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]
BEETHOVEN.
A general sketch of the life and musical accomplishments of Beethoven has already appeared in the companion to this work, "The Standard Operas." In this connection, however, it seems eminently fitting that some attention should be paid to the religious sentiments of the great composer and the sacred works which he produced. He was a formal member of the Roman Church, but at the same time an ardent admirer of some of the Protestant doctrines. His religious observances, however, were peculiarly his own. His creed had little in common with any of the ordinary forms of Christianity. A writer in "Macmillan's Magazine" some years ago very clearly defined his religious position in the statement that his faith rested on a pantheistic abstraction which he called "Love." He interpreted everything by the light of this sentiment, which took the form of an endless longing, sometimes deeply sad, at others rising to the highest exaltation. An illustration of this in its widest sense may be found in the choral part of the Ninth Symphony. [52] He at times attempted to give verbal expression to this ecstatic faith which filled him, and at such times he reminds us of the Mystics. The following passages, which he took from the inscription on the temple of the Egyptian goddess Neith at Sais, and called his creed, explain this: "I am that which is. I am all that is, that was, and that shall be. No mortal man hath lifted my veil. He is alone by Himself, and to Him alone do all things owe their being." With all this mysticism his theology was practical, as is shown by his criticism of the words which Moscheles appended to his arrangement of "Fidelio." The latter wrote at the close of his work: "Fine, with God's help." Beethoven added: "O man! help thyself." That he was deeply religious by nature, however, is constantly shown in his letters. Wandering alone at evening among the mountains, he sketched a hymn to the words, "God alone is our Lord." In the extraordinary letter which he wrote to his brothers, Carl and Johann, he says: "God looks into my heart. He searches it, and knows that love for man and feelings of benevolence have their abode there." In a letter to Bettina von Arnim, he writes: "If I am spared for some years to come, I will thank the Omniscient, the Omnipotent, for the boon, as I do for all other weal and woe." In Spohr's album his inscription is a musical setting of the words, "Short is the pain, eternal is the joy." In a letter to the Archduke Rudolph, written in 1817, he gives no uncertain expression to his divine trust. He says: "My [53] confidence is placed in Providence, who will vouchsafe to hear my prayer, and one day set me free from all my troubles; for I have served him faithfully from my childhood, and done good whenever it was in my power. So my trust is in him alone, and I feel that the Almighty will not allow me to be utterly crushed by all my manifold trials." Even in a business letter he says: "I assure you on my honor--which, next to God, is what I prize most--that I authorized no one to accept commissions from me." His letters indeed abound in references to his constant reliance upon a higher Power. The oratorio, "Christ on the Mount of Olives," six sacred songs set to poems of Gellert, the Mass in C written for Prince Esterhazy, and the Grand Mass in D written for the Archduke Rudolph, one of the grandest and most impressive works in the entire realm of sacred music, attest the depth and fervency of his religious nature.