Bach's Church Music in Latin

Did you know Bach wrote liturgical music in Latin (and not just the Magnificat and B minor mass)? Early Music Monday takes a peek at this repertoire in advance of The Bach Project’s concert next Sunday!

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Most of Johann Sebastian Bach's extant church music in Latin —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 and Latin: also Bach contributed a few works employing both languages in the same composition, for example his early Kyrie "Christe, du Lamm Gottes" [scores].[1]

The bulk of Bach's sacred music, many hundreds of compositions such as his church cantatas, motets, Passions, oratorios, four-part chorales and 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, 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:[2] it included music on Latin texts being performed on ordinary Sundays,[3] on high holidays (Christmas, Easter, Pentecost), and the Magnificat also on Marian feasts (Annunciation, Visitation, 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 Catholic court in Dresden. Around the same time he produced the final version of his Magnificat. Probably around 1738–39 he wrote 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 stile antico Latin church music by other composers, which sheds light on a style shift towards more outspoken polyphonic and canonic structures in his own compositions in the last decade of his life.[4] 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 minor.

Most of Johann Sebastian Bach's extant church music in Latin - 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.

Composers like to borrow

Composers never let a good idea go to waste. This week’s example of borrowing is Guerrero’s Missa de la batalla escoutez, based on Janequin’s madrigal “La Guerre” - a Spanish mass setting based on a French madrigal about the Battle of Marignano in 1515.

Music for the Requiem

With Halloween and the commemorations of All Souls and All Saints later this week, Early Music Monday looks at the music for the Requiem, frequently performed in concerts, at Christian funerals, and used for dramatic moments in movies!

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The Music for the Requiem Mass is any music that accompanies the Requiem, a Mass in the Catholic Church for the deceased. It has inspired a large number of compositions, including settings by Mozart, Berlioz, Verdi, Bruckner, Dvořák, Fauré and Duruflé. Originally, such compositions were meant to be performed in liturgical service, with monophonic chant. Eventually the dramatic character of the text began to appeal to composers to an extent that they made the requiem a genre of its own, and the compositions of composers such as Verdi are essentially concert pieces rather than liturgical works.

The following are the texts that have been set to music. Note that the Libera Me and the In Paradisum are not part of the text of the Catholic Mass for the Dead itself, but a part of the burial rite that immediately follows. In Paradisum was traditionally said or sung as the body left the church, and the Libera Me is said/sung at the burial site before interment. These became included in musical settings of the Requiem in the 19th century as composers began to treat the form more liberally.

From 4 Esdras 2:34–35; Psalm 65:1-2

The Music for the Requiem Mass is any music that accompanies the Requiem, a Mass in the Catholic Church for the deceased. It has inspired a large number of compositions, including settings by Mozart, Berlioz, Verdi, Bruckner, Dvořák, Fauré and Duruflé. Originally, such compositions were meant to be performed in liturgical service, with monophonic chant.

Consort Songs

How did composers set secular poetry before the “art song” developed in the 19th century? Consort songs were one way! Read up on them here and then come hear Sonnambula and I for The Henry Purcell Society of Boston’s concert on Friday evening!

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A consort song was a characteristic English song form of the late 16th and early 17th centuries, for solo voice or voices accompanied by a group of instruments, most commonly viols. Although usually in five parts, some early examples of four-part songs exist. It is considered to be the chief representative of a native musical tradition which resisted the onslaught of the italianate madrigal and the English lute ayre, and survived those forms' brilliant but short-lived ascendancy (Brett 2001).

In contemporary usage, the term was confined to a number of songs for four voices accompanied by the standard mixed consort of six instruments, found in Teares or Lamentacions of a Sorrowfull Soule: Composed with Musicall Ayres and Songs, both for Voyces and Divers Instruments by William Leighton, published in 1614, but was first used in the modern sense by Thurston Dart (Brett 2001).

William Byrd is recognized as the composer whose adoption and development of the consort song established its musical importance. He regarded it as a standard means to set vernacular poetry (Brett 2001).

A consort song was a characteristic English song form of the late 16th and early 17th centuries, for solo voice or voices accompanied by a group of instruments, most commonly viols. Although usually in five parts, some early examples of four-part songs exist.

Hemiola

Still unclear about this whole sesquialtera situation? Not even sure what it is, let alone when it applies?

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In music, hemiola (also hemiolia) is the ratio 3:2. The equivalent Latin term is sesquialtera. In pitch, hemiola refers to the interval of a perfect fifth. In rhythm, hemiola refers to three beats of equal value in the time normally occupied by two beats.

The word hemiola comes from the Greek adjective ἡμιόλιος, hemiolios, meaning "containing one and a half," "half as much again," "in the ratio of one and a half to one (3:2), as in musical sounds."[1] The words "hemiola" and "sesquialtera" both signify the ratio 3:2, and in music were first used to describe relations of pitch. Dividing the string of a monochord in this ratio produces the interval of a perfect fifth. Beginning in the 15th century, both words were also used to describe rhythmic relationships, specifically the substitution (usually through the use of coloration—red notes in place of black ones, or black in place of "white", hollow noteheads) of three imperfect notes (divided into two parts) for two perfect ones (divided into three parts) in tempus perfectum or in prolatio maior.[2][3]

Hemiola can be used to describe the ratio of the lengths of two strings as three-to-two (3:2), that together sound a perfect fifth.[2] The early Pythagoreans, such as Hippasus and Philolaus, used this term in a music-theoretic context to mean a perfect fifth.[4]

In music, hemiola (also hemiolia) is the ratio 3:2. The equivalent Latin term is sesquialtera . In pitch, hemiola refers to the interval of a perfect fifth. In rhythm, hemiola refers to three beats of equal value in the time normally occupied by two beats.