June 2018 UCL ALUMNI LONDON GROUP
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Service Books of the Orthodox Church
SERVICE BOOKS OF THE ORTHODOX CHURCH THE DIVINE LITURGY OF ST. JOHN CHRYSOSTOM THE DIVINE LITURGY OF ST. BASIL THE GREAT THE LITURGY OF THE PRESANCTIFIED GIFTS 2010 1 The Service Books of the Orthodox Church. COPYRIGHT © 1984, 2010 ST. TIKHON’S SEMINARY PRESS SOUTH CANAAN, PENNSYLVANIA Second edition. Originally published in 1984 as 2 volumes. ISBN: 978-1-878997-86-9 ISBN: 978-1-878997-88-3 (Large Format Edition) Certain texts in this publication are taken from The Divine Liturgy according to St. John Chrysostom with appendices, copyright 1967 by the Russian Orthodox Greek Catholic Church of America, and used by permission. The approval given to this text by the Ecclesiastical Authority does not exclude further changes, or amendments, in later editions. Printed with the blessing of +Jonah Archbishop of Washington Metropolitan of All America and Canada. 2 CONTENTS The Entrance Prayers . 5 The Liturgy of Preparation. 15 The Divine Liturgy of St. John Chrysostom . 31 The Divine Liturgy of St. Basil the Great . 101 The Liturgy of the Presanctified Gifts. 181 Appendices: I Prayers Before Communion . 237 II Prayers After Communion . 261 III Special Hymns and Verses Festal Cycle: Nativity of the Theotokos . 269 Elevation of the Cross . 270 Entrance of the Theotokos . 273 Nativity of Christ . 274 Theophany of Christ . 278 Meeting of Christ. 282 Annunciation . 284 Transfiguration . 285 Dormition of the Theotokos . 288 Paschal Cycle: Lazarus Saturday . 291 Palm Sunday . 292 Holy Pascha . 296 Midfeast of Pascha . 301 3 Ascension of our Lord . 302 Holy Pentecost . 306 IV Daily Antiphons . 309 V Dismissals Days of the Week . -
7655 Libretto Online Layout 1
DYNAMIC Charles Gounod POLYEUCTE Opera in four acts Libretto by Jules Barbier and Michel Carré LIBRETTO with parallel English translation CD 1 CD 1 1 PRELUDE 1 PRELUDE ACTE PREMIER FIRST ACT PREMIER TABLEAU FIRST TABLEAU La chambre de Pauline. Porte au fond. A droite, l’autel des dieux domestiques. Une The apartments of Paulina. A door in the back. On the right, the altar of the lampe placée sur l’autel éclaire la scène. household gods. A lamp on the altar illuminates the scene. Scène Première First scene Pauline, Stratonice, Suivantes. Paulina, Stratonice, Maids. Au lever du rideau, les Suivantes, groupées autour de Stratonice, sont occupées à As the curtain rises, the Maids, assembled around Stratonice, are busy carrying out divers travaux. Pauline est penchée sur l’autel des dieux domestiques. different tasks. Paulina is leaning over the altar of the household gods. 2 Le Chœur – Déjà dans l’azur des cieux 2 Chorus – In the blue skies Apparaît de Phœbé le char silencieux ; Phebus’s silent chariot already appears; C’est l’heure du travail nocturne ; It is time for our night tasks; Apprêtez vos fuseaux, puisez l’huile dans l’urne ; Prepare your spindles, draw oil from the urn; Le doux sommeil plus tard viendra fermer vos yeux. Later sweet slumber will close your eyes. Stratonice – A chacune de nous sa tâche accoutumée. Stratonice – Each of us to their own tasks. (S’approchant de Pauline) (Approaching Paulina) Mais vous, ô mon enfant, maîtresse bien-aimée, But you, my child, beloved mistress, Quel noir souci tient votre âme alarmée ? What dark worry troubles your heart? Pauline – J’implore tout bas les dieux familiers Paulina – I implore the household gods, Gardiens de nos amours, gardiens de nos foyers !.. -
Polyeucte, by Paul Dukas. David Procházka, the University of Akron
The University of Akron From the SelectedWorks of David Procházka 2018 Polyeucte, by Paul Dukas. David Procházka, The University of Akron Available at: https://works.bepress.com/david-prochazka/1/ Paul Dukas (b. Paris, 1 October 1865 - d. Paris, 17 May 1935) Polyeucte Overturefor orchestra ( 1891 ) Preface Paul Abraham Dukas was a French musician who worked as a critic, composer, editor, teacher, and inspector of music institutions across France. He was the middle of three children. His mother was a pianist, and his father was a banker. The familywas of Jewish descent, but seemed to focus more on thecultural life of Paris than on religious matters. Show ing some musical talent in his adolescence, Dukas' fatherencouraged him to enroll in the Conservatoire de Paris, which he did at the age of 16. It was here that Dukas began a life-long friendshipwith Claude Debussy, who was three years his senior. While Dukas was moderately successfulas a student, the crowning Prix de Rome eluded him in four successive years. In 1886 and 1887, he did not reach the finals; in 1888 he submitted the cantata Vel/eda, and in 1889 he offeredthe cantata Semele, neither of which were chosen as the winning composition. Discouraged, Dukas leftthe Conservatoire to fulfill his military service. He returnedto Paris and began a dual career as critic and composer in 1891. With time, Dukas also became a music editor, working on modem editions of works by Rameau, Couperin, Scarlatti, and Beethoven. He returnedto the Conservatoireto teach orchestration ( 1910-1913) and composition (beginning in 1928); he also taught at the Ecole Nonnale. -
The Appropriation of the Pagan Honorary Column in Early Constan
UNIVERSITY OF CALIFORNIA Los Angeles Christianizing the Skyline: The Appropriation of the Pagan Honorary Column in Early Constantinople A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Architecture by Pelin Yoncacı Arslan 2015 © Copyright by Pelin Yoncacı Arslan 2015 ABSTRACT OF THE DISSERTATION Christianizing the Skyline: The Appropriation of the Pagan Honorary Column in Early Constantinople by Pelin Yoncacı Arslan Doctor of Philosophy in Architecture University of California, Los Angeles, 2015 Professor Diane G. Favro, Chair The freestanding column with culminating statue is generally viewed as a relatively limited genre in Roman art and architecture. The purpose of such a column varies between glorifying a victory and honoring an individual for his or her achievements. While the best-known examples were created in Rome during the Empire, such columns were common in early Byzantine Constantinople as well. This dissertation examines four such monuments: the Columns of Constantine, Theodosius I, Arcadius, and Justinian. These towering monuments were erected in imperial fora along the Mese, the main ceremonial thoroughfare passing across the city of Constantinople. The first part of the dissertation focuses on the art historical and material aspects of column monuments and illustrates the formal and urbanistic innovations applied in Constantinople. Comparison to other column monuments and monuments alike, both in the western and eastern Roman world, situates these built objects within their cultural contexts. The ii second part of the study addresses the visibility of the columns in the ritual and daily experience, focusing on secular and religious urban processions held along the branches of the Mese. -
What Happened to the Temple Treasures? 1
Archaeology What happened to the temple treasures? 1. A remarkable journey Jeremy Thomas HE WORDS of the Lord Jesus were frighten- grown, may be the last recorded resting place of ingly clear. From the vantage point of the the treasures rescued from the carnage of July 70. TMount of Olives he revealed to his aston- ished disciples what lay in store for the gorgeous A Roman triumph buildings of Herod’s temple in Jerusalem, the What those articles comprised, first of all, is indi- proud symbol of nationhood in which all Israel cated by the one depiction we have of them from took such pride: “And as some spake of the temple, antiquity. On the underside of the Arch of Titus, how it was adorned with goodly stones and gifts, at the entrance to the Forum of ancient Rome, he said, As for these things which ye behold, the is the famous carving of the triumph awarded days will come, in the which there shall not be left jointly to Titus and his father Vespasian for their one stone upon another, that shall not be thrown victory in Judea. It clearly shows the menorah, or down” (Lk. 21:5,6). A people that had consistently seven-branched lampstand, the silver trumpets rejected the words of God’s prophets had filled and the table of showbread being carried in up the measure of their fathers’ sins by rejecting procession. The originals of these items had been His beloved Son, and there would be no escape at the centre of Israel’s system of worship since for the city which, despite God’s very Presence being manufactured for the tabernacle by Moses having dwelt there, had so signally failed to during the wilderness journey from Egypt to the recognise its promised Saviour. -
Martyrology of the Sacred Order of Friars Preachers
THE MARTYROLOGY OF THE SACRED ORDER OF FRIARS PREACHERS THE MARTYROLOGY OF THE SACRED ORDER OF FRIARS PREACHERS Translated by Rev. W. R. Bonniwell, O.P. THE NEWMAN PRESS + WESTMINSTER, MARYLAND 1955 [1998] Nihil obstat: FRANCIS N. WENDELL , 0. P. FERDINAND N. GEORGES , 0. P. Censores Librorum Imprimatur: MOST REV . T. S. MCDERMOTT , 0. P. Vicar General of the Order of Preachers November 12, 1954 Copyright, (c) 1955, by the NEWMAN PRESS Library of Congress Catalog Card Number: 55-8660 Printed in the United States of America [This electronic edition: 1998] TO OUR BELOVED FATHERS , BROTHERS , AND SISTERS OF THE ORDER OF FRIARS PREACHERS , WE FATHER TERENCE STEPHEN MCDERMOTT MASTER OF SACRED THEOLOGY AND THE HUMBLE VICAR GENERAL AND SERVANT OF THE ENTIRE ORDER OF FRIARS PREACHERS GREETINGS AND BLESSINGS : With the rapid growth of the liturgical movement especially in the last quarter of a century, there has been an increasing volume of requests from Dominican Sisters and Lay Tertiaries for an English translation of our Breviary and Martyrology. It is with pleasure, therefore, that I am able to announce the fulfillment of these desires. The Breviary, translated by Father Aquinas Byrnes, O.P., is now in the process of publication at Rome, while the translation of the Dominican Martyrology has just completed. The Martyrology is one of the six official books of the Church's liturgy, its use in the choral recitation of the Divine Office is obligatory. Because of the salutary effects derived from the reading of this sacred volume, various Pontiffs have urged its use by those who recite the Office privately. -
Doctoral Dissertation Byzantium and the Georgian World C. 900–1210
Doctoral Dissertation Byzantium and the Georgian World c. 900–1210: Ideology of Kingship and Rhetoric in the Byzantine Periphery Sandro Nikolaishvili Supervisor(s): Daniel Ziemann Submitted to the Medieval Studies Department, Central European University, Budapest in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Medieval Studies Budapest, Hungary 2019 CEU eTD Collection Table of Contents Introduction ................................................................................................................................................. 1 Aims of the Thesis .................................................................................................................................... 2 Methodology and Structure ....................................................................................................................... 5 Sources .................................................................................................................................................... 10 Hagiography ........................................................................................................................................ 10 Historiographical Texts ....................................................................................................................... 11 Panegyric Poems ................................................................................................................................. 12 Byzantine and Armenian sources ....................................................................................................... -
RES10153 Songs of Love, War and Melancholy
RES10153 Songs of Love, War and Melancholy Operatic Fantasias by Jacques-François Gallay (1795-1864) Jacques-François Gallay (1795-1864) 1. Fantaisie brillante sur l’opéra Les Martyrs de Donizetti (Op. 49) [10:37] 2. Fantaisie sur une cavatine de Belisario de Donizetti (Op. 42) [9:08] 3. ‘Fuis, laisse-moi’ de Roberto Devereux de Donizetti [4.22] Anneke Scott natural horn 4. Fantasia sopra un motivo dell’opera Bianca e Fernando di Bellini (Op. 47/2) [6:08] Lucy Crowe soprano Steven Devine piano 5. Troisième Mélodie sur une cavatine de La Sonnambula de Bellini (Op. 28) [6:16] 6. ‘Une Larme Furtive’ de L’Elisir d’amore de Donizetti [3:47] 7. Fantaisie sur l’opéra L’Elisir d’amore de Donizetti (Op. 46) [12:03] 8. Fantaisie brillante sur un motif de Norma de Bellini (Op. 40) [10:42] 9. ‘L’Appel du Chasseur’ des Soirées Italiennes de Mercadante [3:38] About Jacques-François Gallay: Préludes, Caprices & Fantaisies (RES10114): Total playing time [66:41] ‘Anneke Scott’s playing is bold and dramatic, Gallay’s theatrical background reflected in the music’s swagger’ Anneke Scott – natural horn (cor solo) by Marcel-Auguste Raoux, 1823. The Arts Desk (Loaned with kind permission by the Bate Collection, University of Oxford.) Steven Devine – grand piano by Érard, 1851. ‘These are key works in the history of horn playing [...] Anneke is to be (Loaned with kind permission by the University of Birmingham.) congratulated on her artistry and her zeal in bringing these works to us.’ The Horn Player Songs of Love, War and Melancholy: large works for horn and orchestra. -
Pictures at an Exhibition
CONCERT PROGRAM Friday, April 15, 2016, 8:00pm Saturday, April 16, 2016, 8:00pm Yan Pascal Tortelier, conductor Louis Lortie, piano DUKAS Polyeucte Overture (1891) (1865-1935) SAINT-SAËNS Piano Concerto No. 5 in F major, op. 103, “Egyptian” (1896) (1835-1921) Allegro animato Andante Molto allegro Louis Lortie, piano INTERMISSION MUSSORGSKY/orch. Ravel Pictures at an Exhibition (1874/1922) (1839-1881)/(1875-1937) Promenade— Gnomus— Promenade— The Old Castle— Promenade— Tuileries— Bydlo— Promenade— Ballet of the Chicks in Their Shells— Samuel Goldenberg and Schmuyle— The Market at Limoges— Catacombs (Sepulchrum romanum)— Cum mortuis in lingua mortua— The Hut on Fowl’s Legs (Baba-Yaga)— The Great Gate at Kiev Performed without pause 23 ACKNOWLEDGMENTS These concerts are part of the Wells Fargo Advisors Orchestral Series. These concerts are presented by the Thomas A. Kooyumjian Family Foundation. Yan Pascal Tortelier is the Blackwell Sanders Peper Martin Guest Conductor. Louis Lortie is the Carolyn and Jay Henges Guest Artist. The concert of Friday, April 15, is underwritten in part by a generous gift from Mr. and Mrs. James von der Heydt. Pre-Concert Conversations are sponsored by Washington University Physicians. Large print program notes are avialable through the generosity of the Delmar Gardens Family and are located at the Customer Service table in the foyer. 24 CONCERT CALENDAR Call 314-534-1700 or visit stlsymphony.org for tickets STORYTELLING: April 29 David Robertson, conductor; Celeste Golden Boyer, violin BERNSTEIN Candide Overture PONCHIELLI Dance of the Hours VITALI Chaconne HUMPERDINCK Hansel and Gretel Prelude DUKAS The Sorcerer’s Apprentice FREUND Cyrillic Dreams WAGNER Ride of the Valkyries Celeste Golden Boyer Presented by the Whitaker Foundation Supported by University College at Washington University SCHUBERT “GREAT”: April 30-May 1 David Robertson, conductor; Shannon Wood, timpani KRAFT Timpani Concerto No. -
The Rise and Fall of Christian Rome
THE RISE AND FALL OF CHRISTIAN ROME Vladimir Moss © Copyright. All Rights Reserved. Vladimir Moss, 2018. INTRODUCTION 5 I. THE BIRTH OF NEW ROME 6 1. THE TRIUMPH OF THE CROSS 7 2. THE CONSTANTINIAN REVOLUTION: (1) THE HIERARCHICAL PRINCIPLE 12 3. THE CONSTANTINIAN REVOLUTION: (2) AUTOCRACY AND TYRANNY 16 4. THE CONSTANTINIAN REVOLUTION: (3) EMPIRE AND PRIESTHOOD 25 5. THE CONSTANTINIAN REVOLUTION: (4) RELIGIOUS FREEDOM 36 6. THE CONSTANTINIAN REVOLUTION: (5) MONASTICISM AND CULTURE 48 7. THE CONSTANTINIAN REVOLUTION: (6) ROME AND THE NON-ROMAN WORLD 56 II. THE CHALLENGERS TO NEW ROME 61 8. THE FALL OF OLD ROME 62 9. THE SYMPHONY OF POWERS 72 10. THE POSITION OF THE ROMAN PAPACY 78 11. THE SYMPHONY OF NATIONS 85 12. NEW ROME, THE JEWS, THE PERSIANS AND ISLAM 90 13. THE DISSONANCE OF POWERS: (1) MONOTHELITISM 105 14. THE DISSONANCE OF POWERS: (2) ICONOCLASM 109 15. NEW ROME, OLD ROME AND THE FRANKS 113 III. THE ZENITH OF NEW ROME 125 16. ST. PHOTIUS THE GREAT AND CHURCH-STATE RELATIONS 126 17. MIGHT AND RIGHT IN NEW ROME 134 18. NEW ROME AND THE BULGARIANS 141 19. NEW ROME, OLD ROME AND THE GERMANS 146 20. NEW ROME AND THE RUSSIANS 154 21. THE TRIUMPH OF BYZANTINISM 164 22. THE RIGHTS OF THE ORTHODOX AUTOCRAT 170 IV. THE DECLINE AND FALL OF NEW ROME 174 23. THE SLIDE TOWARDS ABSOLUTISM 175 24. 1204. THE FIRST FALL OF THE CITY 184 25. THE NICAEAN EMPIRE AND ROYAL ANOINTING 187 26. NEW ROME AND THE GEORGIANS 197 27. NEW ROME AND THE SERBS 202 28. -
Festival 2015 21 May – 30 August
festival 2015 21 May – 30 August MEMBERShip BROCRE hU donizetti POLIUTO bizet CARMEN mozart DIE ENTFÜHRUNG AUS DEM SERAIL britten THE RAPE OF LUCRETIA handel SAUL ravel L’HEURE ESPAGNOLE L’ENFANT ET LES SORTILÈGES welcome to 20 | FESTIVAL 2015 Festiv elcome to our 2015 festival, which includes repertoire spanning 300 years and an enticing mix of Glyndebourne firsts and Wfavourites. The 2015 programme includes three new productions – two of which are works never previously seen at Glyndebourne. The first ever UK staging of Donizetti’s Poliuto will reunite conductor Enrique Mazzola and director Mariame Clément following their much-admired Don Pasquale in 2013. Handel’s Saul will be the fifth stage work by the composer to be presented in the ‘new’ theatre and marks the Glyndebourne debut of one of today’s most sought-after international directors, the Australian-born Barrie Kosky, as well as the welcome return of conductor Ivor Bolton. Music director Robin Ticciati continues his exploration of Mozart at Glyndebourne with a new staging of Die Entführung aus dem Serail – a collaboration with one of this country’s finest directors, David McVicar. Fiona Shaw’s critically acclaimed production of The Rape of Lucretia is presented as part of the Festival for the first time – continuing a line of highly successful Britten productions at Glyndebourne, and bringing the work back to the place where it was first performed in 1946. Completing the season are three masterpieces from the French operatic tradition. Bizet’s Carmen remains one of the most captivating operas ever written while Ravel’s two perfect miniatures, L’heure espagnole and L’enfant et les sortilèges, make up a brilliantly conceived double bill from director Laurent Pelly. -
The Ukrainian Catholic Church in the USA
Logos A Journal of Eastern Christian Studies Revue des études de l’Orient chrétien Журнал східньохристиянських студій Volumes 43–45, (2002–2004) This periodical is indexed in Religion Index One: Periodicals, the Index to Book Reviews in Religion, Religion Indexes: RIO/RIT/IBRR 1975– on CD- ROM, and in the ATLA Religion Database, published by the American Theological Library Association, 250 S. Wacker Dr., 16th Flr., Chicago, IL 60606, E-mail: [email protected], WWW: http://www.atla.com Logos: A Journal of Eastern Christian Studies Revue des études de l’Orient chrétien Журнал східньохристиянських студій A continuation of Logos: Periodicum Theologiae Trimestre (1950–1983) ISSN 0024–5895 Published by the Metropolitan Andrey Sheptytsky Institute of Eastern Christian Studies and the Yorkton Province of the Ukrainian Redemptorists © 2004 Metropolitan Andrey Sheptytsky Institute of Eastern Christian Studies Editor-in-Chief: Andriy Chirovsky (Sheptytsky Institute) Editor: Peter Galadza (Sheptytsky Institute) Managing Editor: Andrew Onuferko (Sheptytsky Institute) Associate Editor: Adam DeVille Book Review Editor: Myroslaw Tataryn (University of Saskatchewan) Distribution: Lorraine Manley Layout & Design: Key-Co. Enterprises tel. (613) 824-3878 fax (613) 824-9799 Editorial Board Alexander Baran (retired, University of Manitoba), Borys Gudziak (Ukrainian Catholic University), Bishop Lawrence Huculak, OSBM (Eparchy of Edmonton), John A. Jillions (Sheptytsky Institute), John Sianchuk, CSSR (Yorkton Province of the Ukrainian Redemptorists). International Advisory Board Johannes Madey (Paderborn), Jaroslav Pelikan (retired, Yale), Ihor Ševčenko (retired, Harvard), Robert Taft, SJ (retired, Pontifical Oriental Institute), Bishop Kallistos (Ware) of Diokleia (retired, Oxford). The editors and publishers assume no responsibility for statements of fact or opinion made by contributors to this journal.