This piece has a unique element towards his approach to tintinnabuli style. It is very transparent, meaning the harmony and as well as the melody moves around a single axis, a center pitch - C -  that serves as a static T-voice (I like to refer to it as static). The meldoy is shaped by the parameters of the text, turning it into a speech like flow, which makes it sound very natural. I will briefly explain how the T-voices and M-voices intereact with each other throughout the piece.

One of the highlights of the piece arrives at when the phrase et sanctum nomen ejus* starts. wThere is a 3 octave tutti M-voice, without an accompanying T-voice. This creates a very clear statement in the melody while at the same the obscuring harmony briefly. The 3 octave B natural creates a temporary illusion of leading towards C as a tonic. Rarely used by Pärt, when he gets out of the T-voice and M-voice relationship and accentuates a melody by unison creates a very strong statement. One of the main reasons I have chosen this piece to analyse.

Magnificat (1989)

for mixed choir (SSATB) a cappella

 

Dedicated to Christian Grube and Berlin State and Cathedral Choir (Staats- und Domchor Berlin)

 

 

The a cappella choir piece Magnificat is based on the canticle of Mary from the Gospel of Luke, and is also one of the biblical texts frequently arranged into music. Magnificat is a hymn, where Mary joyfully praises the Lord’s mercy in the presence of Elizabeth. In different church traditions, it is sung during the evening or morning service.

Pärt’s Magnificat is one of his most performed compositions. It is dedicated to Christian Grube, the former head of the Staats- und Domchor Berlin, who also performed it with his choir t its premiere on 25 May 1990 in Stuttgart. The sound of the composition conveys Mary’s gentle, grateful joy. The structure of this tintinnabuli piece is transparent: the harmony, as well as the melody, moves around a single axis – c – and the melody is shaped by the parameters of the text. (Arvo Pärt Centre 2025)

Another highlight of the piece is when there is a perfect 4th interval, 2 static T-voices so to say, are held against each other. While transitioning from the phrase Dispersit superbos mente cordis sui**, Alto section holds their last note G. This reoccurs thorughout the piece again, between different sections, showing the detailed thinking process of timbre and reusing the same material. This also creates a beautiful lingering and unresolved affect.

The text does not necessarily works in concrete block regarding rhythm, thus creating a spontaneous lyricism, but this piece is anything but spontaneous in its construction, and it is a perfect example of displaying the tintinnabuli technique in a very refined form.

In its foundations, it is a series of responses between verse and tutti sections. The solo soprano reciting the text solely, in a static C (as astatic T-voice), they are joined by different vocal lines in turn. The tutti section is a three part texture with different parts of the choirs, sometimes doubled in the octaves.

The M-voice construction is consistently in the lowest parts with two superior T-voices in 1st and 2nd positions. According to Paul Hillier:

"M-voice construction uses a slightly revised version of the method already encountered in Seven Magnificat Antiphons, whereby the number of syllables determines the notes to be used, and is approached by step. Here, the stressed syllable is alternately the pitch centre and, in the next word, the note furthest from the pitch centre is approached by step". 1

The process that Pärt uses in the verse sections seems to be more intuitive, allowing himself more freedom to choose different paths. Making this piece unique, shows to playful character of Pärt, sometimes getting out of his own structures for the sake of the end result.

 The actual composed version of the opening. (Hillier 1993)

Vocal text

The Canticle of Mary (Canticum beatae Mariae Virginis) – Luke 1, 46-55

Magnificat anima mea Dominum;
Et exsultavit spiritus meus in Deo salutari meo,
Quia respexit humilitatem ancillae suae; ecce enim ex hoc beatam me dicent omnes generationes.
Quia fecit mihi magna qui potens est, et sanctum nomen ejus*,
Et misericordia ejus a progenie in progenies timentibus eum.
Fecit potentiam in brachio suo;
Dispersit superbos mente cordis sui**.
Deposuit potentes de sede, et exaltavit humiles.
Esurientes implevit bonis, et divites dimisit inanes.
Suscepit Israel, puerum suum, recordatus misericordiae suae,
Sicut locutus est ad patres nostros, Abraham et semini ejus in saecula.


My soul doth magnify the Lord.
And my spirit hath rejoiced in God my Saviour.
For he hath regarded: the lowliness of his handmaiden: For behold, from henceforth: all generations shall call me blessed.
For he that is mighty hath magnified me: and holy is his Name.
And his mercy is on them that fear him: throughout all generations.
He hath shewed strength with his arm: he hath scattered the proud in the imagination of their hearts.
He hath put down the mighty from their seat: and hath exalted the humble and meek.
He hath filled the hungry with good things: and the rich he hath sent empty away.
He remembering his mercy hath helpen his servant Israel :
As he promised to our forefathers, Abraham and his seed for ever. (Arvo Pärt Centre 2025)

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