Aristotle A. Esguerra — Crucem Tuam a 4 (2008) Antiphon and Verse for Good Friday at the Veneration of the Cross, according to the Roman Rite in its Ordinary and Extraordinary Forms. Crucem tuam adorámus …More
Aristotle A. Esguerra — Crucem Tuam a 4 (2008)
Antiphon and Verse for Good Friday at the Veneration of the Cross, according to the Roman Rite in its Ordinary and Extraordinary Forms.
Crucem tuam adorámus, Dómine:
et sanctam resurrectiónem tuam laudámus et glorificámus:
ecce enim propter lignum venit gáudium in univérso mundo.
Deus, misereátur nostri, et benedícat nobis:
illúminet vultum suum super nos, et misereátur nostri.
Crucem tuam adorámus, Dómine... We adore thy cross, O Lord, and we praise and glorify thy holy resurrection; behold, truly by this cross joy came to the whole world. May God have mercy on us, and bless us; may he let the light of his face shine upon us, and have mercy on us. We adore thy cross, O Lord... Liturgically premiered on Good Friday, April 10, 2009 at the Shrine of Christ the King Sovereign Priest in Chicago, Illinois. Photos provided courtesy of Canon Matthew Talarico, Vice Rector of the Shrine of Christ the King Sovereign Priest, Chicago, Illinois. Score …More
Antiphon and Verse for Good Friday at the Veneration of the Cross, according to the Roman Rite in its Ordinary and Extraordinary Forms.
Crucem tuam adorámus, Dómine:
et sanctam resurrectiónem tuam laudámus et glorificámus:
ecce enim propter lignum venit gáudium in univérso mundo.
Deus, misereátur nostri, et benedícat nobis:
illúminet vultum suum super nos, et misereátur nostri.
Crucem tuam adorámus, Dómine... We adore thy cross, O Lord, and we praise and glorify thy holy resurrection; behold, truly by this cross joy came to the whole world. May God have mercy on us, and bless us; may he let the light of his face shine upon us, and have mercy on us. We adore thy cross, O Lord... Liturgically premiered on Good Friday, April 10, 2009 at the Shrine of Christ the King Sovereign Priest in Chicago, Illinois. Photos provided courtesy of Canon Matthew Talarico, Vice Rector of the Shrine of Christ the King Sovereign Priest, Chicago, Illinois. Score …More
03:17
gooddocpeter
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Great, Aristotle! I already listened to this clip many times, still it is inspiring to me. May God continue to bless your musical talent.
AristotleAEsguerra
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I placed this out there hoping that it would be used as intended; little did I know it would be used so soon. Canon Talarico informed me in July that …More
I placed this out there hoping that it would be used as intended; little did I know it would be used so soon. Canon Talarico informed me in July that they had recorded it within the context of the Liturgy, which was a pleasant surprise.
I would mention the singers by name, but I don't know any of them. Perhaps that will be rectified in a future comment.
In any case, thanks so much for the kind words, my friend; I am grateful!
I would mention the singers by name, but I don't know any of them. Perhaps that will be rectified in a future comment.
In any case, thanks so much for the kind words, my friend; I am grateful!
One more comment
Kevin Allen — Desidero, mi Jesu. [www.kevinallen.info] Recorded live at the Monastery of the Holy Cross in Chicago by the Lincoln Chamber Chorale, and included on the CD "Restoration of the Sacred," …More
Kevin Allen — Desidero, mi Jesu.
[www.kevinallen.info] Recorded live at the Monastery of the Holy Cross in Chicago by the Lincoln Chamber Chorale, and included on the CD "Restoration of the Sacred," Kevin Allen's setting of the Eucharistic poem "Desidero, Mi Jesu" was set to three-part equal-voice choir in 2005.
"I desire, O my Jesus,
Tha you would refresh me
On this the food of angels:
Make me, my kind Jesus,
Always worthily approach
To this divine repast. Let this food be a nutriment, Let this drink be a nourishment, Be unto my soul: Let it give grace while I breathe, In my final agony Be it a pledge of future glory," (Anonymous; Translated by Peter F.X. Gibson) Soloists of the Lincoln Chamber Chorale: Jennifer Haworth, soprano Terry Sullivan, soprano Sonia Ness, alto Director: Timothy Woods Contact Kevin Allen directly for the score to this composition and many others. www.kevinallen.info Image sources: vultus.stblogs.org madisondiocese.org
[www.kevinallen.info] Recorded live at the Monastery of the Holy Cross in Chicago by the Lincoln Chamber Chorale, and included on the CD "Restoration of the Sacred," Kevin Allen's setting of the Eucharistic poem "Desidero, Mi Jesu" was set to three-part equal-voice choir in 2005.
"I desire, O my Jesus,
Tha you would refresh me
On this the food of angels:
Make me, my kind Jesus,
Always worthily approach
To this divine repast. Let this food be a nutriment, Let this drink be a nourishment, Be unto my soul: Let it give grace while I breathe, In my final agony Be it a pledge of future glory," (Anonymous; Translated by Peter F.X. Gibson) Soloists of the Lincoln Chamber Chorale: Jennifer Haworth, soprano Terry Sullivan, soprano Sonia Ness, alto Director: Timothy Woods Contact Kevin Allen directly for the score to this composition and many others. www.kevinallen.info Image sources: vultus.stblogs.org madisondiocese.org
02:32
Gregorian Chant — Alleluia: Omnes gentes. During the final Mass of the Church Music Association of America's Sacred Music Colloquium XIX, Arlene Oost-Zinner directs the Intemediate Women's Schola in …More
Gregorian Chant — Alleluia: Omnes gentes.
During the final Mass of the Church Music Association of America's Sacred Music Colloquium XIX, Arlene Oost-Zinner directs the Intemediate Women's Schola in the Alleluia verse for the Thirteenth Sunday in Ordinary Time, Year B, June 28, 2009. Mary Ann Carr Wilson sings the verse. (The verse melody as sung varies slightly from the printed volumes cited at the beginning of the clip, but the notation that appears in the clip reflects these variations.)
Please see the clip for references to Gregorian chant volumes as well to this chant's place in the extraordinary- and ordinary-form liturgical calendars of the Roman Rite.
www.cantemusdomino.net
www.ceciliaschola.org
www.musicasacra.com
www.stannes-sandiego.org
During the final Mass of the Church Music Association of America's Sacred Music Colloquium XIX, Arlene Oost-Zinner directs the Intemediate Women's Schola in the Alleluia verse for the Thirteenth Sunday in Ordinary Time, Year B, June 28, 2009. Mary Ann Carr Wilson sings the verse. (The verse melody as sung varies slightly from the printed volumes cited at the beginning of the clip, but the notation that appears in the clip reflects these variations.)
Please see the clip for references to Gregorian chant volumes as well to this chant's place in the extraordinary- and ordinary-form liturgical calendars of the Roman Rite.
www.cantemusdomino.net
www.ceciliaschola.org
www.musicasacra.com
www.stannes-sandiego.org
03:41
Indeed dear man!! So we are on the same page - so to speak I would also encourage the choir into a study of the Latin language. This would help to …More
Indeed dear man!! So we are on the same page - so to speak
I would also encourage the choir into a study of the Latin language. This would help to unlock some of the musical genius of the chants; text and music being so inextricably involved with each other!
These chants were sung by ordinary human beings who, through intense faith and the power of Love, allowed thier souls to soar unto the Divine Majesty. The modes do well to facilitate this 'freedom' of expression - with thier 'bending' of intervals and difference of temperament. In our modern world of scales- this is in D major or that in bminor - one gets to bogged down (to fixated) to this limited sound world. It is a world of definite intervals and temperament; all of which just limits the expressivity of the soul. I am so happy to hear so many people revisiting this our ancient tradition as Church. But pour you soul into it; allow your prayer to flow from the depths of your experience of Love. Soldier on folks!! Keep it up, …More
I would also encourage the choir into a study of the Latin language. This would help to unlock some of the musical genius of the chants; text and music being so inextricably involved with each other!
These chants were sung by ordinary human beings who, through intense faith and the power of Love, allowed thier souls to soar unto the Divine Majesty. The modes do well to facilitate this 'freedom' of expression - with thier 'bending' of intervals and difference of temperament. In our modern world of scales- this is in D major or that in bminor - one gets to bogged down (to fixated) to this limited sound world. It is a world of definite intervals and temperament; all of which just limits the expressivity of the soul. I am so happy to hear so many people revisiting this our ancient tradition as Church. But pour you soul into it; allow your prayer to flow from the depths of your experience of Love. Soldier on folks!! Keep it up, …More
AristotleAEsguerra
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Dear ACLumsden, Many in this video, I believe, are perhaps less than five years into singing the chant, and then on a part-time basis. So your …More
Dear ACLumsden,
Many in this video, I believe, are perhaps less than five years into singing the chant, and then on a part-time basis. So your encouragement is most valued, especially as a veteran of the art!
The first years are so very critical in building up the belief that one can actually sing these more complex propers; but, also as critical, once that belief is secure, to use the acquired textbook technique as a point of departure to a more perhaps 'passionate' rendition (both in solo and ensemble chanting). To sing with understanding, and allow the texts to be illuminated by the melody instead of shrouded by it, is key IMO. I hope this makes sense.
I share your weariness of the philosophy you describe, by the way, which often unintentionally shrouds the text by an overly dogmatic performance methodology.
Many in this video, I believe, are perhaps less than five years into singing the chant, and then on a part-time basis. So your encouragement is most valued, especially as a veteran of the art!
The first years are so very critical in building up the belief that one can actually sing these more complex propers; but, also as critical, once that belief is secure, to use the acquired textbook technique as a point of departure to a more perhaps 'passionate' rendition (both in solo and ensemble chanting). To sing with understanding, and allow the texts to be illuminated by the melody instead of shrouded by it, is key IMO. I hope this makes sense.
I share your weariness of the philosophy you describe, by the way, which often unintentionally shrouds the text by an overly dogmatic performance methodology.
4 more comments
Gregorian Chant — Offertory: Sicut in holocausto. During the final Mass of the Church Music Association of America's Sacred Music Colloquium, Professor William P. Mahrt of Stanford University directs …More
Gregorian Chant — Offertory: Sicut in holocausto.
During the final Mass of the Church Music Association of America's Sacred Music Colloquium, Professor William P. Mahrt of Stanford University directs the Advanced Women's Schola in the Offertory chant for the Thirteenth Sunday in Ordinary Time, Year B, June 28, 2009.
Please see the clip for references to Gregorian chant volumes as well to the extraordinary- and ordinary-form liturgical calendars.
(As a workaround to limitations found in the Macintosh version of the Meinrad chant fonts, the first staff's C clef and melody appear one line higher than the notation found in the printed volumes.)
www.cantemusdomino.net
www.musicasacra.com
During the final Mass of the Church Music Association of America's Sacred Music Colloquium, Professor William P. Mahrt of Stanford University directs the Advanced Women's Schola in the Offertory chant for the Thirteenth Sunday in Ordinary Time, Year B, June 28, 2009.
Please see the clip for references to Gregorian chant volumes as well to the extraordinary- and ordinary-form liturgical calendars.
(As a workaround to limitations found in the Macintosh version of the Meinrad chant fonts, the first staff's C clef and melody appear one line higher than the notation found in the printed volumes.)
www.cantemusdomino.net
www.musicasacra.com
02:45