Back in 1818, a little-known Swiss composer, Hans Georg Naegeli (1773–1836), wrote of Johann Sebastian Bach’s Mass in B Minor, “It is the greatest music work of art of all ages and of all people.” With this quote, Christoph Wolff, retired professor of music at Harvard University and world-wide expert on Bach, began his talk at Emmanuel Church last Sunday for this coming Saturday evening’s much-anticipated performance of the Mass by Emmanuel Music. Details HERE.

Wolff called Naegeli’s opinion “An astonishing assertion at a time when Beethoven was at his peak.” He later added, “Modern-day would not repeat Naegeli’s exaggerated declaration, although it was not altogether preposterous.” He cites as proof that Josef Haydn (1732–1809), in his old age, acquired a copy of the B Minor Mass, which then caused Beethoven to try and find a copy of it, “because he wanted to write that kind of work himself.” So, Wolff opined, “it is worth finding out what makes the mass so unique.” Only the performance itself reveals the unique nature of this most special work of art, he pointed out. But the historical facts behind it, “chronology of the work’s genesis its many levels of complexity,” are a good subject for consideration.

The Mass is in four sections, each composed at different times, from 1723-4 to 1749, and it was never bound as one manuscript in Bach’s lifetime. The development and meaning of each section is discussed brilliantly and is available with a video of the complete talk on the Emmanuel Music website.

Some gems from the lecture:

• It is actually a D Major Mass, the prevailing key. Not until the late 19^th century was it called B Minor Mass, referring to its opening key.
• There are 27 movements, of which 18 are choral, making it an unusual and challenging work for any choir.
• The earliest section, Sanctus, composed for Xmas 1724, is Bach’s only six-part choral work (SSAATB) and therefore, Wolff pointed out, particularly festive.
• Symbolum Nicenum, the second section, composed in 1748 and 1749, has nine movements, 13 through 21. It originally had only eight, but Bach “at very last movement, decided something was wrong, and carved out the text et incarnatus est, originally part of section aria 15, Et in unum Dominum.” He thereby created at the center of this section the three themes of Christ’s life. The new “Et incarnatus est“ movement is “one of the stylistically most modern compositions Bach wrote.”
• At the end of the Gloria, Bach sought a special sound for the brass. He introduced the corno da caccia, with delicate accompaniment from two bassoons, for “very special instrumental color.”

Most fascinating for this listener was Wolff’s analysis of Bach’s careful adherence to the importance of the Biblical text. A prime example is in the Sanctus: how the passage from Isaiah, “I saw the Lord high and exalted, seated on the Throne…. Six wings, two covered their faces, two covered feet, two they were flying…,” in which the number six is very clearly represented, informed Bach’s instrumentation and suggestion for the placements of the choirs. Rhythmic structure also reflects numbers three and six, triplets throughout. It translates atmosphere of awe into widely spaced musical sound, recreates musically the vision of presence of God, who is invisible, but whose train completely covers the floor of the temple…. It creates a sound like no other vocal work of Bach.”

The beginning of the Symbolum Nicenum, Credo in unum deum—I believe in one God— is­ “pure theological dogma, with no reference to imagery as in the Isaiah text,” Wolff notes….  “truly challenging to find the appropriate music for such a difficult and abstract text… that does not lend itself to musical interpretation.”

For the flavor of timelessness, Bach structured the section in such a way that makes little use of orchestra, but continuo and violins and substitutes for upper voices, seven-part motet structure, like 16^th-century vocal polyphony. “It starts with a medieval Gregorian 9^th-century chant, then Renaissance-era vocal polyphony, then Baroque element of the 18^th-century basso continuo, to represent the timelessness of the Creed.”

“It is not merely Bach’s remarkable command of compositional technique, his sophisticated polyphonic style, and the wide range of expression in his musical language. It is also his sense of history, his deep knowledge of musical repertoires and styles from chants and Renaissance polyphony to the wide variety of the musical scene of his day, especially to look at the central movements of the Creed, et incarnatus est, crucifixus, et resurrexit… contrasting styles in a very remarkable way.

“In the B Minor Mass, Bach was conscious of having to deal with an ancient musical drama that never lost its impact. Accepting the challenge, he realized that the universal claim of the Latin Mass required a commensurate response on his part, a response commensurate both in terms of musical and theological dimension. The B Minor Mass represents an artistic legacy reflecting and summarizing nearly four decades of Bach’s investment in sacred music. And as such, it teaches a vivid and vibrant musical and spiritual sermon. Its repercussions began more than 200 years ago, and its effect appears to be infinite. Its message continues to be revitalized and re-energized with every performance.

Christoph Wolff, Adams University Professor, Emeritus, in Historical Musicology from Harvard, also served as Director of the Bach-Archiv in Leipzig and President of the Répertoire International des Sources Musicales.

Bettina A. Norton, emerita editor of the Intelligencer, is a retired museum professional. She has published widely in her field, American historical prints, and in later years, was editor and publisher of The Beacon Hill Chronicle. She has been attending classical music concerts “since the waning years of World War II.”