DOCSLIB.ORG

Christ Church New Haven Choral Services – Fall 2007

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Christ Church New Haven Choral Services – Fall 2007 Christ Church New Haven Choral Services – Fall 2007 September 9 The Fourteenth Sunday after Pentecost 11:00 AM Service: Mass for Four Voices – William Byrd Psalm 1 Anglican Chant: Samuel Sebastian Wesley Beati Quorum Via – Charles Villers Stanford Sicut Cervus Desiderat – Giovani de Palestrina September 16 The Fifteenth Sunday after Pentecost 11:00 AM Psalm 51: 1-18 Anglican Chant: John Stainer Cast me not away – Samuel Sebastian Wesley The Holy Eucharist – William H. Harris 9:00 PM Compline Office Hymn: Te Lucis Ante terminum – Sarum, Mode VIII Lord, for thy tender mercy’s sake – Richard Farrant Nunc Dimittis – Orlando Gibbons Votive Antiphon: Salve Regina – Mode I September 23 The Sixteenth Sunday after Pentecost 11:00 AM Psalm 138 Anglican Chant: H. Walford Davies Give Almes of Thy Goods – Christopher Tye Retribue Servo Tuo – Robert Parsons 9:00 PM Compline Office Hymn: Deus Creator omnium – Sarum, Mode IV Responsory: In Manus Tuas – John Sheppard Retribue Servo Tuo – Robert Parsons Votive Antiphon: Salve Regina – Mode I September 30 The Feast of St. Michael and All Angels 11:00 AM Procession and Solemn High Mass Service: Communion Service in E – Harold Darke Gradual: Benedicte Dominum – Mode III Alleluia: Laudate Deum – Mode IV Let all mortal flesh keep silence – Edward C. Bairstow Angeli, Archangeli – Andrea Gabrieli 9:00 PM Compline Office Hymn: Te Lucis Ante terminum – Sarum, Mode VIII Angeli, Archangeli – Andrea Gabrieli Nunc Dimittis – Robert Parsons Votive Antiphon: Salve Regina – Mode I October 7 The Eighteenth Sunday after Pentecost 11:00 AM Psalm 37:3-10 Anglican Chant: Robert Lehman O Lord, Increase our Faith – Henry Loosemore The Eyes of All Wait Upon Thee – William H. Harris 5:00 PM Vespers and Benediction Hymn: Christe qui lux es et dies – Robert Whyte Canticle: Magnificat – Thomas Morley Psalmody: Beati Quorum Remissae – Zachary Wadsworth Anthem: The Beatitudes – Arvo Pärt Benediction: O Saving Victim – Zachary Wadsworth 9:00 PM Compline Office Hymn: Te Lucis Ante terminum – Diego Ortiz O Lord, Increase our Faith – Henry Loosemore In pace – William Blitheman Votive Antiphon: Salve Regina – Mode I October 14 The Nineteenth Sunday after Pentecost 11:00 AM Service: Missa Phrygia – Pompeo Cannicciari Psalm 113 Chant: Robert Lehman Cantique de Jean Racine – Gabriel Fauré Jesu, grant me this I pray – Percy Whitlock 9:00 PM Compline Office Hymn: Te Lucis Ante terminum – Sarum, Mode VIII O Lord the Maker of all thing – William Mundy The Lord’s Prayer – Robert Stone Votive Antiphon: Salve Regina a 6 – Orlando Lassus October 21 The Twentieth Sunday after Pentecost 11:00 AM Psalm 121 Chant: H. Walford Davies Prayer to Jesus – George Oldroyd Adolescentulus sum ego – William Mundy 9:00 PM Compline Office Hymn: Deus Creator omnium – Sarum, Mode IV Adolescentulus sum ego – William Mundy Nunc Dimittis – Tomas Luis de Victoria Votive Antiphon: Salve Regina – Mode I October 28 The Twenty-First Sunday after Pentecost 11:00 AM Psalm 84: 1-6 Chant: C. Hubert H. Parry Let mine eyes run down with tears – Henry Purcell O Sacrum Convivium – Marc-Antoine Charpentier 9:00 PM Compline Office Hymn: Te Lucis Ante terminum – Tomas Luis de Victoria Almighty and everlasting God – Orlando Gibbons Votive Antiphon: Salve Regina a 4 – Orlando di Lasso November 4 The Feast of All Saints 11:00 AM Procession and Solemn High Mass Service: Missa O Quam Gloriosum – Tomas Luis de Victoria Gradual: Timete Dominum – Mode I Alleluia: Venite ad me – Mode VIII And I Saw a New Heaven – Edward Bainton Justorum Animae – Orlando Lassus 5:00 PM In Memoriam Funeral Sentences – Henry Purcell Requiem – Herbert Howells 9:00 PM Compline Office Hymn: Deus Creator omnium – Sarum, Mode IV Justorum Animae – Orlando Lassus O Quam Gloriosum – Tomas Luis de Victoria Votive Antiphon: Salve Regina – Mode I November 11 The Twenty-Third Sunday after Pentecost 11:00 AM Psalm 17:1-8 Anglican Chant: Ryan James Brandau Geistliches Lied – Johannes Brahms Justi in perpetuum vivent – John Sheppard 9:00 PM Compline Office Hymn: Te Lucis Ante terminum – Sarum, Mode VIII Justi in perpetuum vivent – John Sheppard Nunc Dimittis – Thomas Tallis Votive Antiphon: Salve Regina – Mode I November 18 The Twenty-Fourth Sunday after Pentecost 11:00 AM Psalm 98: 5-10 Anglican Chant: Ivor Atkins In Voce Exsultationis – Giuseppe Ottavio Pitoni E’en so, Lord Jesus, quickly come – Paul Manz 5:00 PM Evensong in Thanksgiving for all Church Musicians Introit: Abendlied – Josef Rheinberger Service: Gloucester Cathedral – Herbert Howells Psalms 19 and 46: Anglican Chant – Robert Lehman Preces and Responses – Phillip Moore Festival Te Deum – Benjamin Britten 9:00 PM Compline Office Hymn: Deus Creator omnium – Sarum, Mode IV Jesu Dulcis Memoria – Tomas Luis de Victoria In Voce Exsultationis – Giuseppe Ottavio Pitoni Votive Antiphon: Salve Regina – Mode I November 25 The Last Sunday after Pentecost – Christ the King 11:00 AM Procession and Solemn Mass Service: Collegium Regale – Herbert Howells Psalm 46 Anglican Chant: Robert Lehman Alleluia: Potestas eius – Mode I Let All the World in Every Corner Sing – Kenneth Leighton King of Glory, King of Peace – Harold Friedell 9:00 PM Compline Office Hymn: Te Lucis ante terminum – Tomas Luis de Victoria Psalm: Sicut Cervus – Giovanni Palestrina Libera nos – John Sheppard Votive Antiphon: Salve Regina – Mode I December 2 The First Sunday of Advent 11:00 AM Advent Responsory – Robert Lehman The Great Litany sung in procession Service: Missa Brevis: Corde natus ex parentis – Healey Willan Prosa: Rorate caeli desuper – Mode I; Fauxbourdons by J.H. Arnold O Pray for the Peace of Jerusalem – Herbert Howells Vigilate – William Byrd 5:00 PM A Procession with Carols on Advent Sunday Advent Responsory – Robert Lehman The Truth from Above – Ralph Vaughan Williams Adam Lay Ybounden – Boris Ord The Salutation Carol – Ralph Vaughan Williams Jesus Christ, the apple tree – Elizabeth Poston Lullay my Liking – arr. Gustav Holst The Lamb – John Tavener O Thou the Central Orb – Charles Wood In the Bleak Midwinter – Harold Darke 9:00 PM Compline Office Hymn: Conditor alme siderum – Sarum, Mode IV Vigilate – William Byrd Reponsory: In Manus Tuas – William Byrd Votive Antiphon: Salve Regina – Mode I December 9 The Second Sunday of Advent 11:00 AM Kyrie (Communion Service in F) – Harold Darke Canticle: Quaerite Dominum – Anglican chant: William Crotch Vox clamantis in deserto – Juan Esquivel Never Weather Beaten Sail – C. Hubert Parry 9:00 AM Compline Office Hymn: Conditor alme siderum – Sarum, Mode IV Vox clamantis in deserto – Juan Esquivel Votive Antiphon: Alma Redemptoris Mater – Giovanni di Palestrina December 16 The Third Sunday of Advent 11:00 AM Kyrie (from Short Service) – Thomas Tallis Canticle: Benedictus Dominus Deus (from Short Service) – Thomas Tallis Cum Audisset Joannes – Manuel Cardoso Canite Tuba – Sebastian de Vivanco 5:00 PM A Service of Nine Lessons and Carols Make We Joy Now in this Fest – William Walton Adam Lay Ybounden – Boris Ord Long, Long Ago – Herbert Howells A Hymn to the Virgin – Benjamin Britten Ecce, quod natura – anon. 15thC In Dulci Jubilo – arr. Robert Lucas Pearsall Infant Holy, Infant Lowly – arr. Ryan Brandau Sussex Carol – arr. David Willcocks Bethlehem Down – Peter Warlock What is this Lovely Fragrance – Healy Willan 9:00 PM Compline Office Hymn: Conditor alme siderum – Sarum, Mode IV Cum Audisset Joannes – Manuel Cardoso Ne Timeas Maria – Tomas Luis de Victoria Votive Antiphon: Alma Redemptoris Mater – Tomas Luis de Victoria December 23 The Fourth Sunday of Advent 11:00 AM Kyrie – Orlando Gibbons Canticle: Magnificat (Great Service) – Orlando Gibbons Ave Maria – Robert Parsons Ne Timeas Maria – Tomas Luis de Victoria December 24 The Eve of Christmas 9:30 PM Prelude Music Sussex Carol – arr. David Willcocks Infant Holy, Infant Lowly – arr. Ryan James Brandau In the Bleak Midwinter – Harold Darke Procession and the First Mass of Christmas Service: Missa O Magnum mysterium – Tomas Luis de Victoria Psalm: 96:1-4, 11-12 Chant: George Thalben-Ball O Magnum Mysterium – Tomas Luis de Victoria In the Bleak Midwinter – Harold Darke Christ Church New Haven Choral Services — Spring 2008 January 6 The Feast of the Epiphany 11:00 AM Procession and Solemn High Mass Introit: What Cheer? –William Walton Service: Short Service – Thomas Tallis Psalm 72 Anglican Chant: Stephen Elvey Alleluia: Vidimus stellam – Mode II Euge Caeli – Thomas Tallis Ibant Magi – Francisco Guerrero January 13 The Baptism of Christ 11:00 AM Jesus Autem Hodie – Peter Hallock Tribus Miraculis – Luca Marenzio 9:00 PM Compline Office Hymn: Conditor alme siderum – Sarum, Mode IV The Lord’s Prayer – Robert Stone Motet: Tribus Miraculis – Luca Marenzio Votive Antiphon: Ave Regina Caelorum -- Francesco Soriano January 20 The Second Sunday after Epiphany 11:00 AM Service: Missa quarti toni – Tomas Luis de Victoria Psalm 40:1-10 Anglican Chant: John Fenstermaker Expectans, expectavi – Charles Wood The Lamb – John Tavener 9:00 PM Compline Office Hymn: Te Lucis Ante Terminum – Diego Ortiz Nunc Dimittis – William Byrd Votive Antiphon: Ave Regina caelorum a 5 – de Victoria January 27 The Third Sunday after Epiphany 11:00 AM Psalm 139:1-11 Anglican Chant: C.H.H. Parry Thou Wilt Keep Him in Perfect Peace –Samuel Sebastian Wesley Ego Sum Panis Vivum – Giovanni di Palestrina 9:00 PM Compline Office Hymn: Lucis Creator Optime – Tomas Luis de Victoria O Admirabile Commercium – Thomas Stolzer Votive Antiphon: Ave Regina caelorum a 6 – Orlandus Lassus February 3 The Fourth Sunday after Epiphany 11:00 AM Psalm
Load more

Recommended publications
  • Choral Evensong
    CHORAL EVENSONG 5:00 P.M. SUNDAY, FEBRUARY 5, 2017 THE FIFTH SUNDAY AFTER EPIPHANY CHRIST CHURCH 118 N. Washington St. Alexandria, VA 22314 www.HistoricChristChurch.org CHORAL EVENSONG is the service of Evening Prayer with choral music. It is sung in cathedrals with choral foundations on a more or less daily basis, and in many parish churches around the world. The Prayer Book of 1662 established the pattern for Choral Evensong which remains in common usage throughout the worldwide Anglican Communion. Since the earliest Christian times, the need to mark the passing of time with prayer has been recognized. The monastic cycle of prayer began in the desert with Anthony in the fourth century and continues to this day. By the Reformation, Vespers had become an elaborate musical celebration in the evening. The English Reformation demanded that the vernacular be the language of worship and resulted in the liturgical simplicity of Thomas Cranmer’s services of Morning and Evening Prayer. The provision of music for this structure and these words was the task of men like Tallis, Byrd, Gibbons, and Tomkins, whose creativity laid the foundations of Anglican choral worship. Choral Evensong is the quintessence of such worship. The canon of music for Evensong continues to grow, with composers from around the world contributing to it. Unlike the Eucharist, which follows the movement of the Church calendar, and unlike private prayer, which follows the events of our lives, the daily office follows its own rhythm. The readings are done “in course,” and are not specifically chosen to make a particular point, and the canticles (Magnificat and Nunc dimittis) are the same each day.
    [Show full text]
  • CHORAL EVENSONG Francis of Assisi
    CHORAL EVENSONG 4 OCTOBER O 5PM O 2020 francis of assisi friar, 1226 Christ Church Cathedral 318 East Fourth Street, Cincinnati, Ohio ABOUT EVENSONG In the monastic tradition of the western church, the TERMS “hours” are appointed times for prayer throughout the ANTIPHON day. A verse sung before and usually after a psalm, canticle, or hymn text. It is • matins/lauds, in the middle of the night; often drawn from scripture (especial- • prime, sunrise; ly the psalms) and is appropriate to the • terce, 9 a.m.; liturgical season or occasion. • sext, noon; CANTICLE • none, 3 p.m.; A non-metrical song used in liturgical • vespers, sunset; worship. Latin for a “little song.” • compline, bedtime. RESPONSORY A prayer(s) with responses. This cycle of prayer, known as the Daily Office, PRECES includes psalms, canticles, antiphons, responsories, (Latin preces, plural of prex, “prayer”). hymns, versicles and responses, readings, and prayers. Brief responsive prayers which are of- ten based on verses of scripture, espe- Archbishop Thomas Cranmer (1489-1556) simplified cially the Psalter. and reduced these hours into the liturgies Morning VERSICLE Prayer (Matins) and Evening Prayer (Evensong). The first half of a set of preces, said or sung by an officiant or cantor and an- Choral Evensong is sung Evening Prayer; the choir sings swered with a spoken or sung response the psalmody, the canticles (Magnificat & Nunc dim- by the congregation or choir. ittis) and an anthem while the congregation participates SUFFraGE vicariously—listening attentively to the choir’s and A series of intercessory prayers or precentor’s offering of music and to the proclamation of petitions.
    [Show full text]
  • The English Lyrics of the Henry VIII Manuscript
    The English Lyrics of the Henry VIII Manuscript by RAYMOND G. SIEMENS B. A. (Hons), The University of Waterloo, 1989 M.A., The University of Alberta, 1991 A THESIS SUBMITTED LN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES, Department of English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA May 20, 1997 ©R.G. Siemens, 1997 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or 'by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. /7 v. Department of The University of British Columbia Vancouver, Canada Date DE-6 (2788) Abstract The Henry VIII MS (BL Additional MS 31,922)—a song book with lyrics by Henry VIII, Thomas Wyatt, William Cornish, and other literary figures of the early Henrician court—is a document that contributes greatly to a critical understanding of the connections between poetry, patronage, and power in early Renaissance society because of the prominence of its chief author, the King himself, and the manuscript's reflection of literary, social, and political elements of the early Tudor court. Acknowledging that the contents of the Henry VIII MS have been thoroughly treated as "words for music" by the musicologist John Stevens, whose Music and Poetry in the Early Tudor Court and Music at the Court of Henry VIII are the standard works in the area, my thesis builds on existing scholarship to treat the lyrics of H chiefly as "words," as literary texts.
    [Show full text]
  • June 2015 Broadside
    T H E A T L A N T A E A R L Y M U S I C ALLIANCE B R O A D S I D E Volume XV # 4 June, 2015 President’s Message Are we living in the Renaissance? Well, according to the British journalist, Stephen Masty, we are still witnessing new inventions in musical instruments that link us back to the Renaissance figuratively and literally. His article “The 21st Century Renaissance Inventor” [of musical instruments], in the journal “The Imaginative Conservative” received worldwide attention recently regard- ing George Kelischek’s invention of the “KELHORN”. a reinvention of Renaissance capped double-reed instruments, such as Cornamuse, Crumhorn, Rauschpfeiff. To read the article, please visit: AEMA MISSION http://www.theimaginativeconservative.org/2015/05/the-21st-centurys-great-renaissance-inventor.html. It is the mission of the Atlanta Early Music Alli- Some early music lovers play new replicas of the ance to foster enjoyment and awareness of the histor- Renaissance instruments and are also interested in playing ically informed perfor- the KELHORNs. The latter have a sinuous bore which mance of music, with spe- cial emphasis on music makes even bass instruments “handy” to play, since they written before 1800. Its have finger hole arrangements similar to Recorders. mission will be accom- plished through dissemina- tion and coordination of Yet the sound of all these instruments is quite unlike that information, education and financial support. of the Recorder: The double-reed presents a haunting raspy other-worldly tone. (Renaissance? or Jurassic?) In this issue: George Kelischek just told me that he has initiated The Capped Reed Society Forum for Players and Makers of the Crumhorn, President ’ s Message page 1 Cornamuse, Kelhorn & Rauschpfeiff.
    [Show full text]
  • Choral Vespers
    GONVILLE & CAIUS COLLEGE CHAPEL Easter Term 2021 CHORAL VESPERS Vespers is the sixth of the seven prayer services of the Christian day. Its name comes from the Latin vespera, which means ‘evening.’ When Thomas Cranmer created the English Prayer Book in 1549 and 1552 he combined Vespers with the night service (compline) into the service we know as Evensong. Magnificat is the Gospel Canticle of Vespers, as Nunc Dimittis is the Gospel Canticle of Compline. The service ends with a traditional antiphon (a special seasonal text, from which comes our modern word ‘anthem’) in honour of the Blessed Virgin Mary. 2nd May Fourth Sunday of Easter LUCERNARIUM (The Lighting of the Lamps) Thy word is a lantern unto my feet and a light unto my paths. Thou also shalt light my candle the Lord my God shall make my darkness to be light. The light and peace of Jesus Christ be with you and with thy spirit Light Prayer Blessed art thou, Sovereign Lord, God and Father of our Lord Jesus Christ, to thee be glory and praise for ever. Thou hast called us out of darkness into thy marvellous light that our lives may reflect thy glory and our lips repeat thy song: Blessed be God, Father, Son and Holy Spirit HYMN LUCIS Creator optime O BLEST Creator of the light, lucem dierum proferens, Who mak'st the day with radiance bright, primordiis lucis novae, and o'er the forming world didst call mundi parans originem: the light from chaos first of all; Qui mane iunctum vesperi Whose wisdom joined in meet array diem vocari praecipis: the morn and eve, and named them Day: taetrum chaos illabitur, night comes with all its darkling fears; audi preces cum fletibus.
    [Show full text]
  • La Recepción Del Liber Primus Missarum (1602) De Alonso Lobo En La Catedral De Jaén*
    E ELUCIDARIO. Nº 5 (Marzo 2008). págs. 97 a 136 Seminario Bio-bibliográfico Manuel Caballero Venzalá «Era justo començar por la de Jaén»: la recepción del Liber Primus Missarum (1602) de Alonso Lobo en la Catedral de Jaén* JAVIER MARÍN LÓPEZ Doctor en Historia y Ciencias de la Música R E S U M E N Este artículo presenta la descripción detallada y el inventario con concordancias e íncipits musicales de un libro de música impreso recientemente descubierto en la Catedral de Jaén: el Liber Primus Missarum (Madrid, 1602) de Alonso Lobo (1555-1617), maestro de capilla de las catedrales de Toledo y Sevilla. Aunque se conservan varios ejemplares de este libro impreso en distintos archivos y bibliotecas, el de Jaén había pasado desapercibido hasta ahora. El inventario propiamente dicho va precedido de un estudio de la recepción e historia de este libro en la Catedral de Jaén, que fue una de las primeras instituciones españolas que recibió y compró el volumen. A B S T R A C T This article presents a detailed description and inventory with concordances and musical incipits of a recently discovered printed music book at Jaen Cathedral: the Liber Primus Missarum (Madrid, 1602) of Alo- nso Lobo (1555-1617), chapelmaster at Toledo and Seville cathedrals. Although several copies of this book still survive in some libraries and archives, the one of Jaén has gone unnoticed up-to-now. The inventory is preceded of a study of the reception and history of this book in the Cathedral of Jaen, which was one of the first Spanish institutions that received and bought the book.
    [Show full text]
  • The Morning Office During the Paschal Triduum
    The Morning Office During The Paschal Triduum ne of the challenges of the post Vatican II liturgical method of combining the Office of Readings with Morning reform is the implementation of the Liturgy of the Prayer. OHours on the parochial scene. It is lamentable that If the Office of Readings is said immediately before another fifteen years after the publication of the revised Office, Hour of the Office, then the appropriate hymn for that Hour Moming Prayer and Evening Prayer are so infrequently may be sung at the beginning of the Office of Readings. At found on the schedules of parish liturgical services. The the end of the Office of Readings the prayer and conclusion success of the effort at implementation is probably are omitted, and in the Hour following the introductory verse with the Glory to the Father is omitted. proportionate 0 the determination and enthusiasm of pastoral rni . ters. - Generallntruction of the Liturgy of the Hours, #99. The success of the celebration of the Liturgy of the Hours, e 1988 Circular Letter of the Congregation for Divine to great extent, depends upon the quality of the music orship on the preparation and celebration of the Easter ministry available. Ordinarily, for morning or evening Feasts repeats the challenge. This certainly may be prayer a cantor, and perhaps an instrumentalist (e.g. viewed as an indication of it's seriousness. organist), is necessary. During the Paschal Triduum, It is recommended that there be a communal celebration of however, accompaniment is eliminated, and so a good the Office of Readings and Morning Prayer on Good Friday cantor or leader of song is essential.
    [Show full text]
  • 16 November 2018 Page 1 of 12
    Radio 3 Listings for 10 – 16 November 2018 Page 1 of 12 SATURDAY 10 NOVEMBER 2018 Aufforderung zum Tanz : rondo brillant for piano Op.65 of Lent, settings of texts from the Old Testament Book of Artur Schnabel (Piano) Lamentations. SAT 01:00 Through the Night (m000127l) Rhapsodie espagnole 05:18 AM Although modestly scored for one and two voices and organ, Music for two pianos by Debussy, Ravel & Bartok performed Wolfgang Amadeus Mozart (1756-1791) the music makes a deeply expressive and satisfying sequence, by Yuka Oechslin & Anton Kernjak. Presented by John Shea. Mentre ti lascio, o figlia - aria for bass and orchestra (K.513) by turns meditative, dramatic and contemplative as it deals with Robert Holl (Bass), Netherlands Radio Philharmonic Orchestra, the captivity of the Jews and the destruction of the temple of 01:01 AM Kenneth Montgomery (Conductor) Jerusalem in 587 BC and demands top-flight singers. Claude Debussy (1862-1918) En Blanc et Noir 05:26 AM 10.20am New Releases Yuka Oechslin (Piano), Anton Kernjak (Piano) Erik Satie (1866-1925), Darius Milhaud (Arranger) Jack-in-the-box pantomime (Prelude; Entr'acte; Finale) Mozart: ‘Les Trois Derniers Symphonies’ 01:18 AM CBC Vancouver Orchestra, Mario Bernardi (Conductor) Ensemble Appassionata Maurice Ravel (1875-1937) Mathieu Herzog (conductor) La Valse 05:33 AM NAÏVE V 5457 (2CDs) Yuka Oechslin (Piano), Anton Kernjak (Piano) Jean-Philippe Rameau (1683-1764) Les Indes Galantes (excerpts) Mozart: ‘Sonatas for fortepiano & violin’ Vol.1 01:33 AM Norwegian Chamber Orchestra, Terje Tønnesen
    [Show full text]
  • Holy Week.Pub
    p.408 Invitatory Antiphon [Psalm 95 on page 688] ORDO for Morning & Evening Prayer #105 Hymn: Were You There? [vss. 1 & 2] Holy Week p.408 Psalmody with Antiphons Psalter Week 2 p.411 Reading p.412 Antiphon Sunday, Apr 5: Palm Sunday of the Passion of the Lord p.412 Benedictus Antiphon [Benedictus on page 691] EP1 ----- prayed on Saturday evening ----- p.412 Intercessions & Prayer p.694 Introductory Verse p.693 Conclusion #101 Hymn: Crown Him with Many Crowns EP p.386 Antiphons for Psalmody p.694 Introductory Verse p.775 Psalmody #105 Hymn: Were You There? [vss. 3 & 4] p.386 Reading & Responsory p.413 Psalmody with Antiphons p.387 Magnificat Antiphon [Magnificat on page 696] p.416 Reading & Responsory p.387 Intercessions & Prayer p.416 Magnificat Antiphon [Magnificat on page 696] p.698 Conclusion p.416 Intercessions MP p.417 Prayer p.686 Introductory Verse p.698 Conclusion p.687 Invitatory Antiphon [Psalm 95 on page 688] #103 Hymn: All Glory, Praise and Honor Saturday, Apr 11: Holy Saturday p.388 Antiphons for Psalmody MP p.781 Psalmody p.686 Introductory Verse p.389 Reading & Responsory p.417 Invitatory Antiphon [Psalm 95 on page 688] p.389 Benedictus Antiphon [Benedictus on page 691] #5 Hymn: Darkness Has Faded p.389 Intercessions p.418 Psalmody with Antiphons p.390 Prayer p.420 Reading p.693 Conclusion p.430 Antiphon EP2 p.421 Benedictus Antiphon [Benedictus on page 691] p.694 Introductory Verse p.421 Intercessions & Prayer #102 Hymn: Hail, Redeemer, King Divine p.693 Conclusion p.390 Antiphons for Psalmody p.787 Psalmody p.391 Reading
    [Show full text]
  • The Musical Life and Aims of the Ordinariate of Our Lady Of
    The Musical Life and Aims of the Ordinariate of Our Lady of Walsingham a paper given by the Reverend Monsignor Andrew Burnham, Assistant to the Ordinary, at the Blessed John Henry Newman Institute of Liturgical Music, Birmingham. When the Holy Father visited Westminster Abbey just two years ago, his pleasure was evident as he encountered not only the splendour of the building but also its orderly musical tradition. It was an occasion in preparation for which considerable ingenuity had been expended – in that rather over-attentive way that Anglicans go about things – and, whereas you and I know that what the Pope would undoubtedly have preferred would have been the opportunity to sit in choir – on however splendid a cushion – and absorb the glory of a weekday choral evensong, what he got was something rather more bespoke. Pontiffs and prelates are never allowed to experience things as they actually are. Nonetheless, I am sure it was not lost on him that, greeted by a Latin motet written by an Irish Protestant composer, Charles Villiers Stanford, and an English anthem written by an English recusant composer, William Byrd, he was encountering a very sophisticated musical tradition. It is a tradition that has inspired not only Irish Protestants to set Latin texts, but also sceptics, devout and not so devout, to set canticles and anthems, and, in the case of Vaughan Williams, to put his innate atheism to one side and compile what remains the best of the English hymnbooks. There is a certain amount of evidence that, when the Holy See began to talk about inviting groups of Anglicans into the full communion of the Catholic Church, some in Rome expected to receive diocesan bishops, with their cathedrals, their cathedral choirs, their parish clergy, their parish churches, and the laity of the parishes.
    [Show full text]
  • 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.
    [Show full text]
  • The Bible in Music
    The Bible in Music 115_320-Long.indb5_320-Long.indb i 88/3/15/3/15 66:40:40 AAMM 115_320-Long.indb5_320-Long.indb iiii 88/3/15/3/15 66:40:40 AAMM The Bible in Music A Dictionary of Songs, Works, and More Siobhán Dowling Long John F. A. Sawyer ROWMAN & LITTLEFIELD Lanham • Boulder • New York • London 115_320-Long.indb5_320-Long.indb iiiiii 88/3/15/3/15 66:40:40 AAMM Published by Rowman & Littlefield A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowman.com Unit A, Whitacre Mews, 26-34 Stannary Street, London SE11 4AB Copyright © 2015 by Siobhán Dowling Long and John F. A. Sawyer All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Dowling Long, Siobhán. The Bible in music : a dictionary of songs, works, and more / Siobhán Dowling Long, John F. A. Sawyer. pages cm Includes bibliographical references and index. ISBN 978-0-8108-8451-9 (cloth : alk. paper) — ISBN 978-0-8108-8452-6 (ebook) 1. Bible in music—Dictionaries. 2. Bible—Songs and music–Dictionaries. I. Sawyer, John F. A. II. Title. ML102.C5L66 2015 781.5'9–dc23 2015012867 ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992.
    [Show full text]