahrbuch 2015 |trans-title=Bach Yearbook 2015 |url=https://www.neue-bachgesellschaft.de/bach-jahrbuch-2015/ |series=[[Bach-Jahrbuch]] |language=de |volume=101 |others=[[Neue Bachgesellschaft]] |location=Leipzig |publisher=[[Evangelische Verlagsanstalt]] |isbn=978-3-374-04320-0 |issn=0084-7682 }}
==External links==
* {{IMSLP2|work=Template:Masses_and_Magnificats_(Bach,_Johann_Sebastian)|cname=Masses and Magnificats by Johann_Sebastian Bach}}
{{Masses and Magnificats by Johann Sebastian Bach}}
{{Johann Sebastian Bach}}
[[Category:Compositions by Johann Sebastian Bach]]
[[Category:Masses by Johann Sebastian Bach| ]]
[[Category:18th century in music]]