In comparison, Aux-Cousteaux's Magnificats
are refined and learned, with sustained rhythms, elegant suspensions, and imitative points that paraphrase the Psalm tones.
Finalmente, las partituras de los magnificats
que se encuentran en el Museo Nacional del Virreinato (pertenecientes originalmente al archivo de la Catedral de Mexico) concluyen este volumen publicado por el Centro Nacional de Informacion, Documentacion e Investigacion Musical Carlos Chavez (Cenidim) del INBA.
The influence of Morales and Guerrero on the Ceballos Magnificats
becomes evident when looking at the music in detail.
Musical examples, placed close to the analyses they illustrate, outline the subtle but real relationships between the "tonal type" of the model over against that of the "imitation" Magnificat
based on it, and raise intriguing implications of intertextuality between model and Magnificat
, which Crook explores at length.
An undated manuscript, copied in the Vatican scriptorium by Johannes Parvus, provides yet more variant versions for the Magnificats
for tones I, IV and VIII.
Revealed in the final pages of David Crook's book, this exchange, and what it tells us of musical awareness by courtiers at the Munich court, supplies a context for Lassus's most unusual compositional project: his writing of 40 Magnificat
settings based not, as was normal, on one of the eight canticle tones but on motets, madrigals and chansons by himself and other composers.
Just what notated ambitus Palestrina expected of each voice type can be discerned from his Magnificats
uses its theme both as a cantus firmus and to generate imitative material; it could so easily become pedantic or bland.
With regard to the two Magnificats
, Wielakker states that "it was not uncommon for two Magnificats
to be set in a Vespers collection, one a sober setting, the other richer.
This amounts to twenty-three psalms and three Magnificats
, making Cavalli's the largest Italian collection of purely Vesper music of the entire seventeenth century.
Opus III (consisting of Vesper psalms and two settings of the Magnificat
canticle) - printed in twelve partbooks at Augsburg in 1701 and scored for four solo voices, four voices in ripieno, strings, and basso continuo (with separate partbooks for the violone and the organ) - is the most recent of his known sacred music to be published in a modern edition.
The edition comprises two volumes, the main one dedicated to the full score and ancillary materials, including a brief introduction, charts of the vocal and instrumental ranges, a section on editorial principles, three facsimiles, chant antiphons for the psalms and Magnificat
, and examples of embellishments.