Retrieved from "https://www.cpdl.org/wiki/index.php?title=Heiligmesse_(Mass_no._10_in_Bb_Major)_(Joseph_Haydn)&oldid=1542084" Description: J. S. Bach had a set of parts copied (a tone higher in E) as well as instrumental doubling parts for the Kyrie and Gloria. External websites: Missa sine nomine, including Bach's parts at the Petrucci Music Library (IMSLP) Original text and translations. For information, refer to the Mass page. For texts and translations, see the Missa de Angelis if three repetitions of the Agnus are required. Suggested tempo indications: Kyrie Adagioh = 72 Più mosso h = 84 Ancora più mosso h = 92 Gloria Moderatoh = 104 Meno mosso h = 84 Tempo primo h = 104 Credo Moderatoh = 104 Largo h = 60 Tempo primo h = 104 Sanctus & Benedictus Andanteh = 84 Agnus Dei Adagioh = 72 Editor’s note & & Bach gathered the parts of the Mass in B Minor into four discrete manuscripts, to which he assigned a numerical order. Part I consists of the Kyrie/Gloria Missa of 1733; Part II the Symbolum Nicenum or Credo; Part III the Sanctus; and Part IV the Osanna, Benedictus, Agnus Dei, et Dona nobis pacem. Unlike the Missa and Sanctus, the Symbolum A Mass typically has six movements: Kyrie, Gloria, Credo, Sanctus, Benedictus, and Agnus Dei. These movements (pieces that make up a larger work) are often unified by the use of a melody borrowed from plainsong or even from a secular song, and the titles of Masses reflect this: Missa Pange Lingua or Missa l'homme arme are famous examples that Zelenka structured the mass in several individual movements, subdividing the parts of the liturgical text especially in the Gloria and the Credo. He scored it for SATB soloists and choir, two oboes, bassoon, strings and continuo. The mass is in G major and takes about 45 minutes to perform. Kyrie; Gloria Gloria in excelsis Deo; Laudamus te The mass is structured following the five parts of the liturgical text, with a ternary Kyrie, a Gloria in six movements, a Credo divided in four sections, Sanctus (including Hosanna and Benedictus) and Agnus Dei. 2. Gloria (Posted 2004-07-28) CPDL #07694: Score information: A4, 9 pages, 372 kB 3. Credo (Posted 2004-07-28) CPDL #07695: Score information: A4, 12 pages, 556 kB 4. Sanctus (Posted 2004-07-28) CPDL #07696: Score information: A4, 3 pages, 196 kB 5. Benedictus General Information. Title: Missa Assumpta est Maria. Composer: Giovanni Pierluigi da Palestrina. Number of voices: 6vv Voicing: SATTBB, or SSTT or AATBBB. Crucifixus is scored for SSAA, so the performance of the complete mass requires 7 voices, SSAATTB. Genre: Sacred , Mass. Edition notes: 4 movements; Kyrie, Sanctus, Benedictus, Agnus Dei. MIDI and notation files zipped together, movements also available separately below. In E flat; a transposed version in F is also available. Individual movements. Kyrie (Posted 2001-09-25) CPDL #03011: (Finale 2001) Editor: Patricia Maltby (submitted 2001-09-25). MMQhF. Soprano Kyrie Gloria Credo Sanctus Benedictus Agnus Dei Alto Kyrie Gloria Credo Sanctus Benedictus Agnus Dei Tenor Kyrie Gloria Credo Sanctus Benedictus Agnus Dei Bass Kyrie Gloria Credo Sanctus Benedictus Agnus Dei Learn the "Agnus Dei" in Latin With English Translation An Important Part of Catholic Mass and Many Chorale Compositions The liturgical prayer known as the Agnus Dei is written in Latin. The words "Agnus Dei" translate into English as "Lamb of God" and it is a chant addressed to Christ. It is commonly used during Mass in the Roman Catholic Church and has been adapted into choral pieces by a number of history's best-known composers. The History of Agnus Dei The Agnus Dei was introduced in the Mass by Pope Sergius (687–701). This move may have been a defiant act against the Byzantine Empire (Constantinople), who ruled that Christ shall not be depicted as an animal, in this case, a lamb. The Agnus Dei, like the Credo, was one of the last things to be added to the Mass Ordinary. The fifth item in the Mass, Agnus Dei comes from John 1:29 and is often used during communion. Along with the Kyrie, Credo, Gloria, and Sanctus, this chant remains an integral part of the church service. The simplicity of Agnus Dei makes it an easy one to remember, even if you know little or no Latin. It begins with a repeating invocation and ends with a different request. During the Middle Ages, it was set to a great variety of melodies and included more acclamations than these two, which are most common. Latin English Agnus Dei, qui tolis peccata mundi, Lamb of God, who takes away the sins of the world, miserere nobis. have mercy on us. Agnus Dei, qui tolis peccata mundi, Lamb of God, who takes away the sins of the world, dona nobis pacem. grant us peace. Compositions With Agnus Dei The Agnus Dei has been incorporated into countless choral and orchestral pieces of music over the years. Many well-known composers, including Mozart, Beethoven, Schubert, Schumann, and Verdi have added it to their mass and requiem compositions. If you listen to classical music enough, you will surely encounter Agnus Dei quite often. Johann Sebastian Bach (1685–1750) used it as the final movement in his monumental work, "Mass in B Minor" (1724). It is believed that this was among the last pieces he added and one of his final vocal compositions as well. One of the better known contemporary composers to use the Agnus Dei is Samuel Barber (1910–1981). In 1967, the American composer arranged the Latin words to his most famous work, "Adagio for Strings" (1938). It was written for an eight-part chorus and retains that mournful, spiritual character of the orchestral work. As with Bach's composition, it is a very moving piece of music. Sources Randel (Editor), Don Michael. “The Harvard Dictionary of Music." Harvard University Press. Christoph. "Bach: Essays on His Life and Music." Harvard University Press. 1991. Het merendeel van de klassieke koorcomposities, zeker van die van voor 1800, heeft een religieuze tekst: bijbelteksten en teksten die sinds jaar en dag in de rooms-katholieke kerk worden gebruikt voor de eredienst. Honderden componisten schreven muziek bij het Te Deum en het Requiem (de dodenmis), maar het meest in trek was altijd de tekst van de gewone standaard Latijnse mis. Die bestaat uit vijf delen: – Kyrie – Gloria – Credo – Sanctus – Agnus Dei Het Kyrie telt maar zes woorden: Kyrie eleison, Christe eleison, Kyrie eleison, oftewel: Heer ontferm u, Christus ontferm u, Heer ontferm u. Meestal komt in de composities met deze zuinige tekst veel tekstherhaling voor, om te voorkomen dat het al te snel afgelopen is. De woorden ‘Kyrie’ en ‘eleison’ zijn overigens geen latijn, ze komen uit het Grieks. In het Gloria wordt God toegezongen en geprezen en bij bijna alle componisten is het een vrolijk/triomfantelijk/feestelijk stuk. Het Credo behelst de geloofsbelijdenis. De tekst is erg lang (160 woorden) en bij sommige componisten is duidelijk te merken dat ze bij bepaalde tekstgedeeltes korte metten wouden maken/de boel afraffelden. Overigens bevat het prachtige frases, zoals Deum de Deo, Lumen de Lumine, Deum verum de Deo vero (God uit God, Licht uit Licht, ware God uit de ware God) en Et expecto resurrectionem mortuorum, et vitam venturi saeculi (en ik verwacht de opstanding uit de dood, en daarna het eeuwig leven). In het Sanctus wordt opnieuw Gods groots- en heiligheid bezongen. Het eindigt met Benedictus, qui venit in nomine Domini. Hosanna in excelsis, oftewel: gezegend Hij die komt in de naam van de Heer, Hosanna in den hoge. Agnus Dei staat voor ‘het lam Gods’. Dat lam is Christus, die zich als een lam naar de slachtbank liet voeren. Hem wordt in dit misgedeelte gevraagd om ontferming en vrede. Kortom: een smeekbede, een lofzang, een belijdenis, een lofzang en een smeekbede: prachtige symmetrie. foto: © Kees Siebesma, birdwatcher te Zwolle