Magnificat and Nunc Dimittis in G Major

These interconnected publications would make for a highly integrated Evensong, and the accessible musical language would endear these pieces to choirs and congregations on first exposure. The canticles are more harmonically adventurous, partially because of the larger canvas they afford. All the same, the quick juxtaposition of Lydian and Mixolydian modes from the beginning of the Magnificat makes the unadulterated Mixolydian of the Preces seem somewhat tepid. Both canticles and versicles return repeatedly to a small number of melodic shapes and themes, and this homogeneity sometimes suggests a paucity of ideas. Balancing between reinforcing recognizable motifs on the one hand and tautology on the other is a delicate business, and each listener will find the perfect proportion in a different spot. The main melodic gesture of the Magnificat, for instance, appears on nearly every page, even as the music ably moves through a variety of tonal centers. Bedford’s sure compositional hand and extensive experience show forth clearly with winning melodic phrases that nearly sing themselves. The technical demands are relatively light, even in sections where parts divide. The organ part is also notable for its idiomatic and colorful writing. This solid pair of works will supply a solid framework for any choir’s Evensong.
Jason Overall, The Journal of the Association of Anglican Musicians, January 2016 (Reviewed with Preces and Responses in G Major, Michael Bedford)