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Harker in A flat . Harris in A . Harwood in A flat . Harwood in E minor . Hawes in D . Hemingway in E . Hemingway The King's Service . Howells in B minor . Howells in E major (Men's voices) ...
The Book of Common Prayer allows for an alternative to the Magnificat—the Cantate Domino, Psalm 98—and some Anglican rubrics allow for a wider selection of canticles, but the Magnificat and Nunc dimittis remain the most popular. In Anglican, Lutheran, and Catholic services, the Magnificat is generally followed by the Gloria Patri.
The setting of the evening canticles, part of the Anglican daily service of Evening Prayer, consists of the Magnificat (Song of Mary) and Nunc dimittis (Song of Simeon). Mary sings the Magnificat ("My soul doth magnify the Lord") on the occasion of her visit to Elizabeth , as narrated in the Gospel of Luke ( Luke 1:39–56 ).
Ralph Vaughan Williams composed his setting of the Magnificat or Song of Mary, one of the three New Testament canticles, in 1932. [1] It is scored for contralto soloist, women's chorus, and an orchestra consisting of two flutes (the first player has a very prominent solo part; the second player doubles on piccolo), two oboes, cor anglais, two clarinets, two bassoons, four horns, two trumpets ...
Schütz set the Magnificat text once in Latin and five times in German, Meine Seele erhebt den Herren (My soul magnifies the Lord), also called German Magnificat. Schütz composed them at different times for different forces, occasions and purpose. Some belong in the context of a larger collection. Two of the settings in German are lost. [2]
The service has been recorded several times, [5] including a 1988 collection The Music of St. Paul's Cathedral, performed by the cathedral choir conducted by John Scott with organist Christopher Dearnley, [6] and a 1997 overview of ten settings of Magnificat and Nunc dimittis by English composers, performed by the Choir of York Minster conducted by Philip Moore and with organist John Scott ...
Magnificat quarti toni a 2; Magnificat quarti toni a 4 Juan de Anchieta: 1462 1523 Magnificat sexti toni; Magnificat tertii toni – See e.g. Cancionero de Segovia: Robert Fayrfax: 1464 1521 Magnificat 'O bone Jesu' a 5 (STTTB); Magnificat 'Regale' (SATTB) Jerzy Liban: 1464 after 1546 Nine Magnificats in Tonus I–IX (1540) Pedro de Escobar: c ...
The tonus peregrinus is an exceptional psalm tone in Gregorian chant: there it was most clearly associated with Psalm 113, traditionally sung in vespers.In Lutheranism, the tonus peregrinus is associated with the Magnificat (also usually sung in vespers): the traditional setting of Luther's German translation of the Magnificat ("Meine Seele erhebt den Herren") is a German variant of the tonus ...