Oregon Bach Festival Discovery Series BWV 243 Magnificat 2001

Transcription

1 Oregon Bach Festival Discovery Series BWV 243 Magnificat 2001 For the afternoon church service at the Thomaskirche in Leipzig on Christmas Day 1723, Bach composed music for the Magnificat the first time he had written music for this text. The text of the Magnificat is from the first chapter of the Gospel of St. Luke, and has been part of Christian liturgy for many centuries. The words are a hymn of praise spoken by the Virgin Mary that begins Magnificat anima mea [My soul doth magnify the Lord]. During Bach s time, the Magnificat was sung or recited at the regular Sunday afternoon services and on special feast days. It was sung simply, with the German text recited to a Gregorian chant melody (tonus peregrinus) that the churchgoers knew very well. But on festive days the Magnificat was sung figurata, which is to say in a polyphonic version for chorus, soloists, and orchestra and, as in Bach s Magnificat, in Latin. Bach composed his Magnificat for the largest musical forces at his disposal at the Thomaskirche, an orchestra of strings, oboes, bassoon, continuo group, three trumpets and timpani. The chorus is divided into five parts: soprano I and II, alto, tenor, and bass. There are also five solo voices identical to the voicing in the choir. This is unusual for Bach, who normally uses only four parts in the choir and soloists. All of the movements in the Magnificat are quite short; none are long and extended, as they are in the St. Matthew Passion or B Minor Mass. But even though the Magnificat movements are relatively short and concise, they state exactly what Bach means to express. In 1723 Bach was almost forty years old, and had developed a variety of compositional styles while serving in his various professional positions. Now in Leipzig, Bach will use the concerto writing he perfected while Capellmeister in Cöthen in his first Magnificat. The orchestral introduction illustrates this concerto style. It has not one soloist, but, as in the Second Brandenburg concerto, multiple solo groups: strings, oboes, trumpet, and continuo. Even within the tutti sections, the brilliant soloistic writing is clearly heard. 1

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4 This wonderful contrast between soli and tutti continues in the choir: first the sopranos, then the altos and tenors, one measure of tutti, and then the divisis once again. When the entire choir continues, the sparkling lead of the trumpet is heard above it. 4

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8 Magnificat anima mea Dominum [My soul doth magnify the Lord]. Clearly, Bach praises the Lord with this glorious concerto. The second movement continues with the text Et exsultavit spiritus meus [and my spirit rejoices]. It is a dance movement that begins in the strings. 8

9 The effect is light and joyful. Heard throughout the movement is Bach s joy motive. The motive heard in the orchestra is taken up by the solo soprano. This is another example of the concerto technique Bach uses for this work, the alternation of solo versus tutti. 9

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11 This atmosphere of joy changes with the next movement. This aria begins like a slow movement of a chamber music piece. A solo oboe is accompanied by the bassoon and organ. All instruments have the same expressive motives that start in a high range and then descend. The voice leading that goes from high to low is explained by the text sung by the soprano Quia respexit humilitatem, ancillae suae [For He hath regarded the lowliness of his handmaiden]. God is looking down on his servant from high above. 11

12 The beautiful and meditative mood goes on for some time, and one would expect the aria to proceed in the usual Baroque form: a contrasting middle section with a da capo return of the first part. But Bach does not follow that formula in this aria. For the text beatam me dicent omnes generationes [all generations will call me blessed], Bach does a surprising thing. The last two words of the final sentence omnes generationes are not sung by the solo voice. Instead, the chorus enters unexpectedly, accompanied by the full orchestra. The abrupt entrance of the tutti musical forces brings out the incredulity that Mary expresses in her words. 12

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14 Bach uses various means to emphasize omnes generationes. First, he repeats the word omnes [all] in each of the chorus parts. 14

15 Bach uses another less obvious way to express the same thought. In the Baroque period, the interval of an octave represented something that was whole or complete. In this movement, Bach uses the span of an octave to express all generations. The voices come in at half-measure distances, each voice beginning one note higher than the one before it. The altos begin the motive on g; the second sopranos follow on a; first sopranos with b, with other sections following this pattern until the first sopranos again sing g, an octave higher than the beginning alto note. 15

16 There is yet another way Bach expresses the idea of omnes generationes. It occurs in the continuo parts with a motive that starts in a low range, and then proceeds upward in a spiraling pattern. I think this is a wonderful depiction of generation after generation. 16

17 All of these elements come together in this short movement. The repetition of omnes, the octave interval, and the spiraling, incessant progression of the continuo combine to say that all generations praise the Virgin Mary, those past and those yet to come. The following movement is a contrast to what has come before. It is an aria for continuo instruments and solo bass. The structure of this piece is an ostinato with the continuous repetition of the opening continuo motive. The use of repetition is a signal that the text 17

18 will speak of something that is unchanging, that will stay forever. Quia fecit mihi magna qui potens est [He that is mighty hath magnified me]. The movement begins with the statement of the motive in the continuo instruments. The bass solo sings Quia fecit mihi magna, but only that phrase. The continuo instruments then repeat the material of the beginning. It is when the bass enters the next time that the text continues with qui potens est. The same stately, noble motive is heard throughout the movement ongoing, constant, and ceaseless like the magnificence of God. The next movement is a duet for alto and tenor soloists, accompanied by all the strings. The structure is a dance, but unlike the earlier soprano solo, this dance is slow. It is an intimate, thoughtful pastorale. The basses of the orchestra begin with a descending chromatic line. 18

19 The immediate impression is simply of lovely music. It is peaceful because of the triple meter of the pastorale; it has a beautiful melody in the high strings; the chromatic descending bass line allows Bach to create rich harmonies. All of these elements are, of course, text related. Et misericordia a progenie in progenies [His mercy is from one generation to the next]. Perhaps the chromatic bass line, a special and recurring motive in Bach s Passions, is used here as a symbol of God s mercy a mercy that was manifested in Christ s sacrifice. 19

20 When the soloists enter for the first time, they are accompanied only with the continuo instruments. With their next entrance, the entire orchestra accompanies them. At the end 20

21 there is a special text-related moment. At timentibus eum [His mercy is on them that fear Him], Bach gives the tenor repeated notes that depict fear and trembling. 21

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23 After these two movements for the soloists, Bach writes one for the full chorus. The text is Fecit potentiam in bracchio suo [He hath showed strength with His arm]. The orchestra is divided into two choirs of strings and oboes, and together with the sopranos, altos, and basses have majestic dotted rhythms. At the same time Bach begins a fugue, the first time a fugue is used in the piece. The tenors have the first statement of the subject, beginning in the low range with the text fecit potentiam. At the third measure of the subject, the tenors suddenly jump to their high range as the rest of the chorus is silent. When the alto enters with the theme, they are accompanied with the majestic chords in the orchestra and remaining chorus voices. 23

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27 After each of the five voices have sung the fugal subject, the sixth entrance is given to the first trumpet. Now the piece is strong and brilliant, with full orchestra and all voices. The idea changes at dispersit superbos [scatters the proud]. Bach splits the voices apart. From first soprano down through the basses, the voices are scattered. At the end of this disconnection there is a pause silence nothing. The sound has been so scattered and weakened that it no longer exists. After the pause Bach continues with the text mente cordis su [in the imagination of their hearts]. Bach describes the depth of God s strength with unusual harmonies. His majesty is described with the final entrance of the trumpets. 27

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32 Up to this point, Bach has been using the Latin Magnificat text. As we discussed earlier, this work was not written for a regular Sunday service, but for the special celebration of Christmas. Bach wanted to reflect the qualities of this festive day, so he added four movements to this Christmas version of the Magnificat. The first addition is an a cappella chorus of the first verse of the chorale Von Himmel hoch [From Heaven above]. This is a familiar chorale that Bach used in the Christmas Oratorio, and as the basis for many organ pieces. The melody of the chorale is sung by the sopranos in long notes. The 32

33 other sections prepare the entrance of the cantus firmus with motives derived from the chorale melody. 33

34 The second additional piece also has a German text Freut euch und jubiliert [Rejoice and sing jubilation]. Bach writes a setting for four sections of the five-part chorus. He omits the basses, giving their part to the continuo, the only accompaniment to this movement. The motive in the continuo is a variation of Bach s joy motive that was so prominent in the second movement. It will be constantly heard underneath the chorus as they sing lively and energetic motives to the celebratory German text. 34

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37 The next movement is another of the four additional movements Bach added to the Magnificat for Christmas Day, It is for chorus and orchestra and uses the Latin text of the angel s message to the shepherds Gloria in excelsis Deo! Et in terra pax hominibus, bona voluntas [Glory to God in the highest, and on earth peace, goodwill towards men]. Bach sets this text in a relatively simple way, writing for orchestra (minus the trumpets) and five-part chorus. The word Gloria is expressed very strongly, with the instruments of the orchestra playing with the chorus. The first violins play an obbligato. 37

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39 Other composers who have set this text change the mood of the music at the phrase et in terra pax [and on earth peace], and Bach is no exception. Now the chorus and orchestra are piano and the music is more reflective. With the next phrase bona voluntas [good will], the whole orchestra and chorus resume the joyful music of the Christmas celebration. 39

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41 The piece continues with the Latin Magnificat text for the next tenor aria Deposuit potentes de sede et exaltavit humiles [He throws down the mighty from their seat and exalts the humble]. The text is full of contrasts: mighty/humble, throw down/lift up. Of course, Bach sets these divergent ideas with musical contrast, establishing them immediately in the instrumental introduction. The violins and violas are in unison and are a counterpart to the continuo group. Throws down is expressed with vigorous downward scales. At the end of the introduction, the instruments begin in a low range and move sequentially higher, expressing the text et exaltavit [lifts up]. The tenor soloist now sings the same motive exposed in the orchestra introduction. He continues with a different ascending motive at the text et exaltavit. 41

42 The next movement, another aria, is a marked contrast to this energetic piece. The recorders begin, accompanied only by organ and cello, creating a subtle piano atmosphere. The melody that Bach invents is of utmost beauty. 42

43 This verse also contains strong contrasts esurientes implevit bonis et divites dimisit inanes [he fills the hungry with good things and the rich go away empty]. Such textual contrasts are usually described with similar musical contrasts, as in the preceding aria. But Bach does not do so here. Both texts are stated in the same way with no differentiation. 43

44 Bach continues in this way, keeping the character of the music constant in spite of the contrasting textual images. Implevit bonis [filling up the hungry with good things] is expressed with long coloraturas in the alto voice, filling up the space between the high recorders and the low continuo instruments. Only at the end of the vocal part is there a musical acknowledgment of the text: the word inanes [empty] is sung alone. All of the instruments are silent. 44

45 At the end of the instrumental coda there is a surprise, which is also related to the word inanes [empty]. 45

46 The next movement is the fourth and final additional movement that Bach composed for the performance of the Magnificat on Christmas Day in It is a duet for soprano and bass soloists, accompanied by the continuo instruments. Again Bach uses a text that is not from the Magnificat, yet has a definite association with the Christmas story. The text Virga Jesse floruit [Jesse s rod is flourishing] refers to the Tree of Jesse, the symbol of the royal House of David from which the Messiah comes. In Christian art, the Tree of Jesse is depicted with an aged Jesse sitting at the base of a tree blossoming with flowers that signify the ancestors of Jesus. Bach depicts the flourishing rod of Jesse with the soloists singing passages of coloratura. The piece begins with the continuo instruments playing a dance-like motive that will accompany the soloists throughout the movement. 46

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48 While this is a virtuoso piece for the soloists, it also expresses the absolute joy of Christmas, especially when Bach introduces the word alleluia and the mood of the music becomes even more exuberant. 48

49 This is beautiful, wonderful music that expands the expression of Christmas joy by using a text outside the liturgical Magnificat. The next movement is in contrast to the preceding one, and is based on text. Suscepit Israel puerum suum [God lifts up his servant Israel]. Bach writes a movement for the three high solo voices. The accompaniment is unusual in that there is no continuo. The unison violins and violas are the lowest part. The effect of the high voices accompanied by the high strings is that the music is elevated; there is no bass to anchor it; everything is up in the air. In addition, the opening motive of the sopranos moves upward. 49

50 To this setting, Bach adds a cantus firmus played by the trumpet. This cantus firmus is not a Lutheran chorale melody, but is a Gregorian chant, the 9 th psalm tone, to which Bach s congregation would have sung the German translation of the Magnificat at the regular Sunday afternoon services. The trumpet melody would have been easily recognized by the congregation of Bach s time, and the significance of connecting the Latin and German Magnificat texts would have been immediately understood. Bach brings together both liturgical citations with his reflective personal interpretation of suscepit Israel. 50

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53 The next movement is for chorus Sicut locutus est ad Patres nostros, Abraham et semini eius in saecula [As it was promised to our forefathers, Abraham and his seed, forever]. For this text, Bach writes a fugato with three motives. The first motive to the text sicut locuts est, the second motive to the text Abraham et semini eius, and the third motive to in saecula. These motives will unfold from the basses, to the tenors, to the altos, to the second sopranos, and finally to the first sopranos. There is in this music a sense of moving forward, not just in the rhythm of the motives, but also in the progression from one voice to the next, and from low to high voice. 53

54 This music does not sound like it is unquestionably by Bach. It could just as easily have been composed by one of his predecessors. The text Sicut locutus est ad Patres nostros [as he promised to our forefathers] is the clue to Bach s deliberate return to an earlier musical style. The music stays like this for some time, but at the end Bach will make another stylistic change. At the text Abraham et semini eius [Abraham and his seed] the chorus ends its fugato and sings in a homophonic style. This change emphasizes the promise declared in the text. To conclude the movement, the basses sing the first motive Sicut locutus est, the altos sing the motive associated with Abraham et semini eius while the remaining voices sing in saecula. 54

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56 This is the conclusion of the Magnificat text, but Bach now adds the Gloria Patri, the socalled Lesser Doxology that is recited at the ends of Psalms and other liturgical texts. The first chord of the piece announces the word Gloria with a majestic sound of the chorus and orchestra, minus the trumpets. A similar homophonic texture is used for Patri [Father], Filio [Son], and Spiritui Sancto [Holy Spirit]. In between the tutti chords the chorus sings alone, leading from one section to another, building with entrances at short distances to the next majestic chord. Because the text speaks of the Trinity, the Three Persons of God, Bach uses a triplet rhythm in these choral transitions. 56

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59 The second part of the Gloria begins with the orchestra playing alone. And before the chorus enters, Bach has already expressed the text that the chorus will sing. 59

60 Do you recognize it? It is the exact music from the beginning of the Magnificat. When the chorus enters, they will sing Sicut erat in principio [As it was in the beginning]. In these three measures, Bach explains the music before any of the text is sung. 60

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63 At the text In principio et nunc et in saeculas saeculorum [As it was in the beginning, is now and ever shall be], Bach composes for several choirs. That is, the chorus is one group, the trumpets are a different group, the strings and oboes are yet two more different groups. God s praise is resounding throughout the universe. 63

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65 At the end of the movement et in saecula saeculorum [world without end], Bach describes eternity with long held notes in the chorus and the oboes. The movement comes to an abrupt end as the music from the beginning is heard yet again. This has a two-fold effect: first of all, the sudden end startles one into thinking that this is not the final cadence--there must be more. And secondly, the return of the music from the first movement creates a circle. Et in saecula saeculorum [world without end]. God s praise will sound forever. 65

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