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A setting of Pange lingua, written by Ciaran McLoughlin, appears on the Solas 1995 album Solas An Domhain. Pange lingua has been translated into many different languages for worship throughout the world. However, the Latin version remains the most popular. The Syriac translation of "Pange lingua" was used as part of the rite of benediction in ...
Tantum ergo" is the incipit of the last two verses of Pange lingua, a Medieval Latin hymn composed by St Thomas Aquinas circa A.D. 1264. The "Genitori genitoque" and "Procedenti ab utroque" portions are adapted from Adam of Saint Victor's sequence for Pentecost. [1] The hymn's Latin incipit literally translates to "Therefore so great".
Pange lingua gloriosi proelium certaminis" (Latin for 'Sing, tongue, the battle of glorious combat') is a 6th-century AD Latin hymn generally credited to the Christian poet St. Venantius Fortunatus, Bishop of Poitiers, celebrating the Passion of Christ.
The motet was first published without the "facultative" bars as Pange lingua by Wöss, Universal Edition, together with the Vexilla regis in 1914 – the reason why Grasberger put is as WAB 32 after the Pange lingua, WAB 31. [1] The full version is put in Band XXI/7 of the Gesamtausgabe. [2]
Alleluia! Alleluia! Sing a New Song to the Lord; Alleluia! Sing to Jesus; Alma Redemptoris Mater; Angels We Have Heard on High; Anima Christi (Soul of my Saviour) Asperges me; As a Deer; As I Kneel Before You (also known as Maria Parkinson's Ave Maria) At That First Eucharist; At the Lamb's High Feast We Sing; At the Name of Jesus; Attende ...
The Missa Pange lingua is a musical setting of the Ordinary of the Mass by Franco-Flemish composer Josquin des Prez, probably dating from around 1515, near the end of his life. Most likely his last mass, it is an extended fantasia on the Pange Lingua hymn, and is one of Josquin's most famous mass settings.
The work is a setting of 38 bars in Phrygian mode of the first and last two verses (Tantum ergo) of the Pange lingua for mixed choir a cappella. A 3-bar Amen was added later. [1] The work, which is composed in the old church mode, begins in unison and evolves via an empty fifth to perfect chords.
There are dozens of musical settings of the Aquinas, including a Josquin Mass (1514), a Bruckner motet (1868) and a Kodály hymn (1929). Charpentier alone wrote five settings: Pange lingua, motet for 3 voices, 2 treble instruments and bc H.58 (? mid-1670s) Pange lingua, motet for 3 voices, 2 treble instruments and bc H.61 (1680–81)