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A release created by Josef-Stefan Kindler and Andreas Otto Grimminger in direct-2-track-stereo-digital


Johann Sebastian Bach (1685-1750)
Mass in B Minor BWV 232
Performed according
to the traditions of the time

Joanne Lunn - Soprano
Ursula Eittinger - Mezzo-Soprano
Marcus Ullmann - Tenor
Gotthold Schwarz - Bass
Hanoverian Court Orchestra
(Hannoversche Hofkapelle)
Maulbronn Chamber Choir
(Maulbronner Kammerchor)

Conductor: Jürgen Budday

A concert at the UNESCO World Heritage Site
Maulbronn Monastery, 27th & 28th September 2008.

Released & created by Andreas Otto Grimminger & Josef-Stefan Kindler
in cooperation with Jürgen Budday
Sound & Recording Engineer: Andreas Otto Grimminger
Mastering: Andreas Otto Grimminger & Josef-Stefan Kindler
Photography: Josef-Stefan Kindler
Artwork & Coverdesign: Josef-Stefan Kindler

2 CD Box, c. 112 minutes, DDD
KuK 43, ISBN 978-3-930643-43-1, EAN 42 6000591 062 9
Copyright by K&K Verlagsanstalt anno 2009


This recording is part of a cycle of oratorios and masses, performed at Maulbronn monastery over the past years. The series combines authentically performed baroque oratorios with the optimal acoustics and atmosphere of this unique monastic church. This ideal location demands the transparency of playing and the interpretive unveiling of the rhetoric intimations of the composition, which is especially aided by the historically informed performance. The music is exclusively performed on reconstructed historical instruments, which are tuned to the pitch customary in the composers lifetime (a = 415 Hz).

View more of our movies, impressions and clips at: The K&K Movie Channel.

From Leipzig to Bethlehem

The Mass in B Minor BWV 232 is best thought of as an anthology, a collection of his "best" sacred music that Bach assembled in the last years of his life. During the 1730s and 1740s, Bach put together several such kunstbücher (literally, books of art); the most widely known are The Art of Fugue, the four volumes of the Clavier Übung, and the 17 Chorales of Different Kinds. Some of these anthologies Bach either published or intended to publish; others, like the Mass, he did not. These less "commercial" distillations he left to his heirs, physical and spiritual, to preserve and disseminate to those who were interested.

With the exception of the opening four measures of the first "Kyrie", it seems that every movement of the Mass is a reworking of an existing vocal composition, either sacred or secular. At least one such movement, the "Crucifixus", dates to the Weimar years. The "Kyrie" and "Gloria" were put together in 1733, as a presentation piece to the Elector of Saxony and King of Poland, from whom Bach sought, ultimately successfully, the professionally and socially invaluable position of Court Composer. The "Sanctus" is a careful and subtle revision of the setting of the text that he wrote for performance in Leipzig on Christmas Day, 1723. The "Symbolum Nicenum" [the "Credo" section], and the concluding movements of the Mass were added in the late 1740s, when both Bach's eyesight and his health were failing.

The "Kyrie", the "Gloria", and the "Symbolum Nicenum" are all in five voices; the texture expands to six voices in the "Sanctus" and eight in the "Osanna". As Joshua Rifkin's controversial, but as yet unrefuted, findings have demonstrated convincingly, the Mass in B Minor, like almost all of Bach concerted vocal music in fact, was meant to be sung by one singer to each line, even in the "choruses". The principle is a simple one: Each performer got his own part, no matter how big or how small his rôle, and he shared that part with no one else.

The complement of five "soloists" has caused numerous problems over the years. Who, for instance, sings the "Laudamus te", which is assigned to the second soprano, in a performance for which only one soprano soloist has been engaged? The soprano or the alto? Elly Ameling once remarked in a radio interview that it was the soloist who made the mistake of looking at the conductor first when the aria came up at rehearsal. Many conductors, however, assign the two bass solos to different soloists, when Bach calls only for one bass; the reason is simple: The "Quoniam" lies lower in the main than the "Et in spiritum sanctum". While assembling the second half of the Mass some ten to fifteen years after he delivered the parts of the "Kyrie" and "Gloria" to the Court in Dresden, Bach was not concerned about making the compass of the two arias comport comfortably with one another.

Although many, if not all, of the components could have been, and were, performed as parts of the various Leipzig church services for which Bach provided the music, he gave no complete performance of the B Minor Mass, nor, apparently, did he ever intend to put one on. It is, therefore, supremely ironic that this, Bach's own distillation of his "greatest" vocal music, apparently did not receive its first complete performance until more than 100 years after his death.

There was, however, great interest in the work among the cognoscenti in the decades after Bach's death as well as in the years after the onset of the general revival of interest in his music that was spawned by Mendelssohn-Bartholdy's seminal performance of the St. Matthew Passion BWV 244 with the Berlin Singakademie in 1829. Carl Philipp Emanuel Bach put on a performance of the "Symbolum Nicenum" in Hamburg in 1784, preceding it with a short instrumental introduction of his own composition. (For this performance, as a guide to his copyists, Philipp Emanuel "touched up" the orchestration a bit on his father's autograph score, which also has sustained some water damage, and his editorial changes went unnoticed until nearly ten years ago. As it happens, therefore, a copy made by Philipp Emanuel's pupil, Schwenke, provides a more accurate text than the autograph itself.)

Haydn owned a copy of the Mass. Beethoven unsuccessfully sought to obtain one. Spontini put on a performance of the "Symbolum Nicenum", through the "Et resurrexit", in Berlin in 1828, with 92 in the chorus, 56 strings, clarinets, horns, and bassoons, but no trumpets or oboes. Under the direction of Carl Friedrich Rungenhagen, the Berlin Singakademie gave the "Kyrie" and "Gloria" in 1834, and the balance of the work the following year. Portions of the Mass were performed at the Birmingham Festival as early as 1837, and the Mass was among the works regularly performed by the London Bach Choir, which was founded in 1876.

The first complete performance of the B Minor Mass in the USA was given in Bethlehem, Pennsylvania, by The Bach Choir of Bethlehem, under the direction of its founder, Dr. J. Fred Wolle, in 1900. This first public presentation of the Mass in America inaugurated an annual series of festival performances of the work that continues in Bethlehem to this day.

For three decades, from 1939 -- seven years after Dr. Wolle's death -- until 1969, The Bach Choir was directed by the distinguished Welsh choral conductor, Ifor Jones. His forthright, Romantic reading of the score -- chockerblock full of rubatos and ritards -- was recorded in 1960 [22]. Even though it is clearly his own interpretative handiwork, Jones's performance preserves many of the interpretive traditions and conventions that had been established by Dr. Wolle in his 32 years at the helm of the Choir, traditions and interpretative quirks that have been almost completely expunged, alas, in recent years. The first "Kyrie", for instance, is preceded by a Moravian chorale. Intoned softly off stagby a brass choir, the hymn setting gives the pitch to the chorus, which comes in, forte, on the chorale's final chord. Un-Bachian though it may be, the effect is undeniably overwhelming.

A very large but exceptionally well trained amateur chorus -- more than 175 singers -- is balanced against a smallish orchestra made up largely of members of the Philadelphia Orchestra, including such distinguished instrumentalists as hornist Mason Jones and oboist John DeLancie. The vocal soloists are average; only the golden trumpet of soprano Lois Marshall stands out. In better voice than she was three years earlier when she sang the soprano part for Eugen Jochum, she is assigned the "Laudamus te" in addition to the music normally given to the first soprano. This important documentation of the Bach Choir of Bethlehem's approach to the Mass before it was diluted by a much more recent director's preference for "authenticity" rather than local tradition is also a satisfying reading, one that will prove particularly appealing to those who like Bach played "with the heart on the sleeve" as the old saying goes.

Teri Noel Towe (December 2001)

Copyright © by Bach Cantatas Website. Contributed by Teri Noel Towe (December 2001). Written by Teri Noel Towe, and originally printed in "Choral Music on Record", edited by Alan Blyth (Cambridge University Press, first published 1991). The copyrights in this article belong to the Cambridge University Press.

Publishing Authentic Classical Concerts entails for us capturing and recording for posterity outstanding performances and concerts. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts in the UNESCO World Heritage Maulbronn Monastery, supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler
K&K Verlagsanstalt

The Performers

Photography by Josef-Stefan KindlerJoanne Lunn (Soprano)
studied at the Royal College of Music in London, where she was awarded the prestigious "Tagore Gold Medal". She performs as a soloist with early music groups like the English Baroque Soloists, the Hilliard Ensemble, Philippe Herreweghe's Collegium Vocale Gent, the Gabrieli Consort and the Monteverdi Choir under Sir John Eliot Gardiner. Concert appearances have also included Bach's St Matthew Passion conducted by Sir Roger Norrington, concerts with the Rotterdam Philharmonic Orchestra and the London Symphony Orchestra, Bach's "Magnificat" at the BBC Proms with the Academy of Ancient Music, Bach's Mass in B Minor with the Bach Collegium Japan conducted by Masaaki Suzuki, or Bach's "Easter Oratorio" with the BBC National Orchestra and Chorus of Wales under Nicholas Kraemer.

Photography by Josef-Stefan KindlerUrsula Eittinger (Mezzo-Soprano ~ Alto)
The German mezzo-soprano Ursula Eittinger studied singing at the Detmold Music Academy, where she was awarded a concert and opera diploma with distinction in 1990. While she was still a student she took part in various master courses, for example with Sena Jurinac, Kurt Widmer and Charles Brett. Ursula Eittinger has worked with ensembles like the WDR Radio Orchestra, the Hannover and Hamburg Radio Orchestras, the Bach-Collegium Stuttgart under Helmuth Rilling and the Munich Bach Soloists. Concert tours have taken her to the Royal Albert Hall in London, to Barcelona (Palau de la Musica) and many festivals such as the BBC Prom Concerts, the Schleswig-Holstein Festival and the Cracow International Festival for Old Music. The variety which characterises he repertoire shows clearly in her television, radio and CD recordings (for example Schumann duets with Scot Weir), also in a duet programme with Barbara Schlick.

Photography by Josef-Stefan KindlererMarcus Ullmann (Tenor)
studied at the Hochschule für Musik in Dresden with Hartmut Zabel and Margaret Trappe-Wiel, later with Dietrich Fischer-Dieskau in Berlin and Marga Schiml in Karlsruhe. He began his career at Opera Houses including the State Operas in Dresden and Mainz, the Teatro La Fenice, the Opera House in Rome, Teatro Florence and the Los Angeles Opera, where he appeared successfully in most of the major Mozart-roles, in addition to staged versions of the "St John's Passion" and "B-Minor Mass" by Bach, as well as "The Creation" and "The Seasons" by Haydn. Conductors with whom he has worked include Marcus Creed, Enoch zu Guttenberg, Hans-Christoph Rademann, Helmuth Rilling, Peter Schreier and Frieder Bernius for example. Beside his performances with choirs like the Dresden Kreuzchor and the Thomanerchor Leipzig and performances at many music festivals, Marcus Ullmann has given recitals in Tokyo, at the Wigmore Hall London, the Concertgebouw Amsterdam and the Opera House Cairo.

Photography by Josef-Stefan KindlerGotthold Schwarz (Bass)
The German bass-baritone Gotthold Schwarz, son of a cantor from Zwickau (Saxony), began his musical career as a member of the Thomanerchor Leipzig. He studied singing with Gerda Schriever and Peter Schreier (for example) and organ with Wolfgang Schetelich and Hannes Kästner. Since 1986 Gotthold Schwarz has been a lecturer at the Felix Mendelssohn Bartholdy Hochschule für Musik in Leipzig. Extensive international engagements as soloist have taken him, interalia, to the USA, Finland and Japan. In Germany he has been a guest at all famous festivals. His repertoire embraces a wide spectrum of concert and oratorio literature. He has taken part in numerous radio and record productions.

Hanoverian Court Orchestra (Hannoversche Hofkapelle)
The Hanoverian Court Orchestra under concertmistress Anne Röhrig remains totally faithful to the tradition of historic court orchestras. Performing on reconstructed historical instruments the sound of this ensemble is hallmarked by the fact that the musicians also have experience of playing with different music ensembles on the European Baroque scene and view historical performance practices as a means of keeping current. The repertoire of the Orchestra is not restricted to the many forms of Baroque music alone, but also includes classical works, with Mozart operas and the Romantic era being particularly favoured. Their constant involvement with 17th and 18th-century music has made the Court Orchestra musicians masters of their respective instruments. The result is the expressive and elegant style of playing, that assures the orchestra its prominent position. The Hanoverian Court Orchestra has been the "orchestra in residence" at the Herrenhausen Festival Weeks since 2006.

Maulbronn Chamber Choir (Maulbronner Kammerchor)
The Maulbronn Chamber Choir was founded in 1983 and counts today as one of the renowned chamber choirs in Europe. Awards like the first places at the Baden-Württemberg Choir Competitions in 1989 and 1997, the second place at the German Choir Competition in 1990, the first prize at the German Choir Competition in 1998 and the second place at the International Chamber Choir Competition in Marktoberdorf 2008 show the extraordinary musical calibre of this ensemble. The Chamber Choir has managed to make quite a name for itself on the international scene, too. It was received enthusiastically by audiences and reviewers alike during its debut tour through the USA in 1983, with concerts in New York, Indianapolis and elsewhere. Its concert tours in many European countries, in Israel and Argentina as well as in South Africa and Namibia have also met with a similar response.

Jürgen Budday (Conductor)

Jürgen Budday is artistic director and founder of the Maulbronn Chamber Choir. He studied church music and musicology at the Academy of Music in Stuttgart from 1967 to 1974 and, since 1979, he has taught at the Evangelical Seminar in Maulbronn. This also involved his taking over as artistic director of the Maulbronn Monastery Concerts and the cantor choir. In 1992, he was named Director of Studies, in 1995 came the appointment as Director of Church Music and in 1998 he was awarded the "Bundesverdienstkreuz" (German Cross of Merit) as well as the Bruno-Frey Prize from the State Academy in Ochsenhausen for his work in music education. At the Prague International Choir Festival, Jürgen Budday received an award as best director and, since 2002, he has also held the chair of the Choral Committee with the German Music Council. Jürgen Budday has started a cycle of Handel oratorios that is planned to span several years, which involves working with soloists like Emma Kirkby, Michael Chance, Nancy Argenta and Mark Le Brocq (to name but a few). The live recordings of these performances, that have received the highest praise from reviewers, has won him international recognition. Till these days 9 oratorios by G.F.Handel are documented on discs.
"No conductor and no choir have so consistently recorded so many Handel oratorios as Jürgen Budday and his Maulbronn Chamber Choir." (Dr. Karl Georg Berg, Handel Memoranda Halle 2008)


Soprano ~ Joanne Lunn
Alto ~ Ursula Eittinger
Tenor ~ Marcus Ullman
Bass ~ Gotthold Schwarz

Hanoverian Court Orchestra
(on period instruments)

Concertmistress ~ Anne Röhrig
~ Klaus Bona, Susanne Busch, Stephanie Bücker, Susanne Dietz,
Birgit Fischer, Marlene Goede-Uter, Christoph Heidemann, Eva Politt
Violas ~ Klaus Bundies, Hella Hartmann, Bettina Ihrig
Cellos ~ Dorothee Palm, Daniela Wartenberg
Bass Viol ~ Cordula Cordes
Double Bass ~ Ulla Hoffmann
Organ ~ Bernward Lohr

Flutes ~ Brian Berryman, Martin Heidecker
Oboes ~ Annette Berryman, Julia Belitz
Bassoons ~ Alexander Golde, Tobias Meier
French Horn ~ Wilhelm Bruns
~ Friedemann Immer, Christoph Draeger, Thomas Kiess
Timpani ~ Frithjof Koch

Maulbronn Chamber Choir

Soprano I ~ Henriette Autenrieth, Teresa Frick, Ute Gerteis, Elisabeth Hofmann-Ehret,
Larissa Just, Cordula Modrack, Anne Nonnenmann, Simone Obermeyer,
Birgit Petkau, Katharina Probst, Irene Vorreiter

Soprano II ~ Katharina Autenrieth, Katharina Bihlmaier, Hannah Glocker,
Dorothea Gölz-Most, Heike Hoffmann-Straub, Ilka Hüftle, Stefanie Kother,
Susanne Laenger, Heidi Lenk, Veronika Miehlich, Sabine Stöffler

Alto ~ Carmen Andruschkewitsch, Beata Fechau, Roswitha Fydrich-Steiner,
Kathrin Gölz, Barbara Hirsch, Marianne Kodweiß, Hella Pilz, Margret Sanwald,
Renate Secker, Angelika Stössel, Bettina van der Ham, Almut Wien, Evelyn Witte

Tenor ~ Johannes Budday, Andreas Gerteis, Johannes Heieck, Ulrich Kiefner,
Hartmut Meier, Mathias Michel, Konrad Mohl, Rolf-Rüdiger Most,
Bernd Reichenecker, Jonathan Wahl

Bass ~ Ingo Andruschkewitsch, Karl Bihlmaier, Jo Dohse, Bernhard Fräulin,
Daniel Fritsch, Hans Gölz-Eisinger, Benjamin Hartmann, Rainer Hirsch-Luipold,
Matthias Leeflang, Eberhard Maier, Peter Nagel, Werner Pfeiffer,
Felix Seibert, Conrad Schmitz, Can Schnigula

Conductor ~ Jürgen Budday




1. Coro
Kyrie eleison.

2. Duetto (Soprano & Alto)
Christe eleison

3. Coro
Kyrie eleison.


4. Coro
Gloria in excelsis Deo.

5. Coro
Et in terra pax
hominibus bonae voluntatis.

6. Aria (Soprano)
Laudamus te, benedicimus te,
adoramus te, glorificamus te.

7. Coro
Gratias agimus tibi
propter magnam gloriam tuam.

8. Duetto (Soprano & Tenore)
Domine Deus, rex coelestis,
Deus Pater omnipotens,
Domine Fili unigenite,
Jesu Christe altissime.
Domine Deus, Agnus Dei, Filius Patris.

9. Coro
Qui tollis
peccata mundi,
suscipe deprecationem

10. Aria (Alto)
Qui sedes ad dextram Patris,
miserere nobis.

11. Aria (Basso)
Quoniam tu solus Sanctus,
tu solus Dominus, tu solus Altissimus,
Jesu Christe.

12. Coro
Cum Sancto Spiritu
in gloria Dei Patris.




1. Chor
Herr, erbarme dich unser.

2. Duett (Sopran & Mezzosopran)
Christus, erbarme dich unser.

3. Chor
Herr, erbarme dich unser.


4. Chor
Ehre sei Gott in der Höhe.

5. Chor
Und auf Erden Friede den Menschen,
die guten Willens sind.

6. Arie (Sopran)
Wir loben dich, wir preisen dich,
wir beten dich an, wir verherrlichen dich.

7. Chor
Wir sagen dir Dank
ob deiner großen Herrlichkeit.

8. Duett (Sopran & Tenor)
Herr und Gott, König des Himmels,
Gott, allmächtiger Vater!
Herr Jesus Christus,
eingeborener Sohn, Höchster!
Herr und Gott, Lamm Gottes, Sohn des Vaters!

9. Chor
Du nimmst hinweg die Sünden der Welt,
erbarme dich unser.
Du nimmst hinweg die Sünden der Welt,
nimm unser Flehen gnädig auf.

10. Arie (Alt)
Du sitzest zur Rechten des Vaters,
erbarme dich unser.

11. Arie (Bass)
Denn du allein bist der Heilige,
du allein der Herr, du allein der Höchste,
Jesus Christus.

12. Chor
Mit dem Heiligen Geiste,
in der Herrlichkeit Gottes des Vaters.




1. Chorus
Lord, have mercy upon us.

2. Duet (Soprano & Mezzo-Soprano)
Christ, have mercy upon us.

3. Chorus
Lord, have mercy upon us.


4. Chorus
Glory be to God on high.

5. Chorus
And on earth peace
to men of good will.

6. Aria (Soprano)
We praise thee, we bless thee,
we worship thee, we glorify thee.

7. Chorus
We thank thee
for thy great glory.

8. Duet (Soprano & Tenor)
Lord God, heavenly King, Father Almighty.
O Lord, the only begotten Son,
Jesus Christ Highest,
Lord God, Lamb of God,
son of the Father.

9. Chorus
Thou who takest away the sins of the world,
have mercy upon us.
Thou who takest away the sins of the world,
receive our prayer.

10. Aria (Alto)
Thou that sittest at the right hand
of God the Father,
have mercy upon us.

11. Aria (Bass)
For thou only art holy,
thou only art the Lord, thou only,
Christ, art most high.

12. Chorus
With the Holy Ghost
in the glory of God the Father.



1. Coro
Credo in unum Deum.

2. Coro
Credo in unum Deum,
Patrem omnipotentem,
factorem coeli et terrae,
visibilium omnium et invisibilium.

3. Duetto (Soprano & Alto)
Et in unum Dominum, Jesum Christum,
Filium Dei unigenitum
et ex Patre natum ante omnia saecula.
Deum de Deo, lumen de lumine,
Deum verum de Deo vero,
genitum, non factum,
consubstantialem Patri,
per quem omnia facta sunt.
Qui propter nos homines et propter nostram
salutem descendit de coelis.

4. Coro
Et incarnatus est
de Spiritu Sancto ex Maria virgine
et homo factus est.

5. Coro
Crucifixus etiam pro nobis
sub Pontio Pilato,
passus et sepultus est.

6. Coro
Et resurrexit tertia die
secundum scripturas.
Et ascendit in coelum,
sedet ad dexteram
Dei patris, et iterum venturus est
cum gloria iudicare vivos et mortuos,
cujus regni non erit finis.

7. Aria (Basso)
Et in Spiritum Sanctum,
Dominum et vivificantem,
qui ex Patre Filioque procedit;
qui cum Patre et Filio
simul adoratur et conglorificatur;
qui locutus est per Prophetas.
Et unam sanctam catholicam
et apostolicam ecclesiam.

8. Coro
Confiteor unum baptisma
in remissionem peccatorum.

9. Coro
Et exspecto resurrectionem mortuorum
et vitam venturi saeculi.


10. Coro
Sanctus, Sanctus, Sanctus
Dominus Deus Sabaoth.
Pleni sunt coeli
et terra gloria eius.


11. Coro
Osanna in excelsis.

12. Aria (Tenore)
Benedictus, qui venit
in nomine Domini.

13. Coro (repetatur)
Osanna in excelsis.


14. Aria (Alto)
Agnus Dei,
qui tollis peccata mundi,
miserere nobis.

15. Coro
Dona nobis pacem.



1. Chor
Ich glaube an den einen Gott.

2. Chor
Ich glaube an den einen Gott,
den allmächtigen Vater,
Schöpfer des Himmels und der Erde,
aller sichtbaren und unsichtbaren Dinge.

3. Duett (Sopran & Alt)
Und an den einen Herrn Jesus Christus,
Gottes eingeborenen Sohn.
Er ist aus dem Vater geboren vor aller Zeit.
Gott von Gott, Licht vom Lichte,
wahrer Gott vom wahren Gott.
Gezeugt, nicht geschaffen,
eines Wesens mit dem Vater,
durch ihn ist alles geschaffen.
Für uns Menschenund unseres Heiles wegen
ist er vom Himmel herabgestiegen.

4. Chor
Er hat Fleisch angenommen
durch den Heiligen Geist aus Maria,
der Jungfrau, und ist Mensch geworden.

5. Chor
Gekreuzigt wurde er sogar für uns;
unter Pontius Pilatus hat er den Tod erlitten
und ist begraben worden.

6. Chor
Er ist auferstanden am dritten Tage,
gemäß der Schrift.
Er ist aufgefahren in den Himmel
und sitzet zur Rechten des Vaters.
Er wird wiederkommen in Herrlichkeit,
Gericht zu halten über Lebende und Tote,
und seines Reiches wird kein Ende sein.

7. Arie (Bass)
Und an den Heiligen Geist,
den Herrn und Lebensspender,
der vom Vater und vom Sohne ausgeht.
Er wird mit dem Vater und dem Sohne
zugleich angebetet und verherrlicht;
er hat gesprochen durch die Propheten.
Und an eine heilige allgemeine
und apostolische Kirche.

8. Chor
Ich bekenne die eine Taufe
zur Vergebung der Sünden.

9. Chor
Und ich erwarte die Auferstehung der Toten
und das Leben der zukünftigen Welt.


10. Chor
Heilig, Heilig, Heilig,
Herr, Gott der Heerscharen.
Himmel und Erde sind erfüllt
von seiner Herrlichkeit.


11. Chor
Hosanna in der Höhe.

12. Arie (Tenor)
Hochgelobt sei, der da kommt
im Namen des Herrn.

13. Chor (da capo)
Hosanna in der Höhe.


14. Arie (Alt)
Lamm Gottes,
du nimmst hinweg die Sünden der Welt,
erbarme dich unser.

15. Chor
Gib uns den Frieden.



1. Chorus
I believe in one God.

2. Chorus
I believe in one God,
the Father Almighty,
maker of heaven and earth,
and of all things visible and invisible.

3 Duet (Soprano & Alto)
And in one Lord, Jesus Christ,
the only begotten Son of God,
begotten of his Father before all worlds,
God of God, light of light,
true God of true God,
begotten, not made,
being of one substance with the Father
by who all things were made:
who for us men and for our salvation
came down from heaven.

4. Chorus
And was incarnate
by the Holy Ghost of the Virgin Mary,
and was made man.

5. Chorus
And was crucified
also under Pontius Pilate, suffered,
and was buried.

6. Chorus
And the third day he rose again
according to the Scriptures,
and ascended into heaven,
and sitteth on the right hand of the Father:
and he shall come again with glory
to judge both the living and the dead;
whose kingdom shall have no end.

7. Aria (Bass)
And I believe in the Holy Ghost,
the Lord and Giver of Life,
who prodeedeth from the Father and the Son,
who with the Father and the Son
together is worshipped and glorified,
who spake by the Prophets.
And I believe in one holy Catholic
and Apostolic Church.

8. Chorus
I acknowledge baptism
for the remission of sins.

9. Chorus
And I look for the resurrection of the dead,
and the life of the world to come.


10. Chorus
Holy, holy, holy,
Lord God of hosts.
Heaven and earth
are full of Thy glory.


11. Double Chorus
Glory be to Thee, O Lord most high.

12. Aria (Tenor)
Blessed is he, who cometh
in the name of the Lord.

13. Double Chorus
Glory be to Thee, O Lord most high.


14. Aria (Alto)
O Lamb of God,
that takest away the sins of the world,
have mercy upon us.

15. Chorus
Grant us peace.