The Mass in B minor, BWV 232, is an extended setting of the Mass ordinary by Johann Sebastian Bach. The composition was completed in 1749, the year before the composer's death, and was to a large extent based on earlier work, such as a Sanctus Bach had composed in 1724. Sections that were specifically composed to complete the Mass in the late 1740s include the "Et incarnatus est" part of the Credo.
The Missa solemnis in D major, Op. 123, is a Solemn Mass composed by Ludwig van Beethoven from 1819 to 1823. It was first performed on 7 April 1824 in Saint Petersburg, Russia, under the auspices of Beethoven's patron Prince Nikolai Golitsyn; an incomplete performance was given in Vienna on 7 May 1824, when the Kyrie, Credo, and Agnus Dei were conducted by the composer. It is generally considered one of the composer's supreme achievements and, along with Bach's Mass in B minor, one of the most significant Mass settings of the common practice period.
SATB is an initialism that describes the scoring of compositions for choirs or consorts of instruments. The initials are for the voice types: S, soprano, A, alto, T, tenor and B, bass. It can also describe a choir, collectively for SATB music.
The Glagolitic Mass is a composition for soloists, double chorus, organ and orchestra by Leoš Janáček. Janáček completed the work in 1926. It received its premiere by the Brno Arts Society, conducted by Jaroslav Kvapil, in Brno on 5 December 1927. Janáček revised the mass the next year.
Mass No. 2 in G major, D 167, by Franz Schubert was composed in less than a week in early March 1815 and remains the best known of his three short settings, or missae breves, dating between his more elaborate No. 1 and No. 5. Apart from some passages for soprano, its solistic interventions are modest; Schubert, characteristically, inclines toward a devotional mood. The First Mass had been successfully performed in the composer's parish the year before.
The Missa in angustiis, commonly known as the Nelson Mass, is a Mass setting by the Austrian composer Joseph Haydn. It is one of the six masses written near the end of his life that are seen as a culmination of Haydn's composition of liturgical music.
The Krönungsmesse, composed in 1779, is one of the most popular of Wolfgang Amadeus Mozart's 17 extant settings of the Ordinary of the Mass. While it is relatively short, Bruce C. Macintyre, writing in the Cambridge Mozart Encyclopedia, classifies it as a Missa Longa, on the basis of the festal character, size of the orchestra, which includes a substantial brass section, orchestral introductions for the movements and the setting of the intonations for the Gloria and Credo.
Theresienmesse is a mass in B-flat major written by Joseph Haydn and named after Maria Theresa of the Two Sicilies, empress consort of Francis II. The empress herself was the soprano soloist at private performances of both The Creation and The Seasons in May 1801 at the Viennese Court. The title does not appear on the autograph score, which is labeled simply with the Latin word "Missa".
The Missa brevis Sancti Joannis de Deo, Hob. XXII:7, Novello 8, is a mass in B-flat major by Joseph Haydn. The missa brevis was written around 1775 for the order of the Barmherzige Brüder in Eisenstadt, whose patron saint was John of God. Scored modestly for soprano, four-part mixed choir, two violins, organ and bass, it is known as the Kleine Orgelmesse due to an extended organ solo in the Benedictus movement which also includes the only featured solo voice - a soprano.
The Sparrow Mass is a mass in C major K. 220/196b, Mass No. 9, Missa brevis No. 5, composed by Wolfgang Amadeus Mozart in 1775 or 1776 in Salzburg. The mass is sometimes termed a missa brevis et solemnis, because it is short in a simple structure as a missa brevis, but festively scored like a missa solemnis with brass and timpani in addition to four soloists, strings and organ. It was possibly first performed on 7 April 1776 in a mass for Easter at the Salzburg Cathedral. The nickname is derived from violin figures in the Hosanna which resemble bird chirping.
The listing shows recordings of the Mass in B minor, BWV 232, by Johann Sebastian Bach. The selection is taken from the 281 recordings listed on the Bach Cantatas Website as of 2018, beginning with the first recording by a symphony orchestra and choir to match, conducted by Albert Coates. Beginning in the late 1960s, historically informed performances paved the way for recordings with smaller groups, boys choirs and ensembles playing period instruments, and eventually to recordings using the one-voice-on-a-vocal-part scoring first argued for by Joshua Rifkin in 1982.
Johann Sebastian Bach composed the church cantata Warum betrübst du dich, mein Herz, BWV 138, in Leipzig for the 15th Sunday after Trinity and first performed it on 5 September 1723. The text by an unknown author includes three stanzas from the hymn of the same name. Its text and melody were formerly attributed to Hans Sachs, but were written by an unknown hymn writer. The cantata has seven movements and is scored for SATB soloists and choir, two oboes d'amore, two violins, viola and basso continuo. The cantata has features of a chorale cantata although it was written a year before Bach's annual cycle of chorale cantatas. Bach used an aria as the base of the Gratias of his Missa in G major.
The Mass in B minor is Johann Sebastian Bach's only setting of the complete Latin text of the Ordinarium missae. Towards the end of his life, mainly in 1748 and 1749, he finished composing new sections and compiling it into a complex, unified structure.
The Missa solemnis in C major, K. 66, is a mass composed by Wolfgang Amadeus Mozart in 1769. It is scored for SATB soloists and choir, violins I and II, viola, 2 oboes, 2 horns, 2 clarini, 2 trumpets and basso continuo.
Stabat Mater in F minor, D 383, is a musical setting of the Stabat Mater sequence, composed by Franz Schubert in 1816. It is scored for soprano, tenor and bass soloists, SATB choir, 2 flutes, 2 oboes, 2 bassoons, contrabassoon, 2 french horns, 3 trombones, violin I and II, viola, cello and double bass.
Mass No. 1 in F major, D 105, is a Mass composed by Franz Schubert in 1814. It is scored for two soprano soloists, two tenor soloists, alto and bass soloists, SATB choir, oboe, clarinet, bassoon, 2 horns, violin I and II, viola, and basso continuo. It was the first of Schubert's Masses to be performed, and is of the missa solemnis type.
Mass No. 4 in C major, D 452, is a mass composed by Franz Schubert in 1816. It was originally scored for soprano, alto, tenor and bass soloists, SATB choir, violin I and II, and basso continuo. It is classified as a missa solemnis.
Mass No. 5 in A-flat major, D 678, is a mass composed by Franz Schubert, completed in 1822. There is no record of a performance during Schubert's lifetime. It is scored for soprano, alto, tenor and bass soloists, SATB choir with divisi, violin I and II, viola, flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones colla parte, timpani and basso continuo. It is classified as a missa solemnis.
Mass No. 6 in E-flat major, D 950, is a mass composed by Franz Schubert, a few months before his death. It is scored for two tenor soloists, soprano, alto and bass soloists, SATB choir with divisi, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, violin I and II, viola, cello, and double bass. It was Schubert's final setting of the order of Mass, and is classified as a missa solemnis.
Missa Sancti Nicolai, Mass No. 6 in G major, Hob. XXII/6, also known as the Nicolaimesse, is a mass by Joseph Haydn, composed around 1772 and revised in 1802.
