[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"). | Cantatas BWV 101-150 Bach: Magnificat In D Major, BWV – 3. Movement A (Vom Himmel hoch) is the only a cappella movement. English Translation by Francis Browne (September 2006) Quia respexit humilitatem (Soprano I/Oboe aria) Magnificat in D major by Johann Sebastian Bach (1685-1750) - German Baroque period performed by the chamber "Chorus Anonymous" and chamber orchestra with Oboe and Soprano Duet 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. Stream ad-free or purchase CD's and MP3s now on Amazon.com. [92] In 1880, when Bach's autographs of the composition were already kept in the Royal Library (later State Library) of Berlin, Philipp Spitta devoted many pages to the Magnificat in his Bach-biography, considering it recognized as one of the greatest achievements of the composer's genius. 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 verse in the traditional division, while the doxology is divided into two verses. Esurientes (The hungry) is sung by the alto, accompanied by two flutes. 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. Visitation was the first feast day of his tenure, which called for exceptionally festive music.[39]. [65][115] Bärenreiter published a critical edition of all score versions, based on Dürr's 1955 edition, again in 2014/15. [77][78], After the composer's death the autographs of both the E-flat major and the D major version of the Magnificat were owned by his son Carl Philipp Emanuel. Bach uses the melodic formula as an instrumental cantus firmus in movement 10 (Suscepit Israel) of his Latin Magnificat. [65] In movements three and four the oboes are replaced by oboes d'amore (Oa). Quia respexit humilitatem ancillae suae; ecce enim ex hoc beatam me dicent. [23] Magnificat composers like Johann Levini, Antonio Lotti and Francesco Durante are cited as possible inspirations for Bach. "[80] Generally it was also the D major version without the Christmas hymns that was chosen for performance. [40][41], The text, "Gloria in excelsis Deo et in terra pax homínibus bona voluntas", is a variant of the opening verse of the Gloria. [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. Kuhnau's Magnificat setting also used a SSATB choir. Each verse of the canticle is assigned to one movement, except verse 48 (the third verse of the Magnificat) which begins with a soprano solo in the third movement and is concluded by the chorus in the fourth movement. Extending a standard SATB choir with more voice parts was however no novelty for Magnificat compositions: for example Johann Pachelbel, the teacher of Johann Sebastian's eldest brother, had composed half a dozen Magnificats for SSATB choir, and one for soli, SSATB double choir and orchestra. During that period Bach had been composing a Kyrie-Gloria mass in B minor which he dedicated to the successor, Frederick Augustus II, in a letter signed 27 July 1733. The movements 1 (Magnificat), 7 (Fecit potentiam) and 12 (Gloria patri) are the cornerstones of the composition: they are in the tonic key (E♭ major for BWV 243.1, D major for BWV 243.2), and are the only movements that feature a five-part chorus as well as a tutti orchestra. 2755, Fascicle 1 (formerly Mus. Deposuit potentes de sede et exaltavit humiles. | Part 2 4. ", "Magnificats BWV 243 & BWV 243a – Details", "One Verse, Two Settings, and Three Strange Youths", "Fünftes Buch: Leipziger Jahre von 1723–1734" pp. [4] For that performance Bach composed four laudes, songs of praise partly in German, partly in Latin to be inserted at certain points in the E-flat major version of the Magnificat. [46] A similar cantata on a German paraphrase of the Magnificat, Meine Seele rühmt und preist, BWV 189 for tenor solo and composed for Visitation, has also been attributed to Hoffmann.[47][48]. | Part 3 [3][44], Quia respexit humilitatem (Because he has looked upon the humility) is an aria sung by soprano I with an obbligato oboe (oboe d'amore in the D major version). Part 1 | Other Vocal 1081-1089 Qui fecit mihi magna qui potens est, et sanctum nomen eius. Toni cum canticis Ecclesiasticis, Magnificat (with German interpolations for Christmas), SSWV 299, "Die Leipziger Neukirchenmusik und das "Kleine Magnificat" BWV Anh. The text of these laudes had been used in Leipzig in a Christmas cantata by Bach's predecessor Kuhnau. Quia fecit mihi magna qui potens est, et sanctum nomen ejus, Et misericordia ejus a progenie in progenies timentibus eum. lp_bach-the-magnificat-in-d-major_leonard-bernstein-the-new-york-philharmoni Identifier-ark ark:/13960/t15n4r46g Lineage Technics SL1200MK5 Turntable + Audio-Technica AT95e cartridge > Radio Design Labs EZ-PH1 phono preamp > Focusrite Scarlett 2i2 Ocr ABBYY FineReader 11.0 (Extended OCR) Original-ppi 1200 Pages 5 Ppi 600 Ripping_date 20200310044513 Apart from an early setting of the Kyrie, on a mixed Latin and German text (BWV 233a),[6][7] all of Bach's known liturgical compositions in Latin were composed during his tenure as Thomaskantor in Leipzig, from 1723 until his death in 1750. | Part 3 Quia respexit humilitatem by Nancy Argenta & English Baroque Soloists & John Eliot Gardiner on. By verse, this is what the harmonic structure looks like:[69][70], Regarding voices and orchestration the four Magnificat verses between the first and the seventh movement, and those between the seventh and the last, have a less symmetrical build-up: here the idea is rather that after a tutti movement there are two or three arias building up to the next choral movement:[69], The last aria in each of these sets of arias is first a solo, then a duet, then a terzet (trio). The text of this movement is "Freut euch und jubilirt, Zu Bethlehem gefunden wird Das herzeliebe Jesulein, Das soll euer Freud und Wonne sein" (Rejoice with pious mind, To Bethlehem go now and find The fair and holy new-born Boy, Who is your comfort peace, and joy), a verse by Sethus Calvisius. [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. [72] Dispersit appears in various voices, but then isolated, in a sequence from the highest voice to the lowest. Measure 1–15: the motive played by oboe I in the first measure sets the jubilant tone of the tutti. | BWV Anh Écce énim ex hoc beátam me dícent ómnes … 21; however, its authenticity was doubted. The traditional setting of Luther's German translation of the Magnificat ("Meine Seele erhebt den Herren") is a German variant of the tonus peregrinus, a rather exceptional psalm tone in Gregorian chant. N. Jenkins)", "Brich dem Hungrigen dein Brot BWV 39; BC A 96 / Cantata", "Bach Cantata Translations / BWV 243a – "Magnificat" (E-flat Major)", "Bachs Es-Dur-Magnificat BWV 243a – eine genuine Weihnachtsmusik? For He has regarded the lowliness of His handmaiden: for behold, from henceforth [all generations] shall call me blessed: 4. [41], The text is "Virga Jesse floruit, Emanuel noster apparuit, Induit carnem Hominis, Fit puer delectabilis. Johann Sebastian Bach Magnificat in D Major with Carol Insertions BWV 243. [1], Likely for the feast of Visitation of 1733, or another feast in or around that year, Bach produced a new version of his Latin Magnificat, without the Christmas hymns: instrumentation of some movements was altered or expanded, and the key changed from E-flat major to D major, for performance reasons of the trumpet parts. 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. Verse 10 and doxology (movements 11 and 12): movements two and three, both for solo soprano, build up to the Omnes generationes choral movement No. [72] The conclusion, mente cordis sui, is marked Adagio and illustrates the text in long chords, with accents by the trumpets. Quia respexit (Latin sacred text) Page 1 of 1 Quia respexit . [83], The score of the E-flat major version of Bach's Magnificat was first published by Simrock in 1811, edited by Georg Pölchau, however with printing errors,[84] and without the Christmas hymns. Aria "Quia respexit". [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. [67][68] In the 1733 version this continuo line is given to a continuo that includes cello, but not bassoon and violone. The form is a chorale fantasia, with all sopranos singing the 1539 chorale melody attributed to Luther as a cantus firmus, while the lower voices make the counterpoint by imitating sections of the melody line in diminished time. Measure 46–60: after the sopranos recapitulate the start of the movement with their voices, and a brief intervention by the orchestra in measures 47–48, the second main motive is sung again, first by the highest voices in measure 49, followed by the lower voices in measure 50. Bach: Leipzig Christmas cantatas; Magnificat/Herreweghe", Performance of the Magnificat in D major (BWV 243), Masses, magnificat, passions and oratorios, List of compositions by Johann Sebastian Bach, https://en.wikipedia.org/w/index.php?title=Magnificat_(Bach)&oldid=1000737435, Articles with International Music Score Library Project links, Wikipedia articles with CANTIC identifiers, Wikipedia articles with MusicBrainz work identifiers, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License, Et misericordia ejus a progenie in progenies, Sicut erat in principio, et nunc, et semper, Christmas interpolations: traditional German/Latin texts. 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]. Für Soli (SSATB), Chor (SSATB), Orchester und Orgel (lat). Measure 61–75: in the first measure of this block the altos sing the first main motive while all instruments halt for at least a few beats. Check out Mendelssohn, Felix: Magnificat / Bach, J.S. [95] Performances of the Magnificat by, among others, Serge Koussevitzky and the Boston Symphony Orchestra were recorded in the 1940s and appeared on 78 rpm records. University of Massachusetts Orchestra under John Paulson in 2008, with Aaron Lakota on oboe d'amore! Suscepit Israel (He hath holpen his servant Israel) is scored for an unusual combination of the three highest voices and two oboes in unison (a single trumpet in the E-flat major version). [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.

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