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Carmina Burana is a cantata composed in 1935 and 1936 by Carl Orff, based on 24 poems from the medieval collection Carmina Burana.Its full Latin title is Carmina Burana: Cantiones profanae cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis ("Songs of Beuern: Secular songs for singers and choruses to be sung together with instruments and magical images").
Examples of such settings include the sixteen Magnificat settings by Cristóbal de Morales: half of these include only the odd verses ("anima mea" settings), the others only the even verses ("Et exultavit" settings) – both series of eight settings by Morales have one setting per traditional church tone.
The Magnificat by John Rutter is a musical setting of the biblical canticle Magnificat, completed in 1990.The extended composition in seven movements "for soprano or mezzo-soprano solo, mixed choir, and orchestra (or chamber ensemble)" [1] is based on the Latin text, interspersed with "Of a Rose, a lovely Rose", an anonymous English poem on Marian themes, the beginning of the Sanctus and a ...
"Dum Diane vitrea", also known as "Nocturne", is a Medieval Latin song known only from the Carmina Burana, a thirteenth-century collection of poems and songs.Like most of the material in the Carmina, it is an anonymous piece, though some translators have speculated that it is the work of Peter Abelard.
The Planctus (de obitu) Karoli ("Lament [on the Death] of Charlemagne"), also known by its incipit A solis ortu (usque ad occidua) ("From the rising of the sun [to the setting]"), is an anonymous medieval Latin planctus eulogising Charlemagne, written in accented verse by a monk of Bobbio shortly after his subject's death in 814. [1]
An Eastern Orthodox setting of the Magnificat (text in Latin and English) is to be found in the 2011 All-night Vigil (Section 11) by the English composer Clive Strutt. Maria Luise Thurmair wrote in 1954 the lyrics for a popular German ecumenical hymn based on the Magnificat, " Den Herren will ich loben ", set to a 1613 melody by Melchior ...
Musica ficta (from Latin, "false", "feigned", or "fictitious" music) was a term used in European music theory from the late 12th century to about 1600 to describe pitches, whether notated or added at the time of performance, that lie outside the system of musica recta or musica vera ("correct" or "true" music) as defined by the hexachord system of Guido of Arezzo.
Since the 15th century, popes have made in pectore appointments to manage complex relations among factions within the Church, when publication of a new cardinal's name might provoke persecution of the individual or of a Christian community or, when the identity of the new cardinal is an open secret, to signal defiance of government opposition or stake out a diplomatic or moral position.