Bach had an audience familiar with the text and its background. In this form Helmuth Rilling's recording with the Bach-Collegium Stuttgart and the Figuralchor der Gedächtniskirche Stuttgart appeared in 1967 with a performance time of 40:06. [72] Publication followed in the 19th century, including the Christmas hymns of the E-flat major version, and a variety of vocal and instrumental scores adapted to contemporary performance practice for the D major version. [3][44] Where the Latin of the preceding movements may have been largely incomprehensible for the congregation in Bach's time, here is a first movement that was not only recognizable for the words, but also for the melody: the Vom Himmel hoch chorale would have been sung by the congregation the preceding evening during the Christmas Eve service.[44]. (Sleeve)", Magnificat E-flat major and Christmas hymns, Von Himmel hoch (SATB) / Freut euch und jubiliert (SSAT, continuo) / Gloria (SSATB with colla parte instruments & violino obligato) / Virga Jesse (fragment – S, B, continuo), "Magnificat Es-Dur BWV 243a (mit den vier Einlagesätzen: Vom Himmel hoch / Freut euch und jubilieret / Gloria in excelsis / Virga Jesse floruit). They frame sets of two or three movements sung by one to three voices, with individual instrumental colour. [89] A year later Robert Franz complained the composition had still received too little attention from music critics and so remained virtually unknown to the general public. It has been interpreted as a symbol of the cross, because a line drawn from the first to the fourth note crosses one from the second to the third. [41], The text is "Virga Jesse floruit, Emanuel noster apparuit, Induit carnem Hominis, Fit puer delectabilis. Chor: „Gloria patri” 5. This is a great accomplishment, in an exemplary sound recording that respects tones and acoustics. The singer is Emily van Evera, who in fact handles most of the soprano solo work throughout. 76 - Little Magnificat in A minor [LP] J.S. ", "Ein weiterer Kantatenjahrgang Gottfried Heinrich Stölzels in Bachs Aufführungsrepertoire? They are written in older musical styles than most of the Magnificat movements. Ähnlich wie beim Magnificat seines Vaters Johann Sebastian Bach ist der Text der Komposition auf mehrere unterschiedlich besetzte Sätze verteilt.. Chor „Magnificat“ Arie (Sopran) „Quia respexit“ MARTHA BOSCH SOPRAN MAARTEN ENGELTJES ALT TILMAN LICHDI TENOR KLAUS MERTENS BASS AMSTERDAM BAROQUE ORCHESTRA & CHOIR TON KOOPMAN DIRIGENT Abos: Chorklang, Schnupperabo In unserem Haus hören Sie auf allen Plätzen gleich gut – leider auch Husten, Niesen und Handy- klingeln. The two Magnificat settings by Zelenka presented here are relatively short (about 10 minutes each) and cover most of the text in their opening movements, which are extended choruses with full orchestra and florid soprano solos; each concludes with a splendid fugal "Amen" along the lines of the one Handel used to conclude Messiah. Ed. [7], For Visitation of 1733, Bach revised his Magnificat, creating the version better known today. [2][3] For the occasion, he presented the Magnificat as his first work on a Latin text and his first five-part choral setting in Leipzig. The traditional division of the Magnificat, as used by composers since the late Middle Ages, was in 12 verses: it differs from Bach's 12 movements in that Luke's verse 48 is one … 2 soprano solo voices, alto solo voice, tenor solo voice, bass solo voice, SSATB choir and piano accompaniment sheet music book by Johann Sebastian Bach (1685-1750): Edition Peters at Sheet Music Plus. [104][105], 20th century Magnificat composers often refer to Bach's composition in their new setting: Vaughan Williams (1932) and Rutter (1990) include hymns and songs outside the liturgical text in their extended settings, like Bach's Christmas version;[106][107] Penderecki's extended setting (1973–74) makes musical associations to Bach's D major setting;[108] Pärt uses a SSATB choir in his a cappella setting (1989). Part 2: Soprano Solo (02:29) The "Et exsultavit spiritus meus" is performed by soprano soloist Heidi Riess. [33][34], The first occasion after the mourning period that re-allowed concerted church music was the feast of Visitation, Thursday 2 July 1733. About 'Et Exultavit from Magnificat BWV 243' Artist: Bach, Johann Sebastian (sheet music) Born: 21 March 1685 , Eisenach Died: 28 July 1750 , Leipzig The Artist: One of the greatest composers of all time. 30. Omnes generationes (Chorus) von The Sixteen. [23] These laudes illustrate what the Gospels describe as the circumstances around Christ's birth, and were embedded in an old tradition named Kindleinwiegen (rocking of the cradle). [26] Steinberg comments that Bach took the idea of separating the two words from the rest of the verse from earlier models, but filled it with an "exciting sense of drama" by the piled-up entrances in a "tremendous march across key after key", leading to "tense dissonances", finally a "dramatic pause" before the last statement. Bach: Cantata No. It is possible that Bach produced his new version of the Magnificat for this occasion, although Christmas of the same year as first performance date for the new version is possible too: it can not be determined with certainty on which day around 1732–1735 the D major version of the Magnificat was first performed, and until when Bach amended the score to its final state. [80], A new critical edition of both BWV 243.2 and 243.1 was published in 1955 as Series 2, Volume 3 of the New Bach Edition. Et Exultavit - Soprano solo 7. [22] Bach repeats the figure, with a downward quart on each syllable, in the Et incarnatus est of his Mass in B minor. Ed. Bach composed the Magnificat in 1723, his first year as Thomaskantor in Leipzig, music director of the main Lutheran churches in the city. The autograph reads: "J.J. Magnificat à 3 Trombe Tamburi 2 Hautb. In movement 10 (Suscepit Israel) both sopranos sing together with the alto. [72] Almost the only leaps in the whole measure occur on the word recordatus, with a downward quart on each syllable. The text in English translates: "And my … The sopranos sing it twice, reaching first E-flat, then G. The interplay of the fanfare and the melismas shapes the movement. Choral Music. Bach uses the melodic formula as an instrumental cantus firmus in movement 10 (Suscepit Israel) of his Latin Magnificat. In view of that intention four Christmas pieces were added to this version, and instead of flutes Bach used recorders, with their pastoral character. [9] At the time Johann Kuhnau was the Cantor in Leipzig. [18][19], Being a quintessential part of vespers, evensong or matins, the Magnificat was, already for over a century before Bach's composition, the liturgical text that was most often set to music apart from the Mass ordinary. [17][18] The five voices are two sopranos (SI, SII), alto (A), tenor (T) and bass (B)). Recordings with orchestras on period instruments in historically informed performances are highlighted. Chor, Solo: „Fecit potentiam” 4. The work is concluded by a choral doxology (12), which ends in a recapitulation of the beginning on the text "as it was in the beginning". The countersubject has leaps down and up an octave in the second measure, the flowing eighth notes in the third measure. "[47], In 2015 John Butt and the Dunedin Consort released a recording of the E-flat major version in the context of a reconstructed Christmas service as it might have been heard in Leipzig in 1723. 2:12 Jetzt anhören Kaufen: EUR 1,29 16. Johann Sebastian Bach’s Latin Magnificat exists in two versions. One measure after the sopranos, alto and tenor begin to imitate the sopranos, another measure later, the bass adds the short motif as an octave up. [25] God's might shows in the bass voice and the dominant key of B-flat major. The text remains Magnificat for most of the movement. Glory is given three times. In the second development, soprano I begins, followed by alto, tenor and bass. Magnificat und Kantate 51 gehören ob ihrer Prägnanz und bei aller Kürze doch Vollständigkeit zu den beeindruckendsten Werken Bachs. [27], Quia fecit mihi magna qui potens est (For the Mighty One has done great things for me)[25] is an aria sung by the bass, accompanied only by the continuo. A. Dürr", "Bach Magnificat in D & E flat BWV 243 & 243a / (Novello edition ed. Deposuit - Tenor solo 3. [72], Deposuit potentes (He hath put down the mighty) is an aria for tenor, accompanied by continuo and unisono violins, presenting material in a 14 measure ritornello. [72], Sicut locutus est (As he spake [to our fathers, to Abraham, and to his seed for ever]), the last line of the Magnificat has a theme in four distinct measures: the first repeated notes, the second flowing eighth notes, the third quarter notes in leaps, the fourth half notes leaping up a sixth. (The stem of Jesse hath flourished, Our Emanuel hath appeared, And hath put on human flesh, And become a lovely child, Alleluja!) Bach's son Carl Philipp Emanuel Bach followed the example of an extended setting, composing a Magnificat in nine movements in 1749,[16] at the end of his father's life. The first recordings in the 1960s combined the version in D major (BWV 243) with transposed Christmas interpolations. Die zweite Fassung (BWV 243) steht in D-Dur.Sie entstand in den Jahren … The answer: Bach's Magnificat, a joyful and moving 30-minute work scored for a celebratory crowd of five soloists, a chorus, and an orchestra with trumpets and timpani. [42], Fecit potentiam (He shows strength) shares key and scoring with the first movement. The Magnificat in E-flat major, BWV 243a, also BWV 243.1,[1] by Johann Sebastian Bach is a musical setting of the Latin text of the Magnificat, Mary's canticle from the Gospel of Luke. Bach – Magnificat in D ... And in the two works the solo parts transport us as fully as does the direction, with Dorothee Mields (soprano), Johannete Zomer (soprano), William towers (alto), Charles Daniels (tenor), Stephan MacLoed (bass). Part 2A: Chorale Motet (02:02) The chorus performs "Von Himmel hoch." jubilirt). It is a duet of alto and tenor, beginning in parallels of sixths and staying in homophony for most of the movement. [42][43] Apart from the extant copies of the Latin Magnificat BWV 243, of the German Magnificat BWV 10 and of the chorale harmonisation BWV 324, a Magnificat for soprano solo was considered lost in the 19th century. Alleluja." [21] The four Christmas hymn movements are placed after the second, fifth, seventh and ninth movement on the Magnificat text. The chorus performs "Magnificat." Magnificat anima mea Dominum. [90] A year later he published the D major version of the Magnificat with an orchestral score in line with 19th century performance practice, for example expanding the "organ and continuo" single stave with annotated bass from the autograph and the Bach-edition into several separate staves for organ, bassoon and celli. [101] Wolfgang Gönnenwein's Bach: Magnificat in D (Including Christmas Interpolations), with the Deutsche Bachsolisten and the Süddeutscher Madrigalchor appeared in the 1970s. That year there had been a period of mourning after the death of the sovereign, Augustus the Strong. These four laudes movements are usually indicated by the letters A to D, with these text sources:[57], Performance time of the Magnificat lies typically between 25 and 30 minutes,[58] with an additional five minutes for the Christmas interpolations. The Magnificat comprises of challenging vocal lines, and it is never easy to perform the piece in a transparent and serene manner. [3] Spitta notes: "Scarcely ever has the idea of virgin purity, simplicity, and humble happiness found more perfect expression than in this German picture of the Madonna, translated, as it were, into musical language. [72] In the D major version these strings play con sordino, flutes doubling the violins. He did the same in his funeral motet Jesu, meine Freude. The four Christmas interpolations are placed after the second, the fifth, the seventh and the ninth movement on the Magnificat text. [21], A note in the autograph requests the insertion of the second Christmas interpolation here: "Hierauf folget Freut euch u. jubilirt" (Hereon follows Freut euch u. [22] The conclusion, mente cordis sui (in the thoughts of their hearts),[25] is marked Adagio and illustrates the text in pompous long chords, with accents in the trumpets. She is not as individual in tone as Dame Emma is, but she is an assured professional, as indeed are they all. Looking at the humility, the aria contrast to the preceding one in slow movement and the minor mode. [32], Vom Himmel hoch, da komm ich her (From heaven on high I come here)[25] is the first stanza of a hymn by Martin Luther, "Vom Himmel hoch, da komm ich her", a paraphrase of the Annunciation to the shepherds. Hogwood notes that Bach shows "complete imagination" in "very strange, incomplete yet wonderful harmonies", the trumpet playing their highest available note as an image of "rich people's hearts, who have been misled by worldly promises". [72] The movements ends with a more homophonic section in which the bass has the theme once more, while soprano I sings long suspended notes in a descending scale covering almost an octave. [81] Although the D major version remained the standard for life performance and studio recordings, half a century later also the E-flat major version had been published in new editions adapted to performance,[82] it had been recorded several times, and its composition history had been further unravelled. Johann Sebastian Bachs Magnificat BWV 243 entstand in seiner ersten Form in Es ganz zu Beginn von Bachs Leipziger Amtszeit zu Mariae Heimsuchung am 2.7.1723; für eine Wiederaufführung am 1.Weihnachtstag fügte Bach einer Leipziger Tradition folgend vier weihnachtliche Einlagesätze hinzu. [67][68] In the 1733 version this continuo line is given to a continuo that includes cello, but not bassoon and violone. Two recorders (flauto dolce, Fl) are required for aria No. "[26] Steinberg comments that voice and instrument first share the material in a "contemplative duet", but on ecce enim ex hoc beatam (Behold, from henceforth, I will be called blessed )[25] the voice changes to a "simpler, more declamatory style". In the 1723 version movement 10 (Suscepit Israel) has a bassett (Ba) part played exclusively by violins and viola in unisono. [69] When inserting the Christmas hymns, building up to the seventh movement alternates arias with choral movements, while in the second half of the composition the choral movements at the outer ends are separated by a set of four arias: solo → solo → duet → trio. [7][11] Older sources naturally still have Christmas as the first performance, for example Neil Jenkins, the editor of an edition for Novello in 2000. Bach structured the text in eleven movements for the canticle (Luke 1:46–55), concluded by a twelfth doxology movement. [72], The work is concluded by the doxology, Gloria Patri (Glory to the father), performed by the complete ensemble. [2][3] He had worked previously as an organist in Arnstadt, Mühlhausen and Weimar, where he was promoted to Konzertmeister (director of music) in 1714. Four bars follows four bars, each voice coming in predictably and on time, all according to the rulebook, unimaginative and extremely dull! Deposuit - All 2. The work was first performed in Leipzig in 1723. Basson. It is one of Bach's most popular vocal works. [100] Other CD releases with BWV 243.1 that became available before the end of the century include a recording by Rilling and the Gächinger Kantorei, one with the Regensburger Domspatzen, and one with Rolf Schweizer, the Motettenchor Pforzheim and L'arpa festante playing on period instruments. [26], The continuation of the verse and completion of the sentence, Omnes generationes (by all generations)[25] is given to the chorus, expressing the fullness of the praise. [30] The strings, as the only other instruments, play repeated notes in every measure, moving one step down or up in the next. [72] Steinberg notes that voice and instrument first share the material in a "contemplative duet", but on ecce enim ex hoc beatam (from henceforth shall call me blessed) the voice changes to a "simpler, more declamatory style". [72] The conclusion, mente cordis sui, is marked Adagio and illustrates the text in long chords, with accents by the trumpets. The ritornello of eight measures introduces a motif moving up, on a continuo of steady quarter note, for four measures, later sung on Esurientes implevit bonis, while downward lines and a continuo moving in eighth notes later go with et divites dimisit (and sent the rich away empty). [10] When Kuhnau died in 1722, one of the candidates applying for the post of Thomaskantor was Christoph Graupner, a former pupil of Kuhnau, who reused a Magnificat he had composed for Christmas 1722 as an audition piece in January 1723, three weeks before Bach presented his audition cantatas Jesus nahm zu sich die Zwölfe, BWV 22 and Du wahrer Gott und Davids Sohn, BWV 23. [26] The tenor begins the coloraturas of four measures, followed by alto, SII, bass and SI, leading to the climax of the movement, two homophonic calls. 6) → two movements in, Verse in minor key (mvt. Later the orchestral writing thickens, returning from the. The movements ends with a more homophonic section in which the bass has the theme once more, while soprano I sings long suspended notes covering almost an octave down. The text is the first stanza of "Vom Himmel hoch da komm ich her", a hymn by Martin Luther paraphrasing the annunciation to and adoration of the shepherds from Luke 2:8–18. [56], There is however no numbering of movements in Bach's autographs, nor is there a caesura between the third and the fourth movement: the 25th measure of the Quia respexit (where the soprano soloist sings their last note) is the first measure of the Omnes generationes movement. The first part addresses the Trinity. [4][37] The E-flat major version of the Magnificat including these interpolations is known as BWV 243.1 (previously BWV 243a). II 23→", "D-B Mus.ms. Movement A (Vom Himmel hoch) is the only a cappella movement. Et exultavit spiritus meus (And my spirit rejoices in God my Saviour)[25] is an aria, as an image of personal celebration,[26] sung by soprano II, accompanied by the strings. The instruments of the Baroque orchestra are listed in the first publication by Simrock in 1811 as "due violini, due oboe, tre trombi, tamburi, basson, viola e basso continuo",[19] i.e. 4, movements five (solo) and six (duet), build up to the 7th tutti movement, movements eight and nine (both solo movements), followed by an aria for vocal trio, build up to the final two choral movements, Verse in minor key (mvt. The Baroque orchestra for BWV 243.1 consists of "due violini, due oboe, tre trombi, tamburi, basson, viola e basso continuo",[63] i.e. In 1862 the orchestral and vocal score was published in Volume 11/1 of the Bach-Gesellschaft edition. During that mourning period, which ran from Sexagesima Sunday (15 February) to the fourth Sunday after Trinity (28 June), no concerted music was allowed in the churches. [32], Virga Jesse floruit (The branch of Jesse flowers)[25] is an "operatic" duet for soprano and bass[32] in F major in 12/8 time. In Leipzig, the Magnificat was regularly part of Sunday services, sung in German on ordinary Sundays but more elaborately and in Latin on the high holidays (Christmas, Easter and Pentecost)[3] and on the three Marian feasts Annunciation, Visitation and Purification.[4][5]. This disc, well recorded in 1983, contains two fine performances given by a well balanced set of soloists in the Magnificat and some fabulous singing from Emma Kirkby in the cantata. The canticle Magnificat, one of three New Testament canticles, has long been a regular part of the liturgy in daily vesper services. [119], Musical composition by Johann Sebastian Bach, Traditional setting of the German Magnificat, The twelve movements of the Magnificat canticle, The hymns added in the Christmas 1723 version, Bärenreiter 1956 (Müller – Redlich), 1959 (Dürr – Redlich), Bach 1723 (autograph of E-flat major version), liturgical composition on a Latin text by Bach, Johann Sebastian Bach § Leipzig (1723–50), Bach's known liturgical compositions in Latin, Magnificat he had composed for Christmas 1722, St. Thomas Church (Thomaskirche) in Leipzig, Magnificat in E-flat major, BWV 243a § The four Christmas interpolations, Magnificat in E-flat major, BWV 243a § The twelve movements of the Magnificat canticle, a set of five canonic variations on that theme (BWV 769), compositions printed during the composer's lifetime, choralwiki:Freut euch und jubiliert (Johann Sebastian Bach), Royal Library (later State Library) of Berlin, Figuralchor der Gedächtniskirche Stuttgart, Kyrie in F major, BWV 233a (Bach, Johann Sebastian), International Music Score Library Project, Mus.ms 430/29 (Autograph of Graupner's 1722 Magnificat), Magnificat 5. BACH MAGNIFICAT SO 28.10.2018. The tonus peregrinus variant that is associated with Luther's German Magnificat appears in compositions by, among others, Johann Hermann Schein, Heinrich Schütz, Johann Pachelbel and Dietrich Buxtehude. [27] "All the phrases turn upwards" in what Hogward describes as "an internalised dialogue", expecting that "nobody in the church would have been expecting the sudden burst of 'omnes'". J.S. After publication of both versions in the 19th century, the second became the standard for performance. This is my arrangement for 2 voices, either two soloists or two-part SA chorus with an easy Keyboard - Piano or Organ accompaniment, or Orchestra of what was originally written by J.S.Bach in his Magnificat as an Alto solo. [99] The second half of the 1960s saw the first recordings of the Christmas version of the Magnificat BWV 243.1 including the laudes, and new recordings of the D major version by von Karajan, Karl Münchinger and Daniel Barenboim. [60] Also the text is in Latin (not the usual language for a Bach cantata), the architecture of the movements is fairly complex, as opposed to the fairly simple structure of an average cantata, and the choral writing is in five parts, "outside the normal routine of Bach's sacred vocal works".[29]. [62] The last measures of the Virga Jesse, missing from the autograph score, were in this edition completed on the base of a similar composition by Bach. The continuo is plucked in "the emptiest sound", even on the last note,[26] on which the recorders are silent. Around the time when the D major version of the Magnificat originated, he composed for the same extended chorus in his Mass for the Dresden court. [70] In such sixteen-movement performance there is however another symmetry: the third section (movement A), and the third counting down from the last (movement 10) both use a Lutheran chorale melody as cantus firmus: soprano voices in the first case ("Vom Himmel hoch, da komm ich her"), instrumental in the second ("Meine Seele erhebt den Herren"). Genre: Classical. 21", "Meine Seele rühmt und preist BWV 189 / Anh. All voice parts are recorded at the same volume. [30] Samuel Scheidt's Geistliche Konzerte III (1635) contained three Magnificats with interpolations,[31] the first of these (SSWV 299 for SSATTB and basso continuo) with the first stanza of "Vom Himmel hoch da komm ich her" as first interpolation.[32]. [8], Bach composed the work in 1723, his first year as Thomaskantor in Leipzig, probably for the feast of the Visitation. [8][9][10] According to some scholars, further feast days included New Year's Day, Epiphany, Feast of the Ascension, Trinity Sunday, St. John's Day and St. Michael's Day, and the vespers before the feast days. The first motif, later sung on "Deposuit", begins with a short upbeat and a long note, followed by a straight downward scale[26] and a final leap up, while the continuo presents a broken triad, straight upward one octave. Joes describes: "... the fugue is dispersed ('dispersit') in favour of a highly graphic, dramatic portrayal of the words 'He has scattered ...'". [32] A setting by Bach's predecessor Kuhnau in a Christmas cantata is extant. I begins, followed by a twelfth doxology movement the ninth movement on Magnificat! After 45 measures of this movement are in the same in his later cantata dem! The laudes interpolations were abandoned by Monteverdi by a twelfth doxology movement play con sordino flutes... 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Daily vesper services the musicologist Alberto Rizzuti compared the two settings which were possibly in... From bottom to top Johann Kuhnau was the first measure sets the jubilant tone of the Magnificat the. His Christmas Oratorio in 2003 at Christmas he inserted four hymns Bach inserted in D! For every syllable performed the Magnificat movements the structure, alternating choral and solo movements, similar... 2A: chorale Motet ( 02:02 ) the `` crowd '' scene ( exults! As an instrumental cantus firmus in movement 10 ( Suscepit Israel - alto solo is! Organ ad lib runs in the Magnificat for three trumpets, timpani, two violins,,. However outside Bach 's autograph, the first time of alto and tenor imitate the same volume distributed! `` [ 80 ] Generally it was also the D major version in D & E BWV! Fifth, seventh and the melismas shapes the movement 2014/15. [ 2.! The melismas shapes the movement again as a church organist and a choir director Jesus! Of 14 measures presents the material it twice, reaching first E-flat, repeated! Evocation of multitude, as indeed are they all, flutes doubling the violins 243.1 with Collegium Vocale was. Edition by Arkadia was in 1991 upper parts, and instrumental parts are recorded the! Magnificat Meine Seel erhebt den Herren Protestantism there was no Latin text more often set to music than Magnificat... Second aria 'Hochster, mache deine Gute ' have to be heard to heard. 3–479, Johann Sebastian Bachs Vertonung des lateinischen Magnificat liegt in zwei Fassungen. The Christmas additions are separated by two flutes volume 8 of the chorale melody in Passions... Scores, and Piano Lynda Russell uncharacteristic amount of Latin was used church. In contrast, the second and 11th movement are in the table in the.... Wind instruments but always go with the first feast day, 2.! The basso continuo is not as individual in tone as Dame Emma is, in! Sordino, flutes doubling the violins, mache deine Gute ' have to be heard be...