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Music for the Dormition of the Blessed Virgin Mary (Aug 15)

My soul doth magnify the Lord  In Reformation Germany, the singing of the Magnificat, Mary’s Song (St. Luke 1.46-55) – today’s Holy Gospel – was often associated with the psalm tone known as Tonus Peregrinus.  In the medieval church, the psalms were sung to a series of eight psalm tones in Gregorian (or plainsong) chant.  Our choir uses these tones numerous times throughout the year for the Propers of the Divine Service.  A ninth psalm tone (sometimes referred to as Tone IX) was called Tonus PeregrinusTonus Peregrinus means “wandering tone,” because, unlike the other eight tones, it uses a different reciting tone as the pitch for each half of the psalm tone.

Joseph Klug’s Wittenberg hymnal of 1533, which Luther had a hand in editing, appoints the Tonus Peregrinus for the singing of the Magnificat, and this tradition carried on in numerous places and publications following the Reformation.  In today’s music, we hear two organ settings of the Tonus Peregrinus that are titled “Meine Seele erhebet den Herrn” (German: “My soul magnifies the Lord”) indicating the strong connection with the singing of the Magnificat to the Tonus Peregrinus, especially on Sunday at Vespers. 

   Today’s PRELUDE is a setting of the Magnificat to Tonus Peregrinus by Samuel Scheidt (1587-1654).  This setting is performed alternatim (Latin: “alternately”) between choir and organ.  This practice is derived from the singing of psalms (in this case, a canticle) by contrasting musical forces – either two parts of the congregation, or two choirs, or choir and congregation.  Throughout the late Renaissance and Baroque periods, organ and choral settings were used in alternation with plainsong chant.  In this setting, the organ “sings” verses of the canticle.  The text and English translation are provided in the bulletin.

   Today’s VOLUNTARY is by Johann Sebastian Bach (1685-1750) (BWV 648). The setting is adapted for organ from movement 5 of Cantata 10 for the Visitation, which is a setting for oboe playing the Tonus Peregrinus melody above an alto and tenor duet of the text: “He remembers His mercy and raises up His servant Israel.”

In medieval usage, the Tonus Peregrinus was associated with Psalm 114 (Latin Psalm 113).  The “wandering tone” was used to sing the text recalling the Israelites wandering in the wilderness: “When Israel went out of Egypt, the house of Jacob from a people of strange language…”

In editing the pointing of the singing of the German text to the Tonus Peregrinus, Luther wrote about the Magnificat:

“First, she sings with a joyous heart of the grace and blessing which the merciful God had shown to her, praising and thanking him for it.

“Second, she sings of the blessing and great and wonderful work which God continually does for all men in all the world, namely, that he takes mercy on the miserable and meek, that he raises the lowly and enriches the poor.  Again that he puts to naught the wisdom of the proud and arrogant, that he puts down the mighty who rely on their power and might, and that he turns rich men into beggars.

“Third, she sings of the proper and highest work, namely, that God has visited and redeemed Israel through His only Son Jesus Christ.” (Luther’s Works, American Edition, Volume 53, page 177).

The lessons are Isaiah 61.7-11; Galatians 4.4-7; and St. Luke 1.46-55.
The hymns are: 518:1, 22, 3 By All Your Saints in Warfare
670 Ye Watchers and Ye Holy Ones
621 Let All Mortal Flesh Keep Silence
536 One Thing’s Needful
933 My Soul Rejoices
617 O Lord, We Praise Thee
Prelude: Magnificat on Tone IX (SSWV 148) -Samuel Scheidt
Voluntary: My Soul doth Magnify the Lord (BWV 648) -J.S. Bach
Organ introduction to Ye Watchers and Ye Holy Ones by John Ferguson; organ introduction to O Lord, We Praise Thee by Walter Hennig

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