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 yea

rs later, Bach revised the piece, recasting it in D major, making some compositional changes, and aban-

doning the Christmas interpolations.

The text of the work was taken from the Gospel of Luke. In Luke’s infancy narrative, Mary wa

s informed that she was to bear the son of God. When she visited her cousin Elizabeth, she allowed her el

ation to overflow and sang, “My soul magnifies the Lord, and my spirit has rejoiced in God my sav-

ior.” Composers have always found this joyous text a rich inspiration, and Bach’s setting is one of his

finest choral works.

The work is divided into twelve movements which can be grouped into three sections, each be-

ginning 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 Christm

as being a particularly joyous time. In the first movement, it opens with the whole orchestra and the five p

art choir immediately to produce the most elaborate sound. The trumpets play the upper voice which prod

uce 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 or

chestra with a counter melody. There are rising arpeggios in the strings that echo the fanfare motif sung b

y the soprano “Et exultavt”. The movement falls in energy and tempo as it ends and enters the next cho

rus section following a ritardando. In the next Aria sung by the soprano I, a duet with a wooden oboe prov

ides the call and response of back and forth melodies. The motif “Quia respect humilitatem” is then ans

wered by the chorus of “omnes generationes” and ends with an Aria sung by the bass in a minor key an

d 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 backgro

und. The minor key adds to the mourning atmosphere of the Et Misericordia. This is done by effect of hav

ing a descending bass line in the minor key. The sadness is then followed by a bright chorus in the Fecit P

otentiam in a bright fanfare with bright trumpets and timpani. This is immediately slowed down to bring i

n the next Aria with a tenor accompanied by shrill violin counter melodies. The forte start of the violin an

d 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 giv

e 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 i

n a choral fugue just before the chorus of “gloria”. The three cries of Gloria with accompanied bright tr

umpets , timpani, and flutes with ascending choral notes ends the Magnificat. Bach follows the typical Ba

roque practice by symbolically repeating the music of the opening chorus back into D major.

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