His "pro-EU" speeches are litanies of complaints about the union.
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He recounts, in accusatory he-said-she-said dialogues, litanies of perceived betrayals.
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And the consequence of those retweets, litanies, and articles is to spread the pollution further.
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"Literally, litanies of other federal agencies deal with environmental issues including climate change," Perry said.
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Mass and meditation, spiritual conference, and on and on, until litanies in chapel, and so to bed.
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"Literally litanies of other federal agencies deal with environmental issues including climate change," said Perry, an Army veteran.
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A common literary-world rap against this novel was frustration with its endless litanies of what people wear.
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NOOK'S FRIEND: All right, all right, I take that —— TAVERNISE: And Nook's friend is just shouting about these litanies of wrongs against him.
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These "litanies," as the artist called them, were made at Exit Art earlier that year as part of a performance event called Prayer Project.
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As is our wont, we liberals bombarded ourselves — and our candidates — with endless litanies of advice on what we should and should not say.
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A few years later, she released her first album, "The Litanies of Satan," a rending 30-minute maelstrom of weapons-grade solo voice and electronics.
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Usually it's just other familiar units of composition — clauses, phrases, litanies — that happen to lack the purchase and propulsion of sentences: The permanenthavoc of little mistakes.
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Written for use in an actual service, the Liturgy has parts for a deacon, typically leading long litanies in a monotone chant, and freer parts for the celebrant.
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She followed Walt Whitman's example — drawing on her own bodily experience, but also exercising, like a census-taker or compassionate sociologist, a democratic wish to compose litanies of representative specimens.
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Nowhere has trade figured more centrally than in the Hoosier State, where the air-conditioner maker Carrier opted to move operations to Mexico, becoming a recurrent feature in Mr. Trump's anti-free-trade litanies.
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In 1982 she released her debut album,The Litanies Of Satan, a sparse soundscape of tormenting screams, incantations and poetry that showcased her famed vocal acrobatics and included an 18-minute performance piece titled Wild Women With Steak Knives.
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The speeches were litanies of conservative grievances rather than substantive conversations about terrorism — more of a piece with the night's angst about Black Lives Matter and Mexican immigration than a conversation about a vision for dealing with any real terrorist threat.
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Baroque pieces by Jean-Philippe Rameau predate the affair by centuries, and are used in a head-scratching ballet of military officers; Jehan Alain's pulsating "Litanies," performed with verve by the organist Parker Ramsay, are from the 1930s, decades after Dreyfus was rehabilitated.
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When I was a little girl, I would stand in my school uniform for hours on end next to my mother in the Plaza de la Revolución, sweating and sunburned, hungry and thirsty, as he fired off endless litanies of numbers and percentages.
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It's more than possible that with perhaps half a year of work the Bioware team — which seems to be painfully aware of the game's shortcomings, if their responses to detailed litanies of complaints on the game's subreddit are any indication — could make this game worth the price of entry.
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The speech, they said, is likely to have more in common with his clipped inaugural address — in which he declared, "The time for empty talk is over" — than the fine-print litanies of policy proposals favored by President Bill Clinton or the high-flung invocations of national purpose preferred by President George W. Bush and Mr. Obama.
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He wanted to move, like the whale, in a sonar world that still contained the pulses of fifty-million-year-old sagas of continuous whale-mind: "elegant cetacean music…lyrical litanies on the bio-radio…rumours of ancestors, memories of loss, memories of ideal love…" The closest he could come to this was perhaps the state of anarchy in which he lived in the late 1970s, in his Free Independent Republic of Frestonia in Notting Hill, where buildings were squatted and food and beds shared in a ferment of ideas.
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His main school of thought, of whose litanies he practiced, was however Chisti-Sabiri order.
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But once the custom grew up of reciting Marian litanies privately, and of gradually shortening the text, it was not long until the idea occurred of employing them for public devotion, especially in cases of epidemic, as had been the practice of the Church with the litanies of the Saints, which were sung in penitential processions and during public calamities. The earliest certain mention we have of a public recital of Marian Litanies is actually related to a time of pestilence, particularly in the 15th century. An incunabulum of the Casanatensian Library in Rome, which contains the Venice litanies referred to above, introduces them with the following words: "Oraciones devote contra imminentes tribulaciones et contra pestem". At Venice, in fact, these same litanies were finally adopted for liturgical use in processions for plague and mortality and asking for rain or for fair weather.
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When imagination fails doctrines become ossified, witness and proclamation wooden, doxologies and litanies empty, consolations hollow, and ethics legalistic.
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Examples of communal prayer are the Rosary, devotional prayers including novenas and litanies, classroom prayers, and, most importantly, the Mass.
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Further prints appeared in 1991 and 2005. Carus-Verlag published the litanies beginning in 2001 as part of the Stuttgarter Mozart Ausgaben.
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New York: Robert Appleton Company, 1910. 10 December 2017 Lengthy and involved litanies of this type do not seem to have won popularity, though it is possible to find other examples of a like kind. However, during the two centuries that followed, many Marian litanies were composed. Their form remains uncertain and hesitating, but the tendency is always towards brevity and simplicity.
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He wrote music for solo instruments. Each section of invocations is concluded by a repeat of the beginning. This litany is regarded as his "most extensive contribution" to the genre. Mozart's litanies appeared in Bärenreiter's Neue Mozart-Ausgabe (NMA, New Mozart Edition), a critical edition, in 1969 in series I, part (Abteilung) 2/1: Litanies, edited by Hellmut Federhofer and Renate Federhofer-Königs.
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With regard to their form, it is certain that those who first composed the Marian litanies aimed at imitating the litanies of the Saints which had been in use in the Church since the 8th century. The basic principle of the Marian litanies is the constant repetition of the invocation, "Sancta Maria, ora pro nobis." And in order that this repetition might not prove monotonous in the Middle Ages recourse was had to an expedient since then universally used, not only in private devotions but even in liturgical prayer, that of amplifying by means of what are called tropes. It was an easy matter to improvise between the "Sancta Maria" and the "Ora pro nobis", repeated over and over, a series of tropes consisting of different praises, with an occasional added petition, imitated however broadly from the litanies of the saints.
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Her "Chief Points of our Holy Ceremonies " was published in 1726. Her other works, all in manuscript, are chiefly books of spiritual exercises, litanies, and other devotions.
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Wolfgang Amadeus Mozart composed four litanies in his service as a church musician for the Salzburg Cathedral, two of which are settings of the Litaniae Lauretanae, the Litany of the Blessed Virgin Mary. The other two are settings of the Litaniae de venerabili altaris sacramento, venerating the Eucharist. Mozart composed the works for four soloists, choir, instruments, and continuo. The litanies appeared in Bärenreiter's Neue Mozart-Ausgabe (NMA) in 1969.
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Mozart composed four litanies in his service as a church musician for the Prince-Archbishop of Salzburg., , , , Litanies are prayers repeating acclamations, sometimes in responsory form. Mozart returned from his first Italian journey, begun in December 1769, to his Salzburg position as a Konzertmeister of the archbishop in March 1771. He composed his first litany, K. 109, dated May 1771, in the spirit of the Italian music he had encountered on his trip.
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The cross was carried at the head of the procession and often the gospel and the relics of the saint were carried. Gregory of Tours gives numerous instances of such litanies in time of calamity; thus he describesVita S. Remig. I. a procession of the clergy and people round the city, in which relics of St Remigius were carried and litanies chanted in order to avert the plague. So, too, Gregory the GreatEp. xi. 57.
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The Litanies of Satan is the debut album by American avant-garde artist Diamanda Galás, released in the United Kingdom by Y Records in 1982; it was released in her home country in 1989.
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The buildings were a constant source of misery to the soldiers, and records reveal litanies of complaints about leaky roofs, crumbling walls and chimneys, crowded conditions and filth from crumbling dirt roofs and muddy floors.
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While vaidikas and, to a lesser degree, smartas, remained faithfull to the traditional Vedic lore, a new brahminism arose which composed litanies for the local and regional gods, and became the ministers of these local traditions.
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It is the older Mass used at the time when the PNCC formed. The Prime Bishop Hodur Mass is the longest and filled with additional prayers and litanies, as well as parts of the Traditional Mass.
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Jonah Weiner of Blender commented that "practically every song sounds as though we've heard it before – because, well, we have." Q panned the record as mostly "a procession of syrupy ballads with added self- help litanies".
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Lourdino Barreto and orchestrated by Fr. Monteiro). The traditional Goan "Exultemos com alegria", in Portuguese (arranged by Fr. Monteiro), ended the evening bringing nostalgic memories of this hymn which used to be sung at Litanies in Goa.
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Many other litanies are used in private prayer. A Marian litany is one dedicated to the Blessed Virgin Mary; only one is authorised for public recitation (mentioned above). The Litany of humility is another well-known prayer.
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The phrase Kýrie, eléison (Greek: ), or one of its equivalents in other languages, is one of the most oft-repeated phrases in Eastern Christianity, including the Eastern Orthodox and Eastern Catholic Churches. The various litanies, frequent in that rite, generally have Lord, have mercy as their response, either singly or triply. Some petitions in these litanies will have twelve or even forty repetitions of the phrase as a response. The phrase is the origin of the Jesus Prayer, beloved by Christians of that rite and increasingly popular amongst Western Christians.
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"Les Litanies de Satan" ("The Litanies of Satan") is a poem by Charles Baudelaire, published as part of Les Fleurs du mal. The date of composition is unknown, but there is no evidence that it was composed at a different time to the other poems of the volume. The poem is a renunciation of religion, and Catholicism in particular. It includes a blasphemous inversion of the Kyrie Eleison and the Glory Be, parts of the Catholic Mass, or it substitutes Satan for Mary and liturgy directed towards her.
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Funeral services held during Bright Week have a special rite, consisting entirely of joyous Paschal hymns with only the litanies remaining funereal. Parakleses (Molebens) during Pascha are likewise served according to a special rite, with the canon of Pascha.
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It is probable that the Loreto text became customary in the Holy House towards the close of the 15th century, at a time when in other places similar litanies were being adapted for public use to obtain deliverance from some calamity.
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The statue of the venerated Black Virgin In her book-length poem, "Solitude," Vita Sackville- West uses Rocamadour in her dedication, as site and setting for inspiration. The composer Francis Poulenc wrote in 1936 Litanies à la Vierge Noire (Litanies to the Black Virgin) after a pilgrimage to the shrine. Rocamadour inspired 20th-century Latin American novelists Julio Cortázar and Giannina Brashi who lived in France for some time and wrote in Spanish about immigrants, expatriates, and tourists. In Cortazar's opus "Hopscotch", the sad heroine La Maga has a baby boy named Rocamadour who dies in his sleep.
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Ipsissimus is an album by John Zorn. It is the fifth album to feature the "Moonchild Trio" of Mike Patton, Joey Baron and Trevor Dunn, following Astronome (2006), Moonchild: Songs Without Words (2006), Six Litanies for Heliogabalus (2007) and The Crucible (2008).
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The litanies in his honour indicate that Joachim III was remembered with respect in the Church. He was the second Bulgarian Patriarch executed by the ruling monarch after Vissarion, condemned by Ivan Asen II (r. 1218–1241) after refusing to bless his third marriage.
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The first mention for the Western Church occurs in St Ambrose.c. 388, Ep. 40 16, Ad Theodos. monachos ... qui psalmos canentes ex consuetudine usuque veteri pergebant ad celebritatem Machabaeorum martyrum. In both these cases the litanies are stated to have been long in use.
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Pope Clement XII (1758–1769) banned all Marian litanies except the Litany of Loreto. In 1770 he permitted Spain to have the Immaculata as the main patron of the country, and in 1767 he granted Spain the privilege of adding Mater Immaculata to the litany.
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The International Beethoven Festival commissioned his Litanies for soloists, choir, organ and orchestra, the Gottes Namen Litanei, which were premiered in September 2000 in Bonn Cathedral. This success led to the commission by the International Beethoven Festival of the Bonner Messe, for four soloists, mass choir, organ and orchestra. This work, composed of three parts ("Gloria", "Litanei" and "Sanctus") was destined to be premiered alongside a performance of Beethoven's Missa Solemnis. The concert took place on 23 September 2003, with Beethoven's "Gloria" and "Sanctus" being replaced by those of Looten and the mass completed by "Litanies" sung in German, according to an old tradition.
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The Marian music in the baroque period is strongly influenced by the Latin tradition, but develops its own characteristics. Marian songs venerate her exceptional sanctity. Many Marian songs have the form of litanies, expressing veneration of Mary. Others moralize the faithful in light of her virtuous life.
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His compositions were intended almost exclusively for a church choir. Only about 21 of his compositions have been preserved. He wrote offertoria, gradualia, Regina Coeli, Salve Reginas, requiems, litanies, Te Deums, and church cantatas. In some of his works Brixi also thematically elaborated folk spiritual music.
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Retrieved 26 November 2013. Cranmer established the liturgical structures for the Church of England after the Reformation and prepared the church's first official authorised vernacular service. He derived the text of the litany from two medieval Sarum rite litanies and a German Litany by Martin Luther.MacCulloch, Diarmaid.
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On the strength of this impulse given to the Litany of Loreto, certain ascetical writers began to publish a great number of litanies in honour of the Saviour, the B. Virgin, and the saints, often ill-advised and containing expressions theologically incorrect, so that Pope Clement VIII had promulgated (6 Sept., 1601) a severe decree of the Holy Office, which, while upholding the litanies contained in the liturgical books as well as the Litany of Loreto, prohibited the publication of new litanies, or use of those already published in public worship, without the approbation of the Congregation of Rites. At Rome the Litany of Loreto was introduced into the Basilica di Santa Maria Maggiore by Cardinal Francesco Toledo in 1597; and in 1613, Pope Paul V ordered it to be sung in that church, morning and evening, on Saturdays and on vigils and feasts of the Madonna. As a result of this example the Loreto Litany began to be used, and is still largely used, in all the churches of Rome.
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Joseph H. Hertz (died 1946), chief rabbi of the British Empire, described it as "the oldest and most moving of all the litanies of the Jewish Year."Hertz, Joseph H., The Authorized Daily Prayer Book with commentary, introductions and notes (rev. American ed. 1948, NY, Bloch Publ'g) page 161.
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He received a Master's degree in 1906. Following the publication of his thesis on The Nyaishes or Zoroastrian Litanies, Dhalla was awarded a Ph.D. in May 1908. The experience at Columbia University gave Dhalla "a new outlook on life". and he began "observing religious literature from a new angle.".
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See Grout (1) for an extended example from this composition. (Complete score is available on IMSLP.) Macque also wrote sacred music, including a book of motets for five to eight voices, litanies, laudi spirituali, and contrafactum motets (motets originally in another language, fitted with new texts known as contrafacta).
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According to Directory on Popular Piety: > Litanies are to be found among the prayers to the Blessed Virgin recommended > by the Magisterium. These consist in a long series of invocations of Our > Lady, which follow in a uniform rhythm, thereby creating a stream of prayer > characterized by insistent praise and supplication. The invocations, > generally very short, have two parts: the first of praise (Virgo clemens), > the other of supplication (Ora pro nobis). The liturgical books contain two > Marian litanies: The Litany of Loreto, repeatedly recommended by the Roman > Pontiffs; and the Litany for the Coronation of Images of the Blessed Virgin > Mary, which can be an appropriate substitute for the other litany on certain > occasions.
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A litany is normally intoned by a deacon, with the choir or people chanting the responses. As he concludes each petition, the deacon raises the end of his orarion and crosses himself; if there is no deacon serving, the petitions are intoned by a priest.Some litanies are prescribed to be intoned by a priest, such as the ones at the end of compline and the midnight office and those used at the laying-on of hands (ordination) of a priest or bishop. During many litanies the priest says a prayer silently; when no deacon is serving, the response to the last petition is typically prolonged to give the priest time to finish the prayer.
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But, because of its archaic form, this litany must be considerably anterior to 1524, and may have been copied from some 15th-century MS. The praises are chosen in part from previous litanies, and in part they are original. The arrangement is better and more varied. The first place is given to praises bestowed on the name of "Mater"; then come those expressing the Blessed Virgin's tender love for mankind; then the titles given her in the creeds; then those beginning with "Regina", which are identical with those we now have in the Litany of Loreto. Two new titles are introduced: "Causa nostræ lætitiæ" and "Vas spirituale", which are not found in earlier litanies.
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"Litany of Loreto." The Catholic Encyclopedia Vol. 9. New York: Robert Appleton Company, 1910. 10 December 2017 Before that time, there were litanies of Mary - one in Gaelic, probably of the eighth century, and others of later date, in which the invocations were much longer than those in the Litany of Loreto.
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She wrote a number of secular cantatas and two oratorios to Italian texts. Surviving compositions include four masses, six motets, and three litanies for choir. She wrote in the Italian style, as was typical for the early Classical period in Vienna. Her harpsichord performance practice was compared to the style of C.P.E. Bach.
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The most common forms of Sufi group dhikr consist in the recital of particular litanies (e.g. Hizb al-Bahr of the Shadhilis), a composition of Quranic phrases and Prophetic supplications (e.g. Wird al-Latif of the Ba `Alawis), or a liturgical repetition of various formula and prayers (e.g. al- Wadhifa of the Tijanis ).
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Saint Mamertus (died c. 475) was the bishop of Vienne in Gaul, venerated as a saint. His primary contribution to ecclesiastical practice was the introduction of litanies prior to Ascension Day as an intercession against earthquakes and other disasters, leading to "Rogation Days." His feast day is the first of the Ice Saints.
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II, p.363-364, 412 Likewise, the piece titled Imnul lui Satan ("Satan's Hymn") was placed by critics in connection with Les Litanies de Satan (part of Baudelaire's Les Fleurs du mal), but, Vianu argues, the source of Macedonski's satanic themes may have been lodged in his own vision of the world.
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When the paschal candle is lit they sing a hymn "Inventor rutili", with a verse that is repeated each time. There are only five Prophecies, followed by the litanies. When "Omnes Sancti" is sung those who are to serve the Mass go out. The word Accendite is said and the candles are lighted.
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St. Columbanus, St. Fructuosus, and St. Isidore adopt the system of three psalms. Like St. Benedict, most of these authors include hymns, the capitulum or short lesson, a versicle, and an oratio. In the 9th and 10th centuries we find some additions made to the Office of Nones, in particular litanies, collects, etc.
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In form, the Litany of Loreto is composed on a fixed plan common to several Marian litanies already in existence during the second half of the 15th century, which in turn are connected with a notable series of Marian litanies that began to appear in the twelfth century and became numerous in the 13th and 14th. The Loreto text had, however, the good fortune to be adopted in the famous shrine, and in this way to become known, more than any other, to the many pilgrims who flocked there during the 16th century. The text was brought home to the various countries of Christendom, and finally it received ecclesiastical sanction. Twelve invocations refer to Mary as Mother; six extol her as Virgin.
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Madonna by Filippo Lippi In Christian worship, Marian litany is a form of prayer to the Blessed Virgin Mary used in church services and processions, and consisting of a number of petitions. In the Eastern Church litanies are always a part of the official liturgy, and they have at least three different forms: Synaptae (Collect), Ektenie ("intense" prayer of intercession and pardon based in part on Psalm 50) and Aitaesis (intercessory prayer for peace, pardon and protection). Marian litanies are numerous in the Eastern church and may cover a multitude of themes, some dogmatic, others of moral and patriotic character. In the liturgy of the Western Church the word litany is derived from the Latin litania, meaning prayer of invocation or intercession.
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Both fire and water are also hypostasized as the Yazatas Atar and Anahita, which worship hymns and litanies dedicated to them. A corpse is considered a host for decay, i.e., of druj. Consequently, scripture enjoins the safe disposal of the dead in a manner such that a corpse does not pollute the good creation.
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The English translation of his novel, Litanies of Dutch Battery, was shortlisted for The Hindu Literary Prize in 2011. Kerala Sahitya Akademi honoured him with fellowship in 2013. He received the Padmaprabha Literary Prize in 2015 and two awards in 2018, the Mathrubhumi Literary Award and the Literary Award of the Bahrain Keraleeya Samajam.
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Manuel died on 1944, and soon after, the young Clara would also lose her mother. Orphaned, she would be raised by her older sister Dindinha (Maria Gonçalves) and brother José (known as Zé Chilau). At that time, Clara attended catechism classes in the Church of the Eucharistic Crusade. There, she also sang litanies in Latin in the church choir.
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Aissawa Moroccans generally avoid deep intellectual and philosophical speculations about Sufism, preferring to attach greater importance to the technical and aesthetic aspects of their music, litanies, poetry and ritual dances. They like to consider their ceremonial space as a safe haven for various artistic elements, for their symbolic system, as well as for the religious traditions of Moroccan culture.
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In some provinces also the Lutheran Church has retained the ancient rogation processions in the week before Whitsuntide and, in some cases, in the month of May or on special occasions (e.g. days of humiliation, Busstage), processions about the fields to ask a blessing on the crops. On these occasions the ancient litanies are still used.
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György Kousz ( Prekmurje Slovene: Jürko Kous) was a Hungarian Slovene teacher and writer. It is unknown if Kousz or the priest of Pertoča István Pauli was the author of the local Prekmurje dialect hymnal. Few details are known about Kousz's life. His hymnal has 256 church hymns and 1 secular hymn, litanies, and a Saint Matthew's Passion.
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The result was the release of a remastered version of her debut album The Litanies of Satan (1982), which had been originally released on Y Records. This was followed by the 21-minute piano work De- formation: Piano Variations (2020), which was based on music for the 1912 poem Das Fieberspital (The Fever Hospital) by the German expressionist writer Georg Heym.
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They were held without a priest and Marian litanies and songs were sung by the faithful. Usually the service was led by a woman from the village. The June services were also held there, as well as the October rosary meetings. After the war, paintings and sculptures had been found at the shrine – such as a Pietà and an Ascension scene.
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Although used to a much lesser extent in Jewish worship, litanies do appear in Jewish liturgy. The most notable examples are during the Ten Days of Repentance. The most famous of these "supplicatory" prayers is Avinu Malkeinu, which is recited during the Rosh Hashanah and Yom Kippur liturgies. Certain Selichot prayers also take the form of a litany during the month of Elul.
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It is a sacramental litany, Litaniae de venerabili altaris sacramento (Litanies of the venerated sacrament of the altar), venerating the Eucharist. The work in nine movements is scored for the same vocal forces, but a rich orchestra with woodwinds. The work was again modelled after a composition by Leopold Mozart of the same text. The autograph shows some changes from his hand.
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The Diakonie Neuendettelsau religious institute uses a breviary unique to the order; For All the Saints: A Prayer Book for and by the Church, among many other breviaries such as The Daily Office: Matins and Vespers, Based on Traditional Liturgical Patterns, with Scripture Readings, Hymns, Canticles, Litanies, Collects, and the Psalter, Designed for Private Devotion or Group Worship, are popular in Lutheran usage as well.
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In addition to Morning and Evening Prayer there is a complete service for Compline. Its psalter—an inclusive- language revision of the psalter from the 1979 American Book of Common Prayer—also includes a collect for each psalm. Antiphons and litanies are provided for the seasons of the church year. A new Book of Common Worship Daily Prayer with expanded content was published in 2018.
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Paolo Benedetto Bellinzani (1682 – February 26, 1757) was an Italian composer of first half of the eighteenth century. Among his works are holy masses, offertories, duets, madrigals, litanies, motets and magnificat. His first known composition is a Requiem aeternam written in 1700 for two violins, Soprano, Alto, Tenor, Bass, Organ. He was active in the Italian regions of Friuli, Veneto, Emilia, Marche and Umbria.
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Both Catholics and Protestants may hold spiritual retreats, prayer vigils, and litanies in the days leading up to Pentecost. In some cases vigils on the Eve of Pentecost may last all night. Pentecost is also one of the occasions specially appointed for the Lutheran Litany to be sung. From the early days of Western Christianity, Pentecost became one of the days set aside to celebrate Baptism.
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Russian, Old Slavonic, Romanian, Greek, Arabic, Serbian, and Georgian can be heard in many prayers and litanies even if services are mostly in English. The services begin and end with the sign of the cross. The most common service is the Divine Liturgy which takes place during Sunday mornings. The Divine Liturgy is the Orthodox Christian sabbath service and centers around the consecration of the Eucharist.
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Her first solo album, The Litanies of Satan (1982), was also an operatic work. It included only two compositions: a twelve-minute piece entitled 'Wild Women with Steak-Knives', which was described by Galás in the album notes as tragedy-grotesque deriving from her work "Eyes Without Blood", and another lengthy composition, 'Litanies of Satan', an adaptation to music of a section from Charles Baudelare's poem Les Fleurs du Mal. Her second album, Diamanda Galas (1984), contained two lengthy compositions, too. They were 'Panoptikon', which was dedicated to Jack Henry Abbott, whose 1981 autobiographical book In the Belly of the Beast described his experience of the prison system, and 'Tragoudia Apo To Aima Exoun Fonos' ('Song From the Blood of Those Murdered'), a Greek-language piece dedicated to those political prisoners who were either murdered or executed during the Greek military regimes in the years 1967-74.
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By 1989, when she published Sataneller, many critics had had enough of her cruel litanies, full of anger and despondency. Grave also wrote a novel, Ariel, in 1955 in which the narrator, Marina, seeks freedom from conventional women's roles. Her play Fläsksabbat (Bacon Sabbath), published in Tre lyriska gräl (1962), is a devastating criticism of Western materialism conveyed by presenting the gluttonous behaviour of a family at Christmastime.
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Patricia M. Ranum, Portraits around Marc-Antoine Charpentier, pp. 227–40; Patricia M. Ranum, "Marc-Antoine Charpentier compositeur pour les Jésuites (1687–1698)," in Catherine Cessac, ed., Marc-Antoine Charpentier, un musicien retrouvé (Sprimont: Mardaga, 2005) pp. 231–46 Once he moved to Saint-Louis, Charpentier virtually ceased writing oratorios and instead primarily wrote musical settings of psalms and other liturgical texts such as the Litanies of Loreto.
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Rocamadour had the effect of restoring me to the > faith of my childhood. This sanctuary, undoubtedly the oldest in France ... > had everything to captivate me ... The same evening of this visit to > Rocamadour, I began my Litanies à la Vierge noire for female voices and > organ. In that work I tried to get across the atmosphere of "peasant > devotion" that had struck me so forcibly in that lofty chapel.Poulenc > (2014), p.
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A depiction of St. Odile in Mont Sainte-Odile, Alsace, France. The cult of St. Odile spread rapidly, and spread outside France to Germany. She was mentioned in the litanies of Freising, Utrecht and Ratisbon at least from the 9th century. Amongst the common people, pilgrimages to her shrine were popular, and were by no means limited to the masses; from Charlemagne onwards, emperors also conducted pilgrimages in her honour.
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Around 1576, Bernardino Cirillo, archpriest of Loreto, published at Macerata two litanies of the Blessed Virgin, which, he contended, were used at Loreto. One is in a form which is entirely different from our present text. Another form ("Aliae litaniae B.M.V.") is identical to the litany of Loreto approved by Pope Clement VIII in 1601 and now used throughout the entire Church. This second form contains the invocation Auxilium Christianorum.
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In the most generic context, a Samhita may refer to any methodical collection of text or verses. Any shastra, sutra or Sanskrit Epic, along with Vedic texts, can be called a Samhita. Samhita, however, in contemporary literature typically implies the earliest, archaic part of the Vedas. These contain mantras – sacred sounds with or without literal meaning, as well as panegyrics, prayers, litanies and benedictions petitioning nature or Vedic deities.
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They discover that he escaped from Bedlam Hospice where Major Banks and his men were cared for. The mad man begins to recite a litany, Mortimer recognizes the words as the litanies of Septimus's victims. Afterwards, in the street, Blake and Mortimer become victims of attempted murder by a driver whose lifeless body was found surrounded by arcs before catching fire. Plagued by a bad feeling, Mortimer returned to his laboratory.
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Her poem "Litanies to My Heavenly Brown Body" was widely circulated after the 2016 Orlando nightclub shooting. In the publication "Proximity: On the Work of Mark Aguhar," (2015), writer Roy Pérez examines Aguhar's drawings, videos, live acts, and writings as performances of closeness, and as critiques of racism, transphobia, and fat phobia. Pérez highlights the complexity of Aguhar's queerness and "not wanting to form attachments within the dominant normative society".
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Latin hymns and litanies from the earliest Christian era name Mary as the "Mystical Rose" and by an array of rose epithets, or as a garden that bore Christ in the image of the rose.Winston-Allen, Stories of the Rose, pp. 88–89 et passim; J. Miller, Beads and Prayers, p. 166. Ambrose declared that the blood of Christ in the Eucharist, transubstantiated from wine, was to be perceived as a rose.
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The composer conducted the Cambridge Singers, the Philip Jones Brass Ensemble and organist John Scott in the first recording in 1984. A 1995 recording combines Gloria with Leonard Bernstein's Chichester Psalms and works by Francis Poulenc, including Quatre petites prières de saint François d’Assise Quatre petites prières de Saint François d'Assise on data.bnf.fr and Litanies à la Vierge Noire. Timothy Brown conducted the Choir of Clare College, Cambridge, The Wallace Collection and organist Richard Pearce.
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William Worcestre claimed that the body itself was at Branston (or Branscombe) in Devon, and Leland referred to a chapel of Saint Breward near Seaton. The proper name of Milton Abbey is the Abbey Church of St. Mary, St. Samson and St. Branwalader. The cultus of Saint Branwalator has been strong at least from the 10th-century when his name could be found in litanies. His feast was kept at Winchester, Exeter, and in Cornwall.
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There were three High Masses, the office of the Blessed Virgin Mary, public visits to the Blessed Sacrament, the Way of the Cross, vespers, prayer services, and litanies. And priests were available for confessions all hours of the day and night. In 1793, Hofbauer was made vicar-general of the Congregation north of the Alps. With Warsaw as center, he undertook the foundation of new establishments of the Congregation in Germany and in Switzerland.
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In 1601 Baronius wrote that about eighty forms were in circulation. To prevent abuse, Pope Clement VIII, by decree of the Inquisition of 6 September 1601, forbade the publication of any litany, except that of the saints as found in the liturgical books and that of Loreto. Later, litanies of the Holy Name of Jesus, the Sacred Heart, the Precious Blood, and St. Joseph were also approved for publication and public recitation.
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In 1823-24, he was one of the 50 composers who composed a variation on a waltz by Anton Diabelli for Vaterländischer Künstlerverein. He creditably filled the responsible and difficult post of director of the music at St. Stephen's Cathedral, from 1823 until his death in Vienna; and his compositions show high gifts and accomplishment. They consist chiefly of church music, 17 masses, besides litanies, motets, offertories, etc., being among the number.
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Pope Paul V and Gregory XV ruled in 1617 and 1622 to be invalid to state that Mary was conceived non-immaculate. Alexander VII declared in 1661 that the soul of Mary was free from original sin. Popular Marian piety was even more colourful and varied than ever before: Numerous Marian pilgrimages, Marian Salve devotions, new Marian litanies, Marian theatre plays, Marian hymns, Marian processions. Marian fraternities, today mostly defunct, had millions of members.
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Masochistic Religion were a Canadian goth music group and one of the first goth bands from Toronto, Ontario.Convergence IV - Bands and DJs Masochistic Religion went through many line-up changes over the years with Mitch Krol as the only consistent member.Convergence IV - Bands and DJs The band formed in the late 80s and broke up in 1998.Madame Webb's Sight - Toronto Goth History Their album Litanies of Satan is based on Charles Baudelaire's writings.
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Stabile wrote masses, motets, litanies, hymns, and other sacred pieces, in nine separate publications. Two of his collections of masses were first published in Warsaw in 1979, as Msze królewskie (Royal Masses), which he wrote for his employer Sigismund III. One of his masses — the Missa cantantibus organis — is for the unusual combination of 12 independent voices, and was a collaboration with Palestrina and others. Only the Kyrie, Credo and Crucifixus survive from this work.
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Francis Poulenc composed Litanies à la Vierge Noire and a Stabat Mater in 1950. Arvo Pärt composed several works related to Mary, including a Magnificat in 1989 and a Salve Regina in 2001. The Franciscan Helmut Schlegel wrote in 2009 a hymn, "Glauben können wie du", addressing Mary and wanting to imitate her virtues faith, hope and love. It was included in 2015 in an oratorio, Laudato si', which narrates stations of her life, quoting the Magnificat.
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In the 1980s, two brotherhoods (tariqa), the Qadiriyyah and the Tijaniyyah, accounted for nearly all the brotherhood membership in Mauritania. The Qadiriyyah and Tijaniyyah were essentially parallel "ways," differing primarily in their methods of reciting the litanies. Their Islamic doctrines and their religious obligations were basically similar. Two smaller brotherhoods also existed — the Shadhiliyyah, centered in Boumdeït in Tagant Region, and the Goudfiya, found in the regions of Tagant, Adrar, Hodh ech Chargui, and Hodh el Gharbi.
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This "Litany of Loreto" is the Litany of the Blessed Virgin Mary, one of the five litanies approved for public recitation by the Church. In 1920 Pope Benedict XV declared the Madonna of Loreto patron saint of air travellers and pilots. The statue was granted a Canonical Coronation in 1922 by Pope Pius XI. In October 2019 Pope Francis restored the feast of Our Lady of Loreto, commemorated on December 10, to the universal Roman calendar.
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There are about fifteen temples; the oldest ones being Shree Tulsimata Pandurang Sansthan at Vodlem Bhat and Shree Shankar Devasthan at Shankarwadi which were enlarged from Gumti structure which existed during the Portuguese era. Amongst the others, the most unusual ones is Shri. Mahalaxmi Devasthan at Oitalem. Both these temples have a Cross inside the temple and candles are lit every night by our Hindu Brethren and Litanies are held occasionally with the help of the catholic community.
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These processions were called litanies, and in them pictures and other religious emblems were carried. In Rome, pope and people would go in procession each day, especially in Lent, to a different church, to celebrate the Sacred Mysteries. Thus originated the Roman "Stations", and what was called the "Litania Maior", "Major Rogation" or "Romana". It was held on 25 April, on which day the heathens had celebrated the festival of Robigalia, the principal feature of which was a procession.
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This standard pattern of daily prayer provided the framework for the artists' efforts.Froehlich, Karlfried, Princeton Theological Seminary link This book contains: :::A Calendar of feast days, :::The Little Office of the Blessed Virgin Mary, :::The Hours of the Cross, :::The Hours of Eternal Wisdom, :::The Office for the Dead, :::The Seven Penitential Psalms, :::Various Litanies and Prayers, :::A series of seven Offices for each day, with an accompanying Mass; and :::The Suffrages, a Memorial of the Saints.
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Around this time she also worked in the house of the future cardinal Giovanni Saglia. Pallotti continued to serve as her spiritual director for almost two decades and he held her in considerable esteem realizing her to be a true agent of God. In Rome she educated other children in catechism and she also prepared them for the sacraments. Her house was open to all women who wanted to learn religious litanies and of catechism in general.
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Russian Orthodox deacon holding a red paschal deacon's candle As specified in the liturgical books the Pentecostarion and the Typicon, deacons also carry a candle throughout the paschal services. The deacon's candle is a single large candle which he carries in his left hand while reciting ektenias (litanies), while censing, and at other times when his hands are not otherwise occupied. It is also often decorated with fresh flowers. In the Slavic tradition, this candle may be red.
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Ancient Ambon outside Hagia Sophia in (Istanbul, Turkey) The ambon is the platform from which the deacon reads the Gospel and says the litanies, and the priest gives the dismissal during the Divine Services. The ambon is considered to be a part of the altar (i.e., the sanctuary), so normally only the clergy will go up onto the ambon. The exception is that the faithful will step up onto the ambon when they come forward to receive Holy Communion.
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The Huguenot soldiers sing a blood-thirsty war song in praise of the Protestant Admiral Coligny (Couplets militaires: "Prenant son sabre de bataille"). A procession of Catholic girls crosses the scene on the way to the chapel where Valentine and Nevers are about to be married, chanting praise to the Virgin (Litanies :" Vierge Marie, soyez bénie !") Marcel enters with a letter from Raoul to Saint-Bris and interrupts the procession, seeking to know Saint-Bris's whereabouts.
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24, Ermanno Loescher & Co., 1905 The curia had been abandoned until Honorius decided to erect the church. Its name refers to the martyr Adrian of Nicomedia. Paintings are still visible in a side chapel which depict scenes from the life of St. Adrian; there are also some Byzantine paintings. It was designated by Pope Sergius I (687-701) as the starting point for the litanies during certain the procession liturgical feasts of the Virgin Mary, Presentation in the Temple, Annunciation, Assumption and Nativity.
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"We [Seneschals and Lieutenants General], following the will of God and of the aforesaid Lady [Jeanne d'Albret]... have annulled, expelled, and banned from this land every exercise of the Roman religion without any exception, such as masses, processions. litanies, Matins, Vespers, Complines, vigils, feasts, vows, pilgrimages, painted images or images made of wood, votive lights, flowers, candles, the cross...."Dubarat, Protestantisme, pp. 184-185. Jeanne d'Albret died on 9 June 1572. The Saint Bartholomew's Day massacres began on 24 August 1572.
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In certain Anglo-Catholic parishes this feast is called the Immaculate Conception. Again, the Assumption of Mary is believed in by most Anglo-Catholics, but is considered a pious opinion by moderate Anglicans. Protestant minded Anglicans reject the celebration of these feasts. Prayers and venerative practices vary greatly. For instance, as of the 19th century, following the Oxford Movement, Anglo-Catholics frequently pray the Rosary, the Angelus, Regina caeli, and other litanies and anthems of Our Lady that are reminiscent of Catholic practices.
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Samhita literally means "put together, joined, union", a "collection", and "a methodically, rule-based combination of text or verses".saMhita, Monier- Williams' Sanskrit-English Dictionary, Oxford University Press, page 1123 Samhita also refers to the most ancient layer of text in the Vedas, consisting of mantras, hymns, prayers, litanies and benedictions.Lochtefeld, James G. "Samhita" in The Illustrated Encyclopedia of Hinduism, Vol. 2: N-Z, Rosen Publishing, , page 587 Parts of Vedic Samhitas constitute the oldest living part of Hindu tradition.
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The feast of the Rosary was introduced in 1716, the feast of the Seven Sorrows in 1727. The Angelus prayer was strongly supported by Pope Benedict XIII in 1724 and by Pope Benedict XIV in 1742.F Zöpfl, Barocke Frömmigkeit, in Marienkunde, 577 Popular Marian piety was even more colourful and varied than ever before: Numerous Marian pilgrimages, Marian Salve devotions, new Marian litanies, Marian theatre plays, Marian hymns, Marian processions. Marian fraternities, today mostly defunct, had millions of members.
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It is recited in a dramatic manner, before the open ark, using a melody that dates back to the 16th century. Then the service continues with the evening prayers (Ma'ariv or Arvit) and an extended Selichot service. The morning prayer service is preceded by litanies and petitions of forgiveness called selichot; on Yom Kippur, many selichot are woven into the liturgy of the mahzor (prayer book). The morning prayers are followed by an added prayer (Mussaf) as on all other holidays.
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Pope Clement XI ordered the feast of the Immaculata for the whole Church in 1708. The feast of the Rosary was introduced in 1716 and the feast of the Seven Sorrows in 1727. The Angelus prayer was strongly supported by Pope Benedict XIII in 1724 and by Pope Benedict XIV in 1742.F Zöpfl, Barocke Frömmigkeit, in Marienkunde, 577 Popular Marian piety was more colorful and varied than ever before: Numerous Marian pilgrimages, Marian Salve devotions, new litanies, Marian theatre plays, Marian hymns, Marian processions.
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The deacon wears the orarion over his left shoulder with the front portion draped over his left forearm. He will take this portion in his right hand when leading litanies or drawing attention to a particular liturgical action. This single orarion is the oldest form, as illustrated in traditional and older iconography. Archdeacons and protodeacons are awarded the much longer double orarion, which is worn over the left shoulder, wrapped around the chest and back, and brought back over the left shoulder to the front.
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The extinguishing (or giving up) of the candle, at the end of the service, symbolizes the fact that each person will have to surrender his soul, at the end of his life. The service is composed of Psalms, ektenias (litanies), hymns and prayers. In its outline it follows the general order of MatinsFrom this comes the Greek name parastas which refers to standing all night in vigil, which in the early days was what literally took place. and is, in effect, a truncated funeral service.
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It is the Syriac St. James. The Liturgy of the Presanctified of St. James (used on the week days of Lent except Saturdays) follows the other one very closely. There is the Liturgy of the Catechumens with the little Entrance, the Lessons, Liturgy of the Faithful and great Entrance, litanies, Our Father, breaking of the Host, Communion, thanksgiving, and dismissal. Of course the whole Eucharistic prayer is left out–the oblations are already consecrated as they lie on the Prothesis before the great Entrance (Brightman, op. cit.
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On ferias and "Memorials" Ps. cxlvi is said after Ps. cxlviii, and on ferias Ps. 1, 1–18, comes at the end of the psalms. The rest of the services consist of prayers, antiphons, litanies, and verses (giyura) inserted, like the Greek stichera, but more extensively, between verses of psalms. On Sundays the Gloria in Excelsis and Benedicte are said instead of Ps. cxlvi. Both morning and evening services end with several prayers, a blessing, (Khuthama, "Sealing" ), the kiss of peace, and the Creed.
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83 He is listed in two 11th-century litanies. A narrative of this century claimed that his relics had been brought to Wilton Abbey by Breton monks in the 10th-century, and left for safe-keeping at the altar of Saint Eadgyth. The narrative claims that the relics subsequently became immovable [through the wish of the saint to reside there], though historian John Blair suspected that this story may have been invented to justify Wilton's theft of the relics. His feast day was celebrated on 8 October.
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A similar form of chair in domestic furniture is called "prie-dieu" by analogy. Sometimes, a prie-dieu will consist only of the sloped shelf for books without the kneeler. Prie-dieu may be provided in church weddings for the bride and groom to kneel on during the service, or may be used by a cleric when he leads the worshippers in prayers such as litanies. In the Byzantine Rite, a prie-dieu is provided for the bishop when he kneels in the Holy Doors during the consecration of a church.
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Much of Buns's work has survived, including motets, litanies, masses, pieces for chorus and instruments, as well as 14 instrumental sonatas. Buns published nine opus numbers (I-IX) between 1666 and 1721. Books were published by Petrus Phalesius, Antwerp, opus I–III; by Lucas de Potter, Antwerp, opus IV and V; by Arnold van Eynden, Utrecht opus VI; by Hendrik Aertssens, Antwerp, opus VII; and by Estienne Roger, Amsterdam, opus VIII-IX. The two editions of Gregorian chant and his opus I-VII and IX contains a large amount of liturgical music.
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Apart from a single early work for unaccompanied choir ("Chanson à boire", 1922), Poulenc began writing choral music in 1936. In that year he produced three works for choir: Sept chansons (settings of verses by Éluard and others), Petites voix (for children's voices), and his religious work Litanies à la Vierge Noire, for female or children's voices and organ.Hell, pp. 98–99 The Mass in G major (1937) for unaccompanied choir is described by Gouverné as having something of a baroque style, with "vitality and joyful clamour on which his faith is writ large".
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They were bilingual and bicultural, speaking both their local language, and popular Sanskrit, which transcended regional differences in culture and language. They were able to "translate the mainstream of the large culture in terms of the village and the culture of the village in terms of the mainstream," thereby integrating the local culture into a larger whole. While vaidikas and, to a lesser degree, smartas, remained faithful to the traditional Vedic lore, a new brahminism arose which composed litanies for the local and regional gods, and became the ministers of these local traditions.
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The recording is similar in texture to "Wild Women With Steak- Knives" from her debut album The Litanies of Satan (1982), but when the latter was hysterical and loud, "Τραγούδια" is slow, ghoulish and mournful. The singer was inspired by the tradition of Greek mourning rites, where women mourn the dead as well as seek revenge for the person responsible for the death. The words of "Τραγούδια" are sung in Greek and refer to the victims of the Greek junta regime that ruled Greece from 1967 to 1974.
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Chase, pgs. 47 - 48 The city of Philadelphia has also been a major center for Roman Catholic church music. The first Catholic hymnbook published in the United States came from Philadelphia in 1787, entitled Litanies and Vesper Hymns and Anthems as They Are Sung in the Catholic Church; this collection included music scored for treble and bass, with later editions adding a third vocal section, and used highly ornamented plainchant themes in the Mass and hymns. The publisher Mathew Carey was particularly influential, publishing a catechism in 1794 that included hymns in later editions.
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In England the Litany of Rogation Days (Gang-Days) was known in the earliest periods. In Germany it was ordered by a Synod of Mainz in 813. Because the Mass Litany became popular through its use in processions, numberless varieties were soon made, especially in the Middle Ages. Litanies appeared in honour of God the Father, of God the Son, of God the Holy Ghost, of the Precious Blood, of the Blessed Virgin, of the Immaculate Conception, of each of the saints honoured in different countries, for the souls in Purgatory, etc.
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Between 1751 and 1754 he stayed in Rome as an assistant to the Procurator General of the order, from where he returned to Wiener Neustadt. In 1755 he was sent again to the Maria Trost monastery, where he died in 1758, at the young age of 31. Despite his early passing, Ivanschiz left behind a remarkable number of compositions. His output comprises about 20 symphonies, 15 string trios, 17 masses, 13 litanies, 7 short cantatas (each named "Oratorium"), 9 settings of Marian antiphons, 8 arias and duets to non-liturgical texts, vespers and Te Deum.
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The earliest known genuine text of a Marian litany is in a 12th- century codex in the Mainz Library, with the title Letania de domina nostra Dei genitrice virgine Maria: oratio valde bona. It opens with the usual Kyrie Eleison; then follow the invocations of the Trinity, followed by invocations of the Virgin Mary in a long series of praises. This goes on for more than fifty times, always repeating the invocation "Sancta Maria", but varying the laudatory titles given. Then, after this manner of the litanies of the saints, a series of petitions occur.
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That year, two albums of Zorn's compositions performed by the trio were released: Moonchild: Songs Without Words and Astronome.Jurek, T. Allmusic Review: Moonchild: Songs Without Words, accessed November 4, 2013Jurek, T. Allmusic Review: Astronome; accessed November 4, 2013. A third album with the trio, but also featuring Zorn, Ikue Mori, Jamie Saft and chorus, Six Litanies for Heliogabalus, was released in 2007. Their fourth release, The Crucible, appeared in 2008 followed by Ipsissimus, both of which featured Marc Ribot, in 2010 and Templars: In Sacred Blood, which added John Medeski in 2012.
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But the influence of the Limburgian tradition on the atmosphere in the hermitage remains clearly noticeable through the various additions from popular devotions, such as praying the Rosary and various litanies, which are sung at various moments during the day, out loud. The chapel's decorations also betray a continuation of 17th century examples, through Baroque elements. The devotion to Saint Gerlach of Houthem, of whom there is a reliquary in the retable of the right side altar, has a special place in the hermitage. Saint Anthony Abbot is also especially honoured.
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Anerio was a prolific composer, and he wrote motets, litanies, antiphons, "sacred concertos," responsories, psalms, madrigals, much miscellaneous sacred and secular music, as well as a handful of instrumental pieces. Most were published in Rome; many fewer works from his Polish period seem to have been preserved, although two polychoral Masses found in manuscript (one for three choirs) can be attributed to this last phase of his career.Daniele V. Filippi, Introduction to Giovanni Francesco Anerio, Selva Armonica (Rome, 1617) (Middleton, WI: A-R Editions, 2006), xix, n.37.
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The grimoires provided a variety of methods of evocation. The spirits are, in many cases, commanded in the name of God - most commonly using cabalistic and Hellenic 'barbarous names' added together to form long litanies. The magician used wands, staves, incense and fire, daggers and complex diagrams drawn on parchment or upon the ground. In Enochian magic, spirits are evoked into a crystal ball or mirror, in which a human volunteer (a 'seer') is expected to be able to see the spirit and hear its voice, passing the words on to the evoker.
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The earliest examples are hymnographic works (chants and litanies) intended for liturgical use in observance of both the Feast of the Nativity and Theophany, many of which are still in use by the Eastern Orthodox Church. The 13th century saw the rise of the carol written in the vernacular, under the influence of Francis of Assisi. In the Middle Ages, the English combined circle dances with singing and called them carols. Later, the word carol came to mean a song in which a religious topic is treated in a style that is familiar or festive.
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Falsobordone is a style of recitation found in music from the 15th to the 18th centuries. Most often associated with the harmonization of Gregorian psalm tones, it is based on root position triads and is first known to have appeared in southern Europe in the 1480s. Falsobordoni are made up of two sections, each containing a recitation on one chord, followed by a cadence. Their usage was mostly intended for the singing of vespers psalms, but falsobordone can also be found in Passions, Lamentations, reproaches, litanies, psalms, responses, and settings of the Magnificat.
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Composer John Zorn has written many works inspired by and dedicated to Artaud, including seven CDs: "Astronome", "Moonchild: Songs Without Words", "Six Litanies for Heliogabalus", "The Crucible", "Ipsissimus", "Templars: In Sacred Blood" and "The Last Judgment", a monodrama for voice and orchestra inspired by Artaud's late drawings "La Machine de l'être" (2000), "Le Momo" (1999) for violin and piano, and "Suppots et Suppliciations" (2012) for full orchestra. Filmmaker E. Elias Merhige, during an interview by writer Scott Nicolay, cited the writings of Artaud as a key influence for the experimental film Begotten.
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The Liturgy of the Faithful is the core of the Divine Liturgy, where are placed the proper Eucharistic rites. It begins with the prayer of the Veil, in which the priest offers the liturgical sacrifice to God. The Long Litanies follows, where all pray for the peace, for the ecclesiastic hierarchy and for the congregation. The Nicean Creed is proclaimed, the priest washes his hands three times and sprinkles water on the congregation reciting the Prayer of Reconciliation which is a prayer of worthiness for all who attend the liturgy.
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N. S. Madhavan (born 9 September 1948) is an Indian writer of Malayalam literature. Known for his novel, Lanthan Batheriyile Luthiniyakal (Litanies of the Dutch Battery) and a host of short stories such as Higuita, Thiruthu, Chulaimedile Shavangal and Vanmarangal Veezhumpol, Madhavan also writes football columns and travel articles. He is a distinguished fellow of Kerala Sahitya Akademi and a recipient of several major awards including Odakkuzhal Award, Kerala Sahitya Akademi Award for Story, Kerala Sahitya Akademi Award for Novel, Muttathu Varkey Award, Mathrubhumi Literary Award and Crossword Book Award.
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Poetic moments of history and spiritual reality of St. Alexander taken from the Apostolic Process Rain “Months had passed without a drop of rain. Fearing for the harvest, the people of Cervicone begged Bishop Sauli to have a procession to obtain rain. After three days of fast, the procession took place from the Cathedral to the church of St. Francis, where the Bishop started the singing of the Litanies, and other songs, until the blue sky started to get cloudy. At that moment he started to cry, ‘Mercy!’ and the whole people joined in.
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Leonarda's works include examples of nearly every sacred genre: motets and sacred concertos for one to four voices, sacred Latin dialogues, psalm settings, responsories, Magnificats, litanies, masses, and sonata da chiesa. In addition she wrote music for solo and continuo, chorus, and strings. Leonarda also wrote a few sacred solo songs with vernacular texts. Sonate da chiesa refers to her Opus 16, which was historic in that it was the first published instrumental sonata by a woman Though Leonarda's predominant genre was the solo motet, most of her notable historical achievements came from her sonatas.
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Some Egyptologists question if all statues came from Amenhotep III mortuary temple because the saite proportion standing of the statues. Some of the statues have a uniform matte finish which can mean they're from different times or from different workshops. Some say the finest works are from Amenhotep III because of the detailed filled dots for the whiskers and talon shaped hooks beneath the inside corner of each eye on the Sekhmet statue. Yoyette links Amenhotep III Sekhmet statues epithets to various recessions of late Sekhmet litanies from the edfu dendera Kom ombo and Tod.
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Marian devotions such as the Rosary, Angelus, and Regina Coeli are most commonly associated with the Anglo-Catholic and High Church movements within Anglicanism. An Anglo-Catholic manual, Saint Augustine's Prayer Book: A Book of Devotion for members of the Episcopal Church, first published in 1947, includes a section containing devotions to the Blessed Virgin Mary. This includes the Rosary, the four seasonal Marian antiphons, the Memorare, and litanies of the Blessed Virgin and Our Lady of Sorrows. A Revised Edition was published in 1967, and the book remains in print with Holy Cross Publications.
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In November 1982, Hoxha announced that Shehu had been a foreign spy working simultaneously for the United States, British, Soviet, and Yugoslav intelligence agencies in planning the assassination of Hoxha himself. "He was buried like a dog", the dictator wrote in the Albanian edition of his book, 'The Titoites'. Hoxha went into semi- retirement in early 1983, and Alia assumed responsibility for Albania's administration. Alia traveled extensively around Albania, standing in for Hoxha at major events and delivering addresses laying down new policies and intoning litanies to the enfeebled president.
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Maya prayer almost invariably accompanies acts of offering and sacrifice. It often takes the form of long litanies, in which the names of personified days, saints, angels (rain and lightning deities), features of the landscape connected with historical or mythical events, and mountains are particularly prominent.Köhler 1995 Its importance is highlighted by the fact that Maya communities in the northwestern highlands of Guatemala have a specialized group of 'Prayermakers'. Prayers, with their hypnotizing scansion, often show a dyadic couplet structure which has also been recognized in Classic period texts.
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It omits the petitions, and consists of seventy-five praises joined to the usual invocation, "Sancta Maria". Here is a short specimen, showing the praises to be met with most frequently also in other litanies of that or of later times: "Holy Mary, Mother and Spouse of Christ, pray for me [other MSS. have "pray for us"-the "pray" is always repeated]; Holy Mary, Mother inviolate; Holy Mary, Temple of the Holy Ghost; Holy Mary, Queen of Heaven; Holy Mary, Mistress of the Angels; Holy Mary, Star of Heaven; Holy Mary, Gate of Paradise; Holy Mary, Mother of True Counsel; Holy Mary, Gate of Celestial Life; Holy Mary, Our Advocate; Holy Mary, brightest Star of Heaven; Holy Mary, Fountain of True Wisdom; Holy Mary, unfailing Rose; Holy Mary, Beauty of Angels; Holy Mary, Flower of Patriarchs; Holy Mary, Desire of Prophets; Holy Mary, Treasure of Apostles; Holy Mary, Praise of Martyrs; Holy Mary, Glorification of Priests; Holy Mary, Immaculate Virgin; Holy Mary, Splendour of Virgins", etc. The first Marian litanies must have been composed to foster private devotion, as it is not at all probable that they were written for use in public, by reason of their drawn-out and heavy style.
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He caused solemn litanies to be said daily in the chief centers of population, by rotation, and on the first day of each month in the larger towns and monasteries. He enforced a regular daily attendance at the Divine Office on the part both of regular and secular clergy. He held (578 or 585) the Council of Auxerre; an important synod of four bishops, seven abbots, thirty-five priests, and four deacons for the restoration of ecclesiastical discipline and the suppression of popular pagan superstitions, and caused the lives of his predecessors Amator and Germanus to be written.
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These include mystical recitations of Sufi litanies and the singing of spiritual poems along with exorcisms, and collective dances. Ludic aspects of the ceremony are attested to by the participants' laughter, songs, and dances, alongside ecstatic emotional demonstrations, which may feature crying and tears. At the symbolic system level, the ceremony represents the initiatory advance of the Sufi on an ascending mystical voyage towards God and the Prophet, then the final return to Earth. This odyssey passes through the world of human beings and that of the jinn to culminate in the higher spheres, where the human meets the divine.
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A monograph by Arousyak T'amrazyan is devoted to this commentary. Gregory later wrote hymns, panegyrics on various holy figures, homilies, numerous chants and prayers that are still sung today in Armenian churches. Many of the festal odes and litanies as well as the panegyrics (ներբողք) have been translated and annotated by Abraham Terian. While there is a long tradition of panegyrics and encomia in classical Armenian literature that closely adhere to the Greek rhetorical conventions of this genre, scholars have noted that Narekatsi often departs from the standards of this tradition and innovates in interesting and distinctive ways.
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This litany is prescribed in the Roman breviary at the "Preces Feriales" and in the Monastic Breviary for every "Hora" (Rule of St. Benedict, ix, 17). The continuous repetition of the "Kyrie" is used to-day at the consecration of a church, while the relics to be placed in the altar are carried in procession around the church. Because the "Kyrie" and other petitions were said once or many times, litanies were called planæ, ternæ, quinæ, septenæ. Public Christian devotions became common by the fifth century and processions were frequently held, with preference for days which the pagans had held sacred.
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Kerll was highly regarded by his contemporaries: many of his works were published during his lifetime. Particularly important are the many printed concerted masses, a collection of motets and sacred concertos entitled Delectus sacrarum cantionum (Munich, 1669) and Modulatio organica super Magnificat octo ecclesiasticis tonis respondens (Munich, 1686), which contains liturgical organ music. Kerll was not an especially prolific composer, so the surviving works are relatively few. Much of his music was lost, including 11 operas (which he was most famous for during his lifetime), 25 offertories, four masses, litanies, chamber sonatas and miscellaneous keyboard works.
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Goar notes that the protopope, at least to some extent, succeeded to the place of the chorepiscopus. He could ordain lectors; at concelebrations where no bishop is present he presided and said the ekphonesis (ἐκφώνησις - exclamations chanted aloud at the end of prayers and litanies). In the bishop's absence he took his place as president, and had jurisdiction over his fellow-clergy. George Kodinos (fourteenth century) says of the protopope: "he is first in the tribunal [τοῦ βήματος - tou bematos, in authority] holding the second place after the pontiff" (De Officiis, I, quoted by Goar 237).
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Greek Orthodox deacon in the Church of the Nativity in Bethlehem, wearing an orarion over his sticharion. On his head he wears the clerical kamilavka. In addition to proclaiming the Gospel and assisting in the distribution of Holy Communion, the deacon censes the icons and people, calls the people to prayer, leads the litanies, and has a role in the dialogue of the Anaphora. In keeping with Eastern tradition, he is not permitted to perform any Sacred Mysteries (sacraments) on his own, except for Baptism in extremis (in danger of death), conditions under which anyone, including the laity, may baptize.
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Violet is the prescribed colour for processions, except on Corpus Christi, or on a day when some other colour is mandated. The officiating priest wears a cope, or at least a surplice with a violet stole, while other priests and clergy wear surplices. Where the Host is carried in procession (often encased in a monstrance), it is covered always by a canopy, and accompanied by lights. At the litaniae majores and minores and other penitential processions, joyful hymns are not allowed, but the litanies are sung, and, if the length of the procession requires, the penitential and gradual psalms.
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A complete version of Amduat, an important New Kingdom funerary text, is in the vestibule, making it the first tomb where Egyptologists found the complete text. The burial chamber, which is supported by two pillars, is oval-shaped and its ceiling decorated with stars, symbolizing the cave of the deity Sokar. In the middle lies a large red quartzite sarcophagus in the shape of a cartouche. On the two pillars in the middle of the chamber there are passages from the Litanies of Re, a text that celebrates the later sun deity, who is identified with the pharaoh at this time.
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The Swiss Federal Diets of 1480 and 1483 talked about national days of fasting as penitence and thanksgiving, but in the end, left these decisions to the cantons. With no federal law, fast days became pilgrimages, processions, litanies and fasts.Catherine Santschi, La mémoire des Suisses, Association de l'Encyclopédie de Genève, 1991 In 1522 Huldrych Zwingli, who helped stir Protestant Reformation in Switzerland, said fasting laws were only human notions which had nothing to do with the Holy Writ. Nonetheless, the plagues of Basle (1541) and Berne (1565 and 1577) were followed by days of penitence and fasting, asking God for clemency and mercy.
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Centuries later, the Sunday of Orthodoxy continues to combine Marian hymns and the veneration of icons in a manner that confirms the identity of Mary as the Theotokos. Hymns, feasts and miraculous Marian icons are now combined within Eastern church practices, e.g. the Akathistos to the "wonder working" Theotokos Iverskaya (which has a feast day as well).Icon and devotion by Oleg Tarasov, R. R. Milner-Gulland 2004 page 86 Marian hymns, litanies and the veneration or Benediction of the icons of Mary are combined in the Maronite Church's, Benediction of the icon of the Virgin Mary.
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Claims that some of Luther's hymns were based on bar tunes or drinking songs perhaps expounded from the use of popular tunes in his hymns, and from later musical terminology that referred to many of these hymns as being in bar form. However, there is no evidence that actual drinking songs were used as hymn tunes. In addition to hymns, Luther also composed German liturgical chants used in the Deutsche Messe (German mass) of 1526, as well as chant settings for various canticles, litanies, and a motet. Luther's most notable musical legacy is his development of hymnody in the vernacular German language.
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Valiant champion of the Faith, > assist me in the combat against evil, that I may win the crown promised to > them that persevere unto the end. And: The Novena to Saint George does not have a specific warrior context, but simply asks God for divine assistance and the imitation of the life of the saint:Susanna Magdalene Flavius, Litanies and Novenas for Your Salvation Published by Lulu.com, 2007 page 579 > Almighty and eternal God! With lively faith and reverently worshiping Thy > divine Majesty, I prostrate myself before Thee and invoke with filial trust > Thy supreme bounty and mercy.
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His most famous work, and the only one to be fully preserved, is Opella ecclesiastica seu Ariae duodecim nova idea excornatae, a collection of 12 spiritual cantatas from 1723. The collection contains seven soprano, three alto and two bass vocal arias, which are accompanied by organ or harpsichord, two violins, violon, and solo oboe or solo violin. In 1724, he wrote an opera Zelus divi Corbinian Ecclesiae Frisigensis Fundamentum. It is also known that he composed numerous litanies, motets, Te Deums and requiems, as well as some special compositions called musica navalis (Naval Music) for rides on Prague's Vltava River.
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He may have been influential in Aitken's decision to use the "punch" engraving process for sheet music; Aitken was the first to do so in the United States. His final work in 1787 was his own A Compilation of the Litanies and Vespers Hymns and Anthems as They Are Sung in the Catholic Church,Although the compilation is dated 1787, both Metcalf (45) and Grimes (308) suggest that it may have actually been published in 1788, the year its state copyright was issued. The American Antiquarian Society houses a copy of the first edition. the first American collection of Catholic music.
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In 2016 Murray made first forays into live art performance and installation-based work. She presented Litanies for the Forgetful as part of the embOLDen exhibition at Footscray Community Arts Centre, and returned the following year to perform Missa Pro Venerabilibus: A Mass for the Ageing, alongside Robin Laurie and Heather Horrocks. This project was staged as part of Melbourne Fringe Festival, and made in collaboration with scenographers Rachel Burke and Jane Murphy, with whom Murray continues to work. In 2018 she presented vigil/wake at Arts House, North Melbourne, under the banner of the Mere Mortals season.
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In the 4th century there is evidence to show that the practice had become obligatory, at least for the monks. The eighteenth canon of the Council of Laodicea (between 343 and 381) orders that the same prayers be always said at Nones and Vespers. It is likely that reference is made to famous litanies, in which prayer was offered for the catechumens, sinners, the faithful, and generally for all the wants of the Church. John Cassian states that the most common practice was to recite three psalms at each of the Hours of Terce, Sext, and None.
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According to Cayetano Coll y Toste's legend, participants, mainly women, sang songs and litanies, and carried candles or torches in their hands. The painting of Our Lady of Bethlehem was carried through the city to ask God for help. According to this legend the invading army, frightened by such imposing sight, decided to withdraw and not attack the city. Today in the Caleta de San Juan, next to the ancient wall and facing the Bay of San Juan, there is a sculpture called "La Rogativa" or "The Public Petition," which commemorates this chapter in the history of Puerto Rico.
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In addition to widows, there may be seen other characters as priests and orphans. It is uncertain of this character's origins. Since 1999, The Barranquilla Carnaval Foundation celebrates the "Joselito se va con las cenizas" contest to encourage more groups to join in this celebration and in which the best portrayal is awarded. In the night, a jocose meeting is celebrated either at Abajo neighborhood or at La Paz square, in which litanies, with simple verses and their characteristic intonation, are recited with the aim of making either a comment or a critique on the current affairs.
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The Book of Hours was the most popular type of personal devotional book among the laity in the later Middle Ages. The core contents of the Book of Hours is a simplified version of the Divine Office, the daily liturgy performed by monks at the 8 canonical hours of the day. The Book of Hours allowed the lay reader to engage in an imitation of monastic devotion, without conforming to the more rigorous and severe aspects of cloistered life. The abbreviated office was supplemented by a liturgical calendar, litanies and suffrages, special prayers to intercessors and selected psalms.
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"Things I Don't Understand" was founder member Jim McCarty's last contribution to the band. "Running Hard" quotes a melodic phrase first used in "Mr. Pine" from the Illusion album, as well as the piece "Litanies" by French composer Jehan Alain. The music to "Cold Is Being" is taken entirely from "Adagio in G minor" (attributed to Tomaso Albinoni, but actually composed by Remo Giazotto) and, contrary to the album credits, was not composed by Michael Dunford; it was, however, credited in the back notes ("Thanks to Jehan Alain for the opening piece of RUNNING HARD and Albinoni for COLD IS BEING").
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According to the website Viking Answer Lady, which in turn cites Magnus Magnusson's Vikings! as its reference, > No 9th century text has ever been discovered containing these words, > although numerous medieval litanies and prayers contain general formulas for > deliverance against unnamed enemies. The closest documentable phrase is a > single sentence, taken from an antiphony for churches dedicated to St. Vaast > or St. Medard: Summa pia gratia nostra conservando corpora et custodita, de > gente fera Normannica nos libera, quae nostra vastat, Deus, regna, ”Oh > highest, pious grace, free us, oh God, by preserving our bodies and those in > our keeping from the cruel Norse people who ravage our realms.”.
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In the Russian tradition, an all-night vigil is celebrated every Saturday evening, typically abridged, however, in spite of its name, to as short as two hours. In the Greek parish tradition, orthros is normally held just before the beginning of the divine liturgy on Sunday and feast day mornings. The akolouth (fixed portion of the service) is composed primarily of psalms and litanies. The sequences (variable parts) of matins are composed primarily of hymns and canons from the octoechos (an eight-tone cycle of hymns for each day of the week, covering eight weeks), and from the menaion (hymns for each calendar day of the year).
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The verses concern the killing of Osiris by Set, and the later reconstruction of Osiris' body by the goddesses Isis and Nephthys.Dictionary of Egyptian Archaeology - M. Brodick and A.A. Morton There is evidence in the text that other copies existed, and that it was old enough to allow of variant readings having crept in. With the “Litanies of Seker,” which follows, consisting of four columns, it occupies twenty-one of the thirty-three columns of the whole papyrus. The second composition which was evidently intended to be sung after the Festival Verses, consists of three parts: I. A Litany to the Sun-God; II. A Recitation by Isis; III.
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Zoilo's music is similar to Palestrina's in style, using smoothly flowing contrapuntal lines with clear text declamation, with little of the experimental chromaticism and textural elements found in music in northern Italy or Naples at the same time. His sacred music is for four and eight voices, and includes masses, motets, hymns, responds, litanies, suffragia, and other a cappella vocal music. In addition to his sacred music, he published two books of madrigals. One of his madrigals, Chi per voi non sospira acquired considerable fame, being reprinted in many collections; in addition it was used by Vincenzo Galilei in his Fronimo: dialogo ... sopra l'arte del bene intavolare in a lute intabulation.
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Prompted by jealousy or ambition, or the thought that only someone of the nobility should hold the office of pope, a number of relatives of Adrian I formed a plot to render Leo unfit to hold his office. On the occasion of the procession of the Greater Litanies, 25 April 799, when the pope was making his way towards the Flaminian Gate, he was suddenly attacked by armed men. He was dashed to the ground, and an effort was made to root out his tongue and tear out his eyes which left him injured and unconscious. He was rescued by two of Charlemagne's missi dominici, who came with a considerable force.
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On a further level, the iconography of the basilica develops a defense of the doctrine of the Immaculate Conception by employing a series of Marian emblems from the litanies. Thus the seven columns on which the dome rests, refer to the seven columns of the House of Wisdom or Domus sapientiae in Proverbs 9:1. With its archangels standing guard and side-altars dedicated to All Saints and All Angels, the entrance and vestibule constitute the Gateway to Heaven or Porta Caeli. The bell tower evokes the Tower of David or Turris Davidica from which one could supposedly see Shechem (or in the case of Scherpenheuvel Zichem/Sichem).
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Commemoration was always to be made of Sundays, First-Class Feasts, Ferias of Advent and Lent, the September Ember Days, and the Major Litanies. Other commemorations were admitted on condition that the number of prayers should never exceed three.Cum nostra hac aetate, 3, 2–3. The verse of the short responsory in Prime and the doxology of hymns of a commemorated feast that had special ("proper") forms of these were no longer to be used in the Liturgy of the Hours, nor were the preface (if "proper") of the commemorated feast and the Credo, if the commemorated feast had a right to it, to be used in Mass.
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The reader then recites a kathisma (except on Sunday night or any night following an All- Night Vigil). After the Little Ektenia the chanters begin "Lord, I Have Cried" with six or eight stichera, while the priest performs the censing. There is no Little Entrance and there are no readings from Scripture. Rather, after the conclusion of the Theotokion at the end of "Lord I Have Cried", the priest leads the prokeimenon, and the priest says the first of the two litanies, the reader recites the prayer "Vouchsafe, O Lord..." and the priest says the second litany and the prayer at the "Bowing of Heads".
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The text on which the Synod worked was a composite East Syriac text of Anaphora of Addai and Mari.D. Webb, “ Versions of the Malabar Liturgy” The Synod declared certain passages of the Holy Qurbana of Addai and Mari as impious, sacrilegious and resulting from Nestorian heresy. The changes made by the Synod consist of six in litanies, seven in hymns or anthems, four in formulae of the deacon, one in the response of the people, one in the text of the gospel lesson, and one affecting the whole creed. In the prayer of the priest, there are five changes in the pre- anaphora part of the Qurbana of Addai and Mari.
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Rovigo wrote a large quantity of sacred music, as well as madrigals and some instrumental music. Much of his music, including some canzonette both for voices and instruments, and his early hymns, has been lost. His sacred music was mostly intended for liturgical use, and includes settings of the mass, for up to 12 voices, in the Venetian style; litanies, three settings of the Magnificat, for six voices; a setting of the St. Luke Passion; and other works. He published one book of madrigals for five voices in Venice in 1581, and many of them were sufficiently popular to be reprinted in some well-known anthologies.
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On his return be became the organist at the Allerheiligen-Hofkirche, the church of All Saints, for which he wrote many valuable compositions. In the 1820s he wrote two unsuccessful operas, before turning his energies to a crusade against the influence of Italian opera which eventually led to a revival of Christoph Willibald Gluck's Iphigenia in Tauris, re-orchestrated by Aiblinger. Utto Kornmüller Lexicon der kirchlichen Tonkunst Then he then turned to church music, studying the old masters and procuring performances of their works. His numerous church compositions comprise masses and requiems, offertories and graduals, psalms, litanies, and German hymns, many of which have been published at Augsburg, Munich, Regensburg, and Mainz.
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Palestrina left hundreds of compositions, including 105 masses, 68 offertories, at least 140 madrigals and more than 300 motets. In addition, there are at least 72 hymns, 35 magnificats, 11 litanies, and four or five sets of lamentations. The Gloria melody from Palestrina's Magnificat Tertii Toni (1591) is widely used today in the resurrection hymn tune, Victory (The Strife Is O'er). His attitude toward madrigals was somewhat enigmatic: whereas in the preface to his collection of Canticum canticorum (Song of Songs) motets (1584) he renounced the setting of profane texts, only two years later he was back in print with Book II of his secular madrigals (some of these being among the finest compositions in the medium).
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Samà died in the morning on 27 May 1953 while three women were at her bedside reciting litanies to the Blessed Mother; her gaze upon her death was at the Crucifix on the opposite wall and her last words were the names of Jesus and His mother. Upon her death she had no visible bedsores and her skin was both smooth and unblemished. Her remains were dressed in a white linen dress and carried in a procession through the streets in an open casket before their interment following her funeral on 29 May. Upon her death the parish priest wrote in the margins of her death certificate that Samà had "died in the concept of holiness".
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The forms of parish worship in the late medieval church in England, which followed the Latin Roman Rite, varied according to local practice. By far the most common form, or "use", found in Southern England was that of Sarum (Salisbury). There was no single book; the services that would be provided by the Book of Common Prayer were to be found in the Missal (the Eucharist), the Breviary (daily offices), Manual (the occasional services of baptism, marriage, burial etc.), and Pontifical (services appropriate to a bishop—confirmation, ordination). The chant (plainsong, plainchant) for worship was contained in the Roman Gradual for the Mass, the Antiphonale for the offices, and the Processionale for the litanies.
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In fact, de Calan argues, it is entirely unlikely that a. Goulven's body, if indeed he had been bishop in Léon, would have been left in Rennes; and b. that Goulven was supposed to be a bishop in Léon in the first place, not in Rennes. De Calan finds no evidence of any ancient cult of Goulven in Léon (and he is not found in any of the litanies of the 11th century from the area): the vita appears to belong to a group of similar hagiographies written and redacted in the 13th and 14th centuries to promote Léon--this included the ferrying of material about Letavia (that is, Armorica) to Leonia, or Léon.
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In Eastern Christianity bema remains the name of the platform which composes the sanctuary; it consists of both the area behind the iconostasion and the platform in front of it from which the deacon leads the ektenias (litanies) together with the ambo from which the priest delivers the sermon and distributes Holy Communion. It may be approached by one or several steps. The bema is composed of the altar (the area behind the iconostasion), the soleas (the pathway in front of the iconostasion), and the ambo (the area in front of the Holy Doors which projects westward into the nave). Orthodox laity do not normally step up onto the bema except to receive Holy Communion.
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Besides many contributions to the Bibliographie Catholique, Caillau wrote Instructions sur l'oraison mentale (Paris, 1833), a French translation of Tertullian's De Spectaculis (Paris, 1835), several monographs on Our Lady's Sanctuaries: Roc-Amadour (1834), Loretto (1843), N.D. de Puy (1846), Litanies du St. Nom de Jesus (Paris, 1845), Les nouveaux illuminés (Michel Vintras) (Orléans, 1849), etc. He is best known, however, by the following works: "Thesaurus Patrum" (Paris, 1823-5), a patristic digest modelled on Merz's "Thesaurus biblicus", with an introduction to patrology; "Collectio selecta Patrum" (Paris 1829-1842), 133 octavo volumes, undertaken in collaboration with Mgr. Guillon and suspended at the announcement of Migne's "Patrology". The insertion of new sermons under the name of Augustine of Hippo (P.
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Matins is the longest and most complex of the daily cycle of services. The akolouth (fixed portion of the service) is composed primarily of psalms and litanies. The sequences (variable parts) of matins are composed primarily of hymns and canons from the Octoechos (an eight-tone cycle of hymns for each day of the week, covering eight weeks), and from the Menaion (hymns for each calendar day of the year). Matins opens with what is called the "Royal Beginning", so called because the psalms (19 and 20) are attributed to King David and speak of the Messiah, the "king of kings"; in former times, the ektenia (litany) also mentioned the emperor by name.
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This Antiphonarium Romanum compendiose redactum ex editionibus typicis etc., includes, however, the chants for the Masses of Christmas, the triduum of Holy Week, and other desired Offices, and is issued in a single volume. Another separate volume is the "Vesperal", which contains also the Office of Compline; and of the "Vesperal" a further compendium has been issued, entitled "Epitome ex Vesperali Romano". Associated somewhat in scope with the "Antiphonarium" is the "Directorium Chorii", which has been described as furnishing the ground plan for the antiphonary, inasmuch as it gives or indicates all the music of the chants (except the responsories after the Lessons), the tones of the psalms, the brief responsories, the "Venite Exultemus", the "Te Deum", Litanies etc.
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Rathgeber-Memorial, Banz Abbey Rathgeber was a very versatile and productive composer and was one of the most popular and respected composers in southern Germany. He composed both secular and sacred works, the majority of his output being sacred vocal works. He wrote several hundred works, mainly masses (43), hymns, arias, litanies, requiems, magnificats, offertories (164), Marian antiphons (44) and also instrumental concertos (24) and songs. His Augsburger Tafel-Confect, short for Ohren-vergnügendes und Gemüth-ergötzendes Tafel- Confect (Augsburg Table Confectionery, short for Table Confectionery, Pleasuring the Ears and Delightful to the Soul) is a collection of songs meant to be performed for dessert, whereas a Tafelmusik was performed during a main course.
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At the Divine Liturgy, during the Ektenias (Litanies) that precede the Great Entrance, the eileton is opened fully and the antimins is opened two-thirds of the way, leaving the top portion folded. Then, during the Ektenia of the Catechumens, when the deacon says, "That He (God) may reveal unto them (the catechumens) the Gospel of righteousness," the priest unfolds the last portion of the antimins, revealing the mystery of Christ's death and resurrection. After the Entrance, the chalice and diskos are placed on the antimins and the Gifts (bread and wine) are consecrated. The antimins remains unfolded until after all have received Holy Communion and the chalice and diskos are taken back to the Prothesis (Table of Oblation).
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This eighth and last song has an execution time of about 4 minutes. A true hymn to "freedom," or according to Henri Hell of the "litanies of Liberty", this song based on the poem by Éluard which includes 21 stanzas of four verses built on the model of the first: It is only after the last stanza that the word Liberté breaks out, as if to emphasize it better. Emotions appear in each stropes, softness, tenderness, sadness, strength and violence, moving from "one to the other with an invisible suppleness".(p. 185) The final bars are notoriously challenging, with the highest soprano in each chorus required to hit an E6 at the work's climactic conclusion.
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The liturgies of the Episcopal church in the United States and the Church of Ireland use modern books each of which is named after the Book of Common Prayer. Many devout Anglicans begin and end their day with the Daily Office of a prayer book, which includes the forms for morning, noonday, evening, and bedtime prayer, as well as suggested Bible readings appropriate to each. Some Anglo-Catholics use forms of the Roman Catholic Daily Office, such as the Divine Office, or the forms contained in the Anglican Breviary. The Litany in the Book of Common Prayer, or litanies from other sources, is also a devotion used for private or family prayer by some Anglicans.
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The album is most noted for "The Sub-Sylvian Litanies", a three-part suite which has been described as "an entire acid trip in 11 minutes". Other album highlights include the equally psychedelic "The Elephant at the Door", and the politically charged "Invisible Man", written for and aimed at President Lyndon B. Johnson. Two of the more unusual tracks on the record are "Mister Fourth of July"—a ragtime tune complete with scratchy 78 RPM-style effects—and "Leisure World", featuring narration from long-time ABC voice-over and "Ghoulardi" originator Ernie Anderson in an ode to California's first retirement mega-community. Released in 1969, the record achieved a cult following in the US, and remained in the Columbia Masterworks catalog for some twenty years.
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They answer: "And with thy spirit"; and he "speaks to the people words of comfort." There then follows a litany for the catechumens, to each invocation of which the people answer "Kyrie eleison"; the bishop says a collect (short general prayer) and the deacon dismisses the catechumens. Similar litanies and collects follow for the Energumens, the Illuminandi (photizómenoi, people about to be baptized) and the public penitents, and each time they are dismissed after the collect for them. The Mass of the Faithful begins with a longer litany for various causes, for peace, the Church, bishops (James, Clement, Evodius, and Annianus are named), priests, deacons, servers, readers, singers, virgins, widows, orphans, married people, the newly baptized, prisoners, enemies, persecutors etc.
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Volume 10. Published by the Austrian Academy of Sciences, Vienna 1994, , p. 88. In the autumn of the year 1848, in the context of the recently granted freedom of the press, in an open letter dated 17 November 1848, she made an appeal "in the interest of the Catholic faith" at the first German bishops' conference in Würzburg. As a devout Catholic loyal to Rome, she opposed this emerging group of German Catholics and presented her ecclesiastical reform considerations, such as the worship simplification by omitting litanies and prayers not directly related to the Catholic faith, the introduction of the vernacular German in worship or the abolition of celibacy in order to overcome the gap between the priests and laity.
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328 & 326 respectively Cranmer drew on a variety of sources, chiefly two medieval litanies from the Sarum rite, but also the German Litany of Martin Luther. He originally retained the invocation of the Saints and the Blessed Virgin Mary in very shortened form, but these were omitted in 1549, and he made a notable change in the style of the service by expanding and grouping together said by the priest and provided but a single response to the whole group.Litany, The (BCP) in Cross, F. L. & Livingstone, E. A. (eds) The Oxford Dictionary of the Christian Church OUP (1974) An anti- papal clause was omitted in 1559. The processional aspect was soon eliminated and the service said or sung kneeling in the church.
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José de Nebra was born in Calatayud and was taught by his father, José Antonio Nebra Mezquita (1672–1748), organist and master of choirboys at the Cathedral of Cuenca from 1711 until 1729. Two brothers were also musicians: Francisco Javier Nebra Blasco (1705–1741), organist of La Seo in Zaragoza until he moved to Cuenca in 1729, then succeeded by his brother Joaquín Ignacio Nebra Blasco (1709–1782) till his death. José Nebra, Obras inéditas para tecla (unpublished works for keyboard) edited by Maria-Salud Alvarez, Tecla Aragonesa III, (Institución Fernando el Católico, Zaragoza, 1995) He died in Madrid. More than 170 works by Nebra survive: masses, psalms, litanies, a Stabat Mater, a Salve Regina, cantatas, villancicos, and around thirty keyboard works.
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Joan Pau Pujol sheet music Pujol wrote much of his music for the patron saint of Catalonia, St. George, and most of his compositions are based on Gregorian chant. He was a prolific composer, writing 13 masses, 8 settings of the Magnificat, 6 settings of the Nunc dimittis, 12 antiphons, 12 responsories, 9 complete settings of the Passion, litanies, lamentations, sequences, motets, hymns, and no less than 74 psalm settings. In addition he wrote 19 sacred villancicos, a form unique to the Iberian peninsula. Surviving secular music includes romances, letrillas, liras, novenas, tonos, a folia, and 16 other works, some of which were collected in groups of madrigals of the time; they were evidently popular in Spain in the early part of the 17th century.
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Eucharistic elements prepared for the Divine Liturgy Within Eastern Christianity, the Eucharistic service is called the Divine Liturgy (Byzantine Rite) or similar names in other rites. It comprises two main divisions: the first is the Liturgy of the Catechumens which consists of introductory litanies, antiphons and scripture readings, culminating in a reading from one of the Gospels and, often, a homily; the second is the Liturgy of the Faithful in which the Eucharist is offered, consecrated, and received as Holy Communion. Within the latter, the actual Eucharistic prayer is called the anaphora, literally: "offering" or "carrying up" (). In the Rite of Constantinople, two different anaphoras are currently used: one is attributed to Saint John Chrysostom, the other to Saint Basil the Great.
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Into the wheat has been placed an empty shrine-lamp, seven candles, and seven anointing brushes. Candles are distributed for all to hold during the service. The rite begins with reading Psalm 50 (the great penitential psalm), followed by the chanting of a special canon. After this, the senior priest (or bishop) pours pure olive oil and a small amount of wine into the shrine lamp, and says the "Prayer of the Oil", which calls upon God to "...sanctify this Oil, that it may be effectual for those who shall be anointed therewith, unto healing, and unto relief from every passion, every malady of the flesh and of the spirit, and every ill..." Then follow seven series of epistles, gospels, long prayers, Ektenias (litanies) and anointings.
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He liked quick, rhythmically active passages in his madrigals; this may reflect an influence from the contemporary vocal form of the villanesca. In addition, he wrote extended homophonic sections, showing somewhat less influence from the contemporary motet, in contrast to the motet- like imitative passages found in Verdelot. In addition to his madrigals, published mostly between 1543 and 1549, several collections of his sacred works were published during his lifetime, among them four masses, over forty motets, a set of Lamentations, and numerous Magnificats and Marian Litanies (for two choruses, each with four voices). The style of his sacred music matches that of his secular: he was less fond of imitation and complex counterpoint for its own sake, and often wrote purely homophonic passages.
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Examples of spatiality include more than seventy works by Giovanni Pierluigi da Palestrina (canticles, litanies, masses, Marian antiphons, psalm- and sequence-motets),Lewis Lockwood, Noel O’Regan, and Jessie Ann Owens, "Palestrina [Prenestino, etc.], Giovanni Pierluigi da [‘Giannetto’]", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001). the five-choir, forty- and sixty-voice Missa sopra Ecco sì beato giorno by Alessandro Striggio and the possibly related eight-choir, forty-voice motet Spem in alium by Thomas Tallis, as well as a number of other Italian—mainly Florentine—works dating between 1557 and 1601.Davitt Moroney, "Alessandro Striggio's Mass in Forty and Sixty Parts", Journal of the American Musicological Society 60, no.
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Almost immediately, Gregory began the task of repairing Rome's Aurelian Walls, beginning at the Porta Tiburtina. Work on this task was delayed in October 716 when the river Tiber burst its banks and flooded Rome, causing immense damage and only receding after eight days. Gregory ordered a number of litanies to be said to stem the floods, which spread over the Campus Martius and the so-called Plains of Nero, reaching the foot of the Capitoline Hill.Mann, pgs. 146–147 The first year of his pontificate also saw a letter arrive from Patriarch John VI of Constantinople, who attempted to justify his support of Monothelitism, while at the same time seeking sympathy from the pope over the position he was in, with respect to the emperor.
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In 2006, Madhavan published has written two plays, Rayum Mayum and Arbhudhavaidyan, published together as a book, Randu Natakangal, in 2006. His novel Lanthanbatheriyile Luthiniyakal was translated into English by Rajesh Rajamohan under the title Litanies of Dutch Battery and published in October 2010 by Penguin Books. The work was the winner of the 2010 Crossword Book Award (Indian language translations) and featured in the Man Asian Literary Prize long list and the 2011 The Hindu Literary Prize short list. Kaya Taran, the 2004 Hindi movie by Sashi Kumar, is based on When Big Trees Fall, a short story by Madhavan about the homicidal attacks on the Sikhs that followed the Assassination of Indira Gandhi, the then Indian Prime Minister.
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Choir of the Cathedral of La Laguna The musical production of Miguel Jurado Bustamante covers all genres of religious music in Latin (masses, motets, psalms, Magnificats, hymns, litanies, lamentations, responses and antiphons dedicated to the Virgin Mary) and Castilian (carols). Some 140 works have been located thus far by this composer, representing a large output. Miguel Jurado trained other local musicians, the most important of whom was Domingo Crisanto Delgado Gómez, one of the most famous composers from the Canaries in the nineteenth century, who in 1836 would become the first organist of the Cathedral of San Juan Bautista of Puerto Rico. Crisanto's production is predominantly vocal and choral, not only a cappella but also with accompaniment of organ, piano or instrumental group.
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Valdelaguna appears in the Relaciones Topográficas de Felipe II, in 1580 which is recorded the existence of the lake that gives the town its name, "the royal road to Perales Valdelaguna there a meadow and in it a very good water spring where is a lagoon, in winter it runs to the Tajuña river. " This lake was drained afterward from malarial fevers caused their water scarce in the population. In these same Relaciones... said the village has 98 households and neighbors 100-103. They cite five chapels: St. Stephen, the oldest, San Sebastian and San Roque erected on the occasion of epidemics and pestilences, the Magdalena, half a league from the town, next to Tajuña, where they used to go in procession litanies, and Santo Toribio, included those currently in the cemetery.
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In 1999 he collaborated with Ignace Michiels, organist of St. Salvator's Cathedral in Bruges, in a project to bring jointly to a close a century of violence. Both in Bruges and in Wiesbaden a concert was performed by the choirs Cantores and Chor von St. Bonifatius, Michiels playing the organ and Dessauer conducting. The concert in Bruges on 23 October 1999 was named Eeuw van zinloos Geweld (Century of meaningless violence) and expressed it in Maurice Duruflé's Prélude et Fugue sur le nom d'Alain, Jules Van Nuffel's ', Jehan Alain's Litanies, Rudolf Mauersberger's Wie liegt die Stadt so wüst, Gerald Hendrie's Exsultate from the sonata In praise of reconciliation, and Duruflé's Requiem. The concert in Wiesbaden was called Versöhnungskonzert zum Ende des Jahrhunderts (Concert of reconciliation at the end of the century).
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In past times, along the streets of Alcamo and above all in via Santissimo Salvatore and Piazzetta Trinità, they prepared small altars, and in the evening they sang the litanies of Our Lady of the Height at the light of small oil lamps. This is one of these short prayers: Di lu munti cumparìu Chista amabili Signura e la vitti sant'Elia ch'è di l'autu Maria (That is: from the mount this lovely Lady appeared, and Saint Elijah saw her, because she is Mary of the Height). The bonfires (li vampati in dialect), scattered at the crossings on the eve, were moments of happiness for the young; nowadays they also make them in the beach of Alcamo Marina and in the countryside surrounding the town, but old traditions have nearly disappeared.
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The Virgin Interceding with Christ portrays the scene surmounted by the dove of the Holy Spirit and raised upon a dense semicircular rank of cherubim and seraphim. The reference to the Annunciation that had figured in the previous fresco was present: the Archangel Gabriel is shown holding out a lily to Mary, depicted with a halo of 7 stars. The divine light emanates not from the dove of the Holy Spirit but from the figure of Christ the Judge, shown holding a globe surmounted by a cross; to his right stands the Archangel Michael holding out the scales of justice. The order of the celestial hierarchy is respected: the evangelists appear in a semi-circle immediately beneath the main scene, with the saints aligned in the same order in which they figure in church litanies.
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It intends to accomplish this chiefly by attachment to the Holy Sacrifice of the traditional Latin Mass and to the Roman Breviary. Other important devotions observed by all the members are Benediction of the Blessed Sacrament, the frequent reception of the sacrament of Penance, keeping days of recollection on a regular basis, and praying the Holy Rosary with one of the approved litanies daily. Also, frequent visits to the Blessed Sacrament as well as mental prayer and spiritual reading are considered most important for all of the members, who are to regard holiness of life as their primary objective. According to their website, their apostolate is the salvation of souls through the Mass, the Catholic Liturgy, the dispensing of the Sacraments, traditional Catholic sermons, morality, the spiritual life, and teaching of the Baltimore catechism.
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At the Divine Liturgy, there are a number of secret prayers said by the priest, both during the litanies and during the anaphora. The primary difference between the Liturgy of Saint John Chrysostom and the Liturgy of Saint Basil the Great is the secret prayers; those of Saint Basil are longer than those of Saint John Chrysostom, and so the choir will often have to extend their chanting to cover the time. At Vespers and Matins almost all of the secret prayers are said near the beginning, while psalms are being read. At Vespers there are six Lamplighting Prayers which the priest says with uncovered head, standing in front of the Holy Doors (or, in the Greek practice, in front of the icon of Christ on the iconostasis), while the reader says Psalm 103 (Septuagint numbering).
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That way she showed her acceptance as Patroness of Jaffna Kingdom. From 1614 to 1658 when the statue was in Jaffna, the devotees daily praised Our Lady of Miracles, singing the hymns with versicle and oration the "O Gloriosa Domina" in the morning, "Ave Maris Stella" in the afternoon and at night chanting Litanies beginning with the verse "Tota Pulchra es Maria". One Christmas night when they were singing the hymn Te Deum, and when they were singing the verse "Tu ad liberandum suscepturus hominem, non horruisti Virginis uterum", all those present supposed to have seen the statue of Our Lady of Miracles Jaffnapatao beautiful and resplendent, and her whole face lit up with joy. Every year on her feast day, the statue adorned with precious jewels was taken in a procession through the streets of the town.
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The album is most noted for "The Sub-Sylvian Litanies", which opened Side A. This three-part suite has been described as "an entire acid trip in 11 minutes". Other album highlights include the equally psychedelic "The Elephant at the Door", and the politically charged "Invisible Man", written for and aimed squarely at President Lyndon B. Johnson. Two of the more unusual tracks on the record are "Mister Fourth of July" — a ragtime tune complete with scratchy 78RPM-style effects, and "Leisure World", featuring narration from long-time ABC voice-over and "Ghoulardi" originator Ernie Anderson in an ode to California's first retirement mega-community. Among the musicians featured on the record are prominent West Coast studio musicians Tom Scott and the late Ted Greene, who is credited with the album's stellar guitar work in one of his few recorded appearances.
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Thus the Marian litany was evolved. Gradually the praises became simpler; at times the petitions were omitted, and, from the second half of the 15th century, the repetition of the "Sancta Maria" began to be avoided, so that the praises alone remained, with the accompaniment "Ora pro nobis". The connecting link between the older litanies and this new group may have been a litany found in a manuscript of prayers, copied in 1524 by Fra Giovanni da Falerona. It consists of fifty-seven praises, and the "Sancta Maria" is repeated, but only at intervals of six or seven praises, perhaps because the shape or size of the parchment was so small that it held only six or seven lines to the page, and the copyist contented himself with writing the "Sancta Maria" once at the head of each page.
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In many respects, Namerimburrudû incantations share characteristics with both the Šurpu series and Lipšur litanies. The incantations endeavor to determine whether the subject has intentionally or otherwise sworn falsely and brought upon himself the wrath of his personal god. However, in contrast, the invocation of inanimate objects, such as various boats, road travel, sunrise and sunset, entry and exit of city gates, the street, oven or bellows, may merely be related to their misuse in the delivery of oaths. The accompanying ritual entails the use of figurines of the demons Silakkum and Barīrītum to carry away the subjects sins: lû paṭrā lû passā, “may it be released, may it be wiped out.” Various deities, natural forces (the four winds, Tigris, Euphrates, Diyala and Zab rivers) and ritual objects (plants, woods, reeds, altars and vessels) are employed to neutralize the curse.
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De Casseres held "an aggressively individualist form of anarchist politics derived primarily from a discomfiting reading of Nietzsche." His views on the idea of the Superman were influential on contemporary writers such as Eugene O'Neill, who called De Casseres an "American Nietzsche" in the foreword to Anathema: Litanies of Negation, and Jack London, who wrote that "no man in my own [philosophical] camp stirs me as does Nietzsche or as does De Casseres." In The Mutiny of the Elsinore, London named a character with a nihilistic point of view "De Casseres" based on their mutual admiration for French philosopher Jules de Gaultier. According to Marie Saltus, writer and philosopher Edgar Saltus would read the newspaper immediately each morning only if it contained a book review or an article by De Casseres, although the two never met.
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In 1999 he collaborated with Gabriel Dessauer, organist of St. Bonifatius, Wiesbaden, in a project to jointly bring to a close a century of violence. Both in Bruges and in Wiesbaden a concert was performed by the choirs Cantores and Chor von St. Bonifatius, Michiels playing the organ and Dessauer conducting. The concert in Bruges on 23 October 1999 was named Eeuw van zinloos Geweld (Century of meaningless violence) and expressed it in Maurice Duruflé's Prélude et Fugue sur le nom d'Alain, Jules Van Nuffel's ', Jehan Alain's Litanies, Rudolf Mauersberger's ', Gerald Hendrie's Exsultate from the sonata In praise of reconciliation, and Duruflé's Requiem. The concert in Wiesbaden was called Versöhnungskonzert zum Ende des Jahrhunderts (Concert of reconciliation at the end of the century). The collaboration has continued since 2001 in annual choral projects with organ, played by Michiels.
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But already by the middle of the 8th century the native language had largely displaced it all over Ireland as a medium for religious thought, for homilies, for litanies, books of devotion, and the lives of saints. We find the Irish language used in a large religious literature, much of which is native, some of which represents lost Latin originals now known to us only in Irish translations. One interesting development in this class of literature is the visions- literature beginning with the vision of St. Fursa, which is given at some length by Bede, and of which Sir Francis Palgrave states that, "Tracing the course of thought upwards we have no difficulty in deducing the poetic genealogy of Dante's Inferno to the Milesian Fursæus." These "visions" were very popular in Ireland, and so numerous they gave rise to the parody, the 12th century Aislinge Meic Con Glinne.
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After the sovereign had recited the Nicene Creed as his profession of faith, and after an invocation of the Holy Ghost and a litany, the emperor assumed the purple chlamys, and the crown was then presented to him. He took it and placed it on his head himself, while the Metropolitan recited: The Metropolitan would then make the following short address: Following this, the new Tsar crowned his consort, first briefly with his own crown (by touching it momentarily to her head before putting it back on his own), then with a smaller crown of her own. Further prayers and litanies were read, then the Emperor was anointed just prior to reception of Holy Communion during the Divine Liturgy. He was invited to enter the altar area through the Royal Doors (normally reserved solely to the clergy) and partake of Communion as a priest would.
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He organized litanies that paraded the city's icon of the Hodegetria, and delivered sermons about the city's successful delivery from previous sieges through the intervention of her patron, Demetrius of Thessalonica. As a result, he emerged as the leading proponent of resistance, and despite his anti-Latin animus, the Venetians considered him "a most loyal servant of the Republic". His death in September 1429 contributed to the increasing demoralisation of the city's populace, who considered it an omen of the city's fall. In summer 1429, the Thessalonians sent a second embassy to Venice to complain about the restrictions placed on entry and exit from the city, continued violations of their rights, extortion by the Venetian authorities, the poor supply situation, the neglect of repairing the city's fortifications and the lack of military stores, and the Venetian mercenaries who were in contact with the Turks outside the walls.
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The prayers were often accompanied by portraits of the saints, with the symbols or their martyrdom, or the attributes of their patronage. The Suffrages were arranged in a particular hierarchy: God, Christ, the Virgin Mary, the angels, Saint John the Baptist, apostles, martyrs, confessors, and women saints. This standard pattern of daily prayer provided the framework for the artists' efforts. This book of hours contains: :::A Calendar of feast days, :::Fragments of the four Gospels, :::Fragments of the Passion, :::Various prayers to Christ and the Virgin, :::The Five Sorrows of the Virgin, :::The Little Office of the Blessed Virgin Mary, :::The Seven Penitential Psalms, :::Various litanies and prayers, :::The Hours of the Cross, :::The Hours of the Holy Spirit, :::The Fifteen Joys of the Virgin, :::The Seven Petitions to Our Lord, :::Prayer to the True Cross, :::Office of the Dead, :::The Suffrages, a Memorial of the Saints, and :::Stabat Mater.
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The young Wolfgang Amadeus Mozart studied counterpoint with Padre Martini in Bologna. Under the employment of Archbishop Colloredo, and the musical influence of his predecessors and colleagues such as Johann Ernst Eberlin, Anton Cajetan Adlgasser, Michael Haydn, and his own father, Leopold Mozart at the Salzburg Cathedral, the young Mozart composed ambitious fugues and contrapuntal passages in Catholic choral works such as Mass in C minor, K. 139 "Waisenhaus" (1768), Mass in C major, K. 66 "Dominicus" (1769), Mass in C major, K. 167 "in honorem Sanctissimae Trinitatis" (1773), Mass in C major, K. 262 "Missa longa" (1775), Mass in C major, K. 337 "Solemnis" (1780), various litanies, and vespers. Leopold admonished his son openly in 1777 that he not forget to make public demonstration of his abilities in "fugue, canon, and contrapunctus" (Konrad). Later in life, the major impetus to fugal writing for Mozart was the influence of Baron Gottfried van Swieten in Vienna around 1782.
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He was born as al-Yazid Bujrafi in Bani Shikar, in the Rif region of North- East Morocco, in 1925. He memorised the Quran under the tutelage of his father, who in 1934 took the 19-year-old al-Yazid to Sidi Muhammadi Bil-Hajj, Sheikh of the Alawi order, to take the litanies of the order from him. Sheikh Muhammadi instructed al-Yazid to continue his spiritual instruction under Sheikh Moulay Suleiman ibn al-Mahdi, also of Bani Shikar, whom al-Yazid maintained a close relationship with until his death in 1970, marrying his daughter and serving as Imam in his Zawiya. It was Moulay Suleiman who changed al-Yazid's name to al-Buzidi, in reference to two great masters of the Darqawi brotherhood, Muhammad al-Buzidi al-Ghimari, disciple of Moulay al-Arabi al- Darqawi; and Muhammad ibn al-Habib Hamu al-Buzidi, Sheikh of Ahmad al-Alawi, founder of the Alawi order.
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Giovanni Giovenale Ancina was born at dawn on 19 October 1545 in Fossano as the first of four children to the successful businessman Durando Ancina (of Spanish roots) and Lucia degli Araudini; he was in fear of death so his parents turned to Saint Juvenal to restore his health which happened so the saint's name became his middle name. His brother was the Oratorian priest Giovanni Matteo Ancina who followed him after birth and then two sisters. The two brothers made a little chapel in their home and spent their spare time singing psalms and litanies before images of the Madonna and the saints since both were pious children. He studied at Montpellier in France (his father sent him there in 1559 though excellent results saw his admittance to a prestigious Turin institute) and then studied at Padua and Mondovì as well as in Turin; he graduated with degrees in both medicine and philosophical studies; he travelled to Montpellier alongside a friend Lazarus Marengo.
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In the Roman Rite, the Easter octave allows no other feasts to be celebrated or commemorated during it; a solemnity, such as the Annunciation, falling within it is transferred to the following Monday. If Easter Sunday or Easter Monday falls on 25 April, the Greater Litanies, which in the pre-1970 form of the Roman Rite are on that day, are transferred to the following Tuesday.1960 Code of Rubrics, 80 By a decree of May 5, 2000, the Second Sunday of Easter (the Sunday after Easter Day itself), is known also in the Roman Rite as the Feast of the Divine Mercy.Our Sunday Visitor: Feast of the Divine Mercy Ascension Thursday, which celebrates the return of Jesus to heaven following his resurrection, is the fortieth day of Easter, but, in places where it is not observed as a Holy Day of Obligation, the post-1969 form of the Roman rite transfers it to the following Sunday.
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When this was done during the Funeral of Pope John Paul II, the response was Ora[te] pro eo, or "Pray for him."Body Theology: Litany of the Saints, accessed 28 October 2012 A Vatican recommendationCircular Letter Concerning the Preparation and Celebration of the Easter Feasts (paragraph 23), Congregation for Divine Worship, 20 February 1988, accessed 28 October 2012 issued in 1988 proposes that the Litany can be appropriately used for the beginning of the Mass of the First Sunday of Lent, to offer a distinguishing mark for the beginning of Lent. The iBreviary website offers a text in EnglishiBreviary Litany of Saints, accessed 28 October 2012 of the full Litany of Saints expanded with many additional saints, drawn in part from the bespoke litanies for particular liturgical occasions. It includes a note that in ceremonies involving the Pope, the canonized Popes are moved from their usual place to form part of an expanded list of Popes prior to other bishops and doctors.
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It is normally made of metal, stone or wood, is lockable and secured to its altar or adjacent wall to prevent the consecrated elements within from being removed without authorization. The "reserved Eucharist" is secured there for distribution at services, for availability to bring Holy Communion to the sick, and, especially in the Western Church, as the centre of attention for meditation and prayer. The term "tabernacle" arose for this item as a reference to the Old Testament tabernacle which was the locus of God's presence among the Jewish people - hence, it was formerly required (and is still generally customary) that the tabernacle be covered with a tent-like veil (conopaeum) or curtains across its door when the Eucharist is present within. By way of metaphor, Catholics and Orthodox alike also refer to the Blessed Virgin Mary as the Tabernacle in their devotions (such as the Akathist Hymn or Catholic Litanies to Mary), as she carried within her the body of Christ in her role as Theotokos.
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Fux's sacred works include masses (Missa canonica, Missa Corporis Christi,), requiems, oratorios (Santa Dimpna, Infanta d'Irlanda, K 300a (1702) Il fonte della salute, K 293 (1716) ), litanies, Vespers settings, motets, graduals, offertories, Marian antiphons (21 settings of Alma Redemptoris mater, 22 settings of Ave Regina, 9 of Regina coeli, and 17 of Salve regina), settings of the text "Sub Tuum Praesidium", Hymns (many are lost), Sequences, Introits, Communion hymns, German sacred songs (all lost), and other sacred works. Some of Fux's masses (along with Caldara and others) utilized the canon (imitative counterpoint in its strictest form) as a compositional technique, one of the telltale signs of the stile antico. Other indications of the stile antico include large note values (whole, half, or quarter notes). However, while most associate Fux with composing in the stile antico, referring to him as the "Austrian Palestrina", due to his treatise Gradus ad Parnassum, he also had the ability to compose in the stile moderno as well, evident in his oratorios, such as Santa Dimpna, Infanta d’Irlandia.
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The job required the steady production of music for Protestant church services at the Michaeliskirche (Church of St. Michael) and elsewhere in Hamburg. The following year he produced his most ambitious work, the oratorio Die Israeliten in der Wüste (The Israelites in the Desert), a composition remarkable not only for its great beauty but for the resemblance of its plan to that of Felix Mendelssohn's Elijah. Between 1768 and 1788, he wrote twenty- one settings of the Passion, and some seventy cantatas, litanies, motets, and other liturgical pieces. In Hamburg he also presented a number of works by contemporaries, including his father, Telemann, Graun, Handel, Haydn, Salieri and Johann David Holland (1746–1827). Bach's choral output reached its apex in two works: the double chorus Heilig (Holy) of 1776, a setting of the seraph song from the throne scene in Isaiah, and the oratorio Die Auferstehung und Himmelfahrt Jesu (The Resurrection and Ascension of Jesus) of 1774–82, which sets a poetic Gospel harmonization by the poet Karl Wilhelm Ramler.
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In 2015, The Syon Breviary of the Bridgettines was published for the first time in English (from Latin). This was done in celebration of the 600th anniversary of Syon Abbey, founded in 1415 by King Henry V. Following the Oxford Movement in the Anglican Communion, in 1916, the Anglican Breviary was published by the Frank Gavin Liturgical Foundation. In Lutheranism, the Diakonie Neuendettelsau religious institute uses a breviary unique to the order; For All the Saints: A Prayer Book for and by the Church, among many other breviaries such as The Daily Office: Matins and Vespers, Based on Traditional Liturgical Patterns, with Scripture Readings, Hymns, Canticles, Litanies, Collects, and the Psalter, Designed for Private Devotion or Group Worship, are popular in Lutheran usage as well. In Oriental Orthodox Christianity, the canonical hours of the Malankara Orthodox Syrian Church (Indian Orthodox Church) are contained within the Shehimo, called the Sh'imo in the Syriac Orthodox Church;Daily Prayer of the Syriac Orthodox Church (Sh'imo) – Aramaic the Coptic Orthodox Church of Alexandria has the Agpeya and the Armenian Apostolic Church has the Sharagnots or Zhamagirk.
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In the Armenian Liturgy, the Ninth Hour (Armenian: Իններորդ Ժամ innerord zham) commemorates both the Son of God and the death and surrender of [his] rational spirit. In the Armenian Book of Hours and in many liturgical manuscripts, the Ninth Hour concludes with a service of hymns, psalms, readings, and prayers which would normally be recited during the Patarag (Divine Liturgy or Mass). In the Armenian Book of Hours and in many liturgical manuscripts, the ninth hour includes the service of prayers, hymns, and Bible readings which would normally take place at the Patarag (Divine Liturgy or Mass), without the prayers of the eucharistic canon (preparation, consecration, post-communion prayers) and many of the litanies. There is no separate heading for this service as there is for the other services in the Book of Hours. Still, this is a distinct service because the concluding “Our Father” which ends every Armenian liturgy, including all of the liturgies of the hours, also occurs at the end of the Ninth Hour proper in analogy to the First, Third, and Sixth hours, and before this additional service.
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And he arranged Psalms and hymns for them to sing, as St. Augustine says, "after the manner of the Orientals, lest the people should languish in cheerless monotony"; and of this Paulinus the deacon says: "Now for the first time antiphons, hymns, and vigils began to be part of the observance of the Church in Milan, which devout observance lasts to our day not only in that church but in nearly every province of the West". From the time of St. Ambrose, whose hymns are well-known and whose liturgical allusions may certainly be explained as referring to a rite which possessed the characteristics of that which is called by his name, until the period of Charlemagne (circ AD 800), there is a gap in the history of the Milanese Rite. However, St. Simplician, the successor of St. Ambrose, added much to the rite and St. Lazarus (438-451) introduced the three days of the litanies (Cantù, Milano e il suo territorio, I, 116). The Church of Milan underwent various vicissitudes and for a period of some eighty years (570-649), during the Lombard conquests, the see was moved to Genoa in Liguria.
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In the 8th century, the development of monastic liturgical practice was centered in the Monastery of the Stoudios in Constantinople where the services were further sophisticated, in particular with regard to Lenten and Paschal services and, most importantly, the Sabbaite Typikon was imported and melded with the existing typikon; as Fr. Robert F. Taft noted, > How the cathedral and monastic traditions meld into one is the history of > the present Byzantine Rite. ... [St. Theodore the Studite] summoned to the > capital some monks of St. Sabas to help combat iconoclasm, for in the > Sabaitic chants Theodore discerned a sure guide of orthodoxy, he writes to > Patriarch Thomas of Jerusalem. So it was the office of St. Sabas, not the > [sung service] currently in use in the monasteries of Constantinople, which > the monks of Stoudios would synthesize with material from the asmatike > akolouthia or cathedral office of the Great Church to create a hybrid > "Studite" office, the ancestor of the one that has come down to us to this > day: a Palestinian horologion with its psalmody and hymns grafted onto a > skeleton of litanies and their collects from the euchology of the Great > Church.
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According to a historical testimony by Landolfo Luniore (1077-1137), known as Landolfo di San Paolo, in his Historia Mediolanensis [History of Milan], it seems that the church of Sancta Maria ad Portam already existed before the 12th century in the same place where it stands today. It would have served as a minor church, though, since it was neither a Decuman church nor the place of litanies. Landolfo in the same work reported that on May 7, 1105, during the demolition of the pre-existing church, precious relics were discovered, among which were a part of Jesus’ burial clothes and his Holy Shroud, a piece of the stone on which the angel who announced the resurrection was seated, a splinter of the Holy Cross, and a fragment of Mary's dress. > "Putavi non pretereundum scilentio, quod durante lite Grosulani, scilicet > 1105 7 idus maiis, invente sunt reliquie pretiose in Ecclesia Sancte Marie > ad Portam". ["I thought that cannot be passed silently that during the > Grosulani dispute, of course, May 7, 1105, there were precious relics at the > Church Sancte Marie ad Portam"] Another historian named Torre mentions the same relics in 1674, and also records the presence of the venerated bones of sub-deacons, Saints Casto and Polimio.
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