List of Magnificat composers

The Magnificat, in Latin also canticum Beat(issim)ae Virginis Mariae (the song of the (most) Blessed Virgin Mary), is a common part of Christian worship, for instance traditionally included in vespers, evensong or matins.[1][2] As such it is often sung and was set to music by various composers.

History[edit]

Magnificat in Gregorian chant

In Gregorian chant the Magnificat is sung according to the eight traditional psalm tones:

• Tonus I (first tone): Magnificat primi toni
• Tonus II (second tone): Magnificat secundi toni
• Tonus III (third tone): Magnificat tertii toni
• Tonus IV (fourth tone): Magnificat quarti toni
• Tonus V (fifth tone): Magnificat quinti toni
• Tonus VI (sixth tone): Magnificat sexti toni
• Tonus VII (seventh tone): Magnificat septimi toni
• Tonus VIII (eighth tone): Magnificat octavi toni

Composers, or collections of compositions, referring to or using all eight of the traditional Gregorian psalm tone settings of the Magnificat include the Choirbook, D-Ju MS 20 (various composers), the sixteen Magnificats by Palestrina, the Enchiridion utriusque musicae practicae by Georg Rhau, and Johann Pachelbel’s Magnificat fugues.[3]

Also the newer psalm tones were used for Magnificat settings:

• Tonus IX (ninth tone or tonus peregrinus): Magnificat noni toni or Magnificat peregrini toni – in Lutheranism this psalm tone became specifically tied to the Magnificat since Luther’s translation of the Magnificat, “Meine Seele erhebt den Herren”, is usually sung to a German variant of the tonus peregrinus.[4] Later composers referring to the German Magnificat by using this variant of the ninth tone include Dietrich Buxtehude (Magnificat noni toni, BuxWV 205) and Johann Pachelbel with his Chorale preludes Magnificat peregrini toni
• Tonus X (tenth tone): Magnificat decimi toni – for later composers using this see e.g. Psalmi vespertini quatuor vocibus concinendi cum organo ad libitum, Op. 8 by Angelo Berardi (1675)
• Tonus XI (eleventh tone): Magnificat undecimi toni – for later composers using this see e.g. Magnificat compositions by Moritz von Hessen
• Tonus XII (twelfth tone): Magnificat duodecimi toni – for later composers using this see e.g. Magnificat compositions by Moritz von Hessen

Apart from the Magnificat sung to the psalm tones, in Gregorian chant there are also the Magnificat antiphons or O Antiphons inspiring composers like Arvo Pärt.

In seventeenth century polyphony no other religious text, apart from the Mass Ordinary, was set more often than the Magnificat. Often only six out of twelve verses of the Magnificat were set in polyphony, performance alternating verses sung in polyphony and verses sung in monody according to the church tone. In such alternatim settings the even verses were chosen more often for setting in polyphony, because they contained the last verse of the doxology, so that the singing of the Magnificat ended with a piece in polyphony.[5]

Examples of such settings include the sixteen Magnificat settings by Cristóbal de Morales: half of these include only the odd verses (“anima mea” settings), the others only the even verses (“Et exultavit” settings) – both series of eight settings by Morales have one setting per traditional church tone.

Bars 10–13 of Jean Titelouze’s second setting of Deposuit potentes from Magnificat primi toni. The subject of this inversion fugue is highlighted with shades of blue.

From around 1600 such Magnificats are also composed for the organ, e.g. Jean Titelouze’s 1626 Le Magnificat ou Cantique de la Vierge pour toucher sur l’orgue suivant les huit tons de l’Église (odd versets).

In the Baroque era the “cantata form” for religious compositions originated in Italy: like masses in the Neapolitan style, Magnificats could be set as a succession of self-contained sections in a variety of styles, choruses alternating with arias for solo singers.[6][7][8] Francesco Durante’s 1752 Magnificat in A minor is an example of a composition in this style.

In Anglicanism a Magnificat is usually combined with a Nunc dimittis in an (Evening) Service, in which case the English translation of the text (“My soul doth magnify the Lord”) is used. For example, Orlando Gibbons composed such Services. In Orthodox Christianity the Magnificat, or “Song of the Theotokos”, is sung in the Orthros (matins) as part of the Canon. All-night vigils include the Orthros, and a setting of such vigil thus usually includes the setting of a Magnificat, e.g. the “Canticle of the Theotokos” («Величитъ душа моя Господа», Velichit dusha moya Gospoda, “My soul doth magnify the Lord”), No. 13 in Tchaikovsky’s All-Night Vigil.

Table[edit]

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References[edit]

Citations[edit]

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^ Lowther Clarke 1922.

^ Taft 1986, p. 128.

^ Wiering 2013, pp. 265–296.

^ Lundberg 2012, pp. 10–11.

^ Porter 2008, pp. 63-.

^ Roche & Lingas 2011.

^ Franz 1863, p. 6.

^ Kretzschmar 1921, p. 395.

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^ Politoske 2001.

^ Thielemann 2012, pp. 217–224.

^ “Work 8841”. Bach Digital. Leipzig: Bach Archive; et al.

^ “Work 1268”. Bach Digital. Leipzig: Bach Archive; et al.

^ Talbot 2011, p. 23.

^ Magnificat in C at www.collavoce.com

^ “Sven-David Sandström”. Indiana University Bloomington. 15 April 2012. Archived from the original on 2012-04-15.

^ Indiana University, Program 2007–2008, no. 420: OCLC 291046339

^ Stephen Moss: Sing a song of Christmas The Guardian, 22 December 2000.

^ Smith 2004, pp. 1–11.

^ Haugen 1986.

^ “Zum Ökumenischen Magnificat von Peter Bannister” [On the Ecumenical Magnificat by Peter Bannister]. Evangelische Kirchenmusik Heilbronn-Böckingen (in German). 2017. Retrieved 29 October 2020.

^ Reulein & Schlegel 2016, p. 230.

^ Stopford, Philip. “Truro Evening Canticles”. MorningStar Music Publishers. Retrieved 29 October 2020.

^ Stopford, Philip. “Belfast Evening Canticles”. MorningStar Music Publishers. EAN 0688670563102. Retrieved 29 October 2020.

^ a b “Magnificat”. Philip Stopford. Retrieved 29 October 2020.

Sources[edit]

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• Franz, Robert (1863). Mittheilungen über Johann Sebastian Bach’s “Magnificat”. H. Karmrodt. p. 6.
• Karl Heinz Illing. Das Magnificat in der protestantischen Kirchenmusik. Kiel, 1933
• Guerrero, Francisco; Llorens, José María (1999). Francisco Guerrero Opera Omnia. Editorial CSIC. ISBN 978-84-00-07827-0.
• Gernot Gruber. Parodiemagnificat aus dem Umkreis der Grazer Hofkapelle (1564–1619) in Denkmäler der Tonkunst in Österreich, Volume 133. Graz, 1981
• Haugen, Marty (1986). Now the Feast and Celebration / Holden Evening Prayer (CD). GIA Publications. Retrieved 2016-03-13.
• Kretzschmar, Hermann (1921). Führer durch den Konzertsaal. Vol. Part II, Volume 1: Kirchliche Werke (5th ed.). Breitkopf & Härtel.
• Lowther Clarke, W.K. (1922). Evensong Explained, with Notes on Matins and the Litany. London: SPCK – via Project Canterbury.
• Lundberg, Mattias (2012). Tonus Peregrinus: The History of a Psalm-tone and its use in Polyphonic Music: The History of a Psalm-tone and its use in Polyphonic Music. Ashgate. ISBN 978-1-4094-5507-3.
• Politoske, Daniel T (2001), “Daser, Ludwig”, Grove Music Online, doi:10.1093/gmo/9781561592630.article.07237
• Porter, Christopher Michael (2008). Salzburg W. B. XIV: Historical Context, Liturgical Significance and Critical Edition. The University of Iowa – via ProQuest.
• Reulein, Peter; Schlegel, Helmut (2016). Laudato si’ / Ein franziskanisches Magnificat. Limburg an der Lahn: Dehm Verlag. p. 230. ISBN 978-3-943302-34-9. ISMN 979-0-50226-047-7.
• Roche, E.; Lingas, A. (2011). “Mass”. In Alison Latham (ed.). The Oxford Companion to Music. Oxford: University Press. ISBN 9780199579037.
• Smith, Barry (January 2004). “Peter Klatzow’s religious choral music”. South African Journal of Musicology. 24 (1): 1–11. hdl:10520/EJC97737.
• Taft, Robert F. (1986). The Liturgy of the Hours in East and West: The Origins of the Divine Office and Its Meaning for Today. Liturgical Press. ISBN 978-0-8146-1405-1.
• Talbot, Michael, ed. (2011). The Vivaldi Compendium. Boydell Press. ISBN 978-1-84383-670-4.
• Thielemann, Arne (2012). “Zur Identifizierung des Magnificats BWV Anh. 30 aus Johann Sebastian Bachs Notenbibliothek” [On the identification of the Magnificat BWV Anh. 30 from Johann Sebastian Bach’s music library]. In Wollny, Peter (ed.). Bach-Jahrbuch 2012 [Bach Yearbook 2012]. Bach-Jahrbuch (in German). Vol. 98. Neue Bachgesellschaft. Leipzig: Evangelische Verlagsanstalt. pp. 217–224. doi:10.13141/bjb.v2012. ISBN 978-3-374-02668-5. ISSN 0084-7682.
• Unger, Melvin P. (2010). Historical Dictionary of Choral Music. Scarecrow Press. ISBN 978-0-8108-7392-6.
• Wiering, Frans (2013). The Language of the Modes: Studies in the History of Polyphonic Modality. Taylor & Francis. ISBN 978-1-135-68341-2.

External links[edit]

• Free scores of Magnificats in the Choral Public Domain Library (ChoralWiki)
• Free scores of Magnificat antiphons in the Choral Public Domain Library (ChoralWiki)
• Free scores of Vespers in the Choral Public Domain Library (ChoralWiki)
• Magnificats, Vespers: Scores at the International Music Score Library Project

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Source: https://en.wikipedia.org/wiki/List_of_Magnificat_composers