DOCSLIB.ORG

Mater Dolorosa: an Evensong for Holy Week Evening Prayer for Holy Week Passion Sunday  April 9, 2017  4:00 Pm

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mater Dolorosa: an Evensong for Holy Week Evening Prayer for Holy Week Passion Sunday  April 9, 2017  4:00 Pm Mater Dolorosa: An Evensong for Holy Week Evening Prayer for Holy Week Passion Sunday April 9, 2017 4:00 pm At the sound of the bell, all stand and face the back of the sanctuary. OPENING DIALOG HYMN OF LIGHT 2 THANKSGIVING FOR LIGHT 3 . The assembly is seated. COMMENTARY PRAYER Let us pray. God, give strength and courage to all who are suffering. Gently open their hearts and increase their capacity to be present with their pain. Help them to be a living Pietà of kindness and tenderness. Draw them into your heart and increase their hope. Amen. MUSICAL REFLECTION The Augsburg Choir “Tu pauperum refugium” Josquin des Prez (sung in Latin) You are the refuge of the poor, remedy for afflictions, hope of exiles, strength for those who labor, way for the wandering, the truth and the life. Now, Redeemer Lord, in you alone I take refuge; you, the true God, I adore you in hope; I confide in you, my salvation, Jesus Christ. Help me, that my soul not sleep in death. READING Gabriela Mistral, tr. Langston Hughes 4 MUSICAL REFLECTION The Augsburg Choir “Mothers of Brazil” Lars Johnson, arr. Gunnar Eriksson Hail, Holy Queen, Mother of Mercy We, the poor banished children of Eve cry to you. Queen of Heaven, Rejoice! O clement, loving, sweet Virgin Mary, we cry to you and Jesus, the blessed fruit of your womb. From the composer: Children are not the only ones to cry out for their mothers. Old men and women in solitude and despair cry out for their ‘mama’ like children. Mothers all around the world travel to the frontline of war to bring their children home from unnecessary killing in pointless conflicts fought in the name of patriotism. This piece written by Swedish composer Lars Jansson incorporates the ancient chant “Salve Regina.” Mary, mother of Jesus, represents well the loving, mothering qualities and throughout history people have cried out to her for comfort and aid. READING Orthodox Liturgy for Holy Saturday MUSICAL REFLECTION The Augsburg Choir “Suojelusenkeli” (Guardian Angel) Pekka Juhani Hannikainen, arr. Mark Sedio (sung in Finnish) When children must go through the forest alone An angel makes sure we come safely back home. Though home’s not in sight they need not be afraid; Their guardian angel stands watch all the way. The woods are so dark and the path may be rough. Some places are slippery with gorges and bluffs. We children could wander quite eas’ly astray; but angels hold tight to our hands all the way. When children must go through the forest alone our angel makes sure we come safely back home. Though life’s path may lead us to far distant lands, we must not let go of our dear angel’s hand. ― English translation: Margaret Vainio The assembly stands for the prayers. PRAYERS …Lord, in your mercy, Hear our prayer. The assembly is seated. 5 MUSICAL REFLECTION Stephen Hamilton, organ “Passacaglia in F# Minor” Oskar Merikanto READING Michael Dennis Browne “Mother” (from Seven Last Voices) - in response to The Seven Last Words of Our Savior on the Cross by Franz Josef Haydn MUSICAL REFLECTION The Central Choir & Metropolitan Symphony Orchestra “Stabat Mater” Toivo Kuula Latin text English translation 1. Stabat Mater dolorosa There stood the Mother grieving Juxta crucem lacrimosa Beside the cross weeping Dum pendebat Filius. While on it hung her Son. 2. Cujus animam gementem Whose saddened soul, Contristatam et dolentem Sighing and suffering Pertransivit gladius. A sword pierced through. 3. O quam tristis et afflicta O how sad and how afflicted Fuit illa benedicta Was that blessed Mother Mater unigeniti! Of the Only-Begotten! 4. Quae moerebat et dolebat, Loving Mother, who was grieving Pia Mater, dum videbat And suffering, while she beheld Nati poenas incliti. The torments of her Glorious Son. 5. Quis est homo qui non fleret, Who is the man who would not weep Matrem Christi si videret If he should see the Mother of Christ In tanto supplicio? In such great distress? 6. Quis non posset contristari, Who could not be saddened Christi Matrem contemplari If he should behold the Mother of Christ Dolentem cum Filio? Suffering with her only Son? 7. Pro peccatis suae gentis For the sins of his people, Vidit Jesum in tormentis, She saw Jesus in torments Et flagellis subditum. And subjected to stripes. 8. Vidit suum dulcem natum She saw her own sweet Son, Moriendo desolatum Whose dying caused his desolation, Dum emisit spiritum. While he yielded up his Spirit. 9. Eja Mater, fons amoris Oh, Mother, fount of love, Me sentire vim doloris Make me feel the force of your grief, Fac, ut tecum lugeam. So that I may mourn with you. 10. Fac, ut ardeat cor meum Grant that my heart may burn In amando Christum Deum In loving Christ my God, Ut sibi complaceam. So that I may be pleasing to him. 6 11. Sancta Mater, istud agas, Holy Mother, may you do this: Crucifixi fige plagas Fix the stripes of the crucified Cordi meo valide. Deeply into my heart. 12. Tui nati vulnerati, Share with me the pains Tam dignati pro me pati, Of your wounded Son Poenas mecum divide. Who deigned to suffer so much for me. 13. Fac me tecum, pie, flere, Make me lovingly weep with you, Crucifixo condolere, To suffer with the Crucified Donec ego vixero. So long as I shall Live. 14. Juxta crucem tecum stare, To stand with you beside the cross, Et me tibi sociare And join with you in deep lament: In planctu desidero. This I long for and desire. 15. Virgo virginum praeclara, O Virgin all virgins excelling, Mihi jam non sis amara Be not inclement with me now; Fac me tecum plangere. Cause me to mourn with you. 16. Fac, ut portem Christi mortem Grant that I may bear the death of Christ; Passionis fac consortem, Make me a sharer in His Passion Et plagas recolere. And ever mindful of his wounds. 17. Fac me plagis vulnerari, Let me be wounded by His wounds, Fac me cruce inebriari, Cause me to be inebriated by the Cross Et cruore Filii. And the Blood of your Son. 18. Flammis ne urar succensus Lest I burn in flames enkindled, Per te, Virgo, sim defensus May I, through thee, O Virgin, In die judicii. Be defended on Judgement Day. 19. Christe, cum sit hinc exire, O Christ, when from here I must depart, Da per Matrem me venire Grant that, through your Mother, Ad palmam victoriae. I may obtain the palm of victory. 20. Quando corpus morietur, When my body perishes, Fac, ut animae donetur Grant that my soul be given Paradisi gloria. Amen. The glory of Paradise. The assembly stands to pray. LUTHER’S EVENING PRAYER Let us pray. We give thanks to you, heavenly Father, through Jesus Christ your dear Son, that you have graciously protected us this day. We ask you to forgive us all our sins, where we have done wrong, and graciously to protect us through this night. Into your hands we commend ourselves: our bodies, souls and all that is ours. Let your holy angels be with us, so that the wicked foe may have no power over us. Amen. 7 BLESSING Let us bless the Lord. Thanks be to God. Almighty God, the Father, + the Son, and the Holy Spirit, bless and preserve us. Amen. EVENING CANTICLE sung by all “O Lord, Now Your Servant” ELW 313 All exit in silence as the bells send the assembly forth. FREEWILL OFFERING In the spirit of this event, donations for Lutheran Social Services Refugee Services will be accepted in South Commons as you depart. JOIN US Greet the artists in the south commons immediately following this program. PARKING VALIDATION Present this program, along with your parking ticket, to the parking attendant as you depart to exit the Central Lutheran Parking Lot at no charge. VALID ONLY Sunday, April 9, 2017 5 PM - 12 AM WORSHIP LEADERS THE AUGSBURG CHOIR STEPHEN HAMILTON, organ THE CENTRAL CHOIR CANTOR MARK SEDIO, conductor ORCHESTRA PERSONNEL Violin 1 Barb Savereide Violin 1 Mary Becker Violin 1 Andrea Sieber Violin 1 Taylor Lipo Zovik 8 Violin 2 Stephanie Swearingen Violin 2 Stephen Koehler Violin 2 Ellen Cornwall Violin 2 Martha McDermott Viola Heather Phillips Viola Justin Carlson Viola Kristine Oberg Cello LeeAnn Thommes Cello Katherine Canon Bass Stuart Ronkainen Flute 1 Martha Jamsa Flute 2 Karen Anderson Piccolo Mary Laurie Oboe 1 Julie Brusen Oboe 2 Mia Lundgren English Horn Mary Ann Aufderheide Clarinet 1 Kristina Meanley Clarinet 2 Laura Kelly Bass Clarinet Tom Smith Bassoon 1 Kate Saumur Bassoon 2 Tracy Carr Horn 1 Jeff Ohlmann Horn 2 Claire Volna Horn 3 Kara Bradshaw Horn 4 Michael Engh Trumpet 1 Joe Hazlett Trumpet 2 Larry Prescott Trumpet 3 David Wall Trombone 1 Gary Zielinski Trombone 2 Bob Jacob Tuba Eric Peterson Harp Nicole Christopher Tympani Scott Arnold Percussion Ken Lewis Percussion Kevin McBeth READERS Pastor Stephanie Friesen Pastor Melissa Pohlman Pastor D. Foy Christopherson 9 Toivo Kuula Oskar Merikanto NOTES ON THE MUSIC Toivo Kuula (1883-1918) was a Finnish composer of the late-Romantic and early-Modern periods. He was Jean Sibelius’s first composition student, studying with him from 1906-1908. Although Kuula was born in the Swedish speaking west coast area of Finland known as Ostrobothnia (its main city is Vaasa), he was a fierce Fennoman - the name give to someone who advocated the use of Finnish as the nations’ predominant language. Known as a colorful person with a hot temper, Kuula died as the result of a shot fired during a quarrel shortly after the conclusion of Finland’s Civil War which followed its independence in 1917.
Load more

Recommended publications
  • EMR 12669 Schubert Stabat Mater MF
    Stabat Mater Wind Band / Concert Band / Harmonie / Blasorchester / Fanfare Arr.: John Glenesk Mortimer Franz Schubert EMR 12669 st 1 Score 2 1 Trombone + st nd 4 1 Flute 2 2 Trombone + nd 4 2 Flute 1 Bass Trombone + 1 Oboe (optional) 2 Baritone + 1 Bassoon (optional) 2 E Bass 1 E Clarinet (optional) 2 B Bass 5 1st B Clarinet 2 Tuba 4 2nd B Clarinet 1 String Bass (optional) 4 3rd B Clarinet 1 Piano Reduction (optional) 1 B Bass Clarinet (optional) 1 B Soprano Saxophone (optional) 2 1st E Alto Saxophone Special Parts Fanfare Parts 2 2nd E Alto Saxophone 1 1st B Trombone 2 1st Flugelhorn 2 B Tenor Saxophone 1 2nd B Trombone 2 2nd Flugelhorn 1 E Baritone Saxophone (optional) 1 B Bass Trombone 2 3rd Flugelhorn 1 E Trumpet / Cornet (optional) 1 B Baritone 3 1st B Trumpet / Cornet 1 E Tuba 3 2nd B Trumpet / Cornet 1 B Tuba 3 3rd B Trumpet / Cornet 2 1st F & E Horn 2 2nd F & E Horn 2 3rd F & E Horn Print & Listen Drucken & Anhören Imprimer & Ecouter≤ www.reift.ch Route du Golf 150 CH-3963 Crans-Montana (Switzerland) Tel. +41 (0) 27 483 12 00 Fax +41 (0) 27 483 42 43 E-Mail : [email protected] www.reift.ch Recorded on CD - Auf CD aufgenommen - Enregistré sur CD | Franz Schubert Photocopying Stabat Mater is illegal! Arr.: John Glenesk Mortimer 34 5 6 78 Largo q = 50 1st Flute fp p sost. fp f 2nd Flute fp p sost. fp f Oboe fp p sost.
    [Show full text]
  • Antonio Vivaldi1678-1741
    Antonio Vivaldi 1678-1741 Pietà Sacred works for alto Clarae stellae, scintillate rv 625 Stabat Mater rv 621 Filiae maestae Jerusalem rv 638 from Gloria rv 589: Domine Deus Longe mala, umbrae, terrores rv 629 Salve Regina rv 618 Concerto for strings and continuo rv 120 Philippe Jaroussky countertenor Ensemble Artaserse 2 Pietà Vivaldi is the composer who has brought me the most luck throughout my career – by a long way. After numerous recordings devoted to less well known figures such as Johann Christian Bach, Caldara and Porpora, I felt a need that was as much physical as musical to return to this great composer. This release focuses on his motets for contralto voice, thereby rounding off – after discs of his cantatas and opera arias – a three-part set of recordings of music by the Red Priest. His celebrated Stabat Mater is one of the great classics of the countertenor reper toire, but I also very much wanted to record the motet Longe mala, umbrae, terrores, a piece that I find absolutely fascinating. This disc is a milestone for me, because it is the first time I have made a recording with my own ensemble Artaserse in a fuller, more orchestral line-up. It was an exciting experience, both on the musical and on the personal level, to direct so many musicians and sing at the same time. I would like to thank all the musicians who took part for their talent, patience and dedication, and I hope that this recording will mark the beginning of a new direction in my musical career.
    [Show full text]
  • Ecce Mater Tua
    Ecce Mater Tua A Journal of Mariology Vol. 4 June 12, 2021 Feast of the Immaculate Heart of Mary Editorial Board Editor Dr. Mark Miravalle, S.T.D. Franciscan University of Steubenville, Ohio Associate Editor Robert Fastiggi, S.T.D. Sacred Heart Major Seminary, Michigan Managing Editor Joshua Mazrin Catholic Diocese of Venice, Florida Advisory Board Msgr. Arthur Calkins, S.T.D. Vatican Fr. Daniel Maria Klimek Ecclesia Dei, Emeritus T.O.R. Franciscan University of Steubenville, Ohio Fr. Giles Dimock, O.P., S.T.D. Pontifical University of St. Dr. Stephen Miletic Thomas Aquinas (Angelicum), Emeritus Franciscan University of Steubenville, Ohio Dr. Matthew Dugandzic, Ph.D. St. Mary’s Seminary and Christopher Malloy, Ph.D. University, Maryland University of Dallas, Texas Dr. Luis Bejar Fuentes John-Mark Miravalle, S.T.D. Independent Editor and Journalist Mount St. Mary’s Seminary, Maryland Mr. Daniel Garland, Jr., Ph.D. Petroc Willey, Ph.D. (cand.) Ave Maria University, Florida Franciscan University of Steubenville, Ohio Scott Hahn, Ph.D. Franciscan University of Steubenville, Ohio Episcopal Advisors Telesphore Cardinal Toppo Archdiocese Bishop Jaime Fuentes of Ranchi, India Bishop of Minas, Uruguay Cardinal Sandoval-Iñiguez Archdiocese of Guadalajara, Mexico i Ecce Mater Tua 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.
    [Show full text]
  • Marian Stations of the Cross
    MARIAN STATIONS OF THE CROSS ST. LOUISE PARISH GATHERING SONG At The Cross Her Station Keeping (Stabat Mater Dolorosa) 1. At the cross her station keeping, 3. Let me share with thee his pain, Stood the mournful Mother weeping, Who for all my sins was slain, Close to Jesus to the last. Who for me in torment died. 2.Through her heart, his sorrow sharing, 4. Stabat Mater dolorósa All his bitter anguish bearing, Juxta crucem lacrimósa Now at length the sword has passed. Dumpendébat Fílius. Text: 88 7; Stabat Mater dolorosa; Jacapone da Todi, 1230-1306; tr. By Edward Caswall, 1814-1878, alt. OneLicense #U9879, LicenSingOnline FIRST STATION SECOND STATION L: Jesus is condemned to death L: Jesus carries his Cross All: The more I belong to God the more I will be condemned. (Matthew 5:10) All: I must carry the pain that is uniquely mine if I want to be a follower of Jesus. L: We adore You, O Christ, and we praise You. (Matthew 27:28-31) (GENUFLECT) L: We adore You… (GENUFLECT) All: Because by your holy Cross You have redeemed the world. All: Because by your holy Cross... L This can’t be happening…. L: I look at my Son… All: Hail Mary, full of grace. The Lord is with you. Blessed are you among women and blessed All: Hail Mary… is the fruit of your womb, Jesus. Holy Mary, Mother of God, pray for us sinners, now and Sing: Remember your love and your faithfulness, at the hour of our death. Amen O Lord.
    [Show full text]
  • 2018 Bibliography
    University of Dayton eCommons Marian Bibliographies Research and Resources 2018 2018 Bibliography Sebastien B. Abalodo University of Dayton, [email protected] Follow this and additional works at: https://ecommons.udayton.edu/imri_bibliographies eCommons Citation Abalodo, Sebastien B., "2018 Bibliography" (2018). Marian Bibliographies. 17. https://ecommons.udayton.edu/imri_bibliographies/17 This Bibliography is brought to you for free and open access by the Research and Resources at eCommons. It has been accepted for inclusion in Marian Bibliographies by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Marian Bibliography 2018 Page 1 International Marian Research Institute University of Dayton, Ohio, USA Bibliography 2018 English Anthropology Calloway, Donald H., ed. “The Virgin Mary and Theological Anthropology.” Special issue, Mater Misericordiae: An Annual Journal of Mariology 3. Stockbridge, MA: Marian Fathers of the Immaculate Conception of the B.V.M., 2018. Apparitions Caranci, Paul F. I am the Immaculate Conception: The Story of Bernadette of Lourdes. Pawtucket, RI: Stillwater River Publications, 2018. Clayton, Dorothy M. Fatima Kaleidoscope: A Play. Haymarket, AU-NSW: Little Red Apple Publishing, 2018. Klimek, Daniel Maria. Medjugorje and the Supernatural Science, Mysticism, and Extraordinary Religious Experience. New York: Oxford University Press, 2018. Maunder, Chris. Our Lady of the Nations: Apparitions of Mary in Twentieth-Century Catholic Europe. Oxford: Oxford University Press, 2018. Musso, Valeria Céspedes. Marian Apparitions in Cultural Contexts: Applying Jungian Concepts to Mass Visions of the Virgin Mary. Research in Analytical Psychology and Jungian Studies. London: Routledge, 2018. Also E-book Sønnesyn, Sigbjørn. Review of William of Malmesbury: The Miracles of the Blessed Virgin Mary.
    [Show full text]
  • Magnificat Litany in the Name of the Father… Holy Mother Mary, We Lift
    Magnificat Litany In the Name of the Father… Holy Mother Mary, We lift before you the needs of Magnificat Ministry and implore your assistance and blessing. Grant us your own humility, trust and obedience. Empower, increase and anoint our visitations to produce fresh fervor and vision. Give us fruitfulness in old age and grace not to become weary in well doing. Show us new leaders as they come upon the horizon and give us the graces to exhort and encourage them. Give us strength and wisdom to navigate troubled waters and arrive at God’s perfect will in all that we do. Prune fruitless endeavors and show us areas where there must be decrease so that Jesus may increase. Carefully tend our Chapters in Formation. Watch over our dormant Chapters and empower them for new life in due season. Empower us to proclaim the gospel in truth and love. (Mention other specific needs for Chapters or region) Mother Mary, Present in Metairie, Womb of Magnificat Pray for us, your children! Jesus is Lord! May we always praise and adore Him! Christ, Our Light Shine in us and through us! Jesus, Bread of Life Sustain us in Your grace! Jesus, Joy of Our Hearts Fill us with Your love! Immaculate Heart of Mary Pray for us, your children! Magnificat, Mother of the Word Pray for us, your children! De Nuestra Senora de Guadalupe Ruega por nosotros, tus hijos! Maria Auxiliadora Ruega por nosotros, tus hijos! Maria Reina de la Paz Ruega por nosotros, tus hijos! Mary, Arc of the Covenant Pray for us, your children! Mary, Cause of Our Joy Pray for us, your children! Mary,
    [Show full text]
  • SAINT ALPHONSUS LIGUORI CATHOLIC CHURCH STATIONS of the CROSS
    SAINT ALPHONSUS LIGUORI CATHOLIC CHURCH STATIONS of the CROSS Why do we pray the Stations of the Cross? The Via Crucis (Way of the Cross) is a devotion, particularly appropriate during Lent, by which we meditate upon the final earthly journey of Christ. Jerusalem is the city of the historical Way of the Cross. In the Middle Ages the attraction of the holy places of the Lord's Passion caused some pilgrims to reproduce them in their own city. There is also an historical devotion to the “dolorous journey of Christ” which consisted of journeying from one church to another in memory of Christ's Passion. This last stage of Christ's journey is unspeakably hard and painful, but He completed it out of love for the Father and for humanity. As we pray the Stations of the Cross, we are reminded of our own journey towards heaven. We may also meditate upon the demands of following Christ, which include carrying our own “crosses.” Adapted from Directory on Popular Piety and the Liturgy #131-133 What is a Plenary Indulgence? The Catechism of the Catholic Church defines an indulgence as “a remission before God of the temporal punishment due to sins whose guilt has already been forgiven...” Obtaining an indulgence requires prescribed conditions (i.e. being in a state of grace) and prescribed works (see below). "An indulgence is partial or plenary as it removes either part or all of the temporal punishment due to sin." We can gain indulgences for ourselves or for the dead. CCC #1471 “To acquire a plenary indulgence it is necessary to perform the work to which the indulgence is attached and to fulfill the following three conditions [within several days]: sacramental confession, Eucharistic Communion, and prayer for the intention of the Sovereign Pontiff.
    [Show full text]
  • 82890-5 First Book Dvorak Jb.Indd 3 8/22/18 12:09 PM Pastorale from Czech Suite Op
    Contents Author’s Note i v Pastorale 1 Kyrie 2 Symphony No. 9, Mvt. IV (Theme) 3 Silhouettes 4 String Quintet No. 12 5 Prague Waltzes 6 Romance 7 Symphony No. 8, Mvt. IV (Theme) 8 Waltz 9 Romantic Pieces 1 0 Symphony No. 9, Mvt. I (Theme) 1 1 Song to the Moon 1 2 In a Ring! 1 4 Bacchanale 1 6 Songs My Mother Taught Me 1 7 Mazurka 1 8 Cypresses 2 0 Cello Concerto 2 1 Grandpa Dances with Grandma 2 2 Mazurka 2 4 Stabat Mater 2 6 The Question 2 7 Chorus of the Water Nymphs 2 8 Capriccio 2 9 The Water Goblin 3 0 Ballade 3 1 Serenade for Strings 3 2 Dumka 3 3 The Noon Witch 3 4 Symphony No. 9, Mvt. II (Largo) 3 6 Serenade for Wind Instruments 3 7 Slavonic Dances 3 8 Violin Concerto Mvt. I 3 9 Violin Concerto Mvt. II 4 0 Six Piano Pieces 4 2 Humoresque 4 4 82890-5 First Book Dvorak jb.indd 3 8/22/18 12:09 PM Pastorale from Czech Suite Op. 39 A pastorale is a musical composition intended to evoke images of nature and the countryside. This rustic melody is supported by a static left hand playing an open fifth (C–G). The effect is known as a drone and is reminiscent of old folk instruments. 1 82890-5 First Book Dvorak jb.indd 1 8/22/18 12:09 PM Kyrie from Mass Op. 86 The Kyrie is the traditional first movement of the Mass.
    [Show full text]
  • A Conductor's Analysis of Amaral Vieira's Stabat Mater, Op.240: an Approach Between Music and Rhetoric Vladimir A
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 A conductor's analysis of Amaral Vieira's Stabat Mater, op.240: an approach between music and rhetoric Vladimir A. Pereira Silva Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Pereira Silva, Vladimir A., "A conductor's analysis of Amaral Vieira's Stabat Mater, op.240: an approach between music and rhetoric" (2005). LSU Doctoral Dissertations. 3618. https://digitalcommons.lsu.edu/gradschool_dissertations/3618 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A CONDUCTOR’S ANALYSIS OF AMARAL VIEIRA’S STABAT MATER, OP. 240: AN APPROACH BETWEEN MUSIC AND RHETORIC A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Vladimir A. Pereira Silva B.M.E., Universidade Federal da Paraíba, 1992 M. Mus., Universidade Federal da Bahia, 1999 May, 2005 © Copyright 2005 Vladimir A. Pereira Silva All rights reserved ii In principio erat Verbum et Verbum erat apud Deum et Deus erat Verbum. Evangelium Secundum Iohannem, Caput 1:1 iii ACKNOWLEDGMENTS This dissertation would have not been possible without the support of many people and institutions throughout the last several years, and I would like to thank them all for a great graduate school experience.
    [Show full text]
  • 2013 Bibliography Gloria Falcão Dodd University of Dayton, [email protected]
    University of Dayton eCommons Marian Bibliographies Research and Resources 2013 2013 Bibliography Gloria Falcão Dodd University of Dayton, [email protected] Follow this and additional works at: http://ecommons.udayton.edu/imri_bibliographies eCommons Citation Dodd, Gloria Falcão, "2013 Bibliography" (2013). Marian Bibliographies. Paper 3. http://ecommons.udayton.edu/imri_bibliographies/3 This Bibliography is brought to you for free and open access by the Research and Resources at eCommons. It has been accepted for inclusion in Marian Bibliographies by an authorized administrator of eCommons. For more information, please contact [email protected]. Bibliography 2013 Arabic Devotion Lūriyūl.; Yūsuf Jirjis Abū Sulaymān Mutaynī. al-Kawkab al-shāriq fī Maryam Sulṭānat al-Mashāriq : yashtamilu ʻalá sīrat Maryam al-ʻAdhrāʼ wa-manāqibihā wa-ʻibādatihā wa-yaḥtawī namūdhajāt taqwiyah min tārīkh al-Sharq wa-yunāsibu istiʻmāl hādhā al-kitāb fī al-shahr al-Maryamī. Bayrūt: al-Maṭbaʻah al-Kāthūlīkīyah, 1902. Ebook. Music Jenkins, Karl. UWG Concert Choir and Carroll Symphony Orchestra performing Stabat Mater by Karl Jenkins. Carrollton, Georgia: University of West Georgia, 2012. Cd. Aramaic Music Jenkins, Karl. UWG Concert Choir and Carroll Symphony Orchestra performing Stabat Mater by Karl Jenkins. Carrollton, Georgia: University of West Georgia, 2012. Cd. Catalan Music Llibre Vermell: The Red Book of Montserrat. Classical music library. With Winsome Evans and Renaissance Players. [S.l.]: Celestial Harmonies, 2011. eMusic. Chinese Theology Tian, Chunbo. Sheng mu xue. Tian zhu jiao si xiang yan jiu., Shen xue xi lie. Xianggang: Yuan dao chu ban you xian gong si, 2013. English Apparitions Belli, Mériam N. Incurable Past: Nasser's Egypt Then and Now.
    [Show full text]
  • My Life with Mary
    MyMy LifeLife WWithith MarMaryy a book of daily prayers My Life with Mary : The Prayer-Booklet is Mary's gift to you, inviting you to join Her in a spir- itual adventure of grace, mercy, consolation and love: to walk with Her along the way to Salvation; to cooperate with Her work as Mediatrix of all grace and Corredemptrix of mankind. May this prayer-booklet be a tiny instrument to help you live your daily life as a litt- le child of Mary, so that you may know the surpassing consolations hidden in Christ Jesus, Our Lord. “My Life With Mary” is an apostolate that seeks to make Mary better known, loved, and served. If you would like another copy of this prayer-booklet, or to support our work, write and/or send your offering to: My Life With Mary POB 123 Mansfield, MA 02048 USA It is our goal to publish this prayer booklet in other languages. If you can help, please contact us. All who receive, use and/or distribute this booklet share in the masses offered for the "Little Children of Mary" Mass League: therefore we kindly ask that this booklet not be dis- tributed commercially.Ave Maria ! Morning Prayers In the Name of the Father, and of the Son, and of the Holy Ghost. Amen. The Angelus first recited in a Franciscan Monastery in Tuscany, circa A.D. 1245 V. The Angel of the Lord declared unto Mary. R. And She conceived by the power of the Holy Ghost. Hail Mary . (See page 12) V. Behold the handmaid of the Lord: R.
    [Show full text]
  • BATES, JAMES M., DMA Music in Honor of the Virgin Mary
    BATES, JAMES M., D.M.A. Music in Honor of the Virgin Mary during the Middle Ages and Renaissance. (2010) Directed by Dr. Welborn Young. 50 pp. Veneration of the Virgin Mary was one of the most important aspects of Christianity during the Middle Ages and Renaissance, and sacred music of the time incorporated many Marian concepts. The Virgin Mary was considered the greatest intercessor with God and Christ at a time when fear of Purgatory was strong. Prayers and devotions seeking her aid were among the most significant aspects of spiritual life, and texts of this kind were set to music for devotional use. Beyond her identity as intercessor, there were many additional conceptions of her, and these also found musical expression. The purpose of this study was, first, to explore the basic elements of Marian devotion, and, second, to examine how veneration of Mary was expressed musically. Seven musical compositions from c. 1200-1600 are examined as representative examples. The ―Marian aspects‖ of some compositions may be as straightforward as the use of texts that address Mary, or they may be found in musical and textual symbolism. Of special interest is a particular genre of motet used in private devotions. Precise and detailed information about how sacred music was used in the Middle Ages and Renaissance is scarce, but evidence related to this particular kind of devotional motet helps bring together a number of elements related to Marian meditative practices and the kind of physical settings in which these took place, allowing a greater understanding of the overall performance context of such music.
    [Show full text]