My soul glorifies God my Lord —  my love, my life, my hope, my all.

 

I sing to my God Who remains in me today because Maria said yes to God that day of faith,

The day the angel came to say she was blessed, so blessed by God forever, forever, forever.

 

The Lord Yahweh is love — love, love, love, love.

Oh, God, will you be, be my love, my love.

 

The Mighty One has done great things for me,

And His mercy from age to age is to those who fear Him, 

Is to those who fear Him, now and forever,

Always Love, Love, Love, God my love, my Lord.

 

Oh, Israel, God He heard your prayer.

The hungry He filled, remembering His promise to Abraham and our fathers, and God’s servant, oh, Israel.

 

Hananiah, Azzariah, and Maria – they bless the Lord,

For He has saved us from the raging fires from death to life forever.

 

Oh love, love, bless God, bless God, bless God, Lord, Lord Jesus, with the angels.

He conquered the arrogant of mind and heart.

The rulers He cast down from their thrones, and the rich He sent away without their gold.

 

And Jesus, Jesus, lifted up the lowly Maria because, because she loved, she loved, her Savior, holy Wisdom, forever and ever and always.

 

And His Mercy from age to age is to those who fear Him.

Is to those who fear Him.

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Old and New Testament Tapestry

James Ralph Boyd's The Magnificat uniquely weaves together the New Testament Canticle of Mary (Luke 1:46-55) with the Old Testament prayer of the three young men in the fiery furnace found in Daniel 3:82-90. 

He uses these specific textual and thematic ties:

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Integration of Hananiah and Azariah 

The composition explicitly names Hananiah (Shadrach) and Azzariah (Abednego) alongside Maria (Mary) as co-celebrants. In the lyrics, Boyd writes: 

"Hananiah, Azzariah, and Maria – they bless the Lord, for He has saved us from the raging fires from death to life forever." 

This ties Mary’s "deliverance" (the salvation brought through Christ) directly to the miraculous deliverance of the three Hebrew boys from the Babylonian furnace. 

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Thematic Link: Universal Deliverance

• From Fire to Life: Boyd uses the imagery of the "raging fires" from Daniel to symbolize the trials and "death" from which God saves humanity.

• Mercy Across Generations: The Magnificat’s promise that God’s mercy is from "age to age" is mirrored by the Daniel text, where the three young men call upon all people and nations to bless the Lord.

• Conquering the Arrogant: Both texts deal with the reversal of power. Just as Mary speaks of casting rulers from their thrones, the Daniel narrative showcases God's power over Nebuchadnezzar’s earthly pride and his 90-foot golden statue.

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Structural Use of the "Benedicite"

The specific verses from Daniel (3:82-90) are part of the "Benedicite, omnia opera," a song of praise traditionally sung in Christian liturgy. By inserting these into the Magnificat, Boyd transforms Mary’s individual song into a communal "Song of Thanksgiving" that spans the entire Bible. 

This combination creates a narrative where the "yes" of Maria is seen as the ultimate fulfillment of the faith shown by the three youths in Babylon.

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Harmonic and Melodic Devices

In James Ralph Boyd's The Magnificat, two harmonic and melodic devices are specifically layered to contrast personal "spiritual awe" with the "social revolution" of the biblical text.

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Devices for Spiritual Awe

• Static Pedal Tones and Drones: Boyd begins with a simple melody over a drone. This harmonic stasis creates a sense of "sacred wonder" and timelessness, forcing the listener to focus on the intimate, awe-filled lyrics: "My soul glorifies God my Lord".

• Repetitive Hook-Based Meditation: The piece heavily utilizes repetitive harmonic cycles on words like "Love" and "forever". This structural device mirrors a meditative or prayerful state, where the harmony doesn't necessarily "go" anywhere, but instead deepens the emotional weight of the phrase through persistence.

• Lush Romantic Tonalism: By using a late-Romantic harmonic palette, Boyd avoids jarring dissonance in favor of warm, consonant chords that convey peace and divine presence rather than fear or judgment.

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Devices for Social Revolution

• Propulsive Rhythmic Foundation: While the vocal lines may feel ethereal, the accompaniment (piano or organ) often introduces a steady, driving rhythm. This rhythmic movement represents the "strength" of God’s arm and the inevitable motion of social reversal described in the text (the hungry being filled, the arrogant being conquered).

• Textural Layering for Community: As the work progresses into the "communal" section featuring characters like Hananiah and Azzariah, the texture shifts from solo-like simplicity to layered choral density. This shift symbolizes the transition from Mary’s personal "yes" to a collective, revolutionary movement of all nations.

• Contrast of "Lowly" vs. "High": The melodic structure often moves from low, humble registers to climactic peaks to mirror the text "He has lifted up the lowly". The final section concludes with a triumphant harmonic resolution as the text declares that God has "conquered the arrogant of mind and heart".

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Structural Comparisons to Contemporary Composers

James Ralph Boyd’s The Magnificat" occupies a unique middle ground between minimalist sacred music and the grand "symphonic" settings common in contemporary choral repertoire. 

Compared to other modern composers, Boyd’s structure is defined by its narrative expansion and vocal accessibility.

 

Structural Comparison: Through-Composed vs. Multi-Movement

• James Ralph Boyd: His setting is a single, 8-minute through-composed work. It uses "interpolated" texts from the Book of Daniel to bridge the traditional Magnificat verses, creating a continuous emotional arc that feels more like a cinematic narrative than a formal liturgy.

• John Rutter: In contrast, Rutter’s Magnificat (1990) is an extended 40-minute suitedivided into seven distinct movements. Rutter uses "glitzy" orchestral colors and Mediterranean rhythms, making it feel more like a festive concert piece than Boyd’s intimate, prayerful setting.

• Kim André Arnesen: Like Rutter, Arnesen’s Magnificat is a large-scale work (approx. 40 minutes) for choir, strings, and piano. While both Arnesen and Boyd prioritize "warmth and devotion," Arnesen’s structure is more strictly segmented and formal.

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Harmonic Comparison: Romantic Tonalism vs. Minimalism

• James Ralph Boyd: Employs a late-Romantic harmonic language. It is tonal and lush, utilizing a "warm and lyrical" palette that avoids the stark dissonances of more avant-garde composers. The use of a simple melody over a drone in early sections provides a meditative foundation.

• Arvo Pärt: A giant of contemporary sacred music, Pärt’s Magnificat (1989) uses his signature tintinnabuli style. Where Boyd uses rich, evolving harmonies, Pärt uses "static," bell-like triads and austere textures that create a sense of timelessness. Boyd’s harmony is more progressive and "propulsive," moving the listener through a changing landscape of "Love" and "Life." 

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Thematic Comparison: Personal vs. Universal

• James Ralph Boyd: Focuses heavily on the personal relationship between the singer and the Divine, often repeating the word "Love." The structure is built around "levels of happiness"—shifting from the individual "self" to a communal vision of "others."