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Chant II (album)
''Chant II'' is a 1995 album of Gregorian chant, performed by the Benedictine monks of Santo Domingo de Silos in Burgos, Spain. It is a follow-up to the 1994 release ''Chant'', the best-selling album of Gregorian chant. Like the first album, it included material which had been recorded by the monks some years previously. Performers The monks of Santo Domingo de Silos have been singing Gregorian chant since the 11th century (before that, they used Mozarabic chant). In the nineteenth century the French monks of Solesmes Abbey played a part in the reestablishment of Santo Domingo de Silos after the Ecclesiastical Confiscations of Mendizábal. The Solesmes style of singing plainsong has influenced the Spanish monks. Reception Reviewers had expressed surprise at the success of the first album. Not only had Gregorian chant been a specialist market for record companies before the 1980s but also other choirs were probably technically better in this repertoire (for example the monks ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gregorian Chant
Gregorian chant is the central tradition of Western plainchant, a form of monophonic, unaccompanied sacred song in Latin (and occasionally Greek) of the Roman Catholic Church. Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, with later additions and redactions. Although popular legend credits Pope Gregory I with inventing Gregorian chant, scholars believe that it arose from a later Carolingian synthesis of the Old Roman chant and Gallican chant. Gregorian chants were organized initially into four, then eight, and finally 12 modes. Typical melodic features include a characteristic ambitus, and also characteristic intervallic patterns relative to a referential mode final, incipits and cadences, the use of reciting tones at a particular distance from the final, around which the other notes of the melody revolve, and a vocabulary of musical motifs woven together through a process called centonization to create families of related ch ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ismael Fernández De La Cuesta
Ismael Fernández de la Cuesta (born 1939) is a Spanish vocalist and musicologist specialising in Gregorian chant. Fernández de la Cuesta was born in the village of Neila, Province of Burgos, Burgos, Spain. He entered the Abbey of Santo Domingo de Silos at a young age. After a period of study in France, he returned to direct the abbey choir from 1962 to 1973, when he left monastic life. He was subsequently on the staff of the Madrid Royal Conservatory, where he taught Gregorian Chant until his retirement. Publications He has published extensively on subjects related to medieval music. Recordings He has made recordings of Gregorian chant, notably ''Chant (Benedictine Monks of Santo Domingo de Silos album), Chant'', the best-selling classical record of 1994, which features the monks of Santo Domingo de Silos. He also directed performances of Mozarabic chant with the same choir. [...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] |
Media Vita In Morte Sumus
(Latin for "In the midst of life we are in death") is a Gregorian chant, known by its incipit, written in the form of a response, and known as "Antiphona pro Peccatis" or "de Morte". The most accepted source is a New Year's Eve religious service in the 1300s. Reference has been made to a source originating in a battle song of the year 912 by Notker the Stammerer, a monk of the Abbey of Saint Gall: however, the Synod of Cologne declared in 1316 no one should sing this without prior permission of the residing bishop. Text Media vita in morte sumus quem quaerimus adjutorem nisi te, Domine, qui pro peccatis nostris juste irasceris? Sancte Deus, sancte fortis, sancte et misericors Salvator: amarae morti ne tradas nos. In the midst of life we are in death of whom may we seek for succour, but of thee, O Lord, who for our sins art justly displeased? O holy God, O holy and strong, O holy and merciful Saviour, deliver us not to bitter death. The English translation is a poetic adaptio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Agnus Dei
is the Latin name under which the " Lamb of God" is honoured within the Catholic Mass and other Christian liturgies descending from the Latin liturgical tradition. It is the name given to a specific prayer that occurs in these liturgies, and is the name given to the music pieces that accompany the text of this prayer. The use of the title "Lamb of God" in liturgy is based on , in which St. John the Baptist, upon seeing Jesus, proclaims "Behold, the Lamb of God, who takes away the sin of the world!" Liturgical usage Latin Catholic The Syrian custom of a chant addressed to the Lamb of God was introduced into the Roman Rite Mass by Pope Sergius I (687–701) in the context of his rejection of the Council of Trullo of 692 (which was well received in the Byzantine East), whose canons had forbidden the iconographic depiction of Christ as a lamb instead of a man. The verse used in the first and second invocations may be repeated as many times as necessary whilst the celebr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sanctus
The Sanctus ( la, Sanctus, "Holy") is a hymn in Christian liturgy. It may also be called the ''epinikios hymnos'' ( el, ἐπινίκιος ὕμνος, "Hymn of Victory") when referring to the Greek rendition. In Western Christianity, the ''Sanctus'' forms part of the Ordinary and is sung (or said) as the final words of the Preface of the Eucharistic Prayer of remembrance, consecration, and praise. The preface, which alters according to the season, usually concludes with words describing the praise of the worshippers joining with the angels, who are pictured as praising God with the words of the ''Sanctus''. In the Byzantine Rite and general Eastern Orthodox Christianity, the ''Sanctus'' is offered as a response by the choir during the Holy Anaphora. ''Tersanctus'' ("Thrice Holy") is another, rarer name for the Sanctus. The same name is sometimes used for the ''Trisagion''. Text In Greek ''Hágios, hágios, hágios, Kýrios Sabaṓth; plḗrēs ho ouranós kaí hē gê ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kyrie
Kyrie, a transliteration of Greek , vocative case of (''Kyrios''), is a common name of an important prayer of Christian liturgy, also called the Kyrie eleison ( ; ). In the Bible The prayer, "Kyrie, eleison," "Lord, have mercy" derives from a Biblical phrase. Greek "have mercy on me, Lord" is the Septuagint translation of the phrase found often in Psalms ( 6:2, 9:13, 31:9, 86:3, 123:3) In the New Testament, the Greek phrase occurs three times in Matthew: * Matthew 15:22: the Canaanite woman cries out to Jesus, "Have mercy on me, O Lord, Son of David." () *Matthew 17:15: "Lord, have mercy on my son" () *Matthew 20:30f, two unnamed blind men call out to Jesus, "Lord, have mercy on us, Son of David." () In the Parable of the Publican and the Pharisee (Luke 18:9-14) the despised tax collector who cries out "Lord have mercy on me, a sinner" is contrasted with the smug Pharisee who believes he has no need for forgiveness. Luke 17:13 has ''epistates'' "master" instead ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Veni Sancte Spiritus
"Veni Sancte Spiritus", sometimes called the Golden Sequence, is a sequence prescribed in the Roman Liturgy for the Masses of Pentecost and its octave, exclusive of the following Sunday. It is usually attributed to either the thirteenth-century Pope Innocent III or to the Archbishop of Canterbury, Cardinal Stephen Langton, although it has been attributed to others as well. "Veni Sancte Spiritus" is one of only four medieval Sequences which were preserved in the Roman Missal published in 1570 following the Council of Trent (1545–63). Before Trent, many feasts had their own sequences. It is still sung today in some parishes on Pentecost Sunday. Text Musical settings The sequence was set to music by a number of composers, especially during the Renaissance, including Dufay, Josquin, Willaert, Palestrina, John Dunstaple, Lassus, Victoria, and Byrd. Marc-Antoine Charpentier wrote one setting, H.364, H.364 a, for 3 voices and bc (1690s). Later composers who have set the t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ut Queant Laxis
"" or "" is a Latin hymn in honor of John the Baptist, written in Horatian Sapphics with text traditionally attributed to Paulus Diaconus, the eighth-century Lombard historian. It is famous for its part in the history of musical notation, in particular solmization. The hymn belongs to the tradition of Gregorian chant. It is not known who wrote the melody. Guido of Arezzo possibly composed it,Ut queant laxis in ''Encyclopédie Larousse'' but he more likely used an existing melody. A variant of the melody appears in an eleventh-century musical setting of Horace's poem ''Ode to Phyllis'' ( [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Responsory
A responsory or respond is a type of chant in western Christian liturgies. Definition The most general definition of a responsory is any psalm, canticle, or other sacred musical work sung responsorially, that is, with a cantor or small group singing verses while the whole choir or congregation respond with a refrain. However, this article focuses on those chants of the western Christian tradition that have traditionally been designated by the term responsory. In the Roman Rite and rites strongly influenced by it, such as the pre-reformation English rite and the monastic rite of the Rule of St. Benedict, these chants ordinarily follow readings at services of the Divine Office (also called the Liturgy of the Hours); however, they have also been used as processional chants. Structure and performance A responsory has two parts: a respond (or refrain), and a verse. Methods of performance vary, but typically the respond will be begun by the cantor then taken up by the entire choi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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