Vespers of 1610 Is Quite Simply One of the With
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Giovanni Paolo Colonna "Psalmi Ad Vesperas" Op. 12: Introduction
GIOVANNI PAOLO COLONNA Psalmi ad Vesperas OPUS DUODECIMUM, 1694 Edited by Pyrros Bamichas May 2010 WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org), WLSCM No. 18 Contents INTRODUCTION ......................................................................................................................... iii The Composer ........................................................................................................................ iii The Music .............................................................................................................................. vi Liturgical Practice .................................................................................................................. xi Acknowledgments................................................................................................................. xii CRITICAL COMMENTARY ..................................................................................................... xiv The Sources .......................................................................................................................... xiv Other Sources for the Pieces of Op. 12 .............................................................................. xviii Editorial Method ................................................................................................................... xx Critical Notes ....................................................................................................................... xxi [1] Domine ad adjuvandum -
Worship God Reverently, Great and Small
Second Vespers in Ordinary Time e Week IV f ST. JAMES CATHEDRAL SEATTLE Second Vespers WITH BENEDICTION OF THE BLESSED SACRAMENT FOR THE SUNDAYS OF ORDINARY TIME Week IV We welcome our visitors to St. James Cathedral and to Sunday Vespers. In keeping with a long tradition in cathedral churches, the Office of Vespers, along with Benediction of the Blessed Sacrament, is prayed each Sunday in the cathedral, linking St. James with cathedral churches throughout the world. We invite your prayerful participation. Lucernarium OFFERING OF LIGHT please stand Cantor: ALL: Procession from the Paschal Candle Cantor: ALL: all make the sign of the cross The cantor proclaims the evening thanksgiving, which ends: ALL: Exposition of the Blessed Sacrament INCENSATION AND SONG please kneel Psalm 141 Domine, clamavi Refrain Hughes Cantor: I have called to you, Lord: hasten to help me! Hear my voice when I cry to you. Let my prayer arise before you like incense, the raising of my hands like an evening oblation. Refrain. Set, O Lord, a guard over my mouth; keep watch at the door of my lips! Do not turn my heart to things that are wrong, to evil deeds with those who are sinners. Refrain Glory to the Father, and to the Son, and to the Holy Spirit: as it was in the beginning, is now, and will be for ever. Amen. Refrain Presider: Let us pray. Collect to Psalm 141 ALL: Amen. Evening Hymn O gladsome light nunc dimittis Psalmody From ancient times it has been the custom the pray the Psalms antiphonally. -
The Twenty-Third Day at Morning Prayer
The Twenty-third Day at Morning Prayer PSALM 110 Dixit Dominus Tone III A 2 THE LORD said / unto my Lord, * Sit thou on my right hand, until I make thine ene/mies thy footstool. 2. The Lord shall send the rod of thy power / out of Zion: * be thou ruler, even in the midst a/mong thine enemies. 3. In the day of thy power shall thy people offer themselves willingly with an / holy worship: * thy young men come to thee as dew from the womb / of the morning. 4. The Lord / sware, and will not repent, * Thou art a Priest for ever after the order / of Melchizedek. 5. The Lord u/pon thy right hand * shall wound even kings in the / day of his wrath. 6. He shall judge a/mong the heathen; * he shall fill the places with the dead bodies, and smite in sunder the heads over / divers countries. 7. He shall drink of the / brook in the way; * therefore shall he / lift up his head. Glory be to the / Father, and to the Son, * and / to the Holy Ghost: As it was in the beginning, † is now, and / ever shall be, * world / without end. Amen. PSALM 111 Confitebor tibi Tone IV 8 I WILL give thanks unto the Lord with / my whole heart, * secretly among the faithful, and in the con/gregation. 2. The works / of the Lord are great, * sought out of all them that have plea/sure therein. 3. His work is worthy to be praised and / had in honor, * and his righteousness endureth / for ever. -
To Download 10:30Am Mass Booklet
ST MARY’S CATHEDRAL Solemn Mass with Induction of Choristers Fifth Sunday of the Year 7 February 2021 10.30am WELCOME to St Mary’s Cathedral which stands in the centre of Sydney as a Christian statement of grace and beauty. Generations of artists have bequeathed to it their magnificent gifts in stone and glass, designing a unique space of solace and prayer within this vibrant city. This Cathedral represents the spiritual origins of the Catholic Church in Australia. It is one of Sydney’s most treasured historic buildings and one of the finest examples of English-style gothic churches in the world. William Wilkinson Wardell, the 19th century architect, dreamed of a gothic structure shaped from the local yellow-block sandstone on which this city is built. The building was finally completed 100 years after the architect’s death. The Cathedral is dedicated to Mary, Immaculate Mother of God, Help of Christians. THE CATHEDRAL CHOIR St Mary’s Cathedral Choir is the oldest musical institution in Australia. In 1818 a group of choristers was formed to sing Vespers before the Blessed Sacrament in the Dempsey household, the centre of Catholic worship in the penal colony. After the establishment of St Mary’s Cathedral in 1833 the successors of these choristers formed the permanent Cathedral Choir. In faithfulness to the Benedictine English tradition from which the Cathedral’s founders came, the Choir is formed of men and boys, preserving the historical character of Catholic liturgical and musical heritage. St Mary’s is the only Catholic Cathedral in Australia to have an on-site Choir School where the twenty-four boy choristers are educated. -
Vespers Netherlands Radio Choir Kaspars Putniņš
RACHMANINOV VESPERS NETHERLANDS RADIO CHOIR KASPARS PUTNIŅŠ BIS-2039 BIS-2039_f-b.indd 1 2013-11-20 15.27 RACHMANINOV, Sergei Vasilievich (1873–1943) All-Night Vigil (Vespers), Op. 37 (1915) 51'44 1 1. Priidite, poklonimsya 2'40 O come, let us worship Gert-Jan Alders bass & Matthew Minter tenor (intonations) 2 2. Blagoslovi, dushe moya, Gospoda 4'05 Praise the Lord, O my soul Pierrette de Zwaan alto 3 3. Blazhen muzh 4'09 Blessed is the man 4 4. Svete tikhyi 2'45 O gentle radiance Eyjólfur Eyjólfsson tenor 5 5. Nyne otpushchaeshi 3'23 Lord, now lettest Thou Eyjólfur Eyjólfsson tenor 6 6. Bogoroditse Devo 2'55 O Virgin Mother of God, rejoice! 7 7. Shestopsalmie: Slava v vyshnikh Bogu 2'09 Hexapsalmos: Glory be to God on high 8 8. Khvalite imya Gospodne 2'07 Praise ye the name of the Lord 9 9. Blagosloven esi, Gospodi 5'56 Blessed art Thou, O Lord Matthew Minter tenor 10 10. Voskresenie Khristovo videvshe 2'31 Having beheld the Resurrection 2 11 11. Velichit dusha moya Gospoda 6'21 My soul magnifies the Lord 12 12. Slavoslovie velikoe: Slava v vyshnikh Bogu 6'18 The Great Doxology: Glory be to God on high 13 13. Tropar: Dnes spaseniye 1'38 Troparion: Today is salvation come 14 14. Tropar: Voskres iz groba 2'48 Troparion: Thou didst rise again 15 15. Vzbrannoy voevode 1'25 O queen victorious 16 The Theotokos, Ever-Vigilant in Prayer (1893) 7'52 Sacred Concerto TT: 60'20 Netherlands Radio Choir Kaspars Putnin˘, s conductor 3 rom the time of its first performance in 1915, Rachmaninov’s Vigil has been recognised as a supreme achievement in the music of the Russian Orthodox F Church, and together with his choral symphony The Bells, it was the com - poser’s own favourite among all his works. -
3 Cappella Romana Presents VENICE in the EAST: Renaissance Crete
Cappella Romana presents VENICE IN THE EAST: Renaissance Crete & Cyprus Wednesday, 8 May 2019, 7:30 p.m. Touhill Performing Arts Center, University of Missouri, Saint Louis Friday, 10 May 2019 at 7:30 p.m. Alexander Lingas Christ Church Cathedral, Vancouver, British Columbia Founder & Music Director Presented by Early Music Vancouver Saturday, 11 May 2019 at 8:00 p.m. St. Ignatius Parish, San Francisco Spyridon Antonopoulos John Michael Boyer Kristen Buhler PROGRAM Aaron Cain Photini Downie Robinson PART I David Krueger Emily Lau From the Byzantine and Venetian Commemorations of the Paschal Triduum Kerry McCarthy The Crucifixion and Deposition Mark Powell Catherine van der Salm Venite et ploremus Johannes de Quadris David Stutz soloists: Aaron Cain, Mark Powell Liber sacerdotalis (1523) of Alberto Castellani Popule meus Liber sacerdotalis soloist: Kerry McCarthy Sticherón for the Holy Passion: Ἤδη βάπτεται (“Already the pen”) 2-voice setting (melos and “ison”) Manuel Gazēs the Lampadarios (15th c.) soloists: Spyridon Antonopoulos, MS Duke, K. W. Clark 45 John Michael Boyer Traditional Melody of the Sticherarion Mode Plagal 4 Cum autem venissent ad locum de Quadris Liber sacerdotalis soloists: Aaron Cain, Mark Powell O dulcissime de Quadris Liber sacerdotalis soloists: Photini Downie Robinson, Kerry McCarthy Verses of Lamentation for the Holy Passion “Corrected by” Angelos Gregoriou MS Duke 45, Mode Plagal 2 Sepulto Domino de Quadris Liber sacerdotalis The Resurrection Attollite portas (“Lift up your gates”) Liber sacerdotalis celebrant: Mark Powell Ἄρατε πύλας (“Lift up your gates”) Anon. Cypriot (late 15th c.?), MS Sinai Gr. 1313 Attollite portas … Quem queritis … Liber sacerdotalis Χριστὸς ἀνέστη (“Christ has risen”) Cretan Melody as transcribed by Ioannis Plousiadenós (ca. -
A BRIEF GUIDE to the LITURGY of the HOURS (For Private/Individual Recitation) Taken in Part From
A BRIEF GUIDE TO THE LITURGY OF THE HOURS (For Private/Individual Recitation) taken in part from http://www.cis.upenn.edu/~dchiang/catholic/hours.html Names: LOH, Divine Office, “The Office,” “The Breviary” Brief History Jewish practice: • Ps. 119:164: "Seven times a day I praise you" • perhaps originating in the Babylonian Exile (6th cent. BC): “sacrifice of praise.” • Perhaps older: synagogues • Temple use after the Exile: o Morning and Evening Prayer and at the Third, Sixth and Ninth Hours Early Christians continued • Acts 3: 1 Now Peter and John were going up to the temple at the hour of prayer, the ninth hour. • Acts 10:9: The next day, as they were on their journey and coming near the city, Peter went up on the housetop to pray, about the sixth hour. Mass of the Catechumens Monastic Use Current Canonical Use: clerics, religious and laity Liturgical nature: • “why”: the prayer of the Church • “norm”: public recitation, with rubrics, etc. o chanted Instructions: • General Instruction of the Liturgy of the Hours • Rubrics • “Saint Joseph Guide for the Liturgy of the Hours” Sources used to pray the liturgy of the hours, either: • the 4 volume “Liturgy of the Hours” (“Breviary”) • the 1 volume “Christian Prayer”: there are various versions of this. • various “apps” for smartphones and websites as well (e.g.: http://divineoffice.org/. 1 When: The “Hours” (Note: each is also called an “office”, that is “duty”) There are seven “hours”—or each day: 1. Office of Readings [OR] or “Matins”: can be any time of day, but traditionally first 2. -
Edward C. Malesic Solemn Installation “ I Will Appoint Over You Shepherds After My Own Heart, Who Will Shepherd You Wisely and Prudently.” JEREMIAH 3:15
THE MOST REVEREND Edward C. Malesic Solemn Installation “ I will appoint over you shepherds after my own heart, who will shepherd you wisely and prudently.” JEREMIAH 3:15 In prayerful respect for the Liturgy, please turn off all mobile phones and electronic devices. Kindly refrain from flash photography as well as video recording during the Liturgy. “ I will appoint over you shepherds after my own heart, who will shepherd you wisely and prudently.” JEREMIAH 3:15 olemn nstallation of The Most Reverend Edward C. Malesic as the Twelfth Bishop of Cleveland Monday the Fourteenth of September Two Thousand and Twenty at two o’clock in the afternoon In prayerful respect for the Liturgy, please turn off all mobile phones Feast of the Exaltation of the Holy Cross and electronic devices. Kindly refrain from flash photography Cathedral of Saint John the Evangelist as well as video recording during the Liturgy. Cleveland, Ohio 3 His Holiness Pope Fr ancis 4 His Excellency The Most Reverend Christophe Pierre Apostolic Nuncio to the United States of America 5 His Excellency The Most Reverend Dennis M. Schnurr Archbishop of Cincinnati Metropolitan, Province of Cincinnati His Excellency The Most Reverend Anthony M. Pilla Bishop-Emeritus of Cleveland 6 His Excellency The Most Reverend Roger W. Gries, OSB Retired Auxiliary Bishop of Cleveland His Excellency The Most Reverend Martin J. Amos Bishop-Emeritus of Davenport 7 8 His Excellency The Most Reverend Edward C. Malesic Twelfth Bishop of Cleveland 9 Serve the LORD with Gladness Heraldic Achievement of Most Reverend Edward C. Malesic Bishop of Cleveland In designing the shield—the central element in what is formally called the heraldic achievement—a bishop has an opportunity to depict symbolically various aspects of his own life and heritage, and to highlight particular aspects of Catholic faith and devotion that are important to him. -
Some Historical Perspectives on the Monteverdi Vespers
CHAPTER V SOME HISTORICAL PERSPECTIVES ON THE MONTEVERDI VESPERS It is one of the paradoxes of musicological research that we generally be- come acquainted with a period, a repertoire, or a style through recognized masterworks that are tacitly or expressly assumed to be representative, Yet a masterpiece, by definition, is unrepresentative, unusual, and beyond the scope of ordinary musical activity. A more thorough and realistic knowledge of music history must come from a broader and deeper ac- quaintance with its constituent elements than is provided by a limited quan- tity of exceptional composers and works. Such an expansion of the range of our historical research has the advan- tage not only of enhancing our understanding of a given topic, but also of supplying the basis for comparison among those works and artists who have faded into obscurity and the few composers and masterpieces that have sur- vived to become the primary focus of our attention today. Only in relation to lesser efforts can we fully comprehend the qualities that raise the master- piece above the common level. Only by comparison can we learn to what degree the master composer has rooted his creation in contemporary cur- rents, or conversely, to what extent original ideas and techniques are re- sponsible for its special features. Similarly, it is only by means of broader investigations that we can detect what specific historical influence the mas- terwork has had upon contemporaries and younger colleagues, and thereby arrive at judgments about the historical significance of the master com- poser. Despite the obvious importance of systematic comparative studies, our comprehension of many a masterpiece stiIl derives mostly from the artifact itself, resulting inevitably in an incomplete and distorted perspective. -
FEST05 Lutheran Vespers.Indd
the artists programme thursday august 3 at 1:00 pm | christ church cathedral Madeline Lucy Smith lutheran vespers: soprano songs for troubled times Shane Hanson countertenor Samuel Scheidt (1587-1654): Erik Kallo Tulerunt Dominum countertenor / tenor Taka Shimojima tenor Heinrich Schütz (1585-1672): Die mit Tränen säen Ian Bannerman tenor Johann Rudolph Ahle (1625-1673): O lux beata Trinitas Jacob Gramit bass with Johann Rudolph Ahle: Magnificat à 7 Ellen Marple Heinrich Schütz: Jeremy Berkman Herr nun lässest du deinen Diener Nathan Wilkes Alexander J. Fisher sackbuts Hans Leo Hassler (1564-1612): Pater Noster Christopher Bagan Johann Christoph Bach (1642-1703): organ Der Gerechte ob er gleich Johann Michael Bach (1648-1694): Ich weiß, daß mein Erlöser lebt Johann Hermann Schein (1586-1630): Da pacem Domine Andrea Gabrieli (1532-1585): Benedicam Dominum Pre-concert chat with host Matthew White at 12:15: Jacob Gramit THE UNAUTHORISED USE OF ANY VIDEO OR AUDIO RECORDING DEVICE IS STRICTLY PROHIBITED earlymusic.bc.ca Text Insert - Lutheran Vespers: Songs for Troubled Times Vancouver Bach Festival 2017 1 programme notes Between 1618 and 1648, Europe and Germany in particular were ravaged by the Thirty Years’ War. Following the Peace of Westphalia, the immediate conflicts were stayed, but the feelings of uncertainly remained, as they often do in the aftermath of a political upheaval. In the Lutheran church, the music for the evening Vespers service reflected this, praying for safety as the light of day turned into the uncertainty and potential danger of night. In a concert rather than a liturgical context, today’s programme samples music that could have been found in the context of that service. -
Liturgical Press Style Guide
STYLE GUIDE LITURGICAL PRESS Collegeville, Minnesota www.litpress.org STYLE GUIDE Seventh Edition Prepared by the Editorial and Production Staff of Liturgical Press LITURGICAL PRESS Collegeville, Minnesota www.litpress.org Scripture texts in this work are taken from the New Revised Standard Version Bible: Catholic Edition © 1989, 1993, Division of Christian Education of the National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved. Cover design by Ann Blattner © 1980, 1983, 1990, 1997, 2001, 2004, 2008 by Order of Saint Benedict, Collegeville, Minnesota. Printed in the United States of America. Contents Introduction 5 To the Author 5 Statement of Aims 5 1. Submitting a Manuscript 7 2. Formatting an Accepted Manuscript 8 3. Style 9 Quotations 10 Bibliography and Notes 11 Capitalization 14 Pronouns 22 Titles in English 22 Foreign-language Titles 22 Titles of Persons 24 Titles of Places and Structures 24 Citing Scripture References 25 Citing the Rule of Benedict 26 Citing Vatican Documents 27 Using Catechetical Material 27 Citing Papal, Curial, Conciliar, and Episcopal Documents 27 Citing the Summa Theologiae 28 Numbers 28 Plurals and Possessives 28 Bias-free Language 28 4. Process of Publication 30 Copyediting and Designing 30 Typesetting and Proofreading 30 Marketing and Advertising 33 3 5. Parts of the Work: Author Responsibilities 33 Front Matter 33 In the Text 35 Back Matter 36 Summary of Author Responsibilities 36 6. Notes for Translators 37 Additions to the Text 37 Rearrangement of the Text 37 Restoring Bibliographical References 37 Sample Permission Letter 38 Sample Release Form 39 4 Introduction To the Author Thank you for choosing Liturgical Press as the possible publisher of your manuscript. -
Magnificat JS Bach
Whitehall Choir London Baroque Sinfonia Magnificat JS Bach Conductor Paul Spicer SOPRANO Alice Privett MEZZO-SOPRANO Olivia Warburton TENOR Bradley Smith BASS Sam Queen 24 November 2014, 7. 30pm St John’s Smith Square, London SW1P 3HA In accordance with the requirements of Westminster City Council persons shall not be permitted to sit or stand in any gangway. The taking of photographs and use of recording equipment is strictly forbidden without formal consent from St John’s. Smoking is not permitted anywhere in St John’s. Refreshments are permitted only in the restaurant in the Crypt. Please ensure that all digital watch alarms, pagers and mobile phones are switched off. During the interval and after the concert the restaurant is open for licensed refreshments. Box Office Tel: 020 7222 1061 www.sjss.org.uk/ St John’s Smith Square Charitable Trust, registered charity no: 1045390. Registered in England. Company no: 3028678. ACKNOWLEDGEMENTS The Choir is very grateful for the support it continues to receive from the Department for Business, Innovation and Skills (BIS). The Choir would like to thank Philip Pratley, the Concert Manager, and all tonight’s volunteer helpers. We are grateful to Hertfordshire Libraries’ Performing Arts service for the supply of hire music used in this concert. The image on the front of the programme is from a photograph taken by choir member Ruth Eastman of the Madonna fresco in the Papal Palace in Avignon. WHITEHALL CHOIR - FORTHCOMING EVENTS (For further details visit www.whitehallchoir.org.uk.) Tuesday, 16