J. S. BACH Magnificat BWV 243

Cantata 'Ich babe genug' BWV 82 Schola Cantorum of Oxford /Jeremy Summerly Northern Chamber Orchestra / Nicholas Ward

J. S. Bach (1685 - 1750) Magnificat in D, BWV 243 Cantata Iclz habe genug, BWV 82

These worksboth received their first performances inLeipzig- theMagnificat in 1723 and Cantata 82 in 1727. It was in 1723 that Bach had taken up the post of Kantor at the Thomaskirche in Leipzig, having previously been Kapellnteister to Prince Leopold in Cothen. TheMagnificat was originally heard in a version in E flat major at Christmas Vespers whenmovements with seasonal texts were inserted; the version included on this disc was rendered by Bach some years later, returning to the ordinary Magnificat text in order to make the work performable all year round. Bach's approach to the evening canticle is characteristically large-scale. There is no use of recitative, owing perhaps to the poetic nature of the text: the verses have little natural hierarchy and it is appropriate that they should all be afforded extended settings. The scoring is unusually rich and includes three trumpets, two flutes, two oboes, strings, continuo, and timpani - one of the largest ensembles to be assembled at the Thomaskirche in Bach's time. Bach takes a literal view of the text in which, for instance, the full five-part choir is used to demonstrate Onlttesgenerationes ("All generations") with soloists used for the more reflective movements. In a typically Bachian gesture the opening material returns for Sictlt erat in principio ("As it was in the beginning").

Cantata 82 (Ich habe genzcg) was written for the Feast of the Purification (2nd February) in 1727. In accordance with the principles of Pietism the text does not refer directly to a biblical event (in this case, the reaction of Simeon to the experience of seeing the infant Jesus in the temple), but obliquely, in paraphrase. It reflects upon approaching death, depicting a progression from resignation to theend of earthly lifein the first aria to positivejoy at the prospect of eternal life in the last. The cantata form as we encounter it here is a cross between the German 18th-century church cantata and the Italian cantata spirittiale in that it contains a sequence of arias separated by recitative, but was

intended for church use. Part of Bach's work as Kanfor involved the provision of a cantata every Sunday for performance at the Halrpfgotfesdiensf, or main service. Considering that his singers were culled from the local Thomasschule, it was imperative that the bulk of the music be left to competent soloists, and in several of Bach's cantatas the chorus sings only a chorale at the end. A few, such as Ich habegenug, are written entirely for one soloist. The three arias that form the bulk of this cantata are all superb examples of Bach's artistry. The outer movements share the time-signature of 3/8, but could not be more different in character, the first highly reminiscent of Erbarn~e, dich from the Sf. Matthew Passion, the last agiglre whose eloquent melismas graphically illustrate the idea of final release and joy, The middle movement, Schhimnlert ein, uses falling phrases and subdominant inflexions to represent sleep.

Magnificat in D, BWV 243 Choir

Soprano I1 Et ewultavit spiritus meus In Deo salutati meo.

Soprano I Quia respexit humilitatem Ancillae suae. Ecce enim ex hoc Beatam me dicent

Choir Omnes generationes.

My soul doth magnify the Lord.

And my spirit hath rejoiced In God my saviour.

For he hath regarded the lavliness Of hi hand-maiden. For behold ftom henceforth Ihey shall callme blessed

lluoughout l generations.

Bass Quii fecit mihi magna qui potens est, Et sanctumnomen eius.

Alto & Tenor Et misericordia aprogenie in progenies Timentibus e m .

Choir Fecit potentiamin brachio suo, Dispersit superbos Mente tordis sui.

Tenor Deposuit potentes de sede Et exaltavit hurniles.

Alto Esurientes implevit bonis Et divites dimisit inanes.

Choir Suxepit Israel puerum s u m , Recordatus misericordiae. Sicut locutus est adpatres nostros, Abraham et semini eius in saecula. Gloria Patri,et Filio, Et SpirituiSmto. Sicut erat inprincipio, Et nunt, et semper, Et in saecula saeculo~ua Amen.

For he that is mighty hath m a g d e d me, And holy is hisname.

And mercy throughout a l l generations Is on them that fear him.

Hehath shewed strength with his arm, Hehathxattered the proud In the imagination of their hearts.

He hathput down themighty from their seat And hath exalted the humble andmeek.

He hath filled the hungry with good things And the rich he bath r o t empty mc-av.

He hath holpen his servant Israel, Remembering his mercy. As he promised to our foretathers, Abraham and his seed for ever. Glory be to the Father,and to the Son, And to the Holy Ghost. As it rvas in the beginnkg Is now, and ever shall be, World without end. Amen.

Cantata 'Ich habe genug' BWV 82

Aria Ich habe genug! Ich habe den Heiland, das Hoffen der Frommen, Auf meine begierigen Anne genommen; Ich habe genug! Ich hab' ihn erblickt; Mein Glaube hat Jesum ans Herze gedriickt; Nun wiinsch'ich ncch heute mit Freuden Von h e n zu xheiden.

Recitative Ich habe genug! Mein Trost ist nur allein Dall Jesus mein und ich sein eigen m w t e sein. Im Glauben halt ich ihn, Da seh' ich auch, mit Sieon, Die Freude jenes Lebens schbn. W t uns mit diesem Manne ziehn! Ach! Miichte mich vonmeines Leibes Ketten Der Herr erretten. Ach! W i e dodunein Abxhied hier, Mit Freuden sagt' ich, Welt, zu d u lch habe genug!

Aria Mhmmert ein, ihr matten Augen, Fallet sanft und seligzu. Welt, ich bkibe nicht mehr hier; Hab' ich doch kein Teil an diu

It is enough! I have received the Saviour, the hope of the faithful, Into my yearning arms; It is enough! I have seen h i ; My faith has pressed Jesus tomy heart; Now I wish only that even today I may depart this earthly life.

It is enough! My only hope is that Jesus shall be mine and I shall be His. I cling to him in faith, And like Sieon, I already see The joys of thenext lie. Let us go with thisman! Ah! If the Lordrvould only deliver me From the shackles of my human form. Ah! If only it rvas time forme to depart, With joy I rvould say to the world: It is enough!

Sleep now, weary eyes, Close now gently and peacefully. World, I will stay here no longer; There is nothiig more here

Das der Seele kijnnte taugen. Hier mug ich das Elendbauen. Aber dort, dort ~verd' ich schauen Siikn Frieden, stille Ruh'.

Recitative Mein Gott! Wann kommt das Phone: Nun! Da ich in1 Frieden fnhren werde Und in dem Sande kiihler Erde Und dort bei dii im P h o k ruhn? Der Abschied ist gemacht, Welt, Gute Nacht!

Aria I& freue mich auf meinen Tod, A&! Hatt' er sich schon eingehden. Da entkomm' ich aller Not Die mich no& auf der Welt gebunden.

That can benefit my soul. Here I must live in suffering But there, there I shall behold Sweet joys, traiquil repose.

My God,rvhen~vill appear that beautiful: No\\,! That I may depart in peace And lie in the sands of cool earth To rest rvith you at your breast? My leave is taken, M'orld, good night!

1 greet my death rvith joy, Ah! If it were only here already. Then shall I escape the pain and suffering That still tieme to this world.

Schola Cantorum Schola Cantorum is Oxford University's longest-running chamber choir. It

was founded in 1960 by the Hungarian dissident Lbsz16 Heltay, and over the last three decades many of the choir's former members have become invoked in professional music at the highest levels. Former singers include Emma Kirkby and Jane Glover, while Andrew Parrott, Nicholas Cleobury, and Ivor Bolton are among the choir's former conductors. Schola Cantorum's patrons are Sir Michael Tippett and Lord Menuhin, and for specific projects the choir has worked under Leonard Bernstein, GunstavLeonhardt, Sir Colin Davis, and Sir Neville Marriner as well as Britten, Tippett, and Stravinsky in performances of their ownmusic. Since 1990 Schola Cantorum hasbeen conducted by Jeremy Sunmerly under whom the choir has released many recordings and has toured extensively, both in Britain and abroad.

Jeremy Summerly Jeremy Swnmerly studied Music at New College, Oxford from where he

graduated with First Class Honours in 1982. For the next seven years he worked for BBC Radio and it was during this time that he founded the Oxford Calnerata and undertook postgraduate research at King's College, London. In 1989 he became a lecturer at the Royal Academy of Music and in the following year he was appointed conductor of Schola Cantorum of Oxford. In 1991 he signed a long-term contract with Naxos to record a variety of music with Schola Cantorum of Oxford and the Oxford Camerata.

Northern Chamber Orchestra, Manchester Formed in 1967, the orchestra has established itself as one of England's finest

chamber ensembles. Though often augmented to meet the requirements of the concertprogramme, the orchestra normally contains 24musicians and performs both in concert and on disc without a conductor. Their repertoire ranges from the baroque era to music of our time, and they have gained a reputation for imaginative programme planning.

Concerts take the orchestra throughout the North of England and it has received four major European bursaries for its achievements in the community. With a series of recordings for Naxos the orchestra makes its deb6t on disc.

Nicholas Ward Nicholas Ward was born in Manchester, the son of parents who met when

they became members of the Hall6 Orchestra. At the age of twelve he formed his own string quartet which remained together for five years until he entered theRoyal Northerncollege of Music inManchester. Havingstudied with Yossi Zivoni in Manchester and Andre Gertler in Brussels, he moved to London in 1977where hejoined theMelosEnsembleand theRoyalPhilharmonicOrchestra. In 1984 he became co-leader of the City of London Sinfonia and leader of the Northern Chamber Orchestra to which he was subsequently appointedMusica1 Director.

Nicholas Gedge Nicholas Gedge was born in Brecon, Wales and read Law at Cambridge

University before taking up a postgraduate scholarship to study singing at the Royal Academy of Music. He was supported by awards from the Countess of Munster Musical Trust and the Wolfson and Leverhulme Foundations and was awarded The Silver Medal of the Worshipful Company of Musicians and the Queen's Commendation for Excellence. S i c e then he has sung Leporello, Charon, Sourin, Colline, Inspector Otto, and Theseus, while on the concert platform his performances have included the Bach Passions, Messiah, The Creation, and Belshazzar's Feast.

Johann Sebastian Bach: Magnificat D-dur BWV 243 Ich habe genung BWV 82

Ende Mai 1723 nahrn Johann Sebastian Bach, vom Kothener Hofe kommend, seine Arbeit in Leipzig auf. Bis zum Weihnachstfest desselben Jahres hatte er seiner Gemeinde schon an die dreiBig Kantaten in den verschiedensten Besetzungen prasentiert. Ein erster Hohepunkt war dann ohne Zweifel das Magnificat, die Danksagung der Jungfrau Maria, die im Lukas-Evangeliurn uberliefert ist.

Fur dieses Werk venvendete Bach die griil3ten klanglichen Mittel, die ihm zur Verfugung standen - einschlieglich der Pauken und Trompeten, derer man sich zu seiner Zeit nur zu besonders festlichen Anlassen bediente. Erstaunlichenveise steht die massive Besetzung des Magnificat im direkten Widerspruch zu seinen zeitlichen Dimensionen: Mit einer Auffuhrungsdauer von rund 25 Minuten unterscheidet sich die Komposition nicht von der iiblichen Kantatenlznge. Gleichwohl ist der formale ~ G f b a u ein vollig anderer, denn hier steht der Kom~onist vor einem fertieen litureischen Text. an dem er " " prinzipiell nichts ~nder; kann.

Dementsprechend beginnt die Musik zwangslaufig mit einem triurnphalen Orchestersatz, in den der Chor die ganze Begeisterung der ersten Worte hineinsingt: "Magnificat anima mea dominum" - Meine Seele erhebet den Herrn. Freudig geht es weiter: "Et exsultavit" (Und mein Geist freuet sich Gottes), worauf allerdings der kiinstlerisch nohvendige Gegensatz sogleich folgt. Im "Quia respexithumilitatem" (Denner hat die Niedrigkeitseiner Magd angesehen) wenden sich Singstimme und Oboe demutig der "Niedrigkeit" zu. Doch die innere Einkehr ist nicht von langer Dauer, denn "mich werden seligpreisen alle Kindeskinder" - Bach 1aBt die Menschenmassen durch die fortwahrende Wiederholung des Wortes "omnes" (alle) geradezu bildhaft vor den Augen der Horer entstehen. Nach der BaBarie "Quia fecit mihimagna" (Er

hat groBe Dinge an mir getan) und dem Duett von Sopran und Alt "Et misericordia" symbolisiert der Chor die unerschutterliche Kraft Gottes: "Fecit potentiam" (Er ubet Gewalt).

Stets ist der Komponist darum bemuht, die Aussage mit bildlichen Figuren darzustellen. In der Tenor-Arie ehva werden die Worte "deposuit" (er stofit herab) und "exaltavit" (ererhebet) mit denjeweiligenmelodischen Wendungen ausgefuhrt, und wenn es aufs Ende zugeht, ist der musikalische EntwicklungsprozeB eindeutig formuliert: "Suscepit Israel" (er hilft Israel auf) beginnt in einem TerzettvonFrauenstimmen, das sichmit einer Choralmelodie der Oboen verbindet; d a m wird das "Aufhelfen" immer gewaltiger, bis endlich eine wuchtige Doxologie (Ehre sei dem Vater und dem Sohn und dem Heiligen Geist) den SchluPpunkt setzt. Konsequenterweise greift Johann Sebastian Bach auf den Beginn des Werkes zuruck, denn "wie es war im Anfang, so fiir alle Zeit und in Ewigkeit".

Etwa dreieinhalb Jahre spater - am 2. Februar 1727 - wurde die Kantate "Ich habe genung" aufgefiihrt. Das Thema dieses Festes (Mariae Reinigung) ist die Darstellung Christi im Tempel, das vom Textdichter auf die gegenwartige Gemeinde hininterpretiertwird: Jetzt,wo der Heiland erschienenist, kannsich der Christnichts mehr wiinschen als "von hinnenzu scheiden", von denKetten seines Leibes befreit zuwerden, uminsiilJemFriedenund stiller Ruhe mit Jesus eins zu werden. DieErde ist ein Jammertal, ein Ort des Elends, der dem wahren Christen keine Wohnstatt bieten kann.

Die Kantate mug sich alsbald grolJer Beliebtheit erfreut haben, denn Johann Sebastian Bach brachte sie in spateren Jahren in ilnmer neuen Versionen heraus; auPerdem findetmanTeile des Werkes indemKlavierbuchlein, das der Komponist fiir seine zweite Frau, Anna Magdalena, angelegt hat. "Ich habe genung" ist hinsichtlich der Besetzung ein anspruchsloses Werk: Ein einziger Sanger (im Original eine BalJstimme) wird von einer Streicherbesetzung und einer Oboe begleitet - doch gerade diese ausgesprochen kammermusikalische Schreibweise ist im unmittelbarenKontrast mit dem prachtigen Magnificat ein vorziigliches Beispiel fiir dieKunstfertigkeit des JohannSebastian Bach, die zur Verfugung stehenden Mittel immer plastisch und augerordentlich suggestiv einzusetzen.

O 1994 Cris Posslac

Jean-SCbastien Bach (1685-1750) : Cantate " Ich habe genug " BWV 82, Magnificat BWV 243.

Au sein de la vaste production de musique vocale sacree de Jean-Sebastien Bach, les cantates occupent, quantitativement, la premiere place. Ondenombre en effet environ 200 ouvrages de cette categorie - l'authenticite de certains faisant encore l'objet de doutes -, chacun design6 par les premiers mots de son texte. D'une faqon generale, la cantate s'organise selon le schema suivant : sinfonia introductive, arias pour voix et instruments obliges separees par de courts recitatifs, choral conclusif. Les textes proviennent souvent d'auteurs contemporains et furent parfois remanies par Bach. Genre emblematique du lutheranisme allemand, la cantate occupa le musicien toute sa vie, enparticulier durant les annees de Leipzig(1723-1750). Dans ces compositions, il associe aux voix solistes toutes sortes #instruments obliges : fltite traversisre ou ?I bec, hautbois, hautbois d'amour, oboe da caccia( hautbois tenor), violon, viole de gambe, violoncelle et orgue. Parmi les plus celebres cantates figure le BWV 82 Ich habe genug.

Jean-Sebastien Bach occupait le poste de cantor de l'eglise Saint-Thomas de Leipzig depuis presque quatre ans quand, pour la f8te de la purification de la Vierge du 27 fevrier 1727, il redigea cette cantate. Dans sa premiere version, l'aeuvre fut destinee ?I la voix de basse. Par la suite, l'auteur l'adapta pour soprano ou alto. Dans tous les cas, elle se singularise, outre la presence d'un unique soliste, par l'economie de son dispositif instrumental : hautbois, cordes et basse continue.

D'auteur inconnu, les paroles que Bach a utilise font reference B un passage de la presentation de Jesus au Temple(Luc 2,22-30). On en retiendra avant tout l'expression de la lassitude d'u11 humain (lcll hnbe geiuurg : J'en ai assez) et son impatience de mourir pour acceder B l'Au-delh. LaCailtnte BWV 82 se divise en cinqparties oh les airs alternent avec les recitatifs. Elle debute par l'airlclz habe gellug, dont l'introduction, trPs developpee, confie l'exposition du thPme au hautbois. Puis le recitatif lclz hnbe geiuig! Meiil Trost ist lllrr nlleiil conduit au dewieme air Schlulnlnlerf eiiz, ihr nuatteiz Aligeil (Fermez vous, mes yeux si las). Le second recitatif Meiiu Gott! lvniuit konlnlt dns sclt&ue slachPve par un adieu au monde, avant que l'air final ne proclame: Ichfreure nlich aulfnueiilern Tod (Je me rejouis de ma mort).

Magnificat BWV 243 En plus de trPs nombreuses partitions en allemand, destinees la liturgie

lutherieme, telles que les cantates mais aussiles sixMotets, les deuxPfissioius ou les Oratorios de Nail et de Priques, Jean-Sebastien Bach produisit quelques oeuvres latines oh il parvint egalement B des sommets : Messe ell si nuiiueurr BWV 232, quatre Messes brkues BWV 233 A 236 et, enfin, le Mngilificat BWV 243.

Ce dernier represente sans doute la plus celebre partition sacree du Cantor. Sa naissance se situe trPs peu de temps aprPs l'installation du compositeur B Leipzig. Sa premiPre execution eut lieu le jour de Noel 1723. Mais ce fut la premiPre mouture - en mi bemol majeur - de l'ouvrage que Iron executa 2 cette date. La version du Magizificat que l'on comait aujourd'hui - en r6 majeur - est en effet le resultat d'une revision achevee en 1731.

Le Magiuificat exprime la joie de Marie qulElisabeth, dans l'evangile selon Saint Luc, designe comme la " femme benie entre toutes les femmes ".

Douze episodes composent cet ouvrage destine B I'effectif suivant: soprano I, soprano 11, alto, tenor et basse, chceur 1 5 voix, flQte traversieres I et 11, hautbois I et II,3 trompettes, timbales, cordes et continuo. Le bonheur de Marie eclate des le no 1 Magrlifcat, un chceur oh les trompettes occupent une place importante. Puis le no 2 Et exliltavit, de caractPre intimiste donne la parole au soprano 11. Avec le no 3 Q ~ l i respexit, le soprano I intervient dans un magnifique dialogue avec le hautbois. Le contrasteest grand avec le no 401111zesgerzeratior1es, )un cheur d'une remarquable force expressive. Dans le n05 Qlriafecit on entend une aria de basse sur le seul accompagnement du continuo. L'association des voix et des instruments solistes trouve une nouvelle illustration dans le no 6 Et Misericordia oh le chant de l'alto et du tenor se m@le B celui des deux flfites soutenues par les cordes en sourdine et le continuo. Dans le no 7Fecit poter~tinnz, un choral fugue, l'art contrapuntique du cantor se double d'un profond sens theatral. De caractere dramatique le no 8 Deposllit associe la voix de tenor aux violons I et TI et au continuo. Dialogue entre voix et instruments dans le no 9 Esririentes aussi, oh l'alto repond aux deux flfites soutenues par une basse continue en pizzicati. Avec le no 10 Slrscepit Israd se sont la voix des deux sopranos et de l'alto qui s'entrelacent, surmontees par le chant des deux hautbois & l'unisson. Suit le no 11 Siclit loc~itlis est pour lequel

Bachfait 1nouveau appel Bune fugue,de caract~revolontairementarcha'ique et severe.

Enfin le no 12 Gloria Patri associe le chceur aux trois trompettes et l'on y retrouve la joie rayomante qui emplissait le Et exllltavit initial.

O 1994 Frederic Castello.

J. S. BACH on Naxos Brandenburg Concertos Nos. 1 - 3 Brandenburg Concertos Nos. 4 - 6 Cantatas BWV 51 & 208 Cantatas BWV 80 & 147 Cantatas BWV 199,202 & 209 Cantatas BWV 211 & 212 Cello Suites BWV 1007 - 1009 Cello Suites BWV 1010 - 1012 Christmas Oratorio [3 CD'sl Clavieriibung BWV 669 - 681 1 Prelude, BWV 552 Clavieriibung BWV 682 - 689,802 - 805 1 Fugue, BWV 552 English Suites BWV 806 - 808 English Suites BWV 809 - 811 French Suites BWV 812 & 813 1 Italian Concerto I Chromatic Fantasia and Fugue French Suites BWV 814 - 817 Goldbergvariations Guitar Concerto in D Minor (art. from Piano Concerto BWV 1052) Inventions and Sinfonias Italian Concerto I Chromatic Fantasia & Fugue /Toccata I Fantasia I Capriccio I French Suite No. 6 Italian Concerto I Fantasia &Fugue 112 Little Preludes Jesu, Joy of Man's Desiring from Cantata No. 147 (am Organ) Mass in B Minor [2 CD'sl Organ Chorales from the Leipzig Manuscript Vol. 1 (BWV 651 - 658 1 Toccata, Adagio and Fugue, BWV 564) Organ Chorales from the Leipzig Manuscript Vol. 2 (BWV 659 - 667 1 Canonic Variations, BWV 769 1 Chorale - Vor deinenThron tretich, BWV 668)

Organ Recital (BWV 535,550,584,588,589,736,740 & 767) 8.553033 Organ Transcriptions BWV 585 - 587,592 - 597 8.550936 Partitas Nos. 1 & 2 1 Capriccio, BWV 992 1 Prelude and Fughetta, BWV 902 8.550692 Partitas Nos. 3 & 4 8.550693 Partitas Nos. 3 - 5 8.550312 Partitas Nos. 5 & 6 8.550694 Piano Concertos BWV 1052 - 1054 8.550422 Piano Concertos BWV 1055 - 1058 8.550423 Preludes and Fugues BWV 536,541,542,544 & 546 8.550652 St. John Passion [2 CD'sl 8.550664-5 St. Matthew Passion [3 CD'sl 8.550832-4 Sheep May Safely Graze from Cantata No. 208 (arr. Organ) 8.550790 Suites Nos. 1 & 2 I Suite in G Minorl Prelude in B Minorl Siciliano I Chorale Variation 8.550244 Suites Nos. 3 - 5 8.550245 The Art of Fugue (Contrapunctus I - XII, XIV & XV) 8.550703 The Art of Fugue (Contrapunctus XIII, XVII - XIX) I Partita BWV 768 /Passacaglia BWV 582 8.550704 The Little Organ Book Volume I 8.553031 The Little Organ Book Volume I1 8.553032 The Well-Tempered Clavier Book 2 [2 CD'sl 8.550970-1 Toccata BWV 565 1 Pastorale BWV 590 1 Prelude & Fugue BWV 532,548 & 552 8.550184 Toccatas BWV 910 - 916 8.550708 Trio Sonatas BWV 525,526 & 527 1 Prelude & Fugue BWV 543 8.550651 Trio Sonatas BWV 528,529 & 530 1 Prelude & Fugue BWV 547 8.550653 Violin Concertos I Double Concerto 1 Air on the G String 8.550194 Violin Sonatas and Partitas BWV 1001 - 1003 8.550569 Violin Sonatas and Partitas BWV 1004 - 1006 8.550570

J. S. BACH (16s - 1750)

Magnificat in D, BWV 243 Cantata 'Ich habe genug' BWV 82

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Playing Time: 53'14"

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