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Magnificat octavi toni
Magnificat in the Eighth Tone (Nuremberg, 1567)
for SATB Chorus, a cappella
Orlando di Lasso (1530–1594), edited by Don Scott Carpenter
Orlando di Lasso’s Magnificat octavi toni is a compact and elegant Renaissance setting of the Magnificat, Mary’s song of praise from the Gospel of Luke. Published in Nuremberg in 1567, the work is based on the eighth psalm tone and is presented here in an a cappella edition for SATB choir.
The setting follows an alternatim design, moving between verses sung by a cantor in chant and verses set in four-part polyphony. The opening “Magnificat anima mea Dominum” is intoned by the cantor before the full choir enters with “Et exultavit spiritus meus,” immediately establishing the dialogue between plainchant and composed polyphony that shapes the entire work.
Lasso’s choral writing is clear, balanced, and text-centered. Independent vocal lines enter and overlap with characteristic Renaissance fluidity, while the texture frequently gathers into more direct homophonic gestures that allow important phrases of the Latin text to speak with clarity. The alternation of chant and polyphony creates natural contrast while preserving the liturgical character of the Magnificat.
As the canticle progresses, the four voices respond to texts such as “Fecit potentiam in brachio suo” and “Esurientes implevit bonis” with increasingly active contrapuntal writing, while the recurring cantor verses provide moments of repose and structural clarity.
The work concludes with the traditional doxology, returning again to the alternation between chant and polyphony before the choir joins in the final “Sicut erat in principio… Amen.”
This newly prepared edition brings Lasso’s sixteenth-century writing into a clean, practical format for today’s singers. Modern notation, clearer spacing, carefully aligned text, and an uncluttered presentation make the contrapuntal writing easier to read and rehearse, particularly for modern church and community choirs that may have limited experience with Renaissance editions. The goal is to preserve the character and integrity of Lasso’s music while removing unnecessary notational obstacles between the singers and the score.
Graceful, concise, and firmly rooted in the sound world of sixteenth-century sacred polyphony, Magnificat octavi toni is especially well suited to liturgical use, church choirs, chamber ensembles, Renaissance programs, and conductors seeking an approachable way to introduce singers to the sacred music of Orlando di Lasso.
Magnificat octavi toni
Magnificat in the Eighth Tone (Nuremberg, 1567)
for SATB Chorus, a cappella
Orlando di Lasso (1530–1594), edited by Don Scott Carpenter
Orlando di Lasso’s Magnificat octavi toni is a compact and elegant Renaissance setting of the Magnificat, Mary’s song of praise from the Gospel of Luke. Published in Nuremberg in 1567, the work is based on the eighth psalm tone and is presented here in an a cappella edition for SATB choir.
The setting follows an alternatim design, moving between verses sung by a cantor in chant and verses set in four-part polyphony. The opening “Magnificat anima mea Dominum” is intoned by the cantor before the full choir enters with “Et exultavit spiritus meus,” immediately establishing the dialogue between plainchant and composed polyphony that shapes the entire work.
Lasso’s choral writing is clear, balanced, and text-centered. Independent vocal lines enter and overlap with characteristic Renaissance fluidity, while the texture frequently gathers into more direct homophonic gestures that allow important phrases of the Latin text to speak with clarity. The alternation of chant and polyphony creates natural contrast while preserving the liturgical character of the Magnificat.
As the canticle progresses, the four voices respond to texts such as “Fecit potentiam in brachio suo” and “Esurientes implevit bonis” with increasingly active contrapuntal writing, while the recurring cantor verses provide moments of repose and structural clarity.
The work concludes with the traditional doxology, returning again to the alternation between chant and polyphony before the choir joins in the final “Sicut erat in principio… Amen.”
This newly prepared edition brings Lasso’s sixteenth-century writing into a clean, practical format for today’s singers. Modern notation, clearer spacing, carefully aligned text, and an uncluttered presentation make the contrapuntal writing easier to read and rehearse, particularly for modern church and community choirs that may have limited experience with Renaissance editions. The goal is to preserve the character and integrity of Lasso’s music while removing unnecessary notational obstacles between the singers and the score.
Graceful, concise, and firmly rooted in the sound world of sixteenth-century sacred polyphony, Magnificat octavi toni is especially well suited to liturgical use, church choirs, chamber ensembles, Renaissance programs, and conductors seeking an approachable way to introduce singers to the sacred music of Orlando di Lasso.