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Each generation has produced interpretations of many kinds, yet, curiously, rather few composers have combined the resources of soloist, choir, and orchestra.John Rutter was inspired by the vocal artistry of Melanie Marshall to build a set of spirituals crafted to her personal style, partnered by choir, with the orchestra to supply an extra dimension of colour and emotional depth.The role of the children’s choir is to add a further dimension to the traditional Latin Mass sung by the adult choir, sometimes commenting, sometimes amplifying the meaning and mood.The Mass itself (a Missa Brevis, that is to say a Mass without a Credo section) is mainly sung by the adult choir or the soloists.The texts, with the exception of the medieval , are sixteenth- or seventeenth-century English, madrigalian in character, lending themselves to lightweight, transparent musical setting.Influences of folk-song, madrigal, and both Mendelssohn’s and Britten’s The heritage of the African-American spiritual has fired the imagination of composers, performers, and audiences for more than a hundred years.

The aim of this edition is to present the was written at the invitation of Brian Kay, conductor of the Cheltenham Bach Choir, to celebrate the seventy-fifth birthday of the great jazz pianist George Shearing.The Lord himself is thy keeper: the Lord is thy defence upon thy right hand; So that the sun shall not burn thee by day: neither the moon by night.The Lord shall preserve thee from all evil: yea, it is even he that shall keep thy soul. Luke (chapter 1, verses 46–55) known as the Magnificat – a poetic outpouring of praise, joy and trust in God, ascribed by Luke to the Virgin Mary on learning that she was to give birth to Christ – has always been one of the most familiar and well-loved of scriptural texts, not least because of its inclusion as a canticle in the Catholic office of Vespers and in Anglican Evensong. I had long wished to write an extended Magnificat, but was not sure how to approach it until I found my starting point in the association of the text with the Virgin Mary.The Latin text, drawn from the Ordinary of the Mass, is a centuries-old challenge to the composer: exalted, devotional and jubilant by turns.Rutter’s setting, which is based mainly on one of the Gregorian chants associated with the text, divides into three movements roughly corresponding to traditional symphonic structure.

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You are very welcome to make use of these notes in concert programmes or on websites, but please make sure to acknowledge the text using the format given at the bottom of each note, and to link to in 1887 purely, in his own words, 'for the pleasure of it'.