JOHN RUTTER MAGNIFICAT PDF

Most of these received their first performances in the United States, where Rutter is a frequent visitor, writing regularly for American choirs and conducting performances of his own music. The Magnificat - the canticle of the Blessed Virgin Mary Luke I: - traditionally formed part of the ancient service of Vespers in the medieval Roman rite. After the Reformation it was incorporated into the evening services of the Lutheran and Anglican churches, where it was linked with the Nunc Dimittis. Despite the fact that the two works are about as different in style as they could possibly be, they nevertheless do share some basic similarities. And just as Bach included several additional Christmas movements in the original E-flat version of his Magnificat, so too Rutter incorporates three extra elements into the standard Latin text. John Rutter has stated that his intention was to write a Magnificat redolent of Mediterranean sunshine and celebration, evoking the spirit of the many exuberant festivals held throughout Europe in honour of the Virgin Mary.

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Because of the power of its poetry, as well as the centrality of its text in the major Christian liturgical traditions, composers for centuries have adorned the Magnificat with extended musical settings. Composer John Rutter claims to have long wanted to contribute to the tradition which somewhat tapered after J. Bach , but shied away from the text for many years. By his own account, it was the jubilant celebrations of Mary in Hispanic cultures that finally gave him the proper impetus to set the text.

The opening is exuberant and dancelike, with female voices taking the antiphonal lead. He introduces some contrast with the contrapuntal In Deo salutari and slimmer and modal Quia respexit, with a return to the opening dance. His second movement follows a long tradition of inserting non-liturgical "troped" texts into Marian music, with a 15th century English poem flush with rose-imagery for the Virgin. The remaining movements each both adopt the mood of a liturgical Magnificat verse and echo previous music in the piece.

Quia fecit contrasts a powerful opening to a bare quotation of a Gloria chant. The gentle Et misericordia features the sporano soloist. Fecit potentiam includes a warlike first melody, spiced by trumpet fanfares and low brass, and a choral fugue.

The gently rocking Esurientes balances the earlier soprano with a somewhat lower solo. The final Gloria Patri begins with an echo of the power of Quia fecit, moves to a troped solo chant praying to Mary among a "halo" of strings," and concludes with a repetition of the exhuberant dance that began the piece.

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Magnificat

Because of the power of its poetry, as well as the centrality of its text in the major Christian liturgical traditions, composers for centuries have adorned the Magnificat with extended musical settings. Composer John Rutter claims to have long wanted to contribute to the tradition which somewhat tapered after J. Bach , but shied away from the text for many years. By his own account, it was the jubilant celebrations of Mary in Hispanic cultures that finally gave him the proper impetus to set the text. The opening is exuberant and dancelike, with female voices taking the antiphonal lead. He introduces some contrast with the contrapuntal In Deo salutari and slimmer and modal Quia respexit, with a return to the opening dance. His second movement follows a long tradition of inserting non-liturgical "troped" texts into Marian music, with a 15th century English poem flush with rose-imagery for the Virgin.

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Magnificat for soprano, chorus & orchestra

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John Rutter

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