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"The 'Merciless' Magnificat": A Magnificat reflection by Father Johann Roten, S.M., University of Dayton's Marian Library/International Marian Research Institute. The Marian Library/IMRI is the world's largest repository of books, artwork and artifacts devoted to Mary and a pontifical center of research and scholarship.
Magnificat, a regular part in Catholic vesper services, was also used in the Lutheran church, in vespers and for Marian feasts. 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 ...
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 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 ...
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).
On 24 August that year, during vacation, the Te Deum was repeated with the first performance of the Benedictus, while the Magnificat and the Nunc dimittis were first performed in the evening service. The Service in B ♭ was a significant development in Stanford's setting of the morning and evening canticles.
The setting is divided into six movements, including five psalms and a setting of the Magnificat. A setting of the Minor Doxology (Gloria Patri) concludes all movements, each recapitulating the opening theme. The first three psalms are scored in a vigorous, exuberant manner, contrasting with the strict counterpoint of the a cappella Laudate pueri.
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.