Discography of Bach's Magnificat

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Performances of Johann Sebastian Bach's Magnificat come in three formats:

Contents

  1. D major version, BWV 243 with the twelve movements of that version;
  2. D major version, with the Christmas interpolations from the earlier version BWV 243a transposed and inserted after movements 2, 5, 7 and 9.
  3. E flat major version, BWV 243a. The difference with the previous format is not only the key signature, there are also differences in orchestration, e.g. in the earlier version flutes are not part of the tutti, so do not play in the choral movements 1, 7 and 12, and a trumpet solo in movement 10 instead of the later unison oboes. Other differences are minor, but there is for instance a slightly harsher harmony near the end of movement 4 in the earlier version.

Versions of Bach's Magnificat

The extant autographs of Bach's Magnificat show three versions of his Magnificat:

The first of these versions (BWV 243a without Christmas additions) is not usually performed, while Bach's final version (BWV 243, also without Christmas additions) with its more elaborate orchestration is the most often programmed. The hybrid version (BWV 243, with the Christmas interpolations of BWV 243a transposed and inserted) has found performers and audiences, [3] although BWV 243a, with a reconstructed end of the fourth interpolation, has become more of a standard for performances of the Magnificat including the Christmas interpolations.

Magnificat by Johann Sebastian BachBWV 243.1 (243a)
Christmas 1723 version		BWV 243.2 (243)
Visitation 1733 version
No. and title Time VoicesInstrumentsKeyAutogr.
p. [4] 		InstrumentsKeyAutogr.
p. [4]
1. Magnificat 3
4		SSATBtutti E♭ 1–9tutti D 1–15
2. Et exultavit 3
8		sII2Vl Va BcE♭3–72Vl Va BcD16–18
    A. Vom Himmel hoch Allabreve.svg SATBE♭23, 25–27
3. Quia respexit Commontime.svg sIOb Bc c 8–9OaI Bc b 18–19
4. Omnes generationes Commontime.svg SSATB2Ob 2Vl Va Bc g 10–122Fl 2Oa2Vl Va Bc f♯ 20–25
5. Quia fecit Commontime.svg bBc B♭ 12–13Bc A 20–23
    B. Freut euch und jubiliert Commontime.svg SSATBcB♭28–30
6. Et misericordia 12
8		a t2Vl Va Bc f 13–152Fl 2Vl Va Bc e 24–28
7. Fecit potentiam Commontime.svg SSATBtuttiE♭15–19tuttiD28–34
    C. Gloria in excelsis Commontime.svg SSATBVl BcE♭30–31
8. Deposuit potentes 3
4		t2Vl Va Bcg17–202Vl Bcf♯34–36
9. Esurientes Commontime.svg a2Fl Bc F 20–212Fl Bc E 36–38
    D. Virga Jesse floruit 12
8		sI bBcF32
10. Suscepit Israel Commontime.svg sI sII aTrI Bac22Ob Bcb38–40
11. Sicut locutus est Commontime.svg SSATBBcE♭23–24BcD40–42

12. Gloria Patri

   Sicut erat in principio

Commontime.svg

3
4

SSATBtuttiE♭

24–27

27–29

tuttiD

42–45

45–48

Recordings

Differences in recorded performances show some evolution: early performances, often with large choirs, and orchestras of symphonic breadth, tend to have a slower pace, with performance times over thirty minutes (or over 40 minutes when the Christmas interpolations are included) being no exceptions. More recent performance practice leans towards leaner groups of vocalists and smaller orchestras, often using period instruments, and tailored as historically informed performance. Tempos became more vivid and the performance time may be reduced to about twenty minutes for the D major version, and even less than thirty minutes for the full BWV 243a version.

Other differences include whether organ or harpsichord are used as continuo instrument, whether countertenors and/or treble youngsters perform vocal parts, and whether it is recorded with a live audience. Acoustic characteristics of the recording can further be influenced by the performance location, e.g. with our without the high reverberation typical for large church buildings.

For movement D (Virga Jesse), with the end missing in the extant autograph, earlier performances may stop the last Christmas interpolation where the score ends, since, however, in the late 20th century a similarity had been remarked between this piece and another movement in one of Bach's cantatas, a reconstructed ending, based on that composition is more often performed. [5]

Bach composed the work for five soloists: two sopranos, alto, tenor and bass. The soloists are usually listed in the order SI–SII–A–T–B, although some recordings list only one soprano soloist.

Recordings of Bach's Magnificat
TitleConductor / Choir / OrchestraSoloistsLabelYearAdditional info
Joh. Sebast. Bach: Magnificat D-Dur BWV 243 Robert Shaw
RCA Victor Chorale
RCA Victor Orchestra
RCA Victor1946 (1946)
(LP)		 BWV 243 – 28:29
RCA Victor 10-1378-A
Joh. Sebast. Bach: Magnificat D-Dur BWV 243 [6] Wolfgang Gönnenwein
Cantata1966 (1966)?
(LP)		 BWV 243 – 32:00
Magnificats [7]
"BACH: MAGNIFICAT in D Major (with 4 Christmas Interpolations)"		 Helmuth Rilling
Turnabout Vox 1967 (1967) (LP) BWV 243 & laudes from BWV 243a – 40:06
Also included in: Christmas Magnificats (CD) and Compare (2014 CD) [8]
Maderna: Desprez J.S.Bach G.Gabrieli-Maderna Stravinskij
"Magnificat in mi bemolle maggiore, BWV 243a" [9] 		Bruno Maderna
choir and orchestra of Südwestdeutscher Rundfunk
Arkadia
  • 1971 (1971) (rec.)
  • 1991 (CD)
 BWV 243a – Live performance
1991 CD: Volume 8 of Maderna Edition
Bach: Magnificat in D (Including Christmas Interpolations)
"Magnificat in D, BWV 243, with Christmas Interpolations, BWV 243a"		 Wolfgang Gönnenwein
Sine Qua Non1975 (1975) (LP) BWV 243 & laudes from BWV 243a – 41:50
Also included in: J.S. Bach: Magnificat original version with Christmas verses (1976 LP) [10] and J.S. Bach: Cantatas 142, 65 & Magnificat (CD) [11]
Edition Bachakademie Vol. 140 [12] Helmuth Rilling
Hänssler 2000 (2000) (CD) BWV 243a
J.S. Bach: Magnificat BWV in E flat major 243a - Cantata BWV 10 [12] Roland Büchner
Pure Classics – Glissando2000 (2000) (CD) BWV 243a – Boys choir
Magnificat zur Weihnachtsvesper BWV 243a [12] Rolf Schweizer
Amati2000 (2000) (CD) BWV 243a – Period instruments
J.S. Bach: Magnificat BWV 243a
(with cantata BWV 63) [13]
Leipziger Weihnachtskantaten
(2CD-set also containing cantatas BWV 91, 121, and 133) [14] 		Philippe Herreweghe
Harmonia Mundi
  • 2002 (2002) (rec.)
  • 2003 (CDs)
 BWV 243a – Period instruments
Also included in: J.S. Bach: Magnificat (2007 CD) [15]
→ Reviews
Bach - Kuhnau: Magnificat [12] Ton Koopman
Naxos
  • 2003 (2003) (rec.)
  • 2004 (DVD)
 BWV 243a – Period instruments – Live performance
A. Lotti: Missa Sapientiae / J.S. Bach: Magnificat BWV 243a [12] Thomas Hengelbrock
Deutsche Harmonia Mundi 2008 (2008) (CD) BWV 243a – Period instruments

Reviews

Herreweghe 2002

  • ClassicsToday.com: "bracing but not rushed tempos, infectiously energetic and technically solid contributions from the chorus, and an intelligently paced flow from movement to movement." [16]
  • The Guardian : "Herreweghe's accounts are typically thoughtful, not at all theatrical or dramatically driven, and that slightly laid-back approach takes the edge off the Magnificat too, though the quality of the solo and choral singing, and the careful shaping of the orchestral lines are all exemplary." [17]

Related Research Articles

The Bach-Werke-Verzeichnis is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990. An abbreviated version of that second edition, known as BWV2a, was published in 1998.

<i>Liebster Gott, wenn werd ich sterben</i>, BWV 8 Church cantata by J.S. Bach

Liebster Gott, wenn werd ich sterben?, BWV 8, is a church cantata for the 16th Sunday after Trinity by Johann Sebastian Bach. It is a chorale cantata, part of Bach's second cantata cycle. Bach performed it for the first time on 24 September 1724 in St. Nicholas Church in Leipzig. The cantata is scored for SATB singers, four wind instruments, strings and continuo.

<i>Meine Seel erhebt den Herren</i>, BWV 10 Church cantata by Johann Sebastian Bach

In 1724 Johann Sebastian Bach composed the church cantata Meine Seel erhebt den Herren, BWV 10, as part of his second cantata cycle. Taken from Martin Luther's German translation of the Magnificat canticle, the title translates as "My soul magnifies the Lord". Also known as Bach's German Magnificat, the work follows his chorale cantata format.

<i>Christmas Oratorio</i> Oratorio by Johann Sebastian Bach

The Christmas Oratorio, BWV 248, is an oratorio by Johann Sebastian Bach intended for performance in church during the Christmas season. It is in six parts, each part a cantata intended for performance in a church service on a feast day of the Christmas period. It was written for the Christmas season of 1734 and incorporates music from earlier compositions, including three secular cantatas written during 1733 and 1734 and a largely lost church cantata, BWV 248a. The date is confirmed in Bach's autograph manuscript. The next complete public performance was not until 17 December 1857 by the Sing-Akademie zu Berlin under Eduard Grell. The Christmas Oratorio is a particularly sophisticated example of parody music. The author of the text is unknown, although a likely collaborator was Christian Friedrich Henrici (Picander).

<span class="mw-page-title-main">Magnificat (Bach)</span> Musical composition by Johann Sebastian Bach

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

O ewiges Feuer, o Ursprung der Liebe, BWV 34.2 is an incomplete wedding cantata composed by Johann Sebastian Bach, of which only the complete libretto and some parts have survived.

<i>Uns ist ein Kind geboren</i>, BWV 142

Uns ist ein Kind geboren, BWV 142 / Anh. II 23, is a Christmas cantata by an unknown composer. In the Bach-Werke-Verzeichnis it is listed among the works with a doubtful attribution to Johann Sebastian Bach. The text is based on a libretto by Erdmann Neumeister first published in 1711. Although attributed to Bach by the Bach-Gesellschaft when they first published it in the late nineteenth century, that attribution was questioned within thirty years and is no longer accepted. Johann Kuhnau, Bach's predecessor as Thomaskantor in Leipzig, has been suggested as the probable composer, but without any certainty.

<i>Unser Mund sei voll Lachens</i>, BWV 110 Church cantata by Johann Sebastian Bach

Unser Mund sei voll Lachens, BWV 110, is a church cantata by Johann Sebastian Bach. He composed the Christmas cantata in Leipzig for Christmas Day and first performed it on 25 December 1725.

Most of Johann Sebastian Bach's extant church music in Latin—settings of the Mass ordinary and of the Magnificat canticle—dates from his Leipzig period (1723–50). Bach started to assimilate and expand compositions on a Latin text by other composers before his tenure as Thomaskantor in Leipzig, and he continued to do so after he had taken up that post. The text of some of these examples by other composers was a mixture of German and Latin: also Bach contributed a few works employing both languages in the same composition, for example his early Kyrie "Christe, du Lamm Gottes".

<i>Sie werden aus Saba alle kommen</i>, BWV 65 Church cantata by Johann Sebastian Bach

Sie werden aus Saba alle kommen, BWV 65, is a church cantata by Johann Sebastian Bach. He composed it in 1724 in Leipzig for Epiphany and first performed it on 6 January 1724 as part of his first cantata cycle.

<span class="mw-page-title-main">Magnificat in E-flat major, BWV 243a</span> Composition by Johann Sebastian Bach

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 and a Baroque orchestra of trumpets, timpani, oboes, strings and basso continuo including bassoon. Bach revised the work some ten years later, transposing it from E-flat major to D major, and creating the version mostly performed today, BWV 243.

<span class="mw-page-title-main">BWV Anh.</span> Abbreviation for contentious attributions to Bach

BWV Anh., abbreviation of Bach-Werke-Verzeichnis Anhang, is a list of lost, doubtful, and spurious compositions by, or once attributed to, Johann Sebastian Bach.

Bach's first cantata cycle refers to the church cantatas Johann Sebastian Bach composed for the somewhat less than 60 occasions of the liturgical year of his first year as Thomaskantor in Leipzig which required concerted music. That year ran from the first Sunday after Trinity in 1723 to Trinity Sunday of the next year:

  1. Trinity I, 30 May 1723: Die Elenden sollen essen, BWV 75
  2. Trinity II, 6 June 1723: Die Himmel erzählen die Ehre Gottes, BWV 76
  3. Trinity III, 13 June 1723: Weimar cantata Ich hatte viel Bekümmernis, BWV 21 restaged
  4. Trinity IV, 20 June 1723: Ein ungefärbt Gemüte, BWV 24, and Weimar cantata Barmherziges Herze der ewigen Liebe, BWV 185 restaged
  5. Nativity of St. John the Baptist, 24 June 1723: Ihr Menschen, rühmet Gottes Liebe, BWV 167
  6. Trinity V, 27 June 1723: no extant cantata
  7. Visitation, 2 July 1723: Herz und Mund und Tat und Leben, BWV 147 and possibly Magnificat in E-flat major, BWV 243a
  8. Trinity VI, 4 July 1723: no extant cantata
  9. Trinity VII, 11 July 1723: Ärgre dich, o Seele, nicht, BWV 186
  10. Trinity VIII, 18 July 1723: Erforsche mich, Gott, und erfahre mein Herz, BWV 136
  11. Trinity IX, 25 July 1723: Herr, gehe nicht ins Gericht mit deinem Knecht, BWV 105
  12. Trinity X, 1 August 1723: Schauet doch und sehet, ob irgend ein Schmerz sei, BWV 46
  13. Trinity XI, 8 August 1723: Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei, BWV 179 and Weimar cantata Mein Herze schwimmt im Blut, BWV 199 restaged
  14. Trinity XII, 15 August 1723: Lobe den Herrn, meine Seele, BWV 69a
  15. Trinity XIII, 22 August 1723: Du sollt Gott, deinen Herren, lieben, BWV 77
  16. Trinity XIV, 29 August 1723: Es ist nichts Gesundes an meinem Leibe, BWV 25
  17. (30 August 1723, Ratswechsel: not part of the liturgical year, see below)
  18. Trinity XV, 5 September 1723: Warum betrübst du dich, mein Herz, BWV 138
  19. Trinity XVI, 12 September 1723: Christus, der ist mein Leben, BWV 95
  20. Trinity XVII, 19 September 1723: Bringet dem Herrn Ehre seines Namens, BWV 148
  21. Trinity XVIII, 26 September 1723: no extant cantata
  22. St. Michael's Day, 29 September 1723: no extant cantata
  23. Trinity XIX, 3 October 1723: Ich elender Mensch, wer wird mich erlösen, BWV BWV 48
  24. Trinity XX, 10 October 1723: Weimar cantata Ach! ich sehe, itzt, da ich zur Hochzeit gehe, BWV 162 restaged
  25. Trinity XXI, 17 October 1723: Ich glaube, lieber Herr, hilf meinem Unglauben, BWV 109
  26. Trinity XXII, 24 October 1723: Was soll ich aus dir machen, Ephraim, BWV 89
  27. Reformation Day, 31 October 1723 : possibly Weimar cantata Nur jedem das Seine, BWV 163 restaged; Alternatively an early version of BWV 80/80b?
  28. Trinity XXIV, 7 November 1723: O Ewigkeit, du Donnerwort, BWV 60
  29. Trinity XXV, 14 November 1723: Es reißet euch ein schrecklich Ende, BWV 90
  30. Trinity XXVI, 21 November 1723: Wachet! betet! betet! wachet! BWV 70
  31. Advent I, 28 November 1723: Weimar cantata Nun komm, der Heiden Heiland, BWV 61 restaged
  32. Christmas, 25 December 1723: Weimar cantata Christen, ätzet diesen Tag, BWV 63 restaged; Also Magnificat, BWV 243a and Sanctus in D major, BWV 238
  33. Second Day of Christmas, 26 December 1723: Darzu ist erschienen der Sohn Gottes, BWV 40
  34. Third Day of Christmas, 27 December 1723: Sehet, welch eine Liebe hat uns der Vater erzeiget, BWV 64
  35. New Year, 1 January 1724: Singet dem Herrn ein neues Lied, BWV 190
  36. Sunday after New Year, 2 January 1724: Schau, lieber Gott, wie meine Feind, BWV 153
  37. Epiphany, 6 January 1724: Sie werden aus Saba alle kommen, BWV 65
  38. Epiphany I, 9 January 1724: Mein liebster Jesus ist verloren, BWV 154
  39. Epiphany II, 16 January 1724: Weimar cantata Mein Gott, wie lang, ach lange? BWV 155 restaged
  40. Epiphany III, 23 January 1724: Herr, wie du willt, so schicks mit mir, BWV 73
  41. Epiphany IV, 30 January 1724: Jesus schläft, was soll ich hoffen? BWV 81
  42. Purification, 2 February 1724: Erfreute Zeit im neuen Bunde, BWV 83
  43. Septuagesima, 6 February 1724: Nimm, was dein ist, und gehe hin, BWV 144
  44. Sexagesima, 13 February 1724: Leichtgesinnte Flattergeister, BWV 181 and Weimar cantata Gleichwie der Regen und Schnee vom Himmel fällt, BWV 18 restaged in its Leipzig version
  45. Estomihi, 7 February 1723 and 20 February 1724 : Jesus nahm zu sich die Zwölfe, BWV 22 and Du wahrer Gott und Davids Sohn, BWV 23 restaged in its first Leipzig version
  46. Annunciation and Palm Sunday 25 March 1724: Siehe eine Jungfrau ist schwanger, BWV 1135 and Weimar cantata Himmelskönig, sei willkommen, BWV 182 restaged.
  47. (Good Friday, 7 April 1724: St John Passion, BWV 245, 1st version — Passion, not considered as a cantata part of the cycle)
  48. Easter, 9 April 1724: early cantata Christ lag in Todes Banden, BWV 4 restaged ; Weimar cantata Der Himmel lacht! Die Erde jubilieret, BWV 31 restaged
  49. Easter Monday, 10 April 1724: Erfreut euch, ihr Herzen, BWV 66
  50. Easter Tuesday, 11 April 1724: Ein Herz, das seinen Jesum lebend weiß, BWV 134
  51. Quasimodogeniti, 16 April 1724: Halt im Gedächtnis Jesum Christ, BWV 67
  52. Misericordias Domini, 23 April 1724: Du Hirte Israel, höre, BWV 104
  53. Jubilate, 30 April 1724: Weimar cantate Weinen, Klagen, Sorgen, Zagen, BWV 12 restaged in a version with a slightly modified instrumentation
  54. Cantate, 7 May 1724: Wo gehest du hin? BWV 166
  55. Rogate, 14 May 1724: Wahrlich, wahrlich, ich sage euch, BWV BWV 86
  56. Ascension, 18 May 1724: Wer da gläubet und getauft wird, BWV 37
  57. Exaudi, 21 May 1724: Sie werden euch in den Bann tun, BWV 44
  58. Pentecost, 28 May 1724: Wer mich liebet, der wird mein Wort halten, BWV 59 and Weimar cantata Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172 restaged in its first Leipzig version (D major)
  59. Pentecost Monday, 29 May 1724: no extant cantata
  60. Pentecost Tuesday, 30 May 1724: Erwünschtes Freudenlicht, BWV 184
  61. Trinity, 4 June 1724: Höchsterwünschtes Freudenfest, BWV 194, originally a consecration cantata, restaged in its first Leipzig version
<i>Jauchzet, frohlocket! Auf, preiset die Tage</i>, BWV 248 I Cantata by Johann Sebastian Bach

Jauchzet, frohlocket! Auf, preiset die Tage, BWV 248I, is a 1734 Christmas cantata by Johann Sebastian Bach that serves as the first part of his Christmas Oratorio. Bach was then Thomaskantor, responsible for church music at four churches in Leipzig, a position he had assumed in 1723. For the oratorio, the libretto by an unknown author followed the nativity of Jesus from the Gospel of Luke, interspersed with reflecting texts for recitatives and arias, and stanzas from Lutheran hymns.

<span class="mw-page-title-main">Magnificat (Torri)</span> Pietro Torris Magnificat in C major for double choir and orchestra likely dates from the 1690s

Pietro Torri's Magnificat in C major for double choir and orchestra likely dates from the 1690s. The work is scored for two SATB choirs, two trumpets, bassoon, strings and basso continuo. Its music opens with an instrumental introduction (sinfonia). Most of the composition's movements are either choral movements, in which all singers and instruments participate, or duets for two singers and a more limited instrumental accompaniment.

Lost versions of compositions by Johann Sebastian Bach can be reconstructed on the basis of extant versions of similar music. Reasons for such reconstructions include extension of the repertoire and testing hypotheses about the genesis history of known pieces. For instance, in the late 19th century it was discovered that Bach likely transcribed his Concerto for two harpsichords in C minor, BWV 1060, from a lost earlier version for violin and oboe. Reconstructions of BWV 1060 to its presumed original version, published from the 1920s, extended the Bach repertoire for oboists.

<span class="mw-page-title-main">Magnificat in A minor (Hoffmann)</span> Vocal composition by Melchior Hoffmann of the Song of Mary from the Gospel of Luke

The Magnificat in A minor, BWV Anh. 21, TWV 1:1748, is Melchior Hoffmann's musical setting of a German version of the Song of Mary from the Gospel of Luke. The composition originated around 1707, when the composer was director musices and organist of the Neue Kirche in Leipzig. Composed in A minor, the Magnificat is scored for soprano and small orchestra. The work was first published in the 1950s, and it was recorded by Magda László, by Joshua Rifkin, by Wolfgang Helbich, and by Deborah York, among others.

References

  1. ↑ Glöckner 2003
  2. ↑ Spitta 1884, p. 369 ff.
  3. ↑ Steinberg 2005, p. 31.
  4. 1 2 Autograph at bach-digital.de
  5. ↑ Jenkins 2000.
  6. ↑ OCLC   9389971
  7. ↑ Rilling.
  8. ↑ Thomas.
  9. ↑ OCLC   35891749
  10. ↑ OCLC   10735894
  11. ↑ BACH 721 at www.baroquecds.com
  12. 1 2 3 4 5 Oron 2013.
  13. ↑ Magnificat BWV 243a Archived 2015-07-21 at the Wayback Machine at store.harmoniamundi.com
  14. ↑ Bach Johann Sebastian - Leipziger Weihnachtskantaten at www.muziekcentrum.be
  15. ↑ J.S. Bach: Magnificat, BWV 243a at Amazon
  16. ↑ Vernier.
  17. ↑ Andrew Clements. Bach: "Christmas Cantatas from Leipzig; Magnificat, Collegium Vocale Gent" in The Guardian , 3 October 2003.

Sources

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