Johann Ernst Bach: Magnificat - Sheet music | Carus-Verlag

Johann Ernst Bach Magnificat

All my spirit exalts the Lord

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Johann Ernst Bach succeeded his father Johann Bernhard as organist at Eisenach, where he was later also appointed court Kapellmeister. In his compositions J. E. Bach reveals his receptiveness to the stylistic innovations of the age of sentiment ("Empfindsamkeit").
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full score, First edition Carus 30.303/00, ISMN 979-0-007-10279-1 40 pages, DIN A4, paperback
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vocal score Carus 30.303/03, ISMN 979-0-007-08769-2 28 pages, paperback
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choral score Carus 30.303/05, ISMN 979-0-007-10280-7 12 pages, DIN A4, without cover Minimum order quantity: 20 copies
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set of parts, complete orchestral parts Carus 30.303/19, ISMN 979-0-007-20409-9 DIN A4, without cover
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  • 3 x individual part, violin 1 (30.303/11)
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    3 x individual part, violin 2 (30.303/12)
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    2 x individual part, viola (30.303/13)
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    3 x individual part, violoncello/double bass (30.303/14)
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    1 x individual part, organ (30.303/49)
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individual part, organ Carus 30.303/49, ISMN 979-0-007-20410-5 12 pages, 23 x 32 cm, without cover
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  • Johann Ernst Bach (1722-1777) succeeded his father Johann Bernhard as organist at Eisenach, where he was later also appointed court Kapellmeister. His music which has survived consists mainly of sacred vocal works – together with a Mass, a Passion oratorio and a Magnificat, there are numerous cantatas, in which extended choral movements are especially favoured. In his compositions J.E. Bach reveals his receptiveness to the stylistic innovations of the age of sentiment ("Empfindsamkeit"). Personal details

Reviews

Johann Ernst Bach, „Meine Seele erhebet den Herrn”, Deutsches Magnificat

Johann Ernst Bach, „Meine Seele erhebet den Herrn”, Deutsches Magnificat

Eine sehr interessante und vorzüglich editierte Vertonung des Lobgesang Mariens bietet der Carus-Verlag mit diesem etwa viertelstündigen Magnificat des (J. S.) Bach-Neffen Johann Ernst Bach (1722–1777). Der harmonisch kühne, immer kantable Satz ist geprägt von der beherrschenden Rolle des Chores, dessen Part umfangreich gestaltet und wegen der chromatischen Elemente und kontrapunktischen Techniken nicht ganz einfach einzustudieren ist. Im großartigen Eingangschor erklingt der „tonus peregrinus” als Cantus firmus in einer zweiten Bassstimme. Der Erwerb dieser Ausgabe ist lohnend für alle, die an diesem Kompositionsstil zwischen barocker Tradition und empfindsamer Musiksprache Gefallen finden.

Quelle: Musica Sacra Jan/Feb 2001, S. 37/38

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