More than a thousand years of magnificent vocal music, from fifth century plainsong to complex 21st century harmony can be heard in settings of the Magnificat, also known as the Song of Mary. Mary’s immortal words in Luke (1:46-55) have been sung daily for centuries in Roman Catholic Vespers and Anglican Evensong.
Six widely varying Magnificat compositions to welcome the Christmas season will be presented by the Kirkland Choral Society in concerts at 2 p.m. Dec. 5 at Bastyr University Chapel, Kenmore, and at 7:30 p.m. Dec. 10 at Daniels Recital Hall, Seattle. “No text other than the Mass itself has been a richer source for musical inspiration,” said Dr. Glenn R. Gregg, director of KCS.
The program opens with an early Baroque setting of the Magnificat by Dietrick Buxtehude (1637-1707). Alternating solos and harmonies are unified by a repeating dance-like theme. The second setting is by C.P.E. Bach, who also wrote that “Music must touch the heart.” Gregg finds Bach’s opening movement in his Pre-Classical Magnificat (l749) ”does indeed touch our hearts.”
A tranquil beginning in the Magnificat by Classical composer Wolfgang A. Mozart (1756-1791) is followed by a vigorous allegro. It concludes with a stirring “Amen” chorus. The Romantic period is represented by Charles Villiers Stanford. A soaring soprano solo, “My soul doth magnify the Lord,” is enhanced by what Gregg describes as “masterful weaving of text between soloist and choir.”
The a cappella Magnificat setting (1995) by American composer, J. Michael Thompson, alternates fifth century unison Gregorian plainsong with modern four part harmony. The final Magnificat selected by Gregg was set in 2002 by Ruth Watson Henderson of Canada. She melds soaring vocal lines with dramatic organ accompaniment for a glorious finale.
Rousing Christmas carols and a Hanukkah suite conclude the program. For ticket information and direction to venues, go to www.kirklandchoralsociety.org.
