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My soul doth magnify the Lord. And my spirit hath rejoiced in God my Saviour. For he hath regarded: the lowliness of his handmaiden: For behold, from henceforth: all generations shall call me blessed. For he that is mighty hath magnified me: and holy is his Name. And his mercy is on them that fear him: throughout all generations.
The chorus enters after 12 measures with "Meine Seel erhebt den Herren" (My soul magnifies the Lord). [57] The cantus firmus is in the soprano, doubled by a trumpet, whereas the lower voices add free polyphony on motifs from the introduction. [58]
Meine Seele erhebt den Herren (My soul magnifies the Lord) is Martin Luther's translation of the Magnificat canticle. It is traditionally sung to a German variant of the tonus peregrinus, a rather exceptional psalm tone in Gregorian chant. [1] The tonus peregrinus (or ninth tone) is associated with the ninth mode or Aeolian mode. [2]
The settings on the German text are all part of larger groups of works. They are settings of Martin Luther's German Magnificat, Meine Seele erhebt den Herren (My soul magnifies the Lord). Schütz wrote the compositions for different forces and occasions.
21, TWV 1:1748, is Melchior Hoffmann's musical setting of a German version (Meine Seele erhebt den Herren) of the Song of Mary (Magnificat, "My soul magnifies the Lord") from the Gospel of Luke. The composition originated around 1707, when the composer was director musices and organist of the Neue Kirche in Leipzig.
She said this, ‘My soul magnifies the Lord and my spirit rejoices in God, my Savior.’ So, I just want to wish everybody a Merry Christmas, happy holiday season, and rejoice," he said. "Rejoice.
The opening movement Magnificat anima mea (My soul magnifies the Lord) [24] is performed by all voices and all instruments except the recorders. [19] The instruments present the material with almost continuous runs in the upper parts, octaves and broken triads in the bass.
Vivaldi structured the Magnificat, RV 610, in nine movements, eight for the text of the canticle (Luke 1:46-55) and the conclusion for the doxology.Set in G minor, it is scored for two soprano soloists, alto and tenor soloists, SATB choir, two oboes, violin I and II, viola, and basso continuo, such as cello and a keyboard instrument.