But at the end of the third movement, which is laced with cascading "Alleluias," a gorgeously restrained pianissimo line — a simple "Alleluia, Glory to Thee, O God" — seemed to impart a focus that held for much of the rest of an accomplished if not particularly stirring performance.
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It is not composed as the typical four-part setting, but the lower voices sing lively contrasting Alleluias, derived from the psalm.
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The Psalmellus follows the Prophecy, the Old Testament reading, and corresponds to the Gregorian Gradual. The Post Epistolam or Alleluia follows the reading of the Epistle, and corresponds to the Gregorian Alleluia. Ambrosian Alleluias show an even higher degree of adaptation, reusing melodies for the texts of different feasts, than do the Gregorian Alleluias. Unlike the Gregorian Alleluia, the Ambrosian Alleluia kept an extended repeat called the jubilus.
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Old Roman Graduals fall into the same centonization families as their Gregorian counterparts, although with variations. For example, there is a family of Old Roman Graduals related to the Iustus ut palma family of Gregorian Graduals, which is named after one of the Gregorian Graduals that belongs to this family, but the Old Roman version of Iustus ut palma does not itself belong to this family. Old Roman Alleluias have a melodia secunda or alleluia secundus, an elaborate repetition of the opening jubilus, similar to the Alleluia in Ambrosian chants. There are fewer distinct Alleluia melodies than in the Gregorian repertory, and unlike the Gregorian Alleluias, some Old Roman Alleluias have verses in Greek.
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They are analogous to the Gregorian Introit. Alleluias appear in every Mass except the Masses of Holy Week. Most of them share a single melody. Offertories and Communions are melodically more simple.
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The SDSO official song is "Alleluias for Orchestra" written by South Dakota composer Stephen Yarbrough. In 2007 the endowment for the SDSO was 2.2 million dollars a growth of 28 times since 1998.
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A cantatorium is a collection of chants for the Mass and solo pieces for the Liturgy of the Word with simple congregational responses of graduals, alleluias, tracts or cantica. Examples include the Saint-Gall Cantatorium.
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The works have a four-part polyphonic structure. One more fragment is found copied in the Montpellier Codex. Wycombe's main period of activity was probably the 1270s and 1280s. He is best known as the composer of polyphonic alleluias.
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He wrote criticism also which are published in Cross Ane Kavi (1987), Shabdagoshthi, Shabdani Arpar (2008), Shabdane Ajvale (2007) and Shabdasahvas (2008). Stotrasamhita (1980) is his metrical translation of the Biblical alleluias which are sung is several churches of Gujarat.
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L'Ascension ("The Ascension") is a piece for orchestra, composed by Olivier Messiaen in 1932–33. Messiaen described it as "4 meditations for orchestra". The orchestral piece is in four brief sections: # Majesté du Christ demandant sa gloire à son Père ("The majesty of Christ demanding his glory of the Father") # Alleluias sereins d’une âme qui désire le ciel ("Serene alleluias of a soul that longs for heaven") # Alleluia sur la trompette, alleluia sur la cymbale ("Alleluia on the trumpet, alleluia on the cymbal") # Prière du Christ montant vers son Père ("Prayer of Christ ascending towards his Father") A complete performance takes around 27 minutes.
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The Methodist historian Bernard Lord Manning said about it: > But in the evening at the chapel, though I was uncertain about the prayers, > there was no gamble about the hymns. I knew we should have Charles Wesley's > Easter hymn, "Christ the Lord Is Risen Today," with its 24 "Alleluias": and > we did have it. Among any Dissenters worth the name that hymn is as certain > to come on Easter Day as the Easter Collect in the Established Church (the > Church of England). And mark this further—those 24 "Alleluias" are not there > for nothing: the special use of "Alleluia" at Easter comes down to us from > the most venerable liturgies.
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St. Louis: Concordia Publishing House, 1992, 316 pp. The original version only included a single verse with a refrain of alleluias, which can also be sung in canon with the verse. Other verses of anonymous authorship have been added based on Matthew 7:7 and Matthew 4:4. It is sometimes included in Christian children's song books.
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As it was Easter, the prayer was liturgically required to contain Alleluias, which are usually not contained in the office for the dead – a fact that Wolfe felt had significance. Around 10:30 am, Father Paschal offered Mass in her room and she received her last communion (Viaticum). She took her last breath shortly before 5:00 pm, and died.
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The original hand has Cogno[v]erunt Dominum in fractione panis. Panis quem frangimus corpus est D. N. J. C. Calix quem benedicimus sanguis est D. N. J. C. in remissionem peccatorum nostrorum, interspersed with six Alleluias. Then over an erasure, Moelcaich inserts Fiat Domine misericordia, etc. Cognoverunt Dominum Alleluia, and a prayer or confession of faith, Credimus, Domine, credimus in hac confractione.
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Less than a year before his death, during the reign of Peter I, Dimitry of Rostov create the forged anti-Old Rite work The Synodic Act on the Heretic of Armenia, the Martyr Martin. The document claims that a monk and heretic named Martin, an Armenian, arrived in Russia from Constantinople in 1149, and pretending to be a Roman and a relative of the patriarch Luke Chrysoberges, began to preach in Russia various heresies. These heresies consisted of a combination of Armenian and Latin heresies (and according to the Acts, Martin learned this heresy Rome itself). Subsequently, adopted by the Russians, the heresy consisted of making the sign of the cross with two fingers, saying the Jesus Prayer instead of the name of the Trinity while making the sign of the cross, and using two alleluias instead of three alleluias.
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The Alleluia is known for the jubilus, an extended joyful melisma on the last vowel of 'Alleluia'. The Alleluia is also in two parts, the alleluia proper and the psalmverse, by which the Alleluia is identified (Alleluia V. Pascha nostrum). The last melisma of the verse is the same as the jubilus attached to the Alleluia. Alleluias are not sung during penitential times, such as Lent.
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The incense is blessed, the oblation is brought from the Prothesis to the altar while the people sing the Cherubikon, ending with three Alleluias. (The text is different from the Byzantine Cherubikon.) Meanwhile, the priest says another prayer silently. The creed is then said; apparently at first it was a shorter form like the Apostles' Creed. The Offertory prayers and the litany are much longer than those in the Apostolic Constitutions.
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Gregorian chant is the traditional chant of the Roman Rite. Being entirely monophonic, it does not have the dense harmonies of present-day chanting in the Russian and Georgian churches. Except in such pieces as the graduals and alleluias, it does not have melismata as lengthy as those of Coptic Christianity. However, the music of the Roman Rite became very elaborate and lengthy when Western Europe adopted polyphony.
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Each Threnus has a non-repeating refrain followed by several verses, which are sung to the same melody. This function of replacing another chant on certain penitential days is similar to the way the Gregorian Tract replaces the Alleluia. Just as the Gregorian Gradual is followed by the Alleluia, the Visigothic/ Mozarabic Psalmo is followed by the Laus. Like the Gregorian Alleluias, the Laudes include two melismas on the word "alleluia" surrounding a simpler verse.
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Working with Kim Andre Arnesen, Tait wrote the text for the internationally performed "Flight Song", "The Wound in the Water - 2016", and "The Christmas Alleluias - 2015", initially performed by The Valley Chamber Chorale, Stillwater, Minnesota. "The Flight Song" has forty different performances on YouTube and has sold numerous copies. In 2018, Tait released three of his pieces on a major record label, Naxos. His future projects include the libretti for major choral works for the UK and the USA.
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"Ye Watchers and Ye Holy Ones" () is a popular Christian hymn with text by Athelstan Riley, first published in the English Hymnal (1906). It is sung to the German tune ' (1623). Its uplifting melody and repeated "Alleluias" make this a favourite Anglo-Catholic hymn during the Easter season, the Feast of All Saints, and other times of great rejoicing. The hymn was also notably adapted for the final movement of The Company of Heaven (1937), a cantata by Benjamin Britten.
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As they do, the animals sing "Alleluias" and the people sing a chorus of praise: "Lord we thanke thee through thy mighte". God promises that he will never again destroy the earth with water, and produces a rainbow as his token. The cast begins Addison's hymn "The spacious firmament on high", with the congregation joining in the last two verses. All the cast depart except Noye, who receives God's blessing and promise of no more vengeance: "And nowe fare well, my darling deare" before his departure from the stage.
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The Armenian Rite, which has kept the older arrangement of three lessons, includes between each a fragment called the Saghmos Jashu (Psalm of dinnertime) and the Mesedi (mesodion), again a verse or two from a psalm. The Nestorians use three verses of psalms each followed by three Alleluias (this group is called Zumara) after the Epistle. The present Ambrosian Rite sometimes has a Prophecy before the Epistle, in which case there follows the Psalmellus, two or three verses from a psalm, which corresponds to the Gradual. The Mozarabic Rite has three lessons, with a psalm (Psallendo) sung between the first two.
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Over 40 settings have been identified in several sources, a group of compositions almost equal in size to that of Léonin, the earlier composer of the continental Notre Dame school, but only one of the 40 can be restored completely; the others exist only in fragments. Some of his work appears in the Worcester Fragments, a collection of 59 manuscript leaves that represents about a third of the total surviving polyphony from 13th- century England. Each of Wycombe's alleluias is in four sections. The second and fourth contain the solo respond and verse sections, while the first and third consist of free polyphony.
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Britten introduced the repetitive Greek chant "Kyrie eleison" ("Lord, have mercy") at the entry of the animals, and "Alleluias" at their triumphant exit. He had completed about two-thirds of the opera when Ford was dismissed from A-R, allegedly for administrative shortcomings and inexperience. A-R decided to withdraw from the project, which was then taken up by Associated Television (ATV), whose chairman Lew Grade personally took responsibility for signing the contract and urged that Britten should complete the opera. In November 1957 Britten moved to The Red House, Aldeburgh, but continued to work on the opera throughout the upheaval.
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This volume of 131 pages of old parchment, the ivory binding of which depicts ancient Etruscan sculptures, contains all the Graduals, the Alleluias, and the Tracts of the whole year, in the ancient neumatic notation (a sort of musical stenography), together with the so-called Romanian signs, i.e. the special marks of time and expression added by Romanus. Lambillotte succeeded, not without serious difficulty, in obtaining permission to have a facsimile of this manuscript made by an expert copyist. This he published (Brussels, 1851), adding to it his own key to the neumatic notation, and a brief historical and critical account of the document.
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The 17-day period beginning on Septuagesima Sunday was intended to be observed as a preparation for the season of Lent, which is itself a period of spiritual preparation (for Easter). In many countries, however, Septuagesima Sunday marked and still marks the traditional start of the carnival season, culminating on Shrove Tuesday, sometimes known as Mardi Gras. In the pre-1970 Roman Rite liturgy, the Alleluia ceases to be said during the liturgy. At first Vespers of Septuagesima Sunday, two alleluias are added to the closing verse of Benedicamus Domino and its response, Deo gratias, as during the Easter Octave, and, starting at Compline, it is no longer used until Easter.
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Noye's reappearance is followed by the brief waltzes for the Raven, accompanied by solo cello, and the Dove, the latter a flutter-tongued recorder solo the melody of which is reversed when the Dove returns. Following God's instruction, the people and animals leave the ark singing a thankful chorus of Alleluias with more bugle fanfares in B flat. The appearance of the rainbow is accompanied by handbell chimes, a sound which dominates the final stages of the work. In the final canonical hymn, the main tune moves from F major to G major and is sung over reiterated bugle calls, joined by the handbells.
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The overall focus of the hymn is drawn from Matthew 28:5–6 where Mary Magdalene and the other Mary is told by an angel of Jesus' resurrection. The wording as well as the "Alleluias" are drawn from the Book of Psalms with a number of Psalms being used including Psalms 106, 111, 112, 113, 117 and 135. It also alludes to Revelation 19 where it is said that during the Rapture that "Alleluia" will sing out from Heaven. In 1989, the United Methodist Church's United Methodist Hymnal altered the second line of the first verse from "Sons of men and angels say" to "Earth and Heaven in chorus say".
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Even relatively florid chants like Alleluias may have a narrow ambitus. Earlier writers termed the modal ambitus "perfect" when it was a ninth or tenth (that is, an octave plus one or two notes, either at the top or bottom or both), but from the late fifteenth century onward "perfect ambitus" usually meant one octave, and the ambitus was called "imperfect" when it was less, and "pluperfect" when it was more than an octave . All of the church modes are distinguished in part by their ambitus . The plagal modes have the final in the middle of the ambitus, while the authentic modes generally go no more than one note below the final.
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Falconio's works are all of the sacred vocal category, and include introits, alleluias, magnificats, psalm settings, and works relating to the Passion. He seems to have taken pains in many cases to make his works readily performable even for less-trained forces in smaller parishes. This is illustrated in that, despite the prevailing atmosphere of polychoral works, or at least works for five or more voices, Falconio wrote often for but four voices, and even for three on one occasion, a Voces Christi. Contributing also to this accessibility is the simple, homophonic nature shared by many of his works, though of course such an idiom had begun to dominate in the post-Tridentine era of the 1570s and 80s.
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The Premonstratensian Missal was not arranged like the Roman Missal. While the canon was identical, with the exception of a slight variation as to the time of making the sign of the cross with the paten at the "Libera nos", the music for the Prefaces etcetera differed, though not considerably, from that of the Roman Missal. Two alleluias were said after the "Ite missa est" for a week after Easter; for the whole of the remaining Paschal time one alleluia was said. A full account of the Premonstratensian rite of Mass, as it was before the Second Vatican Council can be found at The Premonstratensian Rite, which reproduces the text of Chapter Three in Liturgies of the Religious Orders by Archdale King (Bruce Publishing Company, Milwaukee, Wisconsin, U.S.A.; 1953).
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"Kings and Queens of the Hill: Collecting Congressional Autographs", Autograph Collector, June 2003. “The White House Brat Pack: Collecting the Children of America's First Families”, Autograph Collector, March 2003. “The White House Sorority: Collecting First and Second Ladies of the United States, 1961-2002”, Autograph Collector, November 2002. "Collecting the Cousins of Camelot: The Third Generation of Kennedys", Autograph Collector, March 2002. “Amens, Autographs and Alleluias”, Autograph Collector, July 2001 “Off the Designer’s Rack: Fashion's Designer Originals”, Autograph Collector, June 2001. “There She Is: The Crowning Autographs of Miss America” (cover story), Autograph Collector, October 2000. “Chasing History at the New Hampshire Primary”, Autograph Collector, May 2000. “Communicating History: Corresponding with The White House Press Secretaries”, Autograph Collector, September 1999. “Dear Mr. President, Will You Please Help Me With My Homework?”, Autograph Collector, October 1998.
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In addition to this, however, for those parts of the music during which that choir rested was presented a single line consisting of the lowest note being sung at any given time, which could be in any vocal part. Even in early concerted works by the Gabrielis (Andrea and Giovanni), Monteverdi and others, the lowest part, that which modern performers colloquially call "continuo", is actually a "basso seguente", though slightly different, since with separate instrumental parts, the lowest note of the moment in the instrumental parts is often lower than any being sung. The first known published instance of a basso seguente was a book of Introits and Alleluias by the Venetian Placido Falconio from 1575. What is known as "figured" continuo, which also features a bass line that because of its structural nature may differ from the lowest note in the upper parts, developed over the next quarter-century.
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Later in 2014 his Magnificat was released on CD/Blu-ray on the label 2L. He has produced a number of works with the Welsh-Scots poet Euan Tait, including the widely performed "Flight Song" (2014), "You asked me to speak" (a companion piece for "Even When He is Silent"), "Love's Onward Journey", "The Call of Peace", "Child of Song" (all 2015) and a new five movement Christmas work, "The Christmas Alleluias" (2015). In 2016 a large scale work called "The Wound in the Water," was premiered by the GRAMMY-winning ensemble Conspirare (libretto, Euan Tait), and has since been performed across the United States. Three major new works have followed: "Holy Spirit Mass", for the National Lutheran Choir and first performed in Washington DC in October 2017; "Sing the Earth" (Southwestern University Singers and Festival Mass Choir, 2018 Southwestern Music Festival,Morton H. Meyerson Symphony Center in Dallas, Texas.
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