Hyperion Records

Magnificat a 6
author of text
Luke 1: 46-55

'Monteverdi: Vespers' (CDA67531/2)
Monteverdi: Vespers
'Monteverdi: Vespers' (SACDA67531/2)
Monteverdi: Vespers
This album is not yet available for download SACDA67531/2  2CDs Super-Audio CD — Deleted  
Part 01: Magnificat
Track 14 on CDA67531/2 CD2 [0'22] 2CDs
Track 14 on SACDA67531/2 CD2 [0'22] 2CDs Super-Audio CD — Deleted
Part 02: Anima mea Dominum
Part 03: Et exultavit spiritus meus
Part 04: Quia respexit humilitatem
Track 17 on CDA67531/2 CD2 [1'16] 2CDs
Track 17 on SACDA67531/2 CD2 [1'16] 2CDs Super-Audio CD — Deleted
Part 05: Quia fecit mihi magna
Track 18 on CDA67531/2 CD2 [1'26] 2CDs
Track 18 on SACDA67531/2 CD2 [1'26] 2CDs Super-Audio CD — Deleted
Part 06: Et misericordia eius
Part 07: Fecit potentiam in brachio suo
Part 08: Deposuit potentes de sede
Part 09: Esurientes implevit bonis
Part 10: Suscepit Israel puerum suum
Part 11: Sicut locutus est
Part 12: Gloria Patri
Part 13: Sicut erat in principio
Track 26 on CDA67531/2 CD2 [0'59] 2CDs
Track 26 on SACDA67531/2 CD2 [0'59] 2CDs Super-Audio CD — Deleted

Magnificat a 6
Monteverdi provided a second setting of the Magnificat, for six voices and organ only, to be used on those occasions when the large array of obbligato instruments called for in the seven-part setting were not available. In fact, the 1610 partbooks allow the possibility for all the essential items of a Vespers service to be performed with organ alone: thus, in addition to this Magnificat, Monteverdi provides a simple chanted version of Deus in adiutorium and marks the instrumental ritornellos of Dixit Dominus as optional; the ritornellos for the hymn Ave maris stella, too, can be omitted.

One easily audible difference between the seven-part setting of the Magnificat and the six-part one, from which it was probably developed, is that in the former Monteverdi omits one pitch from the second part of the plainsong (listen to the endings of verse 1 of each setting). This small change, together with differences in the patterning of the bass, has the effect of making this verse in the larger setting seem more sharply focused than its model. Similarly, in the three-part settings of ‘Et exultavit’, the leisurely triple-time of the six-part setting becomes a more lively and virtuosic duple-time setting in the version for seven voices. Elsewhere, however, and particularly in those movements in which obbligato instruments are employed, the seven-part setting is an altogether larger and grander conception. Almost all the verses in the seven-part version draw on those of the smaller setting. The exceptions are the verse ‘Suscepit Israel’ and the opening of the ‘Gloria Patri’. The two settings are also linked in that both include detailed indications of the organ stops to be used.

from notes by John Whenham © 2006

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