Editing Mass in B minor (section)

===I. Kyrie and Gloria ("Missa")===
{{Redirect|Missa in B minor, BWV 232 I|another use of BWV 232 I|Bach's Missa of 1733}}
# ''[[Mass in B minor structure#Kyrie I|Kyrie eleison]]'' (1st)
::Five-part chorus (Soprano I & II, Alto, Tenor, Bass) in B minor, marked Adagio (in the four-bar choral introduction) and then Largo in the main section with an autograph time signature of {{music|common-time}} or common time. 
::[[Joshua Rifkin]] argues that, except for the opening four bars, the movement is based on a previous version in C minor, since examination of autograph sources reveals "a number of apparent transposition errors".<ref name="ReferenceA">Joshua Rifkin, "The B-Minor Mass and its Performance", liner notes to Rifkin's recording of the work, Nonesuch 79036-2, 1982</ref> [[John Butt (musician)|John Butt]] concurs: "Certainly, much of the movement—like many others with no known models—seems to have been copied from an earlier version."<ref>John Butt, "Mass in B Minor", in Oxford Composer Companions: J. S. Bach, ed. Malcolm Boyd and John Butt, Oxford University Press, 1999, p. 285</ref> Butt raises the possibility that the opening four bars were originally for instruments alone,<ref>John Butt, Bach: Mass in B Minor, p. 44</ref> but Gergely Fazekas details a case, based on manuscript, historical context, and musical structure, that "Bach might have composed the present introduction in a simpler form for the original C minor version" but "might have made the inner texture denser only for the 1733 B minor version."<ref>Gergely Fazekas, "Formal Deviations in the First Kyrie of the B minor mass," Understanding Bach, 3017, vol. 12, pp. 22-36, URL=http://bachnetwork.co.uk/ub12/ub12-fazekas.pdf</ref>
#<li value=2> ''Christe eleison''

::Duet (Soprano I & II) in [[D major]] with [[obbligato]] violins, no autograph tempo marking, time signature of {{music|common-time}}.

#<li value=3> ''Kyrie eleison'' (2nd)

::Four-part chorus (Soprano, Alto, Tenor, Bass) in [[F-sharp minor|F{{music|sharp}} minor]], marked [[alla breve]], and (in the 1748–50 score) "stromenti in unisono". Autograph time signature is {{music|cut-time}}. George Stauffer points out (p. 49) that "the four-part vocal writing ... points to a model conceived outside the context of a five-voice Mass."

Note the nine (trinitarian, 3 × 3) movements that follow with a largely symmetrical structure, and the ''Domine Deus'' in the centre.
#<li value=4>''Gloria in excelsis''

::Five-part chorus (Soprano I & II, Alto, Tenor, Bass) in D major, marked Vivace in the 1733 first violin and cello parts, {{music|time|3|8}} time signature. In the mid-1740s, Bach reused this as the opening chorus of his cantata [[Gloria in excelsis Deo, BWV 191|''Gloria in excelsis Deo'', BWV 191]].

#<li value=5> ''Et in terra pax''

::Five-part chorus (Soprano I & II, Alto, Tenor, Bass) in D major, no autograph tempo marking, time signature of {{music|common-time}}; in the autographs no double bar separates it from the preceding Gloria section. Again, Bach reused the music in the opening chorus of BWV 191.
#<li value=6> ''Laudamus te''

::[[Aria]] (Soprano II) in [[A major]] with violin obbligato, no autograph tempo marking, time signature of {{music|common-time}}. William H. Scheide argues that Bach based this movement on the opening aria of a lost wedding cantata of his (for which we now have only the text) [[Sein Segen fließt daher wie ein Strom, BWV Anh. 14|''Sein Segen fliesst daher wie ein Strom'', BWV Anh. I 14]]<ref>William H. Scheide, "BWV Anh. I 14: A source for parodied arias in the B-Minor Mass?"  pp. 69-77 in ''About Bach,'' edited by Gregory G. Butler, George B. Stauffer and Mary Dalton Greer (University of Illinois Press, 2007), {{ISBN|978-0-252-03344-5}}</ref>
#<li value=7>''Gratias agimus tibi''

::Four-part chorus (Soprano, Alto, Tenor, Bass) in D major, marked alla breve, time signature of {{music|cut-time}}. The music is a reworking of the second movement of Bach's 1731 Ratswechsel (Town Council Inauguration) cantata [[BWV 29|''Wir danken dir, Gott, wir danken dir'', BWV 29]], in which the time signature is the number 2 with a slash through it. (Stauffer adds that both may have an earlier common source.)

#<li value=8>''Domine Deus''

::Duet (soprano I, tenor) in [[G major]] with flute obbligato and muted strings, no autograph tempo marking, time signature of {{music|common-time}}. The music appears as a duet in BWV 191. 
::In the 1733 parts, Bach indicates a "Lombard rhythm" in the slurred two-note figures in the flute part; he does not indicate it in the final score or in BWV 191. Stauffer points out (p. 246) that this rhythm was popular in Dresden in 1733. It is possible that Bach added in the 1733 parts to appeal to tastes at the Dresden court and that he no longer wanted it used in the 1740s, or that he still preferred it but no longer felt it necessary to notate it.

#<li value=9> ''Qui tollis peccata mundi''

::Four-part chorus (Soprano II, Alto, Tenor, Bass) in B minor, marked adagio in the two violin 1 parts from 1733 and lente in the cello, continuo, and alto parts from 1733; {{music|time|3|4}} time signature. No double bar separates it from the preceding movement in the autograph. The chorus is a reworking of the first half of the opening movement of the 1723 cantata [[BWV 46|''Schauet doch und sehet, ob irgend ein Schmerz sei'', BWV 46]].
#<li value=10> ''Qui sedes ad dexteram Patris''

::Aria (alto) in B minor with [[oboe d'amore]] obbligato, no autograph tempo marking, {{music|time|6|8}} time signature.
#<li value=11> ''Quoniam tu solus sanctus''

::Aria (bass) in D major with obbligato parts for solo [[corno da caccia]] (hunting horn or Waldhorn) and two bassoons, no autograph tempo marking, {{music|time|3|4}} time signature. 
::Stauffer notes that the unusual scoring shows Bach writing specifically for the strengths of the orchestra in Dresden: while Bach wrote no music for two obbligato bassoons in his Leipzig cantatas, such scoring was common for works others composed in Dresden, "which boasted as many as five bassoonists",<ref>Stauffer, ''Bach: the Mass in B Minor'', p. 90</ref> and that Dresden was a noted center for horn playing. Peter Damm has argued that Bach designed the horn solo specifically for the Dresden horn soloist Johann Adam Schindler, whom Bach had almost certainly heard in Dresden in 1731.<ref>Peter Damm, "Zur Ausfuhrung des 'Corne da Caccia' im Quoniam der Missa h-Moll von J. S. Bach," Bach Jahrbuch 70 (1984), pp. 91–105</ref> 
::Regarding lost original sources, Stauffer says, "A number of writers have viewed the clean appearance of the "Quoniam" and the finely detailed performance instructions in the autograph score as signs that this movement is also a [[Musical parody|parody]]."<ref name="Stauffer, p. 95">Stauffer, ''Bach: the Mass in B Minor'', p. 95</ref> Klaus Hafner<ref name="a">Klaus Hafner, "Uber die Herkunft von zwei Satzen der h-Moll-Messe," Bach-Jahrbuch 63 (1977): 55–74</ref> argues that the bassoon lines were, in the original, written for oboe, and that in this original a trumpet, not the horn, was the solo instrument. John Butt agrees, adding as evidence that Bach originally notated both bassoon parts with the wrong clefs, both indicating a range an octave higher than the final version, and then corrected the error, and adding that "oboe parts would almost certainly have been scored with trumpet rather than horn."<ref>John Butt, Bach: Mass in B Minor, p. 49</ref> William H. Scheide has argued in detail that it is a parody of the third movement of the lost wedding cantata ''Sein Segen fliesst daher wie ein Strom'', BWV Anh. I 14 <ref name="William H. Scheide pp. 69-77">William H. Scheide, "BWV Anh. I 14: A source for parodied arias in the B-Minor Mass?"  pp. 69-77 in ''About Bach,'' edited by Gregory G. Butler, George B. Stauffer and Mary Dalton Greer (University of Illinois Press, 2007), {{ISBN|978-0-252-03344-5}},</ref> Stauffer, however, entertains the possibility that it may be new music.<ref name="Stauffer, p. 92">Stauffer, ''Bach: the Mass in B Minor'', p. 92</ref>

#<li value=12> ''Cum Sancto Spiritu''

::Five-part chorus (Soprano I & II, Alto, Tenor, Bass) in D major, marked Vivace, {{music|time|3|4}} time signature. 
::Bach reused the music in modified form as the closing chorus of BWV 191. As to origins, [[Donald Francis Tovey]] argued that it is based on a lost choral movement from which Bach removed the opening instrumental [[ritornello]], saying "I am as sure as I can be of anything".<ref>Donald Francis Tovey, ''Essays in Musical Analysis'', Oxford University Press, 1935–39, vol. 5, pp. 34–35</ref> Hafner agrees, and like Tovey, has offered a reconstruction of the lost ritornello;<ref name="a" /> he also points to notational errors (again involving clefs) suggesting that the lost original was in four parts, and that Bach added the Soprano II line when converting the original into the ''Cum Sancto Spiritu'' chorus. Rifkin argues from the neat handwriting in the instrumental parts of the final score that the movement is based on a lost original, and he argues from the musical structure, which involves two fugues, that the original was probably a lost cantata from the middle or late 1720s, when Bach was especially interested in such structures.<ref name="ReferenceA" /> Stauffer is agnostic on the question.<ref name="Stauffer, p. 95" />