Music and the Magnificat
The Magnificat, as recorded in Luke’s Gospel, is a hymn that has become a cornerstone for music making within the Church for over two millennia. In the Gospel, Mary sings these words on hearing that she will bear the Son of God. Today, we see the text used liturgically in the Office of Vespers, and in its Anglican counterpart, Evensong. Brevity is often demanded of composers of the Magnificat, so that the piece may fit within the liturgical setting.
One notable exception from this rule of thumb is Bach’s musical setting. Rutter has taken inspiration for this work directly from Bach’s setting. Where Bach interpolates the text with Christmas texts, Rutter does likewise. Where Bach uses Gregorian plainchant associated with the text, Rutter does likewise. Where Bach concludes his work by revisiting the music of the first movement, Rutter does likewise. It is clear from where Rutter draws his inspiration.
The Music
The opening movement of Rutter’s Magnificat paints Mary’s joy with dance-like rhythms and strong melodies. Mary’s humility calls for a more subdued emotion, before returning to the dance motifs. The second movement is a beautiful setting of a 15th century English poem. The poet describes the branching of the tree of Jesse, eventually leading to the birth of Jesus. The refrain “Of a Rose, a lovely Rose…” refers to Mary as a loving and pure shoot. The next movement, “Quia fecit mihi magna” (For he that is mighty) builds in a stately manner interposed with fanfares, before moving to a much calmer second half and ending with an excerpt of Gregorian chant. “Et misericordia” (And his mercy is on them) is the first movement in which we hear the beautiful flowing melodies that he writes for the Soprano soloist, in a pastoral tone. “Fecit potentiam” (He has showed strength with his arm), which is marked ‘Lively and energetic’, depicts the power of the Lord with fugal passages, and regular meter changes in line with the text “Dispersit superbos” (He has scattered the proud) serve to confuse the listener. The following movement, “Esurientes”, in which we hear of God’s mercy, calls once more for the Soprano solo, again in dialogue with the whole chorus. The final movement recapitulates the grand themes from the third movement. Again, Rutter has inserted a later text: Sancta Maria (Holy Mary), the antiphon from the Feast of the Blessed Virgin Mary. The work closes as it opened, with the bouncy, dance-like rhythmic and melodic figures of the first movement.
Samuel Foxon, 2022
Leave a Reply