When revisiting the work in 2016 for publication, I discovered that my mature feminist sensibilities were now offended by the conservative 1662 language. After toying with the idea of a modern re-write of the text, in the end I decided to leave the words as per the original. The one exception is in bar 25 where I change “lowliness” to “humbleness.” I invite performers to sing the 1662 English but apply contemporary context, moving beyond a literal interpretation. The work ebbs and flows between consonance and dissonance, reflecting the drama of the Canticle.
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