The Crucifixion (1450-1455, Right Panel), Roger Van Der Weyden Time Gazing Upon This Admirable Work Waiting for Them Right (C
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Magnificat in D Major, BWV
Johann Sebastian Bach Magnificat in D Major, BWV 243 Magnificat Quia respexit Quia fecit mihi magna Et misericordia eius Fecit potentiam Deposuit potentes Suscepit Israel Gloria patri Sicut erat in principio *** Chorus: S-S-A-T-B Soloists: Soprano 1, soprano 2, alto, tenor, bass Orchestra: 2 flutes, 2 oboes, 2 oboes d'amore, 3 trumpets, timpani, strings, continuo ************************* Program notes by Martin Pearlman Bach, Magnificat, BWV 243 In 1723, for his first Christmas as cantor of the St. Thomas Church in Leipzig, Bach presented a newly composed setting of the Magnificat. It was a grand, celebratory work with a five-voice chorus and a colorful variety of instruments, and Bach expanded the Magnificat text itself by interpolating settings of several traditional Christmas songs between movements. This was the original Eb-major version of his Magnificat, and it was Bach's largest such work up to that point. About a decade later, he reworked the piece, lowering the key from Eb to the more conventional trumpet key of D major, altering some of the orchestration, and, perhaps most importantly, removing the Christmas inserts, so that the work could be performed at a variety of festivals during the liturgical year. It is this later D major version of the Magnificat that is normally heard today. Despite its brilliance and grandeur, Bach's Magnificat is a relatively short work. Nonetheless, it is filled with countless fascinating details. The tenor opens his aria Deposuit with a violent descending F# minor scale to depict the text "He hath put down [the mighty]". At the end of the alto aria Esurientes, Bach illustrates the words "He hath sent the rich away empty" by having the solo flutes omit their final note. -
Magnificat Celebration of the Word 4-5-2020
CELEBRATION OF THE WORD Palm Sunday of the Passion of the Lord This is a celebration of the Word to aid your worship this Sunday, alone or with family. If possible, place a simple cross or crucifix prominently in the room and light one or more candles. You can also place an image of the Virgin Mary there if possible. As a family, choose the one who leads the prayer, and someone to do the readings. Whoever leads the prayer can say: On Palm Sunday, we recognize that Jesus’ full glory and kingship would only come about when he was lifted up. “Our heart feels a joy mixed with sadness at sight of the Master’s seemingly ephemeral triumph, prelude of suffering and death” (Archbishop Luis Martínez). But joy and sadness are dispositions of a holy soul. We can grieve over sin, suffering, and evil, but rejoice with the full conviction that faith gives us— Christ will conquer. Thus, our greatest sorrow and shame is our great relief—the Cross. Finally, Jesus’ experience of being loved and hated, of being welcomed and then rejected, provides us strength to endure the caprices and injustices of our own life. Sign of the Cross After a moment of silence, let everyone begin by making the Sign of the Cross: In the name of the Father, the Son, and the Holy Spirit. Amen. Hymn Choose an appropriate hymn. We place ourselves before the Lord, beginning with an act of contrition: My God, I am sorry for my sins with all my heart. In choosing to do wrong and fai- ling to do good, I have sinned against you whom I should love above all things. -
Magnificat: Vocal Score Free
FREE MAGNIFICAT: VOCAL SCORE PDF John Rutter | 88 pages | 01 Aug 1991 | Oxford University Press | 9780193380370 | English, Latin | Oxford, United Kingdom Vocal Score for Rutter Magnificat : Choraline For soprano or mezzo-soprano Magnificat: Vocal Score, SATB chorus and either full orchestra or chamber orchestra. Minimum recommended string forces for the chamber ensemble are 2. This edition is a publication of Oxford University Press. Full scores, vocal scores, and instrumental parts are available on hire through Oxford University Press. Home Music scores and recordings. John Rutter Magnificat. Add to wishlist. Feedback Be the first to give feedback on this product. Proceed to purchase. Additional product information. He first came to notice as a composer during his student years; much of his early work consisted of church music and other choral pieces including Christmas carols. From —79 he was Director of Music at his alma mater, Clare College, and directed the college chapel choir in various recordings and broadcasts. Since he has divided his time between composition and conducting. Today his compositions, including such concert-length works as RequiemMagnificat Magnificat: Vocal Score, Mass of the ChildrenThe Gift of Lifeand Visions are performed around the world. His music has featured in a number of British royal Magnificat: Vocal Score, including the two most recent royal weddings. In he formed his Magnificat: Vocal Score choir the Cambridge Singers, with whom he has made numerous Magnificat: Vocal Score, and he appears regularly in several countries as guest conductor and choral ambassador. Personal details. You have to be logged in to write a feedback. Magnificat: Vocal Score questions about this work There are no questions and answers available so far or you were unable to find an answer to your specific question about this work? Then click here and send your specific questions to our Customer Services! Related products. -
11 Questions Answered About Mary
11 questions answered about Mary During his visit to Naples in March 2015, Pope Francis spoke to a gathering of priests, seminarians and religious women. In his speech, he told them that a key way to make sure Jesus is at the center of their lives is to “ask his mother to take you to him.” This is the role of Mary in the Church and in our own lives — for who is closer to the Son than his mother? As the Church celebrates Mary throughout the year, this In Focus, compiled by Dr. Robert Fastiggi, a professor of theology at Sacred Heart Major Seminary in Detroit and president of the Mariological Society of America, is designed to help readers more fully understand the Church’s teachings regarding the Virgin Mary and why she is truly the “cause of our joy.” As Pope Francis said in Naples, “If you don’t love the mother, the mother will not give you the Son.” Q: What are Marian apparitions, and how can the Church decide if they are true? A: Marian apparitions are considered to be private revelations according to what is taught in the Catechism. They don’t “improve or complete Christ’s definitive Revelation, but help to live more fully by it in a certain period of history” (No. 67). Marian apparitions can be investigated and approved by the local bishop, but in some cases, the Holy See takes over the inquiry. In 1978, Paul VI approved a document of the Congregation for the Doctrine of the Faith that lays out norms for discerning apparitions. -
May the Month of Mary Mother of Jesus
MAY IS THE MONTH WE ESPECIALLY ASK MARY MOTHER OF JESUS TO ADD HER PRAYERS TO OURS FOR THE NEEDS OF THE WORLD The Annunciation Mary and the Angel Gabriel Latin America Mary greets Elizabeth her cousin and mother of John the Baptist. Africa 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. Amen An image of Our Lady of the Philippines For Christians May traditionally is a month of honouring Mary the mother of Jesus. During this month we particularly turn to Mary asking her to add her prayers to our own for the needs of our world. A Modern Magnificat (The Song of Mary) My soul praises the greatness of our God and my spirit rejoices in our salvation! You, God, have taken notice of me, and now all generations call me blessed. In your love, you have done great things, your name is holy as is Jesus, the child of my body To those who recognize your love you show mercy for all time. Listen! God has done wonderful things. The proud are scattered and the regal brought down. God raises up the humble and feeds the hungry while the rich leave empty handed. God enfolds the people, honouring the mercy promised from of old. For you God made this promise to our ancestors, to Abraham, Sarah and their children forever. Praise the name of God! PRAYER FOR THOSE WHO ARE GRIEVING. -
The Pietà in Historical Perspective
The Pietà in historical perspective The Pietà is not a scene that can be found in the Gospels. The Gospels describe Crucifixion (El Greco), Deposition or descent from the Cross (Rubens), Laying on the ground (Epitaphios), Lamentation (Giotto), Entombment (Rogier Van de Weyden) So How did this image emerge? Background one-devotional images • Narrative images from the Gospel, e.g Icon of Mary at foot of cross • Devotional images, where scene is taken out of its historical context to be used for prayer. e.g. Man of Sorrows from Constantinople and print of it by Israhel van Meckenhem. The Pietà is one of a number of devotional images that developed from the 13th century, which went with intense forms of prayer in which the person was asked to imagine themselves before the image speaking with Jesus. It emerged first in the Thuringia area of Germany, where there was a tradition of fine wood carving and which was also open to mysticism. Background two-the position of the Virgin Mary • During the middle ages the position of Mary grew in importance, as reflected in the doctrine of the Assumption (Titian), the image of the coronation of the Virgin (El Greco) • So too did the emphasis on Mary sharing in the suffering of Jesus as in this Mater Dolorosa (Titian) • Further background is provided by the Orthodox image of the threnos which was taken up by Western mystics, and the image of The Virgin of Humility A devotional gap? • So the Pietà, which is not a Gospel scene, started to appear as a natural stage, between the Gospel scenes of the crucifixion smf the deposition or descent from the cross on the one hand, and the stone of annointing, the lamentation, and the burial on the other. -
Fifty Four Day Novena
FIFTY FOUR DAY NOVENA Origin In an apparition of Our Lady of Pompeii, which occurred in 1884 at Naples, in the house of Commander Agrelli, the heavenly Mother deigned to make known the manner in which she desires to be invoked. For thirteen months Fortuna Agrelli, the daughter of the Commander, had endured dreadful sufferings and torturous cramps. The most celebrated physicians had given up. On February 16, 1884, the afflicted girl and her relatives commenced a novena of Rosaries. The Queen of the Holy Rosary favoured her with an apparition on March 3rd. Mary, sitting upon a high throne, surrounded by luminous figures, held the divine Child on her lap, and in her hand a Rosary. The Virgin Mother and the Holy Infant were clad in gold embroidered garments. They were accompanied by Saint Dominic and Saint Catherine of Siena. The throne was profusely decorated with flowers; the beauty of Our Lady was marvellous. Mary looked upon the sufferer with maternal tenderness and the patient saluted her with the words: “Queen of the Holy Rosary, be gracious to me; restore me to health! I have already prayed to thee in a novena O Mary, but have not yet experienced thy aid. I am so anxious to be cured!” “Child”, responded the Blessed Virgin, “thou hast invoked me by various titles and hast always obtained favours from me. Now, since thou hast called me by that title so pleasing to me, ‘Queen of the Holy Rosary’, I can no longer refuse the favour thou dost petition; for this name is most precious and dear to me. -
Egbert Haverkamp Begemann Rembrandt the Holy Family, St
REMBRANDT THE HOLY FAMILV, ST PETERSBURG PREVIOUSLY PUBLISHED H.W. Janson, Form follows function- o-r does it? Modernist design themy and the histmy of art (The First Gerson Lecture, held on October 2, 1981) D. Freedberg, Iconoclasts and thei-r motives (The Second Gerson Lecture, held on October 7, 1983) C. H. Smyth, Repat-riation of art from the collecting jJoint in Munich afte-r WoTld Wa-r ff (The Third Gerson Lecture, held on March 13, 1986) A. Martindale, Hemes, ancesto-rs, Telatives and the biTth of the jJoTtmit (The Fourth Gerson Lecture, held on May 26, 1988) L. N ochlin, Bathtime: Reno iT, Cezanne, DaumieT and the p-ractices of bathing in nineteenth-century Fmnce (The Sixth Gerson Lecture, held on November 2 1, 1991) M. Warnke, Laudando Pmecipere, der Medicizyklus des Peter Paul Rubens (Der siebente Gerson Vortrag, am rS. November 1993 gehalten) EDITOR'S NOTE The 5th Gerson Lecture was held in 1989. Its final text was made available to the Gerson Lectures Foundation in 1991 . At that moment, an unhappy coincidence of circumstances made publication without further delay impossible. We regret the fact that we had to disappoint the supporters of ow- Foundation for such a long period. Now at last, we are able to publish this lecture, thanks to the generous sponsoring 'in kind' ofWaanders Uitgevers. The Fifth Gerson Lecture held in memoryofHorstGerson (1907-1978) in the aula of the University ofGroningen on the 16th ofNovember 1989 Egbert Haverkamp Begemann Rembrandt The Holy Family, St Petersburg Groningen T he Gerson Lectures Foundation 1995 l REMBRANOT The Holy Family, 1645 4 REMBRANDT THE HOLY FAMILY, ST PETERSBURG Horst Gerson was a remarkable art historian and a remarkable man. -
19835 the Descent from the Cross England, Midlands C. 1480 40 X 24 X 5 Cm; Pale, Pale-Veined Alabaster with Vestiges of Gilding
19835 The Descent from the Cross England, Midlands c. 1480 40 x 24 x 5 cm; pale, pale-veined alabaster with vestiges of gilding and polychromy. A repaired break across the lower right-hand corner, and some infill behind the kneeling figure, including the proper right heel of the figure on the ladder and the background immediately behind it. A candle mark has scorched the stone on Christ’s proper right leg and the robes and underarm of Joseph of Arimathea. A historic drill hole at the top of the cross arm, perhaps used for suspension. Provenance Private Collection, France Description and Iconography One of the key moments in the Christian narrative of Christ’s Passion is the Descent from the Cross, or Deposition as it is also known, which details the process by which Jesus’s body was taken down from the Cross following his death. It is a scene recounted in all four Canonical Gospels1, and images of it circulated widely in Europe during the Medieval period. On this slim alabaster panel, the lifeless body of Christ is shown still in the process of being removed from a tall, Tau-shaped cross by two men who pull the large-headed nails from his hands and feet with pliers. Both men have rolled up the loose fabric of their sleeves to perform their task; one climbs 1 Matthew 27:57-61; Mark 15:42-47; Luke 23:50-56; John 19:38-42. SAM FOGG www.samfogg.com a ladder resting against the arm of the cross in order to reach up to Christ’s hand, while his counterpart kneels on the ground below him to get to the nail in Christ’s feet. -
Christian Classics Notre Dame, IN
Christian Classics Notre Dame, IN First printing, August 1984 First revised edition, August 2005 Sixth printing, August 2005 75,800 copies in print Excerpts from The Jerusalem Bible, copyright © 1966 by Darton, Longman & Todd, Ltd. and Doubleday & Company, Inc. Used with permission of the publisher. The following editions were also used for reference: The New American Bible, the Authorized Version of King James, and the Nestle Greek Text With Literal Translation by Rev. Alfred Marshall, D. Litt. _________________________________________________________ © 1984 by Ave Maria Press, Inc. Revised edition © 2005 by Ann Johnson Permission is hereby given for the duplication of texts contained in this book for distribution without charge or for use in the context of reviews. The following credit line must appear on the page(s) being duplicated: Taken from Miryam of Nazareth © 1984 by Ave Maria Press, 2005 revised edition by Ann Johnson. Used by permission of Ave Maria Press. All rights reserved. Other reprint requests should be submitted to Christian Classics™, Ave Maria Press®, Inc., P.O. Box 428, Notre Dame, IN 46556-0428. www.christian-classics.com International Standard Book Number: 0-87061-233-6 Cover and text design by John Carson Cover and interior art ©2005 Jane Pitz Printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data. Johnson, Ann. Miryam of Nazareth : woman of strength & wisdom / Ann Johnson.– Rev. ed. p. cm. ISBN 0-87061-233-6 (pbk.) 1. Mary, Blessed Virgin, Saint–Fiction. 2. Bible. N.T.–History of Biblical events– Fiction. 3. Christian women saints–Fiction. 4. Palestine–Fiction. -
A Meditative and Musical Guide to by John Rutter
A Meditative and Musical Guide to Magnificat by John Rutter The Magnificat, the outpouring of spirit that Mary proclaimed when she visited her cousin Elizabeth and shared her news of the miraculous birth of the Messiah, is the quintessential liturgical text for the Advent Season. Mary’s words, patterned closely from those of Hannah as she gave thanks for the birth of her son Samuel (Samuel 2:1-10) and a close parallel to Psalm 113, are at once a joyous outburst of praise and thanksgiving, an expression of humility, a recognition of the glory of God and his mercy for humankind, a strong statement of God’s love for the humble and poor, and news of the fulfillment of God’s promise of a savior. John Rutter characterizes the text as “a canticle of praise, trust, and joy.” Movement 1 – Mary Sings Praises to God (Luke 1:46-48) Magnificat anima mea Dominum: My soul doth magnify the Lord: et exsultavit spiritus meus in Deo salutari meo. and my spirit hath rejoiced in God my Saviour. Quia respexit humilitatem ancillae suae: For he hath regarded the lowliness of his hand-maiden: ecce enim ex hoc beatam me dicent omnes for behold, from henceforth all generations shall call me generationis. blessed. The first movement is divided into 2 large sections that express contrasting perspectives of Mary’s joy. Rutter looked to the strong musical heritages of Spain and Mexico to derive the rhythmic motors for this joy. The first section begins with an orchestral fanfare that sets the stage for the clearly joyful, festive text of the first part of Mary’s Song. -
Vespers 2020 Music Guide
MILLIKIN UNIVERSITY® 2 0 2 0 ALL IS BRIGHT MUSIC GUIDE VESPERS MEANS ‘EVENING’ AND IS ONE OF THE SEVEN CANONICAL HOURS OF PRAYER. MILLIKIN UNIVERSITY | SCHOOL OF MUSIC BELL CAROL (2017 All Choirs) William Mathias “AlltheBellsonEarthShallRing”wastheVespersthemeinMathias’compositionwastheperfect openingTheprocessionendeavorstorevealtoaudiencemembersthatbellsaregiftssounds(musicifyou will)oeredtothemangerIndeedtheremainderoftheprogramdisplayedbellsinbothcelebratoryand reflectivemomentsThepiecewascomposedforSirDavidWillcocksthechoirmasterwhobroughtsomuch attentiontotheLessonsandCarolsofKing’sCollegeCambridge ALLELUIA(2018 University Choir) Fredrik Sixten “SingAlleluia”wasthethemeofVespersinandSixten’sreflectivesettingcameearlyintheprogram givingthiswordusuallyconsideredfestiveinmoodasenseofadventhope LAUDATE DOMINUM (2015 Millikin Women) Gyöngyösi Levente LaudateDominumhasservedmanycomposersinincludingMozartwhouseditinhiswellknownSolemn VespersContemporaryHungariancomposerGyöngyösicombinesanincessantmantraonasinglenotewith complexrhythmsforthissettingofPs(“OPraisetheLordallyenations”)Harmonicdensityincreasesand joinstherhythmicdrivetothefinalAlleluiawheretheadditionofatambourineaddsafinalcelebratorynote MAGNIFICAT(2017 Collegiate Chorale) Bryan Kelly EvensongtheAnglicanversionofVespersalwaysincludesasettingoftheMagnificatEventhough thisiscomposedforEnglishearsBryanKelly’senthusiasmforLatinAmericanmusicisclearlyevident inthissettingfromthes GLORIA PATRIMAGNIFICAT (2019 All Choirs) John Rutter ThefinalmovementofRutter’sMagnificatgathersmanyofthework’sthemesintoatriumphantfinale