s; but in describing the work it is only necessary to give it
as it is now generally sung.

The work is written for a five-part chorus, with organ and orchestral
accompaniment. After a concerted introduction, foreshadowing the general
character of the music, it opens with the chorus, "Magnificat anima mea,"
in fugal form, worked up with that wonderful power of construction for
which Bach is so renowned among all composers. It is followed by an aria
for second soprano ("Et exultavit spiritus meus: in Deo salutari meo"),
which is in the same key and has the same general feeling as the opening
chorus, that of Christmas rejoicing. It in turn is followed by an aria
for first soprano ("Quia respexit humilitatem ancillae suae"), of which
Spitta says: "Scarcely ever has the idea of virgin purity, simplicity,
and humble happiness found more perfect expression than in this German
picture of the Madonna, translated as it were into musical language." It
leads directly to the chorus which takes up the unfinished words of the
soprano ("Omnes generationes"), each part overlaying the other as it
enters, and closing in canon form in grave and colossal harmony. Its next
number is an aria for bass ("Quia fecit mihi magna"), of a simple and
joyous character. It is followed by a melodious duet for alto and tenor
("Et misericordia"), with violin and flute accompaniment, setting forth
the mercy of God, in contrast with which the powerful and energetic
chorus ("Fecit potentiam") which succeeds it, is very striking in its
effect. Two beautiful arias for tenor ("Deposuit potentes de sede") and
alto ("Esurientes implevit bonis") follow, the latter being exquisitely
tender in its expression, and lead to the terzetto ("Suscepit Israel
puerum suum: recordatus misericordiae suae"), arranged in chorale form, and
very plaintive and even melancholy in style. Its mourning is soon lost,
however, in the stupendous five-part fugue ("Sicut locutus est") which
follows it and which leads to the triumphant "Gloria," closing the
work,--a chorus of extraordinary majesty and power. Spitta, in his
exhaustive analysis of Bach's music, says of this "Magnificat":--

"It is emphatically distinct from the rest of Bach's grand church
compositions by the compactness and concentrated power of the separate
numbers,--particularly of the choruses,--by the lavish use of the means
at command, and by its vividly emotional and yet not too agitating
variety. It stands at