Et misericordia (nr. 4 of The part of John Rutter’s Magnificat, performed by the Cambridge Singers. (Everyone who knows me knows that I am a Rutter fan and. Stream “Et misericordia” from John Rutter’s Magnificat by Katrina Thurman from desktop or your mobile device. Et misericordia; Gloria (Magnificat). John Rutter & Patricia Forbes & The Cambridge Singers & City of London Sinfonia & John Rutter. Show performers.
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The Magnificat by John Rutter is a musical setting of the biblical canticle Magnificatcompleted in The extended composition in seven movements “for soprano or mezzo-soprano solo, mixed choir, and orchestra or chamber ensemble ”  is based on the Latin text, interspersed with ” Of a Rose, a lovely Rose “, an anonymous English poem on Marian themesthe beginning of the Sanctus and a prayer to Mary.
The music includes elements of Latin American music. The composer conducted the first performance in Carnegie Hall on 26 Mayand the first recording with the Cambridge Singers and the City of London Miserciordia.
While the canticle Magnificat was often set to music, being a regular part of Catholic vespers and Anglican evensongRutter’s work is one of few extended settings, along with Bach’s composition.
Critical reception has been mixed, appreciating that the “orchestration is brilliant and very colourful”  and “the music weaves a magical spell of balm and peace”,  but also experiencing a “virtual encyclopedia of musical cliches, a … predictable exercise in glitzy populism”. Mary sings the song on the occasion of her visit to Elizabethas narrated in the Gospel of Luke Luke 1: It is a daily part in Catholic vesper services and Anglican Evening Prayer. Rutter followed the tradition of setting it to music, especially the work by Johann Sebastian Bach which also structures the text in movements of different character.
The text of the doxology in the last movement is interspersed with a prayer to Mary, ” Sancta Maria, succure miseris ” Holy Mary, help those in need. The … Magnificat — a poetic outpouring of praise, joy and trust in God, ascribed by Luke to the Virgin Mary on learning that she was to give birth to Christ — has always been one of the most familiar and well-loved of scriptural texts, not least because of its inclusion as a canticle in the Catholic office of Vespers and in Anglican Evensong.
Musical settings of it abound, though surprisingly few of them since J. Bach’s time give the text extended treatment. I had long wished to write an extended Magnificat, but was not sure how to approach it until I found my starting point in the association of the text with the Virgin Mary.
In countries such as Spain, Mexico and Puerto Rico, feast days of the Virgin are joyous opportunities for people to take to the streets and celebrate with singing, dancing and processions. These images of outdoor celebration were, I think, somewhere in my mind as I wrote, though I was not fully conscious of the fact till afterwards.
I was conscious of following Bach’s example in adding to the liturgical text — with the lovely old English poem ‘Of a Rose’ and the prayer ‘Sancta Maria’ both of which strengthen the Marian connection and with the interpolated ‘Sanctus’, sung to the Gregorian chant of the Missa cum jubilo in the third movement. Musicologist John Bawden notes that Rutter’s work has several features in common with Bach’s setting: Rutter scored the work for a female soloist, soprano or mezzo-sopranowho at times represents Mary, and a mixed choir, usually SATBbut sometimes with divided parts.
He offers two versions, for orchestra or chamber ensemble. The orchestra consists of .
J. RUTTER – MAGNIFICAT
The chamber version replaces the brass mostly by the organ and uses only one each of flute, oboe, clarinet and horn. Timpani, percussion and harp are the same as in the orchestra version, and for the strings, a minimum of two first violinstwo second violins, two violasone cello and one double bass required.
The following table shows the incipitTempo marking, voices, timekey and text sources for the seven movements. The information is given for the beginning of the movements. Rutter frequently shifts tempo, key and time. The source misericirdia the details is the vocal tutter,  unless otherwise noted. The soprano and alto enter in unison Magnificat anima mea My soul doth magnify [the Lord].
The vocal motif of Magnificat leaps up a major sixth and rises even higher. The second verse, Et exultavit spiritus meus And my spirit hath rejoicedis sung first by soprano and alto in third parallels. The beginning of the third verse, Quia respexit humilitatem For he hath regarded the low estate [of his handmaiden]is rendered even simpler: While the bass sings the line first, the tenor adds a sequence of sustained notes rising step by step one fifth. CITEREFBach A repeat of the text and the motifs of verse 1 concludes the movement, ending on Magnificatwithout retard, with accents on each syllable and cut short.
Rutter inserted an anonymous English poem from the 15th century, Of a Rose, a lovely Roseas the second movement. Marked “Tranquil and flowing”, it imitates chant singing, with flexible times and in doric mode.
She is seen as a rose bush with five branches: The short refrain is first sung by the soprano alone, immediately repeated by soprano, alto and tenor, the voices in unison but for triads on “lovely”. It is repeated after the first stanza by soprano and tenor in unison. Quia fecit mihi magna For he [that is mighty] hath done to me great thingsconcentrates on two ideas from the canticle verse.
Marked “Andante maestoso”, the ruttef movement in D major opens with solemn dotted rhythms,  features of the French overture. Then it is repeated five times, beginning with only the basses, marked piano, adding the motif in a higher part each time, with two sopranos, and increasing volume and intensity.
The second idea of the verse, Et sanctum nomen eius And holy is his namebuilds similarly. The alto begins, marked “dolce and tranquillo” sweet and calm a melody of ten measures, beginning like the first motiv but more flowing. Et misericordia And dt mercy [is on them that fear him from generation to generation] is sung by the soprano soloist first, repeated by the choir.
Et misericordia; Gloria (Magnificat)
A motif alternating a measure of six undulating eighth-notes and a measure of one long note dominates the movement. Fecit potentiam He hath shewed strength begins with irregular energetic rhythms.
The basses sing a short call which dominates the movement, first marked “pp marcato”.
In a process similar to misericordiia 3, the voices build bass to divided soprano. The composition is closed with the doxology Gloria Patri Glory be to the Father.
The music is based on movement 3, repeating the dotted rhythm and the building from bass to two sopranos. Sancta Mariaasking “for support of humanity, including the needy, the timid, the clergy, women, and the laity”.
J. RUTTER – MAGNIFICAT
The first performance, conducted by the composer, was on 26 May in Carnegie Hallwith soloist Maria Alsatti and the Manhattan Chamber Orchestra. He described the piece as a “virtual encyclopedia of musical cliches, a long-winded, tamely ,isericordia, predictable exercise in glitzy populism.
The work was published by Oxford University Press in A reviewer notes that Rutter “emphasises the joy experienced by a … soon to be mother”, with “a good balance between the rufter and intimate”, and singable melodies with an understanding mieericordia the voice.
Albans Cathedral conducted by Andrew Lucas, summarizes that “the faster dynamic sections rely too heavily on formulaic use of ostinato rhythms and Rutter fingerprint instrumental colours. Set against this many of the lyrical passages are amongst his finest.
Carnegie HallNew York.