Music for the Assumption
of the Blessed Virgin

Year C, August 15, 2010

Cantors and soloists:
Elisabeth Myers and Chuck Bass

Mass Setting:
Missa de Sancta Maria Magdalena, Healey Willan

Voluntary

Opening Hymn 278:
Sing we of the blessed Mother, Rustington

Psalm 34:1-9
The congregation chants each half-verse of the psalm beginning at the asterisk *

At the Offertory—
Cantata 243 Magnificat (mvt. 2), J.S. Bach

Et exultavit spiritus meus in Deo salutari meo.
And my spirit rejoices in God my Savior.
Complete Magnificat text: Luke 1:46-55

Offertory Hymn 277:
Sing of Mary, pure and lowly, Raquel

During Communion—
Cantata 243 Magnificat (mvt. 6), J. S. Bach

Et misericordia a progenie in progenies, timentibus eum.
His mercy is for those who fear Him from generation to generation.
Complete Magnificat text: Luke 1:46-55

Comm. Hymn 264:
The Word whom earth and sea and sky adore, Song 34

Closing Hymn 269:
Ye who claim the faith of Jesus, Den des Vaters Sinn geboren

Voluntary

Music Notes:

The Johann Sebastian Bach (1685-1750) Magnificat (BWV 243) is unique in the composer’s output. We include it as part of this summer’s series because it is, in reality, an extended cantata. The history of this work begins with Bach’s first year in Leipzig as Thomaskantor. Bach had the luxury of almost six weeks (from November 15 to December 24) to prepare this major work for performance on Christmas Day, 1723.

It was written originally in E flat Major and included four hymn tune arrangements interpolated within the Magnificat text. One year later Bach lowered the pitch to D Major (which was a better key for the trumpets and drums and frequently used for such festal music) introduced of a pair of flutes, and omitted the hymn arrangements. (This morning, we will hear two movements from this later version.) Consisting of twelve movements, the Magnificat, despite its concision, is double the length of his normal weekly cantatas; and with it the new Thomaskantor was obviously intending to impress his new employers and congregation. Moreover, it contains many more elaborate choruses than were required of the weekly cantatas, and no secco recitatives or four-part chorales, which would have been quick and easy to compose.

The Magnificat is conceived on a grand scale, requiring five soloists, a five-part choir and, for its time, an unusually large orchestra consisting of three trumpets, two flutes, two oboes, strings and continuo. In its splendor and jubilation the piece anticipates the great choruses of the later Mass in B minor. The ten verses and Gloria that comprise the Magnificat canticle form a continuous and homogenous whole, in contrast with the libretto of an oratorio or Passion with its wide variety of extracts from many different Biblical and poetical sources. For this reason there are no recitatives in the Magnificat. Instead, each verse receives extended treatment; the chorus supplies appropriate emphasis to the dramatic sections while the more reflective verses are assigned to the soloists.

We hear two movements from this extended cantata this morning. The first, Et exultavit (presented at the offertory) is for soprano solo accompanied by strings and a sprightly continuo. It is light, with a lively 3/8 rhythm. Frequent use is made of dotted notes and lightning-fast 16th notes to build a feeling of rejoicing. The center of the movement is a section in a minor key and contains a 41-note melisma on the word salutari. During communion, we will hear the duet Et misericordia. This movement is the most mournful and the 12/8 time signature lends a sobbing quality to the continuo part. The final phrase, sung by the tenor, has two groups of three repeated notes, which underscore the crying or sighing nature of the text.

-- Owen Burdick

Music for the Assumption of the Blessed Virgin

Music Notes:

Music for the Assumption
of the Blessed Virgin