published in 1856 based on several sources but without direct access to the autograph. When access was later obtained, the textual problems were so evident that the society published a revised edition the next year. The 1857 edition was the standard for the next century, but was later recognized to be even less accurate than the 1856 version due to inadvertent incorporation of C.P.E. Bach's alterations in the autograph. Similarly, the 1954 edition by Friedrich Smend for the Neue Bach-Ausgabe was shown to have significant faults within five years of publication. Christoph Wolff's edition, published by C.F. Peters in 1997, uses two copies of the 1748–50 manuscript made before C.P.E. Bach's adulterations to try to reconstruct Bach's original readings, and seeks to recover performance details by using all available sources, including cantata movements that Bach reworked in the B minor Mass. Joshua Rifkin's edition, published by Breitkopf & Härtel in 2006, also seeks to remove the C.P.E. Bach emendations, but differs from Wolff in arguing that the 1748–50 work is, to quote John Butt, "essentially a different entity from the 1733 Missa, and that a combination of the 'best' readings from both does not really correspond to Bach's final (and virtually completed) conception of the work"; Rifkin's version seeks to adhere to this final version. Uwe Wolf's edition, published by Bärenreiter in 2010, relies upon x-ray spectrograph technology to differentiate J.S. Bach's handwriting from the additions made by C.P.E. Bach and others. Ulrich Leisinger's edition, published by Carus in 2014, accepts some of C.P.E. Bach's revisions and uses the 1733 Dresden parts as the primary source for the Kyrie and Gloria. Movements and their origins The work consists of 27 sections. Tempo and metrical information and parodied cantata sources come from Christoph Wolff's 1997 critical urtext edition, and from George Stauffer's Bach: The Mass in B Minor. except where noted. Regarding sources, Stauffer, summarizing current research as of 1997, states that "Specific models or fragments can be pinpointed for eleven of the work's twenty-seven movements" and that "two other movements [the "Domine Deus" and "Et resurrexit"] are most probably derived from specific, now lost sources." But Stauffer adds "there is undoubtedly much more borrowing than this." Exceptions are the opening four bars of the first Kyrie, the Et incarnatus est and Confiteor. Butt points out that "only with a musical aesthetic later than Bach's does the concept of parody (adapting