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The Magnificat (Latin for "[My soul] magnifies [the Lord]") is a canticle, also known as the Song of Mary, the Canticle of Mary and, in the Byzantine tradition, the Ode of the Theotokos (Greek: Ἡ ᾨδὴ τῆς Θεοτόκου). It is traditionally incorporated into the liturgical services of the Catholic Church, the Eastern Orthodox Church, Lutheran Churches and the Anglican Communion.[1] Its name comes from the incipit of the Latin version of the text.
The Magnificat is one of the eight most ancient Christian hymns and perhaps the earliest Marian hymn.[2][5] Within the whole of Christianity, the canticle is most frequently recited within the Liturgy of the Hours. In Western Christianity, the Magnificat is most often sung or recited during the main evening prayer service: Vespers[1] in the Catholic and Lutheran churches, and Evening Prayer (or Evensong) in Anglicanism. The traditional form is found the Book of Common Prayer (1662) and in Common Worship,[6][7] as well as the Book of Common Prayer (1928) and Book of Common Prayer (1979) of the Episcopal Church (United States).[8][9] In Eastern Christianity, the Magnificat is always sung at Matins. The Magnificat may also be sung during worship services, especially in the Advent season during which these verses are traditionally read.
Although there is some scholarly discussion of whether the historical Mary herself actually proclaimed this canticle, Luke portrays her as the singer of this song of reversals and the interpreter of the contemporary events taking place. Mary symbolizes both ancient Israel and the Lucan faith-community as the author/singer of the Magnificat.[10]
As with other canticles and psalms, Western liturgical tradition usually adds the doxology known as Gloria Patri to the end of the Magnificat. This is not found in the original text.[citation needed]
In Eastern Orthodox worship, the Ode of the Theotokos is accompanied by the following refrain sung between the verses (a sticheron) and a megalynarion, which is the second part of the Axion Estin hymn:
In Eastern Orthodox liturgical practice, the Magnificat is always sung during the Matins service before the Irmos of the ninth ode of the canon (except on greater feasts of the Lord or the Theotokos, where the magnificat is excluded completely). After each biblical verse, i.e. as a sticheron, the following megalynarion or troparion is sung:
As a canticle, the Magnificat has frequently been set to music. Most compositions were originally intended for liturgical use, especially for Vesper services and celebrations of the Visitation, but some are also performed in concert.
Dieter Schnebel wrote a Magnificat in 1996/97 for small choir (schola), percussion and additional instruments ad libitum. Arvo Prt composed a setting for choir a cappella. Kim Andr Arnesen's Magnificat for choir, strings, piano, and organ premiered in 2010.[citation needed] The Taiz Community have also composed an ostinato setting of the text.
Maria Luise Thurmair wrote in 1954 the lyrics for a popular German ecumenical hymn based on the Magnificat, "Den Herren will ich loben", set to a 1613 melody by Melchior Teschner (that of Valet will ich dir geben). Timothy Dudley-Smith wrote "Tell Out, My Soul", a popular paraphrase of the Magnificat, in 1962. Krzysztof Penderecki composed an extended Magnificat for the 1200th anniversary of the Salzburg Cathedral in 1974, for bass soloist, men's and boys' voices, two mixed choirs and orchestra.
The oratorio Laudato si' composed in 2016 by Peter Reulein on a libretto by Helmut Schlegel includes the full Latin text of the Magnificat, expanded by writings of Clare of Assisi, Francis of Assisi and Pope Francis.[19]
In Nicaragua, the Magnificat is a favorite prayer among many peasants and is often carried as a sacramental. During the Somoza years, campesinos were required to carry proof of having voted for Somoza; this document was mockingly referred to as a Magnificat.[20]
The past decade has witnessed a discussion of the authorship of the Magnificat, based on the fact that three ancient codices (Vercellensis, Veronensis, Rhedigerianus) have: "Et ait Elisabeth: Magnificat anima mea", etc. (And Elizabeth said: My soul doth magnify, etc.); and also on some very slight patristic use of the variant reading. Harnack in "Berliner Sitzungsberichte" (17 May, 1900), 538-56, announced his view of the Elizabethan authorship, contending that the original reading is neither "Mary" nor "Elizabeth", but merely "she" (said). About two years previously, Durand had criticized, in the "Revue Biblique", the argument of Jacob for a probable ascription to Elizabeth. Dom Morin had called attention ("Revue Biblique", 1897) to the words of Nicetas (Niceta) of Remesiana, in a Vatican manuscript of his "De psalmodi bono": "Cum Helisabeth Dominum anima nostra magnificat" (With Elizabeth our soul doth magnify the Lord). The works of Nicetas have been edited recently by Burn, and give (De psalmodi bono, ix, xi) evidence of Nicetas's view (see note 4, p. 79, ibid.). In the introduction to Burn's volume, Burkit rejects the reading "Et ait Elisabeth" as wholly untenable in view of the contradictory testimony of Tertullian and of all the Greek and Syriac texts, but contends for the original reading "she" (said) and for the Elizabethan authorship. He is answered by the Anglican Bishop of Salisbury, who supports the probability of an original reading "she", but rejects the ascription to Elizabeth (pp. clv-clviii). The witness of the codices and of the Fathers is practically unanimous for the Vulgate reading: "Et ait Maria"; but, apart from this, the attribution of the Magnificat to Elizabeth would, in St. Luke's context, be highly abnormal. Long before the recent discussion, Westcott and Hort, in the appendix (52) to their "Introduction to the New Testament in the Original Greek" (New York, 1882), had briefly discussed and rejected the reading "Elisabeth"; and this rejection is summarily confirmed in their revised text of the "N. T. in the Original Greek" (London, 1895), 523.
While the canticles taken by the Roman Breviary from the Old Testament are located with the psalms, and are so distributed as to be sung only once a week, the Magnificat shares with the other two "evangelical canticles" the honour of a daily recitation and of a singularly prominent location immediately before the Oratio, or Prayer of the daily Office (or, if there be preces, immediately before these). The "Magnificat" is assigned to Vespers, the "Benedictus" to Lauds, and the "Nunc Dimittis" to Compline. Six reasons are given by Durandus for the assignment of the Magnificat to Vespers, the first being that the world was saved in its eventide by the assent of Mary to the Divine plan of Redemption. Another reason is found by Colvenarius in the probability that it was towards evening when Our Lady arrived at the house of St. Elizabeth. However this may be, in the Rule (written before 502) of St. Csarius of Arles, the earliest extant account of its liturgical use, it is assigned to Lauds, as it is in the Greek Churches of to-day. The ceremonies attending its singing in the choir at solemn Vespers are notably impressive. At the intonation "Magnificat", all who are in the sanctuary arise, and the celebrant (having first removed his biretta "in honour of the canticles") goes with his assistants to the altar, where, with the customary reverences, etc., he blesses the incense and incenses the altar as at the beginning of solemn Mass. In order to permit the elaborate ceremony of incensing, the Magnificat is sung much more slowly than the psalms. A similar ceremony attends the singing of the Benedictus at solemn Lauds, but not of the Nunc Dimittis at Compline.
At the first word of the Magnificat and of the Benedictus (but not of the Nunc Dimittis, save where custom has made it lawful) the Sign of the Cross is made. In some churches the Magnificat is sung at devotions outside of Vespers. Answering a question from Canada, the "Ecclesiastical Review" (XXIII, 74) declares that the rubrics allow such a separation, but forbids the incensing of the altar in such a case. The same review (XXIII, 173) remarks that "the practice of making the Sign of the Cross at the opening of the Magnificat, the Benedictus, and the Nunc Dimittis in the Office is of very ancient usage, and is sanctioned by the very best authority", and refers to the Congregation of Sacred Rites, 20 December, 1861.
Like the canticles and psalms, the Magnificat is preceeded and followed by an antiphon varying for the feast or ferial Office, and is sung to the eight modes of plain song. The first verse has, however, no mediation, because of the brevity (the one word Magnificat) of the first half. The Canticles of Mary and of Zachary share (even in the Office of the Dead) the peculiar honour of commencing every verse with an initium or intonation. This intonation varies for the varying modes; and the Magnificat has a special solemn intonation for the second, seventh, and eighth modes, although in this case the usual festive intonation applies, in the second and eighth modes, to all the verses except the first. The "musical", as distinguished from the "plainsong", treating of the canticle has been very varied. Sometimes the chanted verses alternated with harmonized plainsong, sometimes with falso bordone having original melodies in the same mode as the plain song. But there are innumerable settings which are entirely original, and which run through the whole range of musical expression, from the simplest harmony up to the most elaborate dramatic treatment, with orchestral accompaniment of the text. Almost every great church composer has worked often and zealously on this theme. Palestrina published two settings in each of the eight modes, and left in manuscript almost as many more. Fifty settings by Orlando di Lasso are in the Royal Library at Munich, and tradition credits him with twice as many more. In our own days, Csar Franck (1822-90) is said to have completed sixty-three out of the hundred he had planned. In addition to such names as Palestrina, di Lasso, Josquin des Prs, Morales, Goudimal, Animuccia, Vittoria, Anerio, Gabrieli, Suriano, who with their contemporaries contributed innumerable settings, the modern Cecilian School has done much work on the Magnificat both as a separate canticle, and as one of the numbers in a "Complete Vespers" of many feasts. In Anglican services the Magnificat receives a musical treatment not different from that accorded to the other canticles, and therefore quite dissimilar to that for Catholic Vespers, in which the length of time consumed in incensing the altar allows much greater musical elaboration. A glance through the pages of Novello's catalogue of "Services" leads to the estimate of upwards of one thousand settings of the Magnificat for Anglican services by a single publishing house. Altogether, the estimate of Krebbiel that this canticle "has probably been set to music oftener than any hymn in the liturgy" seems well within the truth.
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