Johann Sebastian Bach: Magnificat in D major - CD, Choir Coach, multimedia | Carus-Verlag

Johann Sebastian Bach Magnificat in D major

BWV 243 (BWV3 243.2)

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Bach composed particularly demanding and difficult works in his first year in Leipzig in 1723. These include the Magnificat, first written in E flat major and reworked about eight years later into the present D major version. This work requires an experienced chorus, as the parts are almost instrumentally conceived and rich in coloratura writing. The extremely agile vocal parts, with many large interval leaps, need to be thoroughly understood, and the position of each line within the dense web of other parts securely grasped. Examples of such tricky passages include the rapidly following entries at "Omnes generationes", and the long coloratura sixteenth note passages at "Fecit potentiam".

The Carus Choir Coach offers choir singers the unique opportunity to study and learn their own, individual choral parts within the context of the sound of the entire choir and orchestra. For every vocal range a separate Audio CD or MP3 and download containing each choir part is available. The Carus Choir Coach is based on recorded interpretations by renowned artists who have performed the work from carefully prepared Carus Urtext editions. Each choir part is presented in three different versions: 

  • Original recording
  • Coach: each part is accompanied by the piano, with the original recording sounding in the background
  • Coach in slow mode: the tempo of the coach slows down to 70% of the original version – through this reduction passages can be learned more effectively.

Performers: Monika Frimmer (Sopran), Kerstin Klein (Sopran), Kai Wessel (Alt), Hermann Oswald (Tenor), Andreas Scheibner (Bass) – Dresdner Kammerchor, Dresdner Barockorchester – Hans-Christoph Rademann 

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Listen (12)
  • Et exsultavit
  • Quia respexit
  • Quia fecit
  • Et misericordia
  • Deposuit potentes
  • Esurientes
  • Magnificat
  • Omnes generationes
  • Fecit potentiam
  • Suscepit Israel
  • Sicut locutus est
  • Gloria patri
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Practise
  • carus music, the Choir Coach Üben mit carus music
    • Magnificat (Choir Coach)
    • Magnificat (Choir Coach, Slow mode)
    • Omnes generationes (Choir Coach)
    • Omnes generationes (Choir Coach, Slow mode)
    • Fecit potentiam (Choir Coach)
    • Fecit potentiam (Choir Coach, Slow mode)
    • Suscepit Israel (Choir Coach)
    • Suscepit Israel (Choir Coach, Slow mode)
    • Sicut locutus est (Choir Coach)
    • Sicut locutus est (Choir Coach, Slow mode)
    • Gloria patri (Choir Coach)
    • Gloria patri (Choir Coach, Slow mode)
    • Magnificat (Choir Coach)
    • Magnificat (Choir Coach, Slow mode)
    • Omnes generationes (Choir Coach)
    • Omnes generationes (Choir Coach, Slow mode)
    • Fecit potentiam (Choir Coach)
    • Fecit potentiam (Choir Coach, Slow mode)
    • Sicut locutus est (Choir Coach)
    • Sicut locutus est (Choir Coach, Slow mode)
    • Gloria patri (Choir Coach)
    • Gloria patri (Choir Coach, Slow mode)
    • Magnificat (Choir Coach)
    • Magnificat (Choir Coach, Slow mode)
    • Omnes generationes (Choir Coach)
    • Omnes generationes (Choir Coach, Slow mode)
    • Fecit potentiam (Choir Coach)
    • Fecit potentiam (Choir Coach, Slow mode)
    • Sicut locutus est (Choir Coach)
    • Sicut locutus est (Choir Coach, Slow mode)
    • Gloria patri (Choir Coach)
    • Gloria patri (Choir Coach, Slow mode)
    • Magnificat (Choir Coach, soprano 1)
    • Magnificat (Choir Coach, Slow mode, soprano 1)
    • Magnificat (Choir Coach, soprano 2)
    • Magnificat (Choir Coach, Slow mode, soprano 2)
    • Omnes generationes (Choir Coach, soprano 1)
    • Omnes generationes (Choir Coach, Slow mode, soprano 1)
    • Omnes generationes (Choir Coach, soprano 2)
    • Omnes generationes (Choir Coach, Slow mode, soprano 2)
    • Fecit potentiam (Choir Coach, soprano 1)
    • Fecit potentiam (Choir Coach, Slow mode, soprano 1)
    • Fecit potentiam (Choir Coach, soprano 2)
    • Fecit potentiam (Choir Coach, Slow mode, soprano 2)
    • Suscepit Israel (Choir Coach, soprano 1)
    • Suscepit Israel (Choir Coach, Slow mode, soprano 1)
    • Suscepit Israel (Choir Coach, soprano 2)
    • Suscepit Israel (Choir Coach, Slow mode, soprano 2)
    • Sicut locutus est (Choir Coach, soprano 1)
    • Sicut locutus est (Choir Coach, Slow mode, soprano 1)
    • Sicut locutus est (Choir Coach, soprano 2)
    • Sicut locutus est (Choir Coach, Slow mode, soprano 2)
    • Gloria patri (Choir Coach, soprano 1)
    • Gloria patri (Choir Coach, Slow mode, soprano 1)
    • Gloria patri (Choir Coach, soprano 2)
    • Gloria patri (Choir Coach, Slow mode, soprano 2)
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Additional material
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  • 1. Magnificat (Coro SSATB)

    Hoch erhebt meine Seele den Herren.

    2. Et exsultavit (Aria Soprano II)

    In Gott, meinem Heiland, jubelt mein Geist.

    3. Quia respexit (Aria Soprano I) / 4. Omnes generationes (Coro)

    Er hat in Gnaden geschaut auf seine niedrige Magd,
    Siehe, von nun an nennen mich selig alle Geschlechter.

    5. Quia fecit (Aria Basso)

    Großes hat der Gewaltige an mir getan,
    dessen Name heilig ist.

    6. Et misericordia (Aria Alto, Tenore)

    Und sein Erbarmen währt von Geschlecht zu Geschlecht über die,
    welche ihn fürchten.

    7. Fecit potentiam (Coro)

    Macht hat er geübt mit seinem Arm
    und zerstreuet, die stolzen Herzens sind.

    8. Deposuit (Aria Tenore)

    Herrscher hat er vom Thron gestürzt,
    ...
  • 1. Magnificat (Coro SSATB)

    Magnificat anima mea Dominum.

    2. Et exsultavit (Aria Soprano II)

    Et exsultavit spiritus meus in Deo salutari meo

    3. Quia respexit (Aria Soprano I) / 4. Omnes generationes (Coro)

    Quia respexit humilitatem ancillae suae,
    ecce enim ex hoc beatam me dicent omnes generationes.

    5. Quia fecit (Aria Basso)

    Quia fecit mihi magna qui potens est,
    et sanctum nomen eius.

    6. Et misericordia (Aria Alto, Tenore)

    Et misericordia a progenie in progenies
    timentibus eum.

    7. Fecit potentiam (Coro)

    Fecit potentiam in bracchio suo,
    dispersit superbos mente cordis sui.

    8. Deposuit (Aria Tenore)

    Deposuit potentes de sede
    et exaltavit humiles.

    ...
  • Texte du livret du CD Carus 83.152

    Katrin Bemmann
    Traduction (abrégée) : Jean Paul Ménière

    Depuis le Vle siècle, le « Magnificat », chant de louange à Marie, qui vient d’apprendre qu’elle va être la mère du Christ, constitue dans la liturgie catholique le point culminant des Vêpres. Avec la Réforme, les Vêpres, et avec elle le Magnificat, ont été reprises dans la liturgie protestante.

    Le Magnificat latin de Johann Sebastian Bach existe en deux versions. La première, en mi bémol majeur, fut écrite en 1723, l’année où Bach entra en fonction à Leipzig, et conçue pour les Vêpres de Noël. Conformément aux circonstances, cette version fut augmentée de quatre séquences de Noël et les flûtes à bec prenaient, en raison de leur caractère pastoral, la place des flûtes traversières. Quelques années plus tard, Bach entreprit une révision de l’œuvre. Il changea la tonalité en ré majeur, supprima les quatre pièces rajoutées et confia

    ...
  • Text from the CD Carus 83.152

    Katrin Bemmann
    Translation (abridged): John Coombs

    The “Magnificat” – the song of praise of the Virgin Mary on hearing that she is to become the mother of Christ – has formed the climactic point of the service of Vespers in the liturgy of the Catholic Church since the 6th century. Following the Reformation Vespers, including the Magnificat, retained a place in the Protestant liturgy.

    Johann Sebastian Bach’s Latin Magnificat exists in two versions. The first, in E flat major, was written in 1723, the year when he took up his position in Leipzig, and was intended for use in the Christmas Vespers. In view of that intention four Christmas pieces were added to this version, and instead of flutes Bach used recorders, with their pastoral character. A few years later Bach revised the work. He transposed it to D major, removed the Christmas pieces, and replaced the recorders by flutes, whose

    ...
  • Booklet-Text der CD Carus 83.152

    Katrin Bemmann

    Das „Magnificat“ – der Lobgesang Marias, nachdem sie erfahren hat, dass sie die Mutter Christi wird – bildet seit dem 6. Jahrhundert in der Liturgie der katholischen Kirche den Höhepunkt der Vesper. Musikalisch entwickelte sich aus der einstimmigen Psalmodie nach und nach eine vielfältige Palette von Formen, sei es als Lied, mehrstimmige Motette oder kantatenähnliche Vertonung mit Instrumentalbegleitung. Mit der Reformation wurde die Vesper und damit auch das Magnificat in die protestantische Liturgie übernommen.

    Von Johann Sebastian Bachs lateinischem Magnificat existieren zwei Fassungen. Die erste in Es-Dur entstand in Bachs Leipziger Antrittsjahr 1723 und war für die Weihnachtsvesper bestimmt. Dem Anlass entsprechend war diese Fassung um vier weihnachtliche Einlagesätze erweitert, und statt Traversflöten fanden Blockflöten mit ihrem pastoralen Charakter Verwendung. Einige Jahre später nahm Bach eine Überarbeitung vor. Er änderte die Tonart in D-Dur, strich die vier zusätzlichen Stücke und übertrug den nunmehr besetzten Traversflöten größere Aufgaben.

    ...
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  • Johann Sebastian Bach is one of the most important composers of Western music history. He came from a widely ramified musical dynasty, which produced numerous musicians and organists in the Thuringian-Saxon area.

    Bach vocal

    Ever since Carus-Verlag was founded in 1972, publishing the music of Johann Sebastian Bach has been a special focus for us. In the 2017 Reformation anniversary year we completed the Bach vocal project. Bach's complete sacred vocal works are now available in modern Urtext editions, together with performance material. A complete edition of all the full scores is also available in a high quality box set. Personal details
  • Paul Horn war ein deutscher Kirchenmusiker, Organist, Komponist und Musikwissenschaftler. Er studierte Kirchenmusik und Orgel an der Evangelischen Kirchenmusikschule Esslingen am Neckar bei Hans-Arnold Metzger und Musikwissenschaft, Theologie und Geschichte an der Universität Tübingen. Seine berufliche Laufbahn begann als Kantor an der Evangelischen Michaelskirche in Stuttgart-Degerloch. 1954 wurde er Kantor an der Evangelischen Stadtkirche Ravensburg, eine Position, die er bis zu seiner Pensionierung innehatte. Als Musikwissenschaftler arbeitete Horn bis ins hohe Alter eng mit Carus zusammen. So stammen zahlreiche Carus-Klavierauszüge aus seiner Feder. Personal details
  • DRESDNER KAMMERCHOR Radiant, transparent, homogeneous and flexible: the Dresdner Kammerchor is internationally esteemed for its unique culture of sonority. Its artistic director Hans-Christoph Rademann has shaped this distinctive sound since the choir was founded in 1985, leading it to worldwide renown. The choir’s diverse repertoire has its foundation in Baroque music, with a special focus on Saxon court music. As a cultural ambassador for Dresden and Saxony, the choir keeps the musical heritage of its homeland alive and makes it known to an international audience. A prominent example of this is the world’s first complete Heinrich Schütz recording, which was concluded in 2019, published by Carus-Verlag, and has won several awards: among others, the St. John Passion was awarded the Annual Prize of the German Record Critics in 2016, and the last installment of the edition containing “Psalms and Peace Music” was honored with the Opus Klassik 2020. The choir has also rediscovered, performed anew and recorded on CD numerous works by other Central German masters such as Johann Adolf Hasse, Johann David Heinichen and Jan Dismas Zelenka in collaboration with the Dresden Baroque Orchestra and other musical partners. In addition to symphonic choral works from the Classical and Romantic periods, a further repertoire focus is on challenging a cappella works of the 19th and 20th centuries. This includes music by Johannes Brahms, Max Reger, Olivier Messiaen, Francis Poulenc, Arnold Schoenberg and Herman Berlinski. For years, the Dresdner Kammerchor has been intensively dedicated to modern and contemporary music, with world premieres, first performances and its own commissioned works. This commitment is deepened further by diverse music education and youth projects. In 2009, Hans-Christoph Rademann and the Dresdner Kammerchor initiated the Dresden Choral Workshop for New Music, which took place for the 4th time in 2018. For its services to contemporary choral music, the choir was awarded a Sponsorship Prize by the Ernst von Siemens Music Foundation. The Dresdner Kammerchor gives guest performances in centers of music and at festivals throughout Europe. Tours have taken the singers to Israel, India, Taiwan, China, Mexico, South America, South Africa and the USA. Musical partners to date have included René Jacobs, Sir Roger Norrington, Ádám Fischer, Václav Luks, Stefan Parkman, Trevor Pinnock, Christoph Prégardien, Jos van Immerseel, Herbert Blomstedt, Omer Meir Wellber, Christian Thielemann, Riccardo Chailly and Reinhard Goebel, as well as the Sächsische Staatskapelle Dresden, the Gewandhausorchester Leipzig, the BBC Philharmonic Orchestra, Anima Eterna Brugge, the Akademie für Alte Musik Berlin, and the Bamberg Symphony Orchestra. The choir regularly collaborates with the Wroc"naw Baroque Orchestra. By means of a cooperation with the Dresden University of Music, the Dresdner Kammerchor keeps the connection to its roots alive. Personal details
  • One of the distinguishing features of the Dresdner Barockorchester, founded in 1991, is the fact that its membership includes both early music specialists and orchestral musicians drawn from the Dresdner Staatskapelle and the Dresdner Philharmonie. Working together with baroque instruments, with their specific clarity of sound and articulation they achieve a variegated, eloquent music-making in which their different areas of musical experience are combined. The musicians are united in their desire to follow the splendid example set by the Dresden Court Orchestra of Augustus the Strong. The heritage of that era is the music of such conductors and instrumentalists of the Court Orchestra as Hasse, Heinichen, Zelenka, Quantz and Pisendel, whose works have a prominent place in the repertoire of the Dresdner Barockorchester. This repertoire extends from the end of the 17th century through Mozart. The Dresdner Barockorchester works closely with the Dresdner Kammerchor and its conductor Hans- Christoph Rademann. Personal details
  • Conductor Hans-Christoph Rademann is an immensely versatile artist with a broad repertoire who devotes himself with equal passion and expertise both to the performance and rediscovery of early music and to the first performances and cultivation of Contemporary Music. Born in Dresden and raised in the Erzgebirge mountains, he was influenced at an early age by the great Central German kantorial and musical tradition. He was a student at the traditional Kreuzgymnasium, a member of the famous Kreuzchor, and studied choral and orchestral conducting at the Carl Maria von Weber University of Music in Dresden. During his studies, he founded the Dresdner Kammerchor and formed it into a top international choir which is still under his direction today. Since 2013, Hans-Christoph Rademann has been the academy director of the International Bach Academy Stuttgart. He regularly collaborates with leading choirs and ensembles of the international music scene. From 1999 to 2004 he was chief conductor of the NDR Choir and from 2007 to 2015 chief conductor of the RIAS Chamber Choir. Guest conducting engagements have led and continue to lead him to the Nederlandse Bachvereniging, the Collegium Vocale Gent, the Akademie für Alte Musik, the Freiburger Barockorchester, the Deutsche Radiophilharmonie Saarbrücken Kaiserslautern, the Sinfonieorchester Basel, the Orchestre Philharmonique de Luxembourg, among others. Hans-Christoph Rademann has been awarded prizes and honors for his artistic work, including the Johann Walter Plaque of the Saxon Music Council (2014), the Saxon Constitutional Medal (2008), the Sponsorship Prize as well as the Art Prize of the state capital Dresden (1994 and 2014 respectively). He received the Preis der Deutschen Schallplattenkritik several times for his numerous CD recordings (most recently in 2016), as well as the Grand Prix du Disque (2002), the Diapason d’Or (2006 & 2011), the CHOC de l’année 2011 and the Best Baroque Vocal Award 2014. In 2016 he was awarded the European Church Music Prize of the city of Schwäbisch Gmünd. His exemplary interpretation and recording of the complete works of Heinrich Schütz with the Dresdner Kammerchor in the Stuttgart Carus-Verlag, which was completed in 2019, was awarded the newly endowed Heinrich Schütz Prize as well as the OPUS KLASSIK 2020 in the same year. Hans-Christoph Rademann is professor of choral conducting at the Carl Maria von Weber University of Music in Dresden. He is also artistic director of the Musikfest Erzgebirge, ambassador of the Erzgebirge and patron of the Christian Hospice Service Dresden. Personal details
  • The Countertenor Kai Wessel studied music theory (R. Ploeger), composition (F. Döhl), and voice (U. v. Garczynski) at the Lübeck Academy of Music as well as baroque performance practice at the Schola Cantorum Basiliensis (René Jacobs). As one of the leading countertenors Wessel received numerous prizes, is invited by orchestras and conductors all over the world and has been involved in performances, radio broadcasts, as well as more than ninty recordings. He has been invited to numerous opera houses (Barcelona, Nizza, Hamburg, München, Berlin, Dresden, Stuttgart und Basel). Kai Wessel is professor at the Cologne Academy of Music/Germany, and teaches at the Bern University of the Arts/Switzerland. Personal details

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