They frame sets of two or three movements sung by one to three voices, with individual instrumental colour. Arie (Sopran): „Et exsultavit” 3. [30] It was Alfred Dürr who noticed the similarity of the continuo parts of both pieces. 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. [24] 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. [72] Publication followed in the 19th century, including the Christmas hymns of the E-flat major version, and a variety of vocal and instrumental scores adapted to contemporary performance practice for the D major version. In the fourth Gloria, leading to et Spiritui sancto (and to the Holy Spirit),[25] in again similar pattern the voices follow each other from top to bottom, ending in a long cadenza. 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. [10], 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". [26] Steinberg comments that Bach took the idea of separating the two words from the rest of the verse from earlier models, but filled it with an "exciting sense of drama" by the piled-up entrances in a "tremendous march across key after key", leading to "tense dissonances", finally a "dramatic pause" before the last statement. [72] The movements ends with a more homophonic section in which the bass has the theme once more, while soprano I sings long suspended notes in a descending scale covering almost an octave. Full scores, vocal scores, and instrumental parts are available on hire. [69] When inserting the Christmas hymns, building up to the seventh movement alternates arias with choral movements, while in the second half of the composition the choral movements at the outer ends are separated by a set of four arias: solo → solo → duet → trio. The opening movement Magnificat anima mea (My soul magnifies the Lord)[25] is performed by all voices and all instruments except the recorders. Two recorders (flauto dolce, Fl) are required for aria No. Esurientes - All 4. Parts 3 & 4: Soprano Aria & Chorus (03:54) Soprano Heidi Riess performs "Quia respexit humilitatem." [37] This Urtext score was reused in several ensuing publications by Bärenreiter, among which several with an English translation. [67][68] In the 1733 version this continuo line is given to a continuo that includes cello, but not bassoon and violone. [101] Wolfgang Gönnenwein's Bach: Magnificat in D (Including Christmas Interpolations), with the Deutsche Bachsolisten and the Süddeutscher Madrigalchor appeared in the 1970s. Five vocal soloists are required: two sopranos (sI, sII), alto (a), tenor (t) and bass (b). [104] Also Helmuth Rilling and John Eliot Gardiner had by then recorded the D major version of the Magnificat. [62] 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. [5] In April he was accepted for the post, which he assumed on the first Sunday after Trinity, presenting a new cantata in 14 movement, Die Elenden sollen essen, BWV 75, on 30 May. [81] Although the D major version remained the standard for life performance and studio recordings, half a century later also the E-flat major version had been published in new editions adapted to performance,[82] it had been recorded several times, and its composition history had been further unravelled. [21] 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. [76], 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. Viola 5 Voci è Continuo", translating to: Jesu Juva ("Jesus, help!") Its CD-release as volume 8 of the Maderna Edition by Arkadia was in 1991. First, seventh and last movement are in the tonic key, with full orchestra and choir. [26] In the third Gloria, leading to Filio (to the Son),[25] in a similar pattern soprano I begins, followed by alto, soprano II, tenor and bass. [40][41], The text, "Gloria in excelsis Deo et in terra pax homínibus bona voluntas", is a variant of the opening verse of the Gloria. 2 Violini. 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. Classic-style song of the "Magnificat." Bach had taken up his post as Thomaskantor in Leipzig on 30 May, the first Sunday after Trinity in 1723. [119], Musical composition by Johann Sebastian Bach, Traditional setting of the German Magnificat, The twelve movements of the Magnificat canticle, The hymns added in the Christmas 1723 version, Bärenreiter 1956 (Müller – Redlich), 1959 (Dürr – Redlich), Bach 1723 (autograph of E-flat major version), liturgical composition on a Latin text by Bach, Johann Sebastian Bach § Leipzig (1723–50), Bach's known liturgical compositions in Latin, Magnificat he had composed for Christmas 1722, St. Thomas Church (Thomaskirche) in Leipzig, Magnificat in E-flat major, BWV 243a § The four Christmas interpolations, Magnificat in E-flat major, BWV 243a § The twelve movements of the Magnificat canticle, a set of five canonic variations on that theme (BWV 769), compositions printed during the composer's lifetime, choralwiki:Freut euch und jubiliert (Johann Sebastian Bach), Royal Library (later State Library) of Berlin, Figuralchor der Gedächtniskirche Stuttgart, Kyrie in F major, BWV 233a (Bach, Johann Sebastian), International Music Score Library Project, 430/29 (Autograph of Graupner's 1722 Magnificat), Magnificat 5. [60] Also the text is in Latin (not the usual language for a Bach cantata), the architecture of the movements is fairly complex, as opposed to the fairly simple structure of an average cantata, and the choral writing is in five parts, "outside the normal routine of Bach's sacred vocal works".[29]. Kuhnau's Magnificat has standard SATB soloists, but like Bach's, a SSATB choir. [111][112] In 2003 Ton Koopman recorded the Christmas version of Bach's Magnificat with Amsterdam Baroque in the St. Thomas church in Leipzig. Genre: Classical. Jones assumes that the "bassett" of the unison strings symbolizes the divine quality of mercy. [18], Suscepit Israel puerum suum (He has helped His servant Israel)[25] is scored for an unusual combination of the three highest voices, violins and violas in unison and trumpet. Measure 1–15: the motive played by oboe I in the first measure sets the jubilant tone of the tutti. 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.[72]. 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. [9], Bach probably first performed the Magnificat on the feast day, 2 July. Joes describes: "... the fugue is dispersed ('dispersit') in favour of a highly graphic, dramatic portrayal of the words 'He has scattered ...'". [2][3] He had worked previously as an organist in Arnstadt, Mühlhausen and Weimar, where he was promoted to Konzertmeister (director of music) in 1714. 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. Nach dem Urtext der Neuen Bach-Ausgabe. [33][34][35], 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. 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. [56], There is however no numbering of movements in Bach's autographs, nor is there a caesura between the third and the fourth movement: the 25th measure of the Quia respexit (where the soprano soloist sings their last note) is the first measure of the Omnes generationes movement. Johann Sebastian Bach’s Latin Magnificat exists in two versions. [44][76], Quia fecit mihi magna (Because he did great things for me) is an aria sung by the bass, accompanied only by the continuo.