A canticle (text from Luke i. 46-55), sung with an antiphon near the end of Vespers. Polyphonic settings began in the 14th century and many were composed in the 15th and 16th for both Catholic and Protestant services. Dufay wrote five settings, Victoria 18, Palestrina over 30, Lassusc 100. Complete Magnificat cycles (eight settings) were composed by Sixt Dietrich (1535), Senfl (1537) and several later composers.
Most Renaissance settings alternate polyphony with verses sung monophonically to plainchant or instrumental music; except among English composers, the polyphonic sections are normally based on the canticle chant. This is the case in the two settings in Monteverdi's Vespers of 1610. The sectional style of his and of Schütz's great Magnificat evolved into a series of free arias, choruses etc.This type of Magnificat reached its most developed form in Bach's E♭ setting, performed in 1723 with Christmas pieces interpolated between some verses (Bach later rearranged the work in D, without the interpolations).
C. P. E. Bach's Magnificat of 1749 uses a similar ‘number’ technique, but the methods are those of the Classical period, the words being subordinated to the musical design. This style is carried to its logical conclusion in the Magnificat from Mozart's k 339 Vespers (1780), a sonata-form Allegro with an Adagio introduction. After a dearth of Magnificats in the Romantic period, the Latin text has inspired several modern composers, including Berkeley and Penderecki.