ing in differing combinations, some of which are set for women’s voices alone.
More text painting occurs in "Deposuit" (God casts down), where the descending melodic figure is ironically presented from the bottom up—bass to soprano— even as the tonal center shifts downward. The text "Et exaltavit humiles (and raises up the humble poor) follows immediately, relying on ascending melodic figures and a more quiet musical affekt
, which sets up the following movement. In another pastoral movement, the soprano solo conveys the goodness of the Lord towards the poor and needy. The chorus acts as part of the accompaniment, alternating with and providing musical support for the soloist. The overall affekt
of this movement is one of safety, satisfaction and warm sentimentality, as expressed originally in this portion of the Magnificat
The final movement is a double recapitulation in that it reprises features of both the opening Magnificat and the "Quia fecit." The "Gloria Patri" is not original to the Song of Mary found in the Gospels; it has, however, through the centuries become a standard doxology for much Christian hymnody and has been attached to the Magnificat seemingly forever.
Again Rutter has inserted a later text: "Sancta Maria" (Holy Mary), the antiphon from the Feast of the Blessed Virgin Mary, which is wholly in keeping with the spirit of the composition. Sung by the soloist, the plainsong separates the first recapitulation ("Quia fecit") from the second (Magnificat
). The work closes as it opened, with the bouncy, dance-like rhythmic and melodic figures that accurately and successfully convey the inherent joy, praise and love of God that characterizes this ancient hymn.