Felix Mendelssohn - ( Magnificat ) in D Major, - MWV A 2 - ( 1822 ) - Composed at 13 years old скачать в хорошем качестве

Felix Mendelssohn - ( Magnificat ) in D Major, - MWV A 2 - ( 1822 ) - Composed at 13 years old

Felix Mendelssohn’s Magnificat in D Major, cataloged as MWV A 2 in the Mendelssohn-Werkverzeichnis, is an early choral work composed in August 1822 when he was 13 years old. Written for mixed chorus (SATB), soloists (soprano, alto, tenor, bass), and orchestra, this piece reflects Mendelssohn’s prodigious talent during his juvenilia period in Berlin, showcasing his deep admiration for Johann Sebastian Bach and his mastery of Baroque-style composition at a remarkably young age. Below is an exhaustive exploration of the Magnificat in D Major, covering its historical context, musical characteristics, structure, significance, performance history, and legacy. Historical and Biographical Context Date and Age: Composed in August 1822, with the autograph dated August 23–September 1, 1822. Mendelssohn was 13 (born February 3, 1809), placing this work within his early teenage years, a period of intense creativity alongside his string symphonies (MWV N 1–12) and early concertos (MWV O 3–O 4). Purpose: Likely written as a compositional exercise under the guidance of Carl Friedrich Zelter, Mendelssohn’s teacher and director of the Berlin Singakademie, where Felix was a member of the chorus. It may have been intended for performance by the Singakademie or a private family concert, though no definitive premiere record exists from 1822. The piece reflects Mendelssohn’s preparation for larger sacred works and his immersion in Baroque choral traditions. Text: The Magnificat sets the Latin text of the Canticle of Mary from the Gospel of Luke (1:46–55), a traditional hymn of praise: “Magnificat anima mea Dominum” (My soul magnifies the Lord). Mendelssohn used the standard Latin Vulgate version, common in Lutheran and Catholic liturgy, aligning with his study of Bach’s sacred music. Influences: Mendelssohn’s exposure to Bach was profound—Zelter introduced him to Bach’s works, and the Mendelssohn family owned Bach manuscripts. The Magnificat draws heavily on Bach’s Magnificat in D Major, BWV 243 (1723/1733), evident in its structure, counterpoint, and orchestration. Mozart’s choral writing (e.g., Requiem) and Handel’s oratorios also subtly influence its style. Context: In 1822, Mendelssohn was honing his skills in Berlin, composing alongside his early string symphonies (e.g., Sinfonia No. 5, MWV N 5) and works like the Concerto for Violin and Strings (MWV O 3). The Magnificat predates his public Bach revival (St. Matthew Passion, 1829) but signals his lifelong devotion to Baroque forms. His family’s 1816 conversion to Protestantism and his Jewish heritage may have fueled his interest in sacred music across traditions. Musical Characteristics Form: A multi-movement cantata-like setting of the Magnificat text, structured in eight distinct sections (sometimes listed as seven or nine, depending on editions), alternating between chorus, soloists, and combinations. It follows Baroque conventions with separate movements for each verse or thematic segment, unlike a single continuous piece. Key: D major, a bright, triumphant key often used in Baroque sacred music (e.g., Bach’s Magnificat), symbolizing joy and praise, fitting the text’s exultant tone. Scoring: For SATB chorus, SATB soloists, and orchestra—2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, strings, and continuo (organ or harpsichord). This mirrors Bach’s Magnificat orchestration, showcasing Mendelssohn’s early command of orchestral texture. Style: Baroque-inspired, with intricate counterpoint, fugal passages, and a blend of homophonic and polyphonic textures. Mendelssohn adapts Bach’s idiom—florid vocal lines, instrumental doublings—while adding his youthful energy and Classical clarity, hinting at his emerging Romantic voice. Duration: Approximately 25–30 minutes, depending on tempo and performance choices, making it substantial for a 13-year-old’s work. Structure and Movements The Magnificat divides the Latin text into sections, each with distinct musical treatment (based on standard editions): Magnificat anima mea (Chorus) Opens with a jubilant D major choral statement, “My soul magnifies the Lord,” with orchestral fanfares (trumpets, timpani) and vigorous counterpoint, echoing Bach’s opening. Et exsultavit spiritus meus (Soprano Solo) A lyrical soprano aria, “And my spirit rejoices,” with florid runs and string accompaniment, showcasing vocal agility and a lighter texture. Quia respexit humilitatem (Alto Solo) A tender alto solo, “For He has regarded the lowliness,” with a slower tempo and expressive melody, supported by strings and continuo, reflecting humility. Quia fecit mihi magna (Bass Solo) A robust bass aria, “For He has done great things for me,” with bold orchestral support (horns, bassoons), emphasizing God’s power.