THE COMMISSION OF MAGNIFICAT
Commissioned by the University of Seville, Spain in July 2013.
World Premiere: December 2013 at the Teatro Lope de Vega of Seville (Spain) Orquesta Sinfónica Hispalense and Choir of the University of Sevilla under the direction of Prof. Dr. José Carlos Carmona.
U.S. Premiere: November 15, 2015 in Sacramento, California, by Camerata California under the direction of Maestro Pete Nowlen.
U.S. East Coast Premiere: December 4, 2016 by the Choir and Orchestra of Franklin & Marshall College, in Lancaster, Pennsylvania.
The reference studio recording of this work features soprano Colleen Daly-Eberhardt, mezzo Jenna Lebherz-Daly, tenor Duane Moody, and baritone José Sacín. This recording was created to familiarize future performers with the work.
MAGNIFICAT was commissioned to be premiered side by side to J.S. Bach's Magnificat in D Major. The commission required similar length and similar orchestral configuration as Bach’s Magnificat (the composer replaced piccolo trumpets for trumpets in C, and replaced the harpsichord for piano), featuring the same text, also in latin, and the same soloists would be used for both Magnificat. The timpani could not be re-tuned between pieces, therefore the piece would be composed in the same key.
At the premiere, the alto solo was sung by a countertenor. In the U.S. premiere and the recording, it was sung by a contralto.
With these premises, Gabriel Ruiz-Bernal started writing the music in July 2013, and by October, the choir and soloists were already practicing their parts.
Commissioned by the University of Seville, Spain in July 2013.
World Premiere: December 2013 at the Teatro Lope de Vega of Seville (Spain) Orquesta Sinfónica Hispalense and Choir of the University of Sevilla under the direction of Prof. Dr. José Carlos Carmona.
U.S. Premiere: November 15, 2015 in Sacramento, California, by Camerata California under the direction of Maestro Pete Nowlen.
U.S. East Coast Premiere: December 4, 2016 by the Choir and Orchestra of Franklin & Marshall College, in Lancaster, Pennsylvania.
The reference studio recording of this work features soprano Colleen Daly-Eberhardt, mezzo Jenna Lebherz-Daly, tenor Duane Moody, and baritone José Sacín. This recording was created to familiarize future performers with the work.
MAGNIFICAT was commissioned to be premiered side by side to J.S. Bach's Magnificat in D Major. The commission required similar length and similar orchestral configuration as Bach’s Magnificat (the composer replaced piccolo trumpets for trumpets in C, and replaced the harpsichord for piano), featuring the same text, also in latin, and the same soloists would be used for both Magnificat. The timpani could not be re-tuned between pieces, therefore the piece would be composed in the same key.
At the premiere, the alto solo was sung by a countertenor. In the U.S. premiere and the recording, it was sung by a contralto.
With these premises, Gabriel Ruiz-Bernal started writing the music in July 2013, and by October, the choir and soloists were already practicing their parts.
MAGNIFICAT. PROGRAM NOTES
The first movement “Magnificat anima mea Dominum” (My soul proclaims the greatness of the Lord) builds its thematic material directly from the original gregorian chant. It starts with a broad "Magnificat" statement by the choir, continued by an intimate call from the soprano soloist. A portion of the original gregorian chant is quoted by the choir in the center of the movement.
Movement 2, “Et exultavit spiritus meus in Deo salutari meo” (my spirit rejoices in God my savior) reflects the lyrics with a rhythmic meter of 3/4, emulating the Spanish folk dance of Sevilla, filled with energy, in which not only the choir, but also the trumpets and timpani have a very important role.
“Quia respexit humilitatem ancillae suae. Ecce enim ex hoc beatam me dicent” (He has looked with favor on his lowly servant. From this day all generations will call me blessed) sets the lyrics on a gentle and humble dialogue between soprano and tenor, backed by the choir with the words “Ecce enim ex hoc beatam me dicent”.
The very energetic fourth movement “Omnes generationes qui potens est quia fecit mihi magna et sanctum nomen eius” (the almighty has done great things for me and holy is his name, from generation to generation) has an intense orchestration filled with power and movement, in which the choir represents the past, present and then with the modulation to a higher key, the future generations.
The fifth movement, “Et misericordia eius ad progenie in progenies timentibus eum” (His mercy is from generation to generation, on those who fear him) starts with a bell call (piano) and literal quotation of the gregorian chant, followed by the singing of “et misericordia” by the trio soprano, alto and tenor, melting the melody in a warm harmonic progression with subtle unexpected resolutions. In the mean time the rest of the phrase is recited in the background.
“Fecit potentiam in brachio suo dispersit superbos mente cordis sui, deposit potentes de sede” (He has shown strength with his arm and has scattered the proud in their conceit, casting down the mighty from their thrones). The music illustrates the lyrics, first alerted with three bell calls for attention, and the duet tenor and baritone proceed to present the statement with energetic yet angular singing lines, while the orchestra accompanies them with a scattered instrumentation in pizzicato, reflecting the image of the scattered crowds.
Movement seven, “Et exaltavit humiles” (and lifting up the lowly) gently elevates the humble with a dialogue between the contralto, trumpet and oboe, while strings provide a flowing accompaniment that blends a rhythmic pizzicato and legato lines.
“Esurientes implevit bonis, et divites dimisit inanes” (He has filled the hungry with good things and sent the rich away empty) is a darker, dramatic description of the text, sung by the baritone fully wrapped up in dense strings that blend bitter and sweet harmonic turns, as illustration of the double statement “filling the hungry” and “sending away the rich empty”.
“Suscepit Israel puerum suum recordatus misericordiae suae” (He has come to the aid of his servant Israel, to remember his promise of mercy) A soprano solo that navigates among a warm accompaniment of strings, in a sweet, almost ethereal and timeless environment with a broad range of expression from both the soloist and the orchestra.
“Sicut locutus est ad patres nostros Abraham et semini eius in saecula” (The promise made to our ancestors, to Abraham and his children for ever) Inspired in Bach’s “Sicut Locutus” but instead of creating motion through a fugue, this instance creates a driving pulse through the use of heavily syncopated theme.
Sicut Locutus blends into the final movement “Gloria patri. Gloria filio, et spiritui sancto. Sicut erat in principio nunc et semper et in secula seculorum. Amen” (Glory to the father, and to the son, and to the holy spirit, As it was in the beginning, both now, and always, and to ages of ages. Amen) which is created as a replica of the first movement “Magnificat”. This way the complete Magnificat closes a full circle using the thematic material presented in the first movement, returning to the familiar beginning as the lyrics sing “as it was in the beginning, both now, and always, and to ages of ages. Amen” (“Sicut erat in principio nunc et semper et in secula seculorum. Amen”).