With his first major vocal work, his Magnificat of 1749, Carl Philipp Emanuel Bach created a magnificent and forward-looking setting of this well-known text, a work quite unrivalled for its time. In the choral writing, CPE Bach used a quite different style from the predominantly homophonic style of some of his later works. Unusual harmonic turns and independent part-writing in the fugal movements and elsewhere result in demanding, yet attractive parts for choral singers.
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.
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- Magnificat anima mea
- Quia respexit
- Quia fecit
- Et misericordia
- Fecit potentiam
- Deposuit potentes
- Suscepit Israel
- Gloria patri
- Sicut erat in principio
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text (without music) for download, html file, Singing text, originalhtml file, Singing text, original (Sample)1. Tutti: Magnificat (SATB) Magnificat anima mea Dominum,
et exultavit spiritus meus in Deo salutari meo.2. Aria: Quia respexit (Soprano) Quia respexit humilitatem ancillae suae.
Ecce enim ex hoc beatam me dicent omnes generationes.3. Aria: Quia fecit mihi magna (Tenore) Quia fecit mihi magna, qui potens est,
et sanctum nomen eius.4. Tutti: Et misericordia eius Et misericordia eius a progenie in progenies
timentibus eum.5. Aria: Fecit potentiam (Basso) Fecit potentiam in brachio suo,
dispersit superbos mente cordis sui.6. Duetto: Deposuit potentes de sede (Alto e Tenore) Deposuit potentes de sede,
et exaltavit humiles.
Esurientes implevit bonis
et divites dimisit inanes....
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text (without music) for download, html file, Singing text, english translationhtml file, Singing text, english translation (Sample)
1. Tutti: Magnificat (SATB) All my spirit exalts the Lord,
and I sing joyously to my God, my own Saviour.2. Aria: Quia respexit (Soprano) For he hath regarded the humility of his handmaid:
for behold from henceforth all generations shall call me blessed.3. Aria: Quia fecit mihi magna (Tenore) Because he that is mighty hath done great things to me,
and holy is his name.4. Tutti: Et misericordia eius And his mercy is from generations unto generations,
to them that fear him.5. Aria: Fecit potentiam (Basso) He hath shewed might in his arm
and he hath scattered the proud in the conceit of their heart.6. Duetto: Deposuit potentes de sede (Alto e Tenore) He hath put down the mighty from their seat
and hath exalted the humble.
He hath filled the hungry with good things
and the rich he hath sent empty away....
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text (without music) for download, html file, Singing text, German translationhtml file, Singing text, German translation (Sample)
1. Tutti: Magnificat (SATB) Meine Seele erhebt den Herrn
und mein Geist freuet sich Gottes, meines Heilandes.2. Aria: Quia respexit (Soprano) Denn er hat die Niedrigkeit seiner Magd angesehen.
Siehe von nun an werden mich selig preisen alle Kindeskinder.3. Aria: Quia fecit mihi magna (Tenore) Denn er hat große Dinge an mir getan,
der da mächtig und des Name heilig ist.4. Tutti: Et misericordia eius Und seine Barmherzigkeit währet immer für und für
bei denen, die ihn fürchten.5. Aria: Fecit potentiam (Basso) Er übet Gewalt mit seinem Arm
und zerstreut, die hoffärtig sind in ihres Herzens Sinn.6. Duetto: Deposuit potentes de sede (Alto e Tenore) Er stößet die Gewaltigen vom Thron
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text (without music) for download, html file, Introductory text, Englishhtml file, Introductory text, English (Sample)Text from the CD Carus 83.412
Christine Blanken
Translation (abridged): John CoombsUntil a few years ago Carl Philipp Emanuel Bach was completely overshadowed as a vocal composer by his father J. S. Bach. Most of the works of his Hamburg years (1768–1788) had been lost. Since 1999, when the archive of the Berlin Singakademie was discovered in Kiev, the picture has changed: C. P. E. Bach’s important instrumental music has been joined by many cantatas – including, above all, the “Quartalsmusiken” (music performed quarterly) for the great Church festivals – and Passions. His first great vocal work (following several lost pieces written during his student years at Frankfurt on Oder) dates from 1749. At that time Court harpsichordist at Potsdam, he probably composed the Magnificat to support his unsuccessful application for the post of Thomaskantor in Leipzig. His elder brother Wilhelm Friedemann (1710–1784) composed an Advent cantata at that time, also probably in connection with an application for a position in Leipzig.
The Magnificat was composed in 1749 and is a work with widely differing characteristics: brilliant coloratura arias and a duet are contrasted by a lyrical,
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text (without music) for download, html file, Introductory text, Germanhtml file, Introductory text, German (Sample)Booklet-Text der CD Carus 83.412
Christine Blanken
Carl Philipp Emanuel Bach stand als Vokalkomponist bis vor wenigen Jahren ganz im Schatten seines Vaters, nur wenige Werke waren bekannt – darunter zwar zwei große Oratorien und zwei Passionsmusiken –, doch die Mehrzahl seiner Werke, vor allem aus der Hamburger Zeit (ab 1768), galt als verschollen. Seit dem Jahr 1999, als in Kiew das Archiv der Singakademie zu Berlin entdeckt wurde, hat sich das Bild gewandelt: Dem gewichtigen Instrumentalmusik-Œuvre treten nun zahlreiche Kantaten, „Quartalsmusiken“ zu den Kirchenfesten, Passion und andere Vokalmusik aus mehr als zwanzig Schaffensjahren gegenüber. Die während Bachs Frankfurter Studienzeit komponierten Kantataten bleiben allerdings weiterhin verschollen.
Mit dem Magnificat liegt das früheste erhaltene große Vokalwerk Carl Philipp Emanuel Bachs vor, komponiert im Jahre 1749. Bereits im Juni dieses Jahres, also noch zu Lebzeiten Johann Sebastian Bachs, hatte sich der Rat der Stadt Leipzig mit der Frage eines möglichen Nachfolgers für den schwer erkrankten Thomaskantor beschäftigt und hatte Gottlob Harrer aus Dresden mit der Gewährung einer
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Contents
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Composer
Carl Philipp Emanuel Bach
| 1714-1788Carl Philipp Emanuel Bach (1714–1788) was an extremely prolific composer who enjoyed a high reputation during his lifetime with the result that his music became known far and wide. The early works were influenced by the Berlin School. In his later works, however, this composer developed a thoroughly individual style, independent of contemporary fashions, which is to be found especially in the sacred vocal works written during his years as Director of Music in Hamburg (1768–1788). Personal details
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Ensemble
L'arpa festante Barockorchester
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Ensemble
Basler Madrigalisten
Founded by Fritz Näf, the Basler Madrigalisten (Basel Madrigalists) sing in the most diverse formations, as soloists and as a small vocal ensemble. Their large repertoire extends from the early Renaissance to the modern period. Their main emphasis is on the preparation and (first) performance of contemporary works and the revival of works from the 15th to 18th centuries. The Basler Madrigalisten have participated in the world’s leading music festivals. Concert tours have taken the choir to nearly every European country, to Russia, the USA, Lebanon and the Far East. Their recordings have received various awards. They have repeatedly gained the sponsor’s award of the Ernst von Siemens musical foundation, and in 1998 they were given the sponsor’s prize of the European Economy. The Basler Madrigalisten are supported by the cantons of the city and district of Basel, the Artephila Foundation and other foundations. Personal details
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Conductor
Fritz Näf
| 1943Fritz Näf studied solo singing at the Musikhochschule in Zurich and Freiburg/Breisgau and attended master courses given by Jenny Tourel and Ernst Haefliger. As a tenor he appeared in concerts in many parts of Europe, while continuing his studies as a choral and orchestral conductor. Between 1976 and 1986 he taught solo and ensemble singing at the Schola Cantorum Basiliensis, where he founded the Basle Madrigalists in 1978. Between 1986 and 2000 first he was director of the Winterthur Music School and Conservatory, and subsequently rector of the newly established Hochschule for Music and Theater in Zurich. Since December 2000 Fritz Näf has been full-time artistic director of the Swiss Chamber Choir (founded in 1997) and the Basle Madrigalists. He also continues to appear as a guest conductor with various choirs and orchestras. Personal details
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