BACH’S MASS IN B MINOR: AN ANALYT ICAL STUDY OF PARODY MOVEMENTS AND THEIR FUNCTION IN THE LARGE-SCALE ARCHITECTURAL DESIGN OF THE MASS René Pérez Torres, B.E. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS December 2005 APPROVED: Timothy L. Jackson, Major Professor Stephen Slottow, Co-Major Professor David Schwarz, Minor Professor Lester Brothers, Chair of the Division of Music History, Theory, and Ethnomusicology Graham Phipps, Director of Graduate Studies James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Pérez Torres, René, Bach’s Mass in B minor: An Analytical Study of Parody Movements and their Function in the Large-Scale Architectural Design of the Mass. Master of Music (Music Theory), December 2005, 193 pp., 2 tables, 47 musical examples, references, 21 titles. Most studies of the Mass in B Minor deal with the history of the work, its reception history, primary sources, performance practice issues, rhetoric, and even theological and numerical symbolism. However, little research focuses on an in-depth analysis of the music itself. Of the few analytical studies undertaken, to date only a limited number attempt to explain Bach’s use of parody technique or unity in the whole composition. This thesis focuses on understanding three primary concerns in regards to the Mass in B minor: to comprehend how preexistent material was adapted to the context of the Mass, how this material functions in the network of the entire composition, and how unity is achieved by means of large-scale voice leading. The results of this study not only provide new information about this monument of Western music, but also provide insight to the deep sense of large-scale structure in Bach’s work. Copyright 2005 by René Pérez Torres ii ACKNOWLEDGMENTS The author wishes to acknowledge the following individuals for their assistance in the production of this study: Dr. Timothy Jackson, the director of the thesis, for his invaluable guidance, interest, and encouragement; and Drs. Stephen Slottow and David Schwarz for their helpful comments and insights. I would like to extend my deepest thanks to my family and especially to my mother for their endless support. iii TABLE OF CONTENTS Page ACKNOWLEDGMENTS ...........................................................................................................iii LIST OF TABLES.......................................................................................................................vi LIST OF MUSICAL EXAMPLES.............................................................................................vii INTRODUCTION ........................................................................................................................ 1 State of Research Research Assumptions Treatment Chapters I. GLORIA ............................................................................................................. 11 “Gratias agimus tibi” “Qui tollis peccata mundi” Gloria Unified II. SYMBOLUM NICENUM .................................................................................... 37 “Patrem omnipotentem” “Crucifixus” “Et expecto resurrectionem” Symbolum Nicenum Unified III. “OSANNA,” “AGNUS DEI” AND “DONA NOBIS”....................................... 87 “Osanna” “Agnus Dei” “Dona nobis pacem” Unification of Part No. 4 IV. THE MISSA TOTA............................................................................................ 116 Kyrie Sanctus Unification of the Missa tota iv APPENDIX - MUSIC SCORES OF THE MODELS .............................................................. 134 REFERENCE LIST ................................................................................................................. 191 v LIST OF TABLES Page 1. Parody movements and their corresponding sources........................................................5 2. Internal movements in the Mass in B minor.....................................................................9 vi LIST OF MUSICAL EXAMPLES Page I.1 Designation of pitch registers ........................................................................................... 8 1.1 First fugue subject in “Gratias.”...................................................................................... 13 1.2 Background graph of “Gratias.” ..................................................................................... 13 1.3 Middleground graph of “Gratias.” .................................................................................. 17 1.4 Background graph of “Schauet doch und sheet.” ........................................................... 18 1.5 Background graph of “Domine Deus,” “Qui tollis,” and “Qui sedes” unified............... 20 1.6 Background graph of “Domine Deus.”........................................................................... 21 1.7 Middleground graph of “Schauet doch und sheet.”........................................................ 25 1.8 Middleground graph of “Qui tollis.”............................................................................... 30 1.9 Gloria unfied by large-scale voice leading ..................................................................... 33 1.10 Gloria – reduction ........................................................................................................... 36 2.1 “Gott, wie dein Name” and “Patrem omnipotentem” fugue subjects............................. 39 2.2 Background graph of “Gott, wie dein Name.”................................................................ 39 2.3 Background graph of “Patrem omnipotentem.”.............................................................. 40 2.4 Middleground graph of “Gott, wie dein Name.” ............................................................ 43 2.5 Middleground graph of “Patrem omnipotentem.” .......................................................... 49 2.6 Background graphs of “Weinen, Klagen” and “Crucifixus.” ......................................... 55 2.7 Middleground graph of “Weinen, Klagen.”.................................................................... 57 2.8 Middleground graph of “Crucifixus.”............................................................................. 62 2.9 Background graphs of “Jauchzet, ihr er freuten” and “Et expecto resurrectionem.” ..... 67 2.10 Middleground graph of “Jauchzet, ihr er freuten.”......................................................... 69 vii 2.11 Middleground graph of “Et expecto resurrectionem.”.................................................... 75 2.12 Symbolum Nicenum unfied by large-scale voice leading .............................................. 83 2.13 Symbolum Nicenum – reduction .................................................................................... 86 3.1 Background graph of “Osanna.”..................................................................................... 89 3.2 Middleground graph of “Osanna.”.................................................................................. 91 3.3 Background graphs of “Ach, bleibe doch” and “Agnus Dei.”........................................ 97 3.4 Middleground graph of “Ach, bleibe doch.” ................................................................ 100 3.5 Middleground graph of “Agnus Dei.” .......................................................................... 106 3.6 Part No. 4 unified by large-scale voice leading ............................................................ 114 3.7 Part No. 4 – reduction ................................................................................................... 115 4.1 Background graph of “Kyrie” I..................................................................................... 117 4.2 “Kyrie” I, fugue subject ................................................................................................ 118 4.3 Middleground graph of “Kyrie” I ................................................................................. 119 4.4 Background graph of “Christe eleison.” ....................................................................... 123 4.5 “Kyrie” II, fugue subject............................................................................................... 124 4.6 Background graph of “Kyrie” II ................................................................................... 124 4.7 Kyrie unified by large-scale voice leading ................................................................... 125 4.8 Middleground graph of Santus...................................................................................... 127 4.9 Mass in B minor – reduction......................................................................................... 132 A.1 Score of BWV 29/2 “Wir danken dir, Gott.”................................................................ 135 A.2 Score of BWV 46/1 “Schauet doch und sehet.” ........................................................... 142 A.3 Score of BWV 171/1 “Gott, wir dein Name.” .............................................................. 158 A.4 Score of BWV 12/2 “Weinen, Klagen, Sorgen, Zagen.”.............................................. 165 viii A.5 Score of BWV 120/2 “Jauchzet, ihr er freuten.” .......................................................... 168 A.6 Score of BWV 215/1 “Preise dein Glücke.”................................................................. 174 A.7 Score of BWV 11/4 “Ach, bleibe doch.”...................................................................... 189 ix INTRODUCTION There