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Motets (Bruckner)
Anton Bruckner composed about 40 motets during his life, the earliest, a setting of ''Pange lingua'', in , the last, ''Vexilla regis'' in 1892. Youth works Before 1841 only a single work, a motet, has indubitably been composed by Bruckner. * ''Pange lingua'' in C major ( WAB 31):U. Harten, p. 329 **First version : a setting of 28 bars of the Pange lingua for choir ''a cappella'', which Bruckner composed in 1835/1836 when, as eleven-year-old boy, he was studying by Johann Baptist Weiß in Hörsching. **Second version: towards the end of his life (19 April 1891) Bruckner "restored" this beloved very first composition.C. van Zwol, p. 709 The few other works of this period in Grasberger's catalogue are either obviously not by Bruckner or of doubtful authenticity. ''Domine, ad adjuvandum me festina'' (" O Lord, make haste to help me"; WAB 136) is a composition of Johann Baptist Weiß. The five preludes in E-flat major for organ (WAB 127 and 128) and a few other organ works found i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anton Bruckner
Joseph Anton Bruckner (; ; 4 September 182411 October 1896) was an Austrian composer and organist best known for his Symphonies by Anton Bruckner, symphonies and sacred music, which includes List of masses by Anton Bruckner, Masses, Te Deum (Bruckner), Te Deum and List of motets by Anton Bruckner, motets. The symphonies are considered emblematic of the final stage of Austrian German, Austro-German Romanticism because of their rich harmonic language, strongly polyphony, polyphonic character, and considerable length. Bruckner's compositions helped to define contemporary musical radicalism, owing to their Consonance and dissonance, dissonances, unprepared modulation (music), modulations, and roving harmony, harmonies. Unlike other musical radicals such as Richard Wagner and Hugo Wolf, Bruckner showed respect, even humility, before other famous musicians, Wagner in particular. This apparent dichotomy between Bruckner the man and Bruckner the composer hampers efforts to describe his ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Name-day
In Christianity, a name day is a tradition in many countries of Europe and the Americas, as well as Christian communities elsewhere. It consists of celebrating a day of the year that is associated with one's baptismal name, which is normatively that of a biblical character or other saint. Where they are popular, individuals celebrate both their name day and their birthday in a given year. The custom originated with the Christian calendar of saints: believers named after a saint would celebrate that saint's feast day. Within Christianity, name days have greater resonance in areas where the Christian denominations of Catholicism, Lutheranism and Orthodoxy predominate. In some countries, however, name-day celebrations do not have a connection to explicitly Christian traditions. History The celebration of name days has been a tradition in Catholic and Eastern Orthodox countries since the Middle Ages, and has also continued in some measure in countries, such as the Scandinavian ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Septuagesima
Septuagesima () is the ninth Sunday before Easter, the third before Ash Wednesday. The term is sometimes applied to the seventy days starting on Septuagesima Sunday and ending on the Saturday after Easter. Alternatively, the term is sometimes applied also to the period sometimes called pre-Lent that begins on this day and ends on Shrove Tuesday, the day before Ash Wednesday, when Lent begins. The other two Sundays in this period of the liturgical year are called Sexagesima and Quinquagesima, the latter sometimes also called '' Shrove Sunday.'' The earliest date on which Septuagesima Sunday can occur is January 18 (Easter falling on March 22 in a common year) and the latest is February 22 (Easter falling on April 25 in a leap year). Origins of the term ''Septuagesima'' comes from the Latin word for "seventieth." Likewise, ''Sexagesima,'' '' Quinquagesima,'' and '' Quadragesima'' mean "sixtieth," "fiftieth," and "fortieth" respectively. The significance of this naming (accord ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Asperges
Asperges is the rite of sprinkling a congregation with holy water. The name comes from the first word in the 9th verse of Psalm 51 (Psalm 50 in the Vulgate and Septuagint) in the Latin translation which is sung during the traditional form of the rite (or optionally in the ordinary rite) except during Eastertide. The 51st Psalm is also one of the antiphons that may be sung in the rite under the Mass of Paul VI. Roman Rite of the Mass Tridentine Mass Where the 1962 Latin Missal is used, the ''Asperges'' is done before the principal Mass on Sunday, except on Palm Sunday, when it is replaced with the blessing of palms followed by a procession; it is also omitted when a Pontifical High Mass is celebrated on Sundays. The ''Asperges'' is so called from the words intoned at the beginning of the ceremony, taken from Psalm 50:3, throughout the year except at Eastertide, when ''Vidi aquam'' (based on Ezechiel 47), with Psalm 116:1, is intoned. It precedes every other ceremony t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aeolian Mode
The Aeolian mode is a musical mode or, in modern usage, a diatonic scale also called the natural minor scale. On the piano, using only the white keys, it is the scale that starts with A and continues to the next A only striking white keys. Its ascending interval form consists of a ''key note, whole step, half step, whole step, whole step, half step, whole step, whole step.'' That means that, in A aeolian (or A minor), a scale would be played beginning in A, move up a whole step (two piano keys) to B, move up a half step (one piano key) to C, then up a whole step to D, a whole step to E, a half step to F, a whole step to G, and a final whole step to a high A. : History The word ''Aeolian'', like the names for the other ancient Greek ''tonoi'' and ''harmoniai'', is an ethnic designation: in this case, for the inhabitants of Aeolis (), a coastal district of Anatolia. In the music theory of ancient Greece, it was an alternative name (used by some later writers, such as Cleoni ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Two Asperges Me, WAB 3
The two ' (Thou wilt sprinkle me), WAB 3, are sacred motets composed by Anton Bruckner. They are settings of the Latin Asperges me, the antiphon used for the celebration of Asperges. History In 1844/1845, Bruckner composed these two settings of ''Aperges me'' during his stay in Kronstorf.C. van Zwol, p. 700 They were presumably performed at that time.U. Harten, pp. 63-64 The manuscripts are stored in the ''Österreichische Nationalbibliothek''. The two motets were first published in band II/2, pp. 67–76 of the Göllerich/Auer biography. They are put in Band XXI/6 of the '. Music During his stay in Kronstorf Bruckner, composed these two settings of the '' Asperges me'' for mixed choir and organ (1844/1845). As for the former '' Asperges me'', the incipit ("''Asperges me''") is not composed and has to be intoned by the priest in Gregorian mode before the choir is going on. It is the first composition, at the end of which Bruckner has put his signature. Asperges me, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Asperges Me, WAB 4
' (Thou wilt sprinkle me), WAB 4, is a sacred motet composed by Anton Bruckner. It is a setting of the Latin Asperges me, the antiphon used for the celebration of Asperges. History In 1843–44, Bruckner composed this first setting of ''Asperges me'' during his stay in Kronstorf.C. van Zwol, p. 700U. Harten, p. 64 It is not known when it was performed at that time. The work, the original manuscript of which is lost, exists as a transcription by Arthur Bauer. The motet was first published in volume III/2, pp. 140–141 of the Göllerich/Auer biography. It is put in volume XXI/4 of the '. Music The work is a setting of 32 bars in F major of the ''Asperges me'' for mixed choir ''a cappella''. According to the Catholic practice, the incipit ("''Asperges me''") is not composed and has to be intoned by the priest in Gregorian mode before the choir begins. The score is in two sections. Section 1 (7 bars) begins with "''Domine, hysopo''" and ends with "''dealbabor''". Sect ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Salve Regina
The "Salve Regina" ( , ; meaning "Hail Queen"), also known as the "Hail Holy Queen", is a Marian hymn and one of four Marian antiphons sung at different seasons within the Christian liturgical calendar of the Catholic Church. The Salve Regina is traditionally sung at Compline in the time from the Saturday before Trinity Sunday until the Friday before the first Sunday of Advent. The ''Hail Holy Queen'' is also the final prayer of the Rosary. The work was composed during the Middle Ages and originally appeared in Latin, the prevalent language of Western Christianity until modern times. Though traditionally ascribed to the eleventh-century German monk Hermann of Reichenau, it is regarded as anonymous by most musicologists. Traditionally it has been sung in Latin, though many translations exist. These are often used as spoken prayers. Background and history Marian antiphons have been sung, since the thirteenth century, at the close of Compline, the last Office of the day. Peter ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hymns To Mary
Marian hymns are Christian songs focused on Mary, mother of Jesus. They are used in devotional and liturgical services, particularly by the Roman Catholic, Eastern Orthodox, Oriental Orthodox, Anglican, and Lutheran churches. Some have been adopted as Christmas hymns. Marian hymns are not popular among Protestants who see Marian veneration as idolatry. The Eastern Orthodox yearly cycle of liturgy has more hymns to Mary than does the liturgy of Roman Catholicism, which often uses them in month-of-May devotions. These liturgies include the Magnificat hymn, which is one of the eight most ancient Christian hymns—perhaps the earliest, according to historian Marjorie Reeves. It is named after its first word in the 4th-century Vulgate Bible, based on , and is widely used by Roman Catholics, Anglicans, and the Eastern Orthodox. Some Marian hymns are shared by different groups of Christians, or are influenced by other hymns. For instance, the second stanza of the Anglican hymn Y ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Brass Instruments
A brass instrument is a musical instrument that produces sound by sympathetic vibration of air in a tubular resonator in sympathy with the vibration of the player's lips. The term ''labrosone'', from Latin elements meaning "lip" and "sound", is also used for the group, since instruments employing this "lip reed" method of sound production can be made from other materials like wood or animal horn, particularly early or traditional instruments such as the cornett, alphorn or shofar. There are several factors involved in producing different pitches on a brass instrument. Slides, valves, crooks (though they are rarely used today), or keys are used to change vibratory length of tubing, thus changing the available harmonic series, while the player's embouchure, lip tension and air flow serve to select the specific harmonic produced from the available series. The view of most scholars (see organology) is that the term "brass instrument" should be defined by the way the soun ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Litany
Litany, in Christian worship and some forms of Jewish worship, is a form of prayer used in services and processions, and consisting of a number of petitions. The word comes through Latin ''wikt:litania, litania'' from Ancient Greek wikt:λιτανεία, λιτανεία (''litaneía''), which in turn comes from wikt:λιτή, λιτή (''litḗ''), meaning "prayer, supplication". Christianity Western Christianity This form of prayer finds its model in Psalm 136: "Praise the Lord, for he is good: for his mercy endures for ever. Praise ye the God of gods . . . the Lord of lords . . . Who alone doth great wonders . . . Who made the heavens", etc., with the concluding words in each verse, "for his mercy endures for ever." The Litany originated in Antioch in the fourth century and from there was taken to Constantinople and through it to the rest of the East...From Constantinople the Litany was taken to Rome and the West. Josef Andreas Jungmann explains how the ''Kyrie'' in the Roman ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
