Magnificat (Torri)

Pietro Torri likely wrote his Magnificat in the 1690s, when he was in the service of Maximilian II Emanuel, Elector of Bavaria.{{sfn|Thielemann|2012|p=218}} In that period Torri followed his employer to the Spanish Netherlands (1692) and was later deputized to Hanover (1696), only returning to Bavaria in 1701.{{sfn|Sadie|1998|p=[https://books.google.com/books?id=rskiYf4mn7wC&pg=PA245 245]}} In the early 1790s Torri wrote scenic works such as L'ambizione fulminata and Gli amori di Titone e d'Aurora for Munich, and I Preggi della primavera for Anna Maria Luisa de' Medici, Electress Palatine at Leuchtenberg.{{sfn|Champlin|1888–90|loc=III:[https://archive.org/details/cyclopediaofmusi03cham/page/489 489]}}[http://www.operone.de/komponist/torri.html Torri, Pietro] at {{url|www.operone.de}}.{{RISM|450022127}}. {{Retrieved|access-date=2020-01-10}}.

{{Panorama

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|caption = Munich Residenz, the palace of Torri's employer Max Emanuel, around the time when Torri worked there.

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S. Vinceslao, Abelle and S. Landelino are oratorios Torri likely wrote for Brussels between 1692 and 1701.{{RISM|456010812}}, {{RISM|456010815}}, and {{RISM|456010816}}. {{Retrieved|access-date=2020-01-10}}. Secular works of this period include the Trastulli, a collection of 60 short vocal works, and Briseide, a dramma per musica staged in Hanover.{{RISM|456010822}}. {{Retrieved|access-date=2020-01-10}}. In 1704 Torri was back in the Netherlands, and a few years later, still in the retinue of the Bavarian elector, in French territory.{{sfn|Sadie|1998|p=[https://books.google.com/books?id=rskiYf4mn7wC&pg=PA245 245]}}

He returned to Munich in 1715, where he would remain till the end of his life, composing still over 20 new operas and other stage works, at a rate of around one every year.{{sfn|Sadie|1998|p=[https://books.google.com/books?id=rskiYf4mn7wC&pg=PA245 245]}} Among his liturgical compositions of this period is a Requiem mass for the Elector, who died in 1726, after which Torri remained in the service of Charles Albert, son and successor of Maximilian II Emanuel.{{sfn|Champlin|1888–90|loc=III:[https://archive.org/details/cyclopediaofmusi03cham/page/489 489]}}{{RISM|703000570}}.{{Muziekweb|DBX12567|Pro defunctis: Liturgy for the death of the baroque area}}. Torri's Magnificat disseminated via manuscript copies: one of such manuscripts, from the Bokemeyer collection, is conserved in the Berlin State Library, another is in the British Library.{{sfn|Thielemann|2012|p=219}}{{RISM|455034485}} and {{RISM|800252472}}. {{Retrieved|access-date=2020-01-08}}.

The text of Torri's Magnificat is the Latin version of the Biblical canticle "My soul doth magnify the Lord" from the first chapter of the Gospel of Luke (10 verses), followed by the Minor Doxology Gloria Patri. The composition is in C major.

Torri's Magnificat is set {{lang|it|à 15 et più}} (for 15 voices and more):

• double SATB choir (8 voices),
• two trumpets (Tr; 2 voices),
• bassoon (Ba; 1 voice),
• strings (4 voices): two violin (Vl) parts and two viola (Va) parts,

and basso continuo (Bc; figured bass for the organ). When both bassoon and organ play, the former's voice is almost entirely identical to the bass line of the latter. The 15 voices can also be defined as singers (8), trumpets (2), strings (4) and basso continuo (1), meaning that the bassoon can be seen as part of the continuo group, together with the organ.{{sfn|Thielemann|2012|loc="Bachs Bearbeitung" [Bach's arrangement], {{p.|220}}}}

After an orchestral introduction, dominated by tutti chords, the sopranos of both choirs sing the first verse of the canticle in unison, on the tune of sixth Psalm tone setting of the Magnificat, while the trumpets play {{lang|it|concertante}}, with an orchestral accompaniment. The second verse of the Magnificat follows in a monumental {{lang|it|tutti}} setting for double choir and orchestra.{{sfn|Thielemann|2012|p=218}}

The second movement, setting the third verse of the Magnificat, is a duet for the alto and tenor of the first choir, accompanied by both trumpets and the continuo.{{sfn|Thielemann|2012|p=218}}

The third movement, setting the next verse of the Magnificat, is another duet: soprano and bass of the first choir sing, accompanied by the continuo.{{sfn|Thielemann|2012|p=218}}

The fourth movement, taking a central place in the composition, is a stile antico setting of the fifth verse of the canticle, for all four voices of the first choir, and continuo.{{sfn|Thielemann|2012|p=218}}

The fifth movement, setting the next verse of the Magnificat, is a duet for the alto and tenor of the second choir, accompanied by two violin voices, and continuo.{{sfn|Thielemann|2012|p=218}}

The "Deposuit potentes" movement is a {{lang|it|tutti}} setting of two verses of the Magnificat.

The seventh movement, setting the ninth verse of the Magnificat, is the last duet, for soprano and bass of the second choir, and continuo.{{sfn|Thielemann|2012|p=218}}

The eighth movement is again for all forces ({{lang|it|tutti}}), setting the next verse of the Magnificat, and the first half of the Doxology.

The final movement, also for {{lang|it|tutti}}, is a broad fugue with three musical subjects, respectively introduced on the words:{{sfn|Thielemann|2012|p=218}}

• "Sicut erat in principio",
• "et in saecula saeculorum",
• "Amen".

In the course of the movement the musical texture grows ever more closer-knit.{{sfn|Thielemann|2012|p=218}}

{{see also|Magnificat (Bach)#Other Magnificats by Bach?|Bach's church music in Latin#BWV Anh. 30}}

Torri was, in the retinue of his employer Max Emanuel, in Brussels and Mons from 1704 to 1715. Ernest Augustus, Prince of Saxe-Weimar visited the Netherlands in 1707, where he may have met the Bavarian Elector and the composer. Peter Wollny thinks it likely that it was there that the Prince obtained a copy of Torri's Magnificat, which he brought back to Germany. That a copy of the work circulated in Thuringia before Torri's return to Munich is attested by an inventory written in Rudolstadt in 1714. Johann Sebastian Bach, who was employed by Ernest Augustus, then Duke of Saxe-Weimar, from 1708, thus likely knew Torri's Magnificat from his time in Weimar, and may have taken performance parts of the work with him when he left that city in 1717.{{sfn|Wollny|2015|pp=131–132}}

File:BWV Anh. 30- page 01 of Bach's manuscript.png

Bach copied Torri's Magnificat, likely from performance parts, around 1742 in Leipzig, where he was employed since 1723, likely in view of a performance of the work.{{sfn|Wollny|2015|pp=131–132}}{{sfn|Thielemann|2012|loc="Bachs Abschrift" [Bach's copy], pp. 218–220}}[http://resolver.staatsbibliothek-berlin.de/SBB0001D99E00000000 Mus.ms. Bach P 195] at Berlin State Library website. {{Retrieved|access-date=2020-01-08}} Having copied the work without much modification apart from merging the parts for bassoon and organ in a single continuo part for unspecified instruments, he added a third trumpet (which he indicated as "Principale" in his manuscript) and timpani to the composition.{{sfn|Thielemann|2012|loc="Bachs Bearbeitung" [Bach's arrangement], p. 220}}{{BDh|1338|0}} {{Retrieved|access-date=2020-01-08}}{{RISM|467019500}}. {{Retrieved|access-date=2020-01-08}} Another minor adjustment is that Bach applies a caesura in the music between the end of the Gospel text and the start of the doxology, so that the composition has ten movements ("Gloria Patri" becoming the ninth, and the fugal "Sicut erat" as the tenth and last movement). Whether by omission or because he didn't know, Bach did not mention the composer of the original on his copy.{{sfn|Thielemann|2012|p=217}} Antonio Caldara's {{illm|Magnificat (Caldara)|scores|Magnificat in C major (Caldara, Antonio)|lt=Magnificat in C major}}, which Bach copied and arranged around the same time (BNB I/C/1 and BWV 1082), carries the name of the original composer in the header of Bach's manuscript.{{sfn|Thielemann|2012|p=217}}{{BDh|18350||2020-01-09|Source|D-B Mus.ms. 2755, Fascicle 1}}

By 1841 Bach's manuscript was owned by the Royal Library at Berlin (later converted to the Berlin State Library), where it was classified as Mus.ms. Bach P 195; before that it was owned by, among others, Bach's son Carl Philipp Emanuel, Bach's student Johann Christian Kittel, and, from 1809, {{ill|Georg Poelchau|de}}, a collector of music by Bach and other Baroque composers.{{sfn|Thielemann|2012|loc="Bachs Abschrift" [Bach's copy], pp. 218–220}} Kittel and Poelchau both thought that the Magnificat for eight voices and orchestra was composed by Bach.{{sfn|Thielemann|2012|loc="Bachs Abschrift" [Bach's copy], pp. 218–220}}{{BDh|4648|0|2018-08-04|Source|Lost Anh. 30, J. C. L. Kittel (identical to D-B Mus.ms. Bach P 195)}} Kittel had a copy made of Bach's manuscript,{{sfn|Thielemann|2012|loc="Bachs Abschrift" [Bach's copy], pp. 218–220}}{{BDh|2276|0|2018-10-22|Source|D-Bsa SA 15}} and Poelchau added a flyleaf to it, on which he indicated Bach as its composer. In 1732, some two decades after he had published Bach's Magnificat (BWV 243.1),{{BDh|21564||2018-09-08|Source|D-B Kb 76/3 (first edition)}} however, Poelchau had doubts about Bach's authorship of the Magnificat for double choir and orchestra, writing that it was likely composed by Caldara or Lotti.{{sfn|Thielemann|2012|p=217}}

The {{lang|de|Bach Gesellschaft}} did not include the Magnificat for eight voices and orchestra in the collected edition it published of Bach's works in the second half of the 19th century.{{sfn|Rust|1862|p=XV}} In the {{lang|de|Bach-Werke-Verzeichnis}} (BWV) it was listed among Bach's doubtful works (Anh. II), as {{nowrap|BWV Anh. 30}}.{{sfn|Dürr|Kobayashi|1998|p=460}} In 1968, Christoph Wolff mentioned Antonio Lotti as its possible composer.{{sfn|Wolff|1968}} Before the end of the 20th century also the editors of the New Bach Edition had decided not to include the work in their complete edition of Bach's work.{{sfn|Beißwenger|2000}} Only in 2012 was it discovered that, apart from Bach's modifications, {{nowrap|BWV Anh. 30}} was identical to Torri's Magnificat {{lang|it|à 15 et più}}.{{sfn|Thielemann|2012}}

In the 21st century Torri's Magnificat was recorded, and its score published.{{sfn|Thielemann|2012|pp=217–218}}{{sfn|Torri|2013}}

; Original version : Included in Le Triomphe de la Paix, ORF CD 424, performed by Christoph Hammer conducting the Neue {{Ill|Hofkapelle München|de}} (2004 live recording, released 2005).{{sfn|Thielemann|2012|pp=217–218}}

; Bach's version : A recording of BWV Anh. 30 is included in Apocryphal Bach Masses II, cpo 777561-2, performed by Wolfgang Helbich conducting the Alsfelder Vokalensemble (recorded 2009, released 2012; recording time: 19:01).{{sfn|Thielemann|2012|p=218}}{{Muziekweb|DBX10365|Apocryphal Bach Masses II}}. {{Retrieved|access-date=2020-01-08}}[http://www.arkivmusic.com/classical/album.jsp?album_id=709036 Apocryphal Bach Masses, Vol. 2] at ArkivMusic website. {{Retrieved|access-date=2020-01-08}} In 2014, this recording was re-issued in the 8 CD Box The Sacred Apocryphal Bach.[http://www.arkivmusic.com/classical/album.jsp?album_id=1153384 The Sacred Apocryphal Bach (8-CD Set)] at ArkivMusic website. {{Retrieved|access-date=2020-01-08}}

In 2013 Carus-Verlag published Arne Thielemann's edition of Bach's version of Torri's Magnificat.{{sfn|Torri|2013}} The next year a facsimile of a manuscript copy of Torri's Magnificat became available on-line at the website of the Berlin State Library,[http://resolver.staatsbibliothek-berlin.de/SBB000159AC00000000 Mus.ms. 30299] at Berlin State Library website. {{Retrieved|access-date=2020-01-08}} in 2016 followed by a facsimile of Bach's manuscript of the BWV Anh. 30 version.

{{Authority file}}

• {{cite book |last1=Beißwenger |first1=Kirsten |date=2000 |chapter=Magnificat C-Dur (BWV Anh. 30) |trans-chapter=Magnificat C major (BWV Anh. 30) |title=Lateinische Kirchenmusik, Passionen: Werke zweifelhafter Echtheit, Bearbeitungen fremder Kompositionen (Kritischer Bericht) |trans-title=Latin Church Music, Passions: Works with Doubtful Authenticity, Arrangements of Music from other Composers (Critical Commentary) |url=https://www.baerenreiter.com/en/shop/product/details/BA5095_41/ |series=New Bach Edition |language=de |volume=II/9 |publisher=Bärenreiter |page=66 |ismn=9790006494927 |id=BA 5095-41 }}
• {{cite book |last=Champlin|first=John Denison Jr.|author-link1=John Denison Champlin Jr.|date=1888–90|editor-last=Apthorp|editor-first=William Foster|editor-link=William Foster Apthorp|title=Cyclopedia of Music and Musicians|location=New York|publisher=Charles Scribner's Sons}} [https://archive.org/details/cyclopediaofmusi01cham/page/n8 Vol. I], [https://archive.org/details/cyclopediaofmusi02cham/page/n9 Vol. II], [https://archive.org/details/cyclopediaofmusi03cham/page/n9 Vol. III] (via Internet Archive)
• {{cite book |date=1998 |editor1-last=Dürr |editor1-first=Alfred |editor1-link=Alfred Dürr |editor2-last=Kobayashi |editor2-first=Yoshitake |title=Bach Werke Verzeichnis: Kleine Ausgabe – Nach der von Wolfgang Schmieder vorgelegten 2. Ausgabe |trans-title=Bach Works Catalogue: Small Edition – After Wolfgang Schmieder's 2nd edition |language=de |others=Kirsten Beißwenger (collaborator). |edition=BWV^2a |location=Wiesbaden |publisher=Breitkopf & Härtel |isbn=9783765102493 |postscript=. Preface in English and German. }}
• {{cite book |last1=Rust |first1=Wilhelm |author-link1=Wilhelm Rust |date=1862 |chapter=Vorwort |trans-chapter=Preface |title=Magnificat D dur und vier Sanctus |trans-title=Magnificat in D major and four Sanctuses |series=Bach-Gesellschaft Ausgabe |language=de |volume=11 |others=Bach Gesellschaft |issue=1 |publisher=Breitkopf & Härtel |pages=XIII–XXI }}
• {{cite book |last1=Sadie |first1=Julie Anne |author-link1=Julie Anne Sadie |date=1998 |chapter=Munich |chapter-url=https://books.google.com/books?id=rskiYf4mn7wC&pg=PA242 |title=Companion to Baroque Music |url=https://books.google.com/books?id=rskiYf4mn7wC |publisher=Oxford University Press |pages=242–245 |isbn=9780198167044 }}
• {{cite book |last1=Thielemann |first1=Arne |date=2012 |chapter=Zur Identifizierung des Magnificats BWV Anh. 30 aus Johann Sebastian Bachs Notenbibliothek |trans-chapter=On the identification of the Magnificat BWV Anh. 30 from Johann Sebastian Bach's music library |chapter-url=https://doi.org/10.13141/bjb.v20121212 |editor1-last=Wollny |editor1-first=Peter |editor1-link=Peter Wollny |title=Bach-Jahrbuch 2012 |trans-title=Bach Yearbook 2012 |url=https://journals.qucosa.de/bjb/issue/view/173 |series=Bach-Jahrbuch |language=de |volume=98 |others=Neue Bachgesellschaft |location=Leipzig |publisher=Evangelische Verlagsanstalt |pages=217–224 |doi=10.13141/bjb.v2012 |isbn=978-3-374-02668-5 |issn=0084-7682 }}
• {{cite book |last1=Torri |first1=Pietro |author-link1=Pietro Torri |date=2013 |editor1-last=Thielemann |editor1-first=Arne |title=Magnificat in C: BWV Anh. 30 |url=https://www.carus-verlag.com/en/choir/sacred-choral-music/pietro-torri-magnificat-in-c-major.html |series=Stuttgarter Bach-Ausgaben |volume=Full score |others=Bach, Johann Sebastian (arranger); Horn, Paul (basso continuo realization) |location=Stuttgart |publisher=Carus |id=35.012 }}
• {{cite book |last1=Wolff |first1=Christoph |author-link1=Christoph Wolff |date=1968 |title=Stile antico in der Musik Johann Sebastian Bachs: Studien zu Bachs Spätwerk |trans-title=Stile antico in the music of Johann Sebastian Bach: Studies on Bach's late work |series=Beihefte zum Archiv für Musikwissenschaft |language=de |volume=VI |location=Wiesbaden |publisher=Steiner |oclc=651793960 }}
• {{cite book

|last1 = Wollny

|first1 = Peter

|author-link1 = Peter Wollny

|date = 2015

|chapter = Vom "apparat der auserleßensten kirchen Stücke" zum "Vorrath an Musicalien, von J. S. Bach und andern berühmten Musicis": Quellenkundliche Ermittlungen zur frühen Thüringer Bach-Überlieferung und zu einigen Weimarer Schülern und Kollegen Bachs

|chapter-url = https://doi.org/10.13141/bjb.v20152375

|title = Bach-Jahrbuch 2015

|url = https://journals.qucosa.de/bjb/issue/view/176

|series = Bach-Jahrbuch

|language = de

|volume = 101

|others = Neue Bachgesellschaft

|location = Leipzig

|publisher = Evangelische Verlagsanstalt

|pages = 99–154

|doi = 10.13141/bjb.v2015

|isbn = 978-3-374-04320-0

|via = {{ill|Qucosa|de}}

|issn = 0084-7682

}}

• {{IMSLP|work=Magnificat in C major (Torri, Pietro)|cname=Magnificat in C major (Torri)}}

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Torri

Category:Compositions in C major

Category:Bach: spurious and doubtful works

Category:Baroque compositions