Mary’s song found in the Gospel of Luke is one of unbridled joy and celebration.  This pairing of settings of the Magnificat, while simultaneously different and yet remarkably related, are full of the musical embodiment of such joyful and celebratory feelings.

300 years ago this season, Johann Sebastian Bach was installed in his new post as Thomaskantor in Leipzig, a position which would prove to be his most stable and musically profitable one which therefore gave western music the largest body of church music written by a single composer.  Famously, 3 annual cycles of church cantatas, the B Minor Mass, both passion settings (and yet another that has been tragically lost to time), all six motets, and this Magnificat, all come from his work in Leipzig.  The Magnificat, premiered 300 years and 3 months ago, is bursting with champagne-like effervescence that flies off the page, a true party piece.  This near-perfect masterwork condensed into 30 minutes has always been a favorite of mine, and recently I have found an outlet for the devotion I have to the music of JS Bach in my work with Bach Vespers NYC – the soloists you will hear today are all brought together by our work doing the Magnificat together in New York. What sets Bach's Magnificat apart is its intuitive pacing and rich musical language. Comprising twelve movements, each distinct in character and mood, the work showcases Bach's skillful use of counterpoint with intricate textures and rich harmonies interwoven throughout. The opening chorus  immediately establishes a sense of jubilation and grandeur, setting the tone for the entire piece.  Melismatic tunes (long series of fast runs in the vocal and instrumental lines) are punctuated by trumpet and timpani exclamations.  The material is so good, Bach returns to it at the end of the piece!  In the fourth movement, each of the five vocal parts repetitively intones "omnes, omnes generations" throughout more than 23 measures, each part operating independently until converging in rhythmic unison for the final 3 ½ measures. The resultant effect vividly portrays diverse generations, spanning various eras, collectively acknowledging Mary's blessedness across time.

 

 

 Equally enchanting is the ninth movement, designated as an aria for alto. Despite its classification, it unfolds as a multifaceted four-part texture, featuring a solo alto voice, two solo flutes, and the continuo. This movement exemplifies Bach's seamless integration of obbligato instruments within the texture, eschewing the typical alternation with the solo voice as seen in Handel's compositions. The melodic richness accompanying the phrase "et divites dimisit inanes" (and the rich he sends away empty) poignantly illustrates God's benevolence towards the needy juxtaposed with the incomplete flute phrase at the end of the movement, representing the empty-handed departure of the affluent.

Throughout the work, Bach utilizes a variety of compositional techniques to convey the emotional depth and theological significance of the text. From the intimate and introspective arias to the majestic chorales and triumphant fugues, Bach's Magnificat offers a profound musical reflection on the divine mysteries encapsulated within Mary's words.

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In another composer origin story, a young (or at least younger) John Rutter had just exploded onto the contemporary classical music scene in the late 1980’s with his Gloria – it was followed quickly by a new commission in 1990 for a Carnegie Hall performance - thus, the Magnificat was born.   Rutter's Magnificat is a radiant jewel in the contemporary choral repertoire; it layers modern yet accessible writing with devices such as fanfares, frequent use of open fifths, melodies reminiscent of chant, and the dispatching of the organ to create hints of a medieval sound world past, transporting the listener to 13th century England.  In this way John Rutter very early on in his career is staking his musical claim as heir to the English sound world inherited by Vaughan Williams, Holst, Britten, etc.

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The opening movement introduces the work with a grand fanfare, enveloping listeners in a majestic atmosphere characterized by rich harmonies and soaring melodic lines. This regal proclamation sets the stage for the ensuing journey of reverence and celebration.  In contrast, the second movement, Of a Rose, a lovely Rose, offers a moment of serene introspection, diverging rather conspicuously from the traditional Magnificat text and instead opting for a Renaissance English text.  Rutter's lyrical writing for choir creates a tender and contemplative ambiance, enhanced by delicate orchestration reminiscent of a delicate rose in bloom.  A soprano soloist is utilized in several of the movements and is used as the musical embodiment of Mary herself with tender and stunningly beautiful results.  The third and seventh movements share fanfare material, both of which burst forth with joyful energy, propelled by rhythmic drive and exuberant vocal writing. Incorporating dance-like rhythms and syncopated patterns, the finale infuses the music with a sense of liveliness and celebration, leading to a thrilling climax with the final "Amen."

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Throughout the work, Rutter demonstrates a keen sensitivity to the text, weaving intricate vocal lines and lush orchestration to evoke a wide range of emotions, from awe and wonder to tender reverence and jubilant praise. With its timeless beauty and spiritual depth, Rutter's Magnificat continues to captivate audiences worldwide, reaffirming its status as a beloved masterpiece of modern choral repertoire.