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The Magnificat on the wall of the Church of the Visitation. According to Saint Augustine, it was Saint Ambrose who, in the 4th century, introduced the use of hymns outside the liturgy of the Western Church. [14] By the 8th century, popular hymns such as Ave Maris Stella had appeared as plainsong in Vespers and many other hymns were later based ...
Portal:Classical music/Quotes/13 And when they encounter works of art which show that using new media can lead to new experiences and to new consciousness, and expand our senses, our perception, our intelligence, our sensibility, then they will become interested in this music.
This most popular of all canticles falls within the liturgies of the Catholic Church, the Eastern Orthodox Church, the Lutheran Church and the Anglican Communion. [ 1 ] The text of the canticle is taken from the Gospel of Luke ( 1:46–55 ) where it is spoken by Mary upon the occasion of her Visitation to her cousin Elizabeth . [ 2 ]
Second day of Christmas , also St. Stephen's Day; On this day Leipzig celebrated Christmas and St. Stephen's Day in alternating years, with different readings. Readings For Christmas (even years): Titus 3:4–7, God's mercy appeared in Christ Luke 2:15–20, the shepherds at the manger for St. Stephen's Day (uneven years):
The seven meditations on the Last Words are excerpted from all four gospels. The "Earthquake" movement derives from Matthew 27:51ff. Much of the work is consolatory, but the "Earthquake" brings a contrasting element of supernatural intervention—the orchestra is asked to play presto e con tutta la forza—and closes with the only fortississimo (triple forte) in the piece.
Ernst Krenek also composed two examples: a "scenic cantata", Die Zwingburg, Op. 14 (1922), and a Cantata for Wartime, Op. 95, for women's voices and orchestra (1943). Sergei Prokofiev composed Semero ikh (1917–18; rev. 1933), and in 1939 premiered a cantata drawn from the film music for Alexander Nevsky .
A church cantata or sacred cantata is a cantata intended to be performed during Christian liturgy. The genre was particularly popular in 18th-century Lutheran Germany, with many composers writing an extensive output: Stölzel , Telemann , Graupner and Krieger each wrote nearly or more than a thousand.
Almost all Catholic liturgical music composed before the middle of the 20th century, including thousands of settings of the ordinary of the mass (Gloria, Credo, Sanctus, Agnus Dei), the ordinary and proper of the Requiem mass, psalms, canticles (such as the Magnificat), antiphons, and motets. Famous examples include: