Alma Redemptoris Mater (Lhéritier)
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Bring Flowers of the Rarest…… Creating a May Altar in Your Home
Bring flowers of the rarest…… Creating a May Altar in your Home Many people create a small altar in their home during the month of May. The altar is traditionally dedicated to Mary, the mother of God as May is the Marian month when Catholics give special praise and honour to Jesus’ mother Mary, gifted to us as our mother too. May is also the first month of summer, so it comes to pass that altars which are created during this time are adorned with flowers that bloom at this time of year and with particular prayers, or itemsof devotion such as rosary beads to decorate this special space and to express our love and honour to Mary. Here are a couple of steps that you and your family can follow when preparing to have a May Altar in your home….. 1: Plan a nature walk Decide upon a place to go for a walk together. On your nature walk, try to locate some of the following traditional flowers that have been used for May altars over the generations. It is good to choose wildflowers, if you can, which are far better for the environment. Cut commercial flowers can sometimes come with a big carbon footprint, which Pope Francis encourages us to try to reduce. Some flowers you might like to look for on your nature walk might include.... □ Wildflowers □ Buttercups □ Primroses □ Daffodils □ Wild bluebells □ Cowslips □ Lilac 2: Pick the location for the May Altar in your home Try and involve all members of the household in the decision-making about where your family May Altar will be placed. -
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. -
Antonio De Cabeçon (Castrillo Mota De Judíos 1510 – Madrid 1566)
Antonio de Cabeçon (Castrillo Mota de Judíos 1510 – Madrid 1566) Comiençan las canciones glosadas y motetes de a cinco Fol. 136-158v. from : Obras de Musica para Tecla, Arpa y Vihuela Madrid 1578 Second part: 13 canciones and 1 Fuga (or Tiento) in 5 voices transcribed for keyboard instrument or harp and arranged for recorders or other instruments with introduction and critical notes by Arnold den Teuling Keyboard instrument or harp 2017 1 2 Introduction to the edition of the remaining part of Antonio de Cabezón’s Obras de Musica para Tecla, Arpa y Vihuela, Madrid 1578 Hernando de Cabeçon (Madrid 1541-Valladolid 1602), as he spelled his name, published his father’s works in 1578, despite the year 1570 on the title page. The royal privilege for publication bears the date 1578 on the page which also contains the “erratas”. The Obras contain an extensive and very useful introduction in unnumbered pages, followed by 200 folio’s of printed music, superscribed in the upper margin “Compendio de Musica / de Antonio de Cabeçon.” A facsimile is in IMSLP. The first editor Felipe Pedrell (1841-1922), Hispaniae Schola Musica Sacra, Vols.3, 4, 7, 8, Barcelona: Juan Pujol & C., 1895-98, did not provide a complete edition, but a little more than half of it. He omitted the intabulations, “glosas”, of other composers, apparently objecting a lack of originality to them. He also gave an extensive introduction in Spanish and French. This edition may be found in IMSLP too. Pedrell stopped his complete edition after folio 68 (of 200), and made a selection of remaining works. -
Ecce Mater Tua Vol. 1
Ecce Mater Tua A Journal of Mariology VOL. 1 January 1, 2018 Solemnity of Mary the Mother of God Editorial Board Editor Dr. Mark Miravalle, S.T.D. Franciscan University of Steubenville, Ohio Associate Editor Mr. Kevin Clarke, Ph.D. (cand.) Ave Maria University, Florida Advisory Board Msgr. Arthur Calkins, S.T.D. Vatican Ecclesia Dei, Emeritus Fr. Giles Dimock, O.P., S.T.D. Pontifical University of St. Thomas Aquinas (Angelicum), Emeritus Robert Fastiggi, S.T.D. Sacred Heart Major Seminary, Michigan Fr. Peter D. Fehlner, O.F.M. Conv. Ellicott City, Maryland Dr. Luis Bejar Fuentes Independent Editor and Journalist Mr. Daniel Garland, Jr., Ph.D. (cand.) Institute for Catholic Culture Scott Hahn, Ph.D. Franciscan University of Steubenville, Ohio Dr. Stephen Miletic Franciscan University of Steubenville, Ohio Christopher Malloy, Ph.D. University of Dallas, Texas John-Mark Miravalle, S.T.D. Mount St. Mary’s Seminary, Maryland Petroc Willey, Ph.D. Franciscan University of Steubenville, Ohio ii Ecce Mater Tua iii Ecce Mater Tua: A Journal of Mariology ISSN: 2573-5799 Instructions for Authors: To submit a paper for consideration, please first make sure that all personal references are stripped from the text and file properties, then email the document in Microsoft Word format (.doc or .docx) or in rich-text format (.rtf) to [email protected]. To ensure a smooth editorial process, please include a 250-350 word abstract at the beginning of the article, and be sure that formatting follows Chicago style. Ecce Mater Tua practices blind review. Submissions are evaluated anonymously by members of the editorial board and other scholars with appropriate expertise. -
Album Booklet
Invisible Cities Choral & Electronic Music by Marco Galvani SANSARA Marco Galvani (b.1994) Tom Herring arsc director 1. ALEPH [3:02] 2. Lamentaons I [4:48] 3. Ubi caritas [4:45] 4. Lamentaons II [5:58] 5. BETH [3:14] 6. Ave sancssima Maria [3:44] 7. Ave maris stella [5:04] 8. Alma Redemptoris Mater [3:21] 9. GHIMEL [4:26] 10. Super flumina Babylonis [4:51] 11. O sacrum convivium [6:16] 12. DALETH [5:10] About SANSARA: Total playing me [54:47] ‘SANSARA slips easily into the elite ranks of exceponal performers...breathtaking’ Choir & Organ ‘[...] perfect intonaon and a clean, pure sound...choral singing with real depth’ The Observer Invisible Cies imagined – are a recurring theme in the novel and something we wanted to draw on as we Invisible Cies is a sequence of sacred choral contemplated the album anew. works and electronic refracons composed by Marco Galvani. The album was inially The recording sessions in October 2020 were conceived as a collecon of Marco’s choral the first me the choir had sung together in music, selected to showcase his disnct person in several months and a mely voice and consolidate our relaonship reminder of the power of a cappella choral with him as one of our Associate Composers. music. Our aim was to invest the music with In March 2020, everything changed, and a sense of longing and passion – giving voice we had to postpone our original recording to feeling in a me of social isolaon. sessions. There runs an invisible thread that binds Suddenly, we were spread all over the UK, one living being to another for a moment, not knowing when we would be able to then unravels, then is stretched again meet, let alone sing together. -
Ave Maria” Sung by Soprano Renee Fleming, to an Arrangement by Chris Hazel, Accompanied by the Royal Philharmonic Orchestra
Franz Schubert’s “Ave Maria” sung by soprano Renee Fleming, to an arrangement by Chris Hazel, accompanied by the Royal Philharmonic Orchestra. Track 1 (4:17) Ave maris stella is a popular liturgical hymn of unknown origin. It can be dated back to at least the 9th century. The hymn is frequently attributed to St. Bernard of Clairvaux (1090-1153), a devout client of Our Lady. It is found in ancient codices of the Divine Office for Vespers on Marian feasts. Today it is still in use in the Divine Office, the Little Office of the Blessed Virgin, and as a Benediction hymn. Next listen as the Choir of King’s College, Cambridge, Stephen Cleobury, conductor, from the CD Evensong and Vespers at King’s, sings Hans Leo Hassler’s Ave Maris Stella. Track 2 (5:43) Most antiphons are short, unassuming pieces, sung as prelude and postlude to the chanting of a psalm. Somewhat more substantial are antiphons to be sung with the canticles of the Divine Office. One of these is “Tu es pastor ovium,” sung with the Vespers canticle Magnificat on St. Peter’s Day. Next we hear the Benedictine Monks of the Abbey of Saint-Maurice & Saint-Maur, Clervaux singing this Antiphon and Canticle. Track 3 (3:42) A special group of antiphons, not sung with psalms, are those performed in honour of the Blessed Virgin as independent “anthems,” often in the Compline service at the end of the day. We will hear the Benedictine Monks of the Abbey of Saint-Maurice & Saint-Maur, Clevaux sing these five antiphons: “Salve Regina,’ “Ave Maria,” “Sub tuum praesidium,” “Alma Redemptoris Mater,” and “Regina caeli.” Track 4 (2:49) Track 5 (1:07) Track 6 (1:00) Track 7 (1:51) Track 8 (1:50) When Serge Rachmaninov (1873-1943) wrote his great settings for the Liturgy of St. -
Tallis Scholars Programme Notes: US Tour December 2013 VICTORIA
Tallis Scholars Programme Notes: US Tour December 2013 VICTORIA, TOMAS LUIS DE: Dum complerentur, dum ergo essent VICTORIA, TOMAS LUIS DE: Missa Gaudeamus Interval VERDELOT, PHILIPPE: Beata es Virgo Maria VERDELOT, PHILIPPE: Sint dicte grates Christo BRUCKNER, ANTON: Ave Maria VICTORIA, TOMAS LUIS DE: Ave Maria a 8 GUERRERO, FRANCISCO: Usquequo Domine GUERRERO, FRANCISCO: Maria Magdalene Mary, Mother of God, and Mary Magdalene: two women, two contrasting figures at the heart of the Christian story. Virgin and whore, saint and redeemed sinner, both occupy an unusually prominent role in Gospels dominated by men, and have proved fruitful inspiration for artists and composers alike. Tonight’s works comes from Spain and France, the renaissance and 19th-century, but across nations and eras find a shared point of expressive reference in these woman, whose human truths and exuberant joys are no less present in these musical portraits than their spiritual personas. With the exception of Thomas Tallis’s Loquebantur variis linguis, few works for Pentecost achieve the sense of euphoric urgency captured in Victoria’s Dum complerentur. “And suddenly they heard a great sound from heaven, alleluia, like a hurricane in its fury.” Mirroring the liturgical form of the Responsory in his musical setting, Victoria structures his motet in two sections, each punctuated with a returning “alleluia” refrain. The counterpoint is unusually conventional; each section opens with staggered points of imitation, giving a sense of organic growth that culminates each time in an alleluia. These alleluias develop from the almost homophonic first statement to the pealing scalic chatter of the final one, a vivid aural rendering of the flickering fire of the Holy Spirit and the clamour of the disciples speaking in tongues. -
Dictionary of Music.Pdf
The FACTS ON FILE Dictionary of Music The FACTS ON FILE Dictionary of Music Christine Ammer The Facts On File Dictionary of Music, Fourth Edition Copyright © 2004 by the Christine Ammer 1992 Trust All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Ammer, Christine The Facts On File dictionary of music / Christine Ammer.—4th ed. p. cm. Includes index. Rev. ed. of: The HarperCollins dictionary of music. 3rd ed. c1995. ISBN 0-8160-5266-2 (Facts On File : alk paper) ISBN 978-1-4381-3009-5 (e-book) 1. Music—Dictionaries. 2. Music—Bio-bibliography. I. Title: Dictionary of music. II. Ammer, Christine. HarperCollins dictionary of music. III. Facts On File, Inc. IV. Title. ML100.A48 2004 780'.3—dc22 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Facts On File on the World Wide Web at http://www.factsonfile.com Text design by James Scotto-Lavino Cover design by Semadar Megged Illustrations by Carmela M. Ciampa and Kenneth L. Donlan Grateful acknowledgment is made for permission to reprint an excerpt from Cornelius Cardew’s “Treatise.” Copyright © 1960 Hinrichsen Edition, Peters Edition Limited, London. -
Universiv Microtlms International 300 N
INFORMATION TO USERS This reproduction was made from a copy o f a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image o f the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note w ill appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part o f the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin film ing at the upper left hand comer o f a large sheet and to continue from left to right in equal sections with small overlaps. I f necessary, sectioning is continued again-beginning below the first row and continuing on until complete. -
Tridentine Liturgy Community
TRIDENTINE MARY HELP OF CHRISTIANS PARISH, LITURGY 16 TIN KWONG ROAD, MA TAU WAI, COMMUNITY KOWLOON. MARCH 2013 CHAPLAIN: REV. FR. FRANCIS LI ADVISORS: FR. PETER TSANG, BR. CARLOS CHEUNG EMAIL: [email protected] WEBSITE: TRIDENTINE.CATHOLIC.ORG.HK SUNDAY MASS: 12.30PM IN EXTRAORDINARY FORM OF THE ROMAN RITE (CONFESSIONS ARE AT 12:00NN OR BY ARRANGEMENT) Holy Father’s Monthly Prayer Intentions General Intention: Respect for Nature. That respect for nature may grow with the awareness that all creation is God's work entrusted to human responsibility. Missionary Intention: Clergy. That bishops, priests, and deacons may be tireless messengers of the Gospel to the ends of the earth. Devotion for the Month March – St. Joseph Upcoming Events 9th March Mass for the Papal Conclave will be held at 11am, at Mary Help of Christians Church. 29th March Good Friday. Mass of the Presanctified at 12nn, at Chapel of Caritas Medical Centre, Cheung Sha Wan. 7th April Monthly luncheon gathering at music room after mass. Feasts of the Month 7th March St. Thomas Aquinas, Confessor, Doctor 19th March St. Joseph, Spouse of the BVM, Confessor 22nd March The Seven Sorrows of the BVM Article The Importance of Marian Antiphon In the Liturgy of the Hours, there are several Marian Antiphons sung in honour of the Blessed Virgin Mary, in this article we only explain the importance of the 4 major Marian Antiphon: “Alma Redemptoris Mater”; “Ave Regina Caelorum”; “Regina Coeli” and “Salve Regina”. What is Antiphon? Antiphon comes from the Greek antiphonon, which means singing oppositely or alternate chant. -
Rosary and Shrine Prayers
Rosary and Shrine Prayers 1. Advent to Candlemas Please do not remove At 6.00pm each day (5.00pm Saturday) pilgrims gather in the nave of the Shrine Church, facing the Holy House, to recite the Rosary during which intercessions are offered for people who have requested our prayers. We pray the Rosary quietly and reflectively. At the invitation of the Leader, stand for The Angelus The Angel of the Lord brought tidings to Mary And she conceived by the Holy Spirit. Hail Mary, full of grace, the Lord is with thee. Blessed art thou among women and blessed is the fruit of thy womb, Jesus. Holy Mary, Mother of God, pray for us sinners now and at the hour of our death. Behold the handmaid of the Lord Be it unto me according to thy word. Hail Mary, full of grace, the Lord is with thee. Blessed art thou among women and blessed is the fruit of thy womb, Jesus. Holy Mary, Mother of God, pray for us sinners now and at the hour of our death. And the Word was made flesh And dwelt among us. Hail Mary, full of grace, the Lord is with thee. Blessed art thou among women and blessed is the fruit of thy womb, Jesus. Holy Mary, Mother of God, pray for us sinners now and at the hour of our death. Pray for us, O holy Mother of God That we may be made worthy of the promises of Christ. (The leader says a final prayer, after which all respond) Amen. The leader will introduce the Mysteries: Sunday – Glorious Monday – Joyful Tuesday – Sorrowful Wednesday – Glorious Thursday – Luminous Friday – Sorrowful Saturday - Joyful The Introductory Prayers are offered for Priests Associate who have offered Mass today, and in Thanksgiving. -
The Medici Court and the Development of Italian Madrigal: a Study of the Contributions of Music Patronage in the 16Th Century
Journal of Taipei Municipal University of Education, Vol.37, No.2, (Nov. 2006) 31~56 31 Humanities & Arts The Medici Court and the Development of Italian Madrigal: A Study of the Contributions of Music Patronage in the 16th Century Shun-Mei Tsai* Abstract The Medici family, who was one of the important music patrons in Florence, Italy, held its political and social power for more than three hundred years. Members of the family were not only the international renowned merchants, but also became major religious leader and Royal court members. The present study centers on the importance of the musical patronage that the Medici court supported during the sixteenth century, a period that the Medici family occupied the most influential power in Florence. The research focuses on the early development of the Italian madrigal which was directly connected to the contribution from the Medici court. The discussion includes the court musicians, the music programs of the court festivities, and the patronage system during this era. The Medici family was neither an aristocracy nor Royal monarchy, however, their positions as the artistic patron made fruitful music life for the Florentine citizens. The musical patronage has made significant contributions for the development of new musical genres, madrigal and opera as well. Keywords: Italian madrigal, music patronage, Medici family * Professor, Department of Music, National Sun Yat-sen University ඒߛՕᖂᖂЁԳ֮ᢌᣊمؑק32ʳ ፕ The Medici Court and the Development of Italian Madrigal: A Study of the Contributions of Music Patronage in the 16th Century Shun-Mei Tsai The stages in the development of Italian madrigal, one of the important secular music genres, were divided in two periods: the fourteenth-century and sixteenth-century madrigal (Trecento madrigal and Cinquecento madrigal).