A Dictionary of Music and Musicians/Magnificat

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A Dictionary of Music and Musicians
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Magnificat by William Smyth Rockstro

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From volume 2 of the work.

1615413A Dictionary of Music and Musicians — MagnificatGeorge GroveWilliam Smyth Rockstro

MAGNIFICAT. The 'Song of the Blessed Virgin Mary' has been used as the Vesper Canticle of the Church, from time immemorial; and the Evening Office has always been so constructed as to lead up to it as its chief point of interest.

In Plain Chaunt Services, it is sung to the same Tones as the Psalms; but, with certain differences of detail. For instance, the Intonation—except on Ferias, and a few Festivals of minor importance—is prefixed to every Verse. The Mediation is distinguished from the ordinary form by the presence of certain ornamental notes, introduced, per ligaturam, for the purpose of adding to its solemnity: but it will be observed, that, in the Roman Vesperal, the Mediation of the first Verse is altogether omitted, in consequence of the small number of syllables, the melody passing on, at once, from the Reciting-Note to the Ending, which, in all cases, corresponds exactly with the formula prescribed for the Psalm-Tones. Finally, the Tempo is infinitely slower than that used in any other part of the Service. This last peculiarity is a very important one: for, according to the Ritual of the Western Church, the Officiant and Sacred Ministers are occupied, during the singing of Magnificat, in incensing the Altar—a process, which, when full Ceremonial is used, occupies a considerable time.

After the invention of Discant, a custom arose, of singing Magnificat in alternate Verses of Plain Chaunt, and Faux Bourdon. Sometimes, the Faux Bourdon was simply a harmonised Psalm-Tone, with the melody in the Tenor, as in the following example of a very beautiful 'Use' which has long been traditional in French Cathedrals.

Magnificat, Primi Toni.

$<< \new Staff { \override Score.TimeSignature #'stencil = ##f << \new Voice { \relative a' { \cadenzaOn \stemUp a1 c ^~ c \bar ":" c\breve c1 c^( d) c c ^~ c c ^~ c \bar "|" c\breve c1 a c1.^( d2) e1^( f) \bar "||" } } \new Voice { \relative d' { \cadenzaOn d1 e_( f) f\breve e1 f _~ f f f_( e) e_( f) f\breve e1 d e_( f) g_( a) } } >> } \new Staff { \clef bass << \new Voice { \cadenzaOn f1 g^( a) \bar ":" a\breve g1 a^( bes) a a^( g) g^( a) a\breve g1 f g^( a) g^( f) } \new Voice { \cadenzaOn d1 c_( f) f\breve c1 f_( bes,) f f_( c) c_( f) f\breve c1 d c_( f) c_( f,) } >> } >>$

Sometimes, the Plain Chaunt was contrasted with an original Faux Bourdon, written in the required Mode, but not, like the former example, on the actual melody of the Psalm-Tone. Dr. Burney, during his visit to Rome, met with an exceedingly interesting MS. collection of Faux Bourdons, of this description, by some of the greatest Masters of the 16th century. From his autograph transcription of this volume—now preserved, under the name of Studij di Palestrina, in the Library of the British Museum—we extract the following beautiful example by Giovanni Maria Nanini^[1]/

Ton. IV.

$<< \new Staff { \override Score.TimeSignature #'stencil = ##f \time 4/2 << \new Voice { \relative c'' { \stemUp c\breve | c2 b a2. b4 | c2 d2. c4 c2 ^~ | c b c1 \bar "||" c\breve | b2 a d2. c4 | b a a1 gis2 | a\breve \bar "||" } } \new Voice { \relative g' { \stemDown g\breve | g2 g e1 _~ | e2 a1 f2 | g1 e | g\breve | g2 e a2. g4 | f1 e | e\breve } } >> } \new Staff { \clef bass << \new Voice { \relative e' { \stemUp e\breve | e2 d c2. d4 | e2 f2. e4 d c | d1 c | e\breve | d2 c f2. e4 | d2 c b1 | a\breve } } \new Voice { \stemDown c'\breve | c'2 g a1 _~ | a2 f a1 | g c | c'\breve | g2 a d1 _~ | d e | a,\breve } >> } >>$

These two methods of singing Magnificat are so wonderfully effective, that it is difficult to choose between them: and, happily, they are both so easy, that no Choir need fear to attempt them. But, the development of the idea did not rest here. It is scarcely possible to name any great Church Composer who has not illustrated the text of the Canticle with original music, over and over again. Josquin des Prés, Morales, Goudimel, Animuccia, Vittoria, Orlando di Lasso, and a host of authors, representing every School, and every well-marked Period, have left us innumerable examples. Palestrina published a volume, in 1591, containing two settings in each of the first eight Modes; and has left nearly as many more in MS. His favorite plan was, to treat the alternate Verses, only, in complex imitation, and closely-interwoven fugal points; leaving, sometimes the even, and sometimes the odd Verses, to be sung in unisonous Plain Chaunt, in the manner already described. The following extract from one of the finest compositions in the series will serve to exemplify his usual mode of treatment.

Magnificat, Octavi Toni.

$<< \new Staff { \time 4/2 << \new Voice { \relative c'' { \stemUp R\breve R | c1 c2 c | b c a a | g c c c | d e1 d4 c | b2 } } \new Voice = "A" { \relative g' { \stemDown r1 g | g2 g \once \set suggestAccidentals = ##t fis g | e2. d4 c d e f | g2 c, d2 | e2. f4 g e a2 ~ | a4 g g1 \once \set suggestAccidentals = ##t fis2 | g } } >> } \new Lyrics \lyricsto "A" { A -- ni -- man me -- a, etc. } \new Staff { \clef bass << \new Voice = "T" { \relative c' { \stemUp c1 c2 c | b c a g | a4 b c d e d c d | e f g1 \once \set suggestAccidentals = ##t fis2 | g2. f4 e1 | r2 c c c | d } } \new Voice { \relative c' { R\breve*4 c1 c2 c b c a a | g4 } } >> } \new Lyrics \with { alignAboveContext = "staff" } { \lyricsto "T" { A -- ni -- ma me -- a, etc. } } >>$

This method was also adopted by Francesco Suriano, Orlando di Lasso, and many other writers; but Felice Anerio, Luca Marenzio, Giovanni Gabrieli, and some of the most noted of their contemporaries, treated the Canticle in Polyphone, throughout, frequently disposing their Voices in two or more antiphonal Choirs. A fine example of this later style is preserved in Gabrieli's eight-part Magnificat in the First Mode.

Magnificat Primi Toni.

$<< \new ChoirStaff { \time 4/2 \override Score.TimeSignature #'stencil = ##f \override Score.Rest #'style = #'classical \partial 2 << \new Staff << \new Voice { \relative c'' { \stemUp r2^\markup { \smaller { \italic "Chorus Primus." } } | r c c c r4 c e2 d r | R\breve R a1 b2 d | b1 r | r2 } } \new Voice { \relative a' { \stemDown s2 | s a g a | r4 a c2 b r | R\breve R | r2 fis g a | g1 r | r2 } } >> \new Staff { \clef bass << \new Voice { \relative f' { \stemUp r2 | r f e f | r4 f g2 g r | R\breve | R | r2 d d d | d1 r | r2 } } \new Voice = "B1" { \stemDown s2 | s f c' f | r4 c' c'2 g s | R\breve R r2 d g fis | g1 r | r2 } >> } \new Lyrics \lyricsto "B1" { Dis -- per -- sit su -- per -- bos De pos -- u -- it } >> } \new ChoirStaff << \new Staff << \new Voice { \relative c' { \stemUp c2^\markup { \smaller { \italic "Chorus Secundus." } } | c2 c r r4 f | a2 g r1 | r2 c,2. c4 f2 | f d1 cis2 | d1 r | d e2 g | e } } \new Voice { \stemDown a2 | g f r r4 a | a2 e r1 | e2. e4 f1 _~ | f2 g a1 | fis r | r2 b c' d' | c' } >> \new Staff { \clef bass << \new Voice { \stemUp f2 | e a r r4 a | c'2 c' r1 | g2. g4 a1 | d e | d r | r2 g g g | g } \new Voice = "B2" { \stemDown f,2 | c f, r r4 f | f2 c r1 | c2. c4 f e d c | bes,2 bes, a,1 | d r | r2 g, c b, | c } >> } \new Lyrics \lyricsto "B2" { Dis -- per -- sit su -- per -- bos men -- te cor -- _ _ _ _ dis su -- i De pos -- u -- it } >> >>$

The fathers of English Cathedral Music treated Magnificat in a manner peculiarly their own clear in design, pure, solemn, and richly harmonious, but differing in no wise from their rendering of the other Canticles, and demanding no slower Tempo than the rest. The finest of these, which may well bear comparison with the works of the great Flemish and Italian Schools, are to be found in the 'Services' of Tallis, Byrd, Farrant, Tomkins, Bevin, Batten, and Orlando Gibbons. Their number is comparatively small: but it is to be feared that many invaluable compositions of the Elizabethan Æra have been lost to us, through the spoliation of Cathedral Libraries, during the great Rebellion. After the Restoration, the style rapidly deteriorated: and, notwithstanding the efforts of a few talented Composers—especially, Drs. Creyghton, and Croft—who conscientiously followed the precepts of the earlier School, it sank, eventually, so low, that even the platitudes of Kent, and Jackson, fail to represent its latest stages of degradation. Happily, the number of fine examples still remaining is quite sufficient for all practical purposes; and all are now published in cheap, and easily accessible forms.

The text of Magnificat has also been grandly illustrated, by Bach, Mendelssohn, and other Composers of the modern School, in the Oratorio style, with full orchestral accompaniments. For some particulars respecting the history of a Magnificat of this description, which has lately given rise to discussions of more than ordinary interest, see Erba, don dionigi; and Handel (vol. i. p. 491b, and 654, note). [App. p.708 "Add to references at end of article, Israel in Egypt, vol. ii. p. 25, Oratorio, vol. ii. p. 546, and Handel, vol. iv. p. 664."]

[ W. S. R. ]

↑ It will be seen that Nanini has ended his Chaunt with the harmony of the Dominant, instead of that proper to the Final of the Mode. A similar peculiarity is observable in many other Faux Bourdons adapted, by the Old Masters, to alternate Verses of Canticles and Psalms. The reason of this is self-evident. One or other of the Subsidiary Cadences of the Mode is employed, in order that its true Final Cadence may be reserved for the conclusion of the Antlphon which is to follow. The Sistine Miserere may be cited as the exception which proves the rule. It ends with the proper Final Cadence, because, in the Office of Tenebra, it is always sung without an Antiphon. [See Antiphon.]

[1] It will be seen that Nanini has ended his Chaunt with the harmony of the Dominant, instead of that proper to the Final of the Mode. A similar peculiarity is observable in many other Faux Bourdons adapted, by the Old Masters, to alternate Verses of Canticles and Psalms. The reason of this is self-evident. One or other of the Subsidiary Cadences of the Mode is employed, in order that its true Final Cadence may be reserved for the conclusion of the Antlphon which is to follow. The Sistine Miserere may be cited as the exception which proves the rule. It ends with the proper Final Cadence, because, in the Office of Tenebra, it is always sung without an Antiphon. [See Antiphon.]

[1]