the hope of obtaining the title "Electoral Saxon Court Composer". Upon its completion, Bach visited Augustus III in Dresden and presented him with a copy of the Kyrie–Gloria Mass BWV 232 I (early version), together with a petition to be given a court title, dated July 27, 1733; in the accompanying inscription on the wrapper of the Mass he complains that he had "innocently suffered one injury or another" in Leipzig. The petition did not meet with immediate success, but Bach eventually got his title: he was made court composer to Augustus III in 1736. In the last years of his life, Bach expanded the Missa into a complete setting of the Latin Ordinary. It is not known what prompted this creative effort. Wolfgang Osthoff and other scholars have suggested that Bach intended the completed Mass in B minor for performance at the dedication of the new Hofkirche in Dresden, a Catholic cathedral dedicated to the Holy Trinity, which was begun in 1738 and was nearing completion by the late 1740s. However, the building was not completed until 1751 and Bach's death in July 1750 prevented his Mass from being submitted for use at the dedication. Instead, Johann Adolph Hasse's Mass in D minor was performed, a work with many similarities to Bach's Mass (the Credo movements in both works feature chant over a walking bass line, for example). In 2013, Michael Maul published research suggesting the possibility that instead, Bach compiled it for performance in Vienna at St. Stephen's Cathedral (which was Roman Catholic) on St. Cecilia's Day in 1749, as a result of his association with Count Johann Adam von Questenberg. Other explanations are less event-specific, involving Bach's interest in 'encyclopedic' projects (like The Art of Fugue) that display a wide range of styles, and Bach's desire to preserve some of his best vocal music in a format with wider potential future use than the church cantatas they originated in (see "Movements and their sources" below). Chronology The chronology of the Mass in B minor has attracted extensive scholarly attention. Recent literature suggests: In 1724, Bach composed a Sanctus for six vocal parts for use in the Christmas service. Bach revised it when he reused it in the Mass, changing its initial meter from to , and its vocal scoring from SSSATB to SSAATB. As noted above, in 1733 Bach composed the Missa (Kyrie and Gloria) during the