The Magnificat in A minor, BWV Anh. 21, TWV 1:1748, is Melchior Hoffmann's musical setting of a German version () of the Song of Mary (Magnificat, "My soul magnifies the Lord") from the Gospel of Luke. The composition originated around 1707, when the composer was director musices and organist of the Neue Kirche in Leipzig. Composed in A minor, the Magnificat is scored for soprano and small orchestra. The work was first published in the 1950s, and it was recorded by Magda László, by Joshua Rifkin, by Wolfgang Helbich, and by Deborah York, among others.
According to the editors of the Bach-Gesellschaft-Ausgabe (BGA), the work, considered lost since the late 1850s, was composed by Johann Sebastian Bach. It was dubbed ( translating as "little" or "small") to distinguish it from more extended Magnificat settings, such as BWV 243 in Latin, and BWV 10 and BWV 189 in German (the last of these is listed as a composition by Hoffmann at the Bach Digital website). The 1950 first edition of the Bach-Werke-Verzeichnis (BWV) listed the small Magnificat in its first Anhang, that is the Anhang of lost works. Some years later, when recovered original manuscripts of the composition and of other works by the composer were analysed, the work was, after being erroneously attributed to Georg Philipp Telemann for some years, ultimately attributed to Hoffmann.
History
The Magnificat or Song of Mary is one of the three New Testament canticles, the others being Nunc dimittis and Benedictus. Mary sings the song on the occasion of her visit to Elizabeth, as narrated in the Gospel of Luke (). The Magnificat canticle was, in its Latin version, a regular part in Catholic vesper services, and was also used in the Lutheran church, mostly in German and occasionally in Latin, in vespers and for Marian feasts. On such occasions, a doxology concludes the bible verses from the Gospel of Luke. In the Luther Bible, the first verse of the German Magnificat reads "Meine Seele erhebt den Herren". In 1700, two years before becoming a law student in Leipzig, Melchior Hoffmann composed a Latin Magnificat in D minor.
Hoffmann's A minor setting of the German Magnificat dates from around 1707. At the time he was the organist of Leipzig's Neue Kirche (new church). In 1705 he had succeeded Georg Philipp Telemann both as director musices of the Neue Kirche and as leader of the Collegium Musicum which Telemann had founded in 1702. Among the students of Leipzig University belonging to that ensemble was Gottfried Heinrich Stölzel, who helped Hoffmann copy out performance parts of his Magnificat. In 1729, when a successor of Hoffmann left town, Johann Sebastian Bach became leader of the Collegium Musicum founded by Telemann, and Carl Gotthelf Gerlach, one of Bach's former students, became organist and director musices at the Neue Kirche. Shortly thereafter, Gerlach, who also was a singer, made a new copy of the vocal part of Hoffmann's Magnificat, with some adjustments to make it more suitable for performance.
Structure
Hoffmann structured the Magnificat in 10 movements, eight for the text from the Gospel of Luke, and two for an extended doxology, mostly alternating arias and recitatives, with a chorale setting to begin the doxology: Aria: Meine Seele erhebt den Herren Recitativo: Denn er hat seine elende Magd angesehen Aria: Und seine Barmherzigkeit währet immer Recitativo: Er übet Gewalt mit seinem Arm Aria: Er stößet die Gewaltigen vom Stuhl Recitativo: Die Hungrigen füllet er mit Gütern Aria: Er denket der Barmherzigkeit Recitativo: Wie er gered't hat unseren Vätern Chorale: Lob und Preis sei Gott Aria: Wie es war im Anfang
The Magnificat is scored for soprano, flauto traverso, two violins and continuo.
Reception
Gerlach remained organist and director musices of the Neue Kirche until his death in July 1761. Having died without near relatives, the lion share of his musical legacy appears to have been acquired by the music publishing enterprise of Bernhard Christoph and Johann Gottlob Immanuel Breitkopf. For the Leipzig Michaelmas fair of 1761, the Breitkopf firm issued a catalogue of works that were available at the publisher's. The catalogue included Hoffmann's Magnificats in D minor and in A minor: the former under Hoffmann's name, the latter as an anonymous composition. The manuscript performance parts of the A minor Magnificat which were once owned by Breitkopf later came in the possession of the Berlin State Library (SBB).