"with interpolations, the first of these (SSWV 299 for SSATTB and basso continuo) with the first stanza of ""Vom Himmel hoch da komm ich her"" as first interpolation. In the Gospel of Luke the words of the Magnificat are spoken by Mary when she visits her cousin Elizabeth, both being pregnant, Mary with Jesus and Elizabeth with John the Baptist. In Christianity, the feast commemorating that visit is called Visitation. It is a chosen opportunity to give more than ordinary attention to the Magnificat canticle in liturgy, while the feast celebrates the event tied to its origin. In Bach's time"
"the Magnificat was first performed on 2 July 1723, the boy was nine years old, ten years later his father transposed it to D major and performed it again. C. P. E. Bach set the text in the same key as the later version, formally as a cantata, in 1749 in Berlin, where he was a harpsichordist at the court of Frederick the Great. Some sources assume that Bach composed the piece to apply for the title of ""Hofkapellmeister"" at the court of Amalie, the king's sister, others suggest that he composed it to apply for his father's post as"
"dir geben). The oratorio ""Laudato si'"" composed in 2016 by Peter Reulein on a libretto by Helmut Schlegel includes the full Latin text of the Magnificat, expanded by writings of Clare of Assisi, Francis of Assisi and Pope Francis. In Nicaragua, the ""Magnificat"" is a favorite prayer among many peasants and is often carried as a sacramental. During the Somoza years, ""campesinos"" were required to carry proof of having voted for Somoza; this document was mockingly referred to as a ""Magnificat"". Magnificat The Magnificat (Latin for ""[My soul] magnifies [the Lord]"") is a canticle, also known as the Song of"
"Magnificat (C. P. E. Bach) The Magnificat, Wq 215, H.772, by Carl Philipp Emanuel Bach is a musical setting of the biblical canticle Magnificat as an extended composition for voices and orchestra in nine movements, composed in Berlin in 1749. It is the composer's first extant major choral composition. In Leipzig, where the composer grew up, the Magnificat was regularly part of Sunday services, sung in German on ordinary Sundays but more elaborately and in Latin on the high holidays (Christmas, Easter and Pentecost) and on the three Marian feasts Annunciation, Visitation and Purification. When J. S. Bach's setting of"
"The Magnificat is the earliest polyphonic setting of the Canticle for four voices; the few surviving earlier settings are all for two or three only. It is marked ""pbr. Johannes de Quatris: 1436 mensis maij Venet[iis]"" – a much-debated notation which may refer to the time and place of composition (May 1436, Venice) or perhaps an occasion for performance, or even the date the manuscript was copied. Quadris's music remained popular for more than half a century, as shown by the many copies made of his hymn ""Iste confessor"", as well as the printing of his music for the Passion"
"Magnificat (Bach) Johann Sebastian Bach's Magnificat, BWV 243.2, BWV 243, is a musical setting of the biblical canticle Magnificat. It is scored for five vocal parts (two sopranos, alto, tenor and bass), and a Baroque orchestra including trumpets and timpani. It is the first major liturgical composition on a Latin text by Bach. In 1723, after taking up his post as Thomaskantor in Leipzig, Bach set the text of the Magnificat in a twelve movement composition in the key of E-flat major. For a performance at Christmas he inserted four hymns (""laudes"") related to that feast. This version, including the"
"the Magnificat: ""He has brought down rulers from their thrones but has lifted up the humble."" The shepherds, taken as Jewish, also combine with the gentile Three Magi, in later tradition thought to be one each from the three continents then known, to represent the first declaration of the Christian message to all the peoples of the world. The phrase ""peace to men on whom his favor rests"" has been interpreted both as expressing a restriction to a particular group of people that God has chosen and inclusively, as God displaying favor to the world. Initially depicted only as part"
"on the vocal score, edited by Günter Graulich after the autograph. Magnificat (C. P. E. Bach) The Magnificat, Wq 215, H.772, by Carl Philipp Emanuel Bach is a musical setting of the biblical canticle Magnificat as an extended composition for voices and orchestra in nine movements, composed in Berlin in 1749. It is the composer's first extant major choral composition. In Leipzig, where the composer grew up, the Magnificat was regularly part of Sunday services, sung in German on ordinary Sundays but more elaborately and in Latin on the high holidays (Christmas, Easter and Pentecost) and on the three Marian"
"a Magnificat, in his final collection, known as ""Opus ultimum"" or ""Schwanengesang"" (Swan song). A pasticcio motet ""Jauchzet dem Herrn alle Welt"" includes music by Georg Philipp Telemann and J.S.Bach. The themes of the first psalm verses are paraphrased in the opening movement of Bach's 1734 ""Christmas Oratorio"", , with a later contrasting section (Serve the Highest with splendid choirs). Ralph Vaughan Williams, who in 1928 had written an arrangement of the traditional tune associated with the psalm, ""Old 100th"" (""All people that on earth do dwell""), arranged it for congregation, organ, and orchestra for the coronation of Elizabeth II"
"to him for help. Luke's Nativity text has given rise to four well known canticles: the ""Benedictus"" and the"" Magnificat"" in the first chapter, and the ""Gloria in Excelsis"" and the ""Nunc dimittis"" in the second chapter. These ""Gospel canticles"" are now an integral part of the Christian liturgical tradition. The parallel structure in Luke regarding the births of John the Baptist and Jesus, extends to the three canticles Benedictus (Song of Zechariah), the Nunc dimittis and the Magnificat. The Magnificat, in , is spoken by Mary and is one of the 8 most ancient Christian hymns and perhaps the"
"liturgy than in Roman Catholic liturgy. The Magnificat hymn (song of the Virgin Mary) is one of the eight most ancient Christian hymns and historian Marjorie Reeves states that it is perhaps the earliest Christian hymn. The Magnificat is named after the opening line in the 4th century Vulgate Bible, based on , and continues to be widely used to date by Roman Catholics, Anglicans and the Eastern Orthodox. Marian hymns are at times shared among different groups of Christians, or are influenced by other hymns. For instance, The second stanza of the Anglican hymn Ye Watchers and Ye Holy"
"In the 5th century the Gallic poet Sedulius composed ""From the lands that see the Sun arise"" in which the humility of the birth of Jesus was portrayed. The ""Magnificat"", one of the 8 most ancient Christian hymns and perhaps the earliest Marian hymn is based on the Annunciation. Saint Romanus the Melodist had a dream of the Virgin Mary the night before the feast of the Nativity, and when he woke up the next morning, composed his first hymn ""On the Nativity"" and continued composing hymns (perhaps several hundred) to the end of his life. Re-enactments of Nativity which"
"but some are also performed in concert. As the Magnificat is part of the sung Vespers, many composers, beginning in the Renaissance, set the words to music, for example Claudio Monteverdi's ""Vespro della Beata Vergine"" (1610). Vivaldi composed a setting of the Latin text for soloists, choir, and orchestra, as did Johann Sebastian Bach in his Magnificat (1723, rev. 1733). Other notable examples include C.P.E. Bach's Magnificat. Anton Bruckner composed a Magnificat for soloists, choir, orchestra, and organ. Rachmaninoff and, more recently, John Rutter also composed a setting, inserting additions into the text. Dieter Schnebel wrote a Magnificat in 1996/97"
"and Bärenreiter, found performers and audiences. That the composition ranges among Bach's most popular vocal works is illustrated by its regular appearance in classical music polls like Klara's . Magnificat (Bach) Johann Sebastian Bach's Magnificat, BWV 243.2, BWV 243, is a musical setting of the biblical canticle Magnificat. It is scored for five vocal parts (two sopranos, alto, tenor and bass), and a Baroque orchestra including trumpets and timpani. It is the first major liturgical composition on a Latin text by Bach. In 1723, after taking up his post as Thomaskantor in Leipzig, Bach set the text of the Magnificat"
"colloquially called ""Mag and Nunc"". Pärt had written a Magnificat in 1989 in Berlin, where the Estonian composer lived. was commissioned by the choir of St. Mary’s Cathedral in Edinburgh, conducted by Matthew Owens. They first performed it in an Evensong of the 2001 Edinburgh Festival. It was published by Universal Edition. Pärt set the piece using the biblical text in the Vulgate version (). He set it in C-sharp minor for a mixed choir a cappella. The climax, on the words ""lumen ad revelationem"" (a light to reveal), is prepared by a ""measured procession of gradually expanding phrases"" and"
"years before the transposed version, and composed for the same Marian feast. Bach had taken up his post as in Leipzig on 30 May, the first Sunday after Trinity in 1723. Visitation was the first feast day of his tenure, which called for exceptionally festive music. Before Glöckner's 2003 article on the origin of the Magnificat, and for some authors still after that, it was generally assumed that Bach had composed his Magnificat in the quiet time of Advent 1723 for a first performance at the Christmas vespers. For that performance Bach composed four ""laudes"", songs of praise partly in"
"earliest Marian hymn. The Benedictus, in , is spoken by Zechariah, while the Nunc dimittis, in is spoken by Simeon. The traditional Gloria in Excelsis is longer than the opening line presented in , and is often called the ""Song of the Angels"" given that it was uttered by the angels in the Annunciation to the Shepherds. The three canticles Benedictus, Nuc Dimittis and the Magnificat, if not originating with Luke himself, may have their roots in the earliest Christian liturgical services in Jerusalem, but their exact origins remain unknown. The earliest artistic depictions of Nativity of Jesus were in"
"the Latin version of the Magnificat, corresponds to the Extraordinary Jubilee of Mercy includes texts from the apostolic exhortation ""Evangelii gaudium"" and the encyclical ""Laudato si'"". The premiere of the oratorio took place in the Limburg Cathedral on 6 November 2016. Evangelii gaudium Evangelii gaudium (English: ""The Joy of the Gospel"") is a 2013 apostolic exhortation by Pope Francis on ""the church's primary mission of evangelization in the modern world."" In its opening paragraph, Pope Francis urged the entire Church ""to embark on a new chapter of evangelism"". According to Evangelii Gaudium, the Church must understand itself as a ""community"
"exception these works lie outside the normal routine of Bach's sacred vocal works"". Bach probably first performed the Magnificat on the feast day, 2 July. Until 2003, most musicologists believed that Bach wrote the Magnificat for his first Christmas in Leipzig. Then Andreas Glöckner published ""Bachs Es-Dur-Magnificat BWV 243a – eine genuine Weihnachtsmusik?"" (Bach's Magnificat in E-flat major, BWV 243a – a genuine Christmas music?) in the ""Bach-Jahrbuch"" (Bach yearbook) 89, questioning the Christmas date in favour of Visitation the same year. Older sources naturally still have Christmas as the first performance, for example Neil Jenkins, the editor of an"
"Magnificat (Schubert) The Magnificat in C major, 486, is a musical setting of the hymn composed by Franz Schubert in 1816. It is scored for SATB soloists, mixed choir, 2 oboes, 2 bassoons, 2 trumpets, violin I and II, viola, timpani and basso continuo (cello, double bass and organ). The autograph score is dated 25 September 1816, and was likely to have been composed for vespers at the Lichtental Church. This composition is Schubert's only setting of the . The work is divided into three distinct movements, forming a musical triptych. This is a typical format found in Schubert's sacred"
"the , who performed it for the first time in Stuttgart on 24 May 1990. It has been recorded by many groups, including the Estonian Philharmonic Chamber Choir under Tõnu Kaljuste; the Taverner Choir under Andrew Parrott; the Choir of King's College, Cambridge under Stephen Cleobury; and Theatre of Voices under Paul Hillier. Magnificat (Pärt) Arvo Pärt set the Latin text of the Magnificat canticle in 1989. It is a composition for five-part choir (SSATB) a cappella, with several divided parts. Its performance time is approximately seven minutes. The composition is in tintinnabuli style, a style which Pärt had invented"
"have been either 25 March or 6 April, it was believed that the date of Christ's birth will have been nine months later. A tractate falsely attributed to John Chrysostom argued that Jesus was conceived and crucified on the same day of the year and calculated this as 25 March, a computation also mentioned by Saint Augustine of Hippo. The Magnificat, based on Luke 1:46-55 is one of four well known Gospel canticles: the ""Benedictus"" and the"" Magnificat"" in the first chapter, and the ""Gloria in Excelsis"" and the ""Nunc dimittis"" in the second chapter of Luke, which are now"
"Luke to his original composition from a collection of hymns written in Greek. A minority of scholars think the Magnificat and Canticle might be Jewish hymns taken by the Christians, but Jewish hymns of the period reflect a future hope of God's help whereas these refer to it already having been fulfilled. Another group of scholars, also a minority, argue these were originally composed in Aramaic or Hebrew and so might come from original testimony and so usually argue for these songs' historicity. Scholars often see these as primitive as so probably composed before other songs in the New Testament,"
"Magnificat, 7 motets (including one ""Stabat Mater""), 4 antiphons, 8 hymns, and 18 villancicos, but it is highly probable that his authorship is hidden among the many anonymous works of the Portuguese and Spanish renaissance manuscripts. His music was popular, as attested by the appearance of copies in far-off places; for example native scribes copied two of his manuscripts in Guatemala. His motet ""Clamabat autem mulier Cananea"" was particularly praised by his contemporaries, and served as the source for instrumental pieces by later composers, namely Alonso Mudarra. Pedro de Escobar Pedro de Escobar (c. 1465 – after 1535), a.k.a. ""Pedro"
"Magnificat (Pärt) Arvo Pärt set the Latin text of the Magnificat canticle in 1989. It is a composition for five-part choir (SSATB) a cappella, with several divided parts. Its performance time is approximately seven minutes. The composition is in tintinnabuli style, a style which Pärt had invented in the mid-1970s. Tintinnabulation is the most important aspect of Pärt's Magnificat. According to Pärt's biographer and friend Paul Hillier, the Magnificat ""displays the tintinnabuli technique at its most supple and refined."" Pärt also uses drones; a second-line G in the alto near the end of the piece, as well as the third-space"
"music. Performances require approximately 10 minutes. Schubert used a shortened version of the hymn, omitting the lines ' to '. He also changed the line ' (""For behold, from henceforth all generations shall call me blessed"") to ' (""For behold, from henceforth all nations shall call me blessed""). Magnificat (Schubert) The Magnificat in C major, 486, is a musical setting of the hymn composed by Franz Schubert in 1816. It is scored for SATB soloists, mixed choir, 2 oboes, 2 bassoons, 2 trumpets, violin I and II, viola, timpani and basso continuo (cello, double bass and organ). The autograph score"
"Magnificat in E-flat major, BWV 243a The in E-flat major, 243a, also BWV243.1, by Johann Sebastian Bach is a musical setting of the Latin text of the Magnificat, Mary's canticle from the Gospel of Luke. It was composed in 1723 and is in twelve movements, scored for five vocal parts (two sopranos, alto, tenor and bass) and a Baroque orchestra of trumpets, timpani, oboes, strings and basso continuo including bassoon. Bach revised the work ten years later, transposing it from E-flat major to D major, and creating the version mostly performed today, BWV 243. The work was first performed in"
"which is sung during the Roman Catholic evening prayer or vespers service. The ensemble's repertoire covers the sweep of religious, stage, and chamber music of the 17th Century by such giants as Claudio Monteverdi, Giacomo Carissimi, Alessandro Stradella, Marc-Antoine Charpentier, Heinrich Schütz, Dieterich Buxtehude, Henry Purcell, and lesser-known and infrequently performed composers of the era. Magnificat has particularly championed and performed music by women composers Francesca Caccini, Isabella Leonarda, Barbara Strozzi and Chiara Margarita Cozzolani and has hosted a conference on Women and Music in Seventeenth Century Italy. Magnificat's annual concerts, recordings, and participation in music festivals have won audience"
"Benedictus (Song of Zechariah) The Benedictus (also Song of Zechariah or Canticle of Zachary), given in Gospel of , is one of the three canticles in the opening chapters of this Gospel, the other two being the ""Magnificat"" and the ""Nunc dimittis"". The Benedictus was the song of thanksgiving uttered by Zechariah on the occasion of the circumcision of his son, John the Baptist. The canticle received its name from its first words in Latin (Benedictus Dominus Deus Israel, “Blessed be the Lord God of Israel”). The whole canticle naturally falls into two parts. The first (verses 68-75) is a"
"works by Carus-Verlag, begun in 1992 in continuation of the Stuttgart Schütz Edition and planned to be completed by 2017. The edition uses the ""Heinrich-Schütz-Archiv"" of the Hochschule für Musik Dresden. It is combined with complete recordings by the Dresdner Kammerchor conducted by Hans-Christoph Rademann. Magnificat (Schütz) Heinrich Schütz composed four extant settings of the Magnificat or ""Song of Mary"", one of the three New Testament canticles. He set one in Latin and three in German. In the Schütz-Werke-Verzeichnis (SWV), the compositions have the numbers 344, 426, 468 (in Latin) and 494. The settings on the German text are all"
"speaking poets and hymn writers. Additional translations, with their opening line, are as follows: This hymn was added to the Roman Missal in 1570 by Pope Pius V, and also it has more quotations in the ""Catechism of the Catholic Church"" (n. 1381). This Eucharistic hymn was generally chanted with a genuflection in front of the Blessed Sacrament, which is Jesus Christ God, the Lord and the Saviour, the Saint King, King of Israel and King of Kings. It was much more like than what is written in the Bible for the Sanctus, something generally chanted in Heaven by the"
"in his treatment of the third Magnificat verse: the soprano sings the first words of the verse, while the chorus concludes it. This particular split of the third verse, leaving only the last two words (omnes generationes) to the chorus, had been practised before by Ruggiero Fedeli, and in a Magnificat in G minor from 1720 which Bach probably knew (that Magnificat in G minor used to be attributed to Tomaso Albinoni). Also Graupner's 1722 Magnificat had this split. Another characteristic of Bach's Magnificat is that it is set for a five-part chorus. Extending a standard SATB choir with more"
"concert began with the Credo from his father's Mass in B minor, followed by two excerpts from Handel's Messiah, the ""Hallelujah Chorus"" and the aria ""I know that my redeemer liveth"", both sung in German. Magnificat was published in 1829 by N. Simrock in Bonn. It is the composer's first extant major choral composition. The canticle Magnificat was often set to music in short works for liturgical use, being a regular part of Catholic vespers and Anglican evensong. This work is an extended setting, along with his father's setting and the Magnificat by John Rutter. Bach scored the work in"