Johann Sebastian Bach (1685-1750):

Magnificat in D (1723)

This Magnificat is one of Bach's very best works and is very accessible to those music lovers who may find Bach a little intimidating. In duration (about half an hour), it is longer than the typical cantata but much shorter than the passions, so it makes an ideal concert piece. The great variety of orchestral and vocal forces which he used makes for a piece which is never boring. Each of the twelve segments uses a different combination of performers, except that #s 1, 7 and 12 (whose second section is almost a reprise of #1) all use the full orchestra and chorus. Moreover, almost every section has a different key signature.

The Magnificat is the Virgin Mary's song of praise (in latin) and is usually said or sung, at least in protestant churches, at evensong. Bach wrote this work for Christmas soon after becoming what amounted to Music Director of Leipzig. Originally in E flat, the work was revised and recast in D major several years later. The orchestra used is quite large - Bach was obviously impressed by the musical talent available to him - including high trumpets, timpani and flutes as well as the more typical oboes, bassoon and strings. In these days of great wealth of musical talent, we are apt to forget that in Bach's time a composer had to adjust a piece to whatever talent he had available. Hence, for example, the continuo part does not normally specify precise instrumentation - the conductor can choose any combination of cello (solo or tutti), bass, bassoon, harpsichord and chamber organ according to preference and availability.

The opening chorus (like the close) is wonderfully uplifting, especially with the trumpets, and sets the tone for the whole work. The soprano aria which follows is another joyful work to fit the text. This is followed by the very poignant adagio aria for soprano and oboe, originally for oboe d'amore (of love) which is pitched a third below the oboe. This segues, rather abruptly, into #4, a choral fugue. The marvellous bass aria follows - a very simple but melodic piece scores only for the soloist and continuo. The texture of the following duet for alto and tenor, produced by using muted upper strings with flutes, is just plain inspired. After the rather light relief of the next fugal chorus, comes the tenor who almost seems to laugh at the fate of the once powerful. The alto and flutes combine for the very beautiful Esurientes. The work ends with a lyrical trio, a gentle fugue and the Gloria.

1. Chorus Magnificat anima mea Dominum. My soul doth magnify the Lord.

2. Aria Et exultavit spiritus meus And my spirit hath rejoiced

in Deo, Salutaris meo. in God, my Saviour

3. Aria Quia respexit humilitatem For he hath regarded the lowliness

ancillae suae: of his handmaiden:

ecce enim ex hoc for behold from henceforth

beatum me dicent- I shall be called blessed by-

4. Chorus ...omnes generationes. ...all generations.

5. Aria Quia fecit mihi magna qui potens est, For he that is mighty hath magnified me

et sanctum nomen eius. and holy is his name.

6. Duet Et misericordia eius a progenie And his mercy is from generation

in progenies timentibus eum. to generation, upon them that fear him.

7. Chorus Fecit potentiam in brachio suo: He hath shewed strength with his arm.

depersit superbos He hath scattered the proud

mente cordis sui. in the imagination of his heart.

8. Aria Deposuit potentes de sede He hath put down the mighty from their seat,

et exultavit humiles. and hath exalted the humble.

9. Aria Esurientes implevit bonis He hath filled the hungry with good things,

et divites dimisit inanes. and the rich he hath sent empty away.

10. Trio Suscepit Israel, puerum suum, He hath holpen his son Israel

recordatus misericordiae suae. remembering his mercy.

11. Chorus Sicut locutus est ad Patres nostros As he spake to our fathers,

Abraham et semini eius in saecula. Abraham and his seed for ever.

12. Chorus Gloria Patri, gloria Filio Glory to the father, glory to the son,

gloria et Spiritui sancto and glory to the holy spirit.

Sicut erat in principio As it was in the beginning,

et nunc et semper is now and ever shall be,

et in saecula saeculorum. Amen. and for centuries and centuries. Amen.

Antonín Dvoÿrák (1841-1904):

Slavonic Dances, op. 46 (part)

1. Furiant - presto

3. Polka - poco allegro

7. Skocná - allegro assai

8. Furiant - presto

Dvoÿrák wrote this set of eight Slavonic dances for piano duet in 1878 at the invitation of his publisher Simrock, who had previously enjoyed great success with the Brahms Hungarian dances (we should remember that in those days before recordings - let alone CDs - there was a big market for music intended for home performance). The composer orchestrated the set later in the same year. Although he had by then a number of mature works to his credit, it was these dances that really made his name internationally. Although based on the dance styles and rhythms of his native Czech homeland, the melodies are all original. The vitality and sheer melodiousness which he gave these dances make them some of the most popular concert pieces in the repertoire (SPM played #8 in a pops concert in 19??). He repeated the formula in 1886 with another set of eight, this time based on dances from other Slavic countries.

The first and last, in 3/4 time, are different forms of furiant - a fast, earthy dance based on the alternation between triple and duple times. Number three is a modified Czech polka in 2/4 - a more gentle, lilting piece full of melody. Number seven a is type of Skocná, also in 2/4, with a kind of syncopated canon in the oboe and bassoon, leading up to a presto.

Serge Prokofieff (1891-1953):

Lieutenant Kije op. 60 - Troika

Prokofieff wrote Lieutenant Kije - a spoof on Tsarist Russia - as film music in 1934. Troika, a kind of three horse sleigh, is the subject of this section - a popular concert piece, especially at Christmas time. Kije himself is a kind of military buffoon, represented here in the atrociously discordant introduction.

Ralph Vaughan Williams (1872-1958):

Folk Songs of the Four Seasons - Two Songs of Winter

Vaughan Williams wrote the cantata for the National Federation of Women's Institutes in 1950. The two songs performed here are: "God bless the master of this house" from the Sussex Mummers Carol collected by Lucy Broadwood about 1877; and the Wassail Song, a well-loved northern English folk song. Mummers were itinerant tragi-comic mime actors and Sussex is a county on the south coast of England. Wassail is a greeting equivalent to the modern day Cheers!, hence this carol is originally a drinking song, especially tied to Christmas eve.