Album insights
Johann Sebastian Bach embraced magnificence when he assumed the Thomaskantor position in Leipzig in 1723. His meticulous baroque rendition of the Magnificat was succeeded by his son Carl Philipp Emanuel in 1749, who blended remnants of the baroque with the sensitive style of North Germany. Johann Christian Bach, the younger half-brother, then leaned towards the gallantries of the Italian style in his version, with the exception of the brief stile antico finale.
The foundation of Bach's Magnificat lies in the three D-major choruses with timpani and trumpets. These pillars frame solos, duets, and a chorus with a symmetrical tonal sequence. Bach's intricate structure, embellished with counterpoint, resonates throughout the work.
The opening chorus, framed by orchestral ritornelli, weaves together a magnificent fabric of sound. Solo arias give way to enchanting dialogues between voice and instruments. Each nuance eloquently underscores the text, culminating in a dramatic choral burst exuding praises.
Bach masterfully portrays textual imagery in subsequent movements through vivid musical depictions. The power and majesty of God are evoked by solo bass and continuo accompaniment. Contrasting this, an elegant alto-tenor duet delivers tender phrases, further emphasizing humility.
Emanuel Bach, inspired by his father's legacy, reshaped the Magnificat in 1779 with added orchestral elements. The revised version melds Emanuels’ innovative approach with thematic echoes of Johann Sebastian’s original piece.
Three decades prior, Carl Philipp Emanuel Bach received an unexpected invitation from the Crown Prince of Prussia in 1738, altering the course of his career. Undeterred by his position at Frederick the Great's court, Emanuel continually sought artistic fulfillment, ultimately revisiting the Magnificat in 1779 to portray a blend of homage to his father's work and progressive musical ideals.