With a duration of about 10 minutes, Schubert’s Magnificat D 486 in C major is one of the more concise settings of the well-known Marian canticles, originally for the service of Vespers. It was composed in late summer 1815, and is therefore probably one of a series of church music works Schubert wrote in his youth for Lichtenthal Parish Church. The work requires a large-scale orchestra with strings, woodwind, and brass. The four-part choir contrasts with four soloists; this quartet sings the peaceful middle section of the three-section work.
For the Carus edition Schubert’s own autograph manuscript of his Magnificat was consulted again for the first time since 1888. Until 1989 this had been thought to be lost.
For the Carus edition Schubert’s own autograph manuscript of his Magnificat was consulted again for the first time since 1888. Until 1989 this had been thought to be lost.
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- Magnificat anima mae
- Deposuit potentes
- Gloria patri
- Magnifical anima mea
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text (without music) for download, html file, Singing text, english translationhtml file, Singing text, english translation (Sample)My soul doth magnify the Lord,
And my spirit hath rejoiced
in God my Saviour.
For he hath regarded the low estate of his handmaiden:
for, behold, from henceforth all generations shall call me blessed.He hath put down the mighty from their seats,
and exalted them of low degree.
He hath filled the hungry with good things;
and the rich he hath sent empty away.
He hath holpen his servant Israel,
in remembrance of his mercy.
As he spoke to our fathers,
to Abraham, and to his seed forever....
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text (without music) for download, html file, Singing text, German translationhtml file, Singing text, German translation (Sample)
Meine Seele erhebet den Herrn,
und mein Geist freuet sich
Gottes, meines Heilands.
Denn er hat die Niedrigkeit seiner Magd angesehen.
Siehe, von nun an werden mich selig preisen alle Völker.Er stößt die Gewaltigen vom Stuhl
und erhebt die Niedrigen.
Die Hungrigen füllet er mit Gütern
und lässt die Reichen leer.
Er denket der Barmherzigkeit
und hilft seinem Diener Israel auf.
Wie er geredet hat unsern Vätern,
Abraham und seinem Samen ewiglich....
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text (without music) for download, html file, Singing text, originalhtml file, Singing text, original (Sample)
Magnificat anima mea Dominum.
Et exultavit spiritus meus
in Deo salutari meo.
Quia respexit humilitatem ancillae suae:
ecce enim ex hoc me beatam dicent omnes gentes.Deposuit potentes de sede,
exaltavit humiles.
Esurientes implevit bonis:
et divites dimisit inanes.
Suscepit Israel puerum suum,
recordatus misericordiae suae.
Sicut locutus est ad patres nostros,
Abraham et semini ejus in saecula.Gloria Patri, et Filio, et Spiritui Sancto.
Sicut erat in principio,
et nunc, et semper,
et in saecula saeculorum.
Amen.
Lukas 1,46–55...
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text (without music) for download, html file, Introductory text, Englishhtml file, Introductory text, English (Sample)Text from the CD Carus 83.317
Manuela Jahrmärker (1997)
Translation (abridged): John CoombsFranz Schubert’s church music bears witness to contrasting tendencies of its time. On the one hand there are works such as the two great A/lasses of his last years, in which artistic inspiration carries the music beyond the bounds of its liturgical origins, into the concert hall. On the other hand there are works whose dimensions, scoring and degree of difficulty are of a more modest order, which were when they were composed, and which still are today, well suited to performance in the context of church services.
In both the larger, solemn sacred works (the great masses) as well as in the sacred “brevis” works of smaller dimensions, Schubert adopted elements of the so-called stile antico, through which the composers of his time aspired to create a new, “true church music” modeled, in particular, after the example of Palestrina. However, the technical similarities between the stile antico compositions of these composers and the works of the old masters of church music are few. Their interpretation of the stile antico resulted primarily in the diminishing of the rhythmic, diastematic and harmonic variety in such works.
The
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text (without music) for download, html file, Introductory text, Germanhtml file, Introductory text, German (Sample)Booklet-Text der CD Carus 83.317
Manuela Jahrmärker
Franz Schuberts (1797–1828) kirchenmusikalisches Schaffen, das 1812 einsetzt und in seinem Todesjahr endet, lässt die im beginnenden 19. Jahrhundert für die Kirchenmusik wesentlichen Tendenzen erkennen: Auf der einen Seite stehen jene Werke wie vor allem die großen späten Messen in As- und Es-Dur, in denen die kompositorische Interpretation die liturgische Funktion sprengt und diese Musik – wenn nicht von der Intention, so doch vom Anspruch her – in den Konzertsaal verdrängt. Den genannten Werken stehen solche gegenüber, die in Umfang, Besetzung und in den von den Ausführenden verlangten Ansprüchen bescheidener gehalten sind, darum einem weiteren Kreis zur Aufführung zugänglich waren und in der liturgischen Aufführungspraxis auch heute im Vordergrund stehen. Soweit bei ihnen ein Auftraggeber nicht ohnehin bekannt ist, kann man doch vermuten, dass sie als Auftragswerke für einen bestimmten Anlass entstanden sind: anfangs für die heimatliche Lichtentaler Pfarrkirche (heute Wien), später auch für die Wiener »Normal-Hauptschule«, an der Schuberts Bruder Ferdinand kirchenmusikalische Aufführungen zu besorgen hatte.
Sowohl im Bereich der solemnen Vertonung – der erstgenannten
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Composer
Franz Schubert
| 1797-1828Throughout most of his life Franz Schubert was concerned with church music. When he was eleven he was chosen as treble soloist at his local church in the Vienna suburb of Lichtenthal and soon afterwards he was admitted to the choir of the Imperial Court Chapel, directed by Antonio Salieri. Soon he also began to compose; his earliest surviving sacred pieces date from 1812. During his lifetime his church music achieved a comparatively wide degree of acceptance but after his death, most notably, his smaller works were unjustly forgotten. The Carus programme encompasses Schubert’s complete sacred compositions and it is intended to emphasize the wide range of his works in this area. Many of the smaller liturgical compositions are published here for the first time in separate editions. What is to be discovered is a fascinating œuvre, rooted in the ‘stile antico’ of Antonio Salieri and in the compositions of the Viennese classical masters, but whose exquisite lyricism and harmonic subtlety reveal a typically Schubertian world of expression: works with great power of conviction and exceptional musical beauty. Personal details
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Editor
Salome Reiser
| 1965-2014
Reviews
Schubert/ Magnificat
Schubert: Magnificat
Eine wunderbare Komposition, welche es wert wäre, öfter aufgeführt zu werden. Das neunminütige Werk, ist in drei Teilen konzipiert, deren beiden äußere aufeinander Bezug nehmen und einen lyrischen solistischen Mittelteil umrahmen. Der Solosopran wird hier bis zum b” geführt.
Die Orchesterbesetzung mit Streichern, Oboen, Fagotten, Trompeten, Pauken und Orgel entspricht in etwa dem der zeitgenössischen „Missa solemnis” und ist somit für festliche Anlässe besonders geeignet. Schubert hat die Verse 49 und 50 des Lukas-Evangeliums ausgelassen und weicht im Ersten Teil von der Textvorlage ab, indem er den Anfangsvers wiederholt und somit die musikalische Struktur gegenüber dem Text dominieren lässt. Die Tatsache, dass an den Chor keine großen Anforderungen gestellt werden, sollte helfen, dass das Werk in dieser hervorragend gemachten Ausgabe eine große Verbreitung findet.
Quelle: Musica Sacra 4/1998, S. 407
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