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Pistas
Magnificat, BWV 243 36:47
Gloria, RV 589 28:39
Side 1 (36.47) J.S. Bach: Magnificat
I Magnificat (chorus)
II Et exultavit (soprano)
III Vom Himmel hoch (chorus)
IV Quia respexit (soprano)
V Omnes generationes (chorus)
VI Quia fecit mihi magna (bass)
VII Freut euch und jubiliert (chorus)
VIII Et misericordia (contralto, tenor)
IX Fecit potentiam (chorus)
X Gloria in excelsis Deo (chorus)
XI Deposuit potentes (tenor)
XII Esurientes implevit bonis (contralto)
XIII Virga Jesse (soprano, bass)
XIV Suscepit Israel (chorus)
XV Sicut locutus est (chorus)
XVI Gloria Patn - Sicut erat in principio (chorus)
Felicity Palmer, soprano
Helen Watts, contralto Robert Tear, tenor Stephen Roberts, bass
Francis Grier, organ • orgue • Orgel & harpischord • clavecin • Cembalo
Side 2 (28.39) Vivaldi: Gloria
I Gloria in excelsis Deo (chorus)
II Et in terra pax (chorus)
III Laudamus te (soprano, contralto)
IV Gratias agimus tibi (chorus)
V Propter magnam glonam (chorus)
VI Domine Deus (soprano)
VII Domine Fili Unigenite (chorus)
VIII Domine Deus, Agnus Dei (contralto, chorus)
IX Qui tollis peccata mundi (chorus)
X Qui sedes ad dexteram Patris (contralto)
XI Quoniam tu solus Sanctus (chorus)
XII Cum Sancto Spiritu (chorus)
Elizabeth Vaughan, soprano
Janet Baker, contralto
Roger Lord, oboe • hautbois obbligato
Kenneth Heath, cello • violoncelle obbligato
John Langdon, organ • orgue • Orgel
Andrew Davis, harpsichord • clavecin • Cembalo
Recorded in the Chapel of King's College, Cambridge
From the mid-seventeenth century, composers divided texts such as the Magnificat and the Psalms into short
manageable sections of about a verse or even a phrase at a time. These were set in a contrasted series, and in
such a way as to highlight some aspect of the text or its significance in either Biblical or Liturgical
contexts.The reflection of text was especially important in works sung in Latin: intellectual listeners who
understood their texts would also expect subtle musical illustration and symbolism, and those who were less
certain of the precise meaning of the words would be reminded or helped by a setting that stressed the
significance of particular passages.
The MAGNIFICAT, Mary's poetic response to the salutation of Elizabethis a traditional part of the regular Vespers
service of the Catholic Church:
Pistas
Magnificat, BWV 243 36:47
Gloria, RV 589 28:39
Side 1 (36.47) J.S. Bach: Magnificat
I Magnificat (chorus)
II Et exultavit (soprano)
III Vom Himmel hoch (chorus)
IV Quia respexit (soprano)
V Omnes generationes (chorus)
VI Quia fecit mihi magna (bass)
VII Freut euch und jubiliert (chorus)
VIII Et misericordia (contralto, tenor)
IX Fecit potentiam (chorus)
X Gloria in excelsis Deo (chorus)
XI Deposuit potentes (tenor)
XII Esurientes implevit bonis (contralto)
XIII Virga Jesse (soprano, bass)
XIV Suscepit Israel (chorus)
XV Sicut locutus est (chorus)
XVI Gloria Patn - Sicut erat in principio (chorus)
Felicity Palmer, soprano
Helen Watts, contralto Robert Tear, tenor Stephen Roberts, bass
Francis Grier, organ • orgue • Orgel & harpischord • clavecin • Cembalo
Side 2 (28.39) Vivaldi: Gloria
I Gloria in excelsis Deo (chorus)
II Et in terra pax (chorus)
III Laudamus te (soprano, contralto)
IV Gratias agimus tibi (chorus)
V Propter magnam glonam (chorus)
VI Domine Deus (soprano)
VII Domine Fili Unigenite (chorus)
VIII Domine Deus, Agnus Dei (contralto, chorus)
IX Qui tollis peccata mundi (chorus)
X Qui sedes ad dexteram Patris (contralto)
XI Quoniam tu solus Sanctus (chorus)
XII Cum Sancto Spiritu (chorus)
Elizabeth Vaughan, soprano
Janet Baker, contralto
Roger Lord, oboe • hautbois obbligato
Kenneth Heath, cello • violoncelle obbligato
John Langdon, organ • orgue • Orgel
Andrew Davis, harpsichord • clavecin • Cembalo
Recorded in the Chapel of King's College, Cambridge
From the mid-seventeenth century, composers divided texts such as the Magnificat and the Psalms into short
manageable sections of about a verse or even a phrase at a time. These were set in a contrasted series, and in
such a way as to highlight some aspect of the text or its significance in either Biblical or Liturgical
contexts.The reflection of text was especially important in works sung in Latin: intellectual listeners who
understood their texts would also expect subtle musical illustration and symbolism, and those who were less
certain of the precise meaning of the words would be reminded or helped by a setting that stressed the
significance of particular passages.
The MAGNIFICAT, Mary's poetic response to the salutation of Elizabethis a traditional part of the regular Vespers
service of the Catholic Church: