Yingbo Shi MUSI 2011 Feb 25th, 2014

Magnificat in D Major

The Magnificat was written by J.S Bach in E-flat major for Christmas in Leipzig in 1723. Ten years later, Bach revised the piece, recasting it in D major, making some compositional changes, and abandoning the Christmas interpolations. The text of the work was taken from the Gospel of Luke. In Lukes infancy narrative, Mary was informed that she was to bear the son of God. When she visited her cousin Elizabeth, she allowed her elation to overflow and sang, My soul magnifies the Lord, and my spirit has rejoiced in God my savior. Composers have always found this joyous text a rich inspiration, and Bachs setting is one of his finest choral works. The work is divided into twelve movements which can be grouped into three sections, each beginning with an aria and completed by the choir in a fugal chorus. It is scored for five soloists, soprano I/II, alto, tenor, bass, a five-part choir, and a orchestra set of three trumpets, timpani, flauto traverso, two oboes, violins, viola, and basso continuo. The beginning of the Magnificat is a declaration that it is cheerful and flamboyant as the Christmas being a particularly joyous time. In the first movement, it opens with the whole orchestra and the five part choir immediately to produce the most elaborate sound. The trumpets play the upper voice which produce a bright and festive sound. Variations are achieved when strings and trumpets alter with various levels of dynamics. When the choir sing Magnificat, the text was emphasized by elongating the Ma. The Magnificat moved through lots of notes, wandering amongst all the voices and instruments, even the top trumpet. Everything seemed to be naturally flowing together.

In the next Aria movement, the soprano II has the soloist role, with each melody echoed by the orchestra with a counter melody. There are rising arpeggios in the strings that echo the fanfare motif sung by the soprano Et exultavt. The movement falls in energy and tempo as it ends and enters the next chorus section following a ritardando. In the next Aria sung by the soprano I, a duet with a wooden oboe provides the call and response of back and forth melodies. The motif Quia respect humilitatem is then answered by the chorus of omnes generationes and ends with an Aria sung by the bass in a minor key and answered by the low notes of the cello. A duet by the alto and the bass is then followed with the flutes echoing the violins in the background. The minor key adds to the mourning atmosphere of the Et Misericordia. This is done by effect of having a descending bass line in the minor key. The sadness is then followed by a bright chorus in the Fecit Potentiam in a bright fanfare with bright trumpets and timpani. This is immediately slowed down to bring in the next Aria with a tenor accompanied by shrill violin counter melodies. The forte start of the violin and tenor falls with a minor key giving the illusion of anger in this Aria. The next Aria sung by the alto is accompanied by two flutes and ended without a final note to give an impression of suspense that leads into the next trio by the soprano I and II and the alto. A single oboe in the background provides the counterpoint to the melodies in a choral tribute. The bass and tenor joins in a choral fugue just before the chorus of gloria. The three cries of Gloria with accompanied bright trumpets , timpani, and flutes with ascending choral notes ends the Magnificat. Bach follows the typical Baroque practice by symbolically repeating the music of the opening chorus back into D major.