DOCSLIB.ORG

A Musical-Historical Study of Italian Influences in Three Regina Caeli of the French Baroque Period

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Musical-Historical Study of Italian Influences in Three Regina Caeli of the French Baroque Period University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 A MUSICAL-HISTORICAL STUDY OF ITALIAN INFLUENCES IN THREE REGINA CAELI OF THE FRENCH BAROQUE PERIOD Marie-France Duclos University of Kentucky, [email protected] Author ORCID Identifier: https://orcid.org/0000-0002-6827-0870 Digital Object Identifier: https://doi.org/10.13023/etd.2019.223 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Duclos, Marie-France, "A MUSICAL-HISTORICAL STUDY OF ITALIAN INFLUENCES IN THREE REGINA CAELI OF THE FRENCH BAROQUE PERIOD" (2019). Theses and Dissertations--Music. 141. https://uknowledge.uky.edu/music_etds/141 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. I retain all other ownership rights to the copyright of my work. I also retain the right to use in future works (such as articles or books) all or part of my work. I understand that I am free to register the copyright to my work. REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s thesis including all changes required by the advisory committee. The undersigned agree to abide by the statements above. Marie-France Duclos, Student Dr. Noemi Lugo, Major Professor Dr. Michael Baker, Director of Graduate Studies A MUSICAL-HISTORICAL STUDY OF ITALIAN INFLUENCES IN THREE REGINA CAELI OF THE FRENCH BAROQUE PERIOD ________________________________________ DMA PROJECT ________________________________________ A DMA project submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky By Marie-France Duclos Lexington, Kentucky Director: Dr. Noemi Lugo, Professor of Voice Lexington, Kentucky 2019 Copyright © Marie-France Duclos 2019 https://orcid.org/0000-0002-6827-0870 ABSTRACT OF DMA PROJECT A MUSICAL-HISTORICAL STUDY OF ITALIAN INFLUENCES IN THREE REGINA CAELI OF THE FRENCH BAROQUE PERIOD. The French baroque petit motet was the most prolific genre of seventeenth-century France. In this study, three petits motets, specifically Regina caeli settings of French composers Marc-Antoine Charpentier, Nicolas Bernier and François Couperin are examined with an emphasis on the motets’ historical context in relation to the French monarchy and the Italian concepts that the composers incorporated into each work. All three Regina caeli settings display some Italian compositional techniques of the stile moderno in various degrees and were written in different contextual ecclesiastic milieux. The intersections of, as well as distinctions between, musical ideas of traditional French style and Italian innovations was at the center of music and musical discourse during the baroque period. The French were introduced to Italian style by travelling musicians at the court of France; however, when Louis XIV gave Jean-Baptiste Lully the important position of surintendant de la musique, the idea of an authentic unaltered French sound became prevalent among musicians and critics. Lully, strongest defender of “pure” French style, created a strict environment for musicians at court, and only after his death, did composers gain in freedom. The study suggests that a closer association to Louis XIV permitted musicians to integrate more of the Italian stile moderno techniques than those who did not have this opportunity. Crucial figures of the French monarchy, Louis XIV, Philippe II d’Orléans and the duc de Bourgogne were connected to the three composers central to this project and impacted the outcome of their work. With the musical-historical study of three Regina caeli settings, this project demonstrates the importance of the petit motet genre within the repertoire and the need for additional research to increase the accessibility of this inestimable music KEYWORDS: Regina caeli, Motet, Baroque, Stile moderno, Continuo, French monarchy Marie-France Duclos (Name of Student) 03/02/2019 Date A MUSICAL-HISTORICAL STUDY OF ITALIAN INFLUENCES IN THREE REGINA CAELI OF THE FRENCH BAROQUE PERIOD By Marie-France Duclos Dr. Noemi Lugo Director of DMA PROJECT Dr. Michael Baker Director of Graduate Studies 03/02/2019 Date Pour Alexandre, Tristan, Charles, William, papa et maman. ACKNOWLEDGMENTS In order complete my doctorate, several people have helped me to achieve my goals. First, my Dissertation Chair, Dr. Noemi Lugo, for always respecting my artistic integrity and allowing me to further my ideas while guiding me through the process and allowing me to complete this project on schedule. Next, I would like to thank the complete Dissertation Committee and outside examiner. Dr. Elizabeth Arnold, for her encouragements, her helpful advice, her knowledge on Baroque music and particularly for singing so beautifully the Regina caeli settings in my lecture recital. Dr. Diana Hallman, for inspiring me to widen my thinking of research and helping me further my understanding of important historical considerations which have improved my project considerably. Dr. Suzanne Pucci, for helping me clarify some ideas with better choices of words as well as helping me precise some aspects of my project. Dr. Olivier Thibault, for his love of music, his support and his insightful comments. In addition to the Committee members, I would like to acknowledge the meaningful collaborations that I had with the School of Music’s talented pianists and organists. Professor Cliff Jackson, for his outstanding talents, his knowledge of the repertoire and all the wonderful rehearsals leading to recitals. Professor Nan McSwain, for such beautiful playing and her constant support in our Chamber Music recital. Dr. Schuyler Robinson, for accompanying Dr. Arnold and I in my lecture recital, for his uplifting attitude, his knowledge of Baroque music and for the joy of performing together. Michael Rintimaa, for his kindness and his beautiful rendition of the Liebeslieder Walzes duet in our Chamber Music recital. John Greer, for encouraging me to pursue a doctoral degree. iii The School of Music voice faculty has shown me great support in completing my doctorate. First, Professor Cynthia Lawrence, for helping me at the beginning of this process and for her great teaching of operatic repertoire. Also Dr. Angelic Clay, Dr. Everett McCorvey and Dr. Denis Bender, for their positive and sincere encouragements. Several professors of the School of Music have contributed to my accomplishments in a positive way. Dr. Karen Bottge, Dr. Kevin Holm-Hudson, Dr. Michael Baker, Dr. Lance Brunner, Dr. Beth Glixon, Dr. Ben Arnold, Dr. ToniMarie Marchioni, Professor John Nardolillo and Dr. Jeff Johnson. In addition to academic assistance, I have had the privilege of receiving tremendous support from colleges and friends, especially Dr. Cacey Nardolillo, Dr. Jill Campbell and Dr. Zack Morris. Finally, I would not have been able to complete this project without my family, for they have been a continuous and outstanding source or encouragements. My husband, for being my strongest ally, for his strength and constant support on the hardest days. My children, for their incredible understanding, for being such smart, sensitive and independent children that allowed me to work so many hours. My parents, for their unconditional love and support, for always believing in my talents and allowing me to pursue my dreams without judgment: papa, for teaching me perseverance and the value of hard work, maman, for somehow believing that I was the best singer in the world. My sister, for continuous encouragements. My grand-mother Évangéline, who inspired me to sing and finally, to my dear uncle Baba, whose unconditional love I have felt all my life. iv TABLE OF CONTENTS ACKNOWLEDGMENTS .............................................................................................................................. iii LIST OF FIGURES ....................................................................................................................................... vii PART I: MONOGRAPH ................................................................................................................................. 1 CHAPTER 1. INTRODUCTION ...................................................................................................................
Load more

Recommended publications
  • Albert-Lortzing-Gesellschaft E. V. Februar 2009
    Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 Albert-Lortzing-Gesellschaft e. V. gegründet 2001 Lortzings Wohnhaus, die Große Funkenburg, in Leipzig Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 2 Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 Liebe Mitglieder, endlich halten Sie wieder einen Rundbrief in den Händen. Ich freue mich, daß auch diesmal zwei Mitglieder unserer Gesellschaft Beiträge verfasst haben, die den wesentlichen Teil dieses Rundbriefes ausmachen. Darüber hinaus finden Sie erneut Original-Rezensionen einiger Aufführungen durch Mitglieder unserer Gesellschaft sowie weitere Informationen, die hoffentlich Ihr Interesse finden. Das wichtigste Ereignis 2009 ist sicherlich das Mitgliedertreffen in Leipzig und die aus diesem Anlass stattfindende Fachtagung der Musikwissenschaftlichen Abteilung der Hochschule für Musik Felix Mendelssohn Bartholdy. Wir danken Herrn Prof. Dr. Schipperges sehr herzlich für die inhaltliche Planung und Organisation dieser Tagung. Ich wünsche allen einen schönen Frühling und freue mich, Sie bei dem Treffen in Leip- zig persönlich begrüßen zu können. Mit herzlichen Grüßen im Namen des ganzen Vorstands Ihre Irmlind Capelle Detmold, Ende Februar 2009 Impressum: Herausgeber: Albert-Lortzing-Gesellschaft e. V. c/o Prof. Dr. Bodo Gotzkowsky, Leipziger Straße 96, D – 36037 Fulda, Tel. 0661 604104 e-Mail: [email protected] Redaktion: Dr. Irmlind Capelle (V.i.S.d.P.) (Namentlich gezeichnete Beiträge müssen nicht unbe- dingt der Meinung des Herausgebers entsprechen.) © Lortzing-Gesellschaft e. V., 2009 Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 Rosina Regina Lortzing geb. Ahles Die Suche nach ihrem Grab Ein Bericht von Petra Golbs Regina Rosina (geb.
    [Show full text]
  • Handel's Sacred Music
    The Cambridge Companion to HANDEL Edited byD oNAtD BURROWS Professor of Music, The Open University, Milton Keynes CATvTNnIDGE UNTVERSITY PRESS 165 Ha; strings, a 1708 fbr 1l Handel's sacred music extended written to Graydon Beeks quake on sary of th; The m< Jesus rath Handel was involved in the composition of sacred music throughout his strings. Tl career, although it was rarely the focal point of his activities. Only during compositi the brief period in 1702-3 when he was organist for the Cathedral in Cardinal ( Halle did he hold a church job which required regular weekly duties and, one of FIi since the cathedral congregation was Calvinist, these duties did not Several m include composing much (if any) concerted music. Virtually all of his Esther (H\ sacred music was written for specific events and liturgies, and the choice moYemenr of Handel to compose these works was dictated by his connections with The Ror specific patrons. Handel's sacred music falls into groups of works which of Vespers were written for similar forces and occasions, and will be discussed in followed b terms of those groups in this chapter. or feast, ar During his period of study with Zachow in Halle Handel must have followed b written some music for services at the Marktkirche or the Cathedral, but porarl, Ro no examples survive.l His earliest extant work is the F major setting of chanted, br Psalm 113, Laudate pueri (H\41/ 236),2 for solo soprano and strings. The tradition o autograph is on a type of paper that was available in Hamburg, and he up-to-date may have
    [Show full text]
  • The Call of Rome
    CORO CORO Hail, Music from Mother of the Redeemer the Sistine Chapel The Call of Rome “This is state-of-the-art Renaissance singing by “Sixteen, Sistine: a choir and conductor it’s a match made Allegri · Josquin who have done more in heaven.” than most to deepen our awareness, and the times Anerio · Victoria enjoyment, of music.” cor16088 classic fm cor16147 The Earth Resounds Palestrina: Volume 8 “The Gloria opens with “Yet another some truly delicate breathtaking singing, and the clear, example of restricted harmonies choral singing.” evoke a performance of the scotsman monumental majesty from The Sixteen.” cor16097 bbc music magazine cor16175 To find out more about The Sixteen, concert tours, and to buy CDs The Sixteen HARRY CHRISTOPHERS visit www.thesixteen.com cor16178 he power and wealth of the Catholic church in the piece has evolved over the centuries into the version audiences know and love today. TRenaissance times centred on Rome. The papacy was Although born around the same time as Allegri, Anerio died relatively young, but he supreme, and naturally it attracted the greatest composers left us a wealth of splendid double-choir motets. His setting ofRegina caeli laetare and from all over Europe. This album concentrates on that call the Litaniae Beatissimae Virginis Mariae are brilliantly crafted and, at times, break with to Rome which was irresistible for the Flemish composer tradition with just a hint of the Baroque. I think many of you listening will also be surprised Josquin and the Spaniard Victoria. Here they sit alongside by the contrapuntal skills that Allegri displays in the Gloria of his Missa In lectulo meo – Felice Anerio and Gregorio Allegri who spent their lives a far cry from the simplicity of the Miserere.
    [Show full text]
  • Verdi Week on Operavore Program Details
    Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
    [Show full text]
  • 573824 Itunes Lortzing
    LORTZING Opera Overtures Der Waffenschmied Undine Der Wildschütz Hans Sachs Malmö Opera Orchestra Jun Märkl Albert Lortzing (1801–1851) though, sketched out a plan for an opera on the subject as wrong Peter. Ivanov hands it to the Tsar, thereby obtaining early as 1845, and he was certainly aware of Lortzing’s the latter’s blessing for his union with Marie. Van Bett was Opera Overtures work. Set in 1517, when Sachs would have been 23 and a yet another of Lortzing’s richly comic bass creations, and Gustav Albert Lortzing was a multifaceted man of the staged work, first produced the evening before his death. young cobbler, Lortzing’s opera centres on Sachs’s Lortzing himself created the tenor role of Peter Ivanov. theatre – actor, singer, librettist, composer and conductor. The relatively brief and sprightly overture sets the scene courtship of his first wife, Kunigunde, daughter of goldsmith Andreas Hofer is, like Der Weihnachtsabend , a one-act Though international currency of his operas has been for a behind-the-scenes one-act piece in the tradition of Steffen (the counterpart of Wagner’s Pogner). Steffen has piece composed in 1832. It features real and imaginary limited, on German stages he was for some 150 years the Cimarosa’s Il maestro di capella , Mozart’s Der offered Kunigunde’s hand as the prize in a singing contest, episodes of the life of the innkeeper and drover who in 1809 most performed composer after Mozart and Verdi. While Schauspieldirektor and similar works. In the castle of a but has arranged that the winner should be Eoban Hesse, led the Tyrolean rebellion against occupation by Bavarian the pace of productions there has slackened over the past Count (another of those comic bass roles), the household an alderman from Augsburg.
    [Show full text]
  • Johann Sebastian Bach Du Treuer Gott Leipzig Cantatas BWV 101 - 115 - 103
    Johann Sebastian Bach Du treuer Gott Leipzig Cantatas BWV 101 - 115 - 103 Collegium Vocale Gent Philippe Herreweghe Johann Sebastian Bach (1685–1750) Nimm von uns, Herr, du treuer Gott, BWV 101 Mache dich, mein Geist, bereit, BWV 115 Ihr werdet weinen und heulen, BWV 103 Dorothee Mields Soprano Damien Guillon Alto Thomas Hobbs Tenor Peter Kooij Bass Collegium Vocale Gent Philippe Herreweghe Menu Tracklist ------------------------------ English Biographies Français Biographies Deutsch Biografien Nederlands Biografieën ------------------------------ Sung texts Johann Sebastian Bach (1685-1750) Nimm von uns, Herr, du treuer Gott, BWV 101 [1] 1. Coro: Nimm von uns, Herr, du treuer Gott ______________________________________________________________7’44 [2] 2. Aria (tenor): Handle nicht nach deinen Rechten ________________________________________________________3’30 [3] 3. Recitativo e choral (soprano): Ach! Herr Gott, durch die Treue dein__________________________________2’13 [4] 4. Aria (bass): Warum willst du so zornig sein? ___________________________________________________________ 4’14 [5] 5. Recitativo e choral (tenor): Die Sünd hat uns verderbet sehr _________________________________________ 2’11 [6] 6. Aria (soprano, alto): Gedenk an Jesu bittern Tod _______________________________________________________5’59 [7] 7. Choral: Leit uns mit deiner rechten Hand _______________________________________________________________0’55 Mache dich, mein Geist, bereit, BWV 115 [8] 1. Coro: Mache dich, mein Geist, bereit ____________________________________________________________________4’00
    [Show full text]
  • Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and
    [Show full text]
  • Direction 2. Ile Fantaisies
    CD I Josquin DESPREZ 1. Nymphes des bois Josquin Desprez 4’46 Vox Luminis Lionel Meunier: direction 2. Ile Fantaisies Josquin Desprez 2’49 Ensemble Leones Baptiste Romain: fiddle Elisabeth Rumsey: viola d’arco Uri Smilansky: viola d’arco Marc Lewon: direction 3. Illibata dei Virgo a 5 Josquin Desprez 8’48 Cappella Pratensis Rebecca Stewart: direction 4. Allégez moy a 6 Josquin Desprez 1’07 5. Faulte d’argent a 5 Josquin Desprez 2’06 Ensemble Clément Janequin Dominique Visse: direction 6. La Spagna Josquin Desprez 2’50 Syntagma Amici Elsa Frank & Jérémie Papasergio: shawms Simen Van Mechelen: trombone Patrick Denecker & Bernhard Stilz: crumhorns 7. El Grillo Josquin Desprez 1’36 Ensemble Clément Janequin Dominique Visse: direction Missa Lesse faire a mi: Josquin Desprez 8. Sanctus 7’22 9. Agnus Dei 4’39 Cappella Pratensis Rebecca Stewart: direction 10. Mille regretz Josquin Desprez 2’03 Vox Luminis Lionel Meunier: direction 11. Mille regretz Luys de Narvaez 2’20 Rolf Lislevand: vihuela 2: © CHRISTOPHORUS, CHR 77348 5 & 7: © HARMONIA MUNDI, HMC 901279 102 ITALY: Secular music (from the Frottole to the Madrigal) 12. Giù per la mala via (Lauda) Anonymous 6’53 EnsembleDaedalus Roberto Festa: direction 13. Spero haver felice (Frottola) Anonymous 2’24 Giovanne tutte siano (Frottola) Vincent Bouchot: baritone Frédéric Martin: lira da braccio 14. Fammi una gratia amore Heinrich Isaac 4’36 15. Donna di dentro Heinrich Isaac 1’49 16. Quis dabit capiti meo aquam? Heinrich Isaac 5’06 Capilla Flamenca Dirk Snellings: direction 17. Cor mio volunturioso (Strambotto) Anonymous 4’50 Ensemble Daedalus Roberto Festa: direction 18.
    [Show full text]
  • Fra Sabba Da Castiglione: the Self-Fashioning of a Renaissance Knight Hospitaller”
    “Fra Sabba da Castiglione: The Self-Fashioning of a Renaissance Knight Hospitaller” by Ranieri Moore Cavaceppi B.A., University of Pennsylvania 1988 M.A., University of North Carolina 1996 Thesis Submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in the Department of Italian Studies at Brown University May 2011 © Copyright 2011 by Ranieri Moore Cavaceppi This dissertation by Ranieri Moore Cavaceppi is accepted in its present form by the Department of Italian Studies as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date Ronald L. Martinez, Advisor Recommended to the Graduate Council Date Evelyn Lincoln, Reader Date Ennio Rao, Reader Approved by the Graduate Council Date Peter M. Weber, Dean of the Graduate School iii CURRICULUM VITAE Ranieri Moore Cavaceppi was born in Rome, Italy on October 11, 1965, and moved to Washington, DC at the age of ten. A Fulbright Fellow and a graduate of the University of Pennsylvania, Ranieri received an M.A. in Italian literature from the University of North Carolina at Chapel Hill in 1996, whereupon he began his doctoral studies at Brown University with an emphasis on medieval and Renaissance Italian literature. Returning home to Washington in the fall of 2000, Ranieri became the father of three children, commenced his dissertation research on Knights Hospitaller, and was appointed the primary full-time instructor at American University, acting as language coordinator for the Italian program. iv PREFACE AND ACKNOWLEDGMENTS I deeply appreciate the generous help that I received from each member of my dissertation committee: my advisor Ronald Martinez took a keen interest in this project since its inception in 2004 and suggested many of its leading insights; my readers Evelyn Lincoln and Ennio Rao contributed numerous observations and suggestions.
    [Show full text]
  • The Pope's Words at the Regina Caeli Prayer
    N. 210523a Sunday 23.05.2021 The Pope’s words at the Regina Caeli prayer At midday today, Solemnity of Pentecost, the Holy Father Francis appeared at the window of his study in the Vatican Apostolic Palace to pray the Regina Caeli with the faithful and pilgrims present in Saint Peter’s Square. The following are the Pope’s words of introduction to the Marian prayer: Before the Regina Caeli Dear Brothers and Sisters, Buongiorno! The book of the Acts of the Apostles (cf. 2:1-11) recounts what happens in Jerusalem 50 days after the Pasch of Jesus. The disciples were gathered in the Upper Room, and the Virgin Mary was with them. The Risen Lord had told them to remain in the city until they received the gift of the Spirit from on High. And this was revealed with a “sound” they suddenly heard come from heaven, like the “rush of a mighty wind” that filled the house they were in (cf. v. 2). Thus, it concerns a real but also symbolic experience. Something that happened but also gives us a symbolic message for our whole life. This experience reveals that the Holy Spirit is like a strong and freely flowing wind; that is, he brings us strength and brings us freedom: a strong and freely flowing wind. He cannot be controlled, stopped, nor measured; nor can his direction be foreseen. He cannot be understood within our human exigencies – we always try to frame things – he does not let himself be framed in our methods and our preconceptions.
    [Show full text]
  • Our Lord Jesus Christ, King of the Universe
    HOLY TRINITY PARISH Hudson and Germantown, New York 429 E. Allen St. – P. O. Box 323 Hudson, NY 12534 November 25, 2018 PHONE: (518) 828 - 1334 WEBSITE: www.holytrinityhudson.org E-MAIL: [email protected] OUR LORD JESUS CHRIST, KING OF THE UNIVERSE VERY REV. ANTHONY BARRATT, E.V. Pastor DEACON RICHARD WASHBURN REV. WINSTON BATH Deacon Pastor Emeritus for the spiritual battle that the Letter to the Ephesians PRAYING THE ROSARY, PRAYER TO speaks of: 'Be strong in the Lord and in the strength of ST. MICHAEL AND THE his might' (Ephesians 6:10). The Book of Revelation refers to this same battle, recalling before our eyes the SUB TUUM PRAESIDIUM PRAYER IN image of St Michael the Archangel (Revelation 12:7). PARISHES Pope Leo XIII certainly had this picture in mind when, at the end of the last century, he brought in, throughout Along with other bishops in the USA, Bishop the Church, a special prayer to St Michael. Although Scharfenberger has noted that a number of people have this prayer is no longer recited, I ask everyone not to asked about parishes adopting the practice of reciting forget it and to recite it to obtain help in the battle the rosary concluding with the Prayer to St. Michael against the forces of darkness and against the spirit of the Archangel. He wrote about this in an article in “the this world.” Evangelist” published on Thursday, 4th October. Fur- The Sub Tuum Praesidium Prayer is probably thermore, in a statement on 29th September 2018 (the the oldest prayer that we have that addresses our Feast Day of the Archangels), Pope Francis had asked Blessed Mother.
    [Show full text]
  • Mini-Retreat Booklet for May 2020
    Mini-Retreat Schedule Evening Mini-Retreat Morning Mini-Retreat 7:00-7:30 pm Meditation 9:45-10:15 am Meditation 7:30-7:45 pm Personal Reflection 10:15-10:30 am Personal Reflection 7:45-8:15 pm Practical Talk 10:30-11:00 am Practical Talk This Month’s Preachers & Speakers Meditation: Fr. Peter Hopkins, LC Practical Talk: Jennifer Ristine, CRC Gospel Passage: John 2: 1-12 On the third day there was a wedding in Cana in Galilee, and the mother of Jesus was there. Jesus and his disciples were also invited to the wedding. When the wine ran short, the mother of Jesus said to him, “They have no wine.” [And] Jesus said to her, “Woman, how does your concern affect me? My hour has not yet come.” His mother said to the servers, “Do whatever he tells you.” Now there were six stone water jars there for Jewish ceremonial washings, each holding twenty to thirty gallons. Jesus told them, “Fill the jars with water.” So they filled them to the brim. Then he told them, “Draw some out now and take it to the headwaiter.” So they took it. And when the headwaiter tasted the water that had become wine, without knowing where it came from (although the servers who had drawn the water knew), the headwaiter called the bridegroom and said to him, “Everyone serves good wine first, and then when people have drunk freely, an inferior one; but you have kept the good wine until now.” Jesus did this as the beginning of his signs in Cana in Galilee and so revealed his glory, and his disciples began to believe in him.
    [Show full text]