Last Night of the Proms 2012

Johann Sebastian Bach Mass in B minor (110 mins) Joélle Harvey: soprano Carolyn Sampson: soprano Iestyn Davies: counter-tenor Ed Lyon: tenor Matthew Rose: bass Choir of the English Concert The English Concert Harry Bicket, Conductor - Quote: "One of the greatest pieces ever written". Having restored choral music to the forefront of his ensemble’s recent activities, Baroque specialist Harry Bicket returns to the Proms hotfoot from the 2012 Leipzig Bachfest with one of music’s great milestones. Since its rediscovery by 19th-century Romantics, Bach’s Mass in B minor has been continually reimagined, most recently with an injection of period-style agility and buoyancy. Still the mysteries remain, as befits a testament through which the composer seemingly intended to carve out his unique place in cultural history. Charles Hazlewood, Host Sung in Latin with fixed English subtitles Commentary in English From Pal 16:9 to AVI DIVX 720p HD 16:9 View using any DIVX compatible media player, or, burn the folder as DATA to a DVD5 for viewing on a TV, etc. -------------------------------------- http://en.wikipedia.org/wiki/Mass_in_B_minor The Mass in B minor (BWV 232) is a musical setting of the complete Latin Mass by Johann Sebastian Bach. The work was one of Bach's last, not completed until 1749, the year before his death in 1750. Much of the Mass consisted of music that Bach had composed earlier: the Kyrie and Gloria sections had been composed as a Lutheran Missa in 1733 for the Elector of Saxony at Dresden. The Sanctus dates back to 1724, and the Qui tollis movement was based on a cantata chorus dating from 1714. To complete the work, however, in the 1740s Bach composed new sections of the Credo such as Et incarnatus est. The completed Mass was his last major composition. It was unusual for composers working in the Lutheran tradition to compose a Missa tota and Bach's motivations remain a matter of scholarly debate. The Mass was most probably never performed in totality during Bach's lifetime, and the work largely disappeared in the 18th century. Several performances in the early 19th century, however, sparked a revival both of the piece and the larger rediscovery of Bach's music. Today, it is widely hailed as a monumental work of the late Baroque and is frequently performed The work consists of 27 sections. I. Kyrie 1. Kyrie eleison (1st). 5-part chorus (Soprano I, II, Alto, Tenor, Bass) in B minor, marked Adagio, Largo, common time. 2. Christe eleison. Duet (soprano I,II) in D major with obbligato violins, marked Andante, common time. 3. Kyrie eleison (2nd). 4-part chorus (Soprano, Alto, Tenor, Bass) in F# minor, marked Allegro moderato, cut-common time ("alla breve"). Note the 9 (trinitarian, 3 x 3) movements with the largely symmetrical structure, and Domine Deus in the centre. 4. Gloria in excelsis. 5-part chorus (Soprano I, II, Alto, Tenor, Bass) in D major, marked Vivace, 3/8 time. The music appears also as the opening chorus of Bach's cantata Gloria in excelsis Deo, BWV 191. 5. Et in terra pax. 5-part chorus (Soprano I, II, Alto, Tenor, Bass) in D major, marked Andante, common time. Again the music also appears in the opening chorus of BWV 191. 6. Laudamus te. Aria (soprano II) in A major with violin obbligato, marked Andante, common time. 7. Gratias agimus tibi. 4-part chorus (Soprano, Alto, Tenor, Bass) in D major, marked Allegro moderato, cut-common time. The music is a reworking of the second movement of Bach's Ratswechsel cantata Wir danken dir, Gott, wir danken dir, BWV 29. 8. Domine Deus. Duet (soprano I, tenor) in G major, marked Andante common time. The music appears as a duet in BWV 191. 9. Qui tollis peccata mundi. 4-part chorus (Soprano II, Alto, Tenor, Bass) in B minor, marked Lento, 3/4 time. The chorus is a reworking of the first half of the opening movement of cantata Schauet doch und sehet, ob irgend ein Schmerz sei, BWV 46. 10. Qui sedes ad dexteram Patris. Aria (alto) in B minor with oboe d'amore obbligato, marked Andante commodo, 6/8 time. 11. Quoniam tu solus sanctus. Aria (bass) in D major with corno da caccia obbligato, marked Andante lento, 3/4 time. 12. Cum Sancto Spiritu. 5-part chorus (Soprano I, II, Alto, Tenor, Bass) in D major, marked Vivace, 3/4 time. The music appears also in modified form as the closing chorus of BWV 191. II. Symbolum Nicenum, or Credo Note the 9 movements with the symmetrical structure, and the crucifixion at the centre. 13. Credo in unum Deum. 5-part chorus (Soprano I, II, Alto, Tenor, Bass) in A mixolydian, marked Moderato, cut-common time. 14. Patrem omnipotentem. 4-part chorus (Soprano, Alto, Tenor, Bass) in D major, marked Allegro, cut-common time. The music is a reworking of the opening chorus of cantata Gott, wie dein Name, so ist auch dein Ruhm, BWV 171. 15. Et in unum Dominum. Duet (soprano I, alto) in G major, marked Andante, common time. 16. Et incarnatus est. 5-part chorus (Soprano I, II, Alto, Tenor, Bass) in B minor, marked Andante maestoso, 3/4 time. 17. Crucifixus. 4-part chorus (Soprano II, Alto, Tenor, Bass) in E minor, marked Grave, 3/2 time. The music is a reworking of the first section of the first chorus of the cantata Weinen, Klagen, Sorgen, Zagen, BWV 12. 18. Et resurrexit. 5-part chorus (Soprano I, II, Alto, Tenor, Bass) in D major, marked Allegro, 3/4 time. 19. Et in Spiritum Sanctum. Aria (Bass) in A major with oboi d'amore obbligati, marked Andantino, 6/8 time. 20. Confiteor. 5-part chorus (Soprano I, II, Alto, Tenor, Bass) in F# minor, marked Moderato, Adagio, cut-common time. 21. Et expecto. 5-part chorus (Soprano I, II, Alto, Tenor, Bass) in D major, marked Vivace ed allegro, cut-common time. The music is a reworking of the second movement of Bach's Ratswechsel cantata Gott, man lobet dich in der Stille, BWV 120 on the words Jauchzet, ihr erfreute Stimmen. III. Sanctus 22. Sanctus. 6-part chorus (Soprano I, II, Alto I, II, Tenor, Bass) in D major, marked Largo, common time; Vivace, 3/8 time. Derived from an earlier, now lost, 3 soprano, 1 alto work written in 1724. IV. Osanna, Benedictus, and Agnus Dei 23. Osanna. double chorus (both four parts) in D major, marked Allegro, 3/8 time. A reworking of the opening chorus of BWV 215 — although they may share a common lost model. 24. Benedictus. Aria for tenor with flute obbligato (some later editions use violin obbligato) in B minor, marked Andante, 3/4 time. 25.Osanna (da capo). as above. 26. Agnus Dei. Aria for alto in G minor with violin obbligato, marked Adagio, common time. Derives from an aria of a lost wedding cantata (1725) which Bach also re-used as the alto aria of his Ascension Oratorio Lobet Gott in seinen Reichen, BWV 11 but as the two different surviving versions are markedly different, it is thought they share a common model. 27 .Dona nobis pacem. 4-part chorus in D major, marked Moderato, cut-common time. The music is almost identical to "Gratias agimus tibi" from the Gloria.