Christological Cycle: Part 2, Latin Church Music; Chorale Settings
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Chrtistological Cycle, Part 2, Latin Church Music; Chorale Settings

William L. Hoffman wrote (November 21, 2018):
Bach scholarship in the past half-century has made some amazing discoveries. One of the most significant centers on the Mass in B-Minor and related Latin Church Music previously taken for granted. Bach's masterpiece, is now recognized as the "Great Catholic Mass" in several respects and there are new studies. The Mass in B Minor is based on music that Bach continued to study in the last decade of his life, particularly the influence of the stile antico as described by Christoph Wolff, the leading Bach scholar who replaced Alfred Dürr. The text of all the movements of the Mass Ordinary (Kyrie, Gloria, Credo, Sanctus and Agnus Dei) make direct references to Jesus Christ and embody the concepts of Christology in all its facets from incarnation to sacrificial death, resurrection, ascension and reincarnation in God's end time. The other significant Latin text, besides the Mass Ordinary, is Mary's Magnificat anima mea (My soul doth magnify), the most celebrated of Christian canticles (others being the Greater and Lesser Doxologies, see below, Cantata 191), which is a statement of pre-incarnation and conception that offers praise, the dichotomy between glory and humility, the scattering of the proud, the elevation of the lowly, and the expression of God’s mercy” (text http://www.bach-cantatas.com/Texts/BWV243-Eng3.htm; details, http://www.bach-cantatas.com/Vocal/BWV243-Gen8.htm: "William L. Hoffman wrote (July 2, 2017)").

In both cases, Martin Luther followed Catholic tradition with Latin settings in Lutheran services, and he also set the Mass Ordinary and the Magnificat to vernacular German chorales, based on Latin chant. Luther championed the use of the Magnificat, saying, “It is right that this canticle should be kept in the Church!” Permission was even granted for it to be sung in Latin in the Reformed Church, at Christmas, Easter, Whitsun and the Marian Feasts which also were major feasts in Leipzig in Bach’s time, although Luther eschewed the veneration of the Virgin Mary and emphasized the Christology in these feasts. The Purification of Mary becomes the Presentation of our Lord in the temple; the Annunciation emphasizes the conception of Jesus, and Mary's Visitation to her sister becomes the celebration of the Magnificat.

While the Mass Ordinary music involved some of Bach's finest pieces in various styles, set as contrafaction or parody from German to Latin, it is now assumed that virtually all the music was borrowed either from Bach's works or models of other composers such as the Kyrie of Wilderer and the Salve Regina of Hasse. While Bach scholars continue to search for the sources of the lost music with only texts available, the fundamental question remains: Why did Bach compose this Missa tota at the end of his life? Answers vary from a study for no particular purpose to a work for the dedication of the Catholic Cathedral in Dresden, completed in 1752, to work appropriate for the Catholic observance of St. Cecilia's Day, November 22, or perhaps for a Catholic source in Bohemia, Count Johann Adam von Questenburg (1682-1752). Above all, the Mass in B-Minor is Bach complete setting of the Mass Ordinary and the culmination of a well-regulated church music to the glory of God (details, http://www.bach-cantatas.com/Vocal/BWV232-Gen19.htm.

Perhaps the basic question is why Bach composed the first part of the Missa: Kyrie-Gloria in 1733, for his attempt to secure a court honorary position. Bach obviously was offering the court a compendium of his best music in many styles and moods. At the same time, Bach had created an extended Missa: Kyrie Gloria of 11 movements, three in the Kyrie and eight in the Gloria (http://www.uvm.edu/~classics/faculty/bach/BWV232.html). The work was appropriate for a Catholic Mass as well as in a Lutheran Mass and there are countless such works in Latin most appropriate for feast days. The Mass Ordinary with its palindrome (mirror) rhetorical symmetry and its unconditional reception as a form of engaging music of joy and sorrow in Bach's time was a synthesis of Lutheran and Catholic confessions. Its five sections initially were considered within their original liturgical sorrow and joy contexts: the opening, tri-partite litany Greek supplication, "Kyrie eleison" (Lord have mercy); the succeeding "Gloria," canticle hymn of praise in imitation of the psalms with a repeat of the mercy plea; the "Credo" (I believe), trinitarian profession of faith; the communal "Sanctus" symbolic elevation of the host fusing the Hebrew vision of God (Isaiah 6:30), and Christian acclamation of Jesus Christ's sovereignty (Matthew 21:9) in the added "Osanna" and "Benedictus"; and the closing "Agnus Dei" (Lamb of God with another repetition of the mercy plea) succinct supplication at the breaking of the bread and the closing petition, "Dona nobis pacem" (Grant us peace).

Before continuing with the remainder of a Missa tota Bach also had set other individual movements from the Mass Ordinary. In the later 1730s Bach compiled his four shorter Missae: Kyrie-Gloria, BWV 233-236) in which he continued to make contrafactions from German choruses and arias in his sacred cantatas to four works appropriate for the major festivals if Christmas, Easter, and Pentecost as well as the Marian feast days. Speculation suggests that Bach assembled the four for Count von Sporck and may have wanted to publish them (https://www.bach-digital.de/receive/BachDigitalSource_source_00000832, https://www.bach-digital.de/receive/BachDigitalSource_source_00002768). Bach also set the Lutheran Mass and Catechism in the Clavierübung III, Published in 1739, the bicentennial of the acceptance of Lutheran faith in Saxony, including Leipzig.

Latin Church Music, Mass Ordinary

The Bach Compendium in the later 1980s catalogued all of Bach's Latin Church Music, including the Masses BWV 232-236 and an incomplete Kyrie-Gloria, BWV Anh. 29; Single Movements of the Mass Ordinary (Kyrie, Sanctus and a Credo Intonation (BWV 237-242); and the Magnificat, an arrangement, and Cantata 191 (http://www.bach-cantatas.com/Ref/IndexRef-BC-E.htm).

The three-phrase litany, Kyrie-Christe-Kyrie eleison (Lord have mercy, Christ have mercy, Lord have mercy) was initially chanted (sung) by the congregation as a canticle of biblical text referring to God's assertive activity in the world. The middle plea is "Christ have mercy" The “mercy” litany also is found as “miserere nobis” (have mercy upon us) twice in the ensuing “Gloria” section of the Mass as well as twice in the closing “Agnus Dei” (Lamb of God) section.

The "Gloria in excelsis Deo (gig dance)" (Glory to God in the highest) is a hymn of praise written in imitation of the Psalms. It is an expansion or elaboration of the canticle, Luke 2:14, itself modeled on previous Old Testament Psalms and canticles. Luke attributed the song to the angels at Jesus' birth (incarnation) and it is called the Greater Doxology. The authorship and age of the complete “Gloria in excelsis Deo” are unknown. The “Gloria” opening angelic hymn has the refrain “Et in terra pax hominibus, bonae voluntatis” (and on earth peace to men of good will). This continues with acclamations, petitions, and the repeated litany “miserere nobis” (have mercy on us). The “Gloria” section continues with the triune portion addressed first to God in praise, concludes with a short Doxology, or expression of adoration to God, beginning “Quoniam tu solus sanctus” (For thou alone art holy). By thefourth century it was associated with morning prayer (lauds), as was the "Benedictus." Then it was imported into the Eucharist (Communion) of the Mass, or second half of the Mass (the first half being the Word of the Mass), appearing after the tripartite “Kyrie.” Historically, the Mass has been celebrated on Sunday mornings.

The “Gloria Patri et Filio et Spirtui sancto” (Glory be to the Father, and to the Son, and to the Holy Spirit) is a Trinitarian statement, called the Lesser Doxology, dating from the Fourth Century. It is used to close the afternoon Vesper proper services of particular readings and chants for various services in the church year. Bach used both doxologies of praise to God in his Latin Christmas Cantata 191, composed in the mid-1740s (http://www.bach-cantatas.com/Texts/BWV191-Eng3.htm). It is a separate Latin Church piece with both Christian doxologies and is a distinct part of a well-ordered church music. It also was a special thanksgiving work and a transition to Bach's completion of his Missa tota in the late 1740s.

The "Credo" (I believe) or creed was first used in worship during baptism, which explains the formation of the initial Apostles Creed. The christological controversies of the first centuries, however, led to the introduction of the Nicene Creed, an expansion of the Apostles Creed, from the Council of Niceae (325 CE) into the Eucharist of the Mass. The Credo affirms a triune, Trinitarian form of God as creator, redeem, and sanctifier. The Credo is the primary Christian doctrine, or statement of belief.

There followed several centuries of divergent communion practice during the second half of the Mass. Eventually the "Credo" was placed before the Institution of the sacraments and before the "Sanctus" (Holy, from Isaiah 6:3) and the established "Benedictus" (Blessed) during the codification of Gregory the Great (590-604). Around 700, the "Agnus Dei" (Lamb of God) was assigned to be sung at the Communion Fraction, the symbolic breaking of the bread or Christ's body. The "Agnus Dei" from John 1:29 had previously been used during the last two-thirds of the "Gloria," in the plea to Jesus Christ, the Domine Fili unigenite” (Lord, the only-begotten son). Now, the Mass closing, “Agnus Dei qui tollis peccata mundi” (who takes away the sins of the world) is intoned three times, followed by the response, “miserei nobis” (have mercy on us), said twice, with the third, closing response being “Dona nobis pacem” (grant us peace), a phrase that has been attributed to Charlemagne, ca 800.

Stages of Bach’s Mass composition:

1. “Kyrie eleison,” BWV 233a, is assumed to have been composed in Mühlhausen or Weimar, 1707-1718. It uses the German chorale, “Christe du Lamm Gottes,” in motet style with the traditional four voices singing the "Kyrie" in Latin. In the only extant version, BWV 233/1, the setting is for four voices with continuo and horns and oboes playing the hymn melody, presumed to have been sung by soprano in German in the "original." It is the only bi-lingual setting of a section of the Mass, using Latin text in old style music with an obbligato setting of the chorale melody.
2. Sanctus in D, BWV 232III, first performed at Bach’s first Christmas in Leipzig in 1724 and repeated at Easter 1727, and again ca. 1742-48. In 1725, Bach sent the Sanctus parts set to Count Anton von Sporck, of Bohemia. Sporck was a Catholic representative of the Habsburg Empire in Vienna, a student of Lutheran tradition, and a patron of composers such as Antonio Vivaldi. Later, Bach inserted the Sanctus score into the B-Minor Mass in the late 1740s.
3. Missa (Kyrie-Gloria), BWV 232I, composed in 1733. The original score was reworked by Bach during the adaptation of the Missa for the Mass in B Minor, in 1748-49. While most of the Missa is presumed to be parodies from previous cantatas, only the music of the A sections of two opening choruses has been found: No. 7, chorus "Gratias agimus tibi" (We give thee thanks) comes from the Town Council Cantata No. 29, “Wir danken dir, Gott” (We thank Thee, God); and No. 9, chorus "Qui tollis peccta mundi" (that takes away the sins of the world), comes from the Trinity season Cantata No. 46, “Schauet doch und sehet ob irgendein Schmerz” (Behold and see if there be any sorrow). Bach submitted the Missa while seeking the title "Court Composer" and finally was granted the honorary title from the Saxon Court in Dresden in 1736. Meanwhile, Bach in the 1730s turned from composing church service cantatas to celebratory music for Saxon Court royal birthdays. These, in turn were refashioned as choruses and arias in his sacred feast day oratorios.
4. Between 1735 and 1738, Bach parodied movements from at least 10 church-year cantatas to create four Missae (Kyrie-Gloria), BWV 233-236, using the same basic plan as the earlier Missa, BWV 232I, but on a reduced scale. It is possible that the four later Missae were complied for use either in Dresden or for Count Franz Anton von Sporck (1662-1738) in Bohemia. The "Short Masses" may have been intended possibly for performance in Dresden either in Lutheran services for his son Wilhelm Friedemann or for one of his Catholic benefactors at the Saxon Court. Or the music may have been sent to the Bohemian count whom Bach had met at the Carlsbad spa in 1719 or 1721 while on summer vacations with his employer, Köthen Prince Leopold, and the court orchestra.
4. In the mid 1740s, before the assembly of the B-Minor Mass, Bach composed the earlier version of the Mass centerpiece, the “Credo in G-Mixolydian,” appropriate for the Trinity Sunday festival. During the 1740s, Bach was studying older Mass music from the Dresden archives and in particular the handing of the Credo chant intonation in the Giovanni Battista Bassini "Credo," which he realized in 1747-48 as BWV 1081. In Bach's full "Credo" setting, BWV 232II, research found three additional opening choruses from previous cantatas were borrowed: No. 14, chorus "Patrem omnipotentem" (the Father Almighty), from New Year’s Day Cantata 171, “Gott, wie dein Name” (God, as your name is); No. 17, chorus "Crucifixius" (He was crucified), from the Easter season No. Cantata 12, “Weinen, Klagen, Sorgen, Zagen” (Weeping, lamenting, grieving, trembling); and No. 21, the chorus “Et expecto resurrectionem mortuorum” (And I expect the resurrection of the dead), from the Town Council Cantata No. 120, “Gott, man lobet dich in der Stille” (God, one praises Thee in the Stillness).
5. Finally, to achieve a complete, five-section Mass, known as a Missa tota instead of a Missa brevis, Bach in the late 1740s, added the 1723 Sanctus in D. He then parodied the “Benedictus” as well as the “Osanna” from the opening chorus of a similar celebratory Cantata Anh. 11, “Es lebe der Koenig” (The King lives). Finally, Bach created the “Agnus Dei” as a contrafaction from an alto aria in his Ascension Oratorio, “Ach bliebe doch” (Ah, believe ye). The closing “Dona nobis pacem” (Grant us peace) uses the same music as the “Gratias agimus tibi” in the “Gloria” set to new text. This repetition of text to new music is an ancient practice found in Bach’s “Magnificat anima mea” opening chorus repeated as the closing “Sicut erat in principio”; and in Vivaldi’s Gloria opening repeated as the “Quoniam tu solus sanctus.”

Missae: Kyrie-Gloria, BWV 233-236 and the German Lutheran foundation Organ Mass and Catechism, Clavierübung III, BWV 669-689, and the Six Schüler Chorales," BWV 645-650), organ transcriptions from trio chorale arias in cantatas (https://en.wikipedia.org/wiki/Schübler_Chorales).

Driven with Luther's Doctrine of Justification and Theology of the Cross, the framework for a Christological Cycle was developed with the underpinning of chorales as liturgical settings and teaching through the Catechism. The foundation for Bach’s music was Luther’s creation of chorales for the liturgy. Luther translated three festal observances into German chorales: the Magnificat (Luke 1:46-56) as “Meine Seele erhebt den Herrn” (My soul magnify the Lord), the Nunc dimittis (Luke 2:22-32) as “Mit Fried’ und Freud’ ich fahr dahin” (With peace and joy I go out), and the full Gloria in excelsis Deo as “Allein Gott in der Höh' sei Ehr’” (To God alone on high be glory). Besides the Gloria setting in Luther’s 1526 “Deutsche Messe,” which Bach harmonized as BWV 260, Luther also set the "Kyrie Gott Vater in Ewigkeit" (Mercy, God Father in eternity), BWV 371; the Credo, ”Wir Glauben all an einem Gott" (We all believe in one God), BWV 437; the Sanctus, “Jessica den Propheten” (Isaiah the prophet), BWV 325; and the Agnus Dei as "O Lamm Gottes unschuldig" (O Lamb of God unstained), BWV 401. Luther also compose a nonliturgical, extended setting of the Dona nobis pacem, “Verleih’ uns Frieden gnädiglich” (Graciously grant us peace), BWV 126/6). In addition, Luther provided chorale settings of his Cathechism articles of the Christian faith, which Bach also set as organ chorale preludes in the 1739 Clavierübung III, BWV 679-689: the Ten Commandments, ‘Dies sind die heilgen zehn Gebot”; the Creed, “Wir glauben all an einen Gott”; the Lord’s Prayer, “Vater unser im Himmelreich”; Baptism,” Christ, unser Herr, zum Jordan kam”; Penitence, “Aus tiefer Not schrei ich zu dir” (Psalm 130), and the Eucharist, “Jesus Christus, unser Heiland.” These Catechism hymns were sung during the Sunday afternoon main vesper service, in the portion called the Katechismusexamen. 1

FOOTNOTES

1 See Robin A. Leaver, “Luther and Bach: The “Deutsche Messe and the Music of Worship,” Lutheran Quarterly, Vol. XV (2001: 326).

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To Come: Christological Latin Church Music realized as Lutheran chorales: the Deutsche Messe, the Magnificat, Simeon's Canticle, Baptism, the Clavierübung III German Mass and Catechism, as well as other yearly collections of chorales.

Christological Latin Church Music, Chorale Settings

William L. Hoffman wrote (November 24, 2018):
(Christological Latin Church Music realized as Lutheran chorales: the Deutsche Messe, the Magnificat, Simeon's Canticle, Baptism, the Clavierübung III German Mass and Catechism, as well as other collections of chorales)

Besides extensive use of Latin, Bach also systematically observed another Matin Luther practice, the widespread use of chorales within a Christological framework of hymns for the entire church year which included liturgical and psalm settings as well as thematic chorales such as Jesus Hymns. The following are the collections of Bach's organ chorale settings (https://en.wikipedia.org/wiki/List_of_organ_compositions_by_Johann_Sebastian_Bach), as found in his works catalog: Orgelbüchlein for the church year (45), BWV 599-644; Schübler Chorales (cantata transcriptions) (6), BWV 645-650; Eighteen Great Leipzig Chorales (18), BWV 651-668; Clavierübung III, Mass & Catechism Chorales (21), BWV 669-689; Kirnberger Collection Chorales (24); BWV 690-713; Miscellaneous Chorales (52), 714-765; Chorale Variations (6), 766-771; and Neumeister Collection (31), BWV 1090-1120. The 389 plain chorale settings from vocal works, including 186 free-standing hymns, BWV 253-438, were published in 1783-87 and a few additional harmonizations are found in collections of students Johann Ludwig Dietel (1735), Christian Friedrich Penzel, and possibly others (http://www.bach-cantatas.com/Topics/Chorale-Collections.htm).

Bach began with 31 organ chorale prelude settings found in the church year early Neumeister Collection (https://en.wikipedia.org/wiki/Neumeister_Collection), as well as the 46 preludes in the incomplete Weimar church year Orgelbüchlein Collection (https://en.wikipedia.org/wiki/Orgelbüchlein). In Mühlhausen, Bach began to use chorale tropes in his vocal concertos, accompanying biblical text, a practice found in other composers such as Buxtehude, in Cantatas 71, 106, 131, non-liturgical works in old style of joy and sorrow that constitute a special Christological cycle (http://bach-cantatas.com/Topics/Joy-Sorrow-Occasional-Cycle.htm). Most notable is the pure-hymn chorale Cantata 4 setting of Luther's Easter Hymn, "Christ lag in Todesbanden" (Christ lays in deaths bondage), possibly his 1707 probe piece which has a variety of chorale settings, including an opening instrumental sinfonia, two chorale choruses, and three chorale aria arrangements (https://www.youtube.com/watch?v=bH15Bm-M9WI).

Bach began composing the 164 preludes in the Orgelbüchlein in Weimar, with an emphasis on the Christological de tempore (proper time) services, with 114 not set although he did compose other miscellaneous settings for organ compiled by his students Kirnberger (https://imslp.org/wiki/Chorale_Preludes,_BWV_690-713_(Bach,_Johann_Sebastian) and others and as plain chorales (see http://www.orgelbuechlein.co.uk/the-missing-chorales/). The hymn sources for 159 proposed settings are found in the Christian Friedrich Witt 1715 Gotha Hymnal. The Orgelbuchlein, in fact, is a condensed Hymnary and, for convenience, may be divided into two Parts, says Charles S. Terry.¹ The first, and shorter part follows the seasons and festivals of the Church’s year, with one apparent omission. The second Part, almost wholly incomplete, contains hymns arranged in groups that conform to the divisions customary in Hymn-books of Bach’s period. Part I was planned to contain sixty Preludes, of which thirty-six were composed. Part II was designed to include one hundred and four Preludes, of which only ten were written. Five of its eleven groups contain not a single completed movement; one contains three; two contain two apiece; three contain one apiece.

Meanwhile, Bach began in 1714 to systematically compose "modern" Erdmann Neumeister-style Italianate cantatas monthly with closing plain chorales and occasional chorale choruses as in Cantata 21 (https://www.youtube.com/watch?v=ln9MBa8lXV4: "SHOW MORE": 27:58). Bach continued this in Leipzig while composing an incomplete chorale cantata cycle in 1724-25 (https://en.wikipedia.org/wiki/Chorale_cantata_cycle). His major works also included various chorales, most notably the three Passion oratorios settings of John, Matthew, and Mark, the first two having chorale topes and arias, the last having only 16 plain chorale settings. Bach also created special settings of chorales, such as the motet harmonization of Johann Franck's Jesus Hymn, "Jesu, meine Freude" (Jesus, my joy, https://www.youtube.com/watch?v=a4SKrGYMp7A, http://www.bach-cantatas.com/VD/BWV227.htm: "Discussions in the Week of June 19, 2016 (4th round)").

Liturgical Chorale, Devotional Settings, 1730s

By 1730, when Bach had ceased to systematically compose church year cantatas, he had amassed a collection of 389 plain chorales which he used as teaching devices for both his church choirs as well as teaching his cantor composition students the rudiments of harmonization. Of special note are the 186, free-standing chorale, BWV 253-438, as part of his collection of chorales published by Breitkopf in 1784-87 through the auspices of son Emanuel. Bach’s systematic settings of omne tempore chorales was undertaken in the 1730s within the four collections of chorale settings. The 186 free-standing plain chorale harmonizations, BWV 253-438 (https://en.wikipedia.org/wiki/List_of_chorale_harmonisations_by_Johann_Sebastian_Bach), were followed with 69 sacred song settings for the Schmelli Gesangbuch, BWV 439-508, in 1736, with emphasis on pietistic themes in later Trinity Time. Then, Bach began composition of the Clavierübung III collection of organ chorales on the Catechism and German Mass, BWV 552, 669-689,802-805 (https://en.wikipedia.org/wiki/Clavier-Übung_III; http://www.bach-cantatas.com/NVD/BWV669-689-Gen1.htm). Following its publication in 1739 during the Leipzig bicentennial of the city’s acceptance of the Reformation, Bach updated organ preludes in the collection of so-called “Great 18 Leipzig Chorales, BWV 651-658, https://en.wikipedia.org/wiki/Great_Eighteen_Chorale_Preludes), most being Reformation hymns (12) with liturgical and feast-day applications. Bach also published the Schübler Chorale settings about 1747 (https://en.wikipedia.org/wiki/Schübler_Chorales), trio arias from cantatas.

The crucial music is Luther's Deutsche Messe vernacular chorale settings of the Mass Ordinary, created in 1526 (http://www.bach-cantatas.com/Topics/Luther-Deutsche-Mass.htm). In these hymns Luther infused his theology of the grace, faith, and word alone empowering the congregation’s active participation in the services of word and sacrament. Luther’s Deutsche Messe with its intonation of the Mass Ordinary, is based on his Latin mass Formula missae (1523 ) of the Service of the Word with Introit Spiritual Song or Psalm, Kyrie eleison, (and Gloria,) Collect, Epistle, German Hymn, Gospel, Creed, Sermon (on the Gospel), and Lord's Prayer paraphrase; and Service of Communion with Consecration of Bread, Elevation of the Body of Christ and the Sanctus , Consecration of Wine, Distribution of the Body of Christ (Communion), (Sanctus paraphrase or Hymn "Gott sei Gelobet," or "Jesus Christus unser Heiland”), Verbna Testamenti (Sanctus or Agnus Dei), Thanksgiving Collect, and Aaronic Benediction.

Two hundred years later about 1729, Bach created a well-regulated church music grounded in Lutheran practice with an active Christ-centered Christology of settings for voices and instruments, particularly the organ and elaborate, extended concerted settings. Luther’s Deutsche Messe, “essentially a musical service of worship, a combination of chant and hymnody,” “was and continues to be misunderstood,” says Robin A. Leaver.² As “an expression of Gospel worship by which no one was to be bound,” it is not the definitive, rigid Lutheran liturgy for the main service. Local practice was established in the Saxon Church Agenda of 1539 and the Church Book of 1712, with local variants and practices in Bach’s Leipzig. The vernacular form of the Deutsche Messe did not exclude or ban the Latin Formula missae, so that larger cities such as Leipzig continued to include both Latin and German texts, and Bach composed settings in both languages. The musical elements in the Deutsche Messe are “fundamentally integral to its liturgical forms" and not to be diminished or abandoned as happened when other Protestant denominations sought to exclude Roman Catholic practices. “For Lutheran worship should bow a musical experience, a combination of chant and hymnody, chorale and instrumental,” says Leaver (Ibid.: 294), citing Luther’s view that “music is a beautiful and magnificent gift of God and next to theology,” which Bach exploited to the fullest and with biblical authority.

Although Bach did not compose a thorough, systematic setting of the Deutsche Messe, as he had with the Latin Mass Ordinary in his B Minor Mass, he composed chorale four-part settings and organ preludes for all the five sections, as first pointed out by Jaroslav Pelikan.³ The vocal settings are: “Kyrie Gott Vater in Ewigkeit,” BWV 371; “Allein Gott in der Höh' sei Ehr’,” BWV 260; “Wir glauben all an einem Gott,” BWV 437; Sanctus, “Heilig, Heilig” (Holy, Holy), BWV 325; and Agnus Dei, “O Lamb Gottes unschuldig,” BWV 401, or “Christe, du Lamb Gottes,” BWV 23/4. Bach composed settings of four of these in the Clavierübung (CU) III, and used the modern Sanctus in place of the CU chorale, Luther’s “Jesaja, dem Propheten, das geschah,” In addition is, Luther’s Grant us Peace setting, “Verlieh uns Frieden,” which Bach harmonized in BWV 126/7 and 42/6 (https://www.youtube.com/watch?v=zyhb4YoPa2k).

The Deutsche Messe plays several major roles in the Liturgical Order of the Lutheran Church. It preserves the historical form, including the traditional, sequential paradigm of Mass Propers readings for each individual service, as well as the traditional chants and tones. It preserves the Mass Ordinary symmetrical (mirror) form of opening and closing “Have mercy on us” litany, Kyrie eleison and Agnus Dei-Miserere nobis, the internal pairing of the Gloria Doxology with the penultimate prayer of the Sanctus-Osanna-Benedictus, on either side of the central, extended confession of faith Trinitarian "Credo in unum Deum" (I believe in one God). As the Lutheran hymn books grew and each area developed its own versions, other alternative versions of the Deutsche Messe five settings also were created and in Bach’s time, he found other settings of the Sanctus, the German Heilig (Holy) as well as other Mass liturgical songs.

Deutsche Messe Reconstruction

“Kyrie Gott Vater in Ewigkeit,” opens the Deutsche Messe in a musical reconstruction in Leipzig of Helmut Rilling (https://www.youtube.com/watch?v=eOw37KK7EYE).⁴ It is preceded with settings of two pulpit chorales: “Herr Jesu Christ, dich zu uns wend,” Chorale prelude (BWV 709), and Chorale-Setting (BWV 332), and “Liebster Jesu, wir sind hier” ( Chorale-Setting (BWV 373).

The Rilling "Deutsche Messe" recording presents other Bach liturgical chorale settings of Luther, such as the Catechism chorales “Dies sind die Heiligen zehn Gebot” on the commandments, most appropriate for vespers, and the Lord’s Prayer, “Vater unser in Himmelreich,” for both main and vesper services of the word, and the Communion hymn, “Jesus Christus unser Heiland.” Also found is the Luther/Walther 1524 “Gott set gelobet und gedenedeit,” listed in the Orgelbüchlein as No. 70 for Communion but not set while he did set it as a plain chorale, BWV 322 (https://www.youtube.com/watch?v=9qfbLwB8GRM, https://www.youtube.com/watch?v=xxY4Fqp4xqw, https://en.wikipedia.org/wiki/Gott_sei_gelobet_und_gebenedeiet). It is found in the NLGB as No. 185, as a Catechism Communion chorale. Also in the Deutsche Messe Rilling setting is Luther’ German Te Deum, “Herr Gott, dich loben wir” (https://en.wikipedia.org/wiki/Herr_Gott,_dich_loben_wir), which in the NLGB is listed as No. 167 for the Feast of the Apostles (Zahn 8652) that Bach listed in the Orgelbüchlein as No. 59 unset, for this feast for Saints Simon and Jude (Oct. 28). Bach used this hymn in Leipzig for New Year’s services in Cantatas 16 and 190, and Town Council installation services in Cantata 119 and 120, as well as the melody in prelude, BWV 325 (https://www.youtube.com/watch?v=ywK9KXZinfI), and in plain chorale setting, BWV 328 ( https://musescore.com/user/19258/scores/145056, https://www.youtube.com/watch?v=JoYJ6oqzV4M, text http://www.bach-cantatas.com/Texts/Chorale036-Eng3.htm, melody http://www.bach-cantatas.com/CM/Das-Tedeum.htm).

The earliest hymnbook, Walther’s Chor Gesangbuch (Wittenberg, 1524), provides eight omnes tempore (Ordinary Time) hymns with their themes, including three Luther settings appropriate for Mass and Vesper services, says Leaver (Ibid: 110). “Mitten wir im Leben sind” (In the midst of earthly life) on the “Effect of Law/Repentance,” is a Leissen appropriate with the German Kyrie or Agnus Dei. It is Luther’s setting of the Middle Ages Latin antiphon, Media vita in morte sumus (In the midst of life we are in death) (http://en.wikipedia.org/wiki/Media_vita_in_morte_sumus). It is in three stanzas with chorus (http://www.musicanet.org/robokopp/Lieder/mittenwi.html, http://www.musicanet.org/robokopp/hymn/inthemid.html. In Bach’s time it was the Hymn of the Day for the 16th Sunday after Trinity (NLGB No. 344, Death & Dying, Zahn 8502) and it is found in the Orgelbüchlein as No. 129 for Death & Dying but not set. Bach set it as a plain chorale, BWV 383 (https://www.youtube.com/watch?v=5gR8wQqA-OA). Bach also may also have presented the Jakob Handl (Gallus) 8-voice setting polyphonic motet from his collection, Erhardt Bodenschatz’ Florilegium Portense, for Introit, before Sermon at mass and vespers and during Communion.

“Nun freut euch lieben Christen gmein (Dear Christians one and all rejoice) on the “Effect of Faith/Law and Gospel/Justification,” is a Meistersinger-style song used as as a pulpit hymn. It its found in the NLGB No. 232, Catechism: Justification, and is a Catechism communion hymn (Stiller, Ibid.: 128). Martin Luther's 10-verse Advent hymn is a "ballad on Christ's Incarnation," later associated with Ascension and Sundays after Trinity, says Peter Williams(Ibid.: 476f). It is listed but not set in the Orgelbüchlein as No 85 for Communion but set as a plain chorale, BWV 388 https://www.youtube.com/watch?v=gJ7SZmqaS7E, https://www.youtube.com/watch?v=pCYnR9hVFec), and as a prelude, BWV 734 (https://www.youtube.com/watch?v=LgEwfPhVwI4). A Communion setting of Psalm 111, the anonymous “I will praise the Lord with my whole heart” in chant and response, is printed with English translation in Leupold (“The Communio,” Ibid..: 182f).

Alternate Litany Kyrie

The melodic and textual connections are shown between the chorale chorus, “Christe du Lamm Gottes,” BWV 23/4, and “The Kyrie” from Luther’s German Litany (1529) as found in the opening of the Mass in F, BWV 233a, that quotes both the German and Latin, observes Leaver in another study.⁵ He shows that Psalm Tone 1 (Dorian) is the basis from the “Kyrie” in Luther’s Deutsche Messe (1526), as variants of the Zahn melody 8607b. “In the concluding Choral, Bach uses the melody and words of the Antiphon, ‘Christe, du Lamm Gottes.’ Words and melody appear together in the Pfalz-Neuburg Kirchenordnung (Nürnberg, 1557), and “obviously have a pre-Reformation association,” says Charles S. Terry.⁶ The words of the chorale are a prose translation of the “Agnus Dei,” and are found in Low German in the Brunswick Kirchenordnung of 1528, and in High German in the Saxon Kirchenordnung of 1540. The dorian melody may derive from a Gregorian tone (e.g. Liber usualis, Mass IV) and was set as an Orgelbüchlein prelude in canon, BWV 619 (Passiontide, https://www.youtube.com/watch?v=79KS1GETWsk), in Weimar, says Peter William in The Organ Music of J. S. Bach.⁷ Bach also used the melody in the orchestra in the opening of chorale Cantata 127, “Herr Jesu, Christ, wahr Mensch und Gott,” also for Estomihi 1725.

In 1529, in conjunction with his “The Latin Litany Corrected,” Luther created his own chant and text, “that begins and ends with the traditional pleas for mercy, Kyrie eleison and Mieserere nobis, to which he inserted various contemporary communal prayers (https://www.youtube.com/watch?v=JwQFYu4W6go. “Much of the historic Litany was retained by the Lutheran Church. Luther hailed it as one of the greatest Christian prayers ever, says Wikipedia “Litany” (https://en.wikipedia.org/wiki/Litany). “ When faced with the Turkish armies at the gates of Vienna in 1528/29, Luther exhorted pastors to call their Christian people to repentance and prayer. He recommended the use of the Litany during the Sunday mass or Vespers. In 1529, he, after modifying the traditional Litany of the Saints (mostly by removing the invocation of saints and prayers for the pope), began using the Litany at Wittenberg in Latin and German. Thomas Cranmer used Luther's revised Litany as one of his main sources in the preparation of the Litany in the Book of Common Prayer. Today, a form of the Litany continues to be used in the various Lutheran Churches around the world.” More details of the Litany are found at

https://lutheranreformation.org/worship/the-litany/.

While Bach did not set Luther's Litany, he did use chants as intonation in his Missae: Kyrie-Gloria, BWV 233-236. His son Emanuel in Hamburg did a setting, "Ewiger, erbarme dich, Herr" (Lord of all, be merciful), "Die neue Litanei: für zwei vierstimmige Chöre und Generalbass (Wq 204,2, https://www.youtube.com/watch?v=RbGZL0J8YuM, http://www.arkivmusic.com/classical/album.jsp?album_id=134828), composed in 1785 for private home use, drawn from the Holsteinsches Gesangbuch (https://www.carus-verlag.com/chor/geistliche-chormusik/carl-philipp-emanuel-bach-die-neue-litanei-2.html, https://www.carusmedia.com/images-intern/medien/30/3320420/3320420n.gif). Bach's settings of 30 Luther chorales is found at https://www.carus-verlag.com/en/choir/search-choral-sheet-music/luther-lieder-in-settings-by-j-s-bach-for-mixed-choir-satb.html).

Schemelli Gesangbuch

In the mid-1730s, Bach turned to devotional songs (http://www.bach-cantatas.com/Topics/Chorale-Collections.htm) with the publication of the omnibus Schemelli Gesangbuch of 1736 with sacred-songs of personal, pietist emphasis. The impetus for this began with the poetic Passion setting of Gotha Kapellmeister Gottfried Heinrich Stölzel at Good Friday 1734 followed by one and possibly two Stölzel annual church-year cantata cycles. At the same time, Anna Magdalena entered many devotional songs in her Notebook (https://en.wikipedia.org/wiki/Notebook_for_Anna_Magdalena_Bach). The devotional sacred songs had followed a parallel tradition at the beginning of the Reformation with personal settings of the Bohemian Brethren and Martyrs (https://en.wikipedia.org/wiki/Unity_of_the_Brethren) notably the 1531 hymnbook, Ein New Gesengbuchlen (Jung Bunzlau), of Michael Weiße (c1488-1534, https://en.wikipedia.org/wiki/Michael_Weiße), whom Luther championed, followed in the mid-1650s with the devotional settings of Paul Gerhardt (https://en.wikipedia.org/wiki/Paul_Gerhardt) and substhe Freylinghausen hymnbook in 1704 (https://en.wikipedia.org/wiki/Johann_Anastasius_Freylinghausen), which crystalized the songs of the pietist wing of the Lutheran Church (https://en.wikipedia.org/wiki/Pietism). Sacred song settings of Stölzel and others are found in the Anna Magdalena Notenbüchlein, begun in 1725 primarily with keyboard partita settings while the sacred songs were entered mostly c.1734.

Bach was involved in the omnibus Schemelli Gesangbuch with Breitkopf in 1736, overseen by Georg Christian Schemelli (https://en.wikipedia.org/wiki/Georg_Christian_Schemelli and https://en.wikipedia.org/wiki/List_of_compositions_by_Johann_Sebastian_Bach#BWV_Chapter_6, http://www.bach-cantatas.com/Lib/Schemelli-Georg-Christian.htm), including a group of 69 engraved two-part devotional songs set to newer melodies with a personal, pietist perspective, BWV 439-507 (https://en.wikipedia.org/wiki/List_of_songs_and_arias_by_Johann_Sebastian_Bach), as well as the completion of the family album, Anna Magdalena Notenbüchlein, BWV 508-518 begun in 1725 (https://en.wikipedia.org/wiki/Notebook_for_Anna_Magdalena_Bach). The two-part settings for canto and bass with figured bass also were the format (http://www.orgelbuechlein.co.uk/wp-content/uploads/2011/12/Witt-160-Gen-Himmel-aufgefahren-ist.pdf) found in Christian Friedrich Witt’s Psalmodia Sacra (Gotha, 1715), also known as the Gotha Hymnal, compiled by the Gotha Kapellmeister.

The omnibus Breitkopf 1736 songbook involved 954 spiritual songs and arias for the church year involving well-known chorales as well as recent pietist sacred songs in the style of Freylinghausen usually set to well-known melodies. The 634-page book did not follow the church-year order of the Gotha hymnal or the Neu Leipziger Gesangbuch. Instead, it began with morning and evening songs and other devotional hymns, then hymns on the life of Christ (de trempore), followed by various pietist themes in sacred songs, and concluding with settings of "Trusting Jesus Songs" and "Death Songs." The 1736 publication promised that a second edition would contain about 200 engraved harmonized melodies in 302 settings to chorale incipits whose key is listed in the first edition next to the incipit and number, Leaver observes (Ibid.: 370f) but were never published probably due to the lack of sales of the first edition. A complete repertory of Schemelli proposed settings that Bach edited "can be compiled" "with reasonable certainty," says Leaver (Ibid.: 371), even though the actual harmonization is unknown "since Bach's manuscript collection of these melodies is no longer extant.⁸ But the later activities of some of his significant pupils may well shed some light on how Bach approached the realization of figured bass chorales." A comparison of 29 "Four–part Realizations of Two–part Schemelli Gesangbuch Chorales," may have originated as Bach teaching materials, says Luke Dahn http://www.bach-chorales.com/SchemelliRealizations.htm), including 11 found in the Penzel collection.⁹

There is "a modern flavour in the devotional songs" of Schemelli, says Peter Williams.¹⁰ The devotional book "signifies a move toward modern human-types and devotional songs in new kind of family hymnal presumably of interest to the capellmeister." Georg Christian "Schemelli was cantor at Zeitz, from where had come Anna Magdalena and the song 'Vergiss mein nicht'," BWV 505, Schemelli No. 627, Timely Cross and Suffering (https://www.youtube.com/watch?v=kokCNSdWKZU, Cross & Suffering, 5 stanzas, text Gottfried Arnold (1714), Bach music, Zahn 4233), "as recalling the easy kind of melody Bach had created for the Anna Magdalena Books, possibly more suitable for Zeitz than Leipzig."

German Mass and Catechism

The Clavierübung III, German Mass/Catechism organ chorales were composed beginning in 1735 and published in 1739. It involves nine settings of the Kyrie and Gloria, BWV 669-676, followed by Luther’s Catechism doctrinal teachings on the Ten Commandments, 678-689: Apostles Creed, Lord’s Prayer, Baptism, Penitence, and Communion (http://www.bach-cantatas.com/NVD/BWV669-689-Gen1.htm). Bach’s 21 alternate chorale settings in old and new styles and forms represent two types of Sunday services, the early Main Services of the Word and Communion, with the Mssae: Kyrie-Gloria, and the afternoon Vespers/Catechism Service. The chorales are (Bach Compendium K 1-21): 1. Kyrie, Gott Vater in Ewigkeit, BWV 669; 2. Christe, Aller Welt Trost, BWV 670; 3. Kyrie, Gott Heiliger Geist, BWV 671; 4. Kyrie, Gott Vater in Ewigkeit, BWV 672; 5. Christe, aller Welt Trost, BWV 673; 6. Kyrie, Gott heiliger Geist, BWV 674; 7. Allein Gott in der Höh' sei Ehr', BWV 675; 8. Allein Gott in der Höh' sei Ehr', BWV 676; 9. Fughetta on Allein Gott, BWV 677; 10. Dies sind die heil'gen zehn Gebot', BWV 678; 11. Dies sind die heil'gen zehn Gebot' (Fughetta), BWV 679; 12. Wir glauben all' an einen Gott, BWV 680;13. Wir glauben all' an einen Gott, BWV 681; 14. Vater unser in Himmelreich, BWV 682;15. Vater unser in Himmelreich, BWV 683; 16. Christ unser Herr zum Jordan kam, BWV 684; 17. Christ unser Herr zum Jordan kam, BWV 685; 18. Aus tiefer Noth schrei' ich zu dir, BWV 686; 19. Aus tiefer Noch schrei' ich zu dir, BWV 687; 20. Jesus Christus, unser Heiland, BWV 688; 21. Jesus Christus, unser Heiland (Fuga), BWV 689. Topics are: The Ten Commandments, Dies sind die heilgen zehn Gebot; The Creed, Wir glauben all an einen Gott; The Lord’s Prayer (the "Our Father"), Vater unser im Himmelreich; Baptism, Christ, unser Herr, zum Jordan kam; Penitence, Aus tiefer Not schrei ich zu dir; and The Eucharist (Communion), Jesus Christus, unser Heiland.

These systematic settings were the culmination of Bach's arrangements of liturgical chorales found in his Neu Leipziger Gesangbuch (NLGB) of 1582, beginning at the end of the de tempore section, "Von der Heilige Dreyfaltigkeit (Trinity), Nos. 139-149, with the Catechism hymns following the succeeding saints days hymns, Nos. 170-189 (https://en.wikipedia.org/wiki/Gottfried_Vopelius#Neu_Leipziger_Gesangbuch). Luther's Litany is found near the end of the omnes tempore (Ordinary Time), NLGB No. 397 (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA1018#v=onepage&q&f=false).

Special Vernacular Chorale Settings

Beyond Luther's (and others') settings of the Deutsche Messe chorales and the Mass/Catechism chorales, are the Reformation vernacular settings of canticles as liturgical hymns: the Magnificat (Luke 1:46-56) as “Meine Seele erhebt den Herrn” (My soul doth magnify the Lord), the Nunc dimittis (Luke 2:22-32) as “Mit Fried’ und Freud’ ich fahr dahin” (With peace and joy I go out), and the Cathechism articles of the Christian faith, which Bach also set as organ chorale preludes in the 1739 Clavierübung III, BWV 679-689: the Ten Commandments, ‘Dies sind die heilgen zehn Gebot”; the Creed, “Wir glauben all an einen Gott”; the Lord’s Prayer, “Vater unser im Himmelreich”; Baptism,” Christ, unser Herr, zum Jordan kam”; Penitence, “Aus tiefer Not schrei ich zu dir” (Psalm 130), and the Eucharist, “Jesus Christus, unser Heila.” These Catechism hymns were sung during the Sunday afternoon main vesper service, in the portion called the Katechismusexamen.

FOOTNOTES

¹ Charles S. Terry, Johann Sebastian Bach, Bach’s Chorals. Part III: The Hymns and Hymn Melodies of the Organ Works (Cambridge University Press, 11/23/2018, https://oll.libertyfund.org/titles/2057' (https://oll.libertyfund.org/titles/bach-bachs-chorals-vol-3-the-hymns-and-hymn-melodies-of-the-organ-works, see Part I.: CHURCH SEASONS AND FESTIVALS).
² Robin A. Leaver, Part IV, Chapter 18, “The Deutsche Messe from Luther to Bach,” in Luther’s Liturgical Music: Principles and Implications (Grand Rapids MI: Eerdmanns Publishing, 2007, 292ff).
³ Jaroslav Pelikan, Chapter 9, "Aesthetics and Evangelical Catholicity in the B Minor Mass," in Bach Among the Theologians (Philadelphia PA: Fortress Press, 1986: 118f). The Lutheran choirboy, Bach for all Seasons (Minneapolis: Augsburg/Fortress, 1999) prints the chorale harmonizations with both English and German texts.
⁴ Source: Edition Bachakademie Vol. 81, A Book of Chorale-Settings for German Mass: Chorale from BWV 245/5 (= BWV 416); Chorales: BWV 260, 298, 322, 325, 328, 332, 363, 371/1-3, 373, 401, 416, 437; Helmuth Rilling, Hänssler 1998; see http://www.bach-cantatas.com/Vocal/BWV250-438-Rilling.htm: Ch-8.
⁵ Leaver, “Bach and the German Agnus Dei,” A Bach Tribute: Essays in Honor of William H. Scheide (Kassel/Chapel Hill NC: Bärenreiter/Hinshaw, 1993: 163-171).
⁶ Charles S. Terry, Bach’s Chorals. Part I: The Hymns and Hymn Melodies of the Cantatas and Motetts, by Charles Sanford Terry (Cambridge University Press, 1915-1921). 3 vols. Vol. 2. February 21, 2016. http://oll.libertyfund.org/titles/2056.
⁷ Peter Williams, The Organ Music of J. S. Bach, 2nd ed. (Cambridge University Press, 2003: 273f).
⁸ Schemelli bibliography http://swb.bsz-bw.de/DB=2.355/LNG=EN//CMD?ACT=SRCHA&INDEXSET=1&IKT=3020&TRM=FK%2081&COOKIE=U209,P2e6A,I94,B1493+,SY,NRecherche-DB,D2.355,E27151343-0,A,H,R193.197.31.15,FY; Schemelli Gesangbuch facsimile, https://www.amazon.com/Gesangbuch-Georg-C-Schemelli/dp/1376269228/ref=sr_1_16?ie=UTF8&qid=1539480111&sr=8-16&keywords=schemelli+gesangbuch
⁹ A possible connection between the 240 Sibley Choralbuch two-part realizations and the proposed 200 harmonizations in a planed second edition of the Schemelli Gesangbuch is only a slight possibility. For example, the Sibley Choralbuch lists the Christmas hymn, “Laßt uns alle fröliche sein,” on page 23 in four stanzas with the Zahn melody 1161, according to Leaver, which also is found in Schemelli as No. 199 under the Birth of Jesus Christ showing all four stanzas with a harmonization in G Major, while this same 4-stanza chorale also is listed in Bach's NLGB as No. 29 for Christmas with the author Johann Forster (Wittenberg 1611) and a variant of Zahn melody 1161. There is no extant Bach setting.
¹⁰ Peter Williams, "Leipzig, the middle years," in Bach: A Musical Biography (Cambridge University Press, 2016: 385).

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To Come: A fifth Bach Church Year Cycle: Occasional, non-Liturgical Music of Joy and Sorrow.