The Seven Magnificat-Antiphones by Arvo Pärt count as one of the few contemporary settings of the vesper. “Even in Estonia, Arvo was getting the same feeling that we were all getting. I love his music, and I love the fact that he is such a brave, talented man. Magnificat, the Canticle of Mary, by Estonian composer Arvo Pärt (b. ) is in the tintinnabuli style invented by the composer himself in the ‘s. Influenced.

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Arvo Pärt: Seven Magnificat-Antiphons

He has scattered the proud in the imagination of their hearts. The paired-voice passages are strikingly crystalline; in every case, they consist of a single melodic part set against a meditatively repeated note. But only in the broad, mega-commercial sense is it true. The last of his early works, Credo in Jesum Christumwas both a statement of faith and taken as political provocation.

The three notes of a triad are like bells. The result is a kind of sonorous tonal reverberation that is always harmonically stable, but full of shimmering dissonances from the melodic voices.

He’s completely out of step with the zeitgeist and yet he’s enormously popular, which is so inspiring. The booming, thumping intercessions of the bass drum serve perhaps as a primeval heartbeat.

Mailing List Contact Us. For he that is mighty has done great things to me, and holy is his name. Ryan Turner, Artistic Director. It brought him further attacks and censorship — so much so that he stopped composing altogether for nearly eight years. I love his music, and I love the fact that he is such a brave, talented man. Structurally, the work can be divided into what Hillier refers to as ” verse ” and ” tutti ” sections.


For he has regarded the lowliness of his handmaiden.

I have discovered that it is enough when a single note is beautifully played. The original version was for four solo voices and organ, but subsequent versions exist for choir and organ—as here—and choir and strings.

Christian Grube and the Staats- und Domchor Berlin. The tutti sections provide lush contrasts to the delicate voice-pair sections. He has put down the manificat from their seat and has exalted the humble and meek.

For He has regarded the lowliness of His handmaiden. Esurientes implevit bonis, et divites dimisit inanes. Articles containing Latin-language text Pages with timeline metadata Interlanguage link template link number. Quia fecit mihi magna, qui potens est, et sanctum nomen eius. Emmanuel Parr in the News Press Releases. He has shown strength with his arm. And my spirit rejoices in God my Savior.

The switch from minor to major clearly celebrates the greater freedoms enjoyed in post-Communist Europe.

Arvo Pärt: Magnificat

Et misericordia a progenie in progenies, timentibus eum. Magnificat anima mea Dominum. The five central dance-like variations relate to the movements of the Mass—the Kyrie, Gloria, Credo, Sanctus and Agnus—and they are flanked by an agvo introduction and coda. This one note, or a moment of silence comforts me. He has helped His servant Israel in remembrance of His mercy. Remembering his mercy, he has helped his servant Israel as he promised to our forefathers, Abraham and his seed forever.


Traces of this perfect thing appear in many guises – and everything that is unimportant falls away. As magnuficat taking instruction from the text, the choir does, in fact, divide; while all voices begin the word together, only the melodic voice continues immediately onward.

Emmanuel Music – Pärt Magnificat – Translation

I build with the most primitive materials—with the triad, with one specific tonality. He has filled the hungry with good things and the rich he has sent away empty. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. It was written in for the th anniversary of the cathedral in Speyer, South Germany. It is a work of perfect structure and immaculately achieved expression.

John Harbison, Principal Guest Conductor. It combines voices homophonically in such a way that one voice outlines simple, scalar melodies, while the other leaps above and below the melodic line, always to notes within the tonic triad.