[5] Rutter followed the tradition of setting it to music, especially the work by Johann Sebastian Bach which also structures the text in movements of different character.

[6][7] Magnificat was composed on a commission by MidAmerica Productions, a concert organisation in New York performing in Carnegie Hall with a choir of about 200 voices selected in the United States.

[8] Rutter was inspired by "jubilant celebrations of Mary in Hispanic cultures"[5] and conceived the work as a "bright Latin-flavoured fiesta".

[1] The composer wrote: The … Magnificat – a poetic outpouring of praise, joy and trust in God, ascribed by Luke to the Virgin Mary on learning that she was to give birth to Christ – has always been one of the most familiar and well-loved of scriptural texts, not least because of its inclusion as a canticle in the Catholic office of Vespers and in Anglican Evensong.

I had long wished to write an extended Magnificat, but was not sure how to approach it until I found my starting point in the association of the text with the Virgin Mary.

In countries such as Spain, Mexico and Puerto Rico, feast days of the Virgin are joyous opportunities for people to take to the streets and celebrate with singing, dancing and processions.

I was conscious of following Bach's example in adding to the liturgical text – with the lovely old English poem 'Of a Rose' and the prayer 'Sancta Maria' (both of which strengthen the Marian connection) and with the interpolated 'Sanctus', sung to the Gregorian chant of the Missa cum jubilo in the third movement.

The composition of Magnificat occupied several hectic weeks early in 1990, and the première took place in May of that year in Carnegie Hall, New York.

[6] Rutter scored the work for a female soloist, soprano or mezzo-soprano, who at times represents Mary, and a mixed choir, usually SATB, but sometimes with divided parts.

[19] A repeat of the text and the motifs of verse 1 concludes the movement, ending on Magnificat, without retard, with accents on each syllable and cut short.

[21] The poet imagines Jesus as a rose springing from Mary, comparable to "Es ist ein Ros entsprungen".

Marked "Andante maestoso", the choral movement in D major opens with solemn dotted rhythms,[30] features of the French overture.

[43] In great contrast, the soprano begins softly a rising melody on et exaltavit humiles (and exalted them of low degree), joined by all other voices.

[44] The last movement devoted to the canticle summarizes the rest of the text in Esurientes ([He hath filled] the hungry), sung again by the soloist, supported by continuous eighth-notes in 12/8 time in the orchestra and answered by the chorus.

[46] A prayer addressing Mary interrupts the doxology: Sancta Maria, asking "for support of humanity, including the needy, the timid, the clergy, women, and the laity".

[1] Timothy Mangan reviewed the reportedly first performance on the West Coast with the Master Chorale of Orange County conducted by William Hall.

He described the piece as a "virtual encyclopedia of musical cliches, a long-winded, tamely tonal, predictable exercise in glitzy populism."

[50] A reviewer notes that Rutter "emphasises the joy experienced by a … soon to be mother", with "a good balance between the extrovert and intimate", and singable melodies with an understanding for the voice.

"[2] Nick Barnard, reviewing a 2006 recording of the chamber version with the Choirs of St. Albans Cathedral conducted by Andrew Lucas, summarizes that "the faster dynamic sections rely too heavily on formulaic use of ostinato rhythms and Rutter fingerprint instrumental colours.

More specifically he notes that in the Esurientes "the music weaves a magical spell of balm and peace – for me the highlight of the entire disc and one of Rutter's moments of greatest inspiration in any work.