The Bible in Music by Siobhán Dowling Long & John F. A. Sawyer

Author:Siobhán Dowling Long & John F. A. Sawyer [Long, Siobhán Dowling & Sawyer, John F. A.]
Language: eng
Format: epub
Publisher: Rowman & Littlefield Publishers
Published: 2015-06-28T16:00:00+00:00

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MAGDALENE: A CHANCEL OPERA ABOUT JESUS’ CLOSE DISCIPLE. Chancel opera in six scenes for soloists and piano by Susan Hulsman Bingham based on Mary Magdalene’s friendship with Jesus. It is inspired by a variety of texts from the Bible (e.g., Ps. 133; Cant. 1:2–3; Lam. 1:12; Zech. 12:10; Mk. 14:3–9; Rev. 5:6) and from nonbiblical sources, including the apocryphal Gospels of Peter (12:50; 13:57) and Mary (17:18–18:50) and the Gnostic Pistis Sophia (36:71). Scored for seven unclean spirits (sopranos/mezzo-sopranos)—the Magdalene (S); Mary of Bethany (S); the Angel (Tr/S); Martha (S); Joanna (Mez); Mary, mother of James (Mez); a Female Pharisee (Mez); Jesus (T); Simon (T); Andrew (T); John the beloved disciple (T); Judas (Bar); and Matthew (Bar)—it includes well-known biblical stories, such as the woman caught in adultery (Jn. 8:1–11), the anointing of Jesus’ feet with oil (Lk. 7:36–50), the Crucifixion (Jn. 19), and the appearance of Jesus at the empty tomb (Jn. 20:11–18).

MAGDALENE AT THE FEET OF CHRIST. (Maddalena ai piedi di Cristo). Oratorio in two parts for six voices, scored for strings, lutes, organ, clavecin, and bassoons by Antonio Caldara (1670–1736) to a libretto by Lodovici Forni (Rome, ca. 1700). The main thrust of the oratorio focuses on a battle between Heavenly Love (Ct) and Earthly Love (A), representing the forces of Good and Evil, to win the soul of Mary Magdalene (S), traditionally identified with Mary the sister of Martha (S) (Lk. 7:36–50; Jn. 11–12). Part 2 recounts the scene of Mary washing the feet of Christ (T) in the house of the Pharisee (B) and concludes with a victory for Heavenly Love, sung as a recitative by Mary with her words of penitence renouncing all worldly pleasures.

MAGNIFICAT, THE. The Latin title of a hymn sung by Mary (Lk. 1:46–55) that was from early times an important part of morning worship in the Eastern Church and of vespers in the West. Its revolutionary tone (Lk. 1:51–53) made it popular with liberation theologians in Latin America, where in some countries it was banned for a time. Bach’s famous extended setting for SSATB choir and orchestra (1723) is in 12 movements, mostly in E-flat major and F major, with minor tonalities for verses 48, 50, 52, and 54 and some additions, including Luther’s hymn Vom Himmel hoch (“From Heaven High”) after verse 47. Among other notable musical settings are those of Tallis, Schütz, Monteverdi, Purcell, Schubert (1816), Bruckner (1852), Rachmaninoff (1915), Vaughan Williams (1925), and Arvo Pärt (1989).

MAN FROM NAZARETH: THE LIFE OF CHRIST FROM BIRTH TO ASCENSION. A “spiritual musical” by Edward Hammond Boatner (1898–1981) for 40-part mixed chorus telling the life of Christ through the eyes of African American slaves. Twenty-one spirituals, arranged by the composer, many prefaced by narration, include all-time favorites, such as Go Tell It on the Mountain, Wade in the Water, and Rise and Shine, as well as lesser-known ones, such as “New Born,” “Done Found My Lost Sheep,” and “They Led My Lord Away.” See also CHILD OF OUR TIME, A.

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