01. Bach Lutheran Mass in A major, BWV 234 Kyrie (Chorus)
02. Bach Lutheran Mass in A major, BWV 234 Gloria (Chorus)
03. Bach Lutheran Mass in A major, BWV 234 Domine Deus (Bass)
04. Bach Lutheran Mass in A major, BWV 234 Qui tollis peccata mundi (Soprano)
05. Bach Lutheran Mass in A major, BWV 234 Quoniam tu solus sanctus (Alto)
06. Bach Lutheran Mass in A major, BWV 234 Cum Sancto Spiritu (Chorus)
07. Bach Lutheran Mass in F major, BWV 233 Kyrie (Chorus)
08. Bach Lutheran Mass in F major, BWV 233 Gloria (Chorus)
09. Bach Lutheran Mass in F major, BWV 233 Domine Deus (Bass)
10. Bach Lutheran Mass in F major, BWV 233 Qui tollis (Soprano)
11. Bach Lutheran Mass in F major, BWV 233 Quoniam (Alto)
12. Bach Lutheran Mass in F major, BWV 233 Cum Sancto Spiritu (Chorus)
13. Peranda Missa in A minor Kyrie
14. Peranda Missa in A minor Gloria

By Bach’s time, the traditional forms of church service had been fundamentally altered by the Reformation, and in German churches Latin had yielded to the country’s own language. To an extent, however, the Latin mass text did remain in use in Protestant church music in particular the Kyrie and Gloria sections. Albeit incomplete, this form of mass setting was termed Missa; nowadays the pieces are often referred to as ‘Lutheran Masses’. Bach’s famous Mass in B minor, later expanded into a complete mass, began its existence as a work of this kind, and four other examples from Bach’s pen have survived. The recent release of the Missae in G minor and G major (BWV 235 and 236) caused the reviewers in Gramophone and Fono Forum to eagerly look forward to the sequel, and Bach Collegium Japan and Masaaki Suzuki have not kept them waiting. Like their companion works, the two Lutheran Masses recorded here make extensive use of earlier compositions by Bach and include reworkings of arias and choruses from cantatas, but each of the four masses also has its own unmistakable artistic profile. The most telling detail on the present disc is the instrumentation, where Bachs choice of flutes in BWV 234 and of horns and oboes in BWV 233 contributes to the individual character of each work. In his task of supplying the music for church services Bach also performed music by other composers, among them Marco Gioseppe Peranda whose Kyrie-Gloria mass closes the disc. Born in 1625, Peranda trained in Rome, and was active in the Dresden Hofkapelle from the 1650s until his death in 1675. Copies in Bachs hand of parts of Perandas splendidly contrapuntal Missa in A minor exist, and it is likely that Bach performed the work during the latter part of his Leipzig period.