Й.С. Бах – пародийни техники в Меса h-moll Gratias, Crucifixus и Agnus Dei
Parody Techniques in J. S. Bach’s B-Minor Mass Gratias, Crucifixus and Agnus Dei

Summary/Abstract: Bach’s B Minor Мass gives meaningful clues about the composer’s interpretation of pieces that served as models for parody treatment. This helps us better to understand Bach’s application of parody technique, but it also helps to make the terminology used to describe the inclusion of previously existing musical material in new compositions more precise. The number of parody parts in the B Minor Mass is so large that this technique, and its significance for the work as a whole, is crucial for its analysis. Bach’s use of parody is most prominent in the Christmas Oratorio BWV 248, B Minor Mass BWV 232 and the four “small“ masses BWV 233-236. The choice of models is not only based on the composer’s assessment of the music’s quality however. There are two possible reasons for selection: the intrinsic quality of the original music and its potential for further elaboration, or the likeness of meaning, metrical steps, and prosody that link the two texts. This essay considers both possibilities in the analysis of the Mass’s three parody parts through the examination of musical similarities and differences, and the comparison of textual parallels.

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