Johann Sebastian Bach Mass in B minor, BWV 232 Facsimile of the autograph score in the Staatsbibliothek zu Berlin Edited by Christoph Wolff Facsimile series of Bach’s works and documents – New Series · Documenta Musicologica II, 35 Format 23.5 x 35 cm. 198 + 20 pages of facsimile and a 36 page introduction (English/German/Japanese); hardback ISBN 978-3-7618-1911-1 Each copy of this limited edition is numbered by hand. € 398.00 Saved from decay – preserved as a facsimile Japanese version
BÄRENREITER FACSIMILE Synonymous with the highest authenticity The BÄRENREITER FACSIMILE seal is used exclusively for facsimile editions published by Bärenreiter which meet the highest standards in both scholarly and technical terms. The distinguishing features include: Specially selected paper Decorative binding in keeping with the historic theme Individually trimmed pages, as far as the edition allows High resolution full-colour printing, reflecting the original A commentary by internationally renowned scholars	Johann Sebastian Bach’s “Opus ultimum” is the second publication in the BÄRENREITER FACSIMILE series, following that of Mozart’s Jupiter Symphony. The work was completed in 1748/49, after the Art of Fugue, shortly before Bach’s death. This late work is as concentrated and rich in compositional technique as scarcely any other work. As early as 1818, Hans Nägeli enthusiastically described the Mass as the “greatest musical artwork of all time and all nations”. Since then, it has been ranked as an icon of music history. One of the primary functions of a facsimile is the preservation of such a cultural heritage, particularly when the manuscript (as is the case with the Mass in B minor) is endangered and damaged by iron gall ink erosion. Furthermore, it is moving for Bach admirers to see how in some passages, Bach’s handwriting reflects the effort which this last work demanded of him. The facsimile, which has been lovingly reproduced and lavishly published, documents and records the present condition of the complete autograph score. Older reproductions have been substituted for a few individual folios where the content has become difficult to read in recent years. In addition, the volume, which is also a four-colour facsimile, contains an early version of the Sanctus which Bach had composed for Christmas Day 1724. This reveals differences in scoring and articulation, together with typical characteristics of one of Bach’s composition scores. The renowned Bach scholar Christoph Wolff describes the work’s significance in his introduction, gives an overview of the history of composition, and draws attention to particular distinguishing features of the manuscript.