Christmas Musicals for Church
Issue link: https://read.jwpepper.com/i/1249788
Program Notes e Magnificat text is rich and historic, and though it's an unwritten rule, it seems each composer gets one chance to declare what they believe the text means to them. Is it possible to capture the sound of Mary going from typical teenage child to God's chosen one? Is it feasible to spend five movements cycling through all of the emotions the story elicits? What helps narrate and what seems overly dramatic? As I approached the text, the following became my interpretation: Magnificat anima mea Joy, honor, and bewilderment. A child-like exclamation at the beginning yields to a warm melody by measure 28, where the men begin singing of God's regard for Mary's lowly status. A murky section af- terward leans on the word anima, which is feminine and means "breath," "air," or "life force." Before returning to joy, we have incredibly stately chords as the choir sings about what mighty work God has done through Mary. Shall I Rejoice To add a modern voice, I asked Dr. Terry York to write a new text, and his words connected with me deeply. ere is a musical simplicity to this movement, but the piece builds around Dr. York's text as he very uniquely channels Mary's intuition to foreshadow the trouble ahead for her son. at uncertainty peaks as the words "joy and agony" sound like they unravel. Still, every phrase ends with release and determination. Deposuit A solo violin becomes Mary's character, and you can hear the uncertainty in her voice. e violin is mi- nor, it's questioning, it's fearful. And the text from the choir is about fearing God, who will show strength, and scatter the proud and arrogant. e movement ends with an unexpected peace, as the violin rep- resents Mary's understanding of what this means. Et misericordia Movements three and four are very much linked. e sixteenth notes remain, but their hurried sound turns major as the choir sings about God exalting the humble and feeding the hungry, leaving behind the fearful nature of the previous movement. Gloria Patri e final movement begins with jubilation: Gloria Patri ("Glory be to the Father"), the choir sings, as the accompaniment swells. "As it was in the beginning" is the translation, as the choir then sings a gentle, sim- ple melody. e Latin word semper seems to go in circles about halfway through, as it means "always." A slowed down version of the opening melody is sung by a soloist or small group in an ethereal way, before the choir energetically closes by singing about what this means for "generations of generations." —Taylor Scott Davis Accompaniment Options Full Orchestra 2 Flutes, Oboe, 2 Clarinets in B-flat, 2 Bassoons, 2 Horns in F, 2 Trumpets in C, Timpani, Percussion (Wind Chimes, Triangle, Cymbals, Glockenspiel, Chimes, Tambourine, and Bass Drum), Harp, Strings Score and Parts Rental Additional Full Score 70-025A Chamber Orchestra Flute, Oboe, Clarinet in B-flat, Bassoon, Percussion (Timpani, Triangle, and Cymbals), Harp, Strings Score and Parts Rental Additional Full Score 70-025B Organ and Harp (Piano), with opt. Percussion Score 70-025C Parts 70-025D For Preview Only