My setting of the Magnificat for solo soprano stands as a prayerful concert piece.  The musical and textural setting was inspired by the chanting of the Canticle of Mary during the evening prayer of the Liturgy of the Hours.  The piece is also a character piece: the soprano acts in-persona of the Virgin Mary during Her joyful visitation with Her cousin Elizabeth.  In the Visitation scene, Mary extols God’s goodness, "proclaim[ing] the greatness of the Lord" for rescuing the world from sin and eternal death through the sending of His only Son, Jesus—the Son she has conceived—to save us.  In meshing the ritual of the Liturgy of the Hours with the event of the Visitation (from which the text of the Magnificat finds its origin), I hope this piece may inspire listeners to pray the Magnificat in recollection of the Virgin Mary during her visitation: that we trust in God’s goodness with the confidence and serenity of Mary.

Special thanks to the staff at the Basilica of Saint Mary for allowing us to record such a fitting piece in their beautiful church.  It was a true blessing to have been there.  Also thank you to Caroline Nelson for bringing her talents and her spirit into this performance.

Thank you!

... to the University of St. Thomas for permitting us to rehearse in the Iverson Center for Faith and record in the Chapel of St. Thomas and in Baumgaertner Auditorium. 

... to the faculty of the Basilica of Saint Mary for permitting us to record in the Basilica.

... to Paul Schulz for permitting us to record at his home during a pandemic.

... to Irene Domingo for teaching pronunciation for Y Dice el Pastorcico.

... to Dr. Sherstan Johnson and Jaclyn Schwartz for answering countless emails and fulfilling endless requests.

... to Joseph Ortiz for being an incredible and gracious director and editor for my 2021 Composition Recital.  Your contribution has been crucial to the completion of this project.  God bless you all your days and then some!