Three Generations Three generations of Bachs each left behind their own Magnificat settings, revealing different aesthetic perspectives. While Johann Sebastian Bach's high Baroque style was already considered traditional when he wrote his Magnificat for the Thomaskantorate in Leipzig, his second son, Carl Philipp Emanuel, revised the work in 1749, combining Baroque elements with the sentimental North German style. Johann Christian, in turn, oriented himself toward the galant Italian style, except for a short final fugue in stile antico. This diversity could indicate sibling rivalry and prompted Emanuel to engage more critically with his father's legacy.[2]
Johann Sebastian Bach originally composed his important Magnificat for Leipzig and later adapted it for the Vespers service by changing the key of D major and the instrumentation. The powerful choruses and colorful arias of this work continue to impress today. Musically, the central choruses in D major are based on the solo arias and ensembles, which are arranged in an elegant Bachian symmetry. The imposing opening chorus, accompanied by trumpets, leads into the more intimate passages of the soloists. Bach's composition is characterized by musical brilliance and expressiveness, with which he sets the praise of Mary to music.[2][5]
The revisions by Carl Philipp Emanuel and Johann Christian Bach represent, on the one hand, a homage to their father's work and, on the other hand, demonstrate the influence of their respective styles: Emanuel dedicated his version to his father's example, while Johann Christian introduced a new and fascinating facet through his fresh Italian style. The creative development within the Bach family reflects the diversity of musical talent and the transmission of that talent. The careers of the Bach sons reflect the musical currents of the 18th century and, despite personal and stylistic differences, leave behind a lasting musical legacy.[2]