The Magnificat in D.
The Magnificat in D--known as the "Great Magnificat," to distinguish it from the smaller--is considered one of the grandest illustrations of Bach's genius. It was composed for Christmas Day, 1723. Spitta says:--
"The performance of the cantata 'Christen, ätzet diesen Tag,' with its attendant 'Sanctus,' took place during the morning service, and was sung by the first choir in the Nikolaikirche. In the evening the cantata was repeated by the same choir in the Thomaskirche; and after the sermon the Hymn of the Virgin was sung, set in its Latin form, and in an elaborate style. For this purpose Bach wrote his great 'Magnificat.'"
For the occasion of this festival he expanded the Biblical text into four vocal numbers; but in describing the work it is only necessary to give it as it is now generally sung.
The work is written for a five-part chorus, with organ and orchestral accompaniment. After a concerted introduction, foreshadowing the general character of the music, it opens with the chorus, "Magnificat anima mea," in fugal form, worked up with that wonderful power of construction for which Bach is so renowned among all composers. It is [49] followed by an aria for second soprano ("Et exultavit spiritus meus: in Deo salutari meo"), which is in the same key and has the same general feeling as the opening chorus, that of Christmas rejoicing. It in turn is followed by an aria for first soprano ("Quia respexit humilitatem ancillæ suæ"), of which Spitta says: "Scarcely ever has the idea of virgin purity, simplicity, and humble happiness found more perfect expression than in this German picture of the Madonna, translated as it were into musical language." It leads directly to the chorus which takes up the unfinished words of the soprano ("Omnes generationes"), each part overlaying the other as it enters, and closing in canon form in grave and colossal harmony. Its next number is an aria for bass ("Quia fecit mihi magna"), of a simple and joyous character. It is followed by a melodious duet for alto and tenor ("Et misericordia"), with violin and flute accompaniment, setting forth the mercy of God, in contrast with which the powerful and energetic chorus ("Fecit potentiam") which succeeds it, is very striking in its effect. Two beautiful arias for tenor ("Deposuit potentes de sede") and alto ("Esurientes implevit bonis") follow, the latter being exquisitely tender in its expression, and lead to the terzetto ("Suscepit Israel puerum suum: recordatus misericordiæ suæ"), arranged in chorale form, and very plaintive and even melancholy in style. Its mourning is soon lost, however, in the stupendous five-part fugue ("Sicut locutus est") which follows it and which [50] leads to the triumphant "Gloria," closing the work,--a chorus of extraordinary majesty and power. Spitta, in his exhaustive analysis of Bach's music, says of this "Magnificat":--
"It is emphatically distinct from the rest of Bach's grand church compositions by the compactness and concentrated power of the separate numbers,--particularly of the choruses,--by the lavish use of the means at command, and by its vividly emotional and yet not too agitating variety. It stands at the entrance of a new path and a fresh period of his productivity, at once full of significance in itself and of promise for the future development of the perennial genius which could always re-create itself from its own elements."
[51]