Performances of Johann Sebastian Bach's Magnificat come in three formats:
The extant autographs of Bach's Magnificat show three versions of his Magnificat:
The first of these versions (BWV 243a without Christmas additions) is not usually performed, while Bach's final version (BWV 243, also without Christmas additions) with its more elaborate orchestration is the most often programmed. The hybrid version (BWV 243, with the Christmas interpolations of BWV 243a transposed and inserted) has found performers and audiences,[3] although BWV 243a, with a reconstructed end of the fourth interpolation, has become more of a standard for performances of the Magnificat including the Christmas interpolations.
12. Gloria Patri
Sicut erat in principio
34
24–27
27–29
42–45
45–48
Differences in recorded performances show some evolution: early performances, often with large choirs, and orchestras of symphonic breadth, tend to have a slower pace, with performance times over thirty minutes (or over 40 minutes when the Christmas interpolations are included) being no exceptions. More recent performance practice leans towards leaner groups of vocalists and smaller orchestras, often using period instruments, and tailored as historically informed performance. Tempos became more vivid and the performance time may be reduced to about twenty minutes for the D major version, and even less than thirty minutes for the full BWV 243a version.
Other differences include whether organ or harpsichord are used as continuo instrument, whether countertenors and/or treble youngsters perform vocal parts, and whether it is recorded with a live audience. Acoustic characteristics of the recording can further be influenced by the performance location, e.g. with our without the high reverberation typical for large church buildings.
For movement D (Virga Jesse), with the end missing in the extant autograph, earlier performances may stop the last Christmas interpolation where the score ends, since, however, in the late 20th century a similarity had been remarked between this piece and another movement in one of Bach's cantatas, a reconstructed ending, based on that composition is more often performed.[5]
Bach composed the work for five soloists: two sopranos, alto, tenor and bass. The soloists are usually listed in the order SI–SII–A–T–B, although some recordings list only one soprano soloist.
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