DOCSLIB.ORG

Hebreo: Rossi's Mantua House Program

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hebreo: Rossi's Mantua House Program 2019-2020: The Fellowship of Early Music Hebreo: ROSSI’S MANTUA Guest Ensemble Profeti della Quinta JANUARY 31 & FEBRUARY 1, 2020 2019-2020 Jeanne Lamon Hall, Trinity-St.Paul’s Centre Season Sponsor THANK YOU! This production is made possible by The David Fallis Fund for Culture Bridging Programming It is with sincere appreciation and gratitude that we salute the following supporters of this fund: Anonymous (2) Matthew & Phyllis Airhart Michelle & Robert Knight Rita-Anne Piquet The Pluralism Fund Join us at our Intermission Café! The Toronto Consort is happy to offer a wide range of refreshments: BEVERAGES SNACKS PREMIUM ($2) ($2) BAKED GOODS ($2.50) Coffee Assortment of Chips Assortment by Tea Assortment of Candy Bars Harbord Bakery Coke Breathsavers Diet Coke Halls San Pellegrino Apple Juice Pre-order in the lobby! Back by popular demand, pre-order your refreshments in the lobby and skip the line at intermission! PROGRAM The Songs of Salomon HaShirim asher liShlomo Music by Salomone Rossi and Elam Rotem Salomone Rossi Lamnatséah ‘al hagitít Psalm 8 (c.1570-1630) Elohím hashivénu Psalm 80:4, 8, 20 Elam Rotem Kol dodí hineh-zéh bá Song of Songs 2: 8-13 Siméni chachotám al libécha Song of Songs 8: 6-7 Girolamo Kapsperger Passacaglia (ca. 1580-1651) Salomone Rossi Shir hama’alót, ashréy kol yeré Adonái Psalm 128 Hashkivénu Evening prayer Elam Rotem Shechoráh aní venaváh Song of Songs 1: 5-7 Aní yeshenáh velibí er Song of Songs 5:2-16, 6:1-3 INTERMISSION – Join us for the Intermission Café, located in the gym. Salomone Rossi Mizmór letodáh Psalm 100 Haleluyáh, Halelí nafshí et Adonái Psalm 146 Al naharót Bavél Psalm 137 Cor mio, deh non languire Madrigal Udite lacrimosi spirti d’Averno Madrigal Rimanti in pace Madrigal Elam Rotem Improvisation on Ballo del Granduca Salomone Rossi Messaggier di speranza Elam Rotem Hinách yafáh ra’yatí Song of Songs 4:1-7 Salomone Rossi Yitgadal veyitkadash Kaddish prayer Supported by the cultural department of Basel, Switzerland Tonight’s Performers are: Staff & Administration Michelle Knight, Managing Director Adam Thomas Smith, Director of SPECIAL GUESTS: Audience Engagement and Education Nellie Austin, Bookkeeper Profeti Della Quinta Chris Abbott, Graphic Designer Yara Jakymiw, Season Brochure Graphic Designer Martin Reis, Derek Haukenfreres, Box Office Peter Smurlick, Database Consultant Doron Schleifer, Gordon Baker, Stage Manager Roman Melish – countertenor Cecilia Booth, Front of House, Volunteer Coordinator Gordon Peck, Technical Director Lior Leibovici, Ann Blennerhassett, CD Sales and Event Assistant Jacob Lawrence – tenor Elam Rotem – bass, cembalo and musical direction Board of Directors Orí Harmelin – Theorbo Heather Turnbull, President Harry Deeg, Treasurer Frances Campbell, Secretary Jason Bernardon Jennifer Bryan Stephanie Butler Anita Nador Andrea Whitehead Gavin Winter The Toronto Consort Paul Jenkins, ex officio Michelle Knight, ex officio is a Proud Member of Alison Melville, ex officio Follow us on Facebook and Instagram! @TorontoConsort 427 Bloor Street West, Toronto ON M5S 1X7 Box Office 416-964-6337 Admin 416-966-1045 | [email protected] bloorstculturecorridor.com TorontoConsort.org ABOUT US Top Row: Paul Jenkins, David Fallis, Laura Pudwell, Esteban La Rotta, John Pepper, Cory Knight Bottom Row: Katherine Hill, Michele DeBoer, Alison Melville, Ben Grossman Photo Credit: Bruce Zinger Since its founding in 1972, The Toronto Consort from dedicated music-history aficionados has become internationally recognized for its to occasional or first-time patrons. excellence in the performance of medieval, Each year, the Consort presents a five- renaissance and early baroque music. Led by production, twelve-concert series in the beautiful a collective of Artistic Associates, the group’s acoustic of Jeanne Lamon Hall at Trinity-St. members are amongst Canada’s leading early Paul’s Centre, located in downtown Toronto’s music specialists, including both singers and Bloor Street Cultural Corridor. The Consort tours instrumentalists on early plucked and bowed regularly, having been to Europe and Great Britain, strings, flutes, keyboards, and percussion. across Canada, and into the United States. The Toronto Consort specializes in rarely The Toronto Consort also offers free audience- heard repertoire from roughly 1100 AD to 1650 AD, engagement activities, such as pre-concert lectures, frequently presented in collaboration with other high school education concerts and learning artists, such as actors, dancers, visual and workshops, and the Early Music Collaboration Lab for multi-media artists, and guest specialists. The Seniors and Youth, and runs development programs collaborative nature of its creative process for Emerging Artists and Board of Directors Training. has led to diverse productions enthusiastically To contact or learn more about The Toronto received by varied modern audiences, Consort, visit TorontoConsort.org. PROGRAM NOTES The Songs of Salomon Ha’Shirim asher li’Shlomo This program portrays the many-faceted art of Salomone Rossi, who was a court composer in the service of the Gonzaga family and a uniquely innovative composer of Jewish liturgical music. Although overshadowed by the works of his colleague and collaborator Claudio Monteverdi, Rossi’s madrigals are beautiful and refined examples of the Genre. They also feature an important milestone in music history: Rossi’s Primo libro di Madrigali á 5 (1600) includes the first known printed intabulation for the chitarrone – also known as the theorbo. This novelty creates a bridge between the 16th century polyphonic Madrigal and the new musical style of the early 17th century. Alongside his prolific ‘secular’ activities, Rossi, being Jewish, revolutionized the music of the Synagogue by introducing polyphonic settings of Hebrew prayers and psalms. These Hebrew works are characterized by their elegant simplicity; yet at times Rossi employs in them madrigal- like techniques in order to heighten the emotions of his listeners. The program also includes a few compositions by Elam Rotem, which are inspired by Rossi, both in terms of musical style and of the choice of a biblical text in Hebrew. The music of Salomone Rossi has played a significant role in the work of Profeti della Quinta since the group’s foundation. The native Hebrew speaking singers, who specialize in the music of the Italian Baroque, have an immediate connection to Salomone Rossi as a Jewish Italian composer. – Elam Rotem, Music Director TEXTS & TRANSLATIONS Psalm 8 Lamnatséach ‘al hagitít mizmór ledavíd. For the chief musician on the gitit a psalm of David. Adonái adonéinu ma adír shimkhá bekhól Lord, our Lord, how mighty is Your ha’árets ashér tená hodekhá ‘al hashamáyim. name throughout the earth, Mipi ‘olelim veyonekím yisádta ‘oz lemá’an for You placed Your glory over the heavens. tsorerékha lehashbít ‘oyév umitnakém. From the mouth of babes and sucklings You Ki er’é shamékha ma’asé etsbe’otékha ordained the strength, because of Your enemies, yaréach vekhokhavim ashér konánta. to stop the adversary and the avenger. Ma enósh ki tizkerénu uvén When I see Your heavens, the work of Your fingers, adám ki tifkedénu. the moon and the stars that You established. Vatechaseréhu me’át me’elohím What is man that You should remember him, vekhavód vehadár te’ateréhu. and a mortal that You should care for him. Tamshiléhu bema’aséi yadékha kol You placed him a little below the angels, sháta tachat ragláv. with honor and esteem did You adorn him. Tsoné va’alafím kulám vegám bahamót sadái. You made him rule over the works of Your hands, Tsipór shamáyim udgéi hayám everything You set under his feet. ‘ovér orchót yamím. Sheep and oxen, all these, as well as beasts of the field. Adonái adonéinu ma adír Birds of the skies and fish of the sea, shimkhá bekhól ha’árets. whatever crosses the paths of the seas. Lord, our Lord, how mighty is Your name throughout the earth. Psalm 80:4, 8, 20 Elohim hashivénu veha’ér panékha venivashé’a. God restore us, brighten Your face and we shall be saved. Elohim tseva’ót hashivenu God of hosts restore us, veha’ér panékha venivashé’a. brighten Your face and we shall be saved. Adonái ‘elohim tseva’ót hashivenu Lord God of hosts restore us, veha’ér panékha venivashé’a. brighten Your face and we shall be saved. Song of Songs 2:8-13 Kol dodí hineh-zéh bá, medalég al-heharím, It is the voice of my beloved! Behold, he cometh mekapétz al-hageva’ót. leaping upon the mountains, skipping upon the hills. Doméh dodí litzví o le’ófer ha’ayalím, My beloved is like a roe or a young hart. hineh-zéh oméd achár kotlénu mashgíach Behold, he standeth behind our wall; he peers min-hachalonót, metzítz min-hacharakím. through the windows, peeks through the lattices. Anáh dodí ve’ámar lí: My beloved spake and saith unto me: Kúmi lách ra’yatí yafatí ulchi-lách. Rise up, my love, my fair one, and come away. Ki-hinéh hasetáv avár For lo, the winter is past, hagéshem chaláf halách ló. the rain is over and gone. Hanitzaním nir’ú ba’áretz, The flowers appear on the earth; et hazamír higía’, the time of the singing of birds is come, vekól hatór nishmá’ be’artzénu. and the voice of the turtledove is heard in our land. Hate’enáh chanetáh fagéha vehagefaním The fig tree putteth forth her green figs, semadár nátenu réyach. and the vines with the tender grape give a good smell. Kúmi lách ra’yatí yafatí ulchi-lách. Arise, my love, my fair one, and come away. Song of Songs 8: 6-7 Set me as a seal upon thine heart, Siméni chachotám al libécha, as a seal upon thine arm; kachotám al zero’écha, for love is strong as death, and jealousy ki-azáh chamávet ahaváh, kasháh chish’ól kin’áh, is as cruel as the grave. The ardours reshaféha rishpéy esh shalhevetyáh. thereof are as a flame from God.
Load more

Recommended publications
  • EARLY MUSIC NOW with SARA SCHNEIDER Broadcast Schedule — Summer 2020
    EARLY MUSIC NOW WITH SARA SCHNEIDER Broadcast Schedule — Summer 2020 PROGRAM #: EMN 20-01 RELEASE: June 22, 2020 Treasures from Wolfenbüttel Starting in the late Renaissance, the court at Wolfenbüttel in northern Germany emerged as a cultural center. The dukes of the house of Welf employed high-profile composers like Michael Praetorius to increase their prestige, but lesser masters like Daniel Selichius made their mark as well. In this edition of Early Music Now, we'll hear from both composers, with performances by the Huelgas Ensemble and Weser-Renaissance Bremen. PROGRAM #: EMN 20-02 RELEASE: June 29, 2020 Those Talented Purcells This week's show focuses on Henry Purcell, and his lesser-known brother (or cousin) Daniel. We'll hear chamber music by both composers, plus selections from the semiopera they worked on together: The Indian Queen, from a 2015 release by The Sixteen. PROGRAM #: EMN 20-03 RELEASE: July 6, 2020 The Lost Voices of Hagia Sophia This week's program showcases an extraordinary recent release from the Portland-based ensemble Cappella Romana. This recording of medieval Byzantine chant composed for Hagia Sophia was recorded entirely in live, virtual acoustics, and soared to #1 on Billboard's Traditional Classical chart! These evocative sounds linger in the soul long after the music fades. PROGRAM #: EMN 20-04 RELEASE: July 13, 2020 Salomone Rossi: Revolutionary Jewish composer Salomone Rossi was a musician who served the Gonzaga court in Mantua. They valued him so highly that he was given a relatively large amount of personal freedom, while other members of the Jewish faith were restricted.
    [Show full text]
  • Psalm 80: an Exegetical Discussion on the Model of an Abandoned Child
    Scriptura 119 (2020:1), pp. 1-15 http://scriptura.journals.ac.za http://dx.doi.org/10.7833/119-1-1454 PSALM 80: AN EXEGETICAL DISCUSSION ON THE MODEL OF AN ABANDONED CHILD Schalk Treurnicht Department Old and New Testament Stellenbosch University Abstract Psalm 80 uses a wide variety of metaphors to describe the way Israel saw God in their present context. This context is before the fall of Samaria to the Assyrians. It was a time of uncertainty, with many questions on God’s role in Israel’s future and God’s role in their present suffering. They may have asked, are they suffering because God has forgotten or abandoned them? Due to the uncertainty the psalm, which is a communal lament, asks God not to forget them and to return to them. This is done by referring to God’s past relationship with Israel, reminding God of the good parent-child relationship they once had. In Psalm 80 different metaphors work together to create this model of parent and child, with God portrayed not as a good parent, but rather a wicked one. But all is not lost, and Israel knows their lives can be saved by God choosing to return to them and to become, once again, the good parent, who keeps them safe. In this exegetical discussion on Psalm 80, I want to use these metaphors to help develop this model of Israel as an abandoned child and to conclude with the image that this portrays. The metaphor of Israel as child does not appear in Psalm 80, thus, the different metaphors that do appear, each say something about the relational experience Israel had with God.
    [Show full text]
  • Early Music Review EDITIONS of MUSIC Here Are Thirteen Works in the Present Volume
    Early Music Review EDITIONS OF MUSIC here are thirteen works in the present volume. The first two are masses by John Bedingham, while the others are anonymous mass movements (either New from Stainer & Bell T single or somehow related). Previous titles in the series have been reviewed by Clifford Bartlett, and I confess this English Thirteenth-century Polyphony is the first time I have looked at repertory from this period A Facsimile Edition by William J. Summers & Peter M. since I studied Du Fay at university! At that time I also Lefferts sang quite a lot of (slightly later) English music, so I am not Stainer & Bell, 2016. Early English Church Music, 57 completely unfamiliar with it. I was immediately struck 53pp+349 plates. by the rhythmic complexity and delighted to see that the ISMN 979 0 2202 2405 8; ISBN 978 0 85249 940 5 editions preserve the original note values and avoids bar £180 lines - one might expect this to complicate matters with ligatures and coloration to contend with, but actually it is his extraordinarily opulent volume (approx. 12 laid out in such a beautiful way that everything miraculously inches by 17 and weighing more than seven pounds makes perfect sense. Most of the pieces are in two or three T- apologies for the old school measurements!) is a parts (a fourth part – called “Tenor bassus” – is added to marvel to behold. The publisher has had to use glossy paper the Credo of Bedingham’s Mass Dueil angoisseux in only in order to give the best possible colour reproductions of one of the sources).
    [Show full text]
  • Complete Song Book (2013 - 2016)
    James Block Complete Song Book (2013 - 2016) Contents ARISE OH YAH (Psalm 68) .............................................................................................................................................. 3 AWAKE JERUSALEM (Isaiah 52) ................................................................................................................................... 4 BLESS YAHWEH OH MY SOUL (Psalm 103) ................................................................................................................ 5 CITY OF ELOHIM (Psalm 48) (Capo 1) .......................................................................................................................... 6 DANIEL 9 PRAYER .......................................................................................................................................................... 7 DELIGHT ............................................................................................................................................................................ 8 FATHER’S HEART ........................................................................................................................................................... 9 FIRSTBORN ..................................................................................................................................................................... 10 GREAT IS YOUR FAITHFULNESS (Psalm 92) ............................................................................................................. 11 HALLELUYAH
    [Show full text]
  • ARISE OH YAH - Psalm 68
    ARISE OH YAH - Psalm 68 ................................................... 4 AWAKE JERUSALEM - Isaiah 52 ........................................ 9 BLESS YAHWEH OH MY SOUL - Psalm 103 ..................... 7 HEALING IN HIS WINGS - Malachi 4 ............................... 11 HOW LOVELY - Psalm 84 .................................................... 1 I WILL BLESS YAH - Psalm 34 ............................................ 6 IF I FORGET YOU JERUSALEM - Psalm 137 .................. 10 MY SHEPHERD - Psalm 23 .................................................. 8 OPEN THE GATES - Psalm 24 (capo 1) .............................. 3 SONG OF ASCENTS - Psalm 121 (capo 3) .......................... 2 YOUR LOVE ENDURES - Psalm 118 .................................. 5 HOW LOVELY - Psalm 84 G Bm MA, MA YEDIDOT (How lovely is) C G MISHKANOTECHA YHWH TSEVA’OT (Your dwelling place YHWH of Hosts) Bm NICHSEFA VE GAM KALTA NEFSHI (My soul longs and even faints) C Cm G LE’CHETZEROT YHWH, LE’CHETSEROT YHWH, (For the courts of YHWH, For the courts of YHWH) Bm LEBI OU BESARI YERANENU, (My heart and my flesh cries out) C Cm G EL EL CHI, EL EL CHI (For the Living Elohim, For the Living Elohim) Bm ASHREI YOSHVEH, YOSHVEH BETCHA (Blessed are those who dwell. who dwell in your house) C OD YALELUCHA (They’ll still be praising you) G OD YALELUCHA D OD YALELUCHA Am OD YALELUCHA Gm D OH, FOR JUST ONE DAY, ONE DAY IN YOUR HOUSE F D Dsus4 D IS BETTER THAN A THOUSAND ANYWHERE ELSE G HOW LOVELY IS YOUR HOUSE Bm FOR ALL MY DAYS I AM LONGING C Cm G FOR THE COURTS OF THE ONE, LIVING ELOHIM Bm OH HOW MY SOUL IT LONGS, AND EVEN FAINTS C Cm G FOR THE COURTS OF THE ONE, YHWH Bm MY HEART AND MY FLESH, THEY CRY OUT C Cm G FOR THE LIVING ELOHIM, THE LIVING ELOHIM G HOW BLESSED ARE THE ONES Bm WHO DWELL IN YOUR HOUSE C G THEY WILL STILL, STILL BE PRAISING YOU D THEY'LL STILL BE PRAISING YOU Am FOREVER THEY'LL BE PRAISING YOU F FOREVER WE'LL BE PRAISING YOU G Bm C Cm G OH OH! YALA LAI LAI..
    [Show full text]
  • Psalms Psalm
    Cultivate - PSALMS PSALM 126: We now come to the seventh of the "Songs of Ascent," a lovely group of Psalms that God's people would sing and pray together as they journeyed up to Jerusalem. Here in this Psalm they are praying for the day when the Lord would "restore the fortunes" of God's people (vs.1,4). 126 is a prayer for spiritual revival and reawakening. The first half is all happiness and joy, remembering how God answered this prayer once. But now that's just a memory... like a dream. They need to be renewed again. So they call out to God once more: transform, restore, deliver us again. Don't you think this is a prayer that God's people could stand to sing and pray today? Pray it this week. We'll pray it together on Sunday. God is here inviting such prayer; he's even putting the very words in our mouths. PSALM 127: This is now the eighth of the "Songs of Ascent," which God's people would sing on their procession up to the temple. We've seen that Zion / Jerusalem / The House of the Lord are all common themes in these Psalms. But the "house" that Psalm 127 refers to (in v.1) is that of a dwelling for a family. 127 speaks plainly and clearly to our anxiety-ridden thirst for success. How can anything be strong or successful or sufficient or secure... if it does not come from the Lord? Without the blessing of the Lord, our lives will come to nothing.
    [Show full text]
  • A Concise Glossary of the Genres of Eastern Orthodox Hymnography
    Journal of the International Society for Orthodox Church Music Vol. 4 (1), Section III: Miscellanea, pp. 198–207 ISSN 2342-1258 https://journal.fi/jisocm A Concise Glossary of the Genres of Eastern Orthodox Hymnography Elena Kolyada [email protected] The Glossary contains concise entries on most genres of Eastern Orthodox hymnography that are mentioned in the article by E. Kolyada “The Genre System of Early Russian Hymnography: the Main Stages and Principles of Its Formation”.1 On the one hand the Glossary is an integral part of the article, therefore revealing and corroborating its principal conceptual propositions. However, on the other hand it can be used as an independent reference resource for hymnographical terminology, useful for the majority of Orthodox Churches worldwide that follow the Eastern Rite: Byzantine, Russian, Bulgarian, Serbian et al., as well as those Western Orthodox dioceses and parishes, where worship is conducted in English. The Glossary includes the main corpus of chants that represents the five great branches of the genealogical tree of the genre system of early Christian hymnography, together with their many offshoots. These branches are 1) psalms and derivative genres; 2) sticheron-troparion genres; 3) akathistos; 4) canon; 5) prayer genres (see the relevant tables, p. 298-299).2 Each entry includes information about the etymology of the term, a short definition, typological features and a basic statement about the place of a particular chant in the daily and yearly cycles of services in the Byzantine rite.3 All this may help anyone who is involved in the worship or is simply interested in Orthodox liturgiology to understand more fully specific chanting material, as well as the general hymnographic repertoire of each service.
    [Show full text]
  • The Psalms As Hymns in the Temple of Jerusalem Gary A
    4 The Psalms as Hymns in the Temple of Jerusalem Gary A. Rendsburg From as far back as our sources allow, hymns were part of Near Eastern temple ritual, with their performers an essential component of the temple functionaries. 1 These sources include Sumerian, Akkadian, and Egyptian texts 2 from as early as the third millennium BCE. From the second millennium BCE, we gain further examples of hymns from the Hittite realm, even if most (if not all) of the poems are based on Mesopotamian precursors.3 Ugarit, our main source of information on ancient Canaan, has not yielded songs of this sort in 1. For the performers, see Richard Henshaw, Female and Male: The Cu/tic Personnel: The Bible and Rest ~(the Ancient Near East (Allison Park, PA: Pickwick, 1994) esp. ch. 2, "Singers, Musicians, and Dancers," 84-134. Note, however, that this volume does not treat the Egyptian cultic personnel. 2. As the reader can imagine, the literature is ~xtensive, and hence I offer here but a sampling of bibliographic items. For Sumerian hymns, which include compositions directed both to specific deities and to the temples themselves, see Thorkild Jacobsen, The Harps that Once ... : Sumerian Poetry in Translation (New Haven: Yale University Press, 1987), esp. 99-142, 375--444. Notwithstanding the much larger corpus of Akkadian literarure, hymn~ are less well represented; see the discussion in Alan Lenzi, ed., Reading Akkadian Prayers and Hymns: An Introduction, Ancient Near East Monographs (Atlanta: Society of Biblical Literature, 2011), 56-60, with the most important texts included in said volume. For Egyptian hymns, see Jan A%mann, Agyptische Hymnen und Gebete, Orbis Biblicus et Orientalis (Gottingen: Vandenhoeck & Ruprecht, 1999); Andre Barucq and Frarn;:ois Daumas, Hymnes et prieres de /'Egypte ancienne, Litteratures anciennes du Proche-Orient (Paris: Cerf, 1980); and John L.
    [Show full text]
  • A Six Week Study in the Book of PSALMS Window to the Soul: a Six Week Study in the Book of Psalms
    W t I o N SSOOUULL D t O h W e A Six Week Study in the book of PSALMS Window to the Soul: A Six Week Study in the Book of Psalms Since the inception of the Church, the psalms have been the sweet hymnbook by which God’s people have praised him for His goodness, kindness and Glory. They contain words of comfort in times of pain and encouragement for those who suffer. They are an example to us of how to be authentic in our struggles and honest in our failures, while always trusting Him to restore our souls. More than communicating a story, the psalms communicate experience, feeling, and emotion. As you study, remember that “The word of God is living and active…it judges the thoughts and attitudes of the heart” (Hebrews 4:12). God’s Word touches the depths of our souls, and leads us to the one who has all we need. Whether you are in a season of pain or sweet blessing, you can find rest as you read and study… The Psalms. Session 1: Psalm 100 The Elements of a Psalm Session 2: Psalm 100, Jonah 2 Psalms of Praise Session 3: Psalms 22, 80 Psalms of Lament Session 4: Psalm 51 Psalms of Penitence Session 5: Psalms 96, 99 Psalms of Kingship Session 6: Chapters 1, 19 Psalms of Wisdom 2 Session 1: Psalm 100 The Elements of a Psalm Helpful Hints: o The English word “psalms” is a Greek word simply spelled in Roman letters. The Greek word originally meant a striking or twitching of the fingers on a string.
    [Show full text]
  • (Old Testament Books) the Gospels: Matthew, Mark, Luke and John
    Psalms and Proverbs (Old The Gospels: Matthew, The Rest of the Old The Rest of the New Testament Books) Mark, Luke and John (New Testament Testament Testament Books) 1 Psalm 1 Matthew 1:1-17 Genesis 1-2 Acts 1:1-11 2 Psalm 2 Matthew 1:18-25 Genesis 3-4 Acts 1:12-26 3 Psalm 3 Matthew 2:1-12 Genesis 5-6 Acts 2:1-13 4 Psalm 4 Matthew 2:13-18 Genesis 7-8 Acts 2:14-28 5 Psalm 5 Matthew 2:19-23 Genesis 9-10 Acts 2:29-41 6 Psalm 6 Matthew 3:1-12 Genesis 11-12 Acts 2:42-47 7 Psalm 7:1-9 Matthew 3:13-17 Genesis 13-14 Acts 3:1-10 8 Psalm 7:10-17 Matthew 4:1-11 Genesis 15-16 Acts 3:11-26 9 Psalm 8 Matthew 4:12-17 Genesis 17-18 Acts 4:1-21 10 Psalm 9:1-10 Matthew 4:18-25 Genesis 19-20 Acts 4:22-37 11 Psalm 9:11-20 Matthew 5:1-12 Genesis 21-22 Acts 5:1-16 12 Psalm 10:1-11 Matthew 5:13-16 Genesis 23-24 Acts 5:17-42 13 Psalm 10:12-18 Matthew 5:17-20 Genesis 25-26 Acts 6:1-7 14 Psalm 11 Matthew 5:21-26 Genesis 27-28 Acts 6:8-15 15 Psalm 12 Matthew 5:27-30 Genesis 29-30 Acts 7:1-16 16 Psalm 13 Matthew 5:31-32 Genesis 31-32 Acts 7:17-32 17 Psalm 14 Matthew 5:33-37 Genesis 33-34 Acts 7:33-43 18 Psalm 15 Matthew 5:38-42 Genesis 35-36 Acts 7:44-60 19 Psalm 16 Matthew 5:43-48 Genesis 37-38 Acts 8:1-25 20 Psalm 17:1-5 Matthew 6:1-4 Genesis 39-40 Acts 8:26-40 21 Psalm 17:6-15 Matthew 6:5-15 Genesis 41-42 Acts 9:1-9 22 Psalm 18:1-6 Matthew 6:16-18 Genesis 43-44 Acts 9:10-19 23 Psalm 18:7-19 Matthew 6:19-24 Genesis 45-46 Acts 9:20-31 24 Psalm 18:20-29 Matthew 6:25-34
    [Show full text]
  • Liturgical Press Style Guide
    STYLE GUIDE LITURGICAL PRESS Collegeville, Minnesota www.litpress.org STYLE GUIDE Seventh Edition Prepared by the Editorial and Production Staff of Liturgical Press LITURGICAL PRESS Collegeville, Minnesota www.litpress.org Scripture texts in this work are taken from the New Revised Standard Version Bible: Catholic Edition © 1989, 1993, Division of Christian Education of the National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved. Cover design by Ann Blattner © 1980, 1983, 1990, 1997, 2001, 2004, 2008 by Order of Saint Benedict, Collegeville, Minnesota. Printed in the United States of America. Contents Introduction 5 To the Author 5 Statement of Aims 5 1. Submitting a Manuscript 7 2. Formatting an Accepted Manuscript 8 3. Style 9 Quotations 10 Bibliography and Notes 11 Capitalization 14 Pronouns 22 Titles in English 22 Foreign-language Titles 22 Titles of Persons 24 Titles of Places and Structures 24 Citing Scripture References 25 Citing the Rule of Benedict 26 Citing Vatican Documents 27 Using Catechetical Material 27 Citing Papal, Curial, Conciliar, and Episcopal Documents 27 Citing the Summa Theologiae 28 Numbers 28 Plurals and Possessives 28 Bias-free Language 28 4. Process of Publication 30 Copyediting and Designing 30 Typesetting and Proofreading 30 Marketing and Advertising 33 3 5. Parts of the Work: Author Responsibilities 33 Front Matter 33 In the Text 35 Back Matter 36 Summary of Author Responsibilities 36 6. Notes for Translators 37 Additions to the Text 37 Rearrangement of the Text 37 Restoring Bibliographical References 37 Sample Permission Letter 38 Sample Release Form 39 4 Introduction To the Author Thank you for choosing Liturgical Press as the possible publisher of your manuscript.
    [Show full text]
  • Programmbuch Festtage Alte Musik Basel
    Basel, 23. bis 31. August 2013 Programmbuch Festtage Alte Musik Basel Wege zum Barock – Tradition und Avantgarde um 1600 www.festtage-basel.ch Titel: Pieter Lastman (1583–1633), David im Tempel, 1618, signiert und datiert, Holz, 1 79 cm x 117 cm, Herzog Anton Ulrich-Museum, Braunschweig Zum Geleit Mit der grössten Freude stelle ich der zweiten Edition der Festtage Alte Musik Basel diesen Gruss voran! Die Freude betrifft zuerst die Tatsache, dass die «Kulturstadt Basel» mit sol- chen Ereignissen eine «Fes- tivalstadt» par excellence ist, in der ein hervorragen- des Potenzial an Kreativität herrscht. Grund zur Freu- de ist auch die Bereiche- rung des grossen Gebiets Abdruck mit Quellenangabe erwünscht der Alten Musik, die seit © 2013 Paul Sachers Zeiten einen Verein zur Förderung Basler Absolventen Schwerpunkt des hiesigen auf dem Gebiet der Alten Musik Musiklebens darstellt. Aber Dornacherstrasse 161 A, CH-4053 Basel auch das Auftreten vieler Telefon +41 (0)61 361 03 54 berühmter europäischer En- CH17 0840 1016 1968 0160 3 sembles in Basel, die ohne dieses Festival hier nicht [email protected] zu hören wären, ist sehr lo- www.festtage-basel.ch benswert. Besonders erfreu- Redaktion: Jörg Fiedler, Peter Reidemeister lich ist aber das klare Profil Satz, Gestaltung: Buser, Kommunikation GmbH, Basel des Programms, das höchste Dr. Guy Morin, Regierungspräsident Druck: Druckerei Dietrich AG, Basel Qualität mit der Förderung des Kantons Basel-Stadt des Basler Nachwuchses verbindet: Wer in dieser Stadt Festtage Basel seine Ausbildung durchlaufen und diesem hohen Stan- Geschäftsleitung: Renato D. Pessi Künstlerische Leitung: Peter Reidemeister dard standgehalten hat, der hat es auch verdient, dass er hier mit Engagements zu solchen Ereignissen wei- Preis: 10 Franken terhin Unterstützung erfährt.
    [Show full text]