{"id":47,"date":"2022-11-08T22:00:57","date_gmt":"2022-11-08T22:00:57","guid":{"rendered":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/chapter\/the-magnificat-and-nunc-dimittis\/"},"modified":"2024-07-25T12:40:08","modified_gmt":"2024-07-25T12:40:08","slug":"the-magnificat-and-nunc-dimittis","status":"publish","type":"chapter","link":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/chapter\/the-magnificat-and-nunc-dimittis\/","title":{"raw":"The Magnificat and Nunc Dimittis","rendered":"The Magnificat and Nunc Dimittis"},"content":{"raw":"<div class=\"the-magnificat-and-nunc-dimittis\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">In this chapter you will<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<ul>\r\n \t<li>discover whether \u201cMary\u2019s Song\u201d was in fact a \u201csong\u201d in its original context in the Gospel of Luke<\/li>\r\n \t<li>learn why some composers have set this same text to music repeatedly<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\nFor as long as there has been liturgical setting or singing of parts of the Bible to musical accompaniment, the Magnificat has been part of that. Often called \u201cMary\u2019s Song\/Canticle,\u201d Luke 1:46\u201355 does not say that Mary sang the words in question. It features in Eastern Orthodox, Catholic, and Protestant liturgies. <a href=\"https:\/\/www.youtube.com\/watch?v=DDF_yrYxPcE\" target=\"_blank\" rel=\"noopener\">John Dunstaple<\/a> set the Magnificat in the fifteenth century, and many more followed, including <a href=\"https:\/\/www.youtube.com\/watch?v=5meBw5Tcnyo\" target=\"_blank\" rel=\"noopener\">Tom\u00e1s Luis de Victoria<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=KjBgP-n1IcU\" target=\"_blank\" rel=\"noopener\">Giovanni Pierluigi da Palestrina<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=kbUaT2k5n78\" target=\"_blank\" rel=\"noopener\">Antonio Vivaldi<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=EsUWG2axB3w\" target=\"_blank\" rel=\"noopener\">J. S. Bach<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=MTJEacCzGVI\" target=\"_blank\" rel=\"noopener\">W. A. Mozart<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=xcn1D5ck1EA\" target=\"_blank\" rel=\"noopener\">Franz Schubert<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=8DDAOWgMCQY\" target=\"_blank\" rel=\"noopener\">Felix Mendelssohn<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=ckM86VIeI_E\" target=\"_blank\" rel=\"noopener\">Franz Liszt<\/a> (as part of his <em><a href=\"https:\/\/imslp.org\/wiki\/Dante_Symphony,_S.109_(Liszt,_Franz)\" target=\"_blank\" rel=\"noopener\">Dante<\/a> <\/em>Symphony), Anton Bruckner, Ralph Vaughan Williams, <a href=\"https:\/\/www.youtube.com\/watch?v=PrHPTDU-odg\" target=\"_blank\" rel=\"noopener\">John Rutter<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=4qS-HygtpeQ\" target=\"_blank\" rel=\"noopener\">Krzysztof Penderecki<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=b4NY3iXMBTc\" target=\"_blank\" rel=\"noopener\">Arvo P\u00e4rt<\/a>, and (as part of the Orthodox <em>All-Night Vigil<\/em>) Piotr Ilyich Tchaikovsky and Sergei Rachmaninov.\r\n<p class=\"import-p\" style=\"text-indent: 36pt;\">The Nunc Dimittis has been set on its own less frequently. This is sometimes called \u201cSimeon\u2019s Song\u201d and also derives from the infancy story in Luke\u2019s Gospel.[footnote]As with \u201cMary\u2019s Song,\u201d the Gospel of Luke does not indicate that the words had a musical character when first uttered.[\/footnote] For a particularly striking modern setting, have a listen to <a href=\"https:\/\/www.youtube.com\/watch?v=nr3MR3fVyvo\" target=\"_blank\" rel=\"noopener\">Sungji Hong\u2019s \u201cNunc Dimittis.\u201d<\/a> <a href=\"https:\/\/www.sungjihong.com\/\" target=\"_blank\" rel=\"noopener\">She<\/a> has also set the <a href=\"https:\/\/www.youtube.com\/watch?v=yUHgLha4TCY\" target=\"_blank\" rel=\"noopener\">Pater Noster<\/a> (Our Father \/ Lord\u2019s Prayer) and has <a href=\"https:\/\/www.deus-ex-musica.com\/blog\/2019\/12\/20\/composer-spotlight-sungji-hong\" target=\"_blank\" rel=\"noopener\">an ongoing project exploring the life of Jesus through multiple musical works<\/a>.<\/p>\r\n<p class=\"import-p\" style=\"text-indent: 36pt;\">It can be challenging enough to set words to music that have been set many times before. With the Magnificat and Nunc Dimittis together becoming a main recurring feature of the <a href=\"http:\/\/anglicanhistory.org\/liturgy\/clarke_evensong.html\" target=\"_blank\" rel=\"noopener\">Evensong liturgy of the Anglican Church<\/a> (a <a href=\"https:\/\/www.classicfm.com\/discover-music\/what-is-evensong-how-long-service\/\" target=\"_blank\" rel=\"noopener\">daily service marking the end of another day<\/a>), a further challenge was added for church composers: set these same words over and over again.[footnote]The Episcopal Church in the United States is the US equivalent of the Anglican Church or Church of England in the UK.[\/footnote] If adding to what others have produced with one new offering of one\u2019s own can be daunting, what about when one has to add another new creation of one\u2019s own with the same text? Anglican composers were not the first to face this challenge, of course. A number of composers in the era of Gregorian chant, for instance, made multiple musical arrangements for the designated psalm tones used for the Magnificat. Anglican composers did, however, face this challenge regularly, and without a specified melody to serve as a starting point. Charles Villiers Stanford provides a particularly good example, as he composed settings of the Magnificat in every key. Here are his Magnificat settings in G and in C sung by the Choir of St. John\u2019s College, Cambridge; his Magnificat in A sung by the Manchester Cathedral Choir; and the one in B flat sung by the Choir of Winchester Cathedral.[footnote]The <a href=\"https:\/\/www.youtube.com\/watch?v=YkjATZv7tj0\" target=\"_blank\" rel=\"noopener\">Choir of St. John\u2019s College, Cambridge<\/a>, shared their music on their own YouTube channel. That choir has released complete <a href=\"https:\/\/issuu.com\/st-johns-college-cambridge\/docs\/105__2021__-_magnificat_-_volume_2__the_choir_of_s\" target=\"_blank\" rel=\"noopener\">albums<\/a> with settings of the Magnificat and Nunc Dimittis (Evening Canticles). The performance by the Manchester Cathedral Choir was provided to YouTube by the Orchard Enterprises. The performance by the Choir of Winchester Cathedral was released by the <a href=\"https:\/\/www.hyperion-records.co.uk\/dw.asp?dc=W3321_GBAJY9897409\" target=\"_blank\" rel=\"noopener\">Hyperion<\/a> label. These videos were created by an anonymous YouTuber who combined the music in question with the score of the work.[\/footnote]<\/p>\r\n[embed]https:\/\/www.youtube.com\/watch?v=g7UorDdRg60[\/embed]\r\n\r\n[embed]https:\/\/www.youtube.com\/watch?v=LUWKSTysnpg[\/embed]\r\n\r\n[embed]https:\/\/www.youtube.com\/watch?v=1acpuj8koao[\/embed]\r\n\r\n[embed]https:\/\/www.youtube.com\/watch?v=qsbWHMfQXzE[\/embed]\r\n<p class=\"import-p\" style=\"text-indent: 36pt;\"><a href=\"https:\/\/www.youtube.com\/watch?v=qY-6g2gOFoU\" target=\"_blank\" rel=\"noopener\">Hubert Parry<\/a> has also composed a significant body of choral work for the Church of England, including settings of the Magnificat and Nunc Dimittis. We have mentioned <a href=\"https:\/\/sedangli.wordpress.com\/2012\/01\/09\/howells-the-pillar-of-fire\/\" target=\"_blank\" rel=\"noopener\">the music of Herbert Howells<\/a> already in chapter 11 on David. He also composed <a href=\"https:\/\/www.hyperion-records.co.uk\/dw.asp?dc=W8855_67914\" target=\"_blank\" rel=\"noopener\">twenty<\/a> settings of the Magnificat and Nunc Dimittis. Compare these two recordings.[footnote]The <em>Magnificat Collegium Regale<\/em> is performed by the Choir of King\u2019s College, Cambridge, conducted by Stephen Cleobury, licensed to YouTube by UMG (on behalf of Universal Music). His 1918 setting of the Magnificat and Nunc Dimittis is performed by the Collegiate Singers. The music is provided to YouTube by the Orchard Enterprises.[\/footnote]<\/p>\r\n[embed]https:\/\/www.youtube.com\/watch?v=fpB9mQHORlg[\/embed]\r\n\r\n[embed]https:\/\/www.youtube.com\/watch?v=oJVutyLvDQA[\/embed]\r\n<p class=\"import-p\" style=\"text-indent: 36pt;\">If you\u2019d like to listen to still more contrasting examples by the same composer, <a href=\"https:\/\/web.archive.org\/web\/20220516063401\/http:\/\/www.dysontrust.org.uk\/\" target=\"_blank\" rel=\"noopener\">George Dyson<\/a> set the Magnificat and Nunc Dimittis three times.[footnote]The Magnificat in C minor by George Dyson is sung by the Choristers of Lichfield Cathedral. Licensed to YouTube by the Orchard Music. The Magnificat and Nunc Dimittis by George Dyson are here performed by the Choir of King\u2019s College, Cambridge, conducted by Stephen Cleobury. Licensed to YouTube by Kontor New Music Media. The Magnificat and Nunc dimittis in F by George Dyson are performed by the Guildford Cathedral Choir, directed by Barry Rose, in a recording made at Evensong at Guildford Cathedral, July 17, 1967.[\/footnote]<\/p>\r\n[embed]https:\/\/www.youtube.com\/watch?v=LqqhCpuIoos[\/embed]\r\n\r\n[embed]https:\/\/www.youtube.com\/watch?v=TfTpdCnrikU[\/embed]\r\n\r\n[embed]https:\/\/www.youtube.com\/watch?v=TAOVJPHE-5s[\/embed]\r\n<p class=\"import-p\" style=\"text-indent: 36pt;\">Notice the way composers find a fresh approach to the same text. To begin with, they tend to write each new setting in a different key. Sometimes they opt for minor as a variation from major, immediately giving a different feel. If in one the melody begins ascending, they may make sure they are doing something different next time by descending initially. They do not simply hope that the new work will emerge and be different from previous settings; rather, they appear to have imposed constraints on themselves to move them in such directions. Even if your own creative endeavors during your life may not be musical in character, the same principles can help you find fresh approaches to what might otherwise be repetitive situations. If you are giving a talk on a topic that you have spoken about before or creating a commercial for a product that you have advertised before, forcing yourself to approach the familiar in a new way may make the difference between innovation and tedium.<\/p>\r\n<p class=\"import-p\" style=\"text-indent: 36pt;\">If you\u2019d like to listen to more, here are some you may enjoy, as they provide further evidence of just how different the mood and style can be even when setting the same words in the same era: <a href=\"https:\/\/www.youtube.com\/watch?v=fA7s_SbDWlE\" target=\"_blank\" rel=\"noopener\">Ruth Watson Henderson<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=ahzZqsAfuz0\" target=\"_blank\" rel=\"noopener\">Alan Hovhaness<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=xqougj_Ow7o\" target=\"_blank\" rel=\"noopener\">Roxanna<\/a> <a href=\"https:\/\/www.youtube.com\/watch?v=FGCiI-WA-D8\" target=\"_blank\" rel=\"noopener\">Panufnik<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=j2s9KujfmXM\" target=\"_blank\" rel=\"noopener\">\u0112riks E\u0161envalds<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=RkCTkRAc6m8\" target=\"_blank\" rel=\"noopener\">Vladim\u00edr God\u00e1r<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=0OCdaiFMFH8\" target=\"_blank\" rel=\"noopener\">Bryan Kelly<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=3_cNAYrziX4\" target=\"_blank\" rel=\"noopener\">James Whitbourn<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=PTgkr9rJmiI\" target=\"_blank\" rel=\"noopener\">Gabriel Jackson<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=ORIQ0sDQM6w\" target=\"_blank\" rel=\"noopener\">Craig Phillips<\/a>, <a href=\"https:\/\/www.najihakim.com\/oeuvres\/oeuvres-vocales\/magnificat-for-soprano-violin-and-organ\/\" target=\"_blank\" rel=\"noopener\">Naji Hakim<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=ojVNx7b0bMA\" target=\"_blank\" rel=\"noopener\">Ruth Gipps<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=S5gBfGRw96M\" target=\"_blank\" rel=\"noopener\">William Mathias<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=6FLLABAKTgg\" target=\"_blank\" rel=\"noopener\">Martin Palmeri<\/a>, and <a href=\"https:\/\/www.youtube.com\/watch?v=bvtAR8ktVaw\" target=\"_blank\" rel=\"noopener\">Oliver Tarney<\/a>.[footnote]See also the account of experiencing musical inspiration in connection with his Evening Canticles (Magnificat and Nunc Dimittis) by Howard Goodall, \u201cMusic and Mystery,\u201d in <em>Composing Music for Worship<\/em>, ed. Stephen Darlington and Alan Kreider (Norwich: Canterbury Press, 2003), 31\u201333.[\/footnote] There are also settings in a contemporary song style (as opposed to those for choral singing), such as that by <a href=\"https:\/\/www.youtube.com\/watch?v=b0yzZZ4e87c\" target=\"_blank\" rel=\"noopener\">John Michael Talbot<\/a>, as well as paraphrases such as the <a href=\"https:\/\/www.youtube.com\/watch?v=F9QeTmRCpW4\" target=\"_blank\" rel=\"noopener\">\u201cCanticle of the Turning\u201d by Rory Cooney<\/a>, which is set to a famous folk tune often sung with the words \u201cThe Star of the County Down\u201d but has an earlier name with a biblical connection, <a href=\"https:\/\/www.hymnsandcarolsofchristmas.com\/Hymns_and_Carols\/dives_and_lazarus_broadwood_maitland.htm\" target=\"_blank\" rel=\"noopener\">\u201cDives and Lazarus\u201d<\/a> (Dives being the traditional name for the rich man in the parable in <a href=\"https:\/\/www.biblegateway.com\/passage\/?search=Luke 16:19-31&amp;version=NRSV\" target=\"_blank\" rel=\"noopener\">Luke 16:19\u201331<\/a>). That melody has been explored in a set of <a href=\"https:\/\/www.youtube.com\/watch?v=IR_LFdFOfXI\" target=\"_blank\" rel=\"noopener\">variations by Ralph Vaughan Williams<\/a>.<\/p>\r\n\r\n<div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\"><span style=\"text-align: initial; font-size: 1em;\">For Further Reading<\/span><\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt; margin-right: 36pt;\">Hendrickson, Peter A., Bradley C. Jenson, and Randi H. Lundell. <span style=\"border: none windowtext 0pt; padding: 0;\"><em class=\"import-i\">Luther and Bach on the Magnificat for Advent and Christmas<\/em><\/span>. Eugene, OR: Wipf &amp; Stock, 2015.<\/p>\r\n\r\n<div><\/div>\r\n<\/div>\r\n<\/div>\r\n&nbsp;\r\n\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"the-magnificat-and-nunc-dimittis\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">In this chapter you will<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<ul>\n<li>discover whether \u201cMary\u2019s Song\u201d was in fact a \u201csong\u201d in its original context in the Gospel of Luke<\/li>\n<li>learn why some composers have set this same text to music repeatedly<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<p>For as long as there has been liturgical setting or singing of parts of the Bible to musical accompaniment, the Magnificat has been part of that. Often called \u201cMary\u2019s Song\/Canticle,\u201d Luke 1:46\u201355 does not say that Mary sang the words in question. It features in Eastern Orthodox, Catholic, and Protestant liturgies. <a href=\"https:\/\/www.youtube.com\/watch?v=DDF_yrYxPcE\" target=\"_blank\" rel=\"noopener\">John Dunstaple<\/a> set the Magnificat in the fifteenth century, and many more followed, including <a href=\"https:\/\/www.youtube.com\/watch?v=5meBw5Tcnyo\" target=\"_blank\" rel=\"noopener\">Tom\u00e1s Luis de Victoria<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=KjBgP-n1IcU\" target=\"_blank\" rel=\"noopener\">Giovanni Pierluigi da Palestrina<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=kbUaT2k5n78\" target=\"_blank\" rel=\"noopener\">Antonio Vivaldi<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=EsUWG2axB3w\" target=\"_blank\" rel=\"noopener\">J. S. Bach<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=MTJEacCzGVI\" target=\"_blank\" rel=\"noopener\">W. A. Mozart<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=xcn1D5ck1EA\" target=\"_blank\" rel=\"noopener\">Franz Schubert<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=8DDAOWgMCQY\" target=\"_blank\" rel=\"noopener\">Felix Mendelssohn<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=ckM86VIeI_E\" target=\"_blank\" rel=\"noopener\">Franz Liszt<\/a> (as part of his <em><a href=\"https:\/\/imslp.org\/wiki\/Dante_Symphony,_S.109_(Liszt,_Franz)\" target=\"_blank\" rel=\"noopener\">Dante<\/a> <\/em>Symphony), Anton Bruckner, Ralph Vaughan Williams, <a href=\"https:\/\/www.youtube.com\/watch?v=PrHPTDU-odg\" target=\"_blank\" rel=\"noopener\">John Rutter<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=4qS-HygtpeQ\" target=\"_blank\" rel=\"noopener\">Krzysztof Penderecki<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=b4NY3iXMBTc\" target=\"_blank\" rel=\"noopener\">Arvo P\u00e4rt<\/a>, and (as part of the Orthodox <em>All-Night Vigil<\/em>) Piotr Ilyich Tchaikovsky and Sergei Rachmaninov.<\/p>\n<p class=\"import-p\" style=\"text-indent: 36pt;\">The Nunc Dimittis has been set on its own less frequently. This is sometimes called \u201cSimeon\u2019s Song\u201d and also derives from the infancy story in Luke\u2019s Gospel.<a class=\"footnote\" title=\"As with \u201cMary\u2019s Song,\u201d the Gospel of Luke does not indicate that the words had a musical character when first uttered.\" id=\"return-footnote-47-1\" href=\"#footnote-47-1\" aria-label=\"Footnote 1\"><sup class=\"footnote\">[1]<\/sup><\/a> For a particularly striking modern setting, have a listen to <a href=\"https:\/\/www.youtube.com\/watch?v=nr3MR3fVyvo\" target=\"_blank\" rel=\"noopener\">Sungji Hong\u2019s \u201cNunc Dimittis.\u201d<\/a> <a href=\"https:\/\/www.sungjihong.com\/\" target=\"_blank\" rel=\"noopener\">She<\/a> has also set the <a href=\"https:\/\/www.youtube.com\/watch?v=yUHgLha4TCY\" target=\"_blank\" rel=\"noopener\">Pater Noster<\/a> (Our Father \/ Lord\u2019s Prayer) and has <a href=\"https:\/\/www.deus-ex-musica.com\/blog\/2019\/12\/20\/composer-spotlight-sungji-hong\" target=\"_blank\" rel=\"noopener\">an ongoing project exploring the life of Jesus through multiple musical works<\/a>.<\/p>\n<p class=\"import-p\" style=\"text-indent: 36pt;\">It can be challenging enough to set words to music that have been set many times before. With the Magnificat and Nunc Dimittis together becoming a main recurring feature of the <a href=\"http:\/\/anglicanhistory.org\/liturgy\/clarke_evensong.html\" target=\"_blank\" rel=\"noopener\">Evensong liturgy of the Anglican Church<\/a> (a <a href=\"https:\/\/www.classicfm.com\/discover-music\/what-is-evensong-how-long-service\/\" target=\"_blank\" rel=\"noopener\">daily service marking the end of another day<\/a>), a further challenge was added for church composers: set these same words over and over again.<a class=\"footnote\" title=\"The Episcopal Church in the United States is the US equivalent of the Anglican Church or Church of England in the UK.\" id=\"return-footnote-47-2\" href=\"#footnote-47-2\" aria-label=\"Footnote 2\"><sup class=\"footnote\">[2]<\/sup><\/a> If adding to what others have produced with one new offering of one\u2019s own can be daunting, what about when one has to add another new creation of one\u2019s own with the same text? Anglican composers were not the first to face this challenge, of course. A number of composers in the era of Gregorian chant, for instance, made multiple musical arrangements for the designated psalm tones used for the Magnificat. Anglican composers did, however, face this challenge regularly, and without a specified melody to serve as a starting point. Charles Villiers Stanford provides a particularly good example, as he composed settings of the Magnificat in every key. Here are his Magnificat settings in G and in C sung by the Choir of St. John\u2019s College, Cambridge; his Magnificat in A sung by the Manchester Cathedral Choir; and the one in B flat sung by the Choir of Winchester Cathedral.<a class=\"footnote\" title=\"The Choir of St. John\u2019s College, Cambridge, shared their music on their own YouTube channel. That choir has released complete albums with settings of the Magnificat and Nunc Dimittis (Evening Canticles). The performance by the Manchester Cathedral Choir was provided to YouTube by the Orchard Enterprises. The performance by the Choir of Winchester Cathedral was released by the Hyperion label. These videos were created by an anonymous YouTuber who combined the music in question with the score of the work.\" id=\"return-footnote-47-3\" href=\"#footnote-47-3\" aria-label=\"Footnote 3\"><sup class=\"footnote\">[3]<\/sup><\/a><\/p>\n<p><iframe id=\"oembed-1\" title=\"Magnificat in G - Stanford\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/g7UorDdRg60?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><iframe id=\"oembed-2\" title=\"Magnificat in C - Stanford\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/LUWKSTysnpg?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><iframe id=\"oembed-3\" title=\"Magnificat in A Major - Stanford\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/1acpuj8koao?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><iframe id=\"oembed-4\" title=\"Magnificat in B flat - Stanford\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/qsbWHMfQXzE?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-p\" style=\"text-indent: 36pt;\"><a href=\"https:\/\/www.youtube.com\/watch?v=qY-6g2gOFoU\" target=\"_blank\" rel=\"noopener\">Hubert Parry<\/a> has also composed a significant body of choral work for the Church of England, including settings of the Magnificat and Nunc Dimittis. We have mentioned <a href=\"https:\/\/sedangli.wordpress.com\/2012\/01\/09\/howells-the-pillar-of-fire\/\" target=\"_blank\" rel=\"noopener\">the music of Herbert Howells<\/a> already in chapter 11 on David. He also composed <a href=\"https:\/\/www.hyperion-records.co.uk\/dw.asp?dc=W8855_67914\" target=\"_blank\" rel=\"noopener\">twenty<\/a> settings of the Magnificat and Nunc Dimittis. Compare these two recordings.<a class=\"footnote\" title=\"The Magnificat Collegium Regale is performed by the Choir of King\u2019s College, Cambridge, conducted by Stephen Cleobury, licensed to YouTube by UMG (on behalf of Universal Music). His 1918 setting of the Magnificat and Nunc Dimittis is performed by the Collegiate Singers. The music is provided to YouTube by the Orchard Enterprises.\" id=\"return-footnote-47-4\" href=\"#footnote-47-4\" aria-label=\"Footnote 4\"><sup class=\"footnote\">[4]<\/sup><\/a><\/p>\n<p><iframe id=\"oembed-5\" title=\"Herbert Howells | Magnificat Collegium Regale (with Score)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/fpB9mQHORlg?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><iframe id=\"oembed-6\" title=\"Magnificat in G Major\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/oJVutyLvDQA?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-p\" style=\"text-indent: 36pt;\">If you\u2019d like to listen to still more contrasting examples by the same composer, <a href=\"https:\/\/web.archive.org\/web\/20220516063401\/http:\/\/www.dysontrust.org.uk\/\" target=\"_blank\" rel=\"noopener\">George Dyson<\/a> set the Magnificat and Nunc Dimittis three times.<a class=\"footnote\" title=\"The Magnificat in C minor by George Dyson is sung by the Choristers of Lichfield Cathedral. Licensed to YouTube by the Orchard Music. The Magnificat and Nunc Dimittis by George Dyson are here performed by the Choir of King\u2019s College, Cambridge, conducted by Stephen Cleobury. Licensed to YouTube by Kontor New Music Media. The Magnificat and Nunc dimittis in F by George Dyson are performed by the Guildford Cathedral Choir, directed by Barry Rose, in a recording made at Evensong at Guildford Cathedral, July 17, 1967.\" id=\"return-footnote-47-5\" href=\"#footnote-47-5\" aria-label=\"Footnote 5\"><sup class=\"footnote\">[5]<\/sup><\/a><\/p>\n<p><iframe id=\"oembed-7\" title=\"Magnificat in C minor - Dyson\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/LqqhCpuIoos?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><iframe id=\"oembed-8\" title=\"Magnificat and Nunc Dimitis in D Major, George Dyson\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/TfTpdCnrikU?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><iframe id=\"oembed-9\" title=\"Magnificat &amp; Nunc dimittis in F (George Dyson) - Guildford Cathedral Choir (Barry Rose)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/TAOVJPHE-5s?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-p\" style=\"text-indent: 36pt;\">Notice the way composers find a fresh approach to the same text. To begin with, they tend to write each new setting in a different key. Sometimes they opt for minor as a variation from major, immediately giving a different feel. If in one the melody begins ascending, they may make sure they are doing something different next time by descending initially. They do not simply hope that the new work will emerge and be different from previous settings; rather, they appear to have imposed constraints on themselves to move them in such directions. Even if your own creative endeavors during your life may not be musical in character, the same principles can help you find fresh approaches to what might otherwise be repetitive situations. If you are giving a talk on a topic that you have spoken about before or creating a commercial for a product that you have advertised before, forcing yourself to approach the familiar in a new way may make the difference between innovation and tedium.<\/p>\n<p class=\"import-p\" style=\"text-indent: 36pt;\">If you\u2019d like to listen to more, here are some you may enjoy, as they provide further evidence of just how different the mood and style can be even when setting the same words in the same era: <a href=\"https:\/\/www.youtube.com\/watch?v=fA7s_SbDWlE\" target=\"_blank\" rel=\"noopener\">Ruth Watson Henderson<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=ahzZqsAfuz0\" target=\"_blank\" rel=\"noopener\">Alan Hovhaness<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=xqougj_Ow7o\" target=\"_blank\" rel=\"noopener\">Roxanna<\/a> <a href=\"https:\/\/www.youtube.com\/watch?v=FGCiI-WA-D8\" target=\"_blank\" rel=\"noopener\">Panufnik<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=j2s9KujfmXM\" target=\"_blank\" rel=\"noopener\">\u0112riks E\u0161envalds<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=RkCTkRAc6m8\" target=\"_blank\" rel=\"noopener\">Vladim\u00edr God\u00e1r<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=0OCdaiFMFH8\" target=\"_blank\" rel=\"noopener\">Bryan Kelly<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=3_cNAYrziX4\" target=\"_blank\" rel=\"noopener\">James Whitbourn<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=PTgkr9rJmiI\" target=\"_blank\" rel=\"noopener\">Gabriel Jackson<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=ORIQ0sDQM6w\" target=\"_blank\" rel=\"noopener\">Craig Phillips<\/a>, <a href=\"https:\/\/www.najihakim.com\/oeuvres\/oeuvres-vocales\/magnificat-for-soprano-violin-and-organ\/\" target=\"_blank\" rel=\"noopener\">Naji Hakim<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=ojVNx7b0bMA\" target=\"_blank\" rel=\"noopener\">Ruth Gipps<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=S5gBfGRw96M\" target=\"_blank\" rel=\"noopener\">William Mathias<\/a>, <a href=\"https:\/\/www.youtube.com\/watch?v=6FLLABAKTgg\" target=\"_blank\" rel=\"noopener\">Martin Palmeri<\/a>, and <a href=\"https:\/\/www.youtube.com\/watch?v=bvtAR8ktVaw\" target=\"_blank\" rel=\"noopener\">Oliver Tarney<\/a>.<a class=\"footnote\" title=\"See also the account of experiencing musical inspiration in connection with his Evening Canticles (Magnificat and Nunc Dimittis) by Howard Goodall, \u201cMusic and Mystery,\u201d in Composing Music for Worship, ed. Stephen Darlington and Alan Kreider (Norwich: Canterbury Press, 2003), 31\u201333.\" id=\"return-footnote-47-6\" href=\"#footnote-47-6\" aria-label=\"Footnote 6\"><sup class=\"footnote\">[6]<\/sup><\/a> There are also settings in a contemporary song style (as opposed to those for choral singing), such as that by <a href=\"https:\/\/www.youtube.com\/watch?v=b0yzZZ4e87c\" target=\"_blank\" rel=\"noopener\">John Michael Talbot<\/a>, as well as paraphrases such as the <a href=\"https:\/\/www.youtube.com\/watch?v=F9QeTmRCpW4\" target=\"_blank\" rel=\"noopener\">\u201cCanticle of the Turning\u201d by Rory Cooney<\/a>, which is set to a famous folk tune often sung with the words \u201cThe Star of the County Down\u201d but has an earlier name with a biblical connection, <a href=\"https:\/\/www.hymnsandcarolsofchristmas.com\/Hymns_and_Carols\/dives_and_lazarus_broadwood_maitland.htm\" target=\"_blank\" rel=\"noopener\">\u201cDives and Lazarus\u201d<\/a> (Dives being the traditional name for the rich man in the parable in <a href=\"https:\/\/www.biblegateway.com\/passage\/?search=Luke 16:19-31&amp;version=NRSV\" target=\"_blank\" rel=\"noopener\">Luke 16:19\u201331<\/a>). That melody has been explored in a set of <a href=\"https:\/\/www.youtube.com\/watch?v=IR_LFdFOfXI\" target=\"_blank\" rel=\"noopener\">variations by Ralph Vaughan Williams<\/a>.<\/p>\n<div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\"><span style=\"text-align: initial; font-size: 1em;\">For Further Reading<\/span><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-sbul hanging-indent\" style=\"margin-left: 0pt; margin-right: 36pt;\">Hendrickson, Peter A., Bradley C. Jenson, and Randi H. Lundell. <span style=\"border: none windowtext 0pt; padding: 0;\"><em class=\"import-i\">Luther and Bach on the Magnificat for Advent and Christmas<\/em><\/span>. Eugene, OR: Wipf &amp; Stock, 2015.<\/p>\n<div><\/div>\n<\/div>\n<\/div>\n<p>&nbsp;<\/p>\n<\/div>\n<\/div>\n<hr class=\"before-footnotes clear\" \/><div class=\"footnotes\"><ol><li id=\"footnote-47-1\">As with \u201cMary\u2019s Song,\u201d the Gospel of Luke does not indicate that the words had a musical character when first uttered. <a href=\"#return-footnote-47-1\" class=\"return-footnote\" aria-label=\"Return to footnote 1\">&crarr;<\/a><\/li><li id=\"footnote-47-2\">The Episcopal Church in the United States is the US equivalent of the Anglican Church or Church of England in the UK. <a href=\"#return-footnote-47-2\" class=\"return-footnote\" aria-label=\"Return to footnote 2\">&crarr;<\/a><\/li><li id=\"footnote-47-3\">The <a href=\"https:\/\/www.youtube.com\/watch?v=YkjATZv7tj0\" target=\"_blank\" rel=\"noopener\">Choir of St. John\u2019s College, Cambridge<\/a>, shared their music on their own YouTube channel. That choir has released complete <a href=\"https:\/\/issuu.com\/st-johns-college-cambridge\/docs\/105__2021__-_magnificat_-_volume_2__the_choir_of_s\" target=\"_blank\" rel=\"noopener\">albums<\/a> with settings of the Magnificat and Nunc Dimittis (Evening Canticles). The performance by the Manchester Cathedral Choir was provided to YouTube by the Orchard Enterprises. The performance by the Choir of Winchester Cathedral was released by the <a href=\"https:\/\/www.hyperion-records.co.uk\/dw.asp?dc=W3321_GBAJY9897409\" target=\"_blank\" rel=\"noopener\">Hyperion<\/a> label. These videos were created by an anonymous YouTuber who combined the music in question with the score of the work. <a href=\"#return-footnote-47-3\" class=\"return-footnote\" aria-label=\"Return to footnote 3\">&crarr;<\/a><\/li><li id=\"footnote-47-4\">The <em>Magnificat Collegium Regale<\/em> is performed by the Choir of King\u2019s College, Cambridge, conducted by Stephen Cleobury, licensed to YouTube by UMG (on behalf of Universal Music). His 1918 setting of the Magnificat and Nunc Dimittis is performed by the Collegiate Singers. The music is provided to YouTube by the Orchard Enterprises. <a href=\"#return-footnote-47-4\" class=\"return-footnote\" aria-label=\"Return to footnote 4\">&crarr;<\/a><\/li><li id=\"footnote-47-5\">The Magnificat in C minor by George Dyson is sung by the Choristers of Lichfield Cathedral. Licensed to YouTube by the Orchard Music. The Magnificat and Nunc Dimittis by George Dyson are here performed by the Choir of King\u2019s College, Cambridge, conducted by Stephen Cleobury. Licensed to YouTube by Kontor New Music Media. The Magnificat and Nunc dimittis in F by George Dyson are performed by the Guildford Cathedral Choir, directed by Barry Rose, in a recording made at Evensong at Guildford Cathedral, July 17, 1967. <a href=\"#return-footnote-47-5\" class=\"return-footnote\" aria-label=\"Return to footnote 5\">&crarr;<\/a><\/li><li id=\"footnote-47-6\">See also the account of experiencing musical inspiration in connection with his Evening Canticles (Magnificat and Nunc Dimittis) by Howard Goodall, \u201cMusic and Mystery,\u201d in <em>Composing Music for Worship<\/em>, ed. Stephen Darlington and Alan Kreider (Norwich: Canterbury Press, 2003), 31\u201333. <a href=\"#return-footnote-47-6\" class=\"return-footnote\" aria-label=\"Return to footnote 6\">&crarr;<\/a><\/li><\/ol><\/div>","protected":false},"author":3,"menu_order":11,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"part":110,"_links":{"self":[{"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/pressbooks\/v2\/chapters\/47"}],"collection":[{"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":18,"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/pressbooks\/v2\/chapters\/47\/revisions"}],"predecessor-version":[{"id":1005,"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/pressbooks\/v2\/chapters\/47\/revisions\/1005"}],"part":[{"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/pressbooks\/v2\/parts\/110"}],"metadata":[{"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/pressbooks\/v2\/chapters\/47\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/wp\/v2\/media?parent=47"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/pressbooks\/v2\/chapter-type?post=47"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/wp\/v2\/contributor?post=47"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.palni.org\/thebibleandmusic\/wp-json\/wp\/v2\/license?post=47"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}