Magnificat in E-flat major, BWV 243a
Magnificat | |
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by J. S. Bach | |
Key | E-flat major |
Catalogue |
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Related | basis for Magnificat in D major (1733) |
Occasion | Vespers on feast days |
Text |
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Language |
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Performed |
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Movements | 12 (16 for Christmas) |
Vocal | SSATB choir and solo |
Instrumental |
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The Magnificat in E-flat major, BWV 243a, also BWV 243.1,[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 some 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
As a regular part of vespers, the canticle Magnificat was often set to music for liturgical use. Bach, as some of his contemporaries, devotes individual expression to every verse of the canticle, one even split in two for a dramatic effect. In a carefully designed structure, four choral movements are evenly distributed (1, 4, 7, 11). They frame sets of two or three movements sung by one to three voices, with individual instrumental colour. The work is concluded by a choral doxology (12), which ends in a recapitulation of the beginning on the text "as it was in the beginning". In Bach's Leipzig period, Magnificat is the first major work on a Latin text and for five vocal parts.
Background
Bach's beginning in Leipzig
Bach composed the Magnificat in 1723, his first year as Thomaskantor in Leipzig, music director of the main
Magnificat
The canticle Magnificat, one of three
Bach had an audience familiar with the text and its background. In Leipzig, a Latin Magnificat was sung on the high holidays (Christmas, Easter and Pentecost, then performed on two of the three days of celebration) and on the three Marian feasts
Composition history
Bach composed the work in 1723, his first year as Thomaskantor in Leipzig, probably for the feast of the Visitation.[2][3] For the occasion, he presented the Magnificat as his first work on a Latin text and his first five-part choral setting in Leipzig. Otherwise, he used five voices in the funeral motet Jesu, meine Freude, the Missa in B minor, composed in 1733 for the court of Dresden, from which he derived the derived cantata Gloria in excelsis Deo, BWV 191, and in the Mass in B minor. Richard D. P. Jones notes: "Without exception these works lie outside the normal routine of Bach's sacred vocal works".[9]
Bach probably first performed the Magnificat on the feast day, 2 July.
For Christmas the same year, Bach performed his Magnificat with four inserted laudes, songs of praise related to Christmas, partly in German, partly in Latin.
Bach used as a cantus firmus in movement 10 the chant associated with Luther's German version of the Magnificat canticle, "Meine Seele erhebt den Herren". A year later Bach composed for the feast of the Visitation the chorale cantata Meine Seel erhebt den Herren, BWV 10, based on the German Magnificat.[12] The musicologist Alberto Rizzuti compared the two settings which were possibly performed in one service on 2 July 1724.[7]
For Visitation of 1733, Bach revised his Magnificat, creating the version better known today. In that version, transposed to D major, the laudes interpolations were abandoned. Limited differences in instrumentation include replacing the recorders by flutes and including these in the tutti movements. Changes in musical texture were even smaller, mellowing the harmony near the end of the Omnes generationes movement being the most noticeable.[13][14]
Bach's son Carl Philipp Emanuel Bach followed the example of an extended setting, composing a Magnificat in nine movements in 1749,[15] at the end of his father's life.
Music
Scoring and structure
Bach scored the work festively. The autograph reads: "J.J. Magnificat à 3 Trombe Tamburi 2 Hautb. Basson. 2 Violini. Viola 5 Voci è Continuo", translating to:
Movements
Bach structured the text in eleven movements for the canticle (Luke 1:46–55), concluded by a twelfth doxology movement. Each verse of the canticle is assigned to one movement, except verse 48, beginning with a soprano solo in the role of Mary (third movement), then switching to the fourth movement sung by the chorus when "all generations" are mentioned. The structure, alternating choral and solo movements, is similar to "contemporary Italian concerted settings of the Magnificat".[20] The four Christmas hymn movements are placed after the second, fifth, seventh and ninth movement on the Magnificat text.
Choral movements are evenly distributed in the structure, numbers 1, 4, 7, and 11 within the canticle, and the concluding doxology as movement 12.
The following table shows the title, voices and instruments,
No. | Title | Voices | Winds | Strings | Key | Time | Text source | Dig |
---|---|---|---|---|---|---|---|---|
1 | Magnificat anima mea | SSATB | 3Tr Ti 2Ob | 2Vl Va | E-flat major | 3/4 | Luke 1:46 | [1] |
2 | Et exultavit spiritus meus | SII | 2Vl Va | E-flat major | 3/8 | Luke 1:47 | [2] | |
A | Vom Himmel hoch | SATB | E-flat major | Hymn by Martin Luther | [3] | |||
3 | Quia respexit humiltatem | SI | Ob | C minor | Luke 1:48 beginning | [4] | ||
4 | Omnes generationes | SSATB | 2Ob | 2Vl Va | G minor | Luke 1:48 end | [5] | |
5 | Quia fecit mihi magna | B | B-flat major | Luke 1:49 | [6] | |||
B | Freut euch und jubilieret | SSAT | B-flat major | Verse by Sethus Calvisius[23] | [7] | |||
6 | Et misericordia | A T | 2Vl Va | F minor | 12/8 | Luke 1:50 | [8] | |
7 | Fecit potentiam | SSATB | 3Tr Ti 2Ob | 2Vl Va | E-flat major | Luke 1:51 | [9] | |
C | Gloria in excelsis Deo | SSATB | Vl | E-flat major | Luke 2:14 | [10] | ||
8 | Deposuit potentes | T | 2Vl Va | G minor | 3/4 | Luke 1:52 | [11] | |
9 | Esurientes | A | 2Fl | F major | Luke 1:53 | [12] | ||
D | Virga Jesse floruit | S B | F major | 12/8 | fragment of a longer Christmas hymn[14] |
[13] | ||
10 | Suscepit Israel | SSA | Tr | 2Vl Va | C minor | Luke 1:54 | [14] | |
11 | Sicut locutus est | SSATB | E-flat major | Luke 1:55 | [15] | |||
12 | Gloria Patri Sicut erat in principio |
SSATB | 3Tr Ti 2Ob | 2Vl Va | E-flat major | 3/4 |
Doxology |
[16] |
The twelve movements of the Magnificat canticle
1
The opening movement Magnificat anima mea (My soul magnifies the Lord)
2
Et exultavit spiritus meus (And my spirit rejoices in God my Saviour)[24] is an aria, as an image of personal celebration,[25] sung by soprano II, accompanied by the strings.[26] The major-mode and motifs of joy in the instruments illustrate the exultation.[20] Et exultavit (And exults) begins with a broken upward triad followed by a rest, suggesting a minuet.[25] spiritus meus (my spirit) is a sequence of 16th notes, two for every syllable. Longer melismas illustrate salutari (salvation).
A note in the autograph requests the insertion of the first Christmas interpolation here: "Alhier folget der Choral: Vom Himmel hoch, da kom ich her" (Here follows the chorale: Vom Himmel hoch, da kom ich her).[26][17]
3
Quia respexit humilitatem (For He has regarded the lowliness [of His handmaiden.]
4
The continuation of the verse and completion of the sentence, Omnes generationes (by all generations)
5
Quia fecit mihi magna qui potens est (For the Mighty One has done great things for me)
A note in the autograph requests the insertion of the second Christmas interpolation here: "Hierauf folget Freut euch u. jubilirt" (Hereon follows Freut euch u. jubilirt).[17]
6
Et misericordia a progenie in progenies, timentibus eum (His mercy is for those who fear Him from generation to generation)[24] begins in great contrast softly with undulating movement in 12/8 time, played by the violins. It is a duet of alto and tenor, beginning in parallels of sixths and staying in homophony for most of the movement. The theme resembles the sarabande of Bach's first French Suite in D minor, BWV 812.[27] Hogwood compares the music to the pastoral sinfonia beginning Part II of Bach's Christmas Oratorio, "creating a romantic, soft-edged, almost comforting sound".[25] Jones remarks that timentibus eum" (who fear him) is "full of pathos and built over a partly chromatic, quasi-ostinato bass", while the "divine quality of mercy is expressed in beatific parallel thirds of the violins in the ritornello".[20]
7
Fecit potentiam (He has shown strength)[24] shares key, scoring and dotted motifs with the first movement. Based on a continuo line of octaves and repeated 16th notes, strength is expressed by irregular coloraturas in one voice and homophonic simultaneous calls of the other voices.[25] The tenor begins the coloraturas of four measures, followed by alto, SII, bass and SI, leading to the climax of the movement, two homophonic calls. The new text, dispersit (He has scattered),[24] appears in various voices as broken triads, juxtaposed to material from the first section, but then isolated, in a sequence from the highest voice to the lowest and in downward triads. Joes describes: "... the fugue is dispersed ('dispersit') in favour of a highly graphic, dramatic portrayal of the words 'He has scattered ...'".[21] The conclusion, mente cordis sui (in the thoughts of their hearts),[24] is marked Adagio and illustrates the text in pompous long chords, with accents in the trumpets. Hogwood notes that Bach shows "complete imagination" in "very strange, incomplete yet wonderful harmonies", the trumpet playing their highest available note as an image of "rich people's hearts, who have been misled by worldly promises".[25]
A note in the autograph requests the insertion of the third Christmas interpolation here: "Hierher gehöret das Gloria in excelsis Deo" (Here belongs the Gloria in excelsis Deo).[17]
8
Deposuit potentes (He has brought down the powerful)[24] is an aria for tenor, accompanied by only the violins (and continuo) united in powerful unison. The instrumental ritornello of 14 measures presents the material. The first motif, later sung on "Deposuit", begins with a short upbeat and a long note, followed by a straight downward scale[25] and a final leap up, while the continuo presents a broken triad, straight upward one octave. The second motif, later sung on "potentes", begins with an upbeat of three 16th, followed by a rhythmic pattern which expands both the lowest as the highest note, while the continuo moves in steady steps down. For the third motif, sung on "de sede" (from their thrones),[24] the continuo picks up the rhythm of the second motif, while the violins play a more ornamented downward motion in sixteen continuous 16th. A fourth motif is a sequence of three measures, each a sequence of a figure of a figure of four 16th which is slowly moving upwards.[25] When the singer takes over, the violins accent the end of each motif one to three by a broken downward triad.
The second thought of the verse, "et exaltavit humiles" (and lifted up the lowly),[24] is sung without introduction as a melisma of four measures, which includes downward runs but in a steadily rising sequence and ending similarly to the sequence of motif four, on "exaltavit", but a modest downward line on "humiles" (the lowly). After a shorter ritornello, the tenor sings the complete text again, the first part in a slightly modified version, but the exaltation considerably expanded. Nonetheless, the ritornello in full length is repeated at the end.
9
Esurientes implevit bonis (He has filled the hungry with good things)[24] is sung by the alto, accompanied by two recorders which may symbolise the need of the hungry. Bach used recorders also in his later cantata Brich dem Hungrigen dein Brot, BWV 39.[28] They often play in parallels of sixths and thirds. The ritornello of eight measures introduces a motif moving up, on a continuo of steady quarter note, for four measures, later sung on Esurientes implevit bonis, while downward lines and a continuo moving in eighth notes later go with et divites dimisit (and sent the rich away empty).[24] In Latin, the last word is inanes (empty), which Bach sometimes separates by rests. The continuo is plucked in "the emptiest sound", even on the last note,[25] on which the recorders are silent.[29]
A note in the autograph requests the insertion of the fourth Christmas interpolation here: "Hierauf folget Virga Jesse floruit" (Hereon follows Virga Jesse floruit).[17]
10
Suscepit Israel puerum suum (He has helped His servant Israel)
11
Sicut locutus est ad patres nostros (According to the promise He made to our ancestors),
12
The work is concluded by the doxology, Gloria Patri (Glory to the Father),
The second part, Sicut erat in principio (as it was in the beginning)[24] repeats material from the beginning of the work but shortened, as a frame. Jones points out that the "wittiness" of it was already used by Monteverdi.[20]
Jones remarks that Bach observes a pattern of a bipartite structure of firstly contrasting homophonic blocks and "florid triplet rhythms", secondly "a lighter, quicker conclusion in triple time". He remarks that Bach used a similar pattern again the following year in the Sanctus for Christmas 1724 which later was included as the Sanctus of the Mass in B minor.[30]
The four Christmas interpolations
The four hymns Bach inserted in the Magnificat for the Christmas vespers had a tradition in Leipzig.
A
Vom Himmel hoch, da komm ich her (From heaven on high I come here)[24] is the first stanza of a hymn by Martin Luther, "Vom Himmel hoch, da komm ich her", a paraphrase of the Annunciation to the shepherds. It is set for four parts in E-flat major and alla-breve as an a cappella motet, with the soprano singing the melody in long notes, the lower voices in imitation of the motifs.[26][31]
B
Freut euch und jubilieret (Rejoice and celebrate)[24] is set for SSAT in B-flat major and common time. In polyphony on an independent basso continuo, with pairs of voices in parallels, it resembles a setting by Sethus Calvisius, a former Thomaskantor.[31]
C
Gloria in excelsis Deo (Glory to God in the highest)
D
Virga Jesse floruit (The branch of Jesse flowered){{
Reception history
Publication
The earliest sources are autographs for the performances on 2 July and 25 December 1723, including the Christmas parts, kept by the
The score of the E-flat major version of Bach's Magnificat was first published by
The
Recordings
Bach composed the work for five soloists: two sopranos, alto, tenor and bass. The soloists are listed in the table in the order SATB. For some recordings, only one soprano soloist is listed. Recordings with orchestras on period instruments in historically informed performances are highlighted. The first recordings in the 1960s combined the version in D major (BWV 243) with transposed Christmas interpolations. The type of orchestra is shown for an ensemble with period instruments in historically informed performance by green background.
Title | Conductor / Choir / Orchestra | Soloists | Label | Year | Orch. type |
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Magnificats / (D major version, BWV 243, with Christmas interpolations)[39] | Helmuth RillingFiguralchor der Gedächtniskirche StuttgartBach-Collegium Stuttgart |
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Turnabout Vox | 1967 | |
Maderna Volume 8 - Desprez, J. S. Bach, G. Gabrieli-Maderna, Stravinkij[40] | Südwestdeutscher Rundfunk
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Arkadia |
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Bach: Magnificat in D (Including Christmas Interpolations) (Magnificat in D, BWV 243, with Christmas Interpolations, BWV 243a) |
Süddeutscher MadrigalchorDeutsche Bachsolisten
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Sine Qua Non | 1975 | ||
Edition Bachakademie Vol. 140[40] | Helmuth RillingGächinger KantoreiBach-Collegium Stuttgart | Hänssler
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2000 | ||
J. S. Bach: Magnificat BWV in E flat major 243a - Cantata BWV 10[40] | Roland BüchnerRegensburger DomspatzenMusica Florea | Pure Classics – Glissando | 2000 | ||
Magnificat zur Weihnachtsvesper BWV 243a[40] | Rolf SchweizerMotettenchor PforzheimL'arpa festante |
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Amati | 2000 | Period |
J. S. Bach: Magnificat (with cantata BWV 63)[41] Leipziger Weihnachtskantaten (2CD-set also containing cantatas BWV 91, 121, and 133)[42] |
Philippe HerrewegheCollegium Vocale Gent | Harmonia Mundi |
|
Period | |
Bach - Kuhnau: Magnificat[40] | Ton KoopmanAmsterdam Baroque Orchestra & Choir | Naxos
|
|
Period | |
A. Lotti: Missa Sapientiae / J. S. Bach: Magnificat BWV 243a[40][43] | Balthasar-Neumann-Ensemble
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Deutsche Harmonia Mundi | 2008 | Period |
The first recording by Rilling, of the D major version with Christmas interpolations, with a performance time of 40:06,[39] was reissued under the title Christmas Magnificats, and also issued in comparison to a recording of the Magnificat in D by Kurt Thomas under the title Compare.[44] Gönnenwein's D major recording with Christmas interpolations appeared on a CD titled J. S. Bach: Cantatas 142, 65 & Magnificat.[45]
The Leipziger Weihnachtskantaten recording by the Collegium Vocale Gent, conducted by Philippe Herreweghe, was reviewed as with "bracing but not rushed tempos, infectiously energetic and technically solid contributions from the chorus, and an intelligently paced flow from movement to movement."[46] The Guardian wrote: "Herreweghe's accounts are typically thoughtful, not at all theatrical or dramatically driven, and that slightly laid-back approach takes the edge off the Magnificat too, though the quality of the solo and choral singing, and the careful shaping of the orchestral lines are all exemplary."[47]
In 2015 John Butt and the Dunedin Consort released a recording of the E-flat major version in the context of a reconstructed Christmas service as it might have been heard in Leipzig in 1723. The recording includes organ music and congregational hymn singing.[48]
References
- ^ a b c d e f g h BDW 303 2018.
- ^ a b Glöckner 2003.
- ^ a b Butler 2008, p. 53.
- ^ Wolff 1998, p. 17.
- ^ Wolff 1998, p. 19.
- ^ Wolff 1991, p. 30.
- ^ a b c Rizzuti 2013, p. 1.
- ^ a b Rizzuti 2013, p. 3.
- ^ a b c d Jones 2013, p. 133.
- ^ a b Schröder 2012.
- ^ a b Jenkins 2000, p. 1.
- ^ Rizzuti 2013, p. 2.
- ^ Jenkins 2000, p. 3.
- ^ a b c d Spitta 1899.
- ^ Carus-Verlag.
- ^ a b Autograph.
- ^ a b c d e f g Grob 2014.
- ^ Simrock 1811.
- ^ a b Jenkins 2000, p. 5.
- ^ a b c d e f g h i j k l Jones 2013, p. 134.
- ^ a b c d e Jones 2013, p. 135.
- ^ Rizzuti 2013.
- ^ a b Cantagrel 2011.
- ^ a b c d e f g h i j k l m n o p q r s t u v w x y z Dellal 2021.
- ^ a b c d e f g h i j k l m n o p q Hogwood 2011.
- ^ a b c d e Steinberg 2005, p. 32.
- ^ Jones 2013, p. 44.
- ^ BWV 39.
- ^ a b c Steinberg 2005, p. 33.
- ^ Jones 2013, p. 136.
- ^ a b c d e f Jenkins 2000, p. 2.
- ^ Prinz 2013, p. 4.
- ^ "Virga Jesse floruit - ChoralWiki".
- ^ Jenkins 2000, p. 4.
- ^ Schweitzer 1911, p. 166.
- ^ Zenck 1986, p. 234.
- ^ Rust 1862.
- ^ Bärenreiter.
- ^ a b Rilling.
- ^ a b c d e f Oron 2013.
- ^ Magnificat BWV 243a Archived 2015-07-21 at the Wayback Machine at store
.harmoniamundi .com - ^ Bach Johann Sebastian - Leipziger Weihnachtskantaten at www
.muziekcentrum .be - ^ Hengelbrock 2000.
- ^ Thomas.
- ^ BACH 721 at www
.baroquecds .com - ^ Vernier.
- ^ Andrew Clements. Bach: "Christmas Cantatas from Leipzig; Magnificat, Collegium Vocale Gent" in The Guardian, 3 October 2003.
- ^ James Manheim. Bach Magnificat Review in AllMusic.
Sources
Scores
- "Magnificat E-flat major and Christmas hymns". Berlin: Staatsbibliothek zu Berlin – Preußischer Kulturbesitz. 1723.
- "Magnificat in E flat major [first version] BWV 243.1; BWV 243a; BC E 13 / Magnificat (The Visitation of Mary [2 July])". Bach Digital. Retrieved 28 July 2018. (Note: Virga Jesse incomplete)
- Pölchau, Georg, ed. (1811). Magnificat à cinque voci, due violini, due oboe, tre trombi, tamburi, basson, viola e basso continuo. Bonn: OCLC 68145446.
- Rust, Wilhelm, ed. (1862). Bach-Gesellschaft).
- (1955) Neue Ausgabe sämtlicher Werke, Series 2: Messen, Passionen und oratorische Werke, Volume 3: Magnificat: erste Fassung in Es-Dur BWV 243a, zweite Fassung in D-Dur BWV 243, edited by Alfred Dürr. Kassel, Bärenreiter, 1955.
- (1959) Magnificat Es-dur: Herausgegeben von Alfred Dürr, Taschenpartituren No. 58. Bärenreiter, 1959.
- Jenkins, Neil (2000). "Bach Magnificat in D & E flat BWV 243 & 243a / (Novello edition ed. N. Jenkins)" (PDF). neiljenkins.info/. pp. 1–6. Retrieved 23 September 2014.
- (2014) "Magnificat Es-Dur BWV 243a (mit den vier Einlagesätzen: Vom Himmel hoch / Freut euch und jubilieret / Gloria in excelsis / Virga Jesse floruit). Für Soli (SSATB), Chor (SSATB), Orchester und Orgel (lat). Nach dem Urtext der Neuen Bach-Ausgabe. Ed. A. Dürr" (PDF) (in German). Bärenreiter. 2014. p. 3. Archived from the original (PDF) on 15 October 2014. Retrieved 22 September 2014.
Books
- Butler, Gregory (2008). J. S. Bach's Concerted Ensemble Music, the Concerto (in Bach perspectives). Vol. 7. ISBN 0-252-03165-2.
- ISBN 978-2-213-66547-4.
- Glöckner, Andreas (2003). Bachs Es-Dur-Magnificat BWV 243a – eine genuine Weihnachtsmusik? (in German). Vol. 89. Bach-Jahrbuch. pp. 37–45. Archived from the original on 2019-06-02. Retrieved 2019-06-06.
- Jones, Richard D. P. (2013). The Creative Development of Johann Sebastian Bach, Volume II: 1717–1750: Music to Delight the Spirit. ISBN 978-0-19-969628-4.
- Schröder, Dorothea (2012). Johann Sebastian Bach. C.H. Beck. ISBN 978-0-19-969628-4.
- Schweitzer, Albert (1911). The Magnificat and the St. John, Chapter XXVI of J. S. Bach. Breitkopf & Härtel, Reprint: Dover, 1966. ISBN 0-486-21632-2.
- Novello. pp. 369–371.
- ISBN 0-19-802921-7.
- ISBN 978-0-674-05926-9. Retrieved 23 December 2014.
- Zenck, Martin (1986). Die Bach-Rezeption des späten Beethoven: zum Verhältnis von Musikhistoriographie und Rezeptionsgeschichtsschreibung der 'Klassik' (supplement to the Archiv für Musikwissenschaft) (in German). ISBN 978-3-515-03312-1.
Online sources
- "Carl Philipp Emanuel Bach / Magnificat / BR-CPEB E 4 (Wq 215), 1749". Carus-Verlag.
- Dellal, Pamela (2021). "BWV 243a – "Magnificat" (E-flat Major)". pameladellal.com. Retrieved 23 December 2021.
- Grob, Jochen (2014). "BWV 243a, Magnificat Es-Dur / BC E 13" (in German). s-line.de. Archived from the original on 21 July 2015. Retrieved 2 December 2014.
- Hogwood, Christopher (2011). "Keep it Short: J S Bach Magnificat". Gresham College.
- Oron, Aryeh (2013). "Magnificat in E flat major BWV 243a / Recordings". Bach Cantatas Website. Retrieved 8 December 2014.
- "Magnificat BWV 243a / Conducted by Thomas Hengelbrock". Bach Cantatas Website. 2000. Retrieved 8 December 2014.
- Prinz (2013). "Johann Sebastian und Carl Philipp Emanuel Bach / Magnificat-Vertonungen" (PDF). Archived from the original (PDF) on 10 December 2014. Retrieved 5 December 2014.
- Rizzuti, Alberto (2013). "One Verse, Two Settings, and Three Strange Youths". ojs.unito.it. Retrieved 23 September 2014.
- Vernier, David. "J. S. Bach: Leipzig Christmas cantatas; Magnificat/Herreweghe". classicstoday.com. Retrieved 23 September 2014.
- Wolff, Christoph (1998). "From konzertmeister to thomaskantor: Bach's cantata production 1713–1723" (PDF). Bach Cantatas Website. Retrieved 4 February 2013.
- Bach, Johann Sebastian. "Brich dem Hungrigen dein Brot BWV 39; BC A 96 / Cantata". Bach Digital. 1967. Retrieved 16 June 2014.
- "Bach: Magnificat - Buxtehude: Magnificat anima mea. (Sleeve)". Amazon. Retrieved 17 July 2014.
- "Bach: Magnificat, Kurt Thomas vs. Helmuth Rilling (Compare 2 Versions)". Amazon. Retrieved 17 July 2014.
External links
- Magnificat in E-flat major: Scores at the International Music Score Library Project
- Oron, Aryeh (2012). "Magnificats BWV 243 & BWV 243a – Details". Bach Cantatas Website. Retrieved 18 November 2014.
- "Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz : D-B Mus. ms. Bach P 39". Bach digital. Retrieved 18 November 2014. Manuscript of BWV 243.
- "Frontispiece of the 1811 first edition". Auction catalogue. Sotheby's. Retrieved 18 November 2014.