Image: "Visitation," by Jacques Daret, via Wikimedia Commons.
In Chapter 2 of Bach's Major Vocal Works, Markus Rathey described the beauty of Bach's Magnificat in D Major (BWV 243). At the time that he composed this work, Johann Sebastian Bach was employed as a musician and teacher at a Lutheran church in Leipzig, a city in Saxony, an area of Germany that is near Poland and the Czech Republic.
Bach composed this Magnificat for the vespers liturgy on July 2, 1723, the feast of the Visitation of Mary. It was placed after the sermon and before the final prayers and closing hymn.
The key theme is Mary's praise of God's mercy and strength, and the work balances interpreting the text (from the first chapter of the Gospel of Luke) and creating a musical structure (which Rathey called its "architecture"). The piece has twelve movements, and it begins and ends with exuberant, celebratory movements that announce God's power using many instruments (including trumpets and timpani) and a five-part chorus. The other movements include more celebrations with the whole chorus; arias for soloists, including sopranos, of course, because the Magnificat is the song of a woman; and a duet that highlights God's mercy and love.
