Solemn Mass on Easter Sunday
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Marian Sawa (1937–2005)Music for Organ 1 Sequence I, “Dies irae” (1996) 11:44 2 Resurrection (1975) 6:53 3 Aria (1971) 7:17 4 Passacaglia II (2005) 9:51 5 Three Dances in Old Style (1998) 5:39 Suite (1980) 15:39 6 I. Adagio 4:38 7 II. Scherzando 2:20 8 III. Tranquillo 4:46 9 IV. Con brio 2:04 10 V. Presto 1:52 11 Fantazja Jasnogórska (1996) 6:26 12 Łomza Prayer (2004) 5:39 13 Sequence II, “Victimae paschali laudes” (1996) 7:04 TOTAL PLAYING TIME: 76:18 Carson Cooman Organ of Propsteikirche St. Ludgerus, Billerbeck, Germany (Orgelbau Fleiter, 2014) Model by Jiří Žůrek, 2020. Recorded via the Hauptwerk system. The Composer Marian Sawa was born January 12, 1937 in Krasnystaw, Poland and died April 27, 2005 in Warsaw. From 1951 to 1955, Sawa studied at the Salesian Organ School in Przemyšl. Feliks Rączkowski (1906–1989), who taught organ in Warsaw, was a graduate of the Salesian School and, on one of his return visits to Przemyšl, he was very impressed by the immense talent of one of the young students, Marian Sawa. Rączkowski invited Sawa to come to Warsaw for further study, and simply in order to teach him, Rączkowski joined the faculty at the Józef Elsner Secondary Music School. Upon Sawa’s graduation in 1958, he joined Rączkowski’s organ class at the F. Chopin Music Academy. From 1956 to 1966, Sawa was the organist of the garrison church (Field Cathedral of the Polish Army) in Warsaw. Sawa’s career as an educator focused primarily on his specialty of organ improvisation and began in 1966 at the Elsner School. -
THE PARISH of ST. VINCENT FERRER and ST. CATHERINE of SIENA ALL SOULS' DAY Saturday, November 2, 2019
THE PARISH OF ST. VINCENT FERRER AND T ATHERINE OF IENA S . C S The Very Reverend Walter C. Wagner, O.P., Pastor James D. Wetzel, Director of Music and Organist COMMEMORATION OF ALL THE FAITHFUL DEPARTED ALL SOULS’ DAY Saturday, November 2, 2019 12:00 Noon Solemn Requiem Mass The setting of the Requiem Mass Ordinary is Missa pro defunctis á 6 by Duarte Lôbo (c. 1565-1646). INTRODUCTORY RITES ENTRANCE ANTIPHON (OFFICIUM) IV Esdras 2:34, 35; Psalm 64 (65):2, 3 Requiem aeternam dona eis, Domine, Rest eternal grant unto them, O Lord, et lux perpetua luceat eis. and let light perpetual shine upon them. V. Te decet hymnus, Deus in Sion, V. A hymn befits you, O God, in Zion, et tibi reddetur votum in Jerusalem. and to you shall a vow be repaid in Jerusalem. Exaudi orationem meam, Hear my prayer; ad te omnis caro veniet. unto you all flesh shall come. SIGN OF THE CROSS AND GREETING PENITENTIAL ACT KYRIE (translation on Page 4 of Pew Booklet) COLLECT Listen kindly to our prayers, O Lord, and, as our faith in your Son, raised from the dead, is deepened, so may our hope of resurrection for your departed servants also find new strength. Through our Lord Jesus Christ, your Son, who lives and reigns with you in the unity of the Holy Spirit, one God, for ever and ever. Amen. 2 LITURGY OF THE WORD FIRST READING Wisdom 3:1-9 The souls of the just are in the hand of God, and no torment shall touch them. -
Understanding When to Kneel, Sit and Stand at a Traditional Latin Mass
UNDERSTANDING WHEN TO KNEEL, SIT AND STAND AT A TRADITIONAL LATIN MASS __________________________ A Short Essay on Mass Postures __________________________ by Richard Friend I. Introduction A Catholic assisting at a Traditional Latin Mass for the first time will most likely experience bewilderment and confusion as to when to kneel, sit and stand, for the postures that people observe at Traditional Latin Masses are so different from what he is accustomed to. To understand what people should really be doing at Mass is not always determinable from what people remember or from what people are presently doing. What is needed is an understanding of the nature of the liturgy itself, and then to act accordingly. When I began assisting at Traditional Latin Masses for the first time as an adult, I remember being utterly confused with Mass postures. People followed one order of postures for Low Mass, and a different one for Sung Mass. I recall my oldest son, then a small boy, being thoroughly amused with the frequent changes in people’s postures during Sung Mass, when we would go in rather short order from standing for the entrance procession, kneeling for the preparatory prayers, standing for the Gloria, sitting when the priest sat, rising again when he rose, sitting for the epistle, gradual, alleluia, standing for the Gospel, sitting for the epistle in English, rising for the Gospel in English, sitting for the sermon, rising for the Credo, genuflecting together with the priest, sitting when the priest sat while the choir sang the Credo, kneeling when the choir reached Et incarnatus est etc. -
A Letter from Father Humphrey
The Evangelist April 14, 2019 We are ready for you at St. John's! Sunday: Low Mass at 8 a.m. & High Mass at 10 a.m. Monday through Friday: Morning Prayer at 8:30 a.m. & Evening Prayer at 5:30 p.m. Feast Days & Special Services as announced. Confessions by appointment. A Letter from Father Humphrey Dear People, Neighbors and Friends of St. John's, This coming week is about one thing and one thing only: the undoing of death. We will begin with a requiem on Saturday for a beloved parishioner, which is appropriate, because in the Orthodox Church the day before Palm Sunday is known as "Lazarus Saturday," in reference to the great miracle that Jesus performed, a miracle that so astounded the authorities that they instinctively reacted by plotting Jesus' own death. Why would the powers and principalities wish to kill someone who had the power over death? Perhaps it is because death is one of the few things that keeps the status quo the status quo. In other words, earthly power relies on death to keep people in line. If you're not afraid to die, you are a dangerous person. And Jesus wasn't just someone who faced death with bravado. He faced it with real power. We are invited to encounter that power anew by walking the way of the cross this Holy Week, that we "may find it to be none other than the way of life and peace," as the Morning Prayer collect for Fridays puts it. We are promised that if we walk with Jesus, we will share in his power over death itself, as death's power is undone once for all by Jesus himself. -
The Rites of Holy Week
THE RITES OF HOLY WEEK • CEREMONIES • PREPARATIONS • MUSIC • COMMENTARY By FREDERICK R. McMANUS Priest of the Archdiocese of Boston 1956 SAINT ANTHONY GUILD PRESS PATERSON, NEW JERSEY Copyright, 1956, by Frederick R. McManus Nihil obstat ALFRED R. JULIEN, J.C. D. Censor Lib1·or111n Imprimatur t RICHARD J. CUSHING A1·chbishop of Boston Boston, February 16, 1956 PRINTED IN THE UNITED STATES OF AMERICA INTRODUCTION ANCTITY is the purpose of the "new Holy Week." The news S accounts have been concerned with the radical changes, the upset of traditional practices, and the technical details of the re stored Holy Week services, but the real issue in the reform is the development of true holiness in the members of Christ's Church. This is the expectation of Pope Pius XII, as expressed personally by him. It is insisted upon repeatedly in the official language of the new laws - the goal is simple: that the faithful may take part in the most sacred week of the year "more easily, more devoutly, and more fruitfully." Certainly the changes now commanded ,by the Apostolic See are extraordinary, particularly since they come after nearly four centuries of little liturgical development. This is especially true of the different times set for the principal services. On Holy Thursday the solemn evening Mass now becomes a clearer and more evident memorial of the Last Supper of the Lord on the night before He suffered. On Good Friday, when Holy Mass is not offered, the liturgical service is placed at three o'clock in the afternoon, or later, since three o'clock is the "ninth hour" of the Gospel accounts of our Lord's Crucifixion. -
ST MARY's CATHEDRAL Solemn Mass
ST MARY’S CATHEDRAL Solemn Mass Eighteenth Sunday of the Year 2 August 2020 10.30am WELCOME to St Mary’s Cathedral which stands in the centre of Sydney as a Christian statement of grace and beauty. Generations of artists have bequeathed to it their magnificent gifts in stone and glass, designing a unique space of solace and prayer within this vibrant city. This Cathedral represents the spiritual origins of the Catholic Church in Australia. It is one of Sydney’s most treasured historic buildings and one of the finest examples of English-style gothic churches in the world. William Wilkinson Wardell, the 19th century architect, dreamed of a gothic structure shaped from the local yellow-block sandstone on which this city is built. The building was finally completed 100 years after the architect’s death. The Cathedral is dedicated to Mary, Immaculate Mother of God, Help of Christians. THE CATHEDRAL CHOIR St Mary’s Cathedral Choir is the oldest musical institution in Australia. In 1818 a group of choristers was formed to sing Vespers before the Blessed Sacrament in the Dempsey household, the centre of Catholic worship in the penal colony. After the establishment of St Mary’s Cathedral in 1833 the successors of these choristers formed the permanent Cathedral Choir. In faithfulness to the Benedictine English tradition from which the Cathedral’s founders came, the Choir is formed of men and boys, preserving the historical character of Catholic liturgical and musical heritage. St Mary’s is the only Catholic Cathedral in Australia to have an on-site Choir School where the twenty-four boy choristers are educated. -
The Church Paper St James the Great, East St Kilda Celebrating 100 Years in East St Kilda
The Church Paper St James the Great, East St Kilda Celebrating 100 years in East St Kilda The Holy Martyrs of New Guinea Friday September 2 Vivian Redlich, priest John Barges, priest John Duffill, priest Harry Holland, priest Lilla Lashman, teacher Bernard Moore, priest Mavis Parkinson, teacher Lucian Tapiedi, evangelist MargeryBrenchley, teacher May Hayman, nurse Leslie Gariadi evangelist + All ye Holy Martyrs, pray for us Sundays in Ordinary Time Intentional Interim Priest: Father Richard Murray SCP Mobile: 0419 334 645 Email: [email protected] Sunday: Solemn Mass at 10.30 a.m. Low Mass: Thursdays 11.00 a.m. Service of Healing & Wholeness 10.00 a.m. on the 4th Sunday of the month (Always check weekly notices for Mass times) Confession – Thursdays following the 11.00 a.m. Mass & by appointment St James on the Web: www.stjamesthegreat.org.au St James’s in Wikipedia: http/en.wikipedia.org/wiki/ St_James_the_Great_St_Kilda_ The Interim Vicar writes: Dear People Thursday last week saw a meeting of our Port Philip Deanery. One item of discussion was the exodus of clergy from our deanery with retirements approaching over the next year or so, there will be quite a “changing of the guard’ in the deanery. We welcome among us the recently appointed Chaplain to the Mission to Seafarers, Fr Onofre Punay who will bring a non-parochial (sometimes called sector) ministry perspective On a more sombre note, I wonder whether you have been distressed, as have I, by the very disturbing reports of abuse and cover-up of abuse in the Anglican Diocese of New- castle. -
Music Brochure 2019-2020
LITURGICAL MUSIC 2019 – 2020 Musical Offerings for the Sunday 11:15 A.M. Solemn Masses & Other Special Liturgies during the Program Year ———————————————————————— The Holy Trinity Schola Cantorum Dr. Andrew H. Yeargin, Director of Music & Organist HOLY TRINITY CATHOLIC CHURCH CATHOLIC TRINITY HOLY HOLY TRINITY CATHOLIC CHURCH 213 West 82nd Street, New York, NY 10024 | (212) 787-0634 September 14, 2019 The Feast of the Exaltation of the Holy Cross Dear Friends, Welcome to a new season of ecclesiastical music at the Church of the Holy Trinity. We are pleased to share with you this music brochure outlining our week-to-week selections of liturgical music for the 2019–2020 season. In addition to the highly diverse offerings in repertoire each Sunday, we are especially excited to present a concert performance of Johannes Brahms’s German Requiem with orchestra in March 2020. We hope you can join us regularly throughout the season for an enriching year of inspiring and evocative sacred music. OUR PHILOSOPHY ABOUT SACRED MUSIC: Music is an integral part of the worship experience, and is part of what binds together the many aspects of liturgy…the “mortar between the bricks,” so to speak. At times, the congregation is invited to sing hymns or refrains, adding their voices to countless others in a unified act of prayer and celebration. At other times, the choir or cantor may sing alone— offering prayers on behalf of the entire assembly—while the congregation reflects silently. In either instance—joining in song or prayerfully listening to others—the assembled congregation is actively participating in the litury. -
BATES, JAMES M., DMA Music in Honor of the Virgin Mary
BATES, JAMES M., D.M.A. Music in Honor of the Virgin Mary during the Middle Ages and Renaissance. (2010) Directed by Dr. Welborn Young. 50 pp. Veneration of the Virgin Mary was one of the most important aspects of Christianity during the Middle Ages and Renaissance, and sacred music of the time incorporated many Marian concepts. The Virgin Mary was considered the greatest intercessor with God and Christ at a time when fear of Purgatory was strong. Prayers and devotions seeking her aid were among the most significant aspects of spiritual life, and texts of this kind were set to music for devotional use. Beyond her identity as intercessor, there were many additional conceptions of her, and these also found musical expression. The purpose of this study was, first, to explore the basic elements of Marian devotion, and, second, to examine how veneration of Mary was expressed musically. Seven musical compositions from c. 1200-1600 are examined as representative examples. The ―Marian aspects‖ of some compositions may be as straightforward as the use of texts that address Mary, or they may be found in musical and textual symbolism. Of special interest is a particular genre of motet used in private devotions. Precise and detailed information about how sacred music was used in the Middle Ages and Renaissance is scarce, but evidence related to this particular kind of devotional motet helps bring together a number of elements related to Marian meditative practices and the kind of physical settings in which these took place, allowing a greater understanding of the overall performance context of such music. -
Burkholder/Grout/Palisca, Ninth Edition, Chapter 10 18 Chapter 10
18 11. (219) What is the Lied technique? Chapter 10 Sacred Music in the Era of the Reformation 12. What is a choral motet? 1. [213] Protestant reformers tried to involve the congregation resulting in new forms such as the 13. (220) What is cantional style? Why that term? ___________ in the Lutheran Church, the __________ in the Calvinist Church, and the ____________ in the Anglican Church. 14. How many chorale melodies were there by 1600? 2. (212) What were the three branches and where did they exist? 15. What is the doctrine of Calvin? 16. The Calvin Church was centered at _________. What were the offshoots? 3. (213) Summarize Luther's religious beliefs in light of his humantistic education. 17. What about music in the church? 4. He changed the language from _________ to ___________, but kept some of the Catholic liturgy and 18. What are metrical psalms? What is a psalter? music. 5. (216) Luther's musical background included what? 19. (221) TQ: "Or sus, serviteurs du Seigneur" as "Old Hundreth" would be an example of what? 6. Why congregational singing? 20. T/F The different denominations held inviolate their music and would not allow it to be contaminated by 7. Was a Lutheran liturgy strictly adhered to? influx from other congregations. 8. Describe the chorale in Luther's time. 21. (222) TQ: (SR) What is your impression of the SR compared to Luther's SR a couple pages back? 9. (217) What are the four sources of chorales? Veni Redemptor gentium to Nun komm, der Heiden Heiland is an example of what? (218) Victimae paschali laudes to 22. -
Vatican Releases Pope Francis' Schedule for Holy Week Catholic.Net
Vatican releases Pope Francis' schedule for Holy Week Catholic.net Palm Sunday of the Passion of the Lord Holy Week 2018 begins on Palm Sunday, March 25th, with the celebration of the thirty- third World Youth Day, celebrated at the diocesan level. The Church’s yearly celebration of young people alternates between international celebrations, held every two-three years, and diocesan events. This year’s World Youth Day has the theme, “Do not be afraid, Mary, for you have found favour with God.” Those are the words of the Archangel Gabriel to the Blessed Virgin at the Annunciation, as related in the Gospel of St Luke. For the diocese of Rome, the celebration will take place in St Peter’s Square, with Pope Francis presiding at the Blessing of Palms and the Procession for Palm Sunday, followed by the Mass of the Passion of the Lord. Holy (Maundy) Thursday There are two main liturgical events on Holy Thursday: the Chrism Mass, celebrated in St Peter’s Basilica; and the Evening Mass of the Lord’s Supper, which the Holy Father will offer in the Regina Coeli prison, not far from the Vatican. During the Chrism Mass, the local Bishop consecrates and blesses the Sacred Oils – Chrism, used for Confirmation, and also in the Sacraments of Baptism and Holy Orders; the oil of catechumens, also used in Baptism; and the oil of the sick, for the Sacrament of Anointing of the Sick. In Rome, the blessed oils are taken to the Cathedral Church, the Archbasilica of St John Lateran, where they are dispensed to the parishes throughout the diocese. -
Victimae Paschali Laudes (Also Known As the “Easter Sequence”) Is an Ancient Expression of the Church’S Worship During the Easter Octave (I.E., Eight-Day Feast)
Victimae paschali laudes (also known as the “Easter Sequence”) is an ancient expression of the Church’s worship during the Easter Octave (i.e., eight-day feast). It has remained an official element of the Easter liturgies since its composition in the eleventh century. Today, it is one of five similar “sequences,” the others being employed at the celebrations of Pentecost, Corpus Christi, Our Lady of Sorrows, and the Requiem Mass. Victimae paschali laudes is an obligatory element of the Easter Sunday Mass, but it can also be chanted every day during the Easter Octave to highlight the supreme importance of this solemnity. The text of Victimae paschali laudes is included below. The left-most column contains the authoritative (and perennially-valid) Latin text, the middle column contains a literal translation into English, and the right-most column contains the English version approved for current liturgical use. The traditional chant (with its Gregorian notation) is included on the following page. Original Latin Literal English Translation Approved for Liturgical Use Victimae paschali laudes Let Christians offer sacrificial Christians, to the Paschal Victim immolent Christiani. praises to the passover victim. offer sacrifice and praise. Agnus redemit oves: The lamb has redeemed the sheep: The sheep are ransomed by the Lamb; Christus innocens Patri The Innocent Christ has reconciled and Christ, the undefiled, reconciliavit peccatores. the sinners to the Father. hath sinners to his Father reconciled. Mors et vita duello Death and life contended Death with life contended: combat conflixere mirando: in a spectacular battle: strangely ended! dux vitae mortuus, the Prince of life, who died, Life's own Champion, slain, regnat vivus.