In 1723, Bach began his work at the Thomaskirche in Leipzig, a position he was to hold until his death in 1750. Having newly arrived, he composed this setting of the Magnificat for use at Christmas Vespers in 1723. The Magnificat, or Song of the Virgin Mary, derives from the Gospel of St. Luke, and is sung every evening at Vespers in many Christian traditions. This jubilant and festive setting stands out among the many musical compositions through the centuries of this venerable text.
In December of 1963, the Dean of Chichester Cathedral in England approached American composer and conductor Leonard Bernstein about a composition to be featured at a 1965 Choral Festival at the Cathedral. The work was to be a setting of Psalm texts, and the Dean did not hesitate to add that they would not be disappointed if the new work had overtones of West Side Story. This invitation inspired the Chichester Psalms, and three movements each including a complete Psalm setting joined to the fragment of another: Psalms 23, 100 and 131 in their entirety and poignant verses from Psalms 2, 108 and 133. The music has been described as “sparkling and snazzy, dancing giddily” with bluesy overtones that powerfully express these ancient Hebrew texts.