With a place in many Christian denominations, the Magnificat or ‘Song of Mary’ can differ among traditions, but its message from Luke’s Gospel is constant. Carl Philipp Emanuel Bach's nine-part setting puts him in good company - the words have been set to music by many composers, with Mozart, Bruckner, Pärt and Carl's father, J.S. Bach, among them. A qualified lawyer who never actually practised, Carl eventually succeeded Telemann - his godfather - as Director of Music for Hamburg's five major churches in 1768. The Magnificat, however, dates from Carl's earlier years in Berlin, where he performed as a member of Frederick of Prussia's royal orchestra. His reputation as a prodigious musician offered opportunities to work and socialise with the musical and literary giants of the day. This rich artistic environment may have encouraged Carl in his composition efforts. Composed in 1749, his Magnificat followed a large output of keyboard music and represented his first attempt at a large-scale choral work. The recipient of Gramophone Magazine's 2014 Baroque Vocal award, this formidable performance of the Magnificat is accompanied by the Sinfonie in D Major - a favourite of the composer's - and another choral work, Heilig, scored for double choir.