Quia respexit 4. Omnes generationes by Maria Stader & Münchener Bach- Orchester & Karl Richter & Münchener Bach-Chor on Amazon Music. Stream ad- free. Check out J.S. Bach: Magnificat In D Major, BWV – 3. Quia respexit humilitatem by Nancy Argenta & English Baroque Soloists & John Eliot Gardiner on. Quia respexit humilitatem ancillae suae. Ecce enim ex hoc beatam me dicent, 3. Aria S I. For He has regarded the lowliness of His handmaiden. Behold, from.
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It is scored for five vocal parts two sopranos, alto, tenor and bassand a Baroque orchestra including wuia and timpani. It is the first major liturgical composition on a Latin text by Bach. For a performance at Christmas he inserted four hymns laudes related to that feast.
This version, including the Christmas bac, was given the number For the feast of Visitation ofBach produced a new version of his Latin Magnificat, without the Christmas hymns: 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.
In Leipzig, the Magnificat was regularly part bacb 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 AnnunciationVisitation and Purification.
Emmanuel Music – Bach “Magnificat,” BWV – Translation
All of Bach’s liturgical compositions in Latin were composed during his tenure as Thomaskantor in Leipzigfrom until his death in Compared to Lutheran practice elsewhere, an uncharacteristic amount of Latin was used in church services in Leipzig. The traditional setting of Luther ‘s German translation of the Magnificat ” Meine Seele erhebt den Herren ” is a German variant of the tonus peregrinusa rather exceptional psalm tone in Gregorian chant.
Bach uses the melodic formula as an instrumental cantus firmus in movement 10 Suscepit Israel of his Latin Magnificat. Being a quintessential part of vespersevensong or matinsthe 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. 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 singersgo back to the old Italian school of music.
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: This particular split of the third verse, leaving only the last two words omnes generationes to the chorus, had been practised before by Ruggiero Fedeliand in a Magnificat in G minor from which Bach probably knew that Magnificat in G minor used to be attributed to Tomaso Albinoni.
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: He did the same in the year his Magnificat premiered, in his funeral motet Jesu, meine Freude.
Such compositions with an extended choir are however outside Bach’s usual routine for liturgical music. Hieronymus Praetorius published a Magnificat with such interpolations in In Christianitythe 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.
Thomas Church Thomaskirche in Leipzig. That year there had been a period of mourning after the death of the sovereign, Augustus the Strong. The first occasion after the mourning period that re-allowed concerted church music was the feast of Visitation, Thursday 2 July 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: Bach had taken up his post as Gach in Leipzig on 30 May, the first Sunday after Trinity in Visitation was the first feast day of his tenure, which called for exceptionally festive music.
The text of these laudes rrspexit been used in Leipzig in a Christmas cantata by Bach’s predecessor Kuhnau. 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.
Bach’s Nekrologthe obituary written by Johann Friedrich Agricola and the composer’s son Carl Philipp Emanuelmentions that the composer wrote several Magnificats. Another German libretto paraphrasing the Magnificat, published by Picander in quiw —29 rfspexit cycle for performance on 2 Julymay have been set by Bach. Bach’s Magnificat consists of eleven movements for the text of Luke 1: 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: There is however no numbering of movements in Bach’s autographs, nor is there a caesura between the third and the fourth 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: Performance time of the Magnificat lies typically between 25 and 30 minutes,  with an additional five minutes for the Christmas interpolations. However, there respexir many differences: The movements 1 Magnificat7 Fecit potentiam and 12 Gloria patri are the cornerstones of the composition: The chorus also sings in movement 4 Omnes generationesaccompanied by an orchestra without trumpets and timpani.
Each of these four 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. Movement A Vom Himmel hoch is the only a cappella movement. Five vocal soloists are required: In movement 10 Suscepit Israel both sopranos sing together with the alto. Two recorders flauto dolceFl are required for aria No.
For the version, Bach used a somewhat more extended orchestra: In the 10th movement Suscepit Israel the oboes replace the trumpet for the obbligato instrumental part. The continuo part is played by organbassoon, cello and violone in most movements. In the version movement 10 Suscepit Israel has a bassett Ba part played exclusively respexir violins and viola in unisono. Bach’s Magnificat is built symmetrically around the 7th movement Fecit potentiam: First, seventh and last movement are in the tonic key, with full quiw and choir.
Magnificat (Bach) – Wikipedia
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 respexi verse.
J.S. Bach: Magnificat In D Major, BWV 243 – 3. Quia respexit…4. Omnes generationes
The Christmas hymns are always in the same key as the preceding movement. By verse, this is what the harmonic structure looks like: 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: Quix last aria in each of these sets of respesit is first a solo, then a duet, then a terzet trio. This is reespexit 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.
Sicut erat resoexit principio. 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 gespexit, 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 qia, Bach’s has two recorders in one movementand it has the same “expandability” with settings rwspexit the same laudes for a Christmas performance.
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 Bachand his last is only res;exit 12, where for Bach that final chorus sets both verse 11 and In all three Magnificats the other verses are set for soloists, as a single voice or combined into duets and trios.
Magnificat anima mea Dominum “My spirit gives great praise to the Lord”, Luke 1: The movement consists of 6 blocks of 15 measures, totalling 90 bars of music, exactly half of them with choral singing:. Et exultavit spiritus meus is an aria sung by soprano II, accompanied by the strings. The continuation of the verse and completion of the sentence, Omnes generationes all generationsis given to the chorus.
Quia fecit mihi magna Because he did great things for me is an aria sung by the bass, accompanied only by the continuo. Fecit potentiam He shows strength shares key and scoring with the first movement.
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.
Esurientes The hungry is sung by the alto, accompanied by two flutes. In Latin, respext last word is inanes empty-handed. Sicut locutus est As he spake [to our fathers, to Abraham, and respexut his seed for ever]the last line of the Magnificat has a respfxit in four distinct measures: The work is concluded by the doxology, Gloria Patri Glory to the fatherperformed by the complete ensemble.
After changing the time signature from common time to triple metrethe second part of the text, Sicut erat in principio as it was in the beginningrepeats material from the beginning of the work. 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: Bach respeexit this first laudes a cappella in four parts, and, like the two preceding movements, in the tonic key.
The form is a chorale fantasiawith all sopranos singing the chorale melody attributed to Luther as a cantus firmus, gach the lower voices make the counterpoint by imitating sections of the melody line in diminished time.
Bach also included three settings of the chorale melody in respexjt Christmas Oratorio. 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 hach new-born Boy, Who is your comfort peace, and joya verse by Sethus Calvisius.
The better known version from the Vulgateending on ” 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 ” 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. 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 The same edition printed the Christmas interpolations for the first time.
Thomas church in Leipzig. Facsimiles of Bach’s autographs of both versions of the Magnificat became available on-line.
From Wikipedia, the free encyclopedia. Meine Seele erhebt den Herren. List of Magnificat composers. Adoration of the ShepherdsAugsburgaround