The Magnificat, or Song of Mary, has been set by countless composers. This is  partly because this canticle is used in the daily office – fixed prayers said or sung throughout the day. It is also because the text is so potent and stirring – the song of a humble girl whom God had chosen for things beyond her imagination.

One of my favorites has to be Giovanni Gabrieli‘s Magnificat a 33. That is, for 33 musicians – 33 individual independent parts. These musicians were grouped into “choirs” and placed around St. Mark’s Basilica in Venice, where Gabrieli was principal organist and composer. The effect was the various phrases of the text would come to you from different locations, with different musical colors. Sadly, a stereo recording loses this grand effect; to hear it in that massive cathedral must have been magnificent!

The Hanukkah story comes from the Biblical books of First and Second Maccabees. If you don’t know the story, and have about three hours to spare, I’d highly recommend (besides reading these short books) going to a performance of George Frederic Handel’s “Judas Maccabaeus.” Unlike Handel’s “Messiah,” (which gets plenty of plays this month), this oratorio tells like a regular story with a plot. While it isn’t exactly fast-actioned, it does has dramatic elements – something which was easy for a composer of over 40 operas!

The most famous section of Judas Maccabaeus is “See, the Conquering Hero Comes“:

For some stores, the December Holiday season began before Halloween was over. For most people, “the Holidays” begins at Thanksgiving and ends at New Year’s Day. Whenever it officially began, we can agree that we’re pretty much in holiday mode now.

It’s this month that Christians celebrate Advent – which is far more than “getting ready for Christmas” – it is about preparing for the second, not the first, coming of Christ. For Johann Sebastian Bach, the hope for Christ’s second coming was deeply heartfelt. Baroque piety and emotion drip from his motet, “Komm, Jesu, Komm.” It is ornate and full of short motifs, woven into intricate patterns that are amazing and beautiful; the double-choir dialogue at 3:00 is simply gorgeous. Like many of his sacred compositions, it ends with a chorale (that’s just the German word for “hymn”) at 6:45.