{"id":25057,"date":"2021-11-15T14:00:23","date_gmt":"2021-11-15T19:00:23","guid":{"rendered":"https:\/\/www.boreades.com\/johann-sebastian-bach-les-quatre-messes-breves\/"},"modified":"2021-11-24T11:41:59","modified_gmt":"2021-11-24T16:41:59","slug":"johann-sebastian-bach-the-four-missae-breves","status":"publish","type":"post","link":"https:\/\/www.boreades.com\/en\/johann-sebastian-bach-the-four-missae-breves\/","title":{"rendered":"Johann Sebastian Bach : The four Missae br\u00e8ves"},"content":{"rendered":"
\n

If only God had made our world as perfect as Bach made his divine.
\n<\/em>Cioran<\/p>\n<\/blockquote>\n

It was in fulfillment of his duties as a musician in, successively, the cities of Weimar, K\u00f6then, and Leipzig, that Bach composed almost all his works. But this was not the case for the monumental Mass in B Minor, nor for the four Miss\u00e6 Breves (also known as the Lutheran Masses), BWV 233-236<\/em>. Conserved in manuscripts written between 1730 and 1748, a period during which Bach wrote no new cantatas, the Miss\u00e6 Breves (literally, Short Masses) may have been sung in Leipzig, though we have no evidence to support this surmise. Martin Luther encouraged the use of the vernacular, so that the faithful could understand the meaning and structure of the reformed liturgy, but he wanted the Magnificat, the Sanctus, and the Gloria to stay in Latin, and the Kyrie in Greek. These texts are recited during the holiest of holy days, Christmas, Easter, and Pentecost. So the possibility of some connection between these celebrations and the Miss\u00e6 Breves remains, but the hypothesis that Bach wrote them for use in the Count Franz Anton von Sporck\u2019s chapel was refuted long ago.<\/p>\n

\"\"

Bach en 1746, tableau d\u2019Elias Gottlob Haussmann<\/em><\/span><\/p><\/div>\n

We do know that Bach recycled movements from four or five earlier cantatas rather than write original music for these short masses. He used choruses and arias from BWV 79, 102, 179, and 187. Other sections of the Miss\u00e6 Breves are untraceable, but probably came from one or more now lost cantatas. The first of the Miss\u00e6 Breves, BWV 233, recycles an earlier Kyrie; it is in archaic style, and built on the chorale \u201cChrist, du Lamm Gottes,\u201d with both text and tune by Luther. Each of the short masses is in six movements, of which three are choral. Of all four masses\u2019 non-choral movements, 11 are arias for solo voices and one is a duo. There is no recitative, and the text of the mass is divided between arias in two different ways.<\/p>\n

What is a \u2018short mass\u2019? A first definition: it is a mass written in what, using the terms of Renaissance mensural notation, are called \u2018short\u2019 notes\u2014which does not necessarily mean that it is shorter. A second definition: in Lutheran usage, it is a mass that retains only the Kyrie and the Gloria, though these sections may be amply developed. Thirdly, in Classical era, it is a complete mass, but one in which no phrase of the sung text is repeated, thus reducing the number of its parts and shortening it. Or, fourthly, it is one that, despite the Church\u2019s disapproval of the procedure, has each of the four voices of the choir sing a different section of the text. For example: Joseph Haydn\u2019s Missa brevis Sancti Joannis de Deo, <\/em>whose Gloria barely lasts a minute!<\/p>\n

\"\"

Martin Luther, tableau de l\u2019atelier de Lucas Cranach l\u2019Ancien, v.1532<\/em><\/span><\/p><\/div>\n

Bach effects remarkably radical transformations in his four Miss\u00e6 Breves, including changes in key and instrumentation; addition and suppression of instrumental passages; transfers of melodic lines, including the cantus firmus, from singers to instruments, and vice versa; suppression or shortening of da capos; <\/em>and careful placement of the syllables of the Latin text. The Gloria, for instance, is a long and somewhat abstruse paean of praise which, other than in the passage Qui tollis peccata mundi<\/em>, is not a particularly dramatic text. Once word painting became the basic procedure of music composition, this text did not lend itself particularly well to being set to either the melodies, textures, or harmonies of music. The Cantor, however, brilliantly overcame the difficulty; he found ways other than musical imagery, of which he was very fond, and other than the text itself to convey emotion. \u201cThese transformations confer a heightened musical and spiritual quality to the original [cantatas],\u201d writes Gilles Cantagrel. So much so, indeed, that in the opinion of Mark Audus, Bach\u2019s four Miss\u00e6 Breves <\/em>\u201cstand up considerably better to concert and even liturgical use than the now outmoded form of the German cantata from which they spring.\u201d<\/p>\n

Though they share the same structure, the four Miss\u00e6 Breves <\/em>differ in mood, as conveyed either by differences in choral treatment\u2014the three-part Kyries, for instance, are in either old motet style, or in concertant style with instrumental introduction; in the use of winds; or, in one case, in the use of the minor mode. The instruments\u2014horns, oboe, and bassoon\u2014used in the Gloria of BWV 233, and the key in which they play, are the same as in Brandenburg Concerto No. 1, and sound just as fresh and joyous. The Gloria of the BWV 235 is in an anguished G minor. Bathed in the gentle glow of A major and accompanied by the flutes, the Gloria of the BWV 234 perfectly matches text to music. And by virtue of its material, and its combination of oboes and violins, the Gloria of BWV 236 sounds a bit like Handel.<\/p>\n

In the arias there is often a dialogue between an instrumental soloist and a singer, both contributing their symbolism. As Andr\u00e9 Pirro writes: \u201cFor Bach, the solo violin is a voice of tenderness and light; he makes it sing out with transparent and sparkling richness, full of caresses and marvels, [while the] flutes, with their muted sonority, signify both delicate gentleness and vulnerability.\u201d Finally, as a singing instrument, \u201cthe oboe is the most moving soloist in Bach\u2019s orchestra, while the violin is its lyrical soloist par excellence.\u201d<\/p>\n

\"\"

La communion dans une \u00e9glise luth\u00e9rienne, gravure de Bernard Picart, 1727<\/em><\/span><\/p><\/div>\n

All commentators particularly emphasize Bach\u2019s amazing craftmanship: his apparently effortless contrapuntal feats, the power of his harmony, the extraordinary variety of his treatments of voices and instruments. Using this formidable toolkit he introduced not only diversity into his sacred vocal works, but also, in the words of Alberto Basso, all the \u201cfundamental elements that govern nature,\u201d allowing \u201cthe faithful to feel completely immersed in the contemplative life, and musicians to conquer, through constant exercise, limitless spaces.\u201d<\/p>\n

But these perplexing skills often make us forget the Cantor\u2019s prodigious gift as a melodist. His arias and choruses are profoundly expressive. \u201cTheir exceptional beauty, and the immediacy with which they communicate, flow, without doubt, from a pure, spiritual vision.\u201d<\/p>\n

\u00a9 Fran\u00e7ois Filiatrault, 2021
\n<\/strong>Translated by Se\u00e1n McCutcheon<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

\n

The concert Les quatre Messes br\u00e8ves<\/em> de J.S. Bach<\/a><\/u> with the St-Laurent choir under the direction of Philippe Bourque will be presented on November 27th, 7:30 PM, at \u00c9glise St-Jean-Baptiste.<\/p>\n","protected":false},"excerpt":{"rendered":"

If only God had made our world as perfect as Bach made his divine. Cioran It was in fulfillment of his duties as a musician in, successively, the cities of […]<\/p>\n

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