Bach filled his Magnificat score with powerful musical figures, or figuralisms, to make a strong impression on listeners, such as rapid vocal descents for the 'mighty falling' and ascending runs for the 'exaltation of the humble'.
Compositional Technique
Bach's Latin Magnificat exists in two versions; the one presented here is transposed to D major for a more brilliant sound suitable for trumpets and features no da capo structure.
Historical Context
In the 18th-century Lutheran Church, it was customary to sing the Marian canticle Magnificat at Vespers on Christmas, Easter, and Pentecost.
Composition History
Bach's four Lutheran masses, or 'short masses', are not original compositions but arrangements of pieces taken from his earlier cantatas, likely dating from 1735-1740.
Historical Context
The term 'short mass' is misleading for Bach's Lutheran masses, as they correspond to the full Lutheran form of the Mass for solemn occasions, sung in Greek for the Kyrie and Latin for the Gloria.
Composition History
Bach composed a Magnificat for Christmas Vespers in his very first year in Leipzig, where he served for twenty-seven years.
Compositional Technique
The Fuga sopra il Magnificat BWV 733 is a grandiose and freely constructed organ piece, meant to be played on the full organ, and incorporates the German Magnificat intonation as its subject.
