Meine Seel erhebt den Herren, BWV 10

My soul doth magnify the Lord ( BWV 10) is a church cantata by Johann Sebastian Bach. He composed it in Leipzig in 1724 for the feast of the Visitation, which is celebrated on July 2. It is the fifth cantata of his second annual cycle of cantatas in which he wrote chorale cantatas, but it is not based on a chorale but on the Gregorian chant Magnificat.

History and words

Bach composed the cantata in Leipzig in 1724 for the feast of the Visitation as the fifth cantata of his second annual cycle. The prescribed readings for the feast were Isaiah 11.1-5 LUT, the promise of the Messiah, and Lk 1.39 to 56 LUT, the visit of Mary to Elizabeth, where she sings her song of praise, the Magnificat. An unknown poet put the German Magnificat based his text and added it to the doxology, as it completes the songs in Vespers. Bach used not only the text of the Magnificat, but also the traditional 9 Psalmton of Gregorian chant, sung at Vespers in Leipzig regularly in the set of Johann Hermann Schein. The poet retained some verses of the Magnificat at literally 46-48 for set 1, 54 for set 5, and the doxology for Theorem 7 He wrote verse 49 for set 2 to, 50-51 for set 3, set for 52-53 4, and 55 for set of 6, supplemented by a reference to the birth of the Saviour.

Bach had already set the Latin Magnificat in the previous year and it enriched with four Christmas Deposit rates listed in the Christmas Vespers.

He led the cantata again in the 1740s.

Scoring and structure

The cantata is set for four soloists, soprano, alto, tenor and bass, four -part choir, trumpet, two oboes, two violins, viola and basso continuo. The trumpet is used exclusively for gain of the cantus firmus, and was possibly a tromba da tirarsi, a slide trumpet.

Music

The opening chorus begins with an instrumental introduction, which is independent from the Psalmton. The violins, doubled by the oboes, playing in a trio with the continuo, the viola fills the harmony. The Choral Fantasy is " vivace " overwritten, their main motive is for pleasure and is developed in an ascending movement. The choir enters after a twelve bars with the cantus firmus in the soprano, amplified by the trumpet, while the deep voices take shots of the introduction in free polyphony. Bach treats the second verse similar, but is now the cantus firmus in the alto, as the text " For he hath regarded his wretched maid " speaks of the baseness. The movement ends with a choral setting without the cantus firmus, embedded in the music of the introduction, so that frames the sentence.

The soprano aria is a concert of the voice with the oboe, accompanied by the strings. The following recitative leads on arioso for bass aria, which is accompanied only by the continuo. In Theorem 5, the text returns to the German Magnificat, and the music is played again the Psalmton, this time instrumental in the oboe and trumpet, alto and tenor duet while imitating. Bach wrote this sentence later to be one of his Schübler Chorales, BWV 648 The recitative that appeals to God's promise to the forefathers, begins secco, but the words " His seed had so much as a dime a dozen and star in the firmament spread born, the Saviour was, " insert the strings and give the fulfillment of the promise emphatically. In the last sentence the two verses of the doxology are four-part set to the Psalmton, accompanied by all the instruments colla parte.

Recordings

  • J. S. Bach: Cantatas BWV 10, BWV 47; Sanctus BWV 241, Paul Steinitz, London Bach Society, English Chamber Orchestra, Sally Le Sage, Shirley Minty, Nigel Rogers, Neil Howlett, oryx 1965
  • Les Grandes Cantates de J. S. Bach Vol 1, Fritz Werner, Heinrich-Schütz -Chor Heilbronn, Pforzheim Chamber Orchestra, Maria Friesenhausen, Emmy Lisken, Georg Jelden, Barry McDaniel, Erato 1965
  • J. S. Bach: Cantata BWV 10, BWV 243 Magnificat, Karl Münchinger, Vienna Academy Choir, Stuttgart Chamber Orchestra, Elly Ameling, Helen Watts, Werner Krenn, Marius Rintzler, Decca 1968
  • J. S. Bach: The cantatas - Sacred Cantatas Vol 1, Gustav Leonhardt, King's College Choir, Leonhardt Consort, soloist of the Regensburg Cathedral Choir, Paul Esswood, Kurt Equiluz, Max van Egmond, Teldec 1971
  • Bach Cantatas Vol 3 - Ascension Day, Whitsun, Trinity, Karl Richter, Munich Bach Choir, Munich Bach Orchestra. Edith Mathis, Anna Reynolds, Peter Schreier, Kurt Moll, Archiv Produktion 1975
  • Bach Made in Germany Vol 4 - Cantatas II, Hans -Joachim Rotzsch, St. Thomas Choir, New Bachisches Collegium Musicum, Mitsuko Shirai, Doris Soffel, Peter Schreier, Hermann Christian Polster, Eterna 1978
  • The Bach Cantata Vol 17, Helmuth Rilling, Gächinger Kantorei, Bach-Collegium Stuttgart, Arleen Augér, Margit Neubauer, Aldo Baldin, Wolfgang Schöne, Haenssler 1979
  • J. S. Bach: Cantata BWV 10 - Magnificat BWV 243, Michael Gielen, Anton Webern Choir, SWR Symphony Orchestra Baden -Baden, Christiane Oelze, Cornelia Kallisch, Christoph Prégardien, Anton crowd Ingere, SWF 1991
  • J. S. Bach: Complete Cantatas Vol 11, Ton Koopman, Amsterdam Baroque Orchestra & Choir, Sibylla Rubens, Annette Markert, Christoph Prégardien, Klaus Mertens, Antoine Marchand 1999
  • J. S. Bach: Magnificat in E flat major BWV 243a - Cantata BWV 10, Roland Buchner, Regensburg Cathedral Choir, Musica Florea, Susanne Ryden, Drew Minter, Mark Brut Scher, Peter Harvey, Pure Classics 2000
  • Bach Edition Vol 20 - Cantatas Vol 11, Pieter Jan Leusink, Holland Boys Choir, Netherlands Bach Collegium, Ruth Holton, Sytse Buwalda, Knut Schoch, Bas Ramselaar, Brilliant Classics 2000
  • Bach Cantatas Vol 2: Paris / Zurich / For the 2nd Sunday after Trinity / For the 3rd Sunday after Trinity, John Eliot Gardiner, Monteverdi Choir, English Baroque Soloists, Lisa Larsson, Daniel Taylor, James Gilchrist, Stephen Varcoe, Soli Deo Gloria 2000
  • J. S. Bach: Cantatas Vol 23 ( Cantatas from Leipzig 1725), Masaaki Suzuki, Bach Collegium Japan, Yukari Nonoshita, Matthew White, Makoto Sakurada, Peter Kooy UNTIL 2002
  • J. S. Bach: Cantatas for the Complete Liturgical Year Vol 7, Sigiswald Kuijken, La Petite Bande, Siri Thornhill, Petra Noskaiova, Marcus Ullmann, Jan van der crabbing, Accent 2007
Peter Paul Rubens Unionskirche (Idstein) Bach-Werke-Verzeichnis Elizabeth (biblical figure) Gloria Patri Johann Schein Bass (voice type) Decca Records Leonhardt-Consort Karl Richter (conductor) Anna Reynolds (singer) Hans-Joachim Rotzsch Peter Harvey (baritone) BIS Records Werner Neumann Christoph Wolff Ach Gott, wie manches Herzeleid, BWV 3 Allein zu dir, Herr Jesu Christ, BWV 33 Brich dem Hungrigen dein Brot, BWV 39 Am Abend aber desselbigen Sabbats, BWV 42 Also hat Gott die Welt geliebt, BWV 68 Alles nur nach Gottes Willen, BWV 72 Alles, was von Gott geboren, BWV 80a Bisher habt ihr nichts gebeten in meinem Namen, BWV 87 Ach, lieben Christen, seid getrost, BWV 114 Christum wir sollen loben schon, BWV 121 Auf Christi Himmelfahrt allein, BWV 128 Aus der Tiefen rufe ich, Herr, zu dir, BWV 131 Bereitet die Wege, bereitet die Bahn! BWV 132 Erforsche mich, Gott, und erfahre mein Herz, BWV 136 Bringet dem Herrn Ehre seines Namens, BWV 148 Ach! ich sehe, itzt, da ich zur Hochzeit gehe, BWV 162 Barmherziges Herze der ewigen Liebe, BWV 185 Mein Herze schwimmt im Blut, BWV 199 Entfliehet, verschwindet, entweichet, ihr Sorgen, BWV 249a St Mark Passion (Bach)
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