DOCSLIB.ORG

I I University Microfilms, a XEROX Company, Ann Arbor, Michigan

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
I I University Microfilms, a XEROX Company, Ann Arbor, Michigan INSTRUCTIONAL AND PERFORMANCE MATERIALS FOR TEACHING THE HISTORICAL DEVELOPMENT OF MUSICAL STYLE TO THE HIGH SCHOOL BAND STUDENT Item Type text; Dissertation-Reproduction (electronic) Authors Kreloff, Herschel Mayer, 1931- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 23/09/2021 15:45:37 Link to Item http://hdl.handle.net/10150/287730 |¥ 71-2^,886 I i". KRELOFF, Herschel Mayer, 1931- | INSTRUCTIONAL AND PERFORMANCE MATERIALS | FOR TEACHING THE HISTORICAL DEVELOPMENT OF I MUSICAL STYLE TO THE HIGH SCHOOL BAND I STUDENT. | The University of Arizona, A.Mus.D., 1971 I Music I University Microfilms, A XEROX Company, Ann Arbor, Michigan © 1971 HERSCHEL MAYER KRELOFF ALL RIGHTS RESERVED ill IHIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED INSTRUCTIONAL AND PERFORMANCE MATERIALS FOR TEACHING THE HISTORICAL DEVELOPMENT OF MUSICAL STYLE TO THE HIGH SCHOOL BAND STUDENT by Herschel Mayer Kreloff A Dissertation Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 19 7 1 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE I hereby recommend that this dissertation prepared under my direction by Herschel Mayer Kreloff entitled INSTRUCTIONAL AND PERFORMANCE MATERIALS FOR TEACHING- THE HISTORICAL DEVELOPMENT OF MUSICAL STYLE TO THE HIGH SCHOOL BAND STUDENT be accepted as fulfilling the dissertation requirement of the degree of Doctor of Musical Arts Q'%. Dissertation Director Date t * After inspection of the final copy of the dissertation, the following members of the Final Examination Committee concur in its approval and recommend its acceptance:* si "7 / y/a it/ 3>//*/?./ Z//{./7f *.This approval and acceptance is contingent on the candidate's adequate performance and defense of this dissertation at the final oral examination. The inclusion of this sheet bound into the library copy of the dissertation is evidence of satisfactory performance at the final examination. PLEASE NOTE: Some pages have indistinct print. Filmed as received. UNIVERSITY MICROFILMS. STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that ac­ curate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: 7LJl 7^,Uf~ -.m ACKNOWLEDGMENTS The author wishes to express his gratitude first to DP. 0. M. Hartsell who served as advisor and disserta­ tion director for this project. His encouragement and inspiration were essential. His guidance and criticism were invaluable, A special acknowledgment is owed to Professor Robert McBride who initially encouraged the author to pursue a doctoral degree, and whose continued friendship and aid supplied a large measure of resolve toward its completion. Thanks and appreciation are extended to Professors Henry Johnson and James R. Anthony for their time, interest, and numerous helpful suggestions. iv TABLE OP CONTENTS Page LIST OP ILLUSTRATIONS viii ABSTRACT xiv 1. INTRODUCTION 1 Limitations of the Band Program 1 Purpose 1 Repertoire 3 Emphasis k- The Utility and Technique of the Study ... 5 2. STYLE IN MUSIC 9 Style as Culture 10 Style as History 1f? Style as Communication 18 3. GREGORIAN CHANT AND ORGANUM 22 Chant as Genre 23 General Features of Plainchant 26 Modal Theory 28 Notation and Rhythm . 33 Tropes and Sequences 36 Organum 1+1 Performance Suggestions for the Band Setting of Victimae Paschali Laudes . Il3 Condensed Score of the Band. Setting of Victimae Paschali Laudes llU Pull Score of the Band Setting of Victimae Paschali Laudes ... k7 Student Study Material . 59 The Ecclesiastical Modes 60 Mode Transposition 61). Gregorian Notation 66 v vi TABLE OP CONTENTS—Continued Page k. MEDIEVAL MOTET AND CONDUCTUS 70 Twelfth Century Organum 70 Modal and Mensural Notation 72 Thirteenth Century Polyphony 76 The Polyphonic Conductus 78 The Medieval Motet 82 Performance Suggestions for the Band Setting of De Castitatis - Victimae 88 Condensed Score of De Castitatis - Victimae 91 Full Score of De Castitatis - Victimae ... 9i|. Student Study Material • "102+ Modal and Mensural Notation 106 The Polyphonic Conductus 110 The Medieval Motet 111 5. LATE RENAISSANCE SACRED POLYPHONY. 115 Rhythm and Melody 115 Dissonance 118 Texture 123 Harmony 127 The Motet 131 Thomas Luis de Victoria 131 Condensed Score of 0 V03 Prunes 133 Pull Score of 0 Vos"*0mnes 135 Student Study Material 1^1-3 Melody • . 14-3 Intervals 1if-6 Passing Tones 1^9 Suspensions . 150 Chords and Cadences . .. ... • • • 15k 6. SEVENTEENTH CENTURY MONODY 1£8 Figured Bass . • 159 Melody 16k Caccini and Nuove Musiche ••••••••• 166 Performance Suggestions for the Band Setting of Dovrb Dunque Morire ..••••..• 167 Condensed Score of Dovr6 Dimque Morire ... 173 Pull Score of Dovrk Dunque Morire 175 Student Study Material . 180 Figured Bass ^ Triads 183 Harmony and Counterpoint 187 Recitative . 189 vii TABLE OP CONTENTS--Continued Page 7. LATE BAROQUE INSTRUMENTAL POLYPHONY 192 Vocal Models for Instrumental Forms .... 19k- Raraeau's Harmonic Theories 200 The Realization of Tonality 20£ Orchestral Development 209 Handel's Orchestral Style 212 Condensed Score of Overture and. Alia Breve . 215 Pull Score of Overture and Alia Breve ... 218 Student Study Material 228 Melody 232 Harmony 2.3k- 8. PRE-CLAS3ICAL INSTRUMENTAL HOMO PHONY 2L\& Melody 2l|-7 Texture 2lj-9 Form and Harmony 252 The Sinfonia 25>7 Giovanni Battista Sammartini 25>8 The Mannheira Orchestra 2^8 Comments on the Band Setting of the Sammartini Symphony in F Ma;]or ..... 2f?9 Condensed Score of the Symphony in F Major, First Movement 261 Pull Score of the Symphony in F Major, First Movement 26ij. Student Study Material 272 Melody and Harmony . 272 Texture 275 APPENDIX: CORRECT RESPONSES TO THE STUDENT STUDY ASSIGNMENTS POUND IN CHAPTERS 3 THROUGH 8 279 LIST OP REFERENCES 292 LIST OP ILLUSTRATIONS Figure Page 1. Three Styles of Text Setting In Gregorian Chant 25 2. Original and Transformed Storms of Modes 1 and 3 31 3. The Pour Authentic Modes in Their Original Forms and Transposed to Begin on the Tone G 33 l|. The Principal Simple Neumes of Gregorian Notation Shown Opposite Their Counter­ parts in Contemporary Music Notation ... 3k- 5» A Melody in Plainchant and in Modern Notation • 35 6. The Sequence Victimae Paschali Laudes 37 7. The Plainchant Melody Victimae Paschali Laudes Used as a Cantus Firmus in a Renaissance Motet 39 8. The Opening of the Hymn Christ Lag in Todesbanden 39 9. The Opening Melodies from Three Movements of Bach's Christ Lag in Todesbanden, Each Based upon the Chant Victimae Paschali Laude s 10. Types of Organum l|.2 11. Three Kinds of Text Setting in Gregorian Chant 59 12. The Ecclesiastical Modes 60 13. An Excerpt from the Chant Victimae Paschali Laudes 62 1lj., America in Major, Dorian, and Phrygian Modes • 63 15. Untransposed and Transposed Forms of the Dorian Mode 66 viii LIST OP ILLUSTRATIONS—Continued Figure Page 16. Gregorian Square Notation and Modern Notation • 67 17# Two Types of Twelfth Century Organum 71 18. The Rhythmic Modes 73 19. Transcriptions into Modern Notation from the Ligature Notations of Modes I and II . 7J+ 20. The Transcription of Mensural Notation into Modern Notation 76 21. An Excerpt of Ilenstiral Notation from a Polyphonic Conductus and its Transcrip­ tion into Modern Notation 80 22. The Polyphonic Conductus De Castitatis Thalamo 81 23. Portion of a Motet which Features a Different Mode in Each Voice &k- 2i|-. Victiraae Paschali Laudes as a Gregorian Chant and as a Motet Tenor 85 25. The Arrangement of a Page of Motet Manuscript . 85 26. The Notation of a Medieval Motet 86 27. The Transcription into Modern Notation of the Excerpt (Figure 26) Above 86 28. The Motet Nus hom - Cil s1entremet - Victimae . 87 29. Medieval Cadences 88 30. The Sustained Note and Discant Styles of Organum 10J4. 31. The Rhythmic Modes 106 32. The First Rhythmic Mode in Modal Notation and its Transcription into Modern Notation . 107 33. A Portion of a Two Part Polyphonic Conductus . 110 31^. A Portion of a Medieval Motet 112 X LIST OP ILLUSTRATIONS—Continued Figure Page 35>» Three Rhythmically Independent Lines ••••• 116 36. A Two Line Excerpt Barred According to the N.atural Accents 117 37. Examples of Melodic Curves from the Music of Two Composers of the Late Renaissance . 118 38. Examples of Suspensions 120 39# A Progression of Consonant Intervals (a) and the same Progression with Suspensions (b) . 121 I4.O. Passing Tones 122 lj.1. A Progression with Passing Tones and with Suspensions . 123 l|.2. A Homophonic Texture 121). ij-3* A Polyphonic Texture 12i|. Canonic Imitation 126 Eree Imitation 126 l|.6. Modes used in Renaissance Music 128 lj.7* Typical Renaissance Cadence in Two Parts . • 129 I4.8 # An Authentic Cadence 129 lj.9. A Leading Tone Cadence 130 J>0. A Phrygian Cadence 130 51. Melodies of Victoria 1l±3 52. A Melody of Palestrina 1i|4 53. Voice Ranges 1lj-5 The Identification of Intervals 1l|-7 The Passing Tone 114-9 xi LIST OP ILLUSTRATIONS—Continued Figure Page 56. The Suspension . 151 57. An Example Containing Suspensions, Passing Tones, and Consonant Intervals 152 58. The Basic Two-Part Cadence 155 59. A Portion of a Monody with a Realization of the Figured Bass 161 60.
Load more

Recommended publications
  • Download Booklet
    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.
    [Show full text]
  • 11-17-19 9 Am
    NOVEMBER 17, 2019 THE TWENTY-THIRD SUNDAY AFTER PENTECOST 9:00 A.M. HOLY EUCHARIST ST. CHRYSOSTOM’S EPISCOPAL CHURCH 1424 NORTH DEARBORN PARKWAY, CHICAGO, ILLINOIS 60610 www.saintc.org 312.944.1083 WELCOME TO SAINT CHRYSOSTOM’S CHURCH Whoever you are, and wherever you find yourself on the journey of faith, you are welcome here. We are so glad you have chosen to join us today. If this is your first time here, please fill out a welcome card, located in the pews or at the back of the church, and leave it in the offering plate or with one of our ushers. THINGS TO KNOW BUILDING MEANINGFUL WORSHIP HABITS Restrooms Arrive early to settle your mind and body. Ask Are available in the first-floor Harding Room, God to open your eyes, ears, mind, and heart downstairs by Sunday School classrooms, and to receive God’s Word. upstairs by the second-floor Guild Room. Participate fully. Sing when there is music. Pray when there is prayer. Listen to the Fellowship Scriptures and pay attention to what word or Grab some coffee and a muffin in the 1st floor phrase sticks with you. Harding Room and enjoy some good Introduce yourself by name to someone you conversation. Coffee hour ends at 1 p.m. don’t know and build your church community. Consider which part of worship you are most Formation Hour 10 a.m. – 11 a.m. drawn to. Then consider signing up to assist in Adult Forum: 2nd floor Guild Room. that ministry when you can. *More details on Adult Formation can be found in the back of this bulletin in the WOULD YOU LIKE TO SPEAK TO A MINISTER? announcements section.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • November 2011 Broadside
    T H E A T L A N T A E A R L Y M U S I C A L L I A N C E B R O A D S I D E Volume XII, # 2 November, 2011 President’s Message Let’s face it: Lovers of Early Music are romantics, and we are a proud and often silent tiny “fringe” group. We enjoy the music of past times and reawakening it with old and recreated historical instruments. We know in so doing that we discover the amazing inventions and immense creativity of instrument makers and composers of at least seven centuries. The many styles and musical structures impress us. Above all, we savor the beauty and the emotions of those sound pieces. The entire treasure of western music passes before our eyes and pleases our ears. It is the foundation of nearly all music, even that presently created. We are fascinated and enthralled. Beyond that, we have available to us, thanks to modern technology, what no other era had available: Recordings of enlightened contemporary performances of the entire musical spectrum, presented by excellent singers and players of the Early Music genre. We are indeed blessed! AEMA MISSION It is the mission of the Atlanta Early Music Alliance Furthermore, we have around us, here in the Metro-Atlanta area, fabulous to foster enjoyment and performing groups, too many to name, who delight us with Early Music performances awareness of the historically informed performance of in churches, synagogues and concert halls, all accessible to us “common” citizens, at music, with special emphasis on music written mostly affordable cost.
    [Show full text]
  • 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.
    [Show full text]
  • Singing Our Faith Solemnity of Pentecost – May 20, 2018
    Singing Our Faith Solemnity of Pentecost – May 20, 2018 It happens a few times a year – we sing an “extra hymn” after the second reading. Chances are it’s unfamiliar to the assembly because, well, they haven’t heard it for a year! This is known as the Sequence. This weekend, we sing the Pentecost Sequence “Veni, Sancte Spiritus,” translated “Come, Holy Spirit,” which is found below. So first, why the term “Sequence?” Centuries ago, the end of the Alleluia before the gospel would have a musical sequence that rose higher and higher at each repetition as the deacon or priest went up the steps of the ambo. The raising of the pitch mirrored the minister’s ascent to proclaim the gospel. Since Sequences have always been written in the form of hymns, they are also called “Prose,” which more accurately reflects their literary style. It’s also worth mentioning that, while we sing the Sequence before the gospel acclamation, the traditional place for the Sequence is after the alleluia (gospel acclamation), sort of like an extended gospel acclamation verse. The number of Sequences was significant by the time of the Council of Trent (1543–1563). The Pope St. Pius V Missal from 1570 reduced the many number of Sequences in the Roman Rite to four: Victimae Paschali Laudes for Easter (still required today) Veni Sancte Spiritus for Pentecost (still required today) Lauda Sion Salvatorem for Corpus Christi (optional today) Dies Irae for All Souls and in Masses for the Dead (optional today) "1 Singing Our Faith Solemnity of Pentecost – May 20, 2018 Nearly 150 years after St.
    [Show full text]
  • 1 NEWSLETTER: 28 June 2020 Hi Everyone, This Should Have Been
    NEWSLETTER: 28 June 2020 Hi Everyone, This should have been the day of our joint concert! Have a look at this link!: Dre https://youtu.be/yYBAAEY77sM The Dream of Gerontius Rehearsal Links & Warm Up Video 1 https://youtu.be/T8yhEVv-lRE Video 2 https://youtu.be/nLhI6QUHUBY Video 3 https://youtu.be/_mRy-GzIxC4 These links are easily available in the Member Area of our web site https://mkchorale.org.uk alongside a downloadable copy of the full score. Jokes To Make You Groan! Why couldn't the string quartet find their composer? He was Haydn What is Beethoven's favourite fruit? "Ba-na-na-naaaaa" Why was the former conductor of the Berlin Philharmonic always first off the plane? Because he only had Karajan luggage. Why did JS Bach have so many children? Because he didn't have any organ stops Why didn't the bouncer let the quavers into the bar? Because they were slurring. Courtesy of Classic FM 1 Alex Aitken's Potted History of Music Part IV: The Late Renaissance (c.1500-1600) Petrucci begins publishing music anthologies, and musical education in churches and cathedrals becomes more widespread, training singers, instrumentalists and composers. Elizabeth of York (Henry VII’s Queen) takes delivery of a clavichord and is most pleasèd that she now has an excuse not to watch her husband joust peasants in the cold. Intermedio (‘between half’ spectacles of music and dance) begin to appear in between acts of plays; later becoming the intermezzo. Composers begin to set the Lamentations of Jeremiah to superb effect (Tallis, Lobo, Morales, Byrd, Mouton, Palestrina and Victoria all win at various points over the 16th century).
    [Show full text]
  • Anthems Booklet Trinity 2018
    New College Chapel Anthem Texts & Translations Trinity Term 2018 PLEASE DO NOT REMOVE FROM THE CHAPEL Introductory note exts of services in Chapel – Evensong, Compline and Sung TEucharist – may be found on the printed Service Cards in the stalls, and in the Books of Common Prayer, which also contain the Psalms. The Psalm for the day, sung at Evensong, is listed in the Music List. 3 Friday 20 April Regina caeli Cristobal de Morales (c.1500-1553) Regina caeli laetare, alleluia: Quia quem meruisti portare, alleluia: Resurrexit, sicut dixit, alleluia: Ora pro nobis Deum, alleluia. Be joyful, queen of heaven, alleluia: for the one you were worthy to bear, alleluia, is risen, as he said he would, alleluia. Pray to God for us, alleluia. Antiphon to the Blessed Virgin Mary in Paschal Time Saturday 21 April Terra tremuit William Byrd (c.1535-1623) Terra tremuit et quievit, dum resurgeret in iudicio Deus. Alleluia. The earth shook and was at peace, when God arose in judgement. Alleluia. Psalm 75: 9-10 ..... ..... 4 Saturday 21 April Christ rising again William Byrd (c.1535-1623) Christ rising again from the dead now dieth not. Death from henceforth hath no power on him. For in that he died, he died but once to put away sin; but in that he liveth, he liveth unto God. And so likewise, count yourselves dead unto sin, but living unto God in Christ Jesus our Lord. Christ is risen again, the first fruits of them that sleep. For seeing that by man came death, by man also cometh the resurrection of the dead.
    [Show full text]
  • Victimae Paschali Lauda Editor's Notes
    Victimae Paschali Lauda Editor’s Notes In this orchestra/choral work, Hilarión Eslava has taken a simple Gregorian chant written in 1048 and transformed it into showcase piece with a Spanish flair, contemporary for his time. A piece like this would typically only be performed on Easter Sunday. Victimae paschali laudes is a sequence prescribed for the Catholic of Easter Sunday. It is usually attributed to the 11th century Wipo of Burgundy, chaplain to the German Emperor Conrad II. Victimae Paschali Laudes is one of only four medieval sequences that were preserved in the Missale Romanum published in 1570 after the Council of Trent (1545-63). The three others were the "Veni Sancte Spiritus" for the feast of Pentecost, "Lauda Sion" for Corpus Christi, and the "Dies Irae" for the Requiem Mass. Eslava wrote music for these as well, although I have yet to find “Dies Irae”. Victimae Paschali Laudes is one of the few sequences that are still in liturgical use today. Its text was set to different music by many Renaissance and Baroque composers. LATIN LYRICS: Victimae paschali laudes immolent Christiani. Agnus redemit oves: Christus innocens Patri reconciliavit peccatores. Mors et vita duello conflixere mirando: dux vitae mortuus, regnat vivus. Dic nobis Maria, quid vidisti in via? Sepulcrum Christi viventis, et gloriam vidi resurgentis: Angelicos testes, sudarium, et vestes. Surrexit Christus spes mea: precedet vos in Galilea. Scimus Christum surrexisse a mortuis vere: tu nobis, victor Rex, miserere. Alleluya. ENGLISH TRANSLATION: May you praise the Paschal Victim, immolated for Christians. The Lamb redeemed the sheep: Christ, the innocent one, has reconciled sinners to the Father.
    [Show full text]
  • 20200412B.Pdf
    April 5, 2020 Palm Sunday of the Passion of the Lord April 12, 2020 Our Lady of Grace and Saint Bernard Parish FATHER DAVE’S DESK Happy Easter! One of my favorite secular stories about Easter comes from an exchange between a father and his three year old daughter. A few weeks before Easter, her daddy took her to the mall for a new pair of shoes. As they walked through the mall, she said, “Daddy, I can’t wait for Easter!” Her dad responded, “But honey, do you know what Easter means?” The lile girl replied, “Yes.” “What does Easter mean?” said the father. In her own sweet way with a beaming smile on her face and at the top of the voice, she said, “Surprise!” What a powerful word to capture the mystery we celebrate today, “surprise!” Surprise death! Surprise sin! Surprise suffering! Surprise mourning disciples! Surprise humanity! Jesus is alive! He is risen! The gospel today, from John 20:1R9 is something you might want to read as Grace before your Easter meal. What a sur- prise it was for Mary of Magdalene to see that the stone had been removed from the tomb. The “other disciple” arrives at the tomb and sees the burial cloths but does not enter. Simon Peter then arrives and enters the tomb and sees the burial cloths but not Jesus. What a surprise! As the story unfolds they will come to know and understand that what suffering and death did to Jesus is nothing compared to what he did to it.
    [Show full text]
  • Solemn Mass on Easter Sunday
    SOLEMN MASS ON EASTER SUNDAY CELEBRANT ARCHBISHOP MALCOLM McMAHON OP THE EASTER TRIDUUM – EASTER SUNDAY THE RESURRECTION OF THE LORD 4 APRIL 2021 AT 11.00AM _______________________________________________________________________________________ ORDER OF MUSIC Introit Resurrexi: Gregorian Chant; words from Psalm 138:18,5-6 Gloria, Sanctus and Agnus Dei Messa a Tre Voci: music by Antonio Lotti (1667-1740) Alleluia Psalm 117 Mode VI: music Gregorian Chant Sequence Victimae Paschali: text attrib Wipo of Burgundy (11th cent); music Gregorian Chant, Mode I Gospel Acclamation: music Gregorian Chant, Mode VI Hymn O sons and daughters: words by Jean Tisserand OFM (d1494); trans by John Mason Neale (1818-1866) Communion Antiphon Pascha nostrum: music Gregorian Chant, mode VI People’s Communion Motet Haec Dies: music by Thomas Morley (1557-1602) _______________________________________________________________________________________ PLEASE ENSURE THAT MOBILE TELEPHONES ARE SWITCHED OFF The use of private cameras, video or sound equipment is strictly prohibited in the Cathedral 2 WHAT TO EXPECT AT MASS We have put in place some new measures to ensure a safe and welcoming environment for all. This may mean that Mass feels a little different to the way we are used to celebrating. Please read our guidelines below: WHEN YOU ARRIVE You will be welcomed by a volunteer steward. You will be directed to the hand sanitizer. All people entering church must wear a face covering at all times. You must adhere to social distancing guidelines in place. Any children accompanying you must do the same. Baskets will be available at the entrance (and exit) for your weekly envelopes or other contributions. There will also be contactless donation points available for those wishing contribute via debit card.
    [Show full text]