Exploring Bach’s B-minor Mass - Title page

pp iii-iii

Copyright page

pp iv-iv

Dedication

pp v-vi

Contents

pp vii-viii

Illustrations

pp ix-x

Music examples

pp xi-xii

Tables

pp xiii-xiv

Notes on the contributors

pp xv-xviii

Preface

pp xix-xxii

Acknowledgements

pp xxiii-xxiii

Abbreviations and conventions

pp xxiv-xxx

Part I - Historical background and contexts

pp 1-104

1 - Past, present and future perspectives on Bach’s B-minor Mass

pp 3-20

2 - Bach’s Mass: ‘Catholic’ or ‘Lutheran’?

pp 21-38

3 - Bach’sMissaBWV 232Iin the context of Catholic Mass settings in Dresden, 1729–1733

pp 39-53

4 - The role and significance of the polonaise in the ‘Quoniam’ of the B-minor Mass

pp 54-83

5 - ‘The Great Catholic Mass’: Bach, Count Questenberg and the Musicalische Congregation in Vienna

pp 84-104

Part II - Structure and proportion

pp 105-162

6 - Some observations on the formal design of Bach’s B-minor Mass

pp 107-124

7 - Chiastic reflection in the B-minor Mass: lament’s paradoxical mirror

pp 125-141

8 - Parallel proportions, numerical structures andHarmoniein Bach’s autograph score

pp 142-162

Part III - Sources

pp 163-214

9 - Many problems, various solutions: editing Bach’s B-minor Mass

pp 165-185

10 - Manuscript score No. 4500 in St Petersburg: a new source of the B-minor Mass

pp 186-214

Part IV - Reception

pp 215-297

11 - Haydn’s copy of the B-minor Mass and Mozart’s Mass in C minor: Viennese traditions of the B-minor Mass

pp 217-243

12 - ‘Areally correct copy of the Mass’? Mendelssohn’s score of the B-minor Mass as a document of the Romantics’ view on matters of performance practice and source criticism

pp 244-266

13 - The B-minor Mass in nineteenth-century England

pp 267-286

14 - Bach’s B-minor Mass: an incarnation in Prague in the 1860s and its consequences

pp 287-297