work has several features in common with Bach's setting: both repeat material of the first movement in the last, use chant melodies, devote "more reflective verses" to a soloist, and insert additional text, in Bach's work texts related to Christmas. 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. He offers two versions, for orchestra or chamber ensemble. The orchestra consists of woodwind: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons brass: 4 horns, 3 trumpets, 3 trombones, tuba percussion: timpani, percussion (glockenspiel, snare drum, crash cymbals, suspended cymbal, tambourine, bongos) strings: harp, strings The chamber version replaces the brass mostly by the organ and uses only one each of flute, oboe, clarinet and horn. Timpani, percussion and harp are the same as in the orchestra version, and for the strings, a minimum of two first violins, two second violins, two violas, one cello and one double bass required. Movements The following table shows the incipit, Tempo marking, voices, time, key and text sources for the seven movements. The information is given for the beginning of the movements. Rutter frequently shifts tempo, key and time. The source for the details is the vocal score, unless otherwise noted. 1 The work opens with a short instrumental introit in G major, marked "Bright and joyful", alternating between 3/8 and 3/4 time. Simple polyrhythms are achieved by dividing the 3/4 measure in two for the orchestra and in three for the chorus. While Bach structured the first verses of the canticle in several movements of different scoring, Rutter unites the first three verses in one choral movement, treating the different ideas to different motifs and setting, and repeating the first verse at the end as a recapitulation. The soprano and alto enter in unison (My soul doth magnify [the Lord]). The vocal motif of leaps up a major sixth and rises even higher. It is repeated several times in different combinations of voices, always in homophony. The second verse, (And my spirit hath rejoiced), is sung first by soprano and alto in third parallels. The men repeat it similarly and continuo (in God), accented by the characteristic figure of a lower mordent, which is repeated throughout the whole work, often when God is mentioned. The conclusion of the idea, (in God my saviour), is expressed