[110] In 2009 Philippe Pierlot performed the D major version of the Magnificat with the Ricercar Consort, with five vocal soloists without choir. (1955) Neue Ausgabe sämtlicher Werke, Series 2: Messen, Passionen und oratorische Werke, Volume 3: This page was last edited on 16 January 2021, at 13:22. Measure 31–45: The sopranos enter first, with the first main motive, and from measure 32 alto and tenor imitate the same. | Cantatas BWV 201-224 Quia fecit mihi magna qui potens est, et sanctum nomen ejus, Et misericordia ejus a progenie in progenies timentibus eum. 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. Check out J.S. A. Dürr", "Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz : D-B Mus. [40] 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. [15] He uses it again in his "German Magnificat", i.e. 3: Aria [Soprano I] Oboe d'amore I, Continuo: Quia respexit humilitatem ancillae suae; because he has regarded the lowly state of his slavegirl; ecce enim ex hoc beatam me dicent In 1862 the orchestral and vocal score was published in Volume 11/1 of the Bach-Gesellschaft edition. 8, duet for soprano and bass – “Komm, mein Jesu” 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. Tromba I-III, Timpani, Flauto traverso I/II, Oboe I/II, Violino I/II, Viola, Organo e Continuo. [74] Some commentators see an atmosphere close to aggression,[75] others rather an evocation of multitude. [83], The score of the E-flat major version of Bach's Magnificat was first published by Simrock in 1811, edited by Georg Pölchau, however with printing errors,[84] and without the Christmas hymns. 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. As set by Carl Philipp Emanuel Bach (1714–1788) Quía respéxit humilitátem ancíllæ súæ. Measure 76–90: after 45 measures of choral singing follow fifteen measures of instrumental postlude, with material condensed from the opening tutti. It has no virtuoso pyrotechnics for the singer, but to my ears it is one of Bach's special arias which let out the best in the soprano voice. [11][12] 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. BWV 606 (in the Orgelbüchlein), 700, 701, 738 and 738a are chorale preludes based on the "Vom Himmel hoch" theme. [100] 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. This version, including the Christmas interpolations, was given the number 243.1 (previously 243a) in the catalogue of Bach's works. [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. Bach. [3] The aria continues the feelings of joy from the first movement, but in a less extrovert way. The Magnificat in E-flat major, BWV 243a, also BWV 243.1, by Johann Sebastian Bach is a musical setting of the Latin text of the Magnificat, Mary's canticle from the Gospel of Luke.It was composed in 1723 and is in twelve movements, 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. Quia respexit humilitatem ancillae suae. Bach set the Magnificat for SSATB five-part choir. It is the first major liturgical composition on a Latin text by Bach. 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. 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. [3][44], Quia respexit humilitatem (Because he has looked upon the humility) is an aria sung by soprano I with an obbligato oboe (oboe d'amore in the D major version). cammarota Ô omnes generationesÕ allegroin contrast with Ò Quia respexit,Ó marked adagioby Bach.This custom developed as a result of the 1862publica-tion of the Magni”catby the Bach-Gesellschaft, from which a number of performing editions were subsequently prepared.2Unfamiliar with the way late 17th- and early 18th-century composers set this verse, and con- [72] Steinberg notes that voice and instrument first share the material in a "contemplative duet", but on ecce enim ex hoc beatam (from henceforth shall call me blessed) the voice changes to a "simpler, more declamatory style". [41] Bach's Magnificat was performed several times in the last quarter of the 19th century, for instance in Germany and the Netherlands. [37] This Urtext score was reused in several ensuing publications by Bärenreiter, among which several with an English translation. [20][21][22] In Protestantism there was no Latin text more often set to music than the Magnificat. | Cantatas BWV 51-100 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. [88], 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. Magnificat in D Major, BWV 243: Aria: "Quia Respexit Humilitatem" (soprano I) By Johann Sebastian Bach Nancy Argenta, John Eliot Gardiner & English Baroque Soloists 3 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). Verse 1 and 2 (movements 1 and 2, followed by movement A in the Christmas version): 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. Bach: Leipzig Christmas cantatas; Magnificat/Herreweghe", Performance of the Magnificat in D major (BWV 243), Masses, magnificat, passions and oratorios, List of compositions by Johann Sebastian Bach, https://en.wikipedia.org/w/index.php?title=Magnificat_(Bach)&oldid=1000737435, Articles with International Music Score Library Project links, Wikipedia articles with CANTIC identifiers, Wikipedia articles with MusicBrainz work identifiers, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License, Et misericordia ejus a progenie in progenies, Sicut erat in principio, et nunc, et semper, Christmas interpolations: traditional German/Latin texts. | BWV Anh [62] The last measures of the Virga Jesse, missing from the autograph score, were in this edition completed on the base of a similar composition by Bach. 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