Album insights
Soon after assuming the position of Thomaskantor in Leipzig in 1723, Bach became increasingly frustrated with the political situation in the Saxon city. His relationship with the authorities was conflict-ridden from the start due to his refusal to compromise. In August 1730, Bach responded to the Leipzig Council's accusation of neglecting his duties with a letter titled "Brief and Essential Draft of a Well-Appointed Church Music, with Some Preliminary Thoughts on its Decline." In the letter, he pointed out the lack of trained singers and instrumentalists available to him. However, his grievances were largely disregarded. In October, he inquired with an old school friend, Georg Erdmann, about potential job openings in Danzig, citing the strange and music-resistant authorities in Leipzig.
Although officially employed as both Cantor and teacher at the Thomasschule, Bach's focus gradually shifted towards composing music for the Lutheran liturgy, as well as directing the Collegium Musicum—a group of students and professional musicians that held weekly concerts at Gottfried Zimmermann's fashionable coffeehouse in Leipzig. He also strengthened his connections with the Dresden court, highlighted in his "Draft" presented to the Leipzig council. Bach hoped to elevate his status in Leipzig by seeking a title at the Dresden court, presenting his newly composed Missa to the new Elector, Friedrich August II. Despite these efforts, Bach was not granted the title of Court Composer until 1736.
Bach's monumental Mass in B minor, also known as the Missa, was an extensive composition with a duration of nearly two hours, making it impractical for both Lutheran services and Catholic masses. The work was likely divided into separate parts for performance, potentially in different churches in Leipzig and Dresden. Speculation surrounds Bach's decision to later expand the Missa into a complete Mass, drawing from various church cantatas he had previously composed. The first full performance of the Mass took place in Leipzig in 1859, well over a century after Bach's death, marking it as a significant masterpiece in Western musical history.
In the Mass, Bach juxtaposed diverse musical styles, evidenced in movements like the jubilant "Gloria in excelsis Deo" in D major, contrasting with the solemn polyphony of the "Confiteor unum baptisma." Through intricate polyphonic textures and choral techniques, Bach created a cohesive unity within the Mass. Stylistically varied movements like the bass aria "Et in Spiritum Sanctum" and the contrapuntal mastery displayed in the "Confiteor unum baptisma" showcased Bach's sophistication and innovation in late-style composition.
Bach's Mass in B minor stands as a pinnacle of his sacred compositions, characterized by its spiritual depth and vast stylistic range. The Mass and his other monumental works, such as the St. Matthew Passion, embody profound theological reflections, standing as the pinnacle of his sacred music legacy, transcending beyond traditional religious boundaries.