Tawnie Olson Magnificat

NEW
HORIZONS
sacred | upper voices (ssaa), satb (with divisions) | unaccompanied
Tawnie Olson
magnificat

Tawnie Olson
magnificat
upper voices (ssaa), satb (with divisions) | unaccompanied
VOCAL SCORE

1
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© Oxford University Press 2021
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Tawnie Olson has asserted her right under the Copyright, Designs
and Patents Act, 1988, to
First
be identified
published
as
2021
the Composer of this Work
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Composer’s note
Western culture tends to devalue teenage girls’ strength, character, and intelligence—the phrase ‘like a teenage
girl’, for example, is seldom used as a compliment. Similarly, portrayals of Mary in art and music often
downplay her courage and determination, instead emphasizing her more ‘feminine’ qualities. This piece
offers a different view of Mary, and of young women.
The upper-voice choir may be made up of singers of any age and gender, but it is important that they sing
in the style of Bulgarian female choral ensembles who perform folk music arrangements, such as the
Koutev Ensemble or the groups represented in the album Le Mystère des Voix Bulgares. They should sing
Italianate Latin, modified to give a Bulgarian inflection to the vowels. The mixed-voice chorus should sing
in the style of a Western European or North American chorus, without any alterations to vocal production
or pronunciation.
Tawnie Olson
This note may be reproduced as required for programme notes.
Duration: 8.5 minutes
Magnificat has been recorded by the Elm City Girls’ Choir and Yale Schola Cantorum, directed by David Hill,
on the CD New England Choirworks (Hyperion A68314).
Performance note
In traditional Bulgarian folk music, the singers are predominantly women and the instrumentalists
predominantly men. Bulgarian women’s songs traditionally come from work, seasonal rituals, and festivities,
and though most are secular, sacred texts are also in the lexicon. The characteristic singing voice features two
different vocal qualities, referred to as teshka (heavy) and leka (light). Many traditional Bulgarian songs have
a limited pitch range. The typical tessitura for songs sung by groups in unison is only about a 5th, though
modern choral arrangements of folk songs, using the authentic traditional vocal quality, have increased the
overall pitch range of the songs.
When working with the choristers of the Elm City Girls’ Choir to prepare this piece, we focused on two
important elements: tone quality and ornamentation. To emulate a Bulgarian tone, we modified our vowels
to the brightest possible formation, and embraced singing into the mask of the face (specifically the nasal
cavities) for optimal forward resonance. We mixed in significant chest voice in all parts of the range, though
with constant reminders about breath support so as to avoid vocal strain. To add vocal ornaments in the style
of Bulgarian folk music, we did a lot of listening and experimenting. Le Mystère des Voix Bulgares is a great
resource, which we used to normalize this type of ornamentation to our Western ears. Singing in this style
requires a shift of paradigms and a commitment to reinforcing new habits, but it is absolutely doable and
intensely rewarding.
Rebecca Rosenbaum
Music Director, Elm City Girls’ Choir
iii

Texts and translations
Magnificat anima mea Dominum
Et exultavit 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 eius.
Et misericordia eius 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 eius in saecula. Amen.
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 holpen his servant Israel: as he promised to our forefathers,
Abraham and his seed, for ever. Amen
Luke 1: 46 –55
Translation from the Book of Common Prayer, 1662
Ave Maria, gratia plena, Dominus tecum.
Benedicta tu in mulieribus,
et benedictus fructus ventris tui, Iesus.
Sancta Maria, Mater Dei,
ora pro nobis peccatoribus,
nunc et in hora mortis nostrae. Amen.
Hail Mary, full of grace, the Lord is with thee.
Blessed art thou among women,
and blessed is the fruit of thy womb, Jesus.
Holy Mary, Mother of God,
pray for us sinners,
now and at the hour of our death. Amen.
The Angelic Salutation
iv

Commissioned by Karen Clute in honour of strong teenage girls everywhere
Magnificat
Luke 1: 46 – 55
The Angelic Salutation
TAWNIE OLSON
UPPER VOICES*
SOPRANO 1
SOPRANO 2
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* The upper-voice choir should adopt the vocal style of a Bulgarian women’s chorus; see the notes on page iii for more detailed guidance.
First performed by the Elm City Girls’ Choir and Yale Schola Cantorum, directed by David Hill, at Christ Church, New Haven, Connecticut,
on 22 September 2017.
© Oxford University Press 2022
Printed in Great Britain
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP
The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.

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S. 1
28
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9 8
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7
UPPER VOICES
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8
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Slightly slower q = c.138
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9
UPPER VOICES
S. 1
S. 2
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pp
‰ œ œ
*Benedicta tu in mulieribus,
‰ œ œ
BASS 1
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‰ œ œ
BASS 2
pp
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for online perusal only
TENOR 1
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poco
p
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p
‰ œ ‰ œ ‰ œ ‰
bbbbb
∑
∑
∑
∑
∑
mp
‰ œ ‰‰
œœ œ ‰‰‰
œœœ œ
* With individual, staggered entries, chant freely and rapidly, independently of each other, repeating text as necessary and changing pitch in time
(text continues through pitch changes).

10
58
°
S. 1 Vbbbbb ∑ ∑ ∑ ∑ ∑ ∑
S. 2 Vbbbbb ∑ ∑ ∑ ∑ ∑ ∑
Vbbbbb
A. ∑ ∑ ∑ ∑ ∑ ∑
¢
°
S. 1 ∑ ∑ ∑
¢
{
Vbbbbb
S. 2 Vbbbbb ∑
A. 1
Vbbbbb
mp
ALTO 1
*Benedicta tu in mulieribus,
A. 2 Vbbbbb ∑ ∑
T. 1
T. 2
B. 1
B. 2
V
‹
bbbbb
V
‹
bbbbb
Bbbbbb
Bbbbbb
mp
SOPRANO 2
*Benedicta tu in mulieribus,
ALTO 2
mp
*Benedicta tu in mulieribus,
mp
t SOPRANO 1
œ œ œ ‰ œ ‰ œ
*Benedicta tu in mulieribus,
poco
‰ œ ‰ œ ‰ œ ‰ œ ‰ œ œ j œ œ œ
(Benedicta tu in mulieribus)
poco
‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ
(Benedicta tu in mulieribus)
poco
‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ
(Benedicta tu in mulieribus)
poco
‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ
(Benedicta tu in mulieribus)
for online perusal only
Ó t œ J
œ ‰ œ ‰ œ ‰ œ ‰ œ
Ó œ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ
t
œ j œ
Œ ‰ œ ‰ œ ‰ œ ‰ œ
. .
V bbbbb Ó œ œ ‰ Ó œ œœ ‰‰ œœœ œ j ‰‰‰
œ œ œœœ œ
‰
B bbbbb ‰‰‰ ‰ ‰
œœœ œ
‰‰‰ ‰
œœœ œ
‰‰‰ ‰
œœœ œ
‰‰‰ ‰
œœœ œ
‰‰
‰ ‰‰ œ
œœœ
‰‰‰
œ
œœ
‰ œœœ œ
œ‰‰ j ‰ œ œ œ
œœœ
ä
â
ä
â
ä
â
ä
â
* With individual, staggered entries, chant freely and rapidly, independently of each other, repeating text as necessary and changing pitch in time
(text continues through pitch changes).

11
S. 1
64
°
Vbbbbb
f
ff sempre
œ ‰ œ œ ‰ œ œ ‰ œ ‰ œ ‰ œ Ó Œ œ ‰ œ ‰ œ
Qui-a
fe - cit mi - hi
ma - gna
qui
po
-
tens
S. 2
Vbbbbb
f
ff sempre
œ ‰ œ œ ‰ œ œ ‰ œ ‰ œ ‰ œ Ó Œ œ ‰ œ ‰ œ
Qui-a
fe - cit mi - hi
ma - gna
qui
po
-
tens
A.
¢
Vbbbbb
f
œ ‰ œ œ ‰ œ œ ‰‰ œœ ‰‰ œœ ‰‰ œœ Ó Œ
Qui-a
fe - cit mi - hi
ma - gna
qui
ff sempre
œœ ‰‰ œœ ‰‰ œœ
po - tens
S. 1
S. 2
°
Vbbbbb
mf
‰
œ
œ
‰
‰
œ
œ
‰
œ
œ
‰
œ
œ
‰
œ
œ
‰
œ
œ
‰ œ
‰ œ
(Benedicta tu in mulieribus)
A. 1
A. 2
Vbbbbb
mf
‰‰ œœ
‰‰ œœ
‰‰ œœ
‰‰ œœ
‰‰ œœ
‰‰ œœ
‰‰ œœ
‰‰ œœ
(Benedicta tu in mulieribus)
T. 1
T. 2
V
‹
bbbbb
mf
‰ œ
‰ œ
‰ œ
‰ œ
‰ œ
‰ œ
‰ œ
‰ œ
(Benedicta tu in mulieribus)
B. 1
B. 2
¢
Bbbbbb
mf
‰‰ œœ
‰‰ œœ
for online perusal only
‰‰ œœ
‰‰ œœ
‰‰ œœ
‰‰ œœ
‰‰ œœ
‰‰ œœ
(Benedicta tu in mulieribus)
{
V bbbbb
B bbbbb
f
mf
œ ‰ œ œ ‰‰ œœ œœ ‰‰ œœ
œœ ‰‰‰
œœœ ‰‰‰
œœœ Ó Œ
œœœ ‰‰‰
ff sempre
œœœ ‰‰‰ œœœ
‰‰‰
‰
œœ œ
‰‰ ‰
œœ œ
‰‰ ‰
œœ œ
‰‰ ‰
œœ œ
‰‰ ‰
œœ œ
‰‰ ‰
œœ œ
‰‰ ‰
œœ œ
‰‰ œœ œ

12
72
°
Vbbbbb
mp
‰ œ ‰ Œ Œ Ó Œ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ
est, et sanc - tum no - men e - ius.
4
¢
Vbbbbb
Vbbbbb
mp
‰ œ ‰ Œ Œ Ó Œ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ
est, et sanc - tum no - men e - ius.
‰ œ ‰ Œ Œ Ó Œ œ ‰‰ œœ ‰‰ œœ ‰ œ ‰ œ ‰‰ œœ ‰ œ
est, et sanc - tum no - men e - ius.
mp
4
4
°
Vbbbbb
‰ œ
‰ œ
‰ œ
‰ œ
dim. poco a poco
‰ œ
‰ œ
pp
‰ œ ‰ œ ‰ œ
4
(Benedicta tu in mulieribus)
Vbbbbb
‰‰ œœ
‰‰ œœ
‰‰ œœ
‰‰ œœ
dim. poco a poco
‰‰ œœ
‰ œ
pp
œ ‰ œ ‰ œ ‰ œ
4
(Benedicta tu in mulieribus)
V
‹
bbbbb
‰ œ
‰ œ
‰ œ
‰ œ
dim. poco a poco
‰ œ
‰ œ
‰ œ
‰ œ
pp
‰ œ
4
(Benedicta tu in mulieribus)
¢
Bbbbbb
‰‰ œœ
‰‰ œœ
‰‰ œœ
for online perusal only
‰‰ œœ
dim. poco a poco
‰‰ œœ
‰‰ œœ
‰‰ œœ ‰‰ œ
pp
œ ‰ œ
4
(Benedicta tu in mulieribus)
{
V bbbbb
B bbbbb
‰‰‰
œœœ ‰‰‰ Œ Œ Ó Œ
œœœ ‰‰
‰‰‰
‰
œœ œ
‰‰ ‰
œœ œ
‰‰ ‰
œœ œ
‰‰ ‰
œœ œ
‰‰ ‰
œœ œ
‰‰ œœ œ
œœ
‰‰‰ œœœ ‰‰ œœ ‰‰‰ œœœ ‰‰ œœ ‰ œ
‰
‰‰ œ
œœœ
‰
‰‰ œ
œœœ
‰‰
œ
4
4

81
°
Vbbbbb
Freely q = c.54
4
∑
Œ
SOLO
p
poco
3
œ ‰ œ œ œ ‰ œ œ œ œ ‰ ‰
Et mi - se - ri - cor - di-a
e
Œ
t
3
œ œ ‰ œ œ œ œ œ
- ius
a pro - ge - ni - e in pro
3
13
-
Vbbbbb 4 ∑ ∑ ∑ ∑ ∑ ∑
¢
Vbbbbb
4
∑
Œ
poco
!
!
3 3 3
œ œ œ j œ œ œ œ œ
œ ‰ œ œ œ œ ‰ œ
Œ
œ ‰
t
œ œ ‰ œ œ œ œ œ
mp
SOLO
Et mi
for online perusal only
- se - ri - cor - di-a
e
- ius
a pro - ge - ni - e in pro -
°
Vbbbbb
Vbbbbb
V
‹
bbbbb
4
4
4
w w w w w w
*et benedictus fructus ventris tui,
w w w w w w
*et benedictus fructus ventris tui,
w w w w w w
*et benedictus fructus ventris tui,
¢
Bbbbbb
4
w w w w w w
*et benedictus fructus ventris tui,
{
V bbbbb
B bbbbb
Freely q = c.54
4
4
w
œ
œ œ ‰œ j œ
3
Œ
œ œ œœ ‰ t
œ œ œ œœ‰ ‰‰
pp mp poco
w w w w w w
3
œ œ ‰
œ œ œ œ œ œ œ
3
* Change text here, even if you have not completed the final iteration of the previous text. Chant slightly slower, so that you can enunciate clearly
without sounding frantic, but remain independent of each other.

14
87
°
Vbbbbb
(SOLO)
‰
3
œ j œ œ œ
Œ
3
- ge - ni - es
ti-men-ti-bus
e
t
poco
œ j œ œ œ ‰ œ œ j œ
- um.
t Ó
3
4
∑ 3
4 ∑ b 4
Vbbbbb ∑ ∑ ∑ ∑ 3
3
4 ∑ 4 ∑ b 4
¢
Vbbbbb
(SOLO)
!
poco
3 3
‰ œ
t
œ œ œ œ œ Œ œ j œ œ œ ‰ œ
œ œ œ j
œ
t Ó
3
4
∑ 3
4 ∑ b 4
- ge - ni - es
ti-men-ti-bus
e
-
um.
°
Vbbbbb
slow pace of chanting slightly
3
w w w w 4 ‰ 4 w
(et benedictus fructus ventris tui)
Ie - sus.
-
mf
pp
b
3
4
Vbbbbb
slow pace of chanting slightly
3
w w w w 4 ‰ 4 w œ
(et benedictus fructus ventris tui)
Ie - sus.
-
mf
pp
b
3
4
V
‹
bbbbb
3
w w w w 4 ‰ 4 w
(et benedictus fructus ventris tui)
for online perusal only
#
slow pace of chanting slightly
-
Ie
-
mf
sus.
pp
b
3
4
¢
Bbbbbb
slow pace of chanting slightly
w w w w 3 ‰
4
-
4
mf
w
pp
#
œ
b
3
4
(et benedictus fructus ventris tui)
Ie
-
sus.
V bbbbb
‰
œ œ œ œ œ œ œ
3 3
œ
œ
Œ
t
œ j œ œ œ ‰ œ œœ j œœ
t Ó
3
4
‰
4
w
b
3
4
{
B bbbbb
w w w w 3 ‰
4
4
w
w
b
3
4

93
°
Vb 3
4 ∑ ∑ ∑ =
Rhythmic q = c.144
TUTTI
mf
7
œ œ œ 8 œ œ j œ œ œ œ j œ œ ‰
Fe
- cit po - ten - ti -am
in bra - chi o
- su - o,
15
Vb 3
4 ∑ ∑ ∑ =
8 7
œ œ œ œ œ j œ œ œ œ j œ œ ‰
3
¢ Vb 7
4 ∑ ∑ ∑ = ∑ 8 ∑ ∑ ∑
°
¢
3
4
3
4
3
4
3
4
f
ff
p
Œ Œ t œ j œ œ œ œ œ œ ‰ œ ‰ 7
8 œ ‰ œ œ œ ‰
f
ff
p
Œ Œ t œ j œ œ œ œ œ œ ‰ œ ‰ 7
8 œ ‰ œ œ œ ‰
f
ff
p
Œ Œ t œ j œ œ œ œ œ œ ‰ œ ‰ 7
8 œ ‰ œ œ œ ‰
7
8
3
4
5 8
5 8
5 8
5 8
5 8
5 8
5 8
5 8
5 8
7 8
7 8
7 8
7 8
7 8
7 8
7 8
7 8
7 8
3 4
3 4
3 4
3 4
3 4
3 4
3 4
3 4
3 4
mf
Fe
- cit po - ten - ti -am
in bra - chi o
- su - o,
Vb
Vb
V
‹
b
Bb
for online perusal only
Sanc - ta Ma-ri
- a,
Sanc - ta Ma-ri
- a,
Sanc - ta Ma-ri
- a,
Sanc - ta Ma-ri
- a,
=
=
=
f
ff
p
Œ Œ t œ œ œ œ œ œ œ J
‰ œ ‰ œ ‰ œ œ œ ‰
=
V b
Œ Œ t œ j œ œ œ œ œ œ ‰ œ
=
Rhythmic q = c.144
7
œ œ œ 8 œœ œœ j œ œ œœ œ j œ œœ ‰
{
f
ff
B b
3
4
=
mf
Œ Œ t œ J
œ œ œ œ œ œ ‰ œ ‰ œ ‰ œ œ œ ‰
7
8

16
°
V ∑ ∑ ∑
‰
f
Œ œ œ œ œ œ j œ œ œ œ œ
j
dis
- per - sit su - per - bos
V ∑ ∑ ∑
‰
Œ
f
œ
dis
œ œ œ œ
j
œ
œ œ œb j œ
- per - sit su - per - bos
¢
V
TUTTI
mf
œ œ œ œ œ œ j œ œ œ œ œ j œœ œœ ‰
Fe
- cit po - ten - ti - am in bra - chi - o su - o,
dis
Œ
f
œ
œ
œ j
œ œ
J
œ
- per - sit su - per - bos
b
œ œ œ œ j œ J
for online perusal only
°
V ∑ ∑ ∑
mf
Œ Œ œ ‰ œ œ J
œ œ
Ma - - ter
V ∑ ∑ ∑
mf
Œ Œ œ ‰ œ œ J
œ œ
Ma - - ter
V
‹
∑ ∑ ∑
mf
Œ Œ œ ‰ œ œ J
œ œ
Ma
- -
ter
B
¢
∑ ∑ ∑
mf
Œ Œ œ ‰ œ œ J
œ œ
Ma - - ter
V
œ œ œ œ œ j œ œ œ œ j œ
Œ Œ œ ‰ œœ œ œ j œ œ
J
œ
œ
œ J
B
f
œ œ œ œ œ œ œ œ œ œ œ œ œ J J ‰ Œ œ œ j œ œ œ œ
bœœ
j
J
{100
34
3 4
3 4
3 4
3 4
3 4
3 4
3 4
3 4
7 8
7 8
7 8
7 8
7 8
7 8
7 8
7 8
7 8
5 8
5 8
5 8
5 8
5 8
5 8
5 8
5 8
5 8
7 8
7 8
7 8
7 8
7 8
7 8
7 8
7 8
7 8
2 4
2 4
2 4
2 4
2 4
2 4
2 4
2 4
2 4
5 8
5 8
5 8
5 8
5 8
5 8
5 8
5 8
5 8
3 8
3 8
3 8
3 8
3 8
3 8
3 8
3 8
3 8
7 8
7 8
7 8
7 8
7 8
7 8
7 8
7 8
7 8

°
V
V
œ œ œ œ œ œ j œ ‰ œ œ
men
men
- te cor - dis su - i.
De
bœ
œ œ œ j
œ œ
œ b‰
œ œ
- te cor - dis su - i.
De
ff
Œ Œ Œ œ œ œ j œ œ œ œ œ
ff
- po - su - it po - ten - tes de
Œ Œ Œ œ œ œ j œ œ œ œ œ
- po - su - it po - ten - tes de
~
~
17
¢
V
b
œœ œœ œœ
œ j
œ œ
J
men
b
œ ‰‰ œœ
- te cor - dis su - i.
De
œœ
Œ Œ Œ
ff
œ œ œ j œ œ œ œ œ
- po - su - it po - ten - tes de
for online perusal only
°
V
‰ œ œ ‰ œ œ
De - i,
o
f‰ œ ‰ œ
Œ Œ ‰
- ra
pro
V
f
‰ œ œ ‰ œ œ Œ Œ ‰ œ ‰ œ
‰
De - i,
o
- ra
pro
‰ œ œ ‰ œ œ
V
‹
f
De - i,
o
Œ Œ
‰ œ ‰ œ ‰
- ra
pro
¢
B
f
‰ œ œ ‰ œ œ Œ Œ ‰ œ ‰ œ ‰
De - i,
o
- ra
pro
V
‰
œ
œ
œ
œ
œ
J
œ
œ ‰
B bœœ
b
‰ œœ œœ œ œ j œ œ ‰‰‰ ‰ œœ œ œ
œ
œ œ Œ Œ ‰
œœ œ œ Œ Œ
{107
78
7 8
7 8
7 8
7 8
7 8
7 8
7 8
7 8
5 8
5 8
5 8
5 8
5 8
5 8
5 8
5 8
5 8
ff
œ
œ
œ
œ
œ ‰ œ œ
œ
œ
œ
J
œ ‰
œ
œ
œ
‰ œ œ
œ œ œ
œ ‰

18
°
V
V
œ
se
œ
se
t
œ œ œ œ
!
- de
et ex - al - ta - vit hu - mi - les.
E - su - ri -
œ œ œ œ
t
œ œ œ j œ œ œ œ œ œ
t Œ
!
œ œ œ j œ œ œ œ œ œ
t Œ
œ œ œ j
œ œ œ j
- de
et ex - al - ta - vit hu - mi - les.
E - su - ri -
¢
V
œ œ œ
t
for online perusal only
œ œ œ j œ œ œ œ œ œ
t
Œ
œ œ œ j
se
- de
et ex - al - ta - vit hu - mi - les.
E - su - ri -
°
V
œ œ œ œ œ ‰ ∑ ∑ œ œ œ
no - - bis
pec - -
V
œ œ œ œ œ ‰ ∑ ∑ œ œ œ
no - - bis
pec - -
pec - -
V
‹
no - - bis
œ œ œ œ œ ‰ ∑ ∑ œ œ œ
¢
B
œ œ œ œ œ ‰ ∑ ∑ œ œ œ
no - - bis
pec - -
V
œ
œ
œ œ
œ
œ
œ
œ
œ ‰
œ œ œ
t
J œ œ œ œ œ œ œ
œ
œ J
B
œ
œ
œ
œ
œ œ
t œ œ
œ œ
œ j œ
‰
œ œ œ œ œ t œ
œ œ
œ
œ
œ
{113
58
5 8
5 8
5 8
5 8
5 8
5 8
5 8
5 8
7 8
7 8
7 8
7 8
7 8
7 8
7 8
7 8
7 8
2 4
2 4
2 4
2 4
2 4
2 4
2 4
2 4
2 4
5 8
5 8
5 8
5 8
5 8
5 8
5 8
5 8
5 8
3 8
3 8
3 8
3 8
3 8
3 8
3 8
3 8
3 8
7 8
7 8
7 8
7 8
7 8
7 8
7 8
7 8
7 8
œ j

°
V
V
~
œ œ œ œ œ j œ œ œ
~
- en - tes im - ple - vit bo - nis
et di - vi - tes di - mi - sit in - a - nes.
~
œ œ œ œ œ j œ œ œ
~
- en - tes im - ple - vit bo - nis
et di - vi - tes di - mi - sit in - a - nes.
~
Œ œ œ œ œ j œ œ œ œ œ
œ œ‰
~
Œ œ œ œ œ j œ œ œ œ œ
œ œ‰
~
~
b
b
19
¢
V
œ œ œ œ œ j œ œ œ
Œ
œ œ œ œ j œ œ œ œ œœ ‰
b
- en - tes im - ple - vit bo - nis
et di - vi - tes di - mi - sit in - a - nes.
°
¢
V
V
V
‹
B
for online perusal only
œ ‰ œ bœ œ œ ‰ œ œ œ ‰ œ ‰
- ca - to - - ri - - bus,
œ ‰ œ œ œ œ ‰ œ œ œ ‰ œ ‰
- ca - to - - ri - - bus,
œ ‰ œ bœ œ œ ‰ œ œ œ ‰ œ ‰
- ca - to - - ri - - bus,
œ ‰ œ bœ œ œ ‰ œ œ œ ‰ œ ‰
- ca - to - - ri - - bus,
b
b
b
b
‰ œ
œ
V œ
œ bœ
b
œ œ œ œ J
œ œ
œ œ œ œ
œ œ
Œ‰ œ œ œ œ œ œ
‰
œ œ‰
œ œ œ
œ j œ
œ
B œ œ
œ b ‰ Œ
œ œ œ œ j œ œ
œ œ
œ ‰ Œ Œ
b
78 6 5 3 5 7 4 8 8 4 8 8 7 6 5 3 5 7 4 8 8 8 4 8 8 7 6 5 3 5 7 4 8 8 8 4 8 8 7 6 5 3 5 7 4 8 8 8 4 8 8 7 6 5 3 5 7 4 8 8 8 4 8 8 7 6 5 3 5 7 4 8 8 8 4 8 8 7 6 5 3 5 7 4 8 8 8 4 8 8 7 6 5 3 5 7 4 8 8 8 4 8 8 7 6 5 3 5 7 4
{120
8 8 œ 8 œ œ 4 8 8 J
‰ œ
œ‰
œ œ

20
°
Vb
Much slower q = c.54
fff pp niente
w w w w ‰
Œ
Vb
fff pp niente
w w w w ‰
Œ
¢
Vb
fff pp niente
w w w w ‰
Œ
for online perusal only
°
Vb
ff
‰ Ó
∑ ∑ ∑ ∑
¢
Vb
V b
‹
Bb
poco
ff
p
‰ Ó ∑ ∑ ∑ œ œœ j œ œ
ff
p
poco
‰ Ó ‰ œ j œ œ œ J
∑
Sanc
- ta Ma
ff
p
‰ Ó ∑ ‰ œ œ
J
Sanc
œ J
- ta Ma
œ J
- ri - a,
poco
œ J
- ri - a,
Ma
pp
œ ‰‰
ww
pp
œ ‰‰
ww
-
- ter De
-
i,
V b
‰
w
Much slower q = c.54
Ó
w w w œ
‰ œœ j œ œ
B b
{127
44
4 4
4 4
4 4
4 4
4 4
4 4
4 4
4 4
fff p poco pp
‰ Ó ∑ ‰ œ œ
J
œ œœ J
œ œœ œ J
œœœ œ ‰‰‰ ‰ www
w

21
132
°
Vb ∑ ∑ ∑ ∑ ∑
Vb ∑ ∑ ∑ ∑ ∑
¢ Vb ∑ ∑ ∑ ∑ ∑
°
Vb
Vb
mp poco cresc.
3
o - ra pro no - bis pec-ca
- to - ri - bus,
nunc
3
Ó œ œ œ œ œ ‰ œ œ œ œ œ œ œ j œ j t œœ ‰‰ œœœ œ œ œ œ œ ‰œ œ
mf
3
et in ho - ra mor - tis nos
nunc,
mor - tis nos -
pp
mp
p
w w ‰ œ j t
œ w œ w œ ‰
p
-
nunc,
V
‹
b
w w
w w ‰‰
Œ
p
w
w
nunc,
¢
Bb
w w
for online perusal only
w w ‰‰
Œ
p
w
w
nunc,
V b
‰w
mp
3
3
œ œ œ œ œ ‰ œ w œ œ œ œ ‰ œ œ j œ J
‰w
œ j t œœ œ ‰‰
3
œœ œ œ œ œ œw œ œ œœ
{
B b
w ww w
www w ‰‰‰ ‰
mf
Œ
w
p
w

22
°
¢
Vb ∑ ∑
####
137
Vb ∑ ∑
####
Vb ∑ ∑
####
mf
œ œ ‰ œ œ ‰ œ œ
Su
mf
Su
- sce-pit
Is - ra - el
œ œ ‰ œ œ ‰ œ œ œ œ.
Œ Œ œ œ
mp
Su
- sce-pit
Is - ra - el
œ œ œ œ œ Œ Œ œ œ
œ œ
œ œ
œ œ ‰ œ œ ‰ œ œ œ œ
.
pu
pu
- e -
- e -
.
- sce-pit
Is - ra - el
pu - e -
Œ
Œ
œ œ
°
Vb
Vb
w ‰ Œ
- trae.
-
trae.
œ‰ œ ‰ ‰
nos - trae.
mp p
#### ∑ ∑ ∑
‰
mp p
#### ∑ ∑ ∑
Œ
V
‹
b
w
nos
-
‰
mp
trae.
for online perusal only
p
#### ∑ ∑ ∑
Œ
¢
Bb
mp
w ‰ Œ
p
####
mp
w
w
w
nos
-
trae.
ah
V b
wœ
œ ‰ ‰ Œ
####
œ œ
œ
‰ œ œ ‰ œ
œ
œ
œ Œ Œ
œ
œ
{
mp
mf
B b w ‰ Œ #### wÓ Œ œ œ ‰ ww œ œ œ ww Œ Œ œ œ
w

142
°
V # ###
œ œ œ ‰ œ œ
f
3 3
3
œ
œ œ
œ œ œ ‰ œ j t t
œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
œ œ‰
- rum su - um
re-cor
- da - tus mi - se - ri - cor-di
- ae su - ae,
23
V # ###
f
3
3
3
œ œ œ
Œ
œ œ œ œ œ# œ œ œ œ ‰
- rum su - um
re-cor
- da - tus mi - se - ri - cor-di
- ae su - ae,
œ œ œ ‰ ‰ œ j t t
¢
V # ###
3
3 3
œ œ œ ‰ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰
- rum su - um
re-cor
- da - tus mi - se - ri - cor-di
- ae su - ae,
j
t t
f
Œ
for online perusal only
°
V # ### ∑ ∑ ∑ ∑
V # ### ∑ ∑ ∑ ∑
V
‹
#### ∑ ∑ ∑ ∑
¢
B####
w
w
w
f
œ ‰ Œ
{
V # ###
B ####
œ œ œ ‰ ‰ œ j t t
3 3
œ œ œ
œ œ œ
3 3 3
œ œ œ ‰ ‰ ww œ j t t œ œ w w
œ œ œ œ œ œ œ œ œ
w
œ
œ
3
# œ œ œ œ Œ
‰‰
f
œ ‰ Œ
œ

UPPER VOICES
24
S. 1
S. 2
A.
°
¢
V # ###
146
V # ###
V # ###
Faster q = c.104
p
œ j œ œ œ j œ œ ‰ ‰ œ j œ ‰ œ w w
Si - cut lo - cu - tus
est ad pa - tres nos - tros,
p
œ j œ œ œ j œ œ ‰ ‰ œ j œ ‰ œ w w
Si - cut lo - cu - tus
est ad pa - tres nos - tros,
p
œ j œ œ œ j œ œ ‰ ‰‰ œœ j œœ ‰‰ œœ ww ww
3
4
3
4
3
4
4
4
4
f
f
f
2
4
2
4
2
4
∑
∑
∑
3
4
3
4
3
4
for online perusal only
Si - cut lo - cu - tus
est ad pa - tres nos - tros,
V # ###
Faster q = c.104
œ j œ œ œ j œœ œœ ‰‰ ‰‰
‰ œœœ j
4 3
œœ ‰‰‰ œ
œœ
4 w
ww
{
p
f
B #### ∑ ∑ ∑ 3
2
4 ∑ 4 ∑ ∑ 4 ∑
w
ww
2
4
∑
3
4
3
4
°
¢
V # ###
153
V # ###
V # ###
3
4
3
4
3
4
( f )
A
( f )
A
( f )
A
4
4
4
3
3
4
- bra - ham et se - mi - ni e - ius
in sae - cu - la.
3
3
4
- bra - ham et se - mi - ni e - ius
in sae - cu - la.
3
3
4
- bra - ham et se - mi - ni e - ius
in sae - cu - la.
4
4
4
(stagger breathing)
œ œ œ j ‰ ‰ œ œ œ œ ‰ ‰ œ w w w w
(stagger breathing)
œ œ œ j ‰ ‰ œ œ œ œ ‰ ‰ œ w w w w
(stagger breathing)
œœ œœ œœ j ‰‰ ‰‰ œœ œœ œœ œœ ‰‰ ‰‰ œœ ww w w w
V # 3
### 3
4 œ œ 4
œœ œœ
{
œœ j ‰‰‰
‰‰‰ œœ œ œœ œœ œ 3
4
4
3
4
B #### ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3
4
œœœ ‰‰‰ ‰‰‰ œœ
4
4
www ww w w

S. 1
162
°
V # ###
Slower q = c.88
pp
mp
w w w w w w w ‰
t
œ j œ= œ ‰
25
3
4
ah
UPPER VOICES
S. 2
V # ###
pp
mp
w w w w w w w ‰
t
œ j œ= œ ‰
ah
3
4
A.
¢
V # ###
pp
w w w w w w w ‰ œ j t
mp
œ œ
= ‰
3
4
ah
S.
°
V # ###
p
ww
for online perusal only
#
ww ww w w w w w w
3
4
A
- - - - - - - - - -
CHORUS
A.
V # ###
V
‹
####
p
ww
A
w
w
w
- - - - - - - - - -
T. ∑ ∑ ∑ ∑
w
p
= w w w w w
A
w
w
w
w
- - - - -
3
4
3
4
B####
B.
¢
∑ ∑ ∑ ∑
p
= ww
=
ww ww ww ww
A
- - - - -
3
4
V # ###
Slower q = c.88
w w w w w w
# ww ww
ww
ww
ww
œ
= œ ‰
3
4
{
p
= w w
=
B
w w w w
#### w w w w
w w
w =
w
mp
w œ w
= œ ‰
3
4

26
171
°
V # ###
3
4
‰ 4 œ œ
b ‰ ‰ bœ
œ ‰
3
4
4
mf
ff
= w w w w w
ah ah A
- men.
pp
¢
V # ###
V # ###
3
4
3
4
‰ 4 œ œ
b ‰ ‰ bœ
œ ‰
3
4
4
ah ah A
- men.
4 4 3
‰ œ= œ ‰ ‰ 4 œ
mf
= œ ‰ w
ah ah A
mf
ff
= w w w w w
-
ff
= w w w w
men.
pp
pp
°
V # ###
3
4
ff
‰ 3
4 w 4 ‰ 4 w w w # w w w
- - - - - - - - men.
pp
V # ###
3
4
‰
‰
4
w
for online perusal only
3
4
‰
4
w
- - - - - - - - men.
w
w
ff
w
w
w
pp
¢
V
‹
####
B####
3
4
3
4
‰ w ‰ w w w w
4
4
3
4
3
4
4
- - - - - - - - men.
‰
‰ ww ‰
ff
= w w
ff
‰ ww ww ww w w w
4
- - - - - - - - men.
pp
pp
V # ###
3
4
b
‰ 3
4 œ = œ ‰ ‰ 4 = œ ‰ ## # ww ww
4 bœ
= ww ww
# w w
w
{
B ####
3
4
‰‰
w w
4
‰
3‰
4
w
ww
4
mf ff pp
= =
w
w w w
= w w
w

NH262 magnificat Olson
NEW HORIZONS showcases the wealth of exciting, innovative, and occasionally challenging choral music
being written today. It encompasses the whole gamut of small-scale choral genres, both secular and sacred,
and includes pieces for upper-voice and mixed choirs. With titles by some of the most accomplished choral
composers active in Great Britain and abroad, the series introduces new repertoire and fresh talent to a broad
spectrum of choirs.
Tawnie Olson
The music of Canadian composer Tawnie Olson draws inspiration from politics, spirituality, the natural
world, and the musicians for whom she composes. She holds a doctorate in music composition from the
University of Toronto, a Master of Music degree from the Yale School of Music, an Artist Diploma from the
Yale Institute of Sacred Music, and a Bachelor of Music degree from the University of Calgary. Olson’s music
is performed on five continents and can be heard on many recordings.
ISBN 978-0-19-356098-7
www.oup.com
9 780193 560987