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The Magnificat, in Latin also ''canticum Beat(issim)ae Virginis Mariae'' (the song of the (most) Blessed Virgin Mary), is a common part of Christian worship, for instance traditionally included in vespers, evensong or matins.〔W.K. Lowther Clarke. ''Evensong Explained, with Notes on Matins and the Litany''. London: SPCK, 1922〕〔Robert F. Taft. ''(The Liturgy of the Hours in East and West: The Origins of the Divine Office and Its Meaning for Today )'' Liturgical Press, 1986. ISBN 0814614051 ISBN 9780814614051〕 As such it is often sung and was set to music by various composers. In Gregorian chant the Magnificat is sung according to the eight traditional psalm tones: * Tonus I (first tone): ''Magnificat primi toni'' * Tonus II (second tone): ''Magnificat secundi toni'' * Tonus III (third tone): ''Magnificat tertii toni'' * Tonus IV (fourth tone): ''Magnificat quarti toni'' * Tonus V (fifth tone): ''Magnificat quinti toni'' * Tonus VI (sixt tone): ''Magnificat sexti toni'' * Tonus VII (seventh tone): ''Magnificat septimi toni'' * Tonus VIII (eight tone): ''Magnificat octavi toni'' Composers, or collections of compositions, referring to or using all eight of the traditional Gregorian psalm tone settings of the Magnificat include the Choirbook, D-Ju MS 20 (various composers), the 35 Magnificats by Palestrina, the ''Enchiridion utriusque musicae practicae'' by Georg Rhau, and Johann Pachelbel's ''Magnificat fugues''.〔Frans Wiering. "Appendix C: Modal Cycles," pp. 265–296 in ''(The Language of the Modes: Studies in the History of Polyphonic Modality )''. Routledge, 2013. ISBN 1135683417 ISBN 9781135683412〕 Also the newer psalm tones were used for Magnificat settings: * Tonus IX (ninth tone or tonus peregrinus): ''Magnificat noni toni'' or ''Magnificat peregrini toni'' – in Lutheranism this psalm tone became specifically tied to the Magnificat since Luther's translation of the Magnificat, "Meine Seele erhebt den Herren", is usually sung to a German variant of the tonus peregrinus.〔Mattias Lundberg. (''Tonus Peregrinus: The History of a Psalm-tone and its use in Polyphonic Music'' ) Ashgate Publishing, 2012, pp. 10-11 ISBN 1409455076 ISBN 9781409455073〕 Later composers referring to the German Magnificat by using this variant of the ninth tone include Dietrich Buxtehude (''Magnificat noni toni'', BuxWV 205) and Johann Pachelbel with his Chorale preludes ''Magnificat peregrini toni'' * Tonus X (tenth tone): ''Magnificat decimi toni'' – for later composers using this see e.g. ''Psalmi vespertini quatuor vocibus concinendi cum organo ad libitum'', Op. 8 by Angelo Berardi (1675) * Tonus XI (eleventh tone): ''Magnificat undecimi toni'' – for later composers using this see e.g. (Magnificat compositions ) by Moritz von Hessen * Tonus XII (twelfth tone): ''Magnificat duodecimi toni'' – for later composers using this see e.g. (Magnificat compositions ) by Moritz von Hessen Apart from the Magnificat sung to the psalm tones, in Gregorian chant there are also the ''Magnificat antiphons'' or ''O Antiphons'' inspiring composers like Arvo Pärt. In seventeenth century polyphony no other religious text, apart from the Mass Ordinary, was set more often than the Magnificat. Often only six out of twelve verses of the Magnificat were set in polyphony, performance alternating verses sung in polyphony and verses sung in monody according to the church tone. In such alternatim settings the even verses were chosen more often for setting in polyphony, because they contained the last verse of the doxology, so that the singing of the Magnificat ended with a piece in polyphony.〔Christopher Michael Porter. (''Salzburg W.B. XIV: Historical Context, Liturgical Significance and Critical Edition'' ) The University of Iowa – ProQuest, 2008. ISBN 0549742077 ISBN 9780549742074 – p. 63 ff.〕 Examples of such settings include the sixteen Magnificat settings by Cristóbal de Morales: half of these include only the odd verses ("anima mea" settings), the others only the even verses ("Et exultavit" settings) – both series of eight settings by Morales have one setting per traditional church tone. From around 1600 such Magnificats are also composed for the organ, e.g. Jean Titelouze's 1626 ''Le Magnificat ou Cantique de la Vierge pour toucher sur l'orgue suivant les huit tons de l'Église'' (odd versets). In the Baroque era the "cantata form" for religious compositions originated in Italy: like masses in the Neapolitan style, Magnificats could be set as a succession of self-contained sections in a variety of styles, choruses alternating with arias for solo singers.〔Roche, Elizabeth and Alex Lingas. "Mass" ''The Oxford Companion to Music''. Ed. Alison Latham. Oxford Music Online.〕〔Hermann Kretzschmar. (''Führer durch den Konzertsaal'', Part II, Volume 1: Kirchliche Werke, p. 395 ) Breitkopf & Härtel, 5th edition, 1921〕 Francesco Durante's 1752 Magnificat in A minor is an example of a composition in this style. In Anglicanism a Magnificat is usually combined with a Nunc dimittis in an (Evening) Service, in which case the English translation of the text ("My soul doth magnify the Lord") is used. For example Orlando Gibbons composed such Services. In Orthodox Christianity the Magnificat, or "Song of the Theotokos", is sung in the Orthros (matins) as part of the Canon. All-night vigils include the Orthros, and a setting of such vigil thus usually includes the setting of a Magnificat, e.g. the "Canticle of the Theotokos" («Величитъ душа моя Господа», Velichit dusha moya Gospoda, "My soul doth magnify the Lord"), No. 13 in Tchaikovsky's ''All-Night Vigil''. ==References== 〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「List of Magnificat composers」の詳細全文を読む スポンサード リンク
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