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These songs are Mary's Magnificat; Zechariah's Benedictus (1:67–79); the angels' Gloria in Excelsis Deo (2:13–14); and Simeon's Nunc dimittis (2:28–32). In form and content, these four canticles are patterned on the "hymns of praise" in Israel's Psalter. In structure, these songs reflect the compositions of pre-Christian contemporary ...
[1] [2] While many Marian hymns are sung to Mary, this song is sung in solidarity with her Magnificat, as the refrain indicates. [3] The text was set to music by Jean-Claude Gianadda . [1] [4] The melody is in B major and common time, in the style of a chanson. [1] The song is part of Junges Gotteslob, the Catholic hymnal for young people, and ...
The Eastern Orthodox yearly cycle of liturgy has more hymns to Mary than does the liturgy of Roman Catholicism, [1] which often uses them in month-of-May devotions. These liturgies include the Magnificat hymn, which is one of the eight most ancient Christian hymns—perhaps the earliest, according to historian Marjorie Reeves.
Übers Gebirg Maria geht (Over the mountains Mary goes) is a sacred motet by the Renaissance composer and musician Johannes Eccard, who wrote it on a German text by Ludwig Helmbold in two stanzas. The first stanza is a rephrasing of the biblical story of the visit of Mary to Elisabeth, ending in Mary's song of praise known as the Magnificat ...
The assumption of Mary is praised in numerous songs from the 10th century, [13] In several songs, Mary is praised to be above all saints and angels and participates in the kingdom of her son. Her assumption is “wished by the faithful people” in a song from the 12th century. [14] The Marian songs and hymns in this epoch are too numerous to ...
Heinrich Schütz composed four extant settings of the Magnificat or Song of Mary, one of the three New Testament canticles. He set one in Latin and three in German. In the Schütz-Werke-Verzeichnis (SWV), the compositions have the numbers 344, 426, 468 (in Latin) and 494. The settings on the German text are all part of larger groups of works.
The Magnificat setting consists of seven movements for the text of the canticle (Luke 1:46-55), concluded by two movements of the doxology. The following table shows the title, voices, tempo marking, time , key and text source for the nine movements, based on the vocal score, edited by Günter Graulich after the autograph.
Magnificat included in Magnificat cum 4 vocibus, Book 1 (Venice, 1542) Ludwig Senfl: c. 1490 1543 Magnificats (Tonus I-VIII) John Taverner: c. 1490 1545 Magnificats for 4, 5 or 6 voices Johannes Galliculus: c. 1490 c. 1550 Magnificat quarti toni (a 4); Magnificat quinti toni (a 4); Magnificat septimi toni (a 4) Adrian Willaert: c. 1490 1562
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