It was a great privilege to me to compose the Missa of the Magnificat Chapel. The work was commissioned by my dear friend Mr. Raymundo Lopes to chapel whose name is given to this album. There was a single recommendation: the text should be in Latin. And I did it. This work is based upon the Ordinary Mass of the Roman Catholic Apostolic Church, with the following fixed texts (or prayers): Kyrie, Gloria, Alleluia, Credo, Sanctus, and Agnus Dei. From the compositional perspective, the musical aspect is subordinated to the text. Thus, just as in the Seconda Pratica, the relationship of dissonance and consonance, as well as the relationship between tension and release, are directly related to the meaning of the text. The Kyrie, for instance, which is a prayer of contrition, was thought as a lament from the northeast part of Brazil. In this music, the baião rhythm and the modal harmony are united to embed into the music the northeastern soul. The Gloria, which is entirely a prayer that praises the Lord, was the only one among all others that was not musically constructed inside of the matrix of the Brazilian Popular Music. The music has three tempo variations: it begins in 5/4, and then it shifts to ¾ and finishes in 4/4, making references to the American gospel. The Alleluia begins and ends with the piano playing a melody that references a specific kind of guitar playing from the state of Minas Gerais. Underneath it, the drummer plays a rhythm called Congado, which is also from Minas Gerais. Despite the fact that the Alleluia is a fixed prayer, the text of it may change. Thus, I choose the psalm 150 as the text of this music. The Credo, as in Gloria, is a very extensive prayer. Nonetheless, due to the fact that the Credo is the profession of the Catholic faith, it acquires features of a narrative. That, from the compositional point of view, is a very important detail because the music has to illustrate – and up to a certain point- to enhance what is said in the text. The music begins with the instruments playing on the introduction the rhythm of old carnival parades and, very carefully, transforms into sounds the events that are being depicted on the prayer. The Sanctus has a very important feature. Among all the prayers of the Mass, this is the only one, according to the Catholic faith, where the people are united with the angels and saints to praise the Lord. Musically, this is very relevant because this is a fact that, by itself, defines the character of the piece, for earth and haven are united. In this way, it begins with the choir singing a capella, which is followed by a Choro. The Agnus Dei was thought as a samba that is presented in two different ways: while the band plays it in 4/4, the choir sings it in 2/2. Due to the fact that this piece has a fugal character, I wrote a Prelude as an introduction, making a clear reference to the Preludes and Fugues from J.S.Bach’s WTC. This album ends with an Ave Maria, which was created to the Magnificat Chapel.