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The Exsultet in a Polish church. The Exsultet (spelled in pre-1920 editions of the Roman Missal as Exultet), also known as the Easter Proclamation (Latin: Praeconium Paschale), [1] is a lengthy sung proclamation delivered before the paschal candle, ideally by a deacon, during the Easter Vigil in the Roman Rite of Mass.
It has four sections: Exsultate jubilate – Allegro ()Fulget amica dies – Secco recitative Tu virginum corona – Andante ()Alleluja – Allegro (F major) Musicologist Stanley Sadie called the final section, "Alleluia", "a jewel of a piece with its high spirits and its wit ... like no other piece of Mozart's; its music speaks unmistakably of his relaxed high spirits at the time he wrote it ...
An exultet roll on display in Pisa. An Exultet roll is a long and wide illuminated scroll containing the text and music of the Exultet, the liturgical chant for the Paschal vigil. [1] [2] The material was usually parchment, the layout that of a rotulus (text parallel to the rod), the text in Beneventan script and the music notated in neumes.
Felix culpa is a Latin phrase that comes from the words felix, meaning "happy," "lucky," or "blessed" and culpa, meaning "fault" or "fall".In the Catholic tradition, the phrase is most often translated "happy fault", as in the Catholic Exsultet.
Exsultet [1] (1996/2007) - for choir of gregorian chant and electronic elaboration Cadenza esplosa (2006) - acousmatic piece Inferi (2001) - for reciting voice and elaborated sounds, on a text by Mara Cantoni
Pages in category "Music based on the Bible" The following 18 pages are in this category, out of 18 total. This list may not reflect recent changes. 0–9.
The Roman Missal provides a formula with appropriate chant (in the same tone as the Exsultet) for proclaiming on Epiphany, wherever it is customary to do so, the dates in the calendar for the celebration of Ash Wednesday, Easter Sunday, Ascension Day, Pentecost, Corpus Christi, and the Advent Sunday, that will mark the following liturgical year.
Biblical Songs was written between 5 and 26 March 1894, while Dvořák was living in New York City. It has been suggested that he was prompted to write them by news of a death (of his father Frantisek, or of the composers Tchaikovsky or Gounod, or of the conductor Hans von Bülow); but there is no good evidence for that, and the most likely explanation is that he felt out of place in the ...
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