Bach: Mass in B Minor

1. Bach: Mass in B Minor The Mass: Contemporary Practice of the Genre

2. Stile antico • Credo in unum Deum

3. Stile antico • Confiteor unum baptisma

4. Music Historiography • History of music vs. history of music • “Music history, being the history of an art form, seems doomed to failure: on the one side it is flanked by the dictates of aesthetic autonomy, on the other by a theory of history that clings to the concept of continuity.” • Carl Dahlhaus (1928–89), Foundations of Music History, 1977 (Ger.) • History of art vs. history of art • “histories of civilization or collections of critical essays” • René Wellek and Austin Warren, Theory of Literature, 1949 • History of music as history of innovation • “the consolidation of a style, and the resultant stereotyping of aesthetic perception, call for a constant renewal of artistic devices.” • Dahlhaus quoting Russian formalism (Viktor Shklovsky, 1920s)

5. Stile antico & moderno • The so called Palestrina Style (1525/6–94), the polyphonic style, was termed the stile anticoin the 1640s, in contrast to the stile moderno, the 17th-century modern solo style. • This “old” style was transmitted throuhg Johann Joseph Fux’s Gradus ad Parnassum (1725), which was still used by Haydn, Mozart and Beethoven. • In the 19th century, the widespread Cecilian movement cultivated Gregorian chant, vernacular hymnody, and the “a capella” style of Palestrina. • In the 20th century, Knud Jeppesen’s Style of Palestrina and the Dissonance (1923), promoted the teaching of "modal counterpoint."

6. Missa Papae Marcelli

7. Stile moderno & Seconda prattica • Artusi criticized the modern licences as well as the free introduction of dissonances (1600, 1603). • Monteverdiclaimed them as seconda prattica, where the words should govern the music, thus justifying previously unacceptable dissonance treatment (1605).

8. The Late Baroque Mass • tradition and innovation • stile antico & stile moderno • church and theatre • prima prattica & seconda prattica • internationalism • Italian & German • universalism • catholicism & protestantism

9. From Leipzig… • Lutheran Reformation (not revolution!) • “in no wise would I want to discontinue the service in Latin, for the young are my chief concern […], we would hold Mass […] in […] German, Latin, Greek, and Hebrew. I do not at all agree with those who cling to one language and despise all others […]” (Luther 1526) • languages, style dependent on liturgy • usually Kyrie and Gloria, and sometimes Sanctus are sung polyphonically

10. For Dresden • “Catholic diaspora in the middle of the Lutheran heartland” (Wolff 1990) • “In his last years he esteemed highly: Fux, Caldara, Handel, Kayser, Hasse, both Grauns, Telemann, Zelenka, Benda, and in general everything that was worthy of esteem in Berlin and Dresden.” (C.P.E. on J.S.)

11. Mass Settings in Dresden • stilus mixtus • musical topoi • emphasis on chorus • parody and multifunctionality • grand dimension

12. Gloria in excelsis Deo Gratias Qui tollis Patrem Crucifixus Et expecto Osanna Agnus Dei BWV 191 BWV 29 BWV 46 BWV 171 BWV 12 BWV 120, 120a and 120b BWV 215 BWV 11 (itself a reworking from a lost cantata) Parody Mass: the best and timeless

13. Neapolitan, Operatic Tradition:Secular and Sacred—Universal Humanity • In the 18th century, the Neapolitan Alessandro Scarlatti continued the operatic approach, as did Haydn and Mozart • stilus mixtus • choruses in stile antico with orchestral doubling • choruses with independent orchestral accompaniment • music for solo voices