– J. S. Bach: Meine Seele erhebt den Herren, BWV 733 – J. S. Bach: Magnificat D-Dur, BWV 243 – C. P. E. Bach: Magnificat, Wq 215 (BR-CPEB E 4.2) – C. P. E. Bach: Heilig, Wq 217 (BR-CPEB F 77) This is a special remark.
Thomasorganist Ullrich Böhme, Julia Sophie Wagner (soprano), Susanne Krumbiegel (mezzo soprano), Benno Schachtner (altus), Martin Petzold (tenor), Andreas Scheibner (bass), Thomanerchor Leipzig, Tafelmusik Baroque Orchestra (Ensemble in residence), Mitglieder des Leipziger Barockorchesters, Atest Atest, direction: Gotthold Schwarz
Only five weeks after taking up the post of cantor at St. Thomas’ in Leipzig, Johann Sebastian Bach composed a work which surpassed anything previously heard in Leipzig by virtue of its dimensions and technical challenges, and which he used to present himself not as the traditional cantor, but as the city’s Music Director and Kapellmeister: his Latin Magnificat in E flat major. Ten years later, Bach revised the work and transposed it into D major. Both versions came into the possession of his second-eldest son, who used it as the model for his own Magnificat. The latter was performed in Leipzig during his father’s lifetime, as we can read in this report by a pupil of Bach’s: »I also still have fond memories of the splendid and superb Magnificat which Mr. Bach from Berlin performed one Lady Day during my time at what was known as St. Thomas Church«. Although Philipp Emanuel gave the Leipzig city elders a compelling demonstration that he was a master of all compository styles and techniques, his application to succeed his father failed.