(Glory be to God on high) for soprano, tenor, vocal ensemble, trumpets I–III, timpani, flute I+II, oboe I+II, bassoon, strings and continuo.

Bach’s Mass in B Minor belongs to his most famous works, yet the history of its composition remains beset with questions, mostly surrounding its puzzling revision and completion in the late 1740s. What is certain, however, is that the Kyrie and Gloria movements were written already in 1733 and pres-ented as a composition dedicated to the new Prince-elector Friedrich August II in Dresden as part of Bach’s efforts to attain the title of Kapellmeister. Notably, these works are themselves partly reconstructions of older compositions that were revised and amended to suit the Latin text of the Mass and their new purpose – a pragmatic parody approach that Bach also applied to the Christmas music “Gloria in excelsis Deo” (BWV 191). Although only one copy of this work survives, it is in Bach’s hand. Preserved today in the Berlin State Library, the autograph score is entitled “J.J. Festo Nativitatis: Xsti. Gloria in excelsis Deo. à 5 Voci. 3 Trombe Tymp. 2 Trav. 2 Hautb. 2 Violini Viola e Cont. di J. S. Bach”. Its three movements are entirely based on drafts for the first version of the B Minor Mass planned for Dresden.