Magnificat | Marc-André Bougie
Magnificat | Marc-André Bougie
La Musique des Sources
Publisher ID:
Choral Score - JB027
Choral Score (Spiral Bound) - JB027S
Orchestration - JB027O (Coming Fall 2024) - for Rental Only
Full Score - JB027FS (Coming Fall 2024)
La Musique des Sources
Publisher ID:
Choral Score - JB027
Choral Score (Spiral Bound) - JB027S
Orchestration - JB027O (Coming Fall 2024) - for Rental Only
Full Score - JB027FS (Coming Fall 2024)
Voices/Piano
Voices/Full Orchestra
A note from the composer:
The conception of Magnificat came to me in early 2022 as we were about to perform the Carnegie Hall premiere of my Requiem in March of that year. Right after the concert, Maestro Peter Tiboris and MidAmerica Productions honored me with the title of Honorary Composer and Conductor for the company. I reached out to them shortly thereafter to discuss this new project I was working on and suggested a New York premiere in 2024. The offer was accepted, and a more in-depth thematic work of the music began.
The bulk of the composition happened in 2023, following a survey of various Magnificat pieces from the masters. I wanted to create an original musical setting of the text, but also to follow in the footsteps of the great minds who had set the prayer to the music through generations. The Magnificat prayer is extracted from the Gospel of Luke, and traditionally referred to as the Canticle of Mary. The prayer speaks of Mary’s yes to God, and of her exultant spirit as she had been the chosen one to carry the Son of God. The prayer also references the whole of salvation history leading to the birth of the Messiah. For this reason, we will begin our performance of the piece tonight with a reading of the genealogy of Jesus from the Gospel of Matthew. The scripture will lead directly into the glorious song of praise of Mary.
I divided the piece into seven movements, including the insertion of the Nunc dimittis (Canticle of Simeon) right before the final doxology (Gloria Patri). This prayer, sung by the solo baritone in English at that point in the piece to create a direct connection with the audience, speaks of old Simeon who encounters the newborn Messiah, and asked to be dismissed in peace as his eyes have finally set on the promised one of Israel.
The first movement, Magnificat, is an exultant and joyful attempt to convey the excitement of Mary and of the infant in the womb. It leads into the more introspective Quia respexit set for solo soprano, with choral interjections. Follows the Et misericordia/Fecit potentiam, set as a two-sided contrasting unit, with a pensive first half, and an intense fugal second section. Esurientes follows, set exclusively for solo soprano. With Sicut locutus est, the choir is brought back, making way for the glorious entrance of the solo baritone in Lord, now dismiss your servant. At the end of the solo, an orchestral crescendo leads to the re-entry of the chorus for the final peroration of the composition: Gloria Patri. The two soloists join in that exultant conclusion as the opening joyous theme is sounded anew.
The composition is dedicated to Jimmie Stephens & Karin Morrow – two very dear friends from the Chorale without whom not much of this would happen. I pray that this dedication brings about the recognition that they deserve for their service to music in our community.
