The Parish of St. Vincent Ferrer and St. Catherine of Siena

Total Page:16

File Type:pdf, Size:1020Kb

The Parish of St. Vincent Ferrer and St. Catherine of Siena THE PARISH OF ST. VINCENT FERRER AND T ATHERINE OF IENA S . C S The Very Reverend Walter C. Wagner, O.P., Pastor James D. Wetzel, Director of Music and Organist SOLEMNITY OF OUR LORD JESUS CHRIST, KING OF THE UNIVERSE THE LAST SUNDAY BEFORE ADVENT November 24, 2019 A second collection is taken-up this weekend for the Catholic Charities Campaign for Charity and Justice. PRELUDE Percy Whitlock SEVEN SKETCHES ON VERSES FROM THE PSALMS (1903-1946) IV. Exsultemus Sing aloud unto God our strength: make a joyful noise unto the God of Jacob. Take a psalm, and bring hither the timbrel, the pleasant harp with the psaltery. Blow up the trumpet in the new moon, in the time appointed, on our solemn feast day. ~Psalm 80 (81):1-3 INTRODUCTORY RITES ENTRANCE ANTIPHON (OFFICIUM) Revelation 5:12, 1:6; Psalm 71:1 Chant, mode iii Dignus est Agnus, qui occisus est, Worthy is the Lamb that was slain accipere virtutem, et divinitatem, to receive power, and divinity, et sapientiam, et fortitudinem, et honorem. and wisdom, and strength, and honor. Ipsi gloria et imperium in saecula saeculorum. To him be glory and empire for ever and ever. V. Deus judicium tuum regi da: V. O God, with your judgement endow the king, et justitiam tuam filio regis. and with your justice, the king’s son. SIGN OF THE CROSS AND GREETING PENITENTIAL ACT KYRIE Missa Decantabat populus (at 12:00 Noon) Giovanni Croce (c. 1557-1609) Roman Missal Mass GLORIA Missa Decantabat populus (at 12:00 Noon) Giovanni Croce Roman Missal Mass 2 COLLECT Almighty ever-living God, whose will is to restore all things in your beloved Son, the King of the universe, grant, we pray, that the whole creation, set free from slavery, may render your majesty service and ceaselessly proclaim your praise. Through our Lord Jesus Christ, your Son, who lives and reigns with you in the unity of the Holy Spirit, one God, for ever and ever. Amen. LITURGY OF THE WORD FIRST READING II Samuel 5:1-3 In those days, all the tribes of Israel came to David in Hebron and said: “Here we are, your bone and your flesh. In days past, when Saul was our king, it was you who led the Israelites out and brought them back. And the Lord said to you, ‘You shall shepherd my people Israel and shall be commander of Israel.’” When all the elders of Israel came to David in Hebron, King David made an agreement with them there before the Lord, and they anointed him king of Israel. 3 RESPONSORIAL PSALM Psalm 121 (122):1-2, 3-4, 4-5 James D. Wetzel (b. 1987) I rejoiced because they said to me, According to the decree for Israel, “We will go up to the house of the Lord.” to give thanks to the name of the Lord. And now we have set foot In it are set up judgment seats, within your gates, O Jerusalem. seats for the house of David. Jerusalem, built as a city with compact unity. To it the tribes go up, the tribes of the Lord. SECOND READING Colossians 1:12-20 Brothers and sisters: Let us give thanks to the Father, who has made you fit to share in the inheritance of the holy ones in light. He delivered us from the power of darkness and transferred us to the kingdom of his beloved Son, in whom we have redemption, the forgiveness of sins. He is the image of the invisible God, the firstborn of all creation. For in him were created all things in heaven and on earth, the visible and the invisible, whether thrones or dominions or principalities or powers; all things were created through him and for him. He is before all things, and in him all things hold together. He is the head of the body, the church. He is the beginning, the firstborn from the dead, that in all things he himself might be preeminent. For in him all the fullness was pleased to dwell, and through him to reconcile all things for him, making peace by the blood of his cross through him, whether those on earth or those in heaven. GOSPEL ACCLAMATION Mark 11:9, 10 Chant, mode vi V. Blessed is he who comes in the name of the Lord! Blessed is the kingdom of our father David that is to come! 4 ALLELUIA Daniel 7:14 (at 12:00 Noon) Chant, mode i Alleluia, alleluia. Alleluia, alleluia. V. Potestas ejus potestas aeterna, V. His power is an everlasting power quae non auferetur: that shall not be taken away, et regnum ejus, and his kingdom quod non corrumpetur. that shall not be destroyed. Alleluia. Alleluia. GOSPEL Luke 23:35-43 The rulers sneered at Jesus and said, “He saved others, let him save himself if he is the chosen one, the Christ of God.” Even the soldiers jeered at him. As they approached to offer him wine they called out, “If you are King of the Jews, save yourself.” Above him there was an inscription that read, “This is the King of the Jews.” Now one of the criminals hanging there reviled Jesus, saying, “Are you not the Christ? Save yourself and us.” The other, however, rebuking him, said in reply, “Have you no fear of God, for you are subject to the same condemnation? And indeed, we have been condemned justly, for the sentence we received corresponds to our crimes, but this man has done nothing criminal.” Then he said, “Jesus, remember me when you come into your kingdom.” He replied to him, “Amen, I say to you, today you will be with me in Paradise.” HOMILY 5 CREDO (sung at 12:00 Noon) Chant, mode iv 6 7 UNIVERSAL PRAYER Recited at Masses on the nine days preceding Thanksgiving. THANKSGIVING NOVENA PRAYER Let us pray. Father all powerful, your gifts of love are countless, and your goodness infinite; as we come before you with gratitude for your kindness, open our hearts to have concern for all peoples everywhere, so that we may share your gifts in loving concern. Through our Lord Jesus Christ, your Son, who lives and reigns with you in the unity of the Holy Spirit, one God forever and ever. Amen. LITURGY OF THE EUCHARIST OFFERTORY ANTIPHON Psalm 2:8 Chant, mode iv Postula a me, Ask of me, et dabo tibi gentes haereditatem tuam, and I will give you the nations for your inheritance, et possessionem tuam terminos terrae. and for your possession the ends of the earth. 8 OFFERTORY MOTET Revelation 7:9-10 (at 12:00 Noon) Giovanni Pierluigi da Palestrina Prima pars (1525-1594) Vidi turbam magnam, I saw a great crowd, quam dinumerare nemo poterat, that no man could number, ex omnibus gentibus, of all nations, et tribubus, et populis, et linguis: and tribes, and peoples, and tongues, stantes ante thronum Dei, standing before the throne of God, in conspectu Agni, in sight of the Lamb, amicti stolis albis, clothed in white garments, et palmae in manibus eorum: and palms in their hands; et clamabant voce magna, dicentes: and they cried with a loud voice, saying: Salus Deo nostro, Salvation to our God, qui sedet super thronum, who sits upon the throne, et Agno. and to the Lamb. The Offertory Hymn for the 9:30 AM Mass is on Page 14 of this Leaflet. PRAYER OVER THE OFFERINGS As we offer you, O Lord, the sacrifice by which the human race is reconciled to you, we humbly pray that your Son himself may bestow on all nations the gifts of unity and peace. Through Christ our Lord. Amen. PREFACE 9 It is truly right and just, our duty and our salvation, always and everywhere to give you thanks, Lord, holy Father, almighty and eternal God. For you anointed your Only Begotten Son, our Lord Jesus Christ, with the oil of gladness as eternal Priest and King of all creation, so that, by offering himself on the altar of the Cross as a spotless sacrifice to bring us peace, he might accomplish the mysteries of human redemption and, making all created things subject to his rule, he might present to the immensity of your majesty an eternal and universal kingdom a kingdom of truth and life, a kingdom of holiness and grace, a kingdom of justice, love and peace. And so, with Angels and Archangels, with Thrones and Dominions, and with all the hosts and Powers of heaven, we sing the hymn of your glory as without end we acclaim: SANCTUS Missa Decantabat populus (at 12:00 Noon) Giovanni Croce Roman Missal Mass MYSTERY OF FAITH AMEN 10 COMMUNION RITE PATER NOSTER (see Page 13 of blue Pew Booklet) SIGN OF PEACE AND AGNUS DEI Missa Decantabat populus (at 12:00 Noon) Giovanni Croce Roman Missal Mass COMMUNION ANTIPHON Psalm 28 (29): 10, 11 Chant, mode i Sedebit Dominus Rex in aeternum: The Lord shall sit as King for ever; Dominus benedicet populo suo in pace. the Lord shall bless his people with peace. COMMUNION MOTET Revelation 7:11-12 (at 12:00 Noon) Giovanni Pierluigi da Palestrina Secunda pars Et omnes angeli stabant in circuitu throni, And all the angels stood round about the throne, et seniorum et quatuor animalium: and the elders, and the four beasts, et ceciderunt in conspectu throni, and they fell down before the throne et adoraverunt Deum, and adored God, dicentes: Amen. saying: Amen. Benedictio, et claritas, et sapientia, Blessing, and renown, and wisdom, et gratiarum actio, and thanksgiving, honor, virtus, et fortitudo honor, power, and strength Deo nostro, to our God in saecula saeculorum.
Recommended publications
  • Abstracts Papers Read
    ABSTRACTS of- PAPERS READ at the THIRTY-FIFTH ANNUAL MEETING of the AMERICAN MUSICOLOGICAL SOCIETY SAINT LOUIS, MISSOURI DECEMBER 27-29, 1969 Contents Introductory Notes ix Opera The Role of the Neapolitan Intermezzo in the Evolution of the Symphonic Idiom Gordana Lazarevich Barnard College The Cabaletta Principle Philip Gossett · University of Chicago 2 Gluck's Treasure Chest-The Opera Telemacco Karl Geiringer · University of California, Santa Barbara 3 Liturgical Chant-East and West The Degrees of Stability in the Transmission of the Byzantine Melodies Milos Velimirovic · University of Wisconsin, Madison 5 An 8th-Century(?) Tale of the Dissemination of Musico­ Liturgical Practice: the Ratio decursus qui fuerunt ex auctores Lawrence A. Gushee · University of Wisconsin, Madison 6 A Byzantine Ars nova: The 14th-Century Reforms of John Koukouzeles in the Chanting of the Great Vespers Edward V. Williams . University of Kansas 7 iii Unpublished Antiphons and Antiphon Series Found in the Dodecaphony Gradual of St. Yrieix Some Notes on the Prehist Clyde W. Brockett, Jr. · University of Wisconsin, Milwaukee 9 Mark DeVoto · Unive Ist es genug? A Considerat Criticism and Stylistic Analysis-Aims, Similarities, and Differences PeterS. Odegard · Uni· Some Concrete Suggestions for More Comprehensive Style Analysis The Variation Structure in Jan LaRue · New York University 11 Philip Friedheim · Stat Binghamton An Analysis of the Beginning of the First Movement of Beethoven's Piano Sonata, Op. 8la Serialism in Latin America Leonard B. Meyer · University of Chicago 12 Juan A. Orrego-Salas · Renaissance Topics Problems in Classic Music A Severed Head: Notes on a Lost English Caput Mass Larger Formal Structures 1 Johann Christian Bach Thomas Walker · State University of New York, Buffalo 14 Marie Ann Heiberg Vos Piracy on the Italian Main-Gardane vs.
    [Show full text]
  • Direction 2. Ile Fantaisies
    CD I Josquin DESPREZ 1. Nymphes des bois Josquin Desprez 4’46 Vox Luminis Lionel Meunier: direction 2. Ile Fantaisies Josquin Desprez 2’49 Ensemble Leones Baptiste Romain: fiddle Elisabeth Rumsey: viola d’arco Uri Smilansky: viola d’arco Marc Lewon: direction 3. Illibata dei Virgo a 5 Josquin Desprez 8’48 Cappella Pratensis Rebecca Stewart: direction 4. Allégez moy a 6 Josquin Desprez 1’07 5. Faulte d’argent a 5 Josquin Desprez 2’06 Ensemble Clément Janequin Dominique Visse: direction 6. La Spagna Josquin Desprez 2’50 Syntagma Amici Elsa Frank & Jérémie Papasergio: shawms Simen Van Mechelen: trombone Patrick Denecker & Bernhard Stilz: crumhorns 7. El Grillo Josquin Desprez 1’36 Ensemble Clément Janequin Dominique Visse: direction Missa Lesse faire a mi: Josquin Desprez 8. Sanctus 7’22 9. Agnus Dei 4’39 Cappella Pratensis Rebecca Stewart: direction 10. Mille regretz Josquin Desprez 2’03 Vox Luminis Lionel Meunier: direction 11. Mille regretz Luys de Narvaez 2’20 Rolf Lislevand: vihuela 2: © CHRISTOPHORUS, CHR 77348 5 & 7: © HARMONIA MUNDI, HMC 901279 102 ITALY: Secular music (from the Frottole to the Madrigal) 12. Giù per la mala via (Lauda) Anonymous 6’53 EnsembleDaedalus Roberto Festa: direction 13. Spero haver felice (Frottola) Anonymous 2’24 Giovanne tutte siano (Frottola) Vincent Bouchot: baritone Frédéric Martin: lira da braccio 14. Fammi una gratia amore Heinrich Isaac 4’36 15. Donna di dentro Heinrich Isaac 1’49 16. Quis dabit capiti meo aquam? Heinrich Isaac 5’06 Capilla Flamenca Dirk Snellings: direction 17. Cor mio volunturioso (Strambotto) Anonymous 4’50 Ensemble Daedalus Roberto Festa: direction 18.
    [Show full text]
  • Gabrieli E Rosenmüller
    Venezia in Europa: Gabrieli e Rosenmüller Le stamperie musicali veneziane produssero, tra Cinquento 1 e Seicento, una enorme quantità di edizioni di musiche sacre e profane (non soltanto di compositori attivi a Venezia) che, insieme all’ampia circolazione di manoscritti, si diffusero rapidamente per tutta Europa, esportando lo stile italiano che si fece modello per più di una generazione di compositori e musicisti di Oltralpe. Questi, che spesso erano discepoli dei massimi maestri italiani, fecero proprî tali modelli elaborando a loro volta quello stile che conosciamo attraverso le opere dei musicisti inglesi che non di rado italianizzavano i loro nome 2, o di quelli tedeschi che componevano auff italiänische Inventinon 3. Si ricordano, tra i molti, Johann Jacob Froberger che fu allievo di Girolamo Frescobaldi, Marc-Antoine Charpentier che lo fu di Giacomo Carissimi o, prima di loro, Giovanni Gabrieli presso il quale compì gli studi musicali Heinrich Schütz (alias Henricus Sagittarius ). Soprattutto coi Paesi di area germanica Venezia aveva relazioni culturali molto intense, per i viaggi frequenti dei musici che nella capitale della Repubblica si recavano per studiare ritornando poi in patria, e per le musiche che circolavano attraverso la stampa. Proprio Giovanni Gabrieli fu figura di primissimo piano nella vita musicale veneziana ed europea: primo organista della Repubblica Serenissima di Venezia in san Marco , Gabrieli era conosciuto nei Paesi di lingua tedesca, oltre che per la sua fama, per le sue Sacræ Symphoniæ che nel 1598 l’editore Kauffmann pubblicò a Norimberga un anno dopo la prima edizione veneziana. La sua frenetica attività professionale, che lo impegnava in numerose chiese e istituzioni veneziane, comprendeva anche l’editoria: fu lui a curare le numerose pubblicazioni di musiche dello zio Andrea nonché le proprie.
    [Show full text]
  • MUSIC in the RENAISSANCE Western Music in Context: a Norton History Walter Frisch Series Editor
    MUSIC IN THE RENAISSANCE Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner MUSIC IN THE RENAISSANCE Richard Freedman Haverford College n W. W. NORTON AND COMPANY Ƌ ƋĐƋ W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program—trade books and college texts— were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: Bonnie Blackburn Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics-Fairfield, PA A catalogue record is available from the Library of Congress ISBN 978-0-393-92916-4 W.
    [Show full text]
  • The Secular Latin-Texted Works of Adrian Willaert
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 5-12-2015 The ecS ular Latin-Texted Works of Adrian Willaert Jonathan Harvey University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Harvey, Jonathan, "The eS cular Latin-Texted Works of Adrian Willaert" (2015). Doctoral Dissertations. 798. https://opencommons.uconn.edu/dissertations/798 The Secular Latin-Texted Works of Adrian Willaert Jonathan Wil Harvey, DMA University of Connecticut, 2015 Abstract In addition to a large body of extant works including masses, hymns, psalm settings, motets, chansons, madrigals, canzone villanesche, and instrumental ricercares, sixteenth-century composer Adrian Willaert (1490 – 1562) also wrote nine settings of secular Latin texts. These nine works can be divided into three categories: five civic motets (Adriacos numero, Haud aliter, Inclite Sfortiadum princeps, Si rore Aonio, and Victor io salve); three settings of excerpts from Virgil’s Aeneid (O socii and two settings of “Dulces exuviae”); and one unique, enigmatic outlier (Flete oculi). These pieces are rarely considered in the existing literature, and many scholars conflate the two “Dulces exuviae” settings as a single work. The texts of six of the nine pieces have never been translated into English before. This study examines these nine pieces through their text, musical material, and cultural-political background in order to determine their function and context. The first chapter of this study consists of a brief summary of Willaert’s life and an examination of the extant sources of his work. In the next chapter, I discuss the genre of the civic motet and examine Willaert’s five contributions to it.
    [Show full text]
  • Sample Music Curriculum for Virginia Public Schools Kindergarten – Grade Twelve
    Sample Music Curriculum for Virginia Public Schools Kindergarten – Grade Twelve Commonwealth of Virginia Department of Education Richmond, Virginia 2015 Copyright © 2015 by the Virginia Department of Education P.O. Box 2120 Richmond, Virginia 23218-2120 www.doe.virginia.gov All rights reserved. Reproduction of these materials for instructional purposes in public school classrooms in Virginia is permitted. Superintendent of Public Instruction Dr. Steven R. Staples Assistant Superintendent for Instruction Dr. John William Haun Office of Humanities & Early Childhood Dr. Christine A. Harris, Director Cheryle C. Gardner, Principal Specialist of Fine Arts Edited, designed, and produced by the CTE Resource Center Kevin P. Reilly, Administrative Coordinator Bruce B. Stevens, Writer/Editor Richmond Business and Medical Center Phone: 804-673-3778 2002 Bremo Road, Lower Level Fax: 804-673-3798 Henrico, Virginia 23226 Website: www.cteresource.org The CTE Resource Center is a Virginia Department of Education grant project administered by Henrico County Public Schools. NOTICE The Virginia Department of Education does not discriminate on the basis of race, sex, color, national origin, religion, sexual orientation, gender identity, age, political affiliation, or against otherwise qualified persons with disabilities. The policy permits appropriate employment preferences for veterans and specifically prohibits discrimination against veterans. The following position has been designated to handle inquiries regarding the Department’s non-discrimination policies: Deputy Superintendent – Finance and Operations Virginia Department of Education P. O. Box 2120 Richmond, Virginia 23218-2120 Telephone: 804-225-2025 For further information on Federal non-discrimination regulations, contact the Office for Civil Rights at [email protected] or call 1-800-421-3481.
    [Show full text]
  • A Reading of Petrarch: II Canzoniere ' and the Italian Madrigalists
    RYSZARD J. W IECZOREK (Poznań) A Reading of Petrarch: II Canzoniere ’ and the Italian Madrigalists Probably at no time in the history of European culture has amor Zeros held such an important place in both philosophy and literature as during the Renaissance. Never was this topos the subject of such a large number of published treatises, beginning with Marsilio Ficino’s De amore (c. 1469, pub. 1484) - an expansive commentary on Plato’s Symposium. Confining ourselves to just the first half of the sixteenth century, we should mention here such major trattati d ’amore as those by Pietro Bembo (1505), Francesco da Diacetto (1508), Mario Equicola (1525), Agostino Ninfo (1529), Leone Ebreo (1535), Sperone Speroni (1542), Giuseppe Be- tussi (1544) and Tulia d’Aragona (1547). Other works published during this period also deal extensively with the nature of amor, in particular Baldassare Castiglione’s II libro del cortigiano (1528).1 All of these writ­ ings drew to a greater or lesser extent on Ficino’s Platonic conception of love as the desire for the beautiful and the good. As Bernard McGinn stresses, for Renaissance thinkers ‘human sexual love was only a part of the wider picture of a universe suffused by love, a world in which eros/amor was a transcendental and cosmic term that could be predicated both of God and the entire universe’.2 However, whilst Ficino and Giovanni 1 See Trattati d’amore del cinquecento, ed. Giuseppe Zonta, Bari 1912, 21967; John Charles Nelson, Renaissance Theory of Love: The Context of Giordano Bruno’s ‘Eroici Furori’ (New York, 1968); Piero Floriani, ‘Dall’amore cortese all’amor divino’, in Bem­ bo e Castiglione: studi sul classicismo del Cinquecento (Rome, 1976); loan Cogliano, Eros and Magic in the Renaissance (Chicago, 1987).
    [Show full text]
  • Greenwich Music Objectives Grades 9-12 -- Chorus
    Greenwich Music Objectives Grades 9-12 -- Chorus Elements and Styles Proficient Student 1. Learns and performs music of various composers and of varying styles (*6a) 2. Identifies which voice parts contain melody at any given time (*6a) 3. Demonstrates knowledge of basic rhythm/tempo terminology (i.e. adagio, andante, allegro, moderato, accelerando, rallentando, ritardando and tie) (*6b) 4. Demonstrates knowledge of basic dynamic terminology (i.e. pianissimo, piano, mezzo- piano, mezzo-forte, forte, fortissimo, crescendo and diminuendo) (*6b) 5. Demonstrates knowledge of expression terms (i.e. accent, staccato and legato) (*6b) 6. Demonstrates knowledge of formal structure (i.e. barlines, repeat signs, D.C., D.S. and coda) (*6b) 7. Aurally identifies the tonality (major or minor) of a work (*6c) 8. Aurally identifies any and all instruments used in a recorded performance (*6c) 9. Aurally identifies the meter (simple or compound) of a recorded example (*6c) Advanced Student 1. Describes in detail four significant events in a work such as Handel’s Hallelujah Chorus or another piece the choir is singing (*6d) 2. Uses technical vocabulary to explain the importance of these events in unifying and varying the composition (*6d) 3. Gives examples which parallel these events in other pieces they are singing (or have sung) (*6d) 4. Compares and contrasts various works they are singing, describing similarities and differences using musical terminology (*6e) 5. Analyzes and discusses pieces being prepared for performance using appropriate and sophisticated musical terminology (*6f) 6. Describes how a musical climax is achieved in three pieces of contrasting style (*6f) Notation Proficient Student 1.
    [Show full text]
  • The Italian Works of Hans Leo Hassler
    AMERICAN CHORAL REVIEW JOHN HOFFACKER THE ITALIAN WORKS OF HANS LEO HASSLER JOURNAL OF THE AMERICAN CHORAL FOUNDATION, INC. VOLUME XXXI • NUMBER 2 • SPRING 1989 AMERICAN CHORAL REVIEW ALFRED MANN, Editor ALFREDA HAYS, Assistant Editor Associate Editors EDWARD TATNALL CANBY ANDREW C. MINOR RICHARD jACKSON MARTIN PICKER WESLEY S. COFFMAN The AMERICAN CHORAL REVIEW is published quarterly as the official journal of The American Choral Foundation, Inc. The Foundation also publishes a supplementary Research Memorandum Series. Membership in The American Choral Foundation is available for an annual contribution of $35.00 and includes subscriptions to the AMERICAN CHORAL REVIEW and the Research Memorandum Series and use of the Foundation's advisory services. All contributions are tax deductible. Multiple back issues of the AMERICAN CHORAL REVIEW and Research Memorandum Series are housed and maintained at the Temple University Boyer College of Music, Philadelphia, Department of Choral Activities, Alan Harler, Chairman. A computerized, annotated listing of the contents of back issues by author, title, subject, and period has been assembled as a joint project of Temple University and the American Choral Foundation. Back issues of the AMERICAN CHORAL REVIEW are available to members at $5.00; back issues of the Research Memorandum Series at $2.00. Bulk prices will be quoted on request. Through affiliation with the American Choral Directors Association the Foundation offers membership to American Choral Directors Association members at a reduced contribution amount. Please consult the boxed announcement on the inside back cover for details. THE AMERICAN CHORAL FOUNDATION, INC. Administered by Chorus America Kenneth Garner, Executive Director 2111 Sansom Street Philadelphia, Pennsylvania 19103 (215) 563-2430 Material for publication should be submitted in duplicate.
    [Show full text]
  • Lily Among Thorns Westminster Kantorei Westminster Baroque Orchestra Amanda Quist, Conductor
    Lily Among Thorns Westminster Kantorei Westminster Baroque Orchestra Amanda Quist, conductor e Saturday, November 17, 2018 8 p.m. Bristol Chapel Westminster Choir College Princeton, N.J. 2 Conductor’s Note Tonight’s program is a study in contrast. “Lily among thorns” takes its title from the Biblical text found in Song of Solomon, a passage set by many composers. Incorporated in tonight’s program by Palestrina in his parody mass, the lily has been used metaphorically throughout centuries to symbolize purity, and is juxtaposed with the thorn, the symbol of pain, highlighting its emergence from struggle with virtue and beauty. The concept of contrast in music mirrors good and evil; contrast pervades artistic composition, like a relief sculpture, allowing those who experience it to appreciate consonance and beauty more deeply after having experienced pain and darkness. A 1997 article titled “That Crown of Thorns” published by the Riemenschneider Bach Institute’s BACH Journal 28, by Timothy A. Smith, references the symbol below. Bach’s monogram includes his initials, JSB, inscribed both forward and backward, intertwined with a crown topping the image. The crown of thorns and the cross are symbols of suffering found throughout the music of Bach, whether in form, musical gesture, key selection, or text. Cantata 45 is no exception, making use of the acrostic form, sharp keys, and painting the journey of the soul through the cantata from dark to light. Palestrina, the Italian composer whose music is revered by many as the finest example of stile antico in its polyphonic perfection, is juxtaposed in the first half of our program by Carlo Gesualdo, along with a set of Italian madrigals.
    [Show full text]
  • The Parish of St. Vincent Ferrer and St. Catherine of Siena
    THE PARISH OF ST. VINCENT FERRER AND T ATHERINE OF IENA S . C S The Very Reverend Walter C. Wagner, O.P., Pastor James D. Wetzel, Director of Music and Organist SEVENTH SUNDAY IN ORDINARY TIME QUINQUAGESIMA February 23, 2020 PRELUDE Johann Sebastian Bach Prelude and Fugue in C Major, BWV 547, ‘9/8’ (1685-1750) INTRODUCTORY RITES ENTRANCE ANTIPHON (OFFICIUM) Psalm 12 (13):6, 1 Chant, mode v Domine, in tua misericordia speravi: O Lord, I have hoped in your merciful love; exsultavit cor meum in salutari tuo: my heart has rejoiced in your salvation; cantabo Domino, I will sing to the Lord qui bona tribuit mihi. who has granted me good things. V. Usquequo Domine V. How long, O Lord, oblivisceris me in finem? will you forget me: for ever? usquequo avertis faciem tuam a me? How long will you hide your face from me? SIGN OF THE CROSS AND GREETING PENITENTIAL ACT KYRIE Roman Missal Mass GLORIA Roman Missal Mass 2 COLLECT Grant, we pray, almighty God, that, always pondering spiritual things, we may carry out in both word and deed that which is pleasing to you. Through our Lord Jesus Christ, your Son, who lives and reigns with you in the unity of the Holy Spirit, one God, for ever and ever. Amen. LITURGY OF THE WORD FIRST READING Leviticus 19:1-2, 17-18 The Lord said to Moses, “Speak to the whole Israelite community and tell them: Be holy, for I, the Lord, your God, am holy. “You shall not bear hatred for your brother or sister in your heart.
    [Show full text]
  • Gabrieli Paul Mccreesh , Conductor
    Saturday, November 12, 2016, at 7:30 pm Pre-concert lecture by Raymond Erickson at 6:15 pm in the Stanley H. Kaplan Penthouse A Venetian Coronation 1595 Gabrieli Paul McCreesh , Conductor This evening’s performance recreates the Coronation Mass of Doge Marino Grimani, celebrated on the morning of April 27, 1595. This program is approximately 80 minutes long and will be performed without intermission. This performance is also part of the Great Performers Chamber Orchestras series. (Program continued) This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Alice Tully Hall, Starr Theater Please make certain all your electronic devices Adrienne Arsht Stage are switched off. WhiteLightFestival.org Support for Great Performers is provided by UPCOMING WHITE LIGHT FESTIVAL EVENTS: Rita E. and Gustave M. Hauser, Audrey Love Charitable Foundation, Great Performers Circle, Monday–Wednesday, November 14–16 at 7:30 pm Chairman’s Council, and Friends of Lincoln Center. in the Gerald W. Lynch Theater at John Jay College The Return of Ulysses Public support is provided by the New York State Handspring Puppet Company Council on the Arts with the support of Governor William Kentridge , director Andrew M. Cuomo and the New York State Ricercar Consort Legislature. Philippe Pierlot , musical director MONTEVERDI: Il ritorno d’Ulisse in patria MetLife is the National Sponsor of Lincoln Center. Post-performance artist discussion on November 15 Artist Catering provided by Zabar’s and Zabars.com Wednesday, November 16 at 7:30 pm in Alice Tully Hall American Airlines is the Official Airline of Lincoln Medieval to Modern Center Jeremy Denk , piano Works by MACHAUT, MONTEVERDI, BACH, Nespresso is the Official Coffee of Lincoln Center MOZART, BEETHOVEN, BRAHMS, DEBUSSY, LIGETI, PHILIP GLASS, and more NewYork-Presbyterian is the Official Hospital of Lincoln Center For tickets, call (212) 721-6500 or visit WhiteLightFestival.org.
    [Show full text]