Bach composed five
Kyrie–Gloria masses, the first of which was later expanded to the
Mass in B minor. He also set the Sanctus part of the mass liturgy a few times, and copied and arranged mass-related compositions by other composers.
Mass in B minor, BWV 232, and related earlier compositions Around 1748–49 Bach completed his Mass in B minor,
BWV 232,
based on various earlier compositions including cantata movements and the early versions of Part I
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 (
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
₵ to
C.
Mass in B minor, BWV 232 (around 1748–49) 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).
Kyrie–Gloria masses, BWV 233–236 (1738–39?) 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), have been indicated as
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. Possibly they were written for Count
Franz Anton von Sporck or performed by him in
Lysá. 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
arias for different
voice types. The music consists mostly of
parodies of earlier cantata movements. Bach changed the music slightly to adjust to the Latin words, but kept the original instrumentation.
Kyrie–Gloria Mass in F major, BWV 233 For the in
F major, BWV 233, scored for horns, oboes, bassoon, strings,
SATB, and
basso continuo, Bach derived most of the six movements from earlier cantatas as
parodies.
Kyrie–Gloria Mass in A major, BWV 234 For the in
A major, BWV 234, scored for flute, strings, SATB, and basso continuo, Bach parodied music from at least four earlier cantatas. 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.
Kyrie–Gloria Mass in G minor, BWV 235 For the in
G minor, BWV 235, scored for oboes, strings, SATB, basso continuo, Bach derived all six movements from cantatas as parodies.
Kyrie–Gloria Mass in G major, BWV 236 For the in
G major, BWV 236, scored for oboes, strings, SATB, basso continuo, Bach derived all six movements from cantatas as parodies.
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).
Sanctus in C major, BWV 237 (1723?) Bach composed the Sanctus in C major for SATB choir and orchestra, BWV 237, possibly for
St. John's Day, 24 June 1723.
Sanctus in D major, BWV 238 (1723) Bach's Sanctus in D major, BWV 238, for SATB choir and orchestra, was first performed on
Christmas, 25 December 1723.
Sanctus in D minor, BWV 239, after Gloria of Caldara's Missa Providentiae (Bach manuscript from 1738-41) Bach's manuscript of the
Sanctus in D minor, BWV 239, dates from around 1738 to 1741. It is a composition for SATB voices, string orchestra and continuo, based on the Gloria of
Antonio Caldara's .
Sanctus in G major, BWV 240 (Bach manuscript from 1742) Bach's manuscript of the Sanctus in G major, BWV 240, dates from 1742. The authenticity of this composition for SATB choir and orchestra is however doubted.
Sanctus, BWV 241, arranged from Kerll's Missa superba (Bach manuscript from 1747–48) The , is Bach's arrangement of the Sanctus of
Johann Caspar Kerll's
Missa superba. Bach's manuscript of this Sanctus setting was written between July 1747 and August 1748.
Kyrie–Gloria Mass in C minor after Durante, BWV 242 and Anh. 26 (Bach manuscript from 1727–32) In the period from 1727 to 1732 Bach produced the manuscript of a for SATB choir and orchestra, BWV Anh. 26, based on a composition by
Francesco Durante. Bach's manuscript included his own setting of a . Elsewhere in the score there are some instances of Bach adjusting the text placement.
Sanctus in F major, BWV 325 (four-part chorale) BWV 325 is a
four-part chorale by Bach, in F major, which appears with the text "Heilig, heilig, heilig" (i.e. the German translation of the Sanctus) in Part III (1786) of
Breitkopf's first edition of Bach's chorale harmonisations, edited by
C. P. E. Bach. In Part 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-less music notation in 1557 (
Zahn No. 8633). The
common time version of the tune (Zahn No. 8634) did not appear in print before the Breitkopf edition of Bach's chorales.
Masses from Bassani's Acroama missale (copied 1736–40) and Credo intonation in F major, BWV 1081 (added 1747–48) The 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.
Kyrie–Gloria Mass in A minor, BWV Anh. 24, after Pez's Missa Sancti Lamberti (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).
Kyrie-Gloria Mass in C major, BWV Anh. 25 (Bach manuscript from 1740–42) BWV Anh. 25 is a Kyrie–Gloria Mass in C major, copied by J. S. Bach 1740-1742.
Sanctus in F major by Johann Ludwig Krebs, BWV Anh. 27 BWV Anh. 27 is a Sanctus in F major by
Johann Ludwig Krebs.
Continuo part of a Kyrie-Gloria Mass in C minor, BWV Anh. 29 (Bach manuscript from 1714–17) BWV Anh. 29 is a Kyrie-Gloria Mass in C minor of which only the continuo part survives, found in a manuscript Bach wrote in the period from 1714 to 1717.
Missa super cantilena "Allein Gott in der Höh' sei Ehr", BWV Anh. 166 (Bach manuscript from 1729) BWV Anh. 166 is a Kyrie–Gloria Mass in E minor composed in 1716 by
Johann Ludwig Bach, known as
Missa super cantilena "Allein Gott in der Höh' sei Ehr", JLB 38. Previously the work had also been attributed to
Johann Nicolaus Bach. The part scores were written out by J. S. Bach and others for performance in 1729. In his copy, J. S. Bach added 5 bars of music at the beginning of the Gloria. 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. formerly also attributed to Johann Ludwig Bach and
Antonio Lotti. One of its 18th-century manuscript copies, produced 1732–35 and 1738–39, is partially in J.S. Bach's handwriting. Published and performed as J. S. Bach's in 1805.
Kyrie–Gloria Mass, BNB I/P/2, after Palestrina's Missa sine nomine a 6 (Bach manuscript from c. 1742) Around 1742 Bach arranged the Kyrie and the Gloria of
Palestrina's , and copied the other movements of this Mass, up to the Agnus dei, without modification (
BNB I/P/2; BWV
deest). Bach transposed the Kyrie and Gloria sections from D minor to E minor and provided a
colla parte orchestration for these sections, written out as performance parts for a
Kyrie–Gloria Mass for SSATTB choir, and an orchestra consisting of cornets, trombones and continuo.
Kyrie and Gloria of Gasparini's Missa canonica (copied and orchestrated by Bach c. 1740) Bach's manuscript copy of
Francesco Gasparini's
Missa canonica, BNB deest, was rediscovered in
Weißenfels in 2013. Bach probably performed his orchestrated version of the Kyrie and Gloria of this mass several times in Leipzig. ==Magnificat settings==