This composer's use of other composers' works include expanding a Kyrie from Johann Christoph Pez and adding a Christe eleison to a work of Francesco Durante. During a passage in one movement of work by this composer, the word "omnes" is passed between the five-voice choir with each entry being one semitone higher than other. The choral soprano part for one work by this composer begins with arpeggiated E-minor chord on the word "Kommt." This composer revamped an earlier work by removing (*) Christmas interpolations from its original text and moving the key from E-flat major to D- major; that work uses sustained notes by the orchestra to create a "halo effect" around speech. The "Gratias aginus tibi" movement from on
This composer's use of other composers' works include expanding a Kyrie from Johann Christoph Pez and adding a Christe eleison to a work of Francesco Durante. During a passage in one movement of work by this composer, the word "omnes" is passed between the five-voice choir with each entry being one semitone higher than other. The choral soprano part for one work by this composer begins with arpeggiated E-minor chord on the word "Kommt." This composer revamped an earlier work by removing (*) Christmas interpolations from its original text and moving the key from E-flat major to D- major; that work uses sustained notes by the orchestra to create a "halo effect" around speech. The "Gratias aginus tibi" movement from one of this composer's works is identical to the "Donna nobis pacem" movement that ends that work, whose name comes from its key. For 10 points, name this composer of a Mass in B-minor and the St. Matthew's Passion.
This composer's use of other composers' works include expanding a Kyrie from Johann Christoph Pez and adding a Christe eleison to a work of Francesco Durante.
Johann Sebastian Bach [prompt on "Bach"]