The Pentecost Sequence

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The Pentecost Sequence Pentecost is the culmination of the Easter season and the celebration of the giving of the Holy Spirit to the followers of Christ. As part of the day’s liturgy, the sequence Veni, Sancte Spiritus, or “Come, Holy Spirit,” is prayed. This sequence is part of a number of hymns/ poems that were composed in the Middle Ages. The sequence, which is from the Latin sequentia, meaning “that which follows,” was originally written to follow the Gospel Acclamation or Alleluia. The sequence was intended to extend and therefore emphasize the message of the Gospel Acclamation verse. The sequence also had a practical application: it offered musical accompaniment for an extended procession by the deacon with the Book of the Gospels. By the twelfth century, hundreds of these sequences were sung during Mass. The pre– and post–Vatican II reforms changed the order of the sequence so that it now is prayed before the Gospel Acclamation. The number of sequences in the liturgy has been reduced to four: Victimae Paschali Laudes on Easter; Veni, Sancte Spiritus on Pentecost; Lauda Sion Salvatorem on Corpus Christi; and Stabat Mater on the Memorial of Our Lady of Sorrows, September 15. The use of two of these sequences, the Victimae Paschali Laudes and Veni, Sancte Spiritus, is mandatory in the In the Pentecost Sequence, Veni, Sancte Spiritus, we pray liturgy. Veni, Sancte Spiritus is a beautiful hymn/poem for guidance from the Holy Spirit. that can be prayed to the Holy Spirit, any day of the year. Come, Holy Spirit, come! Where you are not, we have naught, And from your celestial home Nothing good in deed or thought, Shed a ray of light divine! Nothing free from taint of ill. Come, Father of the poor! Heal our wounds, our strength renew; Come, source of all our store! On our dryness pour your dew; Come, within our bosoms shine. Wash the stains of guilt away: You, of comforters the best; Bend the stubborn heart and will; You, the soul’s most welcome guest; Melt the frozen, warm the chill; Sweet refreshment here below; Guide the steps that go astray. In our labor, rest most sweet; On the faithful, who adore Grateful coolness in the heat; And confess you, evermore Solace in the midst of woe. In your sevenfold gift descend; O most blessed Light divine, Give them virtue’s sure reward; Shine within these hearts of yours, Give them your salvation, Lord; And our inmost being fill! Give them joys that never end. Amen. Alleluia. Connecting the Liturgy with Our Lives © 2019 Archdiocese of Chicago: Liturgy Training Publications. 800-933-1800; www.LTP.org. Text by Kathy Kuczka. 38 Art by James B. Janknegt. The translation of Veni, Sancte Spiritus is taken from The Roman Missal approved by the National Conference of Catholic Bishops of the United States © 1964 by the National Catholic Welfare Conference, Inc. All rights reserved. Permission to publish granted by the Archdiocese of Chicago on October 25, 2018..

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Marian Sawa (1937–2005)Music for Organ 1 Sequence I, “Dies irae” (1996) 11:44 2 Resurrection (1975) 6:53 3 Aria (1971) 7:17 4 Passacaglia II (2005) 9:51 5 Three Dances in Old Style (1998) 5:39 Suite (1980) 15:39 6 I. Adagio 4:38 7 II. Scherzando 2:20 8 III. Tranquillo 4:46 9 IV. Con brio 2:04 10 V. Presto 1:52 11 Fantazja Jasnogórska (1996) 6:26 12 Łomza Prayer (2004) 5:39 13 Sequence II, “Victimae paschali laudes” (1996) 7:04 TOTAL PLAYING TIME: 76:18 Carson Cooman Organ of Propsteikirche St. Ludgerus, Billerbeck, Germany (Orgelbau Fleiter, 2014) Model by Jiří Žůrek, 2020. Recorded via the Hauptwerk system. The Composer Marian Sawa was born January 12, 1937 in Krasnystaw, Poland and died April 27, 2005 in Warsaw. From 1951 to 1955, Sawa studied at the Salesian Organ School in Przemyšl. Feliks Rączkowski (1906–1989), who taught organ in Warsaw, was a graduate of the Salesian School and, on one of his return visits to Przemyšl, he was very impressed by the immense talent of one of the young students, Marian Sawa. Rączkowski invited Sawa to come to Warsaw for further study, and simply in order to teach him, Rączkowski joined the faculty at the Józef Elsner Secondary Music School. Upon Sawa’s graduation in 1958, he joined Rączkowski’s organ class at the F. Chopin Music Academy. From 1956 to 1966, Sawa was the organist of the garrison church (Field Cathedral of the Polish Army) in Warsaw. Sawa’s career as an educator focused primarily on his specialty of organ improvisation and began in 1966 at the Elsner School.
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BATES, JAMES M., DMA Music in Honor of the Virgin Mary
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Burkholder/Grout/Palisca, Ninth Edition, Chapter 10 18 Chapter 10
18 11. (219) What is the Lied technique? Chapter 10 Sacred Music in the Era of the Reformation 12. What is a choral motet? 1. [213] Protestant reformers tried to involve the congregation resulting in new forms such as the 13. (220) What is cantional style? Why that term? ___________ in the Lutheran Church, the __________ in the Calvinist Church, and the ____________ in the Anglican Church. 14. How many chorale melodies were there by 1600? 2. (212) What were the three branches and where did they exist? 15. What is the doctrine of Calvin? 16. The Calvin Church was centered at _________. What were the offshoots? 3. (213) Summarize Luther's religious beliefs in light of his humantistic education. 17. What about music in the church? 4. He changed the language from _________ to ___________, but kept some of the Catholic liturgy and 18. What are metrical psalms? What is a psalter? music. 5. (216) Luther's musical background included what? 19. (221) TQ: "Or sus, serviteurs du Seigneur" as "Old Hundreth" would be an example of what? 6. Why congregational singing? 20. T/F The different denominations held inviolate their music and would not allow it to be contaminated by 7. Was a Lutheran liturgy strictly adhered to? influx from other congregations. 8. Describe the chorale in Luther's time. 21. (222) TQ: (SR) What is your impression of the SR compared to Luther's SR a couple pages back? 9. (217) What are the four sources of chorales? Veni Redemptor gentium to Nun komm, der Heiden Heiland is an example of what? (218) Victimae paschali laudes to 22.
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Victimae Paschali Laudes (Also Known As the “Easter Sequence”) Is an Ancient Expression of the Church’S Worship During the Easter Octave (I.E., Eight-Day Feast)
Victimae paschali laudes (also known as the “Easter Sequence”) is an ancient expression of the Church’s worship during the Easter Octave (i.e., eight-day feast). It has remained an official element of the Easter liturgies since its composition in the eleventh century. Today, it is one of five similar “sequences,” the others being employed at the celebrations of Pentecost, Corpus Christi, Our Lady of Sorrows, and the Requiem Mass. Victimae paschali laudes is an obligatory element of the Easter Sunday Mass, but it can also be chanted every day during the Easter Octave to highlight the supreme importance of this solemnity. The text of Victimae paschali laudes is included below. The left-most column contains the authoritative (and perennially-valid) Latin text, the middle column contains a literal translation into English, and the right-most column contains the English version approved for current liturgical use. The traditional chant (with its Gregorian notation) is included on the following page. Original Latin Literal English Translation Approved for Liturgical Use Victimae paschali laudes Let Christians offer sacrificial Christians, to the Paschal Victim immolent Christiani. praises to the passover victim. offer sacrifice and praise. Agnus redemit oves: The lamb has redeemed the sheep: The sheep are ransomed by the Lamb; Christus innocens Patri The Innocent Christ has reconciled and Christ, the undefiled, reconciliavit peccatores. the sinners to the Father. hath sinners to his Father reconciled. Mors et vita duello Death and life contended Death with life contended: combat conflixere mirando: in a spectacular battle: strangely ended! dux vitae mortuus, the Prince of life, who died, Life's own Champion, slain, regnat vivus.
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Singing Our Faith Solemnity of Pentecost – May 20, 2018 It happens a few times a year – we sing an “extra hymn” after the second reading. Chances are it’s unfamiliar to the assembly because, well, they haven’t heard it for a year! This is known as the Sequence. This weekend, we sing the Pentecost Sequence “Veni, Sancte Spiritus,” translated “Come, Holy Spirit,” which is found below. So first, why the term “Sequence?” Centuries ago, the end of the Alleluia before the gospel would have a musical sequence that rose higher and higher at each repetition as the deacon or priest went up the steps of the ambo. The raising of the pitch mirrored the minister’s ascent to proclaim the gospel. Since Sequences have always been written in the form of hymns, they are also called “Prose,” which more accurately reflects their literary style. It’s also worth mentioning that, while we sing the Sequence before the gospel acclamation, the traditional place for the Sequence is after the alleluia (gospel acclamation), sort of like an extended gospel acclamation verse. The number of Sequences was significant by the time of the Council of Trent (1543–1563). The Pope St. Pius V Missal from 1570 reduced the many number of Sequences in the Roman Rite to four: Victimae Paschali Laudes for Easter (still required today) Veni Sancte Spiritus for Pentecost (still required today) Lauda Sion Salvatorem for Corpus Christi (optional today) Dies Irae for All Souls and in Masses for the Dead (optional today) "1 Singing Our Faith Solemnity of Pentecost – May 20, 2018 Nearly 150 years after St.
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Anthems Booklet Trinity 2018
New College Chapel Anthem Texts & Translations Trinity Term 2018 PLEASE DO NOT REMOVE FROM THE CHAPEL Introductory note exts of services in Chapel – Evensong, Compline and Sung TEucharist – may be found on the printed Service Cards in the stalls, and in the Books of Common Prayer, which also contain the Psalms. The Psalm for the day, sung at Evensong, is listed in the Music List. 3 Friday 20 April Regina caeli Cristobal de Morales (c.1500-1553) Regina caeli laetare, alleluia: Quia quem meruisti portare, alleluia: Resurrexit, sicut dixit, alleluia: Ora pro nobis Deum, alleluia. Be joyful, queen of heaven, alleluia: for the one you were worthy to bear, alleluia, is risen, as he said he would, alleluia. Pray to God for us, alleluia. Antiphon to the Blessed Virgin Mary in Paschal Time Saturday 21 April Terra tremuit William Byrd (c.1535-1623) Terra tremuit et quievit, dum resurgeret in iudicio Deus. Alleluia. The earth shook and was at peace, when God arose in judgement. Alleluia. Psalm 75: 9-10 ..... ..... 4 Saturday 21 April Christ rising again William Byrd (c.1535-1623) Christ rising again from the dead now dieth not. Death from henceforth hath no power on him. For in that he died, he died but once to put away sin; but in that he liveth, he liveth unto God. And so likewise, count yourselves dead unto sin, but living unto God in Christ Jesus our Lord. Christ is risen again, the first fruits of them that sleep. For seeing that by man came death, by man also cometh the resurrection of the dead.
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Victimae Paschali Lauda Editor's Notes
Victimae Paschali Lauda Editor’s Notes In this orchestra/choral work, Hilarión Eslava has taken a simple Gregorian chant written in 1048 and transformed it into showcase piece with a Spanish flair, contemporary for his time. A piece like this would typically only be performed on Easter Sunday. Victimae paschali laudes is a sequence prescribed for the Catholic of Easter Sunday. It is usually attributed to the 11th century Wipo of Burgundy, chaplain to the German Emperor Conrad II. Victimae Paschali Laudes is one of only four medieval sequences that were preserved in the Missale Romanum published in 1570 after the Council of Trent (1545-63). The three others were the "Veni Sancte Spiritus" for the feast of Pentecost, "Lauda Sion" for Corpus Christi, and the "Dies Irae" for the Requiem Mass. Eslava wrote music for these as well, although I have yet to find “Dies Irae”. Victimae Paschali Laudes is one of the few sequences that are still in liturgical use today. Its text was set to different music by many Renaissance and Baroque composers. LATIN LYRICS: Victimae paschali laudes immolent Christiani. Agnus redemit oves: Christus innocens Patri reconciliavit peccatores. Mors et vita duello conflixere mirando: dux vitae mortuus, regnat vivus. Dic nobis Maria, quid vidisti in via? Sepulcrum Christi viventis, et gloriam vidi resurgentis: Angelicos testes, sudarium, et vestes. Surrexit Christus spes mea: precedet vos in Galilea. Scimus Christum surrexisse a mortuis vere: tu nobis, victor Rex, miserere. Alleluya. ENGLISH TRANSLATION: May you praise the Paschal Victim, immolated for Christians. The Lamb redeemed the sheep: Christ, the innocent one, has reconciled sinners to the Father.
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20200412B.Pdf
April 5, 2020 Palm Sunday of the Passion of the Lord April 12, 2020 Our Lady of Grace and Saint Bernard Parish FATHER DAVE’S DESK Happy Easter! One of my favorite secular stories about Easter comes from an exchange between a father and his three year old daughter. A few weeks before Easter, her daddy took her to the mall for a new pair of shoes. As they walked through the mall, she said, “Daddy, I can’t wait for Easter!” Her dad responded, “But honey, do you know what Easter means?” The lile girl replied, “Yes.” “What does Easter mean?” said the father. In her own sweet way with a beaming smile on her face and at the top of the voice, she said, “Surprise!” What a powerful word to capture the mystery we celebrate today, “surprise!” Surprise death! Surprise sin! Surprise suﬀering! Surprise mourning disciples! Surprise humanity! Jesus is alive! He is risen! The gospel today, from John 20:1R9 is something you might want to read as Grace before your Easter meal. What a sur- prise it was for Mary of Magdalene to see that the stone had been removed from the tomb. The “other disciple” arrives at the tomb and sees the burial cloths but does not enter. Simon Peter then arrives and enters the tomb and sees the burial cloths but not Jesus. What a surprise! As the story unfolds they will come to know and understand that what suﬀering and death did to Jesus is nothing compared to what he did to it.
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Solemn Mass on Easter Sunday
SOLEMN MASS ON EASTER SUNDAY CELEBRANT ARCHBISHOP MALCOLM McMAHON OP THE EASTER TRIDUUM – EASTER SUNDAY THE RESURRECTION OF THE LORD 4 APRIL 2021 AT 11.00AM _______________________________________________________________________________________ ORDER OF MUSIC Introit Resurrexi: Gregorian Chant; words from Psalm 138:18,5-6 Gloria, Sanctus and Agnus Dei Messa a Tre Voci: music by Antonio Lotti (1667-1740) Alleluia Psalm 117 Mode VI: music Gregorian Chant Sequence Victimae Paschali: text attrib Wipo of Burgundy (11th cent); music Gregorian Chant, Mode I Gospel Acclamation: music Gregorian Chant, Mode VI Hymn O sons and daughters: words by Jean Tisserand OFM (d1494); trans by John Mason Neale (1818-1866) Communion Antiphon Pascha nostrum: music Gregorian Chant, mode VI People’s Communion Motet Haec Dies: music by Thomas Morley (1557-1602) _______________________________________________________________________________________ PLEASE ENSURE THAT MOBILE TELEPHONES ARE SWITCHED OFF The use of private cameras, video or sound equipment is strictly prohibited in the Cathedral 2 WHAT TO EXPECT AT MASS We have put in place some new measures to ensure a safe and welcoming environment for all. This may mean that Mass feels a little different to the way we are used to celebrating. Please read our guidelines below: WHEN YOU ARRIVE You will be welcomed by a volunteer steward. You will be directed to the hand sanitizer. All people entering church must wear a face covering at all times. You must adhere to social distancing guidelines in place. Any children accompanying you must do the same. Baskets will be available at the entrance (and exit) for your weekly envelopes or other contributions. There will also be contactless donation points available for those wishing contribute via debit card.
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I I University Microfilms, a XEROX Company, Ann Arbor, Michigan
INSTRUCTIONAL AND PERFORMANCE MATERIALS FOR TEACHING THE HISTORICAL DEVELOPMENT OF MUSICAL STYLE TO THE HIGH SCHOOL BAND STUDENT Item Type text; Dissertation-Reproduction (electronic) Authors Kreloff, Herschel Mayer, 1931- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 23/09/2021 15:45:37 Link to Item http://hdl.handle.net/10150/287730 |¥ 71-2^,886 I i". KRELOFF, Herschel Mayer, 1931- | INSTRUCTIONAL AND PERFORMANCE MATERIALS | FOR TEACHING THE HISTORICAL DEVELOPMENT OF I MUSICAL STYLE TO THE HIGH SCHOOL BAND I STUDENT. | The University of Arizona, A.Mus.D., 1971 I Music I University Microfilms, A XEROX Company, Ann Arbor, Michigan © 1971 HERSCHEL MAYER KRELOFF ALL RIGHTS RESERVED ill IHIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED INSTRUCTIONAL AND PERFORMANCE MATERIALS FOR TEACHING THE HISTORICAL DEVELOPMENT OF MUSICAL STYLE TO THE HIGH SCHOOL BAND STUDENT by Herschel Mayer Kreloff A Dissertation Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 19 7 1 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE I hereby recommend that this dissertation prepared under my direction by Herschel Mayer Kreloff entitled INSTRUCTIONAL AND PERFORMANCE MATERIALS FOR TEACHING- THE HISTORICAL DEVELOPMENT OF MUSICAL STYLE TO THE HIGH SCHOOL BAND STUDENT be accepted as fulfilling the dissertation requirement of the degree of Doctor of Musical Arts Q'%.
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Easter Sunday Chants
MUSIC FOR EASTER TRIDUUM Compilation of Chants to accompany the Liturgical Celebrations of the Easter Triduum EASTER SUNDAY OF THE RESURRECTION OF THE LORD AT MASS DURING THE DAY LITURGICAL MUSIC COMMITTEE (SINGAPORE) www.lmcsingapore.wordpress.com Not for sale or commercial distribution. The Gregorian Missal © 1990 St. Peter’s Abbey, Solesmes, France.. Chants of the Church – Selected Gregorian Chants (Modern Notation edition). Edited and compiled by the Monks of Solesmes, Interlinear Translations by Rev. Msgr. Charles E. Spence © 1953 Gregorian Institute of America, Gregorian Institute Publication. The Parish Book of Chant, 2nd Ed. (A Manual of Gregorian Chant and a Liturgical Resource for Scholas and Congregations). Prepared for The Church Music Association of America © 2012 Church Music Association of America, Creative Commons Attribution 3.0. ACKNOWLEDGEMENTS The Gregorian Missal © 1990 St. Peter’s Abbey, Solesmes, France. Chants of the Church – Selected Gregorian Chants (Modern Notation edition). Edited and compiled by the Monks of Solesmes, Interlinear Translations by Rev. Msgr. Charles E. Spence © 1953 Gregorian Institute of America, Gregorian Institute Publication. The Parish Book of Chant, 2nd Ed. (A Manual of Gregorian Chant and a Liturgical Resource for Scholas and Congregations). Prepared for The Church Music Association of America © 2012 Church Music Association of America, Creative Commons Attribution 3.0. Easter Sequence “Christians to the Paschal Victim”, poetic sequence for Easter, Victimae paschali laudes; fr. The Roman Missal © 1964, The National Catholic Welfare Conference, Inc. (now US Conference of Catholic Bishops). All rights reserved. Used with permission. Design, illustrations, typesetting by Kenneth Wee © 2016, Liturgical Music Committee, Singapore. Use with permission.
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Christ Ist Erstanden" Has a Long
?\ /'CHRIST 1ST ERSTANDEN:^ STUDY OF A GERMAN CHORALE TRADITION by KATHY SUE IRWIN B. A., Sterling College, Sterling, KS, 1983 A MASTER'S THESIS Submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music History KANSAS STATE UNIVERSITY Manhattan, Kansas 1986 Approved by: m c-- <£ CONTENTS Chapter I: From "Ruf" to "Lied" 1 Chapter II: Chorale Variants of Reformation Times 22 Chapter III : Rennaisance Polyphonic Settings 40 Bibliography 83 li Chapter One: From "Ruf" to "Lied" The German chorale "Christ ist erstanden" has a long, complex historical development and tradition in the German church. Evolved long before the Reformation, it was known and loved by Catholic and Protestant alike. References to "Christ ist erstanden," whether under the label of "chorale", "hymn", "Leise", or "Rufe" reach as far back into church records as the 1 twelfth-century. Always a possession of the people — or as Germans would say "Volk" — "Christ ist erstanden" has come to be cherished by German musicians as one of the oldest church songs 2 to originate in the German vernacular. To trace the growth of "Christ ist erstanden" into a chorale, we must examine various professional opinions of researchers, outright references to "Christ ist erstanden" in a wide variety of resources, and vague notations of traditions which may or may not actually refer to "Christ ist erstanden" which appear in the oldest sources. The first scholar to begin serious study on "Christ ist erstanden" was Hoffmann von Fallersleben; he was most instrumental in beginning the research of the chorale and publicizing it in 1832.
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