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The Seven Penitential Psalms
The Seven Penitential Psalms (translation- The Grail Psalter) Ad privatum usum Cathedral of Saint Paul Saint Paul, MN Cathedral of Saint Paul 239 Selby Avenue Saint Paul MN 55102 Image of Cassiodorus from a 12thc English Manuscript The ancient tradition in the Church of the Penitential Psalmody (Psalms 6, 32, 38, 51, 102, 130, and 143) is rich. In the 5th century writings of Possidius, we learn that Saint Augustine: …ordered the Davidic Psalms, which are few in number concerning penance, to be copied for him, and lying in bed he used to look at those pages which had been placed on the opposite wall and read them, and wept profusely and con- tinuously (Vita S. Augustini, xxxi) The first unequivocal reference to the seven “penitential” psalms as a group dates back to Cassiodorus (d. 580 A.D.), in his Expositio Psalmorum. In his masterful commentary on the last psalm (143), he On the Front Cover. Uriah the Hittite receives a letter from wrote of the “course of their blessed tears” that has just been com- King David. Secret orders in the letter direct that Uriah, husband of pleted, noting that the journey that begins in affliction, leads us “to Bathsheba, be sent to the “forefront of the hottest battle... that the hope of joys.” he may be smitten and die.” Overpainted woodcut depicts a scene from the Old Testament book of 2 Samuel, Chapter 11. Prior to Vatican II, these psalms found a place in the Church’s litur- Paris, ca.1510 A.D.. Latin text shown is taken from the open- gical and sacramental tradition, and their recovery as a tradition ing lines of Psalm 6. -
Reflections on Psalm 32.Pdf
Reflections on Psalm 32 Introduction Psalm 32 introduces us to a unique subcategory of the psalms of lament, a group of psalms referred to as the “penitential psalms” from the word “penitence” meaning contrition or remorse for sin (the other penitential psalms are Psalms 6, 38, 51, 102, 130, 143). These psalms describe the weakness and sinfulness of the psalmist who comes to God for forgiveness and deliverance. As we have seen, often the psalmist takes the stance of innocence when under attack by enemies; he suffers “unjustly” and asks God to deliver him because of his integrity and righteousness (see Psalm 7:3-9). Those psalms provide the true laments. However, other psalms describe times of trouble which came about as the result of sin. These psalms are still laments, but there is a sense of expected judgment, God’s “heavy hand.” Yet there remained the hope of deliverance because of God’s continuing, covenant love and mercy. Psalm 32 is another psalm of David. As with Psalm 24 last week, we are not told the exact circumstances in which David wrote this psalm, but it is generally believed that it has its origin in David’s response to God following the infamous affair with Bathsheba and the death of her husband (2 Sam. 11). This same context is explicitly stated in the superscription of Psalm 51, the most well-known penitential psalm, but it is not unlikely that more than one psalm arose out of this sordid and horrific episode in David’s life. Psalm 32 probably presents his later reflections on the pangs of conscience before that confession expressed in Psalm 51, and his making good on his promise to instruct the godly (Psalm 51:13). -
Acknowledgements/Continued Hymns for the Church Year 1231
HymnsAcknowledgements/ for the Church Yearcontinued 1231 ADVENT I LENT II A – Awaken, Sleepers 393 A – Transform Us 880 The King Shall Come When Morning How Good, Lord, To Be Here! 881 Dawns 403 The Glory of These Forty Days 467 B – As Servants Working an Estate 411 B – Transform Us 880 C – When the Lord in Glory Comes 863 How Good, Lord, To Be Here! 881 From the Father’s Throne on High 865 The Glory of These Forty Days 467 C – Transform Us 880 ADVENT II How Good, Lord, To Be Here! 881 A – Wild and Lone the Prophet’s Voice 390 The Glory of These Forty Days 467 On Jordan’s Bank 392 B – Comfort, Comfort, O My People 402 LENT III A Morning Star Draws Near 400 A – Leaving Her Water Jar Behind 912 C – Wild and Lone the Prophet’s Voice 390 B – You Strode within the Temple, Lord A Morning Star Draws Near 400 729 C – Sovereign Maker of All Things 960 ADVENT III As the Winter Days Grow Longer 479 A – Are You the Coming One 399 When the King Shall Come Again 395 LENT IV B – The Moon with Borrowed Light 877 A – He Healed the Darkness of My Mind On Jordan’s Bank 392 976 C – Wild and Lone the Prophet’s Voice 390 Awake, O Sleeper, Rise from Death On Jordan’s Bank 392 915 B – What Wondrous Love 641 ADVENT IV What Love and Deep Devotion / Porque A – Though Famed in Israel’s Royal History de Tal Manera 648 396 C – Our Father, We Have Wandered 963 Savior of the Nations, Come 388 B – Unexpected and Mysterious 407 LENT V Also see nos. -
Cathedral of Saint Joseph, Manchester, New Hampshire
Cathedral of Saint Joseph Manchester, New Hampshire Sacred and Liturgical Music Program 2019 – 2020 (Liturgical Year C – A) Most Reverend Peter A. Libasci, D.D. Tenth Bishop of Manchester Very Reverend Jason Y. Jalbert Cathedral Rector Vicar General Director of the Office for Worship Mr. Eric J. Bermani, DMin (Cand.) Diocesan & Cathedral Director of Music/Organist 2 Music at The Cathedral of Saint Joseph 2019-2020 Welcome to a new season of sacred music at The Cathedral of Saint Joseph. Music has always played an important role in the life of this Cathedral parish. Included in this booklet is a listing of music to be sung by assembly, cantors and the Cathedral Choir, highlighting each Sunday, feast or liturgical season. “Sing to the Lord a new song: sing to the Lord all the earth. Sing to the Lord, and bless his Name: proclaim the good news of his salvation from day to day.” Psalm 96:1-2 “When there is devotional music, God is always at hand with His gracious presence.” J.S. Bach “Music for the liturgy must be carefully chosen and prepared.” Sing to the Lord (Music in Divine Worship) Article 122 “The treasury of sacred music is to be preserved and fostered with great care. Choirs must be diligently developed, especially in cathedral churches.” Constitution of the Sacred Liturgy, Article 114 “Music is the means of recapturing the original joy and beauty of Paradise.” St. Hildegard von Bingen “All other things being equal, Gregorian chant holds pride of place because it is proper to the Roman Liturgy. -
Psalm 38 Office of Readings Friday Week 2 Along with Psalms 6, 32, 51, 102, 130 and 143, This Is Numbered Among the Peniten- Tial Psalms
Psalm 38 Office of Readings Friday Week 2 Along with Psalms 6, 32, 51, 102, 130 and 143, this is numbered among the peniten- tial psalms. The psalmist has sinned (verses 3-4 and 18), but cries out to God not to leave him in such terrible physical and mental anguish. He assumes, according to the mentality of the time, that suffering is willed by God, and therefore must be a form of punishment for sin. He asks forgiveness, but insists that those who are maligning him are acting unjustly (verses 19-20). The title reads: ‘A Psalm* of David, for the memorial offering’, indicating its cultic setting. Psalm 6 opens in the same way. The psalmist is not 1YHWH*, rebuke me but objecting against being rebuked and disciplined, but not in your anger*; disci- against the extent of it, expressed here in terms of an- pline me but not in your ger. See the article ‘Anger’ in the Introduction. wrath. The psalmist begins by describing his terrible suffer- 2For your arrows have ings. Compare the following: sunk into me, and your Under the weight of your hand I sat alone. hand has come down – Jeremiah 15:17 heavily upon me. The arrows of the Almighty are in me; my spirit drinks their poison; the terrors of God are arrayed against me. – Job 6:4 He bent his bow and set me as a mark for his arrow. – Lamentations 3:12 This psalm is unusual in the power of its description of 3There is no part of my suffering. As noted above, he assumes that his condi- flesh* that is not wound- tion has its origin in his sin. -
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. -
Psalm 6:1-10 Man of Sorrows the Trajectory of Pain and Confrontation
Psalm 6:1-10 Man of Sorrows The trajectory of pain and confrontation that began in Psalm 3 continues in Psalm 6. The three day sequence of morning, evening, and morning prayers in Psalms 3-5 is climaxed in Psalm 6 by an intensely personal plea for deliverance from the threat of imminent death and God’s wrath. Psalm 7 brings this long dark night of the soul to a cathartic and redemptive end. The psalmist makes his final appeal to God Most High, the Lord of righteousness, for vindication and deliverance on grounds of his innocence and integrity. This five psalm unit ends on a strong note of thanksgiving and praise: “I will give thanks to the Lord because of his righteousness; I will sing the praises of the name of the Lord Most High” (Ps 7:17). The 2 Samuel narrative provides the historical landscape for David’s cartography of the soul. The psalms reveal a soulful self in sync with a storied account of sin and judgment, betrayal and treachery, violence and hatred. This paralleling of history and spirituality is explicit enough for us to identify the occasion in David’s life but implicit enough for us to commend these powerful psalms to our own circumstances and experiences. The psalms are rooted not only in a particular place and time but in the shared personal experience of our fallen human condition and God’s redemptive provision. After two introductory psalms Jesus’ Prayer Book launches into David’s Passion Narrative. It is not difficult to see how Jesus identified with these prayers in the days leading up to the cross. -
The Splendour of Forgiveness in Psalm 32
The splendour of forgiveness in Psalm 32 A dissertation by BEN CELLIERS Presented to the Faculty of Theology and Religion in fulfilment of the requirements for the degree MTh in the Department of Old Testament and Hebrew Scriptures at the University of Pretoria Pretoria December 2019 Study Leader: Prof. D.J. Human DECLARATION I, Ben Celliers, now declare that the dissertation The splendour of forgiveness in Psalm 32 reflects my own understanding and research on the above title and that all references utilised and quoted are referenced in full and appropriate acknowledgements are given. Ben Celliers December 2019 2 ACKNOWLEDGEMENTS I want to express my appreciation and gratitude to my study leader Professor Dirk Human, who guided me with to become the best researcher I can be. His patience and guidance made this dissertation possible. To my loving wife, Rochelle, thank you for your love and encouragement. I will be forever thankful. For the times that we could spend together in proximity, even on holidays, working and relaxing together helped me tremendously. You are my bright and shining star, and I am thankful for having you in my life. I want to thank my parents, Ben and Hannetjie, for their wise counsel and financial support. My upbringing and believe in me made me the person I am today. Your belief in me helped me pursue my dreams, and your support made it all possible. To my Lord and Saviour Jesus Christ paved the way for me to write this dissertation and who supported me with the grace to do so, may You alone receive glory for every word written here. -
Read Psalm 149: 1-3
Praying the Psalms Janet Schaeffler, OP In her book Undercurrents (HarperSanFrancisco, 1995), Martha Manning says, “It’s incredible to me that we never learned the psalms as children. All that time and energy memorizing the catechism when the real thing was right here. It’s like memorizing TV Guide rather than watching the show.” A few years ago when I was serving on a task force for the US Bishops, one of the bishops mentioned that he met once a month with a small group of ministers in his area to reflect upon the Sunday readings. When this group first began meeting, he was startled because the others kept talking about the four Sunday readings. As Catholics, we tend to talk about the three readings. One of the things he learned from them, he said, was the deep importance of the Responsorial Psalm. Do we have a gift that we are unaware of? That we are ignoring? That we are not utilizing to its full potential? Saint Ambrose of Milan in the fourth century said: A psalm is a cry of happiness, the echo of gladness. It soothes the temper, lightens the burden of sorrow. It is a source of security by night, a lesson of wisdom by day. It is a shield when we are afraid, a celebration of holiness, a vision of serenity, a promise of peace and harmony. Day begins to the music of a psalm. Day closes to the echo of a psalm. More and more today we are being challenged to reclaim this great heritage in our tradition: the Book of Psalms. -
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. -
A Pass Through the Psalms: Week 6: Psalm 6
A pass through The Psalms: Week 6: Psalm 6 Getting the Context: My assumption is that Psalm 6 was written in the same context of 3-4-5-7; which were all clearly written during the flight from Absalom in 2 Sam 15-17, the year 1023 BC (and was therefore not inserted later, out of order, while on his death bed.) In Psalm 3-4, (2 Sam 15-17) David is clearly on the run from Absalom. In Psalm 5 (2 Sam 17) David is still on the run and fears wicked men getting near the dwelling (Temple) of the Lord. Psalm 7 (2 Sam 16:22) appears as though Absalom has won as he enters Jerusalem and David's house and sexually abused some of his wives. My assumption then is that Psalm 6 was written out of David’s fear that God was going to remove David’s kingdom, via Absalom, out of punishment for his sin with Bathsheba in 980 BC in 2 Sam 11. As prophesied by Nathan in 2 Sam 12:11-12… In Psalm 6 then David is beginning to realize that Absalom is the one who was ‘close to him’ who will take his ‘wives in broad daylight’ as a chastising for the sin with Bathsheba. In Psalm 6 then David begins to plead with God regarding his chastisement (as he did when he pleaded with God about the death of his son with Bathsheba in 2 Sam 12:15-17) and begging God to be gracious in his dealing with him. -
Igor Stravinsky's “Symphony of Psalms” – a Testimony of the Composer's Faith
Bulletin of the Transilvania University of Braşov Series VIII: Performing Arts • Vol. 9 (58) No. 2 - 2016 Igor Stravinsky’s “Symphony of Psalms” – a testimony of the composer’s faith Petruţa-Maria COROIU 1, Alexandra BELIBOU2 Abstract: In the musical landscape of the first half of the 20th century, Igor Stravinsky (1882- 1971) asserted himself as a musician who undermined the normative values of the elements in the musical discourse. His creations were regarded from an analytical perspective in opposition with Arnold Schonberg’s music, the musical critics trying to limit the compositional amendments of the 20th century to the scores of the two composers. We find this view unjust, the musical wealth of the 20th century stemming precisely from the multiple meanings framed within various compositional patterns by the composers which music history placed among the unforgettable ones. Key-words: faith, modernity, psalm, composition, style 1. Preliminary considerations In the musical landscape of the first half of the 20th century, Igor Stravinsky (1882- 1971) asserted himself as a musician who undermined the normative values of the elements in the musical discourse. His creations were regarded from an analytical perspective in opposition with Arnold Schonberg’s music, the musical critics trying to limit the compositional amendments of the 20th century to the scores of the two composers. We find this view unjust, the musical wealth of the 20th century stemming precisely from the multiple meanings framed within various compositional patterns by the composers which music history placed among the unforgettable ones. It is worth noting that Stravinsky and Schonberg “constitute the poles towards gravitate the tendencies of the other composers of the century” (Vlad 1967, 7) (our translation).