Luogo e data di registrazione		Casino Zögernitz, Vienna (Austria): - 25 maggio 1983 (Bach) - 17 gennaio 1984 (Händel)
	Registrazione: live / studio		studio
	Producer		-
	Edizione CD		TELDEC - 8.42955 XH (242 984-2) - (1 CD - durata 58' 24") - (c) 1989 - DDD
	Originale LP		TELDEC - 6.42955 AZ - (1 LP - durata 58' 24") - (p) 1984 - Digitale
	Note		-

Magnificat D major There are three canticles from the Ncw Testament in the Roman Catholic liturgy: the Benedictus, the Nunc dirnittis and the Magnificat (My soul doth magnify the Lord), the words spoken by the Virgin Mary (Luke I, 46-55) in the house of Zacharias when her cousin Elisabeth greeted her as the mother ofthe future Saviour. - Originally the ten verses of the Magnificat and the concluding “Gloria Patri”, the lesser doxology, were sung during Vespers in unison, i. e. in plainsong. In the Protestant Church in Germany this Marian hymn, often sung in German, was also the climax of Evensong, but only on feast days. Since the middle of the 15th century settings of the Magnihcat in several parts have increasingly been written and appreciated. In analogy with the antithesis between the burden of original sin and the Saviour’s promise, the musical exegesis also deploys contrasting movements. Johann Sebastian Bach probably composed the Magnificat in D, BWV 243, around 1732/33. It is usually referred to as the “later” version, the earlier one in E flat, BWV 243 a, having probably been sung at St. Thomas’, Leipzig, at Christmas 1723. The autograph scores of both versions are preserved in the German State Library, Berlin. In 1955 the new edition of Bach’s works (Neue Bach-Ausgabe) for the first time presented both versions side by side, but clearly distinct, and accompanied by an extensive critical commenmry by A. Dürr. According to this, the autograph of the D major version (Mus. ms. Bach P39), close in time to the Mass in B minor, BWV 232, is “one of Bach’s most beautiful fair copies in our possession. Not only do the staves, the bar lines and the actual notes indicate particular care in the writing, but so do the specification of the instruments and expression marks, which in less meticulously written original manuscripts can frequently only be discovered from the parts.” The later, D major, work has three distinct advantages over the earlier, E flat, version: its key makes it much easier for the brass instruments, with their limited tuning and range, to play the top notes, which sometimes run on for several bars. The scoring of the work as a whole is distinguished by being enlarged by two flutes. Finally, on account of its neutral character, the four Christmas-orientated movements interpolated in the E flat version being eliminated, the D major work can be performed all the year round. Unlike the ten verses of the biblical text, the work consists of twelve sections, since Bach subdivided the first two verses and added on the doxology. The opening chorus “Magnificat” (D major; 3/4 time) is framed by a spacious instrumental ritornello with a substantially shorter repeat, the opening section already presenting the melodic material of the five-part chorus. In accordance with the festive character of the work, three trumpets, supported by two timpani, shine brightly out of the instrumental tutti. - The “Et exsultavit” (second soprano; d major; 3/ 8 time), a binary aria accompanied only by a string trio and continuo, creates a pronounced contrast. The discreet semiquaver coloratura also symbolises rejoicing. - Bach employs word-painting in the descending melodic line, first played by the gently sounding oboe d’amore, for the next aria, the predominantly syllabic "Quia respexit” (first soprano; B minor; common time) to portray the lowliness of the chosen handmaiden. - In the immediately following five-part chorus (F sharp minor) the lastwords of verse 3 “Omnes generationes” are brilliantly interpreted. - The melody of the bass aria (A major; common time) in verse 4 “Quia fecit mihi magna” is played as a basso ostinato by the continuo. Syllabic treatment and coloratura alternate regularly. - An instrumental ritornello of four bars determines the character of the duet for alto and tenor of verse 5 “Et misericordia” (E minor; l2/8 time), praising God’s mercy. The melodic line of the first and second violins, predominantly in parallel thirds, and of the two flutes, mostly in unison with the violins, is matched by the gently rocking rhythm; these features serve to emphasise the siciliano nature of the movement. - The orchestration of “Fecit potentiam" (D major; common time) is the same as that of the opening movement. The wider intervals symbolise His strength, while massive descending octaves in the ostinato bass suggest the scattering of the proud (“superbos mentes”) who are realistically rebuked in the dissonances of the concluding homophonic adagio. - In “Deposuit”, a tenor aria (F sharp minor 3 /4 time) accompanied solely by the violins, the text is interpreted not only by the choice of key but also by the descending melodic line, illustrating how the mighty are put down from their seats (“deposuit potentes“), while the ascending line represents the humble and meek, whom He exalts (“exaltavit humiles”). The wide intervals once again symbolise divine power. - The binary aria “Esurientes” (E major; common time) is another masterly example of word painting: the modest instrumentation with just two flutes is matched by a restrained melodic line, mostly in conjunct motion. - In the contrapuntal trio “Suscepit Israel” (tirst and second soprano, alto; B minor; 3/4 time) the oboes in unison play the tune of the Magnilicat as a cantus firmus in note values of equal length. - The five-part choral fugue “Sicut locutus est” (D major; alla breve) symbolises faith and confidence, - The “Gloria Patri” (A major; common time) is characterised both by dotted chords and by ascending chains of triplets, while timpany and trumpets emphasise the festive nature of the doxology. A pause on an A maior cadence is followed by the concluding “Sicut erat” (D major; 3/4 time) which is based on the opening chorus. Renate Federhofer-Königs (Translation: Lindsay Craig) ·········· Utrechter Te Deum The outcome of the War of the Spanish Succession (1701-1713/14) enabled Britain to negotiate a favourable settlement in the Treaty of Utrecht, one of the territories gained by her at the expense of Spain being Gibraltar. Victories of that nature were celebrated in church services which frequently culminated in a Te Deum. For centuries this ancient hymn of praise and thanksgiving had been sung at Mass on special occasions. Since the 16th century and more specifically during the baroque period specially commissioned works, for all that they were based on Gregorian chant, were not infrequently expressions of political power rather than religious fervour. Gun salvoes and victory fanfares were the rule, though Handel employed none of these special effects in any of his five Te Deum compositions. Arriving in London for the second time in l7l2, he rapidly made a name for himself with his operas “Il pastor fido” and “Teseo”; he also composed an “Ode for the Birthday of Queen Anne” (6th February 1713) in which the monarch was celebrated as a bringer of peace. This work also refers to the Peace of Utrecht. Handel must have been commissioned for both the Te Deum and the Ode while negotiations were still in progress. Since the Te Deum was finished on l4th January 1713, whereas the peace negotiations were only concluded at the end of March of that year. The Utrecht Te Deum laid the foundation of Handel’s fame in England and remained his best-known work until the “Messiah” (1742) and thc Dettingen Te Deum (l743). After the separation of the Anglican from the Roman Catholic church, the liturgical Te Deum was, as early as the middle third of the 16th century, absorbed and adapted both to its religious attitudes and its musical tradition. In the Anglican church, the place of the concertante masses and psalms of Catholicism and the motets and cantatas of the Lutheran faith is taken by the anthem. This is clearly derived from the motet and the part song for several soloists of the English renaissance. In spite of the use of instrumental ensembles there are no self-contained solo movements as in Latin or German church music. While on the continent the baroque Te Deum was modelled on the cantata, in England the “Festival Anthem” with an ensemble of soloists together with chorus and orchestra became the prototype for Te Deum compositions, Henry Purcell wrote one in 1694 for the Feast of St. Cecilia (22nd November), which was subsequently performed every year on that day in honour of the patron saint of music. This was the work that Handel emulated for his Utrccht Te Deum, his first composition for the Anglican church, which from then on was given preference over Purcell’s. Like Purcell Handel also wrote a Jubilate to complement his Te Deurn; after the peace proclamation, on 5th May 1713, both works were performed at the peace celebrations in St. Pauls’s Cathedral on 7th July. When one traces Handel’s development one mervels to observe how qickly he was able to turn new musical impressions and stimuli into works ofhis own. During his travels in Italy he encountered the Italian oratorio, which resulted in his first work of that type, “La resurrezione” (Rome, 1708), an oratorio in the Italian style for solo voices and orchestra with magniticant solo parts. In London he immediately struck gold with his Utrecht Te Deum in the spirit of the Anglican church, without quite abandoning the German tradition or the impressions gained in Italy. Handel was a man of the world in the true sense of the term, a cosmopolitan of the music of his day. The Utrecht Te Deum is scored for five soloists, live-part chorus and a brilliant orchestra including timpani and trumpets. It is divided into seven main sections (with 14 subdivisions) which are arranged with a sensitive appreciation of tonal shading and attention to musical diversity. The trequent alternation of homophonic and polyphonic sections is as typically English as is the contrast between the ensemble of soloists and the chorus, fore example in the magnificent “We believe that Thou shalt come” and the “and we worship Thy name”, in which the trumpets lead the orchestra. The use of musical figures to interpret the text, such as in the opening chorus and the immediately following contrasting double fugue to the words “All the earth doth worship Thee”, arising from the depths, together with homophonic interludes, combines German and English traditions. The doubled alto (countertenor) parts are also typically English. The Italian Concerto grosso, translated into vocal music, is apparent in the praise of the angels, in which Handel followed Purcell’s example by using word painting for the word “cry”. One particular feature of this work is the mounting tension in the section “The glorious company ofthe Apostles". The prelude, which opens with two oboes, introduces an expansive coloratura passage for the tenor, followed by a bass solo with oboe imitation and a duet for two sopranos leading to the homophonic chorus “The holy Church”. The musical treatment of the English text (e. g. in “Thou sittest”) proves Handel’s intense preoccupation with his task. "Thou art the King of Glory" is set to the Tc Deum tune, and the final chorus to a Gregorian Amen. Both were transformed by Handel in such a manner taht they now resemble one another and give the impression of being his own thematic material. Gerhard Schuhmacher (Translation: Lindsay Craig)