Magnificat in E-flat major, BWV 243a

Magnificat
BWV 243a
by J. S. Bach
Heimsuchung, occasion of the song of praise, Rubens school, Unionskirche, Idstein
Key	E-flat major
Related	base for Magnificat in D major (1733)
Occasion	Visitation
Bible text	Luke 1:46–55
Language	Latin
Performed	2 July 1723 (1723-07-02): Leipzig
Movements	12
Vocal	SSATB choir and solo
Instrumental	3 trumpets timpani 2 recorders 2 oboes 2 violins viola continuo (including bassoon)

The Magnificat in E-flat major, BWV 243a, by Johann Sebastian Bach is a musical setting of the biblical canticle Magnificat, composed in 1723 as a composition for five vocal parts and orchestra in twelve movements. For a performance ten years later, Bach transposed the work to D-major, for Visitation 1733, and revised it to the version of the Magnificat mostly performed today, BWV 243.

Bach set the canticle in his first year as Thomaskantor in Leipzig, according to recent research at the beginning of his tenure for a performance celebrating the Marian feast of the Visitation on 2 July. For Christmas the same year, he performed it again with four inserted hymns related to the occasion. The sacred choral work in E-flat major is scored for five vocal parts (two sopranos, alto, tenor and bass), and a Baroque orchestra of trumpets, timpani, oboes, strings and basso continuo including bassoon.

The Magnificat's carefully designed structure expresses most verses of the canticle in one movement, one even split in two for a dramatic effect. Four choral movements are evenly distributed (1, 4, 7, 11). They frame sets of two or three movements sung by one to three voices, with individual instrumental colour. The work is concluded by the choral doxology (12), which ends in a recapitulation of the beginning on the text "as it was in the beginning".

While the canticle Magnificat was often set to music for liturgical use, being a regular part of daily Catholic vespers, Bach, as some other contemporary composers, devotes individual expression to every verse of the canticle. In Bach's Leipzig period, Magnificat is the first major work on a Latin text and for five vocal parts.

Background

Bach's beginning in Leipzig

Bach composed the Mgnificat in 1723, his first year as Thomaskantor in Leipzig, music director of the the main Lutheran churches. He had worked before as an organist in Arnstadt, Mühlhausen and Weimar, where he was promoted to Konzertmeister (director of music) in 1714. From 1717 to 1723 he held a secular position at the court of Köthen. He applied for the post in Leipzig on 7 February 1723, performing two cantatas written for the audition on Estomihi or Quinquagesima, the last Sunday before Lent. In April he was accepted for the post, which he assumed on the first Sunday after Trinity, presenting a new cantata in 14 movements, Die Elenden sollen essen, BWV 75 on 30 May. A week later he led the new cantata [[[Die Himmel erzählen die Ehre Gottes, BWV 76|Die Himmel erzählen die Ehre Gottes, BWV 76]]] Error: {{Lang}}: text has italic markup (help), again in 14 movements. The feast Visitation, celebrated always on 2 July, was a few weeks later the first Marian feast day of his tenure in Leipzig.

Magnificat

The canticle Magnificat, one of three New Testament canticles, has been a regular part of the liturgy in daily vesper services. The Protestant reformer Martin Luther kept the Magnificat, as a biblical text. In his German Magnificat, "Meine Seele erhebt den Herren", he combined his translation with a

Magnificat
BWV 243.2
by J. S. Bach
First page of Bach's autograph score
Key	D major
Related	BWV 243.1 (1723)
Occasion	Lutheran vespers on feast day
Text	Luke 1:46–55 doxology
Language	Latin
Performed	Leipzig, c. 1733
Movements	12
Vocal	SSATB choir and solo
Instrumental	3 trumpets timpani 2 traversos 2 oboes 2 oboes d'amore strings continuo

Johann Sebastian Bach's Magnificat, BWV 243, is a musical setting of the biblical canticle Magnificat. It is scored for five vocal parts (two sopranos, alto, tenor and bass), and a Baroque orchestra including trumpets and timpani. It is the first major liturgical composition on a Latin text by Bach.

In 1723, after taking up his post as Thomaskantor in Leipzig, Bach set the text of the Magnificat in a twelve movement composition in the key of E-flat major. For a performance at Christmas he inserted four hymns (laudes) related to that feast. This version, including the Christmas interpolations, was given the number 243.1 (previously 243a) in the catalogue of Bach's works.

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. This version of Bach's Magnificat is known as BWV 243.2 (previously BWV 243).

After publication of both versions in the 19th century, the second became the standard for performance. It is one of Bach's most popular vocal works.

History

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) and on the three Marian feasts Annunciation, Visitation and Purification.

Bach's tenure as Thomaskantor in Leipzig

See also: Johann Sebastian Bach § Leipzig (1723–50)

Apart from an early setting of the Kyrie, on a mixed Greek and German text (BWV 233a), 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. Compared to Lutheran practice elsewhere, an uncharacteristic amount of Latin was used in church services in Leipzig. An early account of Bach showing interest in liturgical practices in Leipzig dates from 1714, when he noted down the order of the service on the first Sunday in Advent during a visit to the town. At the time Johann Kuhnau was the Cantor in Leipzig. 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. Bach assumed the position of Thomaskantor on 30 May 1723, the first Sunday after Trinity, performing an ambitious cantata in 14 movements, Die Elenden sollen essen, BWV 75, followed by a comparable cantata, Die Himmel erzählen die Ehre Gottes, BWV 76 the next Sunday.

Traditional setting of the German Magnificat

Traditional D minor setting of Luther's German Magnificat, which is a particular German version of the ninth tone or tonus peregrinus

See also: Meine Seele erhebt den Herren

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. The tonus peregrinus (or ninth tone) is associated with the ninth mode or Aeolian mode. For the traditional setting of Luther's German Magnificat that is the minor mode for which the last note of the melodic formula is the tonic, a fifth below its opening note.

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. Bach uses the melodic formula as an instrumental cantus firmus in movement 10 (Suscepit Israel) of his Latin Magnificat. He uses it again in his "German Magnificat", i.e. the cantata Meine Seel erhebt den Herren BWV 10 composed for Visitation of 1724, in the chorale harmonisations BWV 323 and 324, and in the fourth Schübler Chorale BWV 648. Also in BWV 733, Fuga sopra il Magnificat, the melodic formula is used as a theme: this chorale prelude may however be the work of Bach pupil Johann Ludwig Krebs.

Extended settings of the Magnificat

See also: List of Magnificat composers

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. In Protestantism there was no Latin text more often set to music than the Magnificat. Also settings of the German text of the Magnificat were current from the early 17th century, without one form suppressing the other.

Extended settings of the Magnificat, also indicated as settings in a concertato sectional construction, that is in several movements with chorus, orchestra and vocal soloists, and a non-linear treatment of the text (parts of the text repeated multiple times by the singers), go back to the old Italian school of music. Such an example can be found in Claudio Monteverdi's Magnificat a 7 voci, one of two alternative Magnificat settings included in his Vespro della Beata Vergine. In a Lutheran tradition there is for example Schütz' Latin Magnificat, SWV 468. Magnificat composers like Johann Levini, Antonio Lotti and Francesco Durante are cited as possible inspirations for Bach. Around Bach's time there are also examples by Heinichen and by Vivaldi.

In many of these settings a single verse of the Magnificat can be sung by one or more soloists alternating with choral singing, as Bach does in his treatment of the third Magnificat verse: the soprano sings the first words of the verse, while the chorus concludes it. This particular split of the third verse, leaving only the last two words (omnes generationes) to the chorus, had been practised before by Ruggiero Fedeli, and in a Magnificat in G minor from 1720 which Bach probably knew (that Magnificat in G minor used to be attributed to Tomaso Albinoni). Also Graupner's 1722 Magnificat had this split.

Another characteristic of Bach's Magnificat is that it is set for a five-part chorus. 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. Kuhnau's Magnificat setting also used a SSATB choir. Bach had already composed for a SSATB choir in Weimar (Der Himmel lacht! Die Erde jubilieret, BWV 31, an Easter cantata from 1715). He did the same in his funeral motet Jesu, meine Freude. 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. Other extended choral settings by Bach include his Sanctus for six vocal parts (SSSATB) for Christmas 1724, and compositions for double choir like the St Matthew Passion (1727) and the secular cantata Preise dein Glücke, gesegnetes Sachsen, BWV 215 (1734). Such compositions with an extended choir are however outside Bach's usual routine for liturgical music.

Bach was not the first to include mixed German/Latin Christmas interpolations in a Magnificat sung in Latin: Hieronymus Praetorius published a Magnificat with such interpolations in 1622. Samuel Scheidt's Geistliche Konzerte III (1635) contained three Magnificats with interpolations, 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.

The Visitation version(s)

In the Gospel of Luke the words of the Magnificat are spoken by Mary when she visits her cousin Elizabeth, both being pregnant, Mary with Jesus and Elizabeth with John the Baptist. In Christianity, the feast commemorating that visit is called Visitation. It is a chosen opportunity to give more than ordinary attention to the Magnificat canticle in liturgy, while the feast celebrates the event tied to its origin.

In Bach's time the feast day of Visitation fell on 2 July. The D major version of Bach's Magnificat (BWV 243.2) may have been performed on 2 July 1733, as part of the church service in the St. Thomas Church (Thomaskirche) in Leipzig. That year there had been a period of mourning after the death of the sovereign, Augustus the Strong. 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. 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 first occasion after the mourning period that re-allowed concerted church music was the feast of Visitation, Thursday 2 July 1733. 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. Around 1733 Bach filed two cantatas by Gottfried Heinrich Stölzel, for the fifth and the sixth Sunday after Trinity (5 and 12 July in 1733): Bach may have relied on church music by other composers for the services in Leipzig in July 1733, while composing and copying out the performance parts of the extensive first part of the Mass in B minor.

Magnificat
BWV 243.1
by J. S. Bach
Adoration of the Shepherds, Augsburg, around 1730
Key	E-flat major
Related	BWV 243.2 (c. 1733)
Occasion	Lutheran vespers on feast day
Text	Luke 1:46–55 doxology Christmas interpolations: traditional German/Latin texts
Language	Latin German
Performed	Leipzig, 1723
Movements	12 (+ 4 for Christmas)
Vocal	SSATB choir and solo
Instrumental	3 trumpets timpani 2 recorders 2 oboes strings continuo

In 2003 Bach scholar Andreas Glöckner argued that the very first version of Bach's Magnificat, that is the E♭ major version before the four Christmas interpolations were added to the autograph, was first performed on 2 July 1723. That would have been exactly ten years before the transposed version, and composed for the same Marian feast. Bach had taken up his post as Thomaskantor in Leipzig on 30 May, the first Sunday after Trinity in 1723. Visitation was the first feast day of his tenure, which called for exceptionally festive music.

The Christmas interpolations

See also: Magnificat in E-flat major, BWV 243a § The four Christmas interpolations

Before Glöckner's 2003 article on the origin of the Magnificat, and for some authors still after that, it was generally assumed that Bach had composed his Magnificat in the quiet time of Advent 1723 for a first performance at the Christmas vespers. 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. The E-flat major version of the Magnificat including these interpolations is known as BWV 243.1 (previously BWV 243a).

The text of these laudes had been used in Leipzig in a Christmas cantata by Bach's predecessor Kuhnau. Possibly those settings in C major of the same four texts as the laudes Bach had included in his Christmas Magnificat were not a self-contained cantata, but laudes Kuhnau had composed for insertion in his C major Magnificat when it was to be performed at Christmas. 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).

As these laudes were to be performed with a very limited accompaniment of instruments, they were supposedly performed from the small loft in the high choir of the Thomaskirche, opposite to the large organ loft where the other movements of the Magnificat were performed. The autograph of the E-flat major version of the Magnificat (BWV 243.1) suggests that Bach intended to perform the first version of his Magnificat also without the laudes, depending on circumstances, for example on other feasts than Christmas.

Other Magnificats by Bach?

See also: Melchior Hoffmann (composer) § Style

Bach's Nekrolog, the 1754 obituary written by Johann Friedrich Agricola and the composer's son Carl Philipp Emanuel, mentions that the composer wrote several Magnificats. 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. The score of that so-called "little" Magnificat (Kleine Magnificat) was rediscovered in the 20th century, and listed as BWV Anh. 21; however, its authenticity was doubted. In 1982 Melchior Hoffmann was identified as the composer of this German Magnificat Meine Seel erhebt den Herren. 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.

Another German libretto paraphrasing the Magnificat, published by Picander in his 1728–29 cantata cycle for performance on 2 July 1728, may have been set by Bach. Similarly, a Meine Seele erhebet den Herrn cantata by an unknown librettist for Visitation 1725. Further, Bach copied Latin Magnificats by other composers:

• in the early 1740s Bach copied Antonio Caldara's Magnificat in C major, arranging its Suscepit Israel movement (BWV 1082).
• BWV Anh. 30 is a Magnificat in C major for double SATB choir and orchestra, copied by Bach around 1742. The manuscript score indicates no composer, but in 2012 it was discovered that it is Bach's arrangement (by adding parts for timpani and for a third trumpet) of a late 17th-century composition by Pietro Torri. An earlier attribution of the work had been to Antonio Lotti.

Structure and movements

Bach's Magnificat consists of eleven movements for the text of Luke 1:46–55, concluded by a twelfth doxology movement. 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. 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.

Traditional verse division		Text source	Bach's Magnificat
1.	Magnificat anima mea Dominum.	Luke 1:46	movement 1
2.	Et exultavit spiritus meus in Deo salutari meo.	Luke 1:47	movement 2
3.	Quia respexit humilitatem ancillae suae ecce enim ex hoc beatam me dicent omnes generationes.	Luke 1:48	movement 3 and 4
4.	Quia fecit mihi magna qui potens est et sanctum nomen ejus.	Luke 1:49	movement 5
5.	Et misericordia ejus a progenie in progenies timentibus eum.	Luke 1:50	movement 6
6.	Fecit potentiam in brachio suo dispersit superbos mente cordis sui.	Luke 1:51	movement 7
7.	Deposuit potentes de sede et exaltavit humiles.	Luke 1:52	movement 8
8.	Esurientes implevit bonis et divites dimisit inanes.	Luke 1:53	movement 9
9.	Suscepit Israel puerum suum recordatus misericordiae suae.	Luke 1:54	movement 10
10.	Sicut locutus est ad patres nostros Abraham et semini ejus in saecula.	Luke 1:55	movement 11
11.	Gloria Patri, et Filio et Spiritui Sancto.	Doxology	movement 12, time part
12.	Sicut erat in principio, et nunc, et semper et in saecula saeculorum. Amen.		movement 12, 3 4 time part

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 four Christmas interpolations are placed after the second, the fifth, the seventh and the ninth movement on the Magnificat text. These four laudes movements are usually indicated by the letters A to D, with these text sources:

• A: Hymn by Martin Luther
• B: Verse attributed to Sethus Calvisius
• C: Luke 2:14
• D: Fragment of a Christmas hymn

Performance time of the Magnificat lies typically between 25 and 30 minutes, with an additional five minutes for the Christmas interpolations. The duration of the version without Christmas hymns is comparable with that of an average Bach cantata. However, there are many differences: the Magnificat contains about twice as many movements as an average cantata, keeping it short by avoiding da capos in the arias, and altogether no recitatives. 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".

Scoring and key signature

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. The chorus also sings in movement 4 (Omnes generationes), accompanied by an orchestra without trumpets and timpani, and in movement 11 (Sicut locutus est), there only accompanied by the continuo. The first three choral movements are, in the version without the Christmas hymns, followed by two movements for a vocal soloist, the second one often with richer scoring. In the movements for vocal soloists the instrumentation is as usual in Bach's cantata's: the soloists are accompanied by an obbligato instrument, only strings and/or continuo. Movement A (Vom Himmel hoch) is the only a cappella movement.

As natural trumpets were usually tuned in D in Saxony, this is given as a reason why Bach transposed the initial E-flat major version to D major.

Voices

Bach set the Magnificat for SSATB five-part choir. Five vocal soloists are required: two sopranos (sI, sII), alto (a), tenor (t) and bass (b). In movement 10 (Suscepit Israel) both sopranos sing together with the alto.

Orchestra

The Baroque orchestra for BWV 243.1 consists of "due violini, due oboe, tre trombi, tamburi, basson, viola e basso continuo", i.e. two violins (Vl), two oboes (Ob), three trumpets (Tr, tonic), timpani (Ti, tonic and dominant), bassoon, viola (Va) and basso continuo (Bc). Two recorders (flauto dolce, Fl) are required for aria No. 9 Esurientes, but are not part of the tutti.

For the 1733 version, Bach used a somewhat more extended orchestra: the recorders are replaced by traversos (Fl) and they get separate parts in all four choral movements. In movements three and four the oboes are replaced by oboes d'amore (Oa). In the 10th movement (Suscepit Israel) the oboes replace the trumpet for the obbligato instrumental part.

The continuo part is played by organ, bassoon, cello and violone in most movements. In the 1723 version movement 10 (Suscepit Israel) has a bassett (Ba) part played exclusively by violins and viola in unisono. In the 1733 version this continuo line is given to a continuo that includes cello, but not bassoon and violone.

Symmetrical structure

Bach's Magnificat is built symmetrically around the 7th movement (Fecit potentiam): Between the first and the 7th movement there are four verses of the Magnificat, between the 7th and the last there are also four. First, seventh and last movement are in the tonic key, with full orchestra and choir. The second and 11th movement are in the same major key, the third and the 10th movement are in the relative minor key. The movement preceding, and the one following, the central 7th movement are also in a minor key. The fifth and the ninth are in a major key, different from the tonic. The Christmas additions are separated by two Magnificat verses, the first addition being after the second verse. The Christmas hymns are always in the same key as the preceding movement. By verse, this is what the harmonic structure looks like:

• Verse 1 and 2 (movements 1 and 2, followed by movement A in the Christmas version): tonic key (major)
  • Verse 3: starts in relative minor key (movement 3), moving to another minor key (movement 4)
    • Verse 4 (movement 5, followed by movement B in the Christmas version): major key different from tonic
      • Verse 5 (movement 6): minor key
        • Verse 6 (movement 7, followed by movement C in the Christmas version): tonic key
      • Verse 7 (movement 8): minor key
    • Verse 8 (movement 9, followed by movement D in the Christmas version): major key different from tonic
  • Verse 9 (movement 10): relative minor key
• Verse 10 and doxology (movements 11 and 12): tonic key

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:

• movements two and three, both for solo soprano, build up to the Omnes generationes choral movement No. 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

The last aria in each of these sets of arias is first a solo, then a duet, then a terzet (trio). 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. 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"). The symmetry of the Christmas version can be pictured as follows:

"Vom Himmel hoch da komm' ich her", the melody of the cantus firmus of the "A" Christmas interpolation

• Two movements (1, 2) in tonic key → "cantus firmus" movement (A)
  • Verse in minor key (mvt. 3, 4) → two movements in the same major key (5, B)
    • Verse in minor key (mvt. 6) → two movements in tonic key (7, C)
  • Verse in minor key (mvt. 8) → two movements in the same major key (9, D)
• Two movements in tonic key (11, 12) ← "cantus firmus" movement (10)

This is also 5 times two verses of the Magnificat followed by a movement with a text that comes from elsewhere, the only bible quote of these other texts (movement C, also a doxology like the last movement) being coupled with the central 7th movement.

Magnificat by Johann Sebastian Bach			BWV 243.1 (243a) Christmas 1723 version			BWV 243.2 (243) Visitation 1733 version
No. and title	Time	Voices	Instruments	Key	Autogr. p.	Instruments	Key	Autogr. p.
1. Magnificat	3 4	SSATB	tutti	E♭	1–9	tutti	D	1–15
2. Et exultavit	3 8	sII	2Vl Va Bc	E♭	3–7	2Vl Va Bc	D	16–18
A. Vom Himmel hoch		SATB		E♭	23, 25–27
3. Quia respexit		sI	Ob Bc	c	8–9	OaI Bc	b	18–19
4. Omnes generationes		SSATB	2Ob 2Vl Va Bc	g	10–12	2Fl 2Oa 2Vl Va Bc	f♯	20–25
5. Quia fecit		b	Bc	B♭	12–13	Bc	A	20–23
B. Freut euch und jubiliert		SSAT	Bc	B♭	28–30
6. Et misericordia	12 8	a t	2Vl Va Bc	f	13–15	2Fl 2Vl Va Bc	e	24–28
7. Fecit potentiam		SSATB	tutti	E♭	15–19	tutti	D	28–34
C. Gloria in excelsis		SSATB	Vl Bc	E♭	30–31
8. Deposuit potentes	3 4	t	2Vl Va Bc	g	17–20	2Vl Bc	f♯	34–36
9. Esurientes		a	2Fl Bc	F	20–21	2Fl Bc	E	36–38
D. Virga Jesse floruit	12 8	sI b	Bc	F	32
10. Suscepit Israel		sI sII a	TrI Ba	c	22	Ob Bc	b	38–40
11. Sicut locutus est		SSATB	Bc	E♭	23–24	Bc	D	40–42
12. Gloria Patri    Sicut erat in principio	3 4	SSATB	tutti	E♭	24–27 27–29	tutti	D	42–45 45–48

The structure of Bach's Magnificat has been compared with that of Kuhnau's, which he probably knew, and with that of Johann Philipp Krieger's Magnificat of 1685, which Kuhnau probably knew. Kuhnau's Magnificat, his largest extant vocal work, has a similar orchestration as the first version of Bach's Magnificat (differences: Kuhnau's has a second viola, Bach's has two recorders in one movement), and it has the same "expandability" with settings of the same laudes for a Christmas performance. Kuhnau's Magnificat has standard SATB soloists, but like Bach's, a SSATB choir. All three Magnificats set verses 1, 6, 10 and 12 of the Magnificat text for chorus. Kuhnau's has five choral movements, like Bach's, but his second is verse 4 (instead of 3b for Bach), and his last is only verse 12, where for Bach that final chorus sets both verse 11 and 12. In all three Magnificats the other verses are set for soloists, as a single voice or combined into duets and trios.

The twelve movements of the Magnificat canticle

See also: Magnificat in E-flat major, BWV 243a § The twelve movements of the Magnificat canticle

1. Magnificat

Magnificat anima mea Dominum ("My spirit gives great praise to the Lord", Luke 1:46) is the text used for the opening chorus. The movement consists of 6 blocks of 15 measures, totalling 90 bars of music, exactly half of them with choral singing:

• Measure 1–30: the orchestra presents itself with what looks like a ritornello, but is in fact rather a concerto tutti. The movement has the form of an Italian aria, modelled after the concerto style Bach had developed in Köthen: in that style the material is presented in an instrumental tutti.
  • Measure 1–15: the motive played by oboe I in the first measure sets the jubilant tone of the tutti. It is the first of two main motives.
  • Measure 16–30: in measure 16, almost imperceptible in the whirling movement of other instruments, violin I presents a new motive: it is the second main motive. The last measures before the entrance of the choir that motive is repeated by multiple instruments.

First motive (as sung by sopranos I in measure 31):

Second motive (as sung by the tenors in measure 35):

• Measure 31–75: accompanied by the continuo, the chorus enters as a concerto soloist, imitating the opening material.
  • Measure 31–45: The sopranos enter first, with the first main motive, and from measure 32 alto and tenor imitate the same. The basses enter from measure 33 while the full orchestra plays a short intervention for two measures. In measures 35–36 the chorus sings the second main motive from the opening tutti. After that the orchestra dominates again, with the chorus following or giving contrasting melodies. From the end of measure 37 voices one after another start singing "anima mea", until in the last three measures of this block all singers take the text Dominum (the Lord) once, all of them with the last syllable of that word on the first beat of the 45th measure, after which the orchestra, apart from the continuo, is silent till the beginning of measure 47: the singers bridge the central barline between measures 45 and 46 with the first main motive sung by altos, sopranos I and sopranos II consecutively.
  • 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. In this block the chorus takes a leading role, limited groups of instruments accompanying with short ideas taken from the opening tutti, until in the last two measures all instruments join, ending with the second main motive played by trumpet I in measure 60. In this second of three blocks for the singers, the only text they sing is a repetition of the word "magnificat".
  • 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. The singers keep the leading role, while groups of instruments play additional motives. Later the orchestral writing thickens, returning from the subdominant to the tonic. The text remains magnificat for most of this block, the conclusion "anima mea" (my soul) is heard by the alto for the first time, in measure 67, embedded in the other voices' Magnificat. All parts sing "Dominum" once again, soprano II beginning with a long note continued by a melisma in measure 73, the others in 74.
• Measure 76–90: after 45 measures of choral singing follow fifteen measures of instrumental postlude, with material condensed from the opening tutti.

2. Et exultavit

Et exultavit spiritus meus ("And my spirit has rejoiced [in God my Saviour]") is an aria sung by soprano II, accompanied by the strings. The aria continues the feelings of joy from the first movement, but in a less extrovert way. In the Christmas 1723 version, this movement is followed by the first interpolation, the hymn "Vom Himmel hoch da komm ich her".

3. Quia respexit

First measures of Quia respexit (B minor version)

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). It is the only movement for which Bach marked the tempo at the beginning: Adagio (only the D major version). 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". 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."

4. Omnes generationes

The continuation of the verse and completion of the sentence, Omnes generationes (all generations), is given to the chorus. The setting has been likened to a turba chorus as used by Bach in his Passions. Some commentators see an atmosphere close to aggression, others rather an evocation of multitude. The sound in the E-flat major version is somewhat harsher than in the D major version, for example the bass line in measure three, and in measure 24 where the first version has a dissonant dominant ninth which was changed to a less dissonant harmony in the later version.

5. Quia fecit

Quia fecit mihi magna (Because he did great things for me) is an aria sung by the bass, accompanied only by the continuo. The motif, again beginning with repeated notes, is introduced by four measures of the continuo, then repeated by the voice.

6. Et misericordia

Et misericordia (And mercy), a duet for alto and tenor, begins with an undulating movement in 12/8 time, played by violins and violas. In the D major version these strings play con sordino, flutes doubling the violins.

7. Fecit potentiam

Fecit potentiam (He shows strength) shares key and scoring with the first movement. The tenor is the first voice to enter, followed by alto, SII, bass and SI, leading to two calls without melismas near the middle of the movement. Dispersit appears in various voices, but then isolated, in a sequence from the highest voice to the lowest. The conclusion, mente cordis sui, is marked Adagio and illustrates the text in long chords, with accents by the trumpets.

8. Deposuit

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. The second thought of the verse, beginning with et exaltavit humiles (and exalted the humble), is sung without introduction. After a shorter ritornello, the tenor sings the complete text again, the first part in a slightly modified version, but the exaltation considerably expanded after which the ritornello in full length is repeated at the end.

9. Esurientes

Opening measures of Esurientes movement (LilyPond source code by Libre art.net project)

Esurientes (The hungry) is sung by the alto, accompanied by two flutes. The ritornello of eight measures introduces a motiv moving up, on a continuo of steady quarter notes, for four measures, later sung on Esurientes implevit bonis (He hath filled the hungry with good things), while downward lines and a continuo moving in eighth notes later go with et divites dimisit (and the rich he hath sent away). In Latin, the last word is inanes (empty-handed).

10. Suscepit Israel

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). The wind instrument(s) cite the tonus peregrinus as a cantus firmus, on a continuo line that most of the time only changes every measure, moving one step down or up. The voices imitate each other, in gentle movement. Almost the only leaps in the whole measure occur on the word recordatus, with a downward fourth on each syllable.

11. Sicut locutus est

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. When the theme is developed the first time, four voices enter from bottom to top. In the second development, soprano I begins, followed by alto, tenor and bass. The movement 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.

12. Gloria patri

The work is concluded by the doxology, Gloria Patri (Glory to the father), performed by the complete ensemble. The first part of the text ends in a long cadenza. After changing the time signature from common time to triple metre, the second part of the text, Sicut erat in principio (as it was in the beginning), repeats material from the beginning of the work.

The hymns added in the Christmas 1723 version

The first time the Christmas hymns of the E-flat major version of Bach's Magnificat were printed was in the same volume as the D major version of the Magnificat, in the 1862 Bach Gesellschaft XI/1 publication, which presented the hymns in an annex. In that publication the hymns were however not transposed to fit in the D major setting of the Magnificat. More recently publishers offer such transposed (and completed) versions of the hymns, so that they can be performed as part of the D major version of the Magnificat, for instance Novello in 2000 (Neil Jenkins) and Bärenreiter in 2014.

A. Vom Himmel hoch

See also: Vom Himmel hoch, da komm ich her and BWV 243.1 § A

"Vom Himmel hoch", Luther's hymn in a 1541 songbook

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. Bach sets this first laudes a cappella in four parts, and, like the two preceding movements, in the tonic key. 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. 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.

Quarter of a century later Bach returned to the chorale melody of "Vom Himmel hoch da komm' ich her", writing a set of five canonic variations on that theme (BWV 769), one of a few compositions printed during the composer's lifetime. Bach also included three settings of the chorale melody in his Christmas Oratorio. BWV 606 (in the Orgelbüchlein), 700, 701, 738 and 738a are chorale preludes based on the "Vom Himmel hoch" theme.

B. Freut euch und jubiliert

See also: BWV 243.1 § B, and choralwiki:Freut euch und jubiliert (Johann Sebastian Bach)

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.

For SSAT, B-flat major, .

C. Gloria in excelsis

See also: Gloria in excelsis Deo and BWV 243.1 § C

The text, "Gloria in excelsis Deo et in terra pax homínibus bona voluntas", is a variant of the opening verse of the Gloria. The better known version from the Vulgate, ending on "... bonae voluntatis", is an incorrect rendering of the original Greek version of Luke 2:14, there said by angels in the Christmas night. The Vulgate version translates as "Glory to God in the highest, and on earth peace to people of good will", while the end of the Greek version is rendered more correctly as "Peace on earth, and good will towards men", as it was understood by Luther ("Friede auf Erden und den Menschen ein Wohlgefallen"). Lutheran theologians thus rejected the Vulgate version (they would have the verse end on "... bonae voluntes" in Latin), while composers were attached to the classic formula for its melodious rhythm. This Magnificat interpolation is the only place where Bach uses a version of the Gloria text that differs from the Vulgate, more or less catching the spirit of the theologian-approved version.

For SSATB and violins, E-flat major, .

D. Virga Jesse floruit

See also: Virga Jesse floruit and BWV 243.1 § D

The text is "Virga Jesse floruit, Emanuel noster apparuit, Induit carnem Hominis, Fit puer delectabilis. Alleluja." (The stem of Jesse hath flourished, Our Emanuel hath appeared, And hath put on human flesh, And become a lovely child, Alleluja!) and is a fragment of a longer Christmas hymn that was printed in Gottfried Vopelius' Neu Leipziger Gesangbuch.

For S B, F major, 12/8.

Reception history

See also: Discography of Bach's Magnificat

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. 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. By the end of that century "The Magnificat in D (was) considered one of the grandest illustrations of Bach's genius." Generally it was also the D major version without the Christmas hymns that was chosen for performance.

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. 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, it had been recorded several times, and its composition history had been further unravelled.

18th century

In 1749, a year before his father's death, Carl Philipp Emanuel Bach's Magnificat in D major had been performed in Leipzig, like his father's an extended setting. When Johann Sebastian had died, Carl Philipp Emanuel owned the autograph of both versions of his father's Magnificat, and staged the composition in Hamburg in 1786.

Laudes A and B (transposed to fit in a D major composition) were combined with a movement of a cantate by Graun (probably Carl Heinrich Graun) to form a Christmas motet, Kündlich groß ist das gottselige Geheimnis, BWV Anh. 161.

19th century

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, and without the Christmas hymns. It was the first composition of Bach for vocal soloists, chorus and orchestra that was printed in orchestral score, but at the time this publication had little success in sales. When in 1822 young Felix Mendelssohn composed a Magnificat in D major he showed that he knew Bach's version.

The D major version of Bach's Magnificat didn't appear in print before the Bach-revival that followed Mendelssohn's 1829 performance of the St Matthew Passion. In the 1840s a piano reduction by Robert Franz of Bach's D major version of the Magnificat appeared. In 1862 the orchestral and vocal score was published in Volume 11/1 of the Bach-Gesellschaft edition. The same edition printed the Christmas interpolations for the first time. 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. 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.

Novello printed an Octavo edition of the D major Magnificat in 1874, using a translation to English which John Troutbeck based on the text in The Book of Common Prayer. 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. Bach's Magnificat was performed several times in the last quarter of the 19th century, for instance in Germany and the Netherlands.

20th century

In 1924 Arnold Schering edited the full orchestral score of the D major version of Bach's Magnificat for publication by Ernst Eulenburg and Edition Peters. 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. LP recordings of the early 1950s included live performances of the Magnificat directed by Otto Klemperer and by Herbert von Karajan, the last one with Elisabeth Schwarzkopf as soprano.

The Neue Bach Ausgabe published Bach's Magnificat (both BWV 243.1 and BWV 243.2) in 1955, edited by Alfred Dürr. This Urtext score was reused in several ensuing publications by Bärenreiter, among which several with an English translation. More recordings of the Magnificat became available, for instance directed by Kurt Redel, Leonard Bernstein, Karl Richter and Karl Ristenpart. 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.

The earliest LP-releases that contained the Christmas laudes of BWV 243.1 inserted them, transposed, in the D major version BWV 243.2 of the Magnificat. 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. Wolfgang Gönnenwein's Bach: Magnificat in D (Including Christmas Interpolations), with the Deutsche Bachsolisten and the Süddeutscher Madrigalchor appeared in the 1970s.

Bruno Maderna recorded BWV 243.1, with the choir and orchestra of the Südwestdeutscher Rundfunk, and Hedy Graf, Hildegard Laurich, Adalbert Kraus and Michael Schopper as vocal soloists, in 1971. Its CD-release as volume 8 of the Maderna Edition by Arkadia was in 1991. The first recording on period instruments of Bach's Magnificat, with the four choral Christmas interpolations (BWV 243.1), was released by Simon Preston and the Academy of Ancient Music in 1978 (L'Oiseau Lyre / Decca), coupled with Vivaldi's Gloria. Nicolaus Harnoncourt's first recording of the D major version followed in 1984. Also Helmuth Rilling and John Eliot Gardiner had by then recorded the D major version of the Magnificat.

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; Penderecki's extended setting (1973–74) makes musical associations to Bach's D major setting; Pärt uses a SSATB choir in his a cappella setting (1989).

Before the end of the century CD recordings of the D major version of Bach's Magnificat by Sigiswald Kuijken, Robert Shaw, Andrew Parrott, Philippe Herreweghe, Neville Marriner, Peter Schreier, Harry Christophers, Ton Koopman, and by the Bach Collegium Japan had been released. Philip Pickett's 1995 recording of the E-flat major version appeared on L'Oiseau Lyre. 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.

Novello published both the E-flat major and the D major version of the Magnificat in a single publication in 2000, edited by Neil Jenkins. This edition also offered a transposed version of the Christmas 1723 laudes so that they could be fitted in performances of the D major version of the Magnificat. The last measures of the Virga Jesse, missing from the autograph score, were in this edition completed on the basis of a similar composition by Bach.

21st century

Philippe Herreweghe's 2002 recording of BWV 243.1 with Collegium Vocale Gent was released by Harmonia Mundi in 2003. In 2003 Ton Koopman recorded the Christmas version of Bach's Magnificat with Amsterdam Baroque in the St. Thomas church in Leipzig. A DVD of the recording, which included a performance of Kuhnau's Magnificat with his four Christmas interpolations, and of Bach's German Magnificat BWV 10, was released in 2004. Thomas Hengelbrock's recording of BWV 243.1, with the Balthasar-Neumann-Chor and Ensemble, was released by Deutsche Harmonia Mundi in 2008. In 2009 Philippe Pierlot performed the D major version of the Magnificat with the Ricercar Consort, with five vocal soloists without choir.

Facsimiles of Bach's autographs of both versions of the Magnificat became available on-line. Bärenreiter published a critical edition of all score versions, based on Dürr's 1955 edition, again in 2014/15. The "synthetic" D major version, that is the D major version of the Magnificat with the Christmas laudes transposed to fit in that version, now published both by Novello and Bärenreiter, found performers and audiences.

That the composition ranges among Bach's most popular vocal works is illustrated by its regular appearance in classical music polls like Klara's Top 75/Top 100. In December 2016, Bach's autograph of the D major version of his Magnificat was among the top three most visited scores at the Bach Digital website.

References

Sources

• "Bach: Magnificat – Buxtehude: Magnificat anima mea. (Sleeve)". Amazon. Retrieved 17 July 2014.
• Bach, Johann Sebastian. Magnificat in E-flat major.
  • (1720–1739) Autograph: Magnificat E-flat major and Christmas hymns (Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, D-B Mus. ms. Bach P 38, at www.bach-digital.de) Note: Virga Jesse incomplete
  • (1811) Pölchau, Georg, ed. (1811). Magnificat à cinque voci, due violini, due oboe, tre trombi, tamburi, basson, viola e basso continuo (1st ed.). Bonn: N. Simrock. OCLC 68145446. First edition of the Magnificat score, E-flat major version, without the Christmas hymns.
  • (1862) Von Himmel hoch (SATB) / Freut euch und jubiliert (SSAT, continuo) / Gloria (SSATB with colla parte instruments & violino obligato) / Virga Jesse (fragment – S, B, continuo). Bach-Gesellschaft Ausgabe, Volume 11.1, Appendix. Edited by Wilhelm Rust. Leipzig: Breitkopf & Härtel
  • (1959) Magnificat Es-dur: Herausgegeben von Alfred Dürr, Taschenpartituren No. 58. Bärenreiter, 1959.
  • (2014a) "Magnificat Es-Dur BWV 243a (mit den vier Einlagesätzen: Vom Himmel hoch / Freut euch und jubilieret / Gloria in excelsis / Virga Jesse floruit). Für Soli (SSATB), Chor (SSATB), Orchester und Orgel (lat). Nach dem Urtext der Neuen Bach-Ausgabe. Ed. A. Dürr" (PDF) (in German). Bärenreiter. 2014a. p. 3. Archived from the original (PDF) on 15 October 2014. Retrieved 22 September 2014.
• Bach, Johann Sebastian. Magnificat in D major.
  • (c. 1732–1735) Autograph: Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, D-B Mus. ms. Bach P 39:
    • "Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz : D-B Mus. ms. Bach P 39". Bach digital. Retrieved 18 November 2014. Manuscript of BWV 243.2 at www.bach-digital.de
    • Composer's Manuscript at IMSLP
  • (1841) Magnificat in D-Dur : Klavierauszug, edited by Robert Franz. Breslau: Leuckart.
  • (1862) Bach-Gesellschaft Ausgabe, Band 11.1. Magnificat D dur und vier Sanctus, edited by Wilhelm Rust. Leipzig: Breitkopf & Härtel.
  • (1864) Magnificat (in D-dur) bearbeitet von Robert Franz. Leipzig: Leuckart
  • (1874) Magnificat in D, in vocal score with an accompaniment for the organ or pianoforte – The adaptation to English words by J. Troutbeck. Novello's Original Octavo Edition. Novello, Ewer and Co.
  • (1895) Magnificat in D dur: Klavierauszug von Salomon Jadassohn. Leipzig: Breitkopf und Härtel
  • (1924) Magnificat, edited by Arnold Schering. Ernst Eulenburg and Edition Peters.
  • (c. 1956) Neue Ausgabe sämtlicher Werke, Series 2: Messen, Passionen und oratorische Werke, Volume 3: Magnificat D-dur BWV 243: Klavierauszug (Eduard Müller). Kassel (etc.): Bärenreiter.
  • (c. 1956) Magnificat D-Dur, BWV 243. Urtext of the New Bach Edition (Alfred Dürr). Foreword by the editor in German. English translation by Hans Ferdinand Redlich. For solo voices (SSATB), chorus (SSATB) and orchestra. Parts for: fl1, fl2, ob1, ob2, bsn1, tpt1, tpt2, tpt3, timp. – organ – strings (3,3,2,2). Duration: 30 min.
  • (1959) Magnificat in D major, BWV 243 Urtext edition taken from: J.S. Bach, Neue Ausgabe sämtlicher Werke, Series II, Vol. 3: Magnificat (Alfred Dürr). Preface in German with English translation by Hans Ferdinand Redlich, Jeremy Noble and J. Bradford Robinson. Kassel / New York : Bärenreiter. 11th printing, 2005.
  • (2014b) "Magnificat D-Dur BWV 243 (mit den vier Einlagesätzen aus der Es-Dur-Fassung BWV 243a, transponiert) für Soli (SSATB), Chor (SSATB), Orchester und Orgel (lat). Nach dem Urtext der Neuen Bach-Ausgabe. Ed. A. Dürr" (PDF) (in German). Bärenreiter. 2014b. p. 3. Archived from the original (PDF) on 15 October 2014. Retrieved 22 September 2014.
• Bach, Johann Sebastian. Magnificat in E-flat major and Magnificat in D major (published together)
  • Alfred Dürr, ed. (1955). Magnificat: erste Fassung in Es-Dur BWV 243a, zweite Fassung in D-Dur BWV 243. Neue Ausgabe sämtlicher Werke, Series 2: Messen, Passionen und oratorische Werke. Vol. 3. Kassel: Bärenreiter.
  • (2000) Jenkins, Neil (2000). "Bach Magnificat in D & E flat BWV 243 & 243a / (Novello edition ed. N. Jenkins)" (PDF). neiljenkins.info/. pp. 1–6. Retrieved 23 September 2014.
• Bach, Johann Sebastian. "Brich dem Hungrigen dein Brot BWV 39; BC A 96 / Cantata". Leipzig University. 1967. Retrieved 16 June 2014.
• Bawden, John. "Magnificat – John Rutter (b. 1945)". choirs.org.uk. Retrieved 7 September 2014.
• Butler, Gregory (2008). J. S. Bach's Concerted Ensemble Music, the Concerto. Bach perspectives. Vol. 7. University of Illinois Press. p. 53. ISBN 978-0-252-03165-6.
• Cantagrel, Gilles (2011). J.-S. Bach : Passions, messes, motets (in French). Fayard. p. 260. ISBN 978-2-213-66547-4.
• Dellal, Pamela. "Bach Cantata Translations / BWV 243a – "Magnificat" (E-flat Major)". Emmanuel Music.
• Lowther Clarke, W.K. (1922). Evensong Explained, with Notes on Matins and the Litany. S.P.C.K. – via Project Canterbury.
• Lundberg, Mattias (2012). Tonus Peregrinus: The History of a Psalm-tone and its use in Polyphonic Music. Ashgate Publishing, Ltd. ISBN 978-1-4094-5507-3.
• Franz, Robert (1863). Mittheilungen über Johann Sebastian Bach's "Magnificat". H. Karmrodt.
• Glöckner, Andreas (2003). "Bachs Es-Dur-Magnificat BWV 243a – eine genuine Weihnachtsmusik?". Bach-Jahrbuch. 89: 37–45. doi:10.13141/bjb.v20031781. Archived from the original on 2014-10-16.
• Glöckner, Andreas (2009). "Ein weiterer Kantatenjahrgang Gottfried Heinrich Stölzels in Bachs Aufführungsrepertoire?" [Is there another cantata cycle by Gottfried Heinrich Stölzel that belonged to Bach’s performance repertoire?]. In Wollny, Peter (ed.). Bach-Jahrbuch 2009 [Bach Yearbook 2009]. Bach-Jahrbuch (in German). Vol. 95. Neue Bachgesellschaft. Leipzig: Evangelische Verlagsanstalt. pp. 95–115. doi:10.13141/bjb.v2009. ISBN 978-3-374-02749-1. ISSN 0084-7682.
• Hogwood, Christopher (2011). "Keep it Short: J S Bach Magnificat". Gresham College lecture.
• Jansen, Frans (2006). Passie in de polder: Het begin van de Nederlandse Bach-traditie in de negentiende eeuw [Passion on the Polder: The start of the Netherlands Bach Tradition in the nineteenth century] (in Nepali). Universiteit Utrecht.
• Jones, Richard D. P. (2013). The Creative Development of Johann Sebastian Bach, Volume II: 1717–1750: Music to Delight the Spirit. Oxford University Press. pp. 131–136. ISBN 978-0-19-969628-4.
• Kretzschmar, Hermann (1921). Führer durch den Konzertsaal. Part II, Volume 1: Kirchliche Werke (in German) (5th ed.). Breitkopf & Härtel.
• Marshall, Robert L. (1989a). "On the origin of Bach's Magnificat: a Lutheran composer's challenge". In Don O., Franklin (ed.). Bach Studies. Vol. 1. Cambridge University Press. pp. 3–17. ISBN 978-0-521-34105-9.
• Oron, Aryeh (2012). "Magnificats BWV 243 & BWV 243a – Details". Bach Cantatas. Retrieved 18 November 2014.
• Porter, Christopher Michael (2008). Salzburg W.B. XIV: Historical Context, Liturgical Significance and Critical Edition (Doctor of Musical Arts thesis). OCLC 1194734574.
• Rathey, M. (2016). Bach's Major Vocal Works: Music, Drama, Liturgy. Yale University Press. ISBN 978-0-300-21951-7.
• Rimbach, Evangeline (2005). "The Sacred Vocal Music of Johann Kuhnau". In Carl Schalk; Carlos R. Messerli (eds.). Thine the Amen: Essays on Lutheran Church Music in Honor of Carl Schalk. Kirk House. pp. 83–110. ISBN 978-1-932688-11-5.
• Rizzuti, Alberto (2013). "One Verse, Two Settings, and Three Strange Youths" (PDF). Gli Spazi della Musica. 2 (2). ojs.unito.it. ISSN 2240-7944. Retrieved 23 September 2014.
• Shrock, D. (2009). Choral Repertoire. Oxford University Press. ISBN 978-0-19-971662-3.
• Schröder, Dorothea (2012). Johann Sebastian Bach. C.H. Beck. ISBN 978-0-19-969628-4.
• Spitta, Philipp. "Fünftes Buch: Leipziger Jahre von 1723–1734" in Johann Sebastian Bach, Zweiter Band. Breitkopf & Härtel, 1880.
  • "Fünftes Buch: Leipziger Jahre von 1723–1734" pp. 3–479 in Johann Sebastian Bach, Zweiter Band. Dritte unveränderte Auflage, Leipzig: Breitkopf & Härtel, 1921.
  • Spitta, Philipp (1884). "Book V: Leipzig, 1723–1734". Johann Sebastian Bach: his work and influence on the music of Germany, 1685–1750. Vol. II. Translated by Clara Bell; John Alexander Fuller Maitland. London: Novello & Co. pp. 181–648.
• Steinberg, Michael (2005). Choral Masterworks: A Listener's Guide. Oxford University Press. pp. 31–34. ISBN 0-19-802921-7.
• Stockigt, Janice B. (2013). "Bach's Missa BWV 232^I in the context of Catholic Mass settings in Dresden, 1729-1733". In Tomita, Yo; Leaver, Robin A.; Smaczny, Jan (eds.). Exploring Bach's B-minor Mass. Cambridge University Press. ISBN 978-1-107-00790-1.
• Taft, Robert F. (1986). The Liturgy of the Hours in East and West: The Origins of the Divine Office and Its Meaning for Today. Liturgical Press. ISBN 978-0-8146-1405-1.
• Upton, George P. (1886). "The Magnificat in D.". The Standard Oratorios: Their Stories, Their Music, And Their Composers. Chicago. pp. 49–50.{{cite book}}: CS1 maint: location missing publisher (link)
• Schweitzer, Albert (1966) [1911]. The Magnificat and the St. John Passion. J. S. Bach. Vol. 2. Breitkopf & Härtel. pp. 1–. ISBN 978-0-486-21632-4.
• Zenck, Martin (1986). Die Bach-Rezeption des späten Beethoven: zum Verhältnis von Musikhistoriographie und Rezeptionsgeschichtsschreibung der "Klassik". Archiv für Musikwissenschaft. Vol. 24. Franz Steiner Verlag. p. 234. ISBN 978-3-515-03312-1. ISSN 0570-6769.

Further reading

• Marshall, Robert Lewis (1989b). The Music of Johann Sebastian Bach: The Sources, the Style, the Significance. Schirmer Books. ISBN 978-0-02-871781-4.
• Vernier, David. "J.S. Bach: Leipzig Christmas cantatas; Magnificat/Herreweghe". classicstoday.com. Retrieved 23 September 2014.

External links

• Performance of the Magnificat in D major (BWV 243) by the Netherlands Bach Society (video and background information)
• Magnificat in E-flat major (BWV 243a), Magnificat in D major (BWV 243): Scores at the International Music Score Library Project
• Magnificat (Johann Sebastian Bach): Free scores at the Choral Public Domain Library (ChoralWiki)
• "Frontispiece of the 1811 first edition". Auction catalogue. Sotheby's. Retrieved 18 November 2014.
• Magnificat (MIDI) from impresario.ch, with practice files for choristers
• Keep it Short: J S Bach Magnificat, a 2011 Gresham College lecture by Christopher Hogwood

.

In Leipzig, the Magnificat was regularly part of Sunday vespers services, sung in German on ordinary Sundays but more elaborately and in Latin on the high holidays (Christmas, Easter and Pentecost, then performed on two of the three days of celebration) and on the three Marian feasts Annunciation, Visitation and Purification. 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. Bach had an audience familiar with the text and its background. The canticle was often set to music. Contemporary extended settings include examples by Heinichen and by Vivaldi.

Composition

Bach composed the work in 1723, his first year as Thomaskantor in Leipzig, probably for the feast of the Visitation. For the occasion, he presented the Magnificat as his first work on a Latin text and his first five-part choral setting in Leipzig. Otherwise, he used five voices in the funeral motet Jesu, meine Freude, the Missa in B minor (1733) with the derived cantata [[[Gloria in excelsis Deo, BWV 191|Gloria in excelsis Deo, BWV 191]]] Error: {{Lang}}: text has italic markup (help), and in the Mass in B minor. Musicologist Richard D. P. Jones notes: "Without exception these works lie outside the normal routine of Bach's sacred vocal works".

Bach likely first performed the Magnificat on the feast day, 2 July. Until 2003, most musicologists believed that Bach wrote Magnificat for his first Christmas in Leipzig. Then Andreas Glöckner published Bachs Es-Dur-Magnificat BWV 243a – eine genuine Weihnachtsmusik? (Bach's Magnificat in E-flat major, BWV 243a – a genuine Christmas music?) in the Bach-Jahrbuch (Bach yearbook) 89, questioning the Christmas date in favour of Visitation the same year. Older sources naturally still have Christmas as the first performance, for example Neil Jenkins, the editor of an edition for Novello in 2000. He writes that the "new Thomaskantor was obviously intending to impress his new employer and the congregation", which makes even more sense at the beginning of Bach's tenure. Not all scholars follow Glöckner's arguments, but Jones agrees with Glöckner: "... may well have received its first performance at the Feast of the Visitation on 2 July 1723, only five weeks after he took up his Leipzig post."

For Christmas the same year, Bach performed his Magnificat again, with four inserted laudes, songs of praise ralated to Christmas, partly in German, partly in Latin. In a vespers service on 25 December 1723, he performed the cantata Christen, ätzet diesen Tag, BWV 63 and the Magnificat at the Nikolaikirche, on 26 December the cantata Darzu ist erschienen der Sohn Gottes, BWV 40 in the Thomaskirche.

Bach used as a cantus firmus in movement 10 the chant associated with Luther's German version of the Magnificat canticle, "Meine Seele erhebt den Herren". A year later Bach composed for the feast of the Visitation the chorale cantata [[[Meine Seel erhebt den Herren, BWV 10|Meine Seel erhebt den Herren, BWV 10]]] Error: {{Lang}}: text has italic markup (help), based on the German Magnificat. The musicologist Alberto Rizzuti compared the two settings which were possibly performed in one service on 2 July 1724.

For Visitation of 1733, Bach transposed his Magnificat composition to D major, adapted the instrumentation, for example replacing recorders by flutes and using them more often, and reworked it to the version better known today.

Bach's son Carl Philipp Emanuel Bach followed the example of an extended setting, composing a Magnificat in nine movements in 1749, at the end of his father's life.

Scoring and structure

Bach scored the work festively. The autograph reads: "J.J. Magnificat à 3 Trombe Tamburi 2 Hautb. Basson. 2 Violini. Viola 5 Voci è Continuo", translating to: Jesu Juva (Jesus help) / Magnificat for three trumpets, timpani, two oboes, bassoon, two violins, viola, five voices, continuo). The five voices are two sopranos (SI, SII), alto (A), tenor (T) and bass (B)). 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", i.e. two violins, two oboes, three trumpets (in E-flat), timpani (E-flat and B-flat), bassoon, viola and basso continuo. Two recorders (flauto dolce) are required for aria No. 9 Esurientes.

Movements

Bach structured the text in eleven movements for the canticle (Luke 1:46–55), concluded by a twelfth doxology movement. Each verse of the canticle is assigned to one movement, except verse 48, beginning with a soprano solo in the role of Mary (third movement), then switching to the fourth movement sung by the chorus when "all generations" are mentioned. The structure, alternating choral and solo movements, is similar to "contemporary Italian concerted settings of the Magnificat". The four Christmas hymn movements are placed after the second, fifth, seventh and ninth movement on the Magnificat text.

Choral movements are are evenly distributed in the structure, numbers 1, 4, 7, and 11 within the canticle, and the concluding doxology as movement 12. Choral movements 1, 7 and 12 are accompanied by the full orchestra (tutti), with the exceptions of the recorders which add specific colour only in movement 9. The movements for one to three solo voices are accompanied by an obbligato instrument or only strings or even only continuo, as in Bach's church cantatas. In two consecutive solo movements, the second one is often in richer scoring. The work contains, other than typical cantatas on Baroque poetry, no da capo arias. Similar to the first two cantatas, BWV 75 and BWV 76, it is a complex structure of rather short movements.

The following table shows the title, voices and instruments, time, key and text sources for the twelve movements for Visitation and the inserted movements for Christmas. Note that the timpani are no wind instruments but always go with the trumpets. The basso continuo is not listed, playing almost throughout. The first Christmas chorale is a four-part setting with no continuo. In Suscepit Israel, the lowest line played by violins and viola in unison has been described as a bassett and an "unusual continuo". The last column, Dig, provides a link to the Bach Digital database, for more details such as scoring and the text. The Christmas interpolations are highlighted in colour, as are the choral movements, the movements with trumpets, and those movements of the canticle that are in major mode.

Movements of Bach's Magnificat in E-flat major (BWV 243a)

No.	Title	Voices	Winds	Strings	Key	Time	Text source	Dig
1	Magnificat anima mea	SSATB	3Tr Ti 2Ob	2Vl Va	E-flat major	3/4	Luke 1:46	[1]
2	Et exultavit spiritus meus	SII		2Vl Va	E-flat major	3/8	Luke 1:47	[2]
A	Vom Himmel hoch	SATB			E-flat major		Hymn by Martin Luther	[3]
3	Quia respexit humiltatem	SI	Ob		C minor		Luke 1:48 beginning	[4]
4	Omnes generationes	SSATB	2Ob	2Vl Va	G minor		Luke 1:48 end	[5]
5	Quia fecit mihi magna	B			B-flat major		Luke 1:49	[6]
B	Freut euch und jubilieret	SSAT			B-flat major		Verse by Sethus Calvisius	[7]
6	Et misericordia	A T		2Vl Va	F minor	12/8	Luke 1:50	[8]
7	Fecit potentiam	SSATB	3Tr Ti 2Ob	2Vl Va	E-flat major		Luke 1:51	[9]
C	Gloria in excelsis Deo	SSATB		Vl	E-flat major		Luke 2:14	[10]
8	Deposuit potentes	T		2Vl Va	G minor	3/4	Luke 1:52	[11]
9	Esurientes	A	2Fl		F major		Luke 1:53	[12]
D	Virga Jesse floruit	S B			F major	12/8	fragment of a longer Christmas hymn	[13]
10	Suscepit Israel	SSA	Tr	2Vl Va	C minor		Luke 1:54	[14]
11	Sicut locutus est	SSATB			E-flat major		Luke 1:55	[15]
12	Gloria Patri Sicut erat in principio	SSATB	3Tr Ti 2Ob	2Vl Va	E-flat major	3/4	Doxology	[16]

The twelve movements of the Magnificat canticle

1

The opening movement Magnificat anima mea (My soul magnifies the Lord) is performed by all voices and all instruments except the recorders. The instruments present the material with almost continuous runs in the upper parts, octaves and broken triads in the bass. The sopranos enter first, in third parallels: they sing the first word Magnificat anima mea (literally: makes great) with a melisma on the first syllable, ending in a figure like a trill, then a stressed dotted note on the stressed syllable "gni", and relaxing on "ficat". The motif is abbreviated to a "fanfare figure" of just four notes, a low upbeat followed by three same notes, with the first one dotted. The sopranos sing it twice, reaching first E-flat, then G. The interplay of the fanfare and the melismas shapes the movement. 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. The text remains Magnificat for most of the movement. After the voices conclude with Dominum, the instruments close in a shortened version of their opening.

2

Et exultavit spiritus meus (And my spirit rejoices in God my Savior) is an aria, as an image of personal celebration, sung by soprano II, accompanied by the strings. The major-mode and motifs of joy in the instruments illustrate the exultation. Et exultavit (And exults) begins with a broken upward triad followed by a rest, suggesting a minuet. spiritus meus (my spirit) is a sequence of 16th notes, two for every syllable. Longer melismas illustrate salutari (salvation).

A note in the autograph requests to insert the first Christmas interpolation here: "Alhier folget der Choral: Vom Himmel hoch, da kom ich her" (Here follows the chorale: Vom Himmel hoch, da kom ich her).

3

Quia respexit humiltatem (For He has regarded the lowliness [of His handmaiden.] is an aria sung by soprano I with an obbligato oboe. Looking at the humility, the aria contrast to the preceding one in slow movement and the minor mode. Hogwood notes: "Humility is a downwards gesture, and so everything takes a long, s-shaped movement downwards, with a little rise at the end", and comments that the limited resources of one wind instrument and the voice have "a subservient feel to it." Steinberg notes 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 ) the voice changes to a "simpler, more declamatory style". "All the phrases turn upwards" in "an internalised dialogue", describes Hogwood, expecting that "nobody in the church would have been expecting the sudden burst of 'omnes'".

4

The continuation of the verse and completion of the sentence, Omnes generationes (by all generations) is given to the chorus, expressing the fullness of the praise. Hogwood compares the "crowd effect" to Bach's the crowds in Bach's Passions. The movement is a fugue which follows the stretto principle from the start and throughout. Beginning in measure 10, the voices enter, again half a measure apart, with the bass beginning. From measure 15, every entrance is one note higher, covering an octave as a symbol of completeness (omnes), again in the fast succession of half a measure: A, SII, SI, T, B, SII, SI, A. In a final sequence beginning in measure 21, the voices enter from bottom to top on the same note, only one beat apart. After a "very triumphal, but unfinished, chord" and a general pause, the movement concludes repeating the theme in homophony. 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.

5

Quia fecit mihi magna qui potens est (For the Mighty One has done great things for me) is an aria sung by the bass, accompanied only by the continuo. The motif, again beginning with repeated notes, is introduced by four measures of the continuo, then repeated by the voice. A ritornello is repeated throughout the movement, with a downward leap of a sixth and a downward scale of an octave which appears in the voice on the word "sanctum" (holy), in et sanctum nomen eius (and holy is His name). Gods might shows in the bass voice and the dominant key of B-flat major.

A note in the autograph requests to insert the second Christmas interpolation here: "Hierauf folget Freut euch u. jubilirt" (Hereon follows Freut euch u. jubilirt).

6

Et misericordia a progenie in progenies, timentibus eum (His mercy is for those who fear Him from generation to generation) begins in great contrast softly with undulating movement in 12/8 time, played by the violins. It is a duet of alto and tenor, beginning in parallels of sixths and staying in homophony for most of the movement. The theme resembles the sarabande of Bach's first French Suite in D minor, BWV 812. Hogwood compares the music to the pastoral sinfonia beginning Part II of Bach's Christmas Oratorio, "creating a romantic, soft-edged, almost comforting sound". Jones points out that timentibus eum" (who fear him) shows "full of pathos and built over a partly chromatic, quasi-ostinato bass", while the "divine quality of mercy is expressed in beatific parallel thirds of the violins in the ritornello".

7

Fecit potentiam (He has shown strength) shares key, scoring ad dotte motifs with the first movement. Based on a continuo line of octaves and repeated 16th, strength is expressed by irregular coloraturas in one voice and homophonic simultaneous calls of the other voices. 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. The new text, dispersit (He has scattered), appears in various voices as broken triads, juxtaposed to material from the first section, but then isolated, in a sequence from the highest voice to the lowest and in downward triads. Joes describes: "... the fugue is dispersed ('dispersit' in favour of a highly graphic, dramatic portrayal of the words 'He has scattered ...'". The conclusion, mente cordis sui (in the thoughts of their hearts), is marked Adagio and illustrates the text in pompous long chords, with accents in the trumpets. 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".

A note in the autograph requests to insert the third Christmas interpolation here: "Hierher gehöret das Gloria in excelsis Deo" (Here belongs the Gloria in excelsis Deo).

8

Deposuit potentes (He has brought down the powerful) is an aria for tenor, accompanied by only the violins united in powerful unison. The instrumental ritornello of 14 measures presents the material. The first motif, later sung on Deposuit, begins with a short upbeat and a long note, followed by a straight downward scale and a final leap up, while the continuo presents a broken triad, straight upward one octave. The second motif, later sung on potentes, begins with an upbeat of three 16th, followed by a rhythmic pattern which expands both the lowest as the highest note, while the continuo moves in steady steps down. For the third motif, sung on de sede (from their thrones), the continuo picks up the rhythm of the second motiv, while the violins play a more ornamented downward motion in sixteen continuous 16th. A fourth motif is a sequence of three measures, each a sequence of a figure of a figure of four 16th which is slowly moving upwards. When the singer takes over, the violins accent the end of each motif one to three by a broken downward triad.

The second thought of the verse, et exaltavit humiles (and lifted up the lowly), is sung without introduction as a melisma of four measures, which includes downward runs but in a steadily rising sequence and ending similarly to the sequence of motif four, on exaltavit, but a modest downward line on humiles (the lowly). After a shorter ritornello, the tenor sings the complete text again, the first part in a slightly modified version, but the exaltation considerably expanded. Nonetheless, the ritornello in full length is repeated at the end.

9

Esurientes implevit bonis (He has filled the hungry with good things) is sung by the alto, accompanied by two recorders which may symbolise the need of the hungry. Bach used recorders also in his later cantata [[[Brich dem Hungrigen dein Brot, BWV 39|Brich dem Hungrigen dein Brot, BWV 39]]] Error: {{Lang}}: text has italic markup (help). They often play in parallels of sixths and thirds. The ritornello of eight measures introduces a motiv 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). In Latin, the last word is inanes (empty), which Bach sometimes separates by rests. The continuo is plucked in "the emptiest sound", even on the last note, on which the recorders are silent.

A note in the autograph requests to insert the fourth Christmas interpolation here: "Hierauf folget Virga Jesse floruit" (Hereon follows Virga Jesse floruit).

10

Suscepit Israel puerum suum (He has helped His servant Israel) is scored for an unusual combination of the three highest voices, violins and violas in unison and trumpet. The text continues recordatus misericordiae suae (in remembrance of His mercy). The cantus firmus played by the trumpet is the melody of the traditional setting of Luther's German version of the Magnificat, a ninth psalm tone variant. The strings, as the only other instruments, play repeated notes in every measure, moving one step down or up in the next. The voices imitate each other, also in gentle movement, the first a fifth up in a long upbeat, the second a fifth down one measure later, the third up again, another measure later, described as "scale themes". In contrast, the second idea of the verse, recordatus is one a "disjunct theme", Bach repeats the figure, with a downward quart on each syllable, in the Et incarnatus est of his Mass in B minor. It has been interpreted as a symbol of the cross, because a line drawn from the fist to the forth note crosses one from the second to the third. Jones assumes that the "bassett" of the unison strings symbolize the divine quality of mercy.

11

Sicut locutus est ad patres nostros (According to the promise He made to our ancestors), the last line of the Magnificat canticle, is written in stile antico, the old style of the musical "fathers", as a strict fugue, one voice following the other as one generation follows the other. The theme has four distinctly different 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 countersubject has leaps down and up an octave in the second measure, the flowing eighth notes in the third measure. When the theme is developed the first time, four voices enter from bottom to top. In the second development, soprano I begins, followed by alto, tenor and bass. 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. Hogwood sees Bach alluding to his musical "forefathers": "He portrays, in a very square fugue, exactly how square he thought the forefathers of German music were. Four bars follows four bars, each voice coming in predictably and on time, all according to the rulebook, unimaginative and extremely dull!"

12

The work is concluded by the doxology, Gloria Patri (Glory to the father), performed by the ensemble in two parts. The first part addresses the Trinity. Glory is given three times. Bach shapes the movement again as a "crowd" scene. Gloria is first presented as the major chord repeated three times, with a dotted note on the first syllable. In the second Gloria, leading to Patri, the voices sing the first syllable as an extended melisma in triplets, as another symbol of the Trinity, beginning in upward moving lines, for three measures in the basses, half a measure less for each following voice. In the third Gloria, leading to Filio (to the Son), in a similar pattern soprano I begins, followed by alto, soprano II, tenor and bass. In the fourth Gloria, leading to et Spiritui sancto (and to the Holy Spirit), in again similar pattern the voices follow each other from top to bottom, ending in a long cadenza.

The second part, Sicut erat in principio (as it was in the beginning) repeats material from the beginning of the work but shortened, as a frame. Jones points out that the "wittiness" of it was used by Monteverdi already.

Jones remarks that Bach used a similar pattern, a bipartite structure of first contrasting homophonic blocks and "florid triplet rhythms", second "a lighter, quicker conclusion in triple time", again the following year in the Sanctus for Christmas 1724 which later was included as the Sanctus of the Mass in B minor.

The four Christmas interpolations

The four hymns Bach inserted in the Magnificat for the Christmas vespers had a tradition in Leipzig. A setting by Bach's predecessor Kuhnau in a Christmas cantata is extant. They can be connected to scenic display of the Christmas story, representing the annunciation to the shepherds, first by one angel (A, B), then by the multitude (C), finally a cradle song (de, D). In Bach's autograph, the four movements are grouped at the back of the volume. They are written in older musical styles than most of the Magnificat movements.

A

Vom Himmel hoch, da komm ich her (From heaven on high I come here) 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. It is set for four parts in E-flat major and alla-breve as an a capella motet, with the soprano singing the melody in long notes, the lower voices in imitation of the motifs.

B

Freut euch und jubilieret (Rejoice and celebrate) is set for SSAT in B-flat major and common time. In polyphony on an independent basso continuo, with pairs of voices in parallels, it resembles a setting by Sethus Calvisius, a former Thomaskantor.

C

Gloria in excelsis Deo (Glory to God in the highest) is set for SSATB and violins in E-flat major, on the text from the Christmas story, the Annunciation to the Shepherds (Luke 2:14). It is written in "chordal fashion", a style found in Giacomo Carissimi, Johann Schelle (also a Thomaskantor) and Kuhnau, among others.

D

Virga Jesse floruit (The branch of Jesse flowers) is an "operatic" duet for soprano and bass in F major in 12/8 time. The text is part of a longer hymn, beginning like Virga Jesse floruit. Only the first 30 measures of this movement are extant. Bach used the music again in 1725 on a different text in his Christmas cantata Unser Mund sei voll Lachens, BWV 110, from which the missing part can be deducted. It was Alfred Dürr who noticed the similarity of the continuo parts of both pieces.

Reception history

Further information: Magnificat (Bach) § Reception history

Publication

The earliest sources are autographs for the performances on 2 July and 25 December 1723, including the Christmas parts, kept by the Staatsbibliothek zu Berlin.

The score of the E-flat major version of Bach's Magnificat was first published by Simrock in 1811, edited by Georg Pölchau, however without the Christmas hymns. These were published in 1862, in the appendix of Volume 11/1 of the Bach-Gesellschaft Ausgabe, a publication that contained the D major version of the Magnificat (and not the E-flat major version).

The Neue Bach Ausgabe published the E-flat major version in 1955, edited by Alfred Dürr. Novello published an edition in 2000, edited by Neil Jenkins. Bärenreiter published a critical edition based on Dürr's 1955 edition again in 2014/15.

Selected recordings

The first version of Bach's Magnificat in the Christmas version was recorded in 2002 by the Collegium Vocale Gent, conducted by Philippe Herreweghe, with soloists Carolyn Sampson, Ingeborg Danz, Mark Padmore and Sebastian Noack. A reviewer noted "bracing but not rushed tempos, infectiously energetic and technically solid contributions from the chorus, and an intelligently paced flow from movement to movement."

Additional recordings have been made from 1966.

• J.S. Bach: Cantatas 142, 65 & Magnificat, Wolfgang Gönnenwein, Süddeutscher Madrigalchor, Deutsche Bachsolisten, Helen Donath, Gundula Bernàt-Klein, Birgit Finnilä, Peter Schreier, Barry McDaniel, Cantate 1966
• Christmas Magnificats, Helmuth Rilling, Figuralchor of the Gedächtniskirche, Stuttgart, Bach-Collegium Stuttgart, Romy Gundermann, Hildegard Rütgers, Kurt Equiluz, Erich Wenk Hänssler 1967
• Maderna Volume 8 - Desprez, J.S. Bach, G. Gabrieli-Maderna, Stravinkij , Bruno Maderna, choir and orchestra of Südwestdeutscher Rundfunk, Hedy Graf, Hildegard Laurich, Adalbert Kraus, de Arcadia 1971
• Edition Bachakademie Vol. 140, Helmuth Rilling, Gächinger Kantorei, Bach-Collegium Stuttgart, Sibylla Rubens, Ruth Sandhoff, Ingeborg Danz, Marcus Ullmann, Klaus Häger Hänssler 2000
• J.S. Bach: Magnificat BWV in E flat major 243a - Cantata BWV 10, Roland Büchner, Regensburger Domspatzen, Musica Florea, Susanne Rydén, Heidrun Kordes, Drew Minter, de, Peter Harvey Pure Classics – Glissando 2000
• Magnificat zur Weihcnachtsvesper BWV 243a, de, Motettenchor Pforzheim, L'arpa festante, Susanna Cornelius, Claudia Darius, de, Matthias Horn Amati 2000
• A. Lotti: Missa Sapientiae / J.S. Bach: Magnificat BWV 243a, Thomas Hengelbrock, Balthasar-Neumann-Chor, Balthasar-Neumann-Ensemble, Dorothee Mields, Constanze Backes, Bernhard Landauer, Jürgen Banholzer, Hermann Oswald, Wolf-Matthias Friedrich, Deutsche Harmonia Mundi 2000
• Bach - Kuhnau: Magnificat, Ton Koopman, Amsterdam Baroque Orchestra & Choir, Deborah York, Orlanda Velez Isidro, Bogna Bartosz, Jörg Dürmüller, Klaus Mertens, Naxos 2001?

Sources

Scores

• "Magnificat E-flat major and Christmas hymns". Berlin: Staatsbibliothek zu Berlin – Preußischer Kulturbesitz. 1723.
• "Magnificat in E flat major (first version) BWV 243a; BC E 13 / Mass". Leipzig University. Retrieved 23 September 2014. (Note: Virga Jesse incomplete)
• Pölchau, Georg, ed. (1811). "Magnificat à cinque voci, due violini, due oboe, tre trombi, tamburi, basson, viola e basso continuo". Bonn: N. Simrock.
• Rutter, John (1990). Magnificat. Oxford University Press.
• Rust, Wilhelm, ed. (1862). "Von Himmel hoch (SATB) / Freut euch und jubiliert (SSAT, continuo) / Gloria (SSATB with colla parte instruments & violino obligato) / Virga Jesse (fragment – S, B, continuo)". Leipzig: Breitkopf & Härtel (Bach-Gesellschaft). {{cite web}}: Missing or empty |url= (help)CS1 maint: ref duplicates default (link)
• (1955) Neue Ausgabe sämtlicher Werke, Series 2: Messen, Passionen und oratorische Werke, Volume 3: Magnificat: erste Fassung in Es-Dur BWV 243a, zweite Fassung in D-Dur BWV 243, edited by Alfred Dürr. Kassel, Bärenreiter, 1955.
• (1959) Magnificat Es-dur: Herausgegeben von Alfred Dürr, Taschenpartituren No. 58. Bärenreiter, 1959.
• Jenkins, Neil (2000). "Bach Magnificat in D & E flat BWV 243 & 243a / (Novello edition ed. N. Jenkins)" (PDF). neiljenkins.info/. pp. 1–6. Retrieved 23 September 2014. {{cite web}}: Invalid |ref=harv (help)
• (2014) "Magnificat Es-Dur BWV 243a (mit den vier Einlagesätzen: Vom Himmel hoch / Freut euch und jubilieret / Gloria in excelsis / Virga Jesse floruit). Für Soli (SSATB), Chor (SSATB), Orchester und Orgel (lat). Nach dem Urtext der Neuen Bach-Ausgabe. Ed. A. Dürr" (PDF) (in German). Bärenreiter. 2014. p. 3. Retrieved 22 September 2014.

Books

• Butler, Gregory (2008). J. S. Bach's Concerted Ensemble Music, the Concerto (in Bach perspectives). Vol. 7. University of Illinois Press. p. 53. ISBN 0252031652. {{cite book}}: Invalid |ref=harv (help)
• Cantagrel, Gilles (2011). J.-S. Bach : Passions, messes, motets (in French). Fayard. p. 260. ISBN 2-21-366547-8. {{cite book}}: Invalid |ref=harv (help)
• Glöckner, Andreas (2003). Bachs Es-Dur-Magnificat BWV 243a – eine genuine Weihnachtsmusik? (in German). Vol. 89. Bach-Jahrbuch. pp. 37–45. {{cite book}}: Invalid |ref=harv (help)
• Jones, Richard D. P. (2013). The Creative Development of Johann Sebastian Bach, Volume II: 1717–1750: Music to Delight the Spirit. Oxford University Press. ISBN 0-19-969628-4. {{cite book}}: Invalid |ref=harv (help)
• Schröder, Dorothea (2012). Johann Sebastian Bach. C.H. Beck. ISBN 0-19-969628-4. {{cite book}}: Invalid |ref=harv (help)
• Schweitzer, Albert (1911). The Magnificat and the St. John, Chapter XXVI of J. S. Bach. Breitkopf & Härtel, Reprint: Dover, 1966. ISBN 0-48-621632-2. {{cite book}}: Invalid |ref=harv (help)
• Spitta, Philipp (1899). Johann Sebastian Bach: his work and influence on the music of Germany, 1685–1750. Vol. 2. Novello. pp. 369–371. {{cite book}}: Invalid |ref=harv (help)
• Steinberg, Michael (2005). Choral Masterworks: A Listener's Guide. Oxford University Press. pp. 31–34. ISBN 0-19-802921-7. {{cite book}}: Invalid |ref=harv (help)
• Wolff, Christoph (1991). Bach: Essays on His Life and Music. Harvard University Press. Retrieved 23 December 2014. {{cite book}}: Invalid |ref=harv (help)
• Zenck, Martin (1986). Die Bach-Rezeption des späten Beethoven: zum Verhältnis von Musikhistoriographie und Rezeptionsgeschichtsschreibung der 'Klassik' (in in Beihefte zum Archiv für Musikwissenschaft) (in German). Franz Steiner Verlag. p. 234. ISBN 9783515033121. {{cite book}}: Invalid |ref=harv (help)

Online sources

• Bawden, John. "Magnificat – John Rutter (b. 1945)". choirs.org.uk. Retrieved 7 September 2014.{{cite web}}: CS1 maint: ref duplicates default (link)
• "Carl Philipp Emanuel Bach: Magnificat". Carus-Verlag. {{cite web}}: |access-date= requires |url= (help); Missing or empty |url= (help)
• Dellal, Pamela. "Bach Cantata Translations / BWV 243a – "Magnificat" (E-flat Major)". Emmanuel Music.{{cite web}}: CS1 maint: ref duplicates default (link)
• Grob, Jochen (2014). "BWV 243a, Magnificat Es-Dur / BC E 13" (in German). s-line.de. Retrieved 2 December 2014. {{cite web}}: Invalid |ref=harv (help)
• Hogwood, Christopher (2011). "Keep it Short: J S Bach Magnificat". Gresham College. {{cite web}}: Invalid |ref=harv (help)
• Oron, Aryeh (2013). "Magnificat in E flat major BWV 243a / Recordings". Bach Cantatas. Retrieved 8 December 2014. {{cite web}}: Invalid |ref=harv (help)
• "Magnificat BWV 243a / Conducted by Thomas Hengelbrock". Bach Cantatas. 2000. Retrieved 8 December 2014.
• Prinz (2013). "Johann Sebastian und Carl Philipp Emanuel Bach / Magnificat-Vertonungen" (PDF). Retrieved 5 December 2014. {{cite web}}: Invalid |ref=harv (help)
• Rizzuti, Alberto (2013). "One Verse, Two Settings, and Three Strange Youths" (PDF). ojs.unito.it. Retrieved 23 September 2014. {{cite web}}: Invalid |ref=harv (help)
• Vernier, David. "J.S. Bach: Leipzig Christmas cantatas; Magnificat/Herreweghe". classicstoday.com. Retrieved 23 September 2014.{{cite web}}: CS1 maint: ref duplicates default (link)
• Wolff, Christoph (1998). "From konzertmeister to thomaskantor: Bach's cantata production 1713–1723" (PDF). bach-cantatas.com. Retrieved 4 February 2013. {{cite web}}: Invalid |ref=harv (help)
• Bach, Johann Sebastian. "Brich dem Hungrigen dein Brot BWV 39; BC A 96 / Cantata". Leipzig University. 1967. Retrieved 16 June 2014.

External links

• Oron, Aryeh (2012). "Magnificats BWV 243 & BWV 243a - Details". Bach Cantatas. Retrieved 18 November 2014.
• "Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz : D-B Mus. ms. Bach P 39". Bach digital. Retrieved 18 November 2014. Manuscript of BWV 243.
• "Frontispiece of the 1811 first edition". Auction catalogue. Sotheby's. Retrieved 18 November 2014.