[Audio Track 17] Of these Tenebrae Responsories, Peter Phillips writes that their power, “lies in the balance between the words and [Victoria's] setting of them. The text has its own impact, which may be discovered by reading it aloud.
Author: Edward Schaefer
"The Church has always sought a dynamic balance between the expressive and the formative attributes of liturgical music. (This book) traces the development of the Church's music through the ages and is a chronicle of the music we have used in the earthly Liturgy of the Church. .... " [from back cover]
Author: Eugene Casjen CramerPublish On: 2013-10-28
D037 Argo | RG 149 | Responsories for Tenebrae | 1960 | LP | Includes: the eighteen Tenebrae Responsories | Westminster Cathedral Choir | George Malcolm, conductor | Notes and English pr#x00E9;cis of the texts by the conductor | Also ...
Author: Eugene Casjen Cramer
With over 1,700 entries, this book is the most comprehensive listing to date of writings about Tomas Luis de Victoria and his music as well as recordings and modern editions of his works. Among the features of this guide are a chronology of Victoria's life and publications, a publication history of the 181 authenticated works, and a listing of the 22 prints and 279 manuscripts from the late 16th century to the middle of the 19th century that contain Victoria's works whether they be lost, spurious, or dubious. Comprehensive title and name/subject indexes facilitate the retrieval of the information given in the annotations accompanying each of the sources surveyed
Responsories at Matins in Holy Week, performed Choir of Westminster Cathedral, directed by David Hill. Hyperion CD CDA66304. Tomás Luís de Victoria, Lamentations; Tenebrae Responsories, performed by The Choir of Trinity College, ...
Author: Richard Viladesau
Publisher: Oxford University Press
This is a sequel to Richard Viladesau's well-received study, The Beauty of the Cross: The Passion of Christ in Theology and the Arts from the Catacombs to the Eve of the Renaissance. It continues his project of presenting theological history by using art as both an independent religious or theological "text" and as a means of understanding the cultural context for academic theology. Viladesau argues that art and symbolism function as alternative strands of theological expression sometimes parallel to, sometimes interwoven with, and sometimes in tension with formal theological reflection on the meaning of crucifixion and its role in salvation history. This book examines the two great revolutionary movements that gave birth to the modern West: the Renaissance and the Protestant Reformation. This period was eventful for both theology and art, and thus particularly fruitful for Viladesau's project. Using individual works of art, over sixty of which are reproduced in this book, to epitomize particular artistic and theological models, he explores the contours of each paradigm through the works of representative theologians as well as liturgical, poetic, artistic, and musical sources. To name a few examples, the theologies of Savonarola, Luther, Calvin, and the Council of Trent, are examined in correlation to the new situation of art in the era of Fra Angelico, Leonardo, Michelangelo, D?rer, Cranach, and the Mannerists. In this book, Viladesau continues to deepen our understanding of the foremost symbol of Christianity.
Some ofthe early medieval centos that are the Responsories could also suggest Jewish “responsibility.” Certainly the worst of them is F6/R5, Tenebrae factae sunt, the only Responsory to mention the Crucifixion directly.
Author: Robert L. Kendrick
Publisher: Indiana University Press
A defining moment in Catholic life in early modern Europe, Holy Week brought together the faithful to commemorate the passion, crucifixion, and resurrection of Jesus Christ. In this study of ritual and music, Robert L. Kendrick investigates the impact of the music used during the Paschal Triduum on European cultures during the mid-16th century, when devotional trends surrounding liturgical music were established; through the 17th century, which saw the diffusion of the repertory at the height of the Catholic Reformation; and finally into the early 18th century, when a change in aesthetics led to an eventual decline of its importance. By considering such issues as stylistic traditions, trends in scriptural exegesis, performance space, and customs of meditation and expression, Kendrick enables us to imagine the music in the places where it was performed.
Tenebræ factæ sunt [Lat for The darkness has set in] Gesualdo: for 6vces (1611). Tenebræ Responsories [Lat for Responsories for *Tenebrae] Victoria: for unac ch, for Holy Saturday (1585). Ten Minutes for Four Players Siegmeister: for wd ...
By contrast, the responsories sung after the lessons at the night office represent some of the richest and most elaborate chant in the whole Western repertory, including the famous *tenebrae responsories sung at matins in *Holy Week.
Author: Paul F. Bradshaw
Publisher: SCM Press
This reference work incorporates the insights and expertise of leading liturgists and scholars of liturgy at work today, comprising 200 entries on important topics in the field, from vestments and offertories to ordination and divine unction. It is systematically organized and alphabetically arranged for ease of use. It also includes comprehensive bibliographies and reading lists, to bring the work fully up to date and to encourage further reading and research
(The fifth responsory for Good Friday begins with the words “tenebrae factae sunt dum crucifixissent Jesum”—“darkness came ... In the Renaissance the same pattern was followed, but with polyphonic settings of the verses or responsories.
Author: Richard Viladesau
Publisher: Oxford University Press
This volume traces how theologies and the arts of the Baroque period stressed the "pathos" of Christ's death on the cross as the means of salvation, and invited believers to an emotional response that binds them to Christ's saving act.
... Matins First Nocturn, Responsories 1–3 (1) Omnes amici mei, (2) Velum templi, (3) Vinea mea Second Nocturn, Responsories 4–6 (4) Tamquam ad latronem, (5) Tenebrae factae sunt, (6) Animam meam Third Nocturn, Responsories 7–9 (7) ...
Author: Frederick Aquilina
Publisher: Boydell & Brewer
Category: Biography & Autobiography
This book is the first-ever study of Malta's major eighteenth-century composer, Benigno Zerafa (1726-1804), a specialist in sacred music composition. Zerafa's large-scale and small-scale vocal and choral works, mostly written during his long service as musical director at the Cathedral of Mdina, have been winning increased recognition in recent years. In addition to describing and analysing this extensive corpus, the book gives an account of Zerafa's sometimes eventful career against the wider background of the rich musical and cultural life in Malta, especial attention being paid to its strong links with Italy, and particularly Naples, where Zerafa was a student for six years. Itexamines in detail the complex relationship of music to Catholic liturgy and investigates the distinctive characteristics of the musical style, intermediate between baroque and classical, in which Zerafa was trained and always composed: one that today is commonly labelled galant. Well stocked with music examples, the book makes copious reference to Italian and Maltese composers from Zerafa's time and to modern analytical studies of Italian music from the middle decades of the eighteenth century, thereby offering a useful general commentary on the galant period. Its central aim, however, is to stimulate further interest in, and revival of, Zerafa's music. To this end the book contains a complete work-list with supplementary indexes. Scholars and students of eighteenth-century music, in particular sacred music, the galant style and Italian music, will find it invaluable. FREDERICK AQUILINAis Senior Lecturer in Music Studies at the University of Malta.
... Holy Saturday) (with Juan Gutiérrez de Padilla: Lamentations for Maundy Thursday); Tenebrae Responsories Gimell GIMBX 304 (3). TallisScholars, PeterPhillips Tomás Luis de Victoria's Requiem, the Tenebrae Responsories and the.
Author: Edward Greenfield
Publisher: Penguin UK
INDEPENDENT BOOKS OF THE YEAR This completely new edition of the Penguin Guide reviews the 1000 best classical albums issued and reissued over the past five decades, many of which dominate the catalogue because of their sheer excellence, irrespective of recording dates. More comprehensive than ever before, it indicates key recordings on CD, DVD and enhanced SACD, including those in surround sound. If you want the finest available version of any major classical album you will find it listed and assessed in these pages. Ranging from long-established albums to the newest releases, the latest edition represents the cream of the international repertoire and has all the information you need to select the finest classical music available.
... 299 Tenebrae factae sunt (Miškinis), 287 Tenebrae Responsories (MacMillan), 353 Tenebrae super Gesualdo (Davies), 343 Terra, La (Copland, Hindemith, and Malipiero), 260–261, 300 test pieces, 59 Testament of Freedom, The (Thompson), ...
Author: Chester L. Alwes
Publisher: Oxford University Press
A History of Western Choral Music explores the various genres, key composers, and influential works essential to the development of the western choral tradition. Author Chester L. Alwes divides this exploration into two volumes which move from Medieval music and the Renaissance era up to the 21st century. Volume II begins at the transition from the Classical era to the Romantic, with an examination of the major genres common to both periods. Exploring the oratorio, part song, and dramatic music, it also offers a thorough discussion of the choral symphony from Beethoven to Mahler, through to the present day. It then delves into the choral music of the twentieth century through discussions of the major compositional approaches and philosophies that proliferated over the course of the century, from impressionism to serialism, neo-classicism to modernism, minimalism, and the avant-garde. It also considers the emerging tendency towards nationalistic composition amongst composers such as Bartók and Stravinsky, and discusses in great detail the contemporary music of the United States, and Great Britain. Framing discussion within the political, religious, cultural, philosophical, aesthetic, and technological contexts of each era, A History of Western Choral Music offers readers specialized insight into major composers and works while providing a cohesive understanding of choral music's place in Western history.