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Cums Symphony Orchestra Cambridge University Symphony Chorus CAMBRIDGE UNIVERSITY MUSICAL SOCIETY www.cums.org.uk Principal Guest Conductor Sir Roger Norrington CBE CUMS Conductor Laureate Stephen Cleobury CBE Principal Guest Conductor Cambridge University Chamber Orchestra Peter Stark Director Cambridge University Chamber Choir Martin Ennis Associate Directors Cambridge University Chamber Choir David Lowe, Nicholas Mulroy Saturday 17 June 2017, 8.00pm King’s College Chapel, Cambridge J.S. Bach Mass in B minor CUMS SYMPHONY ORCHESTRA CAMBRIDGE UNIVERSITY SYMPHONY CHORUS Sir Roger Norrington conductor Elin Manahan Thomas soprano Ciara Hendrick mezzo Nicholas Scott tenor Edward Grint bass Joseph Fort chorus master CUMS is grateful for the support of TTP Group – Principal Sponsor, Bloom Design, Christ’s College, Churchill College, Corpus Christi College, CUMS Fund, CUMS Supporters’ Circle, Emmanuel College, Gonville and Caius College, Jesus College, King’s College, Murray Edwards College, Newnham College, Peterhouse College, Robinson College, St Edmund’s College, St John’s College, Trinity College, University of Cambridge Faculty of Music, University of Cambridge Societies Syndicate, West Road Concert Hall, Wolfson College PROGRAMME NOTES Johann Sebastian Bach (1685–1750) Mass in B minor The Mass in B minor was the culmination of Bach’s to submit the mass for performance at the dedi- compositional life. Assembled in 1748–9, it is one cation of the new Hofkirche in Dresden (now the of his last pieces, and brings together all the mu- city’s Roman catholic cathedral), or that he hoped sical genres, styles, and techniques that Bach had it would be performed at St Stephen’s Cathedral in developed and refined over his career. The work is catholic Vienna. Christoph Wolff argues that, ‘with a compilation of many smaller pieces and cantata its centuries-old tradition…the setting of the mass movements which Bach put together to form a ‘mis- had a natural affinity to the historical and theoretical sa tota’, a setting of the complete mass text. ‘Parody’ dimensions of Bach’s musical thinking’. Bach’s deci- – the reuse of music in a new context, sometimes set sion to undertake such a composition may well have to different words – was a common technique for been impelled by his desire to preserve his music for eighteenth-century composers, and Bach himself posterity, and to demonstrate his mastery of a vast converted many of his secular cantatas into sacred compendium of styles: the stile antico of the second pieces. It was much rarer to find a convinced ‘Kyrie’, the modern ‘concerted’ instrumental style Lutheran like Bach (working in a staunchly Lutheran of the ‘Gloria in excelsis’ and ‘Cum sancto Spiritu’, city) setting the full mass, since normally only the ‘galant’ arias with obbligato accompaniment such ‘Kyrie’ and ‘Gloria’ were sung in Latin in Lutheran as ‘Domine Deus’, plainsong threaded as a cantus services. Indeed, one of the most important parts of firmus through complex polyphony in ‘Confiteor’, the Mass in B minor is the Missa of 1733: a setting of choral fugues such as ‘Pleni sunt coeli’, and often the ‘Kyrie’ and ‘Gloria’ (the Lutheran ‘missa brevis’) the combination of these disparate styles within the which Bach composed in 1733 and dedicated to the same movement. Bach’s musical mind constantly newly crowned Elector of Saxony, August III. The sought new ways of integrating old and new, and oldest substantial part of the Mass in B minor is in the Mass in B minor baroque ‘Figuren’, classical the ‘Sanctus’, a revision of a work of that Bach had ideas of rhetoric, and modern melodic tropes sit composed for Christmas 1724, but the ‘Crucifixus’ happily side by side. movement from the ‘Credo’ is a descendent of the But while Bach readily engaged with lofty ideas of first chorus of the cantata Weinen, Klagen, Sorgen, posterity, an encyclopaedia of musical styles, and Zagen (1714). This movement nestles next to the the combination of the ancient and modern, he was newly composed ‘Et incarnatus’, which is believed to also a pragmatist. He ensured that the four large- be Bach’s last vocal composition. These movements, scale sections of the mass worked as coherent piec- though composed 35 years apart, share many sty- es in their own right, and labelled the four sections listic affinities: their searing dissonances created of the manuscript accordingly: ‘Missa’, ‘Symbolum by their anguished vocal polyphony, their trudging Nicenum’, ‘Sanctus’, and ‘Osanna’. However, the basslines, and the rhythmic ostinatos of their ac- usual suffix ‘Soli Deo gloria’ appears only at the end companying textures. Nonetheless it is remarkable of the ‘Osanna’, making it clear that, though Bach how successfully the youngest and oldest parts of countenanced and made possible performance of the mass work together to prepare the way for the single sections of the mass, he considered it a uni- exuberant ‘Et resurrexit’ that follows. fied musical whole. It is especially poignant that, by The first complete public performance of theMass the time Bach assembled this masterly catalogue of in B minor was not given until 1859, though there musical styles and devices, many elements (notably had been earlier performances of individual sections the intricate and finely wrought polyphony) were of the work. Bach directed the ‘Sanctus’ in Leipzig considered ‘academic’ and old-fashioned. How in 1724, but scholars differ as to whether he ever fitting that Bach chose the timeless genre of the heard the 1733 Missa. Given the complete lack of mass to preserve the music which to him meant so opportunity for the performance of a ‘missa tota’ much, and which still speaks to us today. within the Lutheran tradition, the question of why Bach compiled the Mass in B minor has often been asked. It has been suggested that Bach intended Bertie Baigent TEXT & TRANSLATION If you would like to applaud, please do so only after the Gloria and the Credo. Kyrie Coro Chorus Kyrie eleison. Lord, have mercy. Aria (Duetto) Aria (Duet) Christe eleison. Christ, have mercy. Coro Chorus Kyrie eleison. Lord, have mercy. Gloria Coro Chorus Gloria in excelsis Deo. Glory be to God on high. Coro Chorus Et in terra pax hominibus bonae voluntatis. And on earth peace to men of good will. Aria Aria Laudamus te, We praise thee, benedicimus te, we bless thee, adoramus te, we worship thee, glorificamus te. we glorify thee. Coro Chorus Gratias agimus tibi propter We give thanks to thee magnam gloriam tuam. for thy great glory. Aria (Duetto) Aria (Duet) Domine Deus, Rex coelestis, O Lord God, heavenly King, Deus Pater omnipotens, God the Father Almighty, Domine Fili unigenite, O Lord, the only-begotten Son, Jesu Christe altissime, Jesus Christ, the Most High, Domine Deus, Agnus Dei, Filius Patris. O Lord God, Lamb of God, Son of the Father. Coro Chorus Qui tollis peccata mundi, Thou that takest away the sins of the world, miserere nobis, have mercy upon us. qui tollis peccata mundi, Thou that takest away the sins of the world, suscipe deprecationem nostram. receive our prayer. Aria Aria Qui sedes ad dextram Patris, Thou that sittest at the right hand of the Father, miserere nobis. have mercy upon us. Aria Aria Quoniam tu solus sanctus, For thou only art holy; tu solus Dominus, thou only art the Lord; tu solus altissimus Jesu Christe. thou only, O Jesus Christ, art most high. Coro Chorus Cum Sancto Spiritu in gloria Dei Patris, With the Holy Ghost in the glory of God the Father. Amen. Amen. There will be a 20 minute interval between the Gloria and the Credo. Credo: Symbolum Nicenum Coro Chorus Credo in unum Deum. I believe in one God. Coro Chorus Credo in unum Deum, I believe in one God, Patrem omnipotentem, the Father Almighty, factorem coeli et terrae, maker of heaven and earth, visibilium omnium et invisibilium. of all things visible and invisible. Aria (Duetto) Aria (Duet) Et in unum Dominum Jesum Christum, And in one Lord Jesus Christ, Filium Dei unigenitum the only begotten Son of God, et ex Patre natum ante omnia saecula. and born of the Father before all worlds. Deum de Deo, God of God, lumen de lumine, light of light, Deum verum de Deo vero, very God of very God, genitum, non factum begotten, not made, consubstantialem Patri, of one substance with the Father, per quem omnia facta sunt. by whom all things were made. Qui propter nos homines Who for us men et propter nostram salutem descendit de coelis. and for our salvation came down from heaven. Coro Chorus Et incarnatus est And was incarnate de Spiritu Sancto ex Maria virgine, by the Holy Ghost of the Virgin Mary, and was et homo factus est. made man. Coro Chorus Crucifixus etiam pro nobis And was crucified also for us sub Pontio Pilato, under Pontius Pilate, passus et sepultus est. suffered and was buried. Coro Chorus Et resurrexit tertia die And the third day he rose again secundum scripturas, according to the Scriptures, et ascendit in coelum, and ascended into heaven, sedet ad dextram Dei Patris, sitteth at the right hand of the Father, et iterum venturus est and shall come again cum gloria judicare vivos et mortuos, with glory to judge the quick and the dead; whose cuius regni non erit finis. kingdom shall have no end. Aria Aria Et in Spiritum Sanctum And in the Holy Ghost, Dominum et vivificantem, the Lord and giver of life, qui ex Patre Filioque procedit; who proceedeth from the Father and the Son; who qui cum Patre et Filio simul adoratur et with the Father and the Son together is worshipped conglorificatur; and glorified; qui locutus est per Prophetas. who spake by the prophets. Et unam sanctam catholicam et apostolicam And in one holy catholic and apostolic Church.
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