steady monotone beat by bass, then tenor, then alto. In great contrast, the soprano begins softly a rising melody on (and exalted them of low degree), joined by all other voices. 6 The last movement devoted to the canticle summarizes the rest of the text in ([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. 7 The composition is closed with the doxology (Glory be to the Father). The music is based on movement 3, repeating the dotted rhythm and the building from bass to two sopranos. A prayer addressing Mary interrupts the doxology: , asking "for support of humanity, including the needy, the timid, the clergy, women, and the laity". It is sung by the soloist on sustained chords in the orchestra. The final (As it was in the beginning), repeats, as often, material from the very beginning of the work, the initial motif, and the descending lines ending on a mordent on Amen. Performance, recording and publishing The first performance, conducted by the composer, was on 26 May 1990 in Carnegie Hall, with soloist Maria Alsatti and the Manhattan Chamber Orchestra. Rutter also conducted a recording with soloist Patricia Forbes, the Cambridge Singers and the City of London Sinfonia. A performance lasts about 40 minutes. 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." He heard influence of composers such as Aaron Copland, Igor Stravinsky and Vaughan Williams. The work was published by Oxford University Press in 1991. The composer provided an optional English singable version of the Latin parts. Of a Rose, a lovely Rose was published individually in 1998. 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. He ends: "The orchestration is brilliant and very colourful, with lots of trumpet fanfares complementing the festive spirit of the music." 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