Ave Maris Stella No. 2

Total Page:16

File Type:pdf, Size:1020Kb

Ave Maris Stella No. 2 Ave maris stella no. 2. Toledo, OH: Ignaz Fischer, 1899 https://digital.library.wisc.edu/1711.dl/PDKHPMD5VBXNC8D http://rightsstatements.org/vocab/NKC/1.0/ The libraries provide public access to a wide range of material, including online exhibits, digitized collections, archival finding aids, our catalog, online articles, and a growing range of materials in many media. When possible, we provide rights information in catalog records, finding aids, and other metadata that accompanies collections or items. However, it is always the user's obligation to evaluate copyright and rights issues in light of their own use. 728 State Street | Madison, Wisconsin 53706 | library.wisc.edu (8 aE NY 1 ae Es SS} Be Vy Z , p : fa g V ‘ t n Y l | ee" ee i eS) FISCHER'S EDITION A ; > No. m~ Aor 1099. Haec Dies; for Male Chorus . j ; 2 : ec eae i ny ar hi. \ 1120. Exulta Sion; for Soprano, Alto, Tenor and Bass % +25 iN Wd 1150. Haec Dies; ‘“ fo ee bs eee z Saige) 2 y) ry 1230. Hymn for the Silver Jubilee of a Priest; Chorus 3 225 > 1239. Vemite Adoremus; for Soprano, Alto, Tenor and Bass. .35 \ B a 1244. Salve! Mundi Domina; Duet for Alto and Baritone . “75 A 1264. Christmas and Easter Carols; Unison or 2-part = «20 Vi CMO 1326. Hymns to the Sacred Heart and Holy Name of Jesus . 40 .@ [7 1355. Regima Coeli; (A) Soprano or Tenor Solo e : «#50 y 7 ) \ 1359. Lucis Creator; (B flat) for Soprano, Alto, Tenor and Bass .20 hy 4 1360. Alma Redemptoris ; (A) “ ve & ss oes -20 Soy y 1361. Ave Regina; (A flat) ‘ es i uf ESS 15 ea fe i 1364. Regina Coeli; (F) aa a et eae eee 4 os, By A f 1369. Ave Maris Stella; (F) “ =“ a aE ed orale 4 | 1370. Terra Tremuit; as ie € ss eee -20 Ney == Z 1371. Alma Redemptoris ; Soprano or Tenor Solo . je z -40 1395. Ave Maris Stella; (G) for Soprano, Alto, Tenor and Bass .12 by) 1396. 0 Salutaris; (F) te et eats aap ore eer )\ Gy (CA see 1397. Tantum Ergo; (A) ee ce Soe eee enTO) v Gow 1398. Tantum Ergo; (G flat) ‘“ ae iz ue nee 15 WY (US i 1420. O Salutaris; (A flat) for Soprano, Alto, Tenor and Bass. .15 4 1421. © Salutaris; (G) ‘“ a Soom ces 10 —, 1422. Tantum Ergo; (F) “ i ae Se eer 10) Ve 1423. Veni Sancte Spiritus; for Soprano, Alto, Tenor and Bass. .20 1424. Jesu Dulcis Memoria; *‘ ey Se setae peel 5) Vd G 1425. Placare Christe Servulis; ‘ e pre ie e | bS 1426. Ad Regias Agni Dapes; ee ee CI LAOS Nea | : 1427. Haec Dies; (G) No. 3 ‘ et es Ps eet en ge eo ~ Dive. 1428, Regina Ceeli; (A) No. 2 a es ect en <7 cole i a Published by 2 | 3 oy, J. fischer & Bro. ‘ New York Ignaz fischer - - - - - - Toledo, Ohio Van a) @ ee ~ ag a — 2? : I> € Seeaes > SF Cs i NO 2. Chorus. VICTOR HAMMEREL. Allegretto. = A _ Sopran. | (ee [A ___ Alto. ee ee a ceased cepuce dees tgemaleahes omic eat eh Ean enai Rtee ee E gg Teor. _— | eee cN B SS eS —— — ES ee a3. |e ee Allegretto. = a pe Ee ee 4 f 7? ; we eae aT | py r=) = pe eS ea SS eee reat a es Se ees Ais d?. es ee. ——————— er Ass= Ve; Mai-= * risi=—stel-= iy Dee a1 Ma_ - ter SOlas==_ve= “vin- -—— cla— -T6, = eae Ss Pro - fer lu - men Vite = 20 sin, pu. la, -* ris, Ine = _ter O = anes Gaggia ee ey ——— | SS as ee Se SS ee ee See » eS ES ES er ee (Ae = ve, Ma 9-7 ris) = Stel = alas Denali Ma - ter Soll = sve= vin. ela re = Eas, Pro. =— fer lu - men Witze= 70 — sine cue la = Tis, ins — ter Oo - mnes ee SS SS i ee ee ee 4 Se aa eee aa pe Oe tee et eee tt eet Ot ete eae et Bee Re ek dn ee ee ee ee = eS as a) eles line J. R&B. 1395-2 Copyright, (899, by F. Fischeré Bro. : 2 nf = ee ROS = ee Ee ee al - ma, At - que sem-per Vir - go, Fe - lix coe-li cae - cis, Ma - la no-stra pel - le, Bo - na cun-cta mi - tis, Nos cul-pis so- lu -_ tos Mi - tes fac et Ae mf 7S ee a Ss Sa a ee ae ee ed Sees eens oe! ee SS Se SS i 0 4 nf cg aa ene UN mrensemrnescelnieiecmnotipld Abasa-adc daeifitncabapemr aneaedeeoivees-acicseieag =e oeneE a ie ea [= = cere eS cea ee rae ee ea ee eee eee al - ma, At - que sem-per Vir - go, cae = cis, Ma - la no-stra pe - le, mi - .tis, Nos cul-pis so - lu - tos fi eo a mM pS ee or FE 4 4 po el gg ee et Oe an nn ee es fa eS a ee ee ee (od —_ L | bo | La ) ly 4 Se a SS ee Se SS SS | ) por - ta. Sa 3-)mens=—— 1S : = ud A - ve po - sce. Mon - stra_ te esse ma - trem, i ca -_ stos. Nie = tam— _ prae - ‘sta pu - ram, oY eS ‘ fore —— ye {) | {Ee Vee a SS SS SS ee SE ee |, SSS Fe - lixcoe-li por-ta. Sumens il - Iud A - ve Bo - na cun-cta po - sce Monstra te esse ma - trem, Mi - tes fac et ca-stos. Vi-tam prae - sta pu - ram, i a Bh age eel ree ecg epee need oeenceaseieeenenisinneaeibaoras eee eee eam [2 == 2 Sis ee = = Se ee Oo ee ee Q 4 —— = a ee pr are pec scents eel ode enlist ae => ee ee ee ee St | ee — +0 ie 6000 oO ee Oe tee a ee ee ES a =e st J.F & B. 1395-2 3 pt ee ee SS ee a | Ga - bri- e - lis Onee= cee re. Fun - da nos in pa - ce, | Su - mat per te pres ces, Qui pro no-bis .na - tus I - ter pa - ra tu - tun, Ut Mi -den-tes=- Je -- ‘sum A eee ee ee EI yee eee Oo ee 7? Ga - bri e - lis 0 - re, Fun - da nos in pa - ce, Su - mat per te pre - ces, Qui pro no - bis nas- tus Te = Her= pa, ra tu - tum, Ut vi- den-tes Je - sum a SS ee page ee ee es A eg pee ee Oe ee ee eg et Ete a Se pa gO Eg SS SS re oe SS ll SS 2 SS SS Lael hea a i es = Pet ee oe See Seay — ao aA SS SSS ee ee a ee ee ee ee ee Mu = - tans He - vae no - - men. Tu - lit es - se tu - - us. | Sem - per col - lace - te - - mur. 1 4 4 : na i ee ey eet & - a ig ee Pt | Mus - tans He - vae no - - men. | =< lit es - se tu - <= Bee | Sem: = per col - lae - te - - mur. | 6} ey - fa RE | tiaasceaecre aa LRT ig SS op eX ee Ee 0 4 AN ee a a ee ie ? # ON PF eo Sa eee a ea — 4 SSS a f , 4 Last Verse. a ee oe : a SS ee ee oe e Sit *, lqus = De — —- <0 Pa - =. ttl, . Sum - mo Chri a - : sto i [9 ee ey ee ea ye Sg eg | SS ee ee = eee eee (= eS ee "eg = Fe ge gg pos a ee ee ee ee ee eee Sit laus-- De = 0 Pa>= = trl, Sum - mo Chri - sto —— —— — SS ea ee = a ee ee ee a ee ee eet Ba Oe Oe ee ee a Ap a a a ed : a a ca el cere Ee at ae i a a on a a es ee a en a a Oe toe ~ ee ee ——— Fc a I Re aR ee dca Ne ce De Be ee et haan na a ae a 7 —_@_ afta a ee eee ee ae ee ee te eee ee eee es re —— = a es —— me a feel Sees 44 —— ee a ee ee et en i Ea ee ee ee ee Oe ee : des = cus: Spi.=. riztusi san = -> cto; . Tri = bus honor : a Nae eg gg ge eet Se 4 4 a } ——— 1 7 rr Ae OO SS a Od Oe de - cus Spi.- ri-tu-i san - cto, Tri - bus honor : epee pemnpea cement geoeaoraenlk ic puarpacsooeonanrcndaad eens ocean Aa saseiga seiceciomintaademnd denser ooocic tee sone beens ae SS ee a ee ee cana amma soca mses eae oes ct tae a els Dinko eee oe emer esa oopeeaceeahsaonensdoe th cain ooerisaeceametoo ee Ae See Ad eats SESE AN = F ee ae ee a Oe ee Ee ee eee gece eenionein dae od lleeepein a re a an deena pF 8 8 eS i= | = _———. _———. ~~ OE —<—_——_——. J et Te t as a a a eo o_o ee 1\—} ect —} ta oa} a py p rail. a apes eee ee ae ca ee ee ee A 9 SaaS u = nus. A = men, A = men, ————— > pat ee a ed j a — ee etl eel po Dg TE ioe A ye p rall. Se a a a et een = SS SS SSS Oe ee ee OO a a u = nus. A S men, A eS men ye a SS ee ees se ee ee ee ea en a SS eS Ee en Soe 4-4 — i eS a Se ee Ee ee OT ise SS eee ee eet : o_O Pe. ese P a rail.
Recommended publications
  • Ave Maris Stella Hans Sachs Und Maria Im Spannungsfeld Von Tradition, Innovation Und Reformation
    Anja Becker, Julia Schmeer Ave maris stella Hans Sachs und Maria im Spannungsfeld von Tradition, Innovation und Reformation Mit einer Vorüberlegung zum Analysieren vormoderner Übersetzungen Andreas Kraß hat in seinen Studien zu deutschen Übersetzungen lateinischer Sequenzen, insbesondere des Stabat mater dolorosa, darauf hingewiesen, dass mittelalterlich-volkssprachliches Übersetzen sich als Adaptation vollzieht: Der Prätext werde hierbei an die konkrete Lebenssituation der zeitgenössischen Rezipienten angepasst, wobei vornehmlich pragmatische, literaturhistorische und frömmigkeitsgeschichtliche Faktoren bestimmend seien.1 Die meisten deut- schen Sequenzübersetzungen emanzipieren sich deutlich von ihren lateini- schen Vorlagen,2 daneben gibt es aber auch solche Versionen, die sich dem Prätext subordinieren, Kraß bezeichnet diese als ‚glossierende Adaptationen‘.3 In diesem Beitrag sollen Übersetzungen des Marienhymnus Ave maris stella untersucht werden. Im Allgemeinen kann man feststellen, dass sich volks- sprachliche Übertragungen lateinischer Hymnen weitaus weniger von ihren lateinischen Vorlagen emanzipieren, als dies bei deutschen Sequenzüberset- zungen der Fall ist. Hier kommt die besondere Dignität und Erhabenheit des Hymnus zum Tragen, immerhin stellte bereits Augustin die feierlichen Preislie- der Gottes auf eine Stufe mit den Psalmen.4 Das manifeste Bestreben, diese heiligen, im monastischen Stundengebet verankerten Gesänge möglichst un- verändert in die Volkssprache zu übersetzen, verwundert deshalb nicht. Der dominant subordinative
    [Show full text]
  • A Conductor's Analysis of Selected Motets by Rihards Dubra Kevin Doyle Smith Louisiana State University and Agricultural and Mechanical College, [email protected]
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2004 The ts yle of meditation: a conductor's analysis of selected motets by Rihards Dubra Kevin Doyle Smith 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 Smith, Kevin Doyle, "The ts yle of meditation: a conductor's analysis of selected motets by Rihards Dubra" (2004). LSU Doctoral Dissertations. 1235. https://digitalcommons.lsu.edu/gradschool_dissertations/1235 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]. THE STYLE OF MEDITATION: A CONDUCTOR’S ANALYSIS OF SELECTED LATIN MOTETS BY RIHARDS DUBRA A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fullfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Kevin Doyle Smith B. S., Eastern Nazarene College, 1994 M. S. M., Emory University, 1999 August 2004 Acknowledgements Thank you to my family, Mendy and Brendan, for all of the sacrifices that you both have made to help me achieve my goals and live my dreams. Without your love, support, and understanding none of this would have been possible. Thank you to Ken Fulton, Sara Lynn Baird, Allison McFarland, Bill Grimes, and Jindong Cai for their dedication to this research and to me.
    [Show full text]
  • Pentecost Sunday
    Solemnity of Pentecost Cathedral Basilica of Saints Peter and Paul and the Shrine of Saint Katharine Drexel Philadelphia, Pennsylvania May 23, 2021 Prelude Prelude on “Veni creator spiritus” Libby Larsen Introductory Rites Entrance Come, Holy Ghost LAMBILLOTTE Sign of the Cross and Greeting 9:30 & 11:00 AM Cathedral Basilica Schola Chant English translation, sung in Latin The Spirit of the Lord has filled the whole world, alleluia; and that which contains all things, know every language spoken by men, alleluia, alleluia, alleluia. V. Let God arise, and let his enemies be scattered; and let those who hate him flee before his face. Penitential Act 8:00 AM only Chant Blessing and Sprinkling of Water I Saw Water Flowing David Hurd 2 Gloria Mass of Saints Peter and Paul Normand Gouin Choir or Cantor: Collect 3 Palm Sunday: The Passion of the Lord 14 Þxed Liturgy of the Word Word and Song Page 215, Vigil Mass Page 209 First Reading 5:15 PM Vigil Mass Genesis 11:1-9 It was called Babel because there the Lord confused the speech of all the world. Masses during the Day Acts 2:1-11 They were all filled with the Holy Spirit and began to speak. Responsorial Psalm PsalmPentecost 104 Luke Mayernik 6 & 8 ú. œ. œ œ œ œ #œ ‰ nœ œ œ œ. bœ œ ú. Lord, send out your Spir - it,œ andœ reœ - new the face of the earth. Refrain Copyright © 1969, 1981, 1997, International Commission on English in the Liturgy Corporation Music by Luke Mayernik, Copyright © 2017 Birnamwood Publications, A division of MorningStar Music Publishers, Inc.
    [Show full text]
  • Ave Maris Stella” (1610)
    “In the Flesh as Well as in Spirit”1: (Meta) Physical Embodiment in Monteverdi’s setting of “Ave Maris Stella” (1610) Gordon Haramaki San José State University In 1610 Monteverdi published his setting of the plainchant hymn, “Ave maris stella” as part of his massive Vespro della Beata Vergine. Based on the thirteenth-century hymn used for vespers on the feast days of the Virgin Mary and of other female saints, the words are in seven litany-like verses that open with praise for the Virgin Mary, implore for intercession in the central verses, and end with a doxological commendation of the Trinity (ex. 1 and 2). Example 1. Monteverdi’s version of the plainchant “Ave maris stella” Example 2. The text of “Ave maris stella” 1 Ave maris stella, Hail, star of the sea, Dei mater alma, Mother of God, atque semper Virgo, and ever Virgin felix coeli porta. joyful gate of heaven. 2 Sumens illud Ave, Receiving that “Ave” Gabrielis ore, spoken by Gabriel funda nos in pace, and reversing the name “Eva” mutans Evae nomen. establish peace in our lives. 1 Jacobus de Voragine, The Golden Legend: Readings on the Saints, trans. by William Granger Ryan (Princeton, New Jersey, 1993) I, 82-83. “In Saint Elizabeth’s Revelations we read that once when the saint was rapt in ecstasy, she had a vision…Not long afterwards Elizabeth asked the angel with whom she frequently talked what the vision had meant. The angel answered: “You were shown how our Lady was assumed into heaven in the flesh as well as in spirit.” American Musicological Society Annual Conference Indianapolis, November 4, 2010 3 Solve vincia reis, Loose the bonds of sin, profer lumen caecis, bring light to the blind, mala nostra pelle, destroy our wickedness, bona cuncta posce, pray for all that is good.
    [Show full text]
  • Trent 91; First Steps Towards a Stylistic Classification (Revised 2019 Version of My 2003 Paper, Originally Circulated to Just a Dozen Specialists)
    Trent 91; first steps towards a stylistic classification (revised 2019 version of my 2003 paper, originally circulated to just a dozen specialists). Probably unreadable in a single sitting but useful as a reference guide, the original has been modified in some wording, by mention of three new-ish concordances and by correction of quite a few errors. There is also now a Trent 91 edition index on pp. 69-72. [Type the company name] Musical examples have been imported from the older version. These have been left as they are apart from the Appendix I and II examples, which have been corrected. [Type the document Additional information (and also errata) found since publication date: 1. The Pange lingua setting no. 1330 (cited on p. 29) has a concordance in Wr2016 f. 108r, whereti it is tle]textless. (This manuscript is sometimes referred to by its new shelf number Warsaw 5892). The concordance - I believe – was first noted by Tom Ward (see The Polyphonic Office Hymn[T 1y4p0e0 t-h15e2 d0o, cpu. m21e6n,t se suttbtinigt lneo] . 466). 2. Page 43 footnote 77: the fragmentary concordance for the Urbs beata setting no. 1343 in the Weitra fragment has now been described and illustrated fully in Zapke, S. & Wright, P. ‘The Weitra Fragment: A Central Source of Late Medieval Polyphony’ in Music & Letters 96 no. 3 (2015), pp. 232-343. 3. The Introit group subgroup ‘I’ discussed on p. 34 and the Sequences discussed on pp. 7-12 were originally published in the Ex Codicis pilot booklet of 2003, and this has now been replaced with nos 148-159 of the Trent 91 edition.
    [Show full text]
  • Introduction to Instalment 2
    89 INTRODUCTION TO INSTALMENT 2 This instalment of the Trent 91 edition concentrates on functional chant settings, most of which are probably the work of the ‘chief mind’ of the Trent 91 paraphrase collection. The Dedication Propers (nos 22-27) are similar to the Salve festa dies and Sedit angelus settings given in my previous editions: the Superius-based chant is barely elaborated at all except at cadence-points. But the Dedication Propers tend to have dispensable Contra primus voices, and in other instances amongst these settings the Contra primus is almost dispensable. This leads me to the suspicion that these pieces might have been mostly worked out in three- voice form before the fourth parts were added. The Gradual, Alleluia and Offertory settings (nos 23, 24 and 26) are notably extended, with devices such as faster-moving lower voices and lower-voice motivic imitation enriching the texture (although some of this imitation might be fortuitous, given the way that the four-part texture may have been created). Also, the way in which the fourth part has been added sometimes creates diminished fifths (see no. 26, 106-108 and no. 27 at 6). Little more need be said about these settings except that their similarity and their copying together in Trent 91 are persuasive that they were a specially composed set, even if they are slightly disordered in the manuscript. Perhaps the stylistically similar Dedication hymn setting (no. 28) was also part of this set. A longish search through fifteenth-century sources also reveals that these may be the earliest extant complete set of polyphonic Dedication Propers.
    [Show full text]
  • The FEAST of PENTECOST
    Liturgy at Saint Thomas Aquinas Church The FEAST OF PENTECOST Introit: Spiritus Domini Spiritus Domini replevit orbem terrarum, alleluia: et hoc quod continet omnia, scientiam habet vocis, alleluia, alleluia, alleluia. Ps. Exsurgat Deus, et dissipentur inimici eius: et fugiant, qui oderunt eum, a facie eius.. The Spirit of the Lord has filled the whole world and that which contains all things understands what is said, alleluia. Ps. Let God arise, and let his enemies be scattered; and let those who hate him flee before his face. [Or] Processional: Come Holy Ghost Penitential Rite: Kyrie (adapt. Richard Proulx) (© 1986 by G.I.A. Publications., Inc.. All rights reserved. Reprinted under OneLicense.net A-722818.) 2 Gloria: Mass of Our Lady of Guadalupe – Aristotle Esguerra (© 2011, 2013 by Aristotle Esguerra. All rights reserved. This digital edition is licensed under a Creative Common Attribution-nonCommercial-ShareAlike unported 3.0 License. 3 Liturgy of the Word First Reading: Acts 2: 1-11 When the time for Pentecost was fulfilled, they were all in one place together. And suddenly there came from the sky a noise like a strong driving wind, and it filled the entire house in which they were. Then there appeared to them tongues as of fire, which parted and came to rest on each one of them. And they were all filled with the Holy Spirit and began to speak in different tongues, as the Spirit enabled them to proclaim. Now there were devout Jews from every nation under heaven staying in Jerusalem. At this sound, they gathered in a large crowd, but they were confused because each one heard them speaking in his own language.
    [Show full text]
  • Come, Thou Holy Spirit Anthem for Whitsuntide by Alan Gray VOCAL / ORGAN SCORE 2
    1 Come, thou holy spirit Anthem for Whitsuntide By Alan Gray VOCAL / ORGAN SCORE 2 This score is in the Public Domain and has No Copyright under United States law. Anyone is welcome to make use of it for any purpose. Decorative images on this score are also in the Public Domain and have No Copyright under United States law. No determination was made as to the copyright status of these materials under the copyright laws of other countries. They may not be in the Public Domain under the laws of other countries. EHMS makes no warranties about the materials and cannot guarantee the accuracy of this Rights Statement. You may need to obtain other permissions for your intended use. For example, other rights such as publicity, privacy or moral rights may limit how you may use the material. You are responsible for your own use. http://rightsstatements.org/vocab/NoC-US/1.0/ Text written for this score, including project information and descriptions of individual works does have a new copyright, but is shared for public reuse under a Creative Commons Attribution NonCommercial (CC BY-NC 4.0 International) license. https://creativecommons.org/licenses/by-nc/4.0/ Cover Image: “Pentecostés” by Juan Bautista Mayno, 1615/1620 (Museo del Prado) 3 The “renaissance” in English music is generally agreed to have started in the late Victorian period, beginning roughly in 1880. Public demand for major works in support of the annual choral festivals held throughout England at that time was considerable which led to the creation of many large scale works for orchestra with soloists and chorus.
    [Show full text]
  • The Marian Library Newsletter: Vol. 15, No. 3
    ;IC(('} 1./f 3,3 ,..d-....7-~~/ UNIVERSITY OF DAYTON i MARIAN LIBRARY DAYTON 9, OHIO Volume XV - Number 3 F ebruory, 1960 Classifying Marian Bn:,ks Frequently during the past year, the Mari&.t Library has received requests for a classification scheme for books relative to our Lady. This issue of the Newsletter is thus devoted to a revision of a schedule published by the former Marian Librarian, Brother Stanley Mathews, s. M. If your library has added many volumes on Mary, the following scheme, a simplified version of the clasr-lification used in the Marian Library at the University of Da \ton, may be of help. Adopting such a plan will doubtless ent:: il a certain amount of recataloguing and reclassification, but the important point is that in this Age of Mary, the Marian section of a library should continue to grow; the longer the job of reclassification is put off, the more involved it will be. Unless some revisic n is carried out, the Marian collection becomes less and less f, :nctional as it grows.· The scheme can be used in detail only by I braries with sizeable Marian collections, but is adaptable to smaller ones. Libraries may not wish to use some of the suggestions (e.g., .38--Biographies of devotees of Mary--because such a plan breaks up their biography collection); however, adaptations can easily be made as needed. The most effective way to install this cla:;sification program is to choose one free number in your present system, preferably the number nearest to the number for Christ which is available or can be made available with the least trouble.
    [Show full text]
  • OUR PRAYERS: Come, Holy Spirit
    OUR PRA YERS: Come, Holy Spirit Deepp in every human heart is a desire for the living God that expresses itself in prayerprayer.. In the Catholic tradititradition, some prayers have becomeome classic expressions of what the human heart seeks. Words of Faith: Our Prayers exploresess prayeprayers tthat for centuries have revealedealed a faith that fosters a deep, personal, growing, and loving relationship with Jesus Christ.hrist. Th ese prayersprayerpraypra teach us much about whoo we are anandd aaboutbout tthehe GoGodd to wwhomhom we bbelong.elong. —Keit—Keithith J. Egan, Series Editor WeWe PrayPray Thishis prayer is traditionallytraditionaraditionalllyy prayedprar inn a callcall anand reresponsesponnse format,format,rmat, with a leaderer announcingnnouncinguncingncingg thethee versev (V)V)) andandn everyoneev one presentpresennt sayingsay ngg theth responseesspon e (R). DIDDID YOUYO KNOW? V. Come,Comem , Holy Spirit,Spip rir t,t andandn fi llll thetht heartsheh a ts ofo your faithful, TheThe giftss of thet Holy Spirit, the R. AndAnd kindlekik ndn le inin themtht e thethe fi rere off your love. wwaysays in whiwhichc the Holy Spirit acts in our lilives, are wisdom, V. SendSend forthforth youry Spirit and they shall be created, understanding, counsel, fortitude R. AndAnd Y You shall renew the face of the earth. (or courage)courage), kknowledge, piety, and fear (or wonder and awe) of Let us pray. the Lord. These gifts are named in Lord, by the light of the Holy Spirit a prayer that the bishop or his des- you have taught the hearts of your faithful. ignee prays at the beginning of the Inn the same Spirit celebration of the sacrament of con- hhelpelp us to relisrelishh wwhathat is rirightght fi rmation.n.
    [Show full text]
  • 800 YEARS of GOSPEL MERCY © 2016, LBP Communications
    800 YEARS OF GOSPEL MERCY © 2016, LBP Communications. Nashville, Tennessee. All rights reserved. 2016 marks the celebration of the Extraordinary Jubilee Year of Mercy called by Pope Francis, and the 800th anniversary of the Dominican Order. These songs reflect God’s gift of merciful love and the Dominican charism of preaching the Gospel of Mercy. May this music lift your mind and heart to God, drawing you to be open to the Lord’s abundant gift of mercy. Recorded by the Dominican Sisters of St. Cecilia Congregation LYRICS copyright and permissions 1 GOSPEL OF MERCY How silent this host, how deep the mystery it conceals As he lays down his life it is gratitude revealed. First the bread is lifted up, then his Body on the tree How his action and word unite in rich harmony. Bread of Angels, Word of God: give us Eucharistic speech Act in us through the journey to praise to bless to preach You have spoken; we were made. Now in us fulfill your word. Give us strength to proclaim what in silence we have heard. How wondrous this cup, the font of mercy it unseals: Jesus thirsts for the one who in faith before him kneels. First the chalice is raised, then his Blood for us outpoured How his action and word unite in splendid accord. Bread of Angels, Word of God: give us Eucharistic speech Be our food for the journey to praise to bless to preach In our darkness you are present, light incisive yet serene Be our strength to show forth what in darkness we have seen.
    [Show full text]
  • What's Your Catholic IQ 1
    What’s Your Catholic IQ? By Joe Paprocki 1. At Sunday Mass, the First Reading is generally taken from the (a) Old Testament; (b) documents of the Church; (c) New Testament; (d) Gospels 2. Before the Gospel at Mass, Catholics trace the sign of the cross with their thumb over their (a) eyes, ears, mouth; (b) head, hands, feet; (c) forehead, lips, chest; (d) scalp, shoulders, hands 3. Jesus asked the question, “Who do people say that the Son of Man is?” in the region of (a) Galilee; (b) the Decapolis; (c) Capernaum; (d) Caesarea Philippi 4. The Sermon on the Mount is found in Matthew; the Sermon on the Plain is found in (a) John; (b) Luke; (c) Mark; (d) Exodus 5. The first bishop of the United States was (a) George Mundelein; (b) James Gibbons; (c) John Neumann; (d) John Carroll 6. The religious community founded by Saint Angela Merici is the (a) Ursulines; (b) Daughters of Charity; (c) Poor Clares; (d) Sisters of Mercy 7. Which of the following is NOT one of the four marks of the Church? (a) holy; (b) one; (c) ecumenical; (d) apostolic 8. The teaching authority of the Church is called the (a) Sacrarium; (b) Secretariat; (c) Magisterium; (d) Mysterion 9. The first three virtues are called the theological virtues; the last 4 are called the ____ virtues. (a) corporal; (b) spiritual; (c) evangelical; (d) cardinal 10. Along with blessing and adoration, intercession, thanksgiving, and praise, the following is considered one of the basic forms of prayer: (a) petition; (b) remembrance; (c) lamentation; (d) sorrow 11.
    [Show full text]