More Jesse Tree: "There is a flower"

Thanks to "A Clerk of Oxford" for pointing this out; here the Cambridge Singers, directed by John Rutter, sing his "There Is a Flower."



The words are taken from John Audelay's absolutely splendid 15th-Century carol; ACoO has added some translation below, in italics, where a word may not be clear.

There is a flower sprung of a tree,
The root thereof is called Jesse,
A flower of price;
There is none such in paradise.

This flower is fair and fresh of hue;
It fades never, but ever is new;
The blessed branch where this flower grew
Was Mary mild who bore Jesu,
A flower of grace!
Against all sorrow it is solace.

The seed thereof was of God's sending,
Which God himself sowed with his hand;
In Bethlehem, in that holy land,
Within her bower he there her found.
This blessed flower
Sprang never but in Mary's bower.

When Gabriel this maiden met,
With "Ave, Maria," he her gret [greeted]
Between them two this flower was set,
And was kept, no man should wit, [know]
Til on a day
In Bethlehem, it began to spread and spray.

When that flower began to spread,
And his blossom to bud,
Rich and poor of every seed, [i.e. kind]
They marvelled how this flower might spread,
Until kings three
That blessed flower came to see.

Angels there came out of their tower
To look upon this fresh flower,
How fair he was in his colour,
And how sweet in his savour,
And to behold
How such a flower might spring amid the cold.

Of lily, of rose on ryse, [branch]
Of primrose, and of fleur-de-lys,
Of all the flowers at my devyse [I can think of],
That flower of Jesse yet bears the prize,
As the best remedy
To ease our sorrows in every part.

I pray you, flowers of this country,
Wherever ye go, wherever ye be,
Hold up the flower of good Jesse,
Above your freshness and your beauty,
As fairest of all,
Which ever was and ever shall be.

ACoO also offers this beautiful image "(Harley 1892, f. 31v, from c.1490-c.1510)," among many others.

See them all here.

Richard Lloyd: Drop Down Ye Heavens (AKA "The Advent Prose")

The Choir of St. John's College, Cambridge sings this setting of the Advent text.



This text is commonly known as "The Advent Prose"; it's attributed to Prudentius.  Here is the full text:

Drop down, ye heavens, from above, and let the skies pour forth righteousness: let the earth be fruitful, and bring forth a Saviour.

Be not very angry, O Lord, neither remember our iniquity for ever:
thy holy cities are a wilderness, Jerusalem a desolation:
our holy and our beautiful house, where our fathers praised thee.

Drop down, ye heavens, from above, and let the skies pour forth righteousness: let the earth be fruitful, and bring forth a Saviour.

We have sinned, and are as an unclean thing,
and we all do fade as a leaf:
our iniquities, like the wind, have taken us away;
thou hast hid thy face from us:
and hast consumed us, because of our iniquities.

Drop down, ye heavens, from above, and let the skies pour forth righteousness: let the earth be fruitful, and bring forth a Saviour.

Ye are my witnesses, saith the Lord, and my servant whom I have chosen;
that ye may know me and believe me:
I, even I, am the Lord, and beside me there is no Saviour:
and there is none that can deliver out of my hand.

Drop down, ye heavens, from above, and let the skies pour forth righteousness: let the earth be fruitful, and bring forth a Saviour.

Comfort ye, comfort ye my people, my salvation shall not tarry:
I have blotted out as a thick cloud thy transgressions:
fear not for I will save thee:
for I am the Lord thy god, the holy one of Israel, thy Redeemer.

This is the English version of the plainsong hymn:



And here's the chant score with Latin words, from the Liber Usualis:

 More about the "Advent Prose" from this page:

The Advent Prose is a series of texts adapted from the book of the prophet Isaiah, and said, or more usually sung, in churches during the season of Advent. In its Latin form, it is attributed to Aurelius Clemens Prudentius, who lived in the fourth century. The English translation is traditional. It is most common in high church Anglican or Roman Catholic churches, but no doubt known elsewhere as well. There are several ways of singing it, but a common one is for the Rorate section, shown here with emphasis to be sung as a chorus, and for the choir to take the verses, with the chorus alternating. Although the English text says 'Drop down, ye heavens...', the Latin verb rorare actually means 'to make or deposit dewdrops', a fact which evaded me when I first came to the piece. Similarly, justum in the second line means 'the just man', rather than 'righteousness'.

More about Rorate Coeli, from New Advent:

(Vulgate, text), the opening words of Isaiah 45:8. The text is used frequently both at Mass and in the Divine Office during Advent, as it gives exquisite poetical expression to the longings of Patriarchs and Prophets, and symbolically of the Church, for the coming of the Messias. Throughout Advent it occurs daily as the versicle and response at Vespers. For this purpose the verse is divided into the versicle, "Rorate coeli desuper et nubes pluant justum" (Drop down dew, ye heavens, from above, and let the clouds rain the just), and the response: "Aperiatur terra et germinet salvatorem" (Let the earth be opened and send forth a Saviour"). The text is also used: (a) as the Introit for the Fourth Sunday in Advent, for Wednesday in Ember Week, for the feast of the Expectation of the Blessed Virgin, and for votive Masses of the Blessed Virgin during Advent; (b) as a versicle in the first responsory of Tuesday in the first week of Advent; (c) as the first antiphon at Lauds for the Tuesday preceding Christmas and the second antiphon at Matins of the Expectation of the Blessed Virgin; (d) in the second responsory for Friday of the third week of Advent and in the fifth responsory in Matins of the Expectation of the Blessed Virgin. In the "Book of Hymns" (Edinburgh, 1910), p. 4, W. Rooke-Ley translates the text in connection with the O Antiphons:

Mystic dew from heaven
Unto earth is given:
Break, O earth, a Saviour yield —
Fairest flower of the field".

The exquisite Introit plain-song may be found in in the various editions of the Vatican Graduale and the Solesmes "Liber Usualis", 1908, p. 125. Under the heading, "Prayer of the Churches of France during Advent", Dom Guéranger (Liturgical Year, Advent tr., Dublin, 1870, pp. 155-6) gives it as an antiphon to each of a series of prayers ("Ne irascaris", "Peccavimus", "Vide Domine", "Consolamini") expressive of penitence, expectation, comfort, and furnishes the Latin text and an English rendering of the Prayer. The Latin text and a different English rendering are also given in the Baltimore "Manual of Prayers" (pp. 603-4). A plain-song setting of the "Prayer", or series of prayers, is given in the Solesmes "Manual of Gregorian Chant" (Rome-Tournai, 1903, 313-5) in plain-song notation, and in a slightly simpler form in modern notation in the "Roman Hymnal" (New York, 1884, pp. 140-3), as also in "Les principaux chants liturgiques" (Paris, 1875, pp. 111-2) and 'IRecueil d'anciens et de nouveaux cantiques notés" (Paris, 1886, pp. 218-9).

For the Latin version, and some polyphonic settings, see these posts from previous years.

Veni Redemptor gentium (Andrew Smith / New York Polyphony)

Wow.  Here's New York Polyphony singing Andrew Smith's gorgeous setting of this Advent/Christmas office hymn.  Stunning, as always.



The lyrics here alternate, Latin then English - but here are all the original Latin words:

VENI, redemptor gentium, ostende partum Virginis; miretur omne saeculum: talis decet partus Deum.
Non ex virili semine, sed mystico spiramine Verbum Dei factum est caro fructusque ventris floruit.
Alvus tumescit Virginis, claustrum pudoris permanet, vexilla virtutum micant, versatur in templo Deus.
Procedat e thalamo suo, pudoris aula regia, geminae gigas substantiae alacris ut currat viam.
Aequalis aeterno Patri, carnis tropaeo cingere, infirma nostri corporis virtute firmans perpeti.
Praesepe iam fulget tuum lumenque nox spirat novum, quod nulla nox interpolet fideque iugi luceat.
Sit, Christe, rex piissime, tibi Patrique gloria cum Spiritu Paraclito, in sempiterna saecula. Amen.

---

From the YouTube page:

Veni Redemptor gentium - Andrew Smith (b. 1970)
Performed by New York Polyphony
Images from Robert Greene's "Snow Study/Weather Control"
© 2010 Prewar Cinema http://www.prewarcinema.com

This track is featured on the Avie Records release 'I sing the birth' Ⓟ & ©

New York Polyphony Available on:

Amazon - http://amzn.to/1g9qrdI
iTunes - http://bit.ly/18zVf5O
and most other online music retailers

For more information, please visit:

http://www.newyorkpolyphony.com
http://www.facebook.com/newyorkpolyphony

Requiem (Victoria)

In memory of those who've lost their lives in the Philippines this week. Many thanks to this good young choral group for recording and webcasting this beautiful music.




From the YouTube page:

Officium defunctorum
(sex vocibus, in obitu et obsequiis sacrae imperatricis, Madrid, 1605)
by Tomás Luis de Victoria (c. 1548-1611)

Performed by University of North Texas Collegium Singers, directed by Richard Sparks.

Soloists: Laurissa Backlin, Julianna Emanski, Fiona Gillespie, sopranos; Holly Dalrymple (chant incipits); Fabiana Gonzalez, Rachael Hardy, Alyssa Narum, altos; Tucker Bilodeau, Aaron Harp, tenors; Christopher Jackson, bass.

00:50 - Taedet animam meam
04:15 - Introitus
09:45 - Kyrie
12:07 - Graduale
14:45 - Offertorium
18:15 - Sanctus y Benedictus
21:18 - Agnus Dei
24:00 - Communio
27:30 - Motet: Versa est in luctum
30:41 - Libera me

Performance from program "Victoria Requiem" as part of Early Music America's Young Performers Festival June 6, 2012, 2:30 PM, St. Mark's Episcopal Church (Berkeley, CA).

UNT Collegium Singers
Cantus 1 -- Laurissa Backlin, Julianna Emanski, Fiona Gillespie
Cantus 2 -- Holly Dalrymple, Fabiana Gonzalez, Oneyda Padierna
Altus -- Rachael Hardy, Alyssa Narum
Tenor 1 -- Tucker Bilodeau, Aaron Harp
Tenor 2 -- Bradley King, Jonathan Sauceda
Bass -- Christopher Jackson, Nathaniel Mattingly

Performance from program "Victoria Requiem" as part of Early Music America's Young Performers Festival June 6, 2012, 2:30 PM, St. Mark's Episcopal Church (Berkeley, CA).

About this piece, from Wikipedia:

Officium Defunctorum is a musical setting of the Office of the Dead composed by the Spanish Renaissance composer Tomás Luis de Victoria in 1603. It includes settings of the movements of the Requiem Mass, accounting for about 26 minutes of the 42 minute composition, and the work is sometimes referred to as Victoria's Requiem.

History

Officium Defunctorum was composed for the funeral of the Dowager Empress Maria, sister of Philip II of Spain, daughter of Charles V, wife of Maximilian II and mother of two emperors; it was dedicated to Princess Margaret for “the obsequies of your most revered mother”.^[1] The Empress Maria died on February 26, 1603 and the great obsequies were performed on April 22 and 23. Victoria was employed as personal chaplain to the Empress Maria from 1586 to the time of her death.

Victoria published eleven volumes of his music during his lifetime, representing the majority of his compositional output. Officium Defunctorum, the only work to be published by itself, was the eleventh volume and the last work Victoria published. The date of publication, 1605, is often included with the title to differentiate the Officium Defunctorum from Victoria's other setting of the Requiem Mass (in 1583, Victoria composed and published a book of Masses (Reprinted in 1592) including a Missa pro defunctis for four-part choir).

Structure

Officium Defunctorum is scored for six-part SSATTB chorus. It includes an entire Office of the Dead: in addition to a Requiem Mass, Victoria sets an extra-liturgical funeral motet, a lesson that belongs to Matins (scored for only SATB and not always included in concert performances), and the ceremony of Absolution which follows the Mass. Polyphonic sections are separated by unaccompanied chant incipits Victoria printed himself. The Soprano II usually carries the cantus firmus, though "it very often disappears into the surrounding part-writing since the chant does not move as slowly as most cantus firmus parts and the polyphony does not generally move very fast."^[2] The sections of the work are as follows:

• Taedet animam meam

Second Lesson of Matins (Job 10:1-7)

• Missa Pro Defunctis (Mass for the Dead)

With the Council of Trent, the liturgy of the Requiem Mass was standardized. Victoria sets all of the Requiem Mass sections except the Dies Irae sequence.

• Introit
• Kyrie
• Gradual
• Offertory
• Sanctus
• Agnus Dei
• Communion
  

• Versa est in luctum cithara mea (Funeral motet)

• The Absolution: Responsory
  

  • Libera me
  • Kyrie

  
  

Seen and heard today at Divine Service (November 3, 2013)

The White High Holy Day vestments, the beautiful All Saints' Day collect (see below) - and, happily (since the Book of Common Prayer lectionary is now permitted again), this wonderful reading for All Saints' Day:

Ecclesiasticus 44:1-10,13-14

1 Let us now sing the praises of famous men,    
          our ancestors in their generations.
2 The Lord apportioned to them great glory,
          his majesty from the beginning.
3 There were those who ruled in their kingdoms,
          and made a name for themselves by their valour;
          those who gave counsel because they were intelligent;
          those who spoke in prophetic oracles;
4 those who led the people by their counsels
          and by their knowledge of the people’s lore;
          they were wise in their words of instruction;
5 those who composed musical tunes,
          or put verses in writing;
6 rich men endowed with resources,
          living peacefully in their homes—
7 all these were honoured in their generations,
          and were the pride of their times.
8 Some of them have left behind a name,
          so that others declare their praise.
9 But of others there is no memory;
          they have perished as though they had never existed;
          they have become as though they had never been born,
          they and their children after them.
10 But these also were godly men,
          whose righteous deeds have not been forgotten;
13 Their offspring will continue for ever,
          and their glory will never be blotted out.
14 Their bodies are buried in peace,
          but their name lives on generation after generation.

As far as I can tell, this was introduced for the first time in the 1979 Book of Common Prayer as the Old Testament reading on All Saints' Day.  It was one of the first readings I ever heard in the church, and I found it exquisitely beautiful.

Instead of a Psalm - unusual - we sang hymn #560, "Blessèd are the poor in spirit."  It's a Richard Proulx arrangement of a Russian Orthodox chant; in the Orthodox liturgy, I'm learning, the Beatitudes are chanted as the Gospel Book is carried in procession to the sanctuary for the Gospel reading.  That's a wonderful liturgical practice!    (The Beatitudes are, of course, the Gospel reading for All Saints' Day every year.)

Here's the hymn, here sung at Good Shepherd Episcopal Church in Jacksonville Florida:



Here are the words, from Hymnary.org:

[Antiphon:]
Remember your servants, Lord,
when you come in your kingly power.

1 Blessed are the poor in spirit;
for theirs is the kingdom of heaven.
2 Blessed are those who mourn;
for they shall be comforted.
3 Blessed are the meek;
for they shall inherit the earth.
4 Blessed are those who hunger and thirst after righteousness;
for they shall be satisfied.
5 Blessed are the merciful;
for they shall obtain mercy.
6 Blessed are the pure in heart;
for they shall see God.
7 Blessed are the peacemakers,
for they shall be called the children of God.
8 Blessed are those who are persecuted for righteousness' sake;
for theirs is the kingdom of heaven.
9 Blessed are you when the world reviles you and persecutes you;
and utters all kinds of evil against you falsely for my sake:
Rejoice and be exceeding glad;
for great is your reward in heaven.

[Antiphon:]
Remember your servants, Lord,
when you come in your kingly power.

Source: Hymnal 1982: according to the use of the Episcopal Church #560

It's really a beautiful song, with terrific harmonies - and of course the text is superb.

This sounds like it may be the Russian version Proulx worked from, sung by a choir at Holy Trinity Church (OCA) in Yonkers, NY:



The YouTuber wrote there that:

The Beatitudes were pronounced by Jesus during his Sermon on the Mount and were recorded by St. Matthew. ........In the Gospel writings, the beatitudes introduce the teachings of Jesus and are traditionally considered to contain the most concise summary of the spiritual life of man. In the Orthodox Divine Liturgy, the beatitudes are chanted when the Book of the Gospels is carried in solemn procession to the sanctuary to be proclaimed as the Word of God to the faithful. Thus it is the clear teaching of the Gospel and the Church that one enters into the mysteries of Christ and the Kingdom of God only by way of following the Lord's teachings in the beatitudes. And He opened His mouth and taught them, saying: "Blessed are the poor in spirit, for theirs is the kingdom of heaven. "Blessed are those who mourn, for they shall be comforted. "Blessed are the meek, for they shall inherit the earth. "Blessed are those who hunger and thirst for righteousness, for they shall be satisfied. "Blessed are the merciful, for they shall obtain mercy. "Blessed are the pure in heart, for they shall see God. "Blessed are the peacemakers, for they shall be called sons of God. "Blessed are those who are persecuted for righteousness sake, for theirs is the kingdom of heaven. "Blessed are you when men revile you and persecute you and utter all kinds of evil against you falsely on my account. Rejoice and be exceedingly glad, for your reward is great in heaven (Matthew 5:2-12; Cf Luke 6:20-26)

Here, BTW, is Arvo Pärt's setting of the Beatitudes; gorgeous as usual:




The preacher noted that All Saints' Day was the only feast of the year that could be celebrated twice - once on November 1, and again on the Sunday after November 1.  Quite interesting, really, that this is so; to me, this makes a powerful statement about the importance of this day - and I've felt that since the first time I ever attended an All Saints' Day service.  All Saints' is one of the four days on which baptism is "especially appropriate," too, according to the BCP; the first time I attended a service on this day, there were four baptisms.  All of that, and the readings and music, makes All Saints' a uniquely resonant experience; today, for the first time really, I truly got an understanding of the church as the mystical Body of Christ, and of all Christians, everywhere and from every era, as disciples, all living a common life and under a common vision.

I sort of like it that in Anglicanism, All Saints' and All Souls' Days have been collapsed into one thing; I like that idea, again, of that complete statement about "discipleship," and the notion that the whole church is celebrated.  (I'm also quite happy that many parishes offer a requiem mass on All Souls' Day, too, even though it's not an official Holy Day.   Nothing at all wrong with any of that.)

Here's the beautiful Collect for All Saints:

Almighty God, you have knit together your elect in one communion and fellowship in the mystical body of your Son Christ our Lord: Give us grace so to follow your blessed saints in all virtuous and godly living, that we may come to those ineffable joys that you have prepared for those who truly love you; through Jesus Christ our Lord, who with you and the Holy Spirit lives and reigns, one God, in glory everlasting. Amen.

Hatchett's Commentary says about this one that:

This collect was composed for the 1549 Book.  The 1662 revision substituted "blessed" for "holy," and "in all virtuous and godly living" for "in all virtues, and godly living."  The present revision replaces "unspeakable" with "ineffable" since "unspeakable" has so changed and negative a connotation in modern English.  The collect expresses in an admirable way Saint Paul's conception of the church as the Body of Christ.

I heard this song at my first All Saints' Day service, too, and again today:

Holy is the True Light,
and passing wonderful,
lending radiance to them that endured
in the heat of the conflict.
From Christ they inherit
a home of unfading splendour,
wherein they rejoice with gladness evermore.
Alleluia!

Words from the Salisbury Diurnal by G.H. Palmer

For the last hymn, it was Ralph Vaughan Williams' "For All the Saints."  I used to cry when I sang this one; I don't really know why.  (I have a feeling it may partly be all that martial imagery, in combination with this majestic melody!)  I remember singing this one when I was a child, and it always moved me then - and whenever I heard it later on in life.  I was watching people in the choir as they came down the aisle singing, and saw some really blissful faces - so I know it still has that effect on people.  Not me, though; now I weep at other hymns, and not at this one anymore.

The Introit for the Solemnity of All Saints: Gaudeamus Omnes

CPDL provides the text and an English translation:

Gaudeamus omnes in Domino diem festum celebrantes
sub honore Sanctorum omnium:
de quorum solemnitate gaudent angeli, et collaudant Filium Dei.

Exsultate iusti in Domino: rectos decet collaudatio.
Gloria Patri...

Let us all rejoice in the Lord celebrating the feast
in honour of all the saints,
in which solemnity the angels rejoice, while the Archangels praise the Son of God.

Ring out your joy to the lord, O you just; for praise is fitting for loyal hearts.
Glory be to the Father ...

(Although, you know:  I do believe that the singers, "Collana Diretta da Bonafacio G Baroffia," have hit a wrong note there in that video; they forgot to sing the flat. Here's how the Benedictines of Clear Creek sing Gaudeamus for the Feast of St. Benedict:




And here's an mp3 from the Brazilian Benedictines for All Saints, which also contains the flat.  Just to get things straightened out.)


Gaudeamus is used as the Introit for a number of saints' days during the Great Church Year (see note below); there are some variants included at that link, so you can see how the text is adjusted for other feasts.  It's quite a beautiful text, especially this one, I think.

Here's the full chant score:

As I've noted before, the use of Gaudeamus as Introit for various saints' days apparently began with The Feast of St. Agatha in the 3rd Century.   It sounds to me as if, after the chant had been used in that way for some time, it seemed natural to use it at All Saints as the Introit, too, again tying the Church Year together via the liturgy and its chant propers.  Here's a quote discussing "Josquin's Mass for All Saints and the Book of Revelation" in a book titled Symbolic scores: Studies in the music of the Renaissance:

It should be pointed out, however, that the Introit "Gaudemus" - as ascertained already by Helmuth Ostoff - is also used for a large number of saints' days as well as for the feast of All Saints (November 1). The Introit sung in the Mass of Saint Agatha (February 5) is the oldest version. Its text is the same as that of Example 1, except that it has "Agathae martyres: de cujus passione" (Agatha martyr, at whose passion) instead of "Mariae virginis: de cujus assumptionae" (the Virgin Mary, for whose Assumption). From the eleventh century onwards, the antiphon appears in at least seven other Masses. In the Introit of All Saints the text passage quoted above reads "Sanctorum omnium de quorum solemnitate" (of all the Saints, at whose solemnity).

Below is the "Example 1" referred to above:

The Josquin mass, called Missa Gaudeamus, is - as usual with Josquin - just gorgeous;  it's based on this introit.   Unfortunately, at the moment there are no recordings of it online that I can post here.  Hopefully that will change over time, at which point I'll return and post it; very worth hearing.  Meanwhile, you can listen to samples here.

There's some really interesting stuff at the link above, about the Josquin Mass specifically:

Although the Mass combines the techniques of cantus firmus and ostinato, it is generally the incipt of the Introit which, thematically, occupies the foreground.  In the Ms. Cambrai 18 the motif even appears several times with the word "gaudeamus" instead of the litugical text. The ostinato technique has its culmination in the final Angus dei, where, as Jeremy Noble remarks, "the memorable opening phrase of the introit it put through a vertiginous series of transpositions."  It has never been noticed that the arrangement of the total numbers of "Gaudeamus" statements in the five sections of the Mass is anything but proportional.  The motif occurs 6, 14, 2, 5+7, and 4+23 times respectively.  If we take into account that it appears more often in Agnus dei III, which is 58 bars long, than in the Kyrie and Gloria which together make up 220 bars, and that it appears only twice in the Credo which contains 274 bars, the conclusion seems inescapable that Josquin deliberately determined the various numbers of statements.  Evidence of the justness of this conclusion can be found by comparing the present Mass with Josquin's Missa Ave maris stella.  Both works are based on a Gregorian chant, the incipits of which are used in ever-changing melodic and rhythmic shapes.  Moreover, both present thd cantus prius factus in the tenor.  Contrary, however, to the irregular distribution of the "Gaudeamus" motifs in the various Mass sections and the individual voices, the employment of the "Ave maris stella" incipit is much more balanced.  Noble says:  "....one senses that in Ave maris stella the exuberance of Gaudeamus has begun to be tamed, even spiritualized."

Now the interesting thing about all that, according to the author of Symbolic scores: Studies in the music of the Renaissance, Willem Elders, is that it helps him make the case that this Mass was written to celebrate All Saints' Day - and not, as had been previously (and it seems universally) supposed,  written for the Feast of the Assumption - another of the feast days that used Gaudeamus as its Introit.

Continuing on, the writer says:

The "Gaudeamus" motif in Josquin's Mass of the same name has more than a purely musical significance.  It functions, as I shall now attempt to show, as a sign which refers explicitly to the composer's profession of faith.  On the basis of the allegorical meaning of the numbers 6, 14, 2, 5, 7, 4 and 23 (see above), it can be said that the Mass in all probability was intended as an All Saints' Day liturgy and that the application of number symbolism may have been inspired by the Book of Revelation.

!

I haven't finished reading his argument - it's a long one, and he believes van Eyck's "Adoration of the Lamb," from the Ghent Altarpiece, is involved! - but it's certainly an interesting one so far.   ("4" stands for the Cross - and "23" for the 23 times the sign of the cross is made during the liturgy of the mass.

"Why 23 times?" you ask?  "[The] number [is understood to be] a reference to the just in the age of the law (10) and in the age of grace (13).  The law is valid for both ages (10+10), that is, the ages of the Old and New Convenant, while faith in the threefold God (+3) is an added characteristic for the New Testament.")

Now I ask you:  who doesn't like stuff like this?  In any case, it's absolutely a perfect tale for a blog like this one; the amazing part played by Gregorian chant in the history of the West!

There's quite a lot at this Wikipedia page about Missa Gaudeamus, too.

For the Feast of St. James of Jerusalem: Exultet Caelum Laudibus

In honor of today's Feast of St. James of Jerusalem (AKA, "The Brother of Our Lord"), here's Exultet Caelum Laudibus - a Lauds and 2nd Evensong hymn for Apostles & Evangelists - sung by La Capella Reial De Catalunya.  Here's a little something about them:

La Capella Reial de Catalunya was created in Barcelona in 1987 by its conductor Jordi Savall as a group of soloist singers whose aim is to make the repertoire of Catalan historical music and, by extension, that of Spanish and other music widely known throughout the world. La Capella Reial de Catalunya often performs with Le Concert des Nations, a period instrument group also founded and conducted by Savall.

I do not know anything more about this piece, but will return to post anything I find in the future; it's very pretty, though, and worth listening to I think.



In English, the first line of this hymn is given as "Let the round world with songs rejoice!"  Quite pretty, really; here are the words from CPDL:

1. Exultet coelum laudibus
resultet terra gaudiis
apostolorum gloriam
sacra canunt solemnia.

2. Vos saecli justi judices
et vera mundi lumina
votis precamur cordium
audite preces supplicum.

3. Qui caelum verbo clauditis
serasque ejus solvitis
nos a peccatis omnibus
solvite jussu, quaesumus.

4. Quorum praecepto subditor
salus et languor omnium:
sanate aegros moribus
nos reddentes virtutibus.

5. Ut cum judex advenerit
Christus in fine saeculi
nos sempiterni gaudii
faciat esse compotes.

6. Deo Patri sit gloria
ejusque soli Filio,
cum Spiritu Paracleto,
et nunc et in perpetuum.

Additional verse
Summa sit ipsi gloria,
qui dat nos evangelicis
per vos doctrinis instrui
et prosequi caelestia.


1. Let the round world with songs rejoice;
Let Heaven return the joyful voice;
All mindful of th’Apostles’ fame,
Let Heav’n and earth their praise proclaim.

2. Ye servants who once bore the light
Of Gospel truth o’er heathen night,
Still may your work that light impart,
To glad our eyes and cheer our heart.

3. O God, by whom to them was giv’n
The key that shuts and opens Heav’n,
Our chains unbind, our loss repair,
And grant us grace to enter there.

4. For at Thy will they preached the Word
Which cured disease, which health conferred:
O may that healing power once more
Our souls to grace and health restore.

5.That when Thy Son again shall come,
And speak the world’s unerring doom,
He may with them pronounce us blest,
And place us in Thy endless rest.

6. To Thee, O Father; Son, to Thee;
To Thee, blest Spirit, glory be!
So was it ay for ages past,
So shall through endless ages last.

tr. Richard Mant (1776-1848)

Additional verse
The highest glory be to him,
who gives us the Gospel.
May we be taught by you
and follow you to heaven.

(FYI, here's what the Sarum chant version (mp3) of the hymn sounds like; the audio file comes from the website of the Lutheran Liturgical Prayer Brotherhood.)

Regina caeli (Francisco Guerrero)

New York Polyphony sings this beautiful piece, composed by Guerrero (1528-1599) and recorded this past May at the Church of St. Mary the Virgin:

Regina coeli laetare, Alleluia.
Quia quem meruisti portare, Alleluia.
[Iam] Resurrexit sicut dixit, Alleluia.
Ora pro nobis Deum. Alleluia.


Queen of Heaven, rejoice, alleluia.
For He whom you were worthy to bear, alleluia.
[Now] has risen, as He said, alleluia.
Pray for us to God, alleluia.

More about Regina Caeli (or Coeli) here.

Rachmaninoff: All-Night Vigil

This seems to the whole thing - 45 minutes of beautiful music.  YouTube page notes below.

Serge Rachmaninoff - Vespers - All-Night Vigil.


Olga Borodina, mezzo-soprano.
Vladimir Mostowoy, tenor.
St. Petersburg Chamber Choir.
Nikolai Korniev.

The All-Night Vigil (Russian: Всенощное бдение, Vsenoshchnoe bdenie), Opus 37, is an a cappella choral composition by Sergei Rachmaninoff, written and premiered in 1915. It consists of settings of texts taken from the Russian Orthodox All-night vigil ceremony. It has been praised as Rachmaninoff's finest achievement and "the greatest musical achievement of the Russian Orthodox Church". It was one of Rachmaninoff's two favorite compositions along with The Bells, and the composer requested that one of its movements (the fifth) be sung at his funeral. The title of the work is often translated as simply Vespers, which is both literally and conceptually incorrect as applied to the entire work: only the first six of its fifteen movements set texts from the Russian Orthodox canonical hour of Vespers.

Rachmaninoff composed the All-Night Vigil in less than two weeks in January and February 1915. The first performance was given in Moscow on March 10 of that year, partly to benefit the Russian war effort. Nikolai Danilin conducted the all-male Moscow Synodal Choir at the premiere. It was received warmly by critics and audiences alike, and was so successful that it was performed five more times within a month. However the Russian Revolution of 1917 and the rise of the Soviet Union led to a ban on performances of all religious music, and on 22 July 1918 the Synodal Choir was replaced by a nonreligious "People's Choir Academy". It has been written that "no composition represents the end of an era so clearly as this liturgical work"

1. Приидите, поклонимся
Priidite, Poklonimsya
Come, Let Us Worship


2. Благослови, душе моя (греческого роспева)
Blagoslovi, Dushe Moya
Praise the Lord, O My Soul (Greek Chant)


3. Блажен муж
Blazhen Muzh
Blessed is the Man

4. Свете тихий (киевского роспева)
Svete Tikhyi
O Gentle Light (Kiev Chant)

5. Ныне отпущаеши (киевского роспева)
Nyne Otpushchayeshi
Lord, Now Lettest Thou (Nunc Dimittis) (Kiev Chant)



6. Богородице Дево, радуйся
Bogoroditsye Devo, Raduisya
Rejoice, O Virgin (Hail Mary (Ave Maria))

7. Шестопсалмие
(alternate: Slava V Vyshnikh Bogu)
The Six Psalms (alternate: Glory To God in the Highest)

8. Хвалите имя Господне (знаменного роспева)
Khvalite Imya Gospodne
Praise the Name of the Lord (Znamenny Chant)

9. Благословен еси Господи (знаменного роспева)
Blagosloven Yesi, Gospodi
Blessed Art Thou, O Lord (Znamenny Chant)



10. Воскресение Христово видевше
Voskreseniye Khristovo Videvshe
Having Beheld the Resurrection

11. Величит душа моя Господа
Velichit Dusha Moya Gospoda
My Soul Doth Magnify the Lord (Magnificat)

12. Славословие великое (знаменного роспева)
(alternate: Slava V Vyshnikh Bogu)
The Great Doxology (Znamenny Chant) (alternate: Glory to God in the Highest)

13. Тропарь: Днесь спасение (знаменного роспева)
Dnes Spaseniye Miru Byst
Troparion: Today Salvation is Come (Znamenny Chant)

14. Тропарь: Воскрес из гроба (знаменного роспева)
Voskres Iz Groba
Troparion: Thou Didst Rise from the Tomb (Znamenny Chant)

15. Взбранной Воеводе (греческого роспева)
Vzbrannoy Voyevode
O Queen Victorious (Greek Chant)

An Alleluia for St. Michael and All Angels: Laudate Deum, omnes angelus

According to the Benedictines of Brazil, Laudate Deum, omnes angelus - the Alleluia for the Second Sunday after the Epiphany - can be used as an alternate to Sancte Michael archangele as the Alleluia for the September 29 Feast of St. Michael and All Angels (AKA "Ss. Michaelis, Gabrielis et Raphaelis, Archangelorum").

I could not find a recording of  Sancte Michael archangele - so here's Laudate Deum, omnes angelus, which is very pretty indeed.   (Again, though:  I am quite amazed at the cottage industry of St. Michael Archangel videos - all highly dramatic, and often using some of the most surprising music as background! - at YouTube.  It seems that the "soldier of God's armies" image really appeals to some people.)




The text comes from Psalm 148, verse 2:

Laudate Deum, omnes Angeli eius: laudate eum, omnes virtutes eius. Alleluia.

Praise God, all His Angels, praise Him, all His hosts. Alleluia.

You can listen to recordings of the Introit, Offertory, and Communio at Ss. Michaelis, Gabrielis et Raphaelis, Archangelorum (St. Michael and All Angels, that is): September 29.   Listen to the Office Hymns atSeptember 29: The Feast of St. Michael and All Angels.

Other posts for this feast day are collected here.


The Collect for St. Michael and All Angels is a nice one:

Everlasting God, you have ordained and constituted in a wonderful order the ministries of angels and mortals: Mercifully grant that, as your holy angels always serve and worship you in heaven, so by your appointment they may help and defend us here on earth; through Jesus Christ our Lord, who lives and reigns with you and the Holy Spirit, one God, for ever and ever. Amen.

Marion Hatchett, in his Commentary on the American Prayer Book, says about this feast that:

The observance of a day to honor Saint Michael dates to the fifth century when a church near Rome was dedicated to the archangel.  The Leonine sacramentary contains a proper for St. Michael's Day (nos. 844-859).  In the Eastern churches other angels have been so honored, but the feasts of Gabriel and Raphael did not enter the ROman calendar until this century.

In the 1549 Book the title was expanded to include all angels.  Michael is mentioned in Jude 9 and Rev. 12:7 (see also Dan. 10:13, 21, and 12:1).  On the basis of these passages he has been honored as the "captain of the heavenly hosts."  Gabriel was the messenger of God at the annunciation to Zechariah (Lk. 1:19) and to Mary (Lk. 1:26).  He is also mentioned in Dan. 8:16 and 9:21.  Raphael is named in the Old Testament Apocrypha (Tobit 3:16-17 and 5:5 ff.).  The word "angel" literally means "messenger."

Just for interest, this appears to be a composition by one Rafał Krzychowiec based on the text of other Alleluia for today, Sancte Michael archangele (gregorian chant score below the vid).  Interestingly, this piece has spoken parts; I don't know what's being said, though.

I'm not sure which came first, but this text has often been used as an antiphon in various offices in addition to its use here as an Alleluia for the mass:

Sancte Michael archangele defende nos in proelio ut non pereamus in tremendo judicio. 

Saint Michael Archangel, defend us in battle so that we may not perish in the awful day of judgment.

Wikipedia has more about a longer "Prayer of St. Michael," and notes that:

This prayer, whose opening words are similar to the Alleluia verse for Saint Michael’s feasts on 8 May and 29 September in the Roman Missal of the time (which ran, "Sancte Michael, defende nos in proelio ut non pereamus in tremendo iudicio"), was added in 1886 to the Leonine Prayers that in 1884 Pope Leo XIII ordered to be said after Low Mass, for the intention of obtaining a satisfactory solution to the problem that the loss of the Pope's temporal sovereignty caused in depriving him of the evident independence required for effective use of his spiritual authority.

Here's a lovely piece of Byzantine art with Michael as subject; the page says it's an "Ivory panel from a Byzantine diptych. Constantinople (AD 525-550)," now in the British Museum.

More from the Wikpedia page:

Constantinople, 6th century AD

Standing beneath an ornate arch, at the top of a flight of steps, the archangel holds an orb and a staff. The Greek inscription, which would have continued on the other leaf read: Receive the suppliant before you, despite his sinfulness.

This is the largest surviving Byzantine ivory panel and probably represents an imperial commission originating from Constantinople. It has been suggested that the angel was presenting the orb to an emperor, perhaps Justinian I (527-565 AD), who was depicted on the other lost leaf.

Height: 42.8 cm (16.9 in) Width: 14.3 cm (5.6 in) Depth: 0.9 cm (0.35 in)

Bach: Magnificat

I'm surprised to note that I've never posted this totally wonderful series of videos of Bach's Magnificat; it's from a concert recorded live at the Kloster Melk Benedictine Monastery in Austria.  So I will do it now; the videos are arranged in a playlist so each movement will play automatically.   Don't miss it, whatever you do.

 

Here are the words to this Vespers canticle, in Latin and English:

Magnificat anima mea Dominum,
et exsultavit spiritus meus in Deo salvatore meo,
quia respexit humilitatem ancillae suae.
Ecce enim ex hoc beatam me dicent omnes generationes,
quia fecit mihi magna,
qui potens est,
et sanctum nomen eius,
et misericordia eius in progenies et progenies
timentibus eum.
Fecit potentiam in brachio suo,
dispersit superbos mente cordis sui;
deposuit potentes de sede
et exaltavit humiles;
esurientes implevit bonis
et divites dimisit inanes.
Suscepit Israel puerum suum,
recordatus misericordiae,
sicut locutus est ad patres nostros,
Abraham et semini eius in saecula.

My soul doth magnify the Lord : and my spirit hath rejoiced in God my Saviour.
For he hath regarded : the lowliness of his handmaiden.
For behold, from henceforth : all generations shall call me blessed.
For he that is mighty hath magnified me : and holy is his Name.
And his mercy is on them that fear him : throughout all generations.
He hath shewed strength with his arm : he hath scattered the proud in the imagination of their hearts.
He hath put down the mighty from their seat : and hath exalted the humble and meek.
He hath filled the hungry with good things : and the rich he hath sent empty away.
He remembering his mercy hath holpen his servant Israel : as he promised to our forefathers, Abraham and his seed for ever.

Here's the musician info; they are truly superlative.  (The baritone, Christopher Maltman, BTW, is a biochemist by academic training!)

Christine Schäfer, soprano
Anna Korondi, soprano
Bernarda Fink, mezzo-soprano
Ian Bostridge, tenor
Christopher Maltman, baritone

Arnold Schoenberg Choir
(chorus master: Erwin Ortner)
Concentus Musicus Wien
Nikolaus Harnoncourt, conductor

This is from the YouTube page:

Buy this DVD at: http://amzn.to/t57Xqw
Buy this in VHS format at: http://amzn.to/AaJ5if

Magnificat anima mea from Magnificat (BWV 243) by Johann Sebastian Bach. Conducted by Nikolaus Harnoncourt.

Morales: Parce mihi domine

Exquisite.



 The text is from Job:

Parce mihi, Domine, nihil enim sunt dies mei.
Quid est homo, quia magnificas eum? Aut quid apponis erga eum cor tuum?
Visitas eum diluculo et subito probas illum.
Usquequo non parcis mihi, nec dimittis me, ut glutiam salivam meam?
Peccavi, quid faciam tibi, o custos hominum? Quare posuisti me contrarium tibi, et factus sum mihimet issi gravis?
Cur non tolles peccatum meum, et quare non auferes iniquitatem meam? Ecce, nunc in pulvere dormiam, et si mane me quaesieris, non subsistam.

Let me alone; for my days are vanity.
What is man, that thou shouldest magnify him? and that thou shouldest set thine heart upon him?
And that thou shouldest visit him every morning, and try him every moment?
How long wilt thou not depart from me, nor let me alone till I swallow down my spittle?
I have sinned; what shall I do unto thee, O thou preserver of men? why hast thou set me as a mark against thee, so that I am a burden to myself?
And why dost thou not pardon my transgression, and take away my iniquity? for now shall I sleep in the dust; and thou shalt seek me in the morning, but I shall not be.

HT RSM.

Sebastián de Vivanco: Magnificat Quarti toni

Here's a beautiful Magnificat; the chant verses are sung to Gregorian Tone 4.  Beginning sometime in the 15th Century, composers began writing this kind of chant/polyphony alternatim, in which all the odd verses are sung to either chant or polyphony - and then the even verses take the other style.   These were often based on the ordinary of the mass, but here, obviously, the text comes from the Vespers Canticle (part of the Ordinary of the Divine Office).

Sebastián de Vivanco was born in Avila, Spain, in 1551, and died in Salamanca in 1622. The performance is by the Orchestra of the Renaissance led by Richard Cheetham.  

Magnificat anima mea Dominum.
Et exsultavit spiritus meus in Deo salutari meo.
Quia respexit humilitatem ancillae suae:
ecce enim ex hoc beatam me dicent omnes generationes.

Quia fecit mihi magna qui potens est: et sanctum nomen eius.
Et misericordia eius a progenie in progenies, timentibus eum.
Fecit potentiam in bracchio suo: dispersit superbos mente cordis sui.
Deposuit potentes de sede, et exaltavit humiles.

Esurientes implevit bonis: et divites dimissit inanes.
Suscepit Israel puerum suum, recordatus misericordiae suae.
Sicut locutus est ad patres nostros, Abraham et semini eius in saecula.
Gloria Patri, et Filio, et Spiritui Sancto.

Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.


My soul doth magnify the Lord.
And my spirit hath rejoiced in God my Saviour.
For he hath regarded the lowliness of his handmaiden;
for behold from henceforth all generations shall call me blessed.

For he that is mighty hath magnified me: and holy is his name.
And his mercy is on them that fear him: throughout all generations.
He hath shewed strength with his arms: he hath scattered the proud in the imagination of their hearts.
He hath put down the mighty from their seat, and hath exalted the humble and meek.

He hath filled the hungry with good things: and the rich he hath sent empty away.
He remebering his mercy hath holpen his servant Israel.
As he promised to our forefathers, Abraham and his seed for ever.
Glory be to the father, and to the son, and to the holy spirit.

As it was in the beginning, is now, and ever shall be, world without end. Amen.

O Sacrum Convivium VI: Tomás Luis de Victoria

O sacrum convivium is the Antiphon upon Magnificat at Second Vespers of Corpus Christi; it's a beautiful, mystical hymn in praise of the Blessed Sacrament.  St. Thomas Aquinas (1225-1274) wrote the text, which has been set by many composers.  The Gregorian melody is particularly lovely; listen to it in the 2nd video below. 

Here's a wonderful O Sacrum Convivium for 6 voices, by Tomás Luis de Victoria:

 

O sacrum convivium!
in quo Christus sumitur:
recolitur memoria passionis ejus:
mens impletur gratia:
et futurae gloriae nobis pignus datur.
Alleluia.

O sacred banquet!
in which Christ is received,
the memory of his Passion is renewed,
the mind is filled with grace,
and a pledge of future glory to us is given.
Alleluia.

Here, the Belgian chant group Psallentes sings the splendid Gregorian antiphon - no less beautiful than any polyphonic setting!  They include this note: "The antiphon O sacrum convivium, from a sixteenth century Turnhout processionale (Flanders, ca. 1550)."




HT Luis Henriques.

New York Polyphony: "If ye love me"

NYP sings Thomas Tallis in Länna kyrka in Bergshamra, Sweden; gorgeous.

"New York Polyphony will release 'Times go by Turns' Summer 2013, the highly anticipated follow-up to their acclaimed BIS Records debut 'endBeginning'."

If ye love me, keep my commandments. And I will pray the Father, and he shall give you another comforter, that he may 'bide with you forever;  E'en the spirit of truth.  (John 14:15-17)

Veni, Sancte Spiritus (Dufay)

Here's a wonderful recording of Guilliaume Dufay's (ca. 1400-1474) setting of the exquisite Pentecost Sequence hymn,  Veni, Sancte Spiritus.  It's sung here, I believe, by La Capella Reial de Catalunya; M. Figueras, M.C.Kiehr (sopranos); K. Wessel (contre-ténor):



The original hymn is one of the most beautiful in the entire Gregorian repertoire, especially in its text (Latin and English below the video):

Veni, Sancte Spiritus,
et emitte caelitus
lucis tuae radium.

Veni, pater pauperum,
veni, dator munerum,
veni, lumen cordium.

Consolator optime,
dulcis hospes animae,
dulce refrigerium.

In labore requies,
in aestu temperies,
in fletu solatium.

O lux beatissima,
reple cordis intima
tuorum fidelium.

Sine tuo numine,
nihil est in homine,
nihil est innoxium.

Lava quod est sordidum,
riga quod est aridum,
sana quod est saucium.

Flecte quod est rigidum,
fove quod est frigidum,
rege quod est devium.

Da tuis fidelibus,
in te confidentibus,
sacrum septenarium.

Da virtutis meritum,
da salutis exitum,
da perenne gaudium.


Holy Spirit, Lord of light,
From the clear celestial height
Thy pure beaming radiance give.

Come, thou Father of the poor,
Come with treasures which endure;
Come, thou light of all that live!

Thou, of all consolers best,
Thou, the soul's delightful guest,
Dost refreshing peace bestow.

Thou in toil art comfort sweet,
Pleasant coolness in the heat;
Solace in the midst of woe.

Light immortal, light divine,
Visit thou these hearts of thine,
And our inmost being fill.

If thou take thy grace away,
Nothing pure in man will stay;
All his good is turned to ill.

Heal our wounds, our strength renew;
On our dryness pour thy dew,
Wash the stains of guilt away.

Bend the stubborn heart and will,
Melt the frozen, warm the chill,
Guide the steps that go astray.

Thou, on us who evermore
Thee confess and thee adore,
With thy sevenfold gifts descend.

Give us comfort when we die,
Give us life with thee on high,
Give us joys that never end.

Amen.

TPL says this about the hymn:

Veni, Sancte Spiritus, known as the Golden Sequence, is the sequence for the Mass for Pentecost. It is commonly regarded as one of the greatest masterpieces of sacred Latin poetry ever written. Its beauty and depth have been praised by many. The hymn has been attributed to three different authors, King Robert II the Pious of France (970-1031), Pope Innocent III (1161-1216), and Stephen Langton (d 1228), Archbishop of Canterbury, of which the last is most likely the author.

The Marian Antiphons: Regina Caeli

Regina Caeli is the Marian antiphon sung at Compline from Easter Eve until Pentecost. 

Here's the antiphon sung to the Simple Tone by the Benedictine monks of Santo Domingo de Silos. (Chant score from the Liber Usualis (1961), p.278.)



Here's the chant score of the Simple Tone version, from the Liber Usualis:

Here it is sung to the Solemn Tone, by the Benedictine Monks of the Abbey of Saint Maurice et Saint Maur de Clervaux. (Chant score from the Liber Usualis (1961), p. 275.)



Here's the chant score of the Solemn Tone version, from the Liber Usualis:

Here are links to posts about all four antiphons on Chantblog:

• The Marian Antiphons: Alma Redemptoris Mater (sung from the first Sunday of Advent until the Feast of the Purification on February 2)
• The Marian Antiphons: Ave, Regina Caelorum (sung from after Purification (February 2 or Candlemas) until Easter Vigil) 
• The Marian Antiphons: Regina Caeli (sung from Easter Eve until Pentecost)
• The Marian Antiphons: Salve Regina (sung from the day after Pentecost Sunday until the first Sunday of Advent)

This is from "Singing the Four Seasonal Marian Anthems," by Lucy Carroll, published in Adoremus:

Regina Caeli

Regina Caeli is perhaps the second-most familiar of the four texts, having been set to music by so many composers over the centuries, and frequently heard at Easter Vigil Mass. It is sung from Easter Vigil through Pentecost Sunday.

The text first appeared about the year 1200, and is often credited to Pope Gregory V (+998); the chant melody probably dates from the 14th century.

Regina caeli, laetare, alleluia; quia quem meruisti portare, alleluia; resurrexit sicut dixit, alleluia; ora pro nobis Deum, alleluia.

(A note on the Latin: caeli is sometimes spelled coeli. The oe vowel format was integrated into Latin from the Greek, and the more accepted spelling today of this word for heaven is the fully Latinized ae version.)

This translation is by the Reverend Adrian Fortescue, 1913:

Queen of heaven, rejoice, alleluia; for He whom thou was chosen to bear, alleluia; has risen as He said, alleluia; pray for us to God, alleluia.

It is certainly indicative of the Easter season, this hymn, filled with alleluias after a Lent where no alleluia is sung.

Another form of this text is in Regina Caeli Jubilo, dating from the 17th century. Its English form survives in the hymn “Be Joyful Mary” (melody by Johann Leisentritt (1527-1586).

Here's a terrific Regina Caeli by Czech composer P. J. Vejvanovský (~1633-1693), in that Grands Motets style I like so much:



This comes from Wikipedia:

The Regina Cæli or Regina Cœli ("Queen of Heaven", pronounced [reˈdʒiːna ˈtʃɛːli] in ecclesiastical Latin), is an ancient Latin Marian Hymn of the Christian Church.
It is one of the four seasonal Marian antiphons of the Blessed Virgin Mary, prescribed to be sung or recited in the Liturgy of the Hours at the conclusion of the last of the hours to be prayed in common that day, typically night prayer (Compline or Vespers). The Regina Caeli is sung or recited in place of the Angelus during the Easter season, from Holy Saturday through Pentecost Sunday.

And this is from TPL:

The author of Regina Caeli is unknown, but by virtue of its presence (or absence) in manuscripts, it had to have been composed sometime between the 9th and 12th centuries. One possible author in that time period is Pope Gregory V (+998). Its original use appears to have been in Rome where it was used as an Antiphon for Vespers at Easter. Today the Regina Caeli is used as hymn of joy during the Easter Season (Easter Sunday until Trinity Sunday) when it is used in place of the Angelus and prescribed to be recited at Compline. (see Angelus).

Perhaps the most interesting legend surrounding the prayer has it being composed, in part, by St. Gregory the Great. The legend has it that in the year 596, during Easter time, a pestilence was ravaging Rome. St. Gregory the Great requested a procession be held to pray that the pestilence be stopped. On the appointed day of the procession he assembled with his clergy at dawn at the church of Ara Coeli. Holding in his hand the icon of our Lady that was said to have been painted by St. Luke, he and his clergy started out in procession to St. Peter's. As he passed the Castle of Hadrian, as it was called in those days, voices were heard from above singing the Regina Caeli. The astonished Pope, enraptured with the angelic singing, replied in a loud voice: "Ora pro nobis Deum. Alleluia!" At that moment an angel appeared in a glorious light, sheathed the sword of pestilence in its scabbard, and from that day the pestilence ceased. In honor of this miraculous event, the name of the castle was then changed to Sant' Angelo and the words of the angelic hymn were inscribed upon the roof of the Church of Ara Coeli.

The traditional concluding versicle and collect, which are not part of the original antiphon, are also given below.

REGINA, caeli, laetare, alleluia: Quia quem meruisti portare, alleluia, Resurrexit sicut dixit, alleluia. Ora pro nobis Deum, alleluia.	O QUEEN of heaven rejoice! alleluia: For He whom thou didst merit to bear, alleluia, Hath arisen as he said, alleluia. Pray for us to God, alleluia.
V. Gaude et laetare, Virgo Maria, alleluia, R. Quia surrexit Dominus vere, alleluia.	V. Rejoice and be glad, O Virgin Mary, alleluia. R. Because the Lord is truly risen, alleluia.
Oremus Deus, qui per resurrectionem Filii tui, Domini nostri Iesu Christi, mundum laetificare dignatus es: praesta, quaesumus; ut, per eius Genetricem Virginem Mariam, perpetuae capiamus gaudia vitae. Per eundem Christum Dominum nostrum. Amen.	Let us pray O God, who gave joy to the world through the resurrection of Thy Son, our Lord Jesus Christ; grant, we beseech Thee, that through His Mother, the Virgin Mary, we may obtain the joys of everlasting life. Through the same Christ our Lord. Amen.

---

From the Roman Breviary.

Here's Filippo Lippi's Madonna of Palazzo Medici-Riccardi:

This is from the Wikipedia link above:

The Madonna of Palazzo Medici-Riccardi is a painting by the Italian Renaissance artist Filippo Lippi. It is housed in the Palazzo Medici-Riccardi ofFlorence, central Italy.

History

Rear view.

The painting was found by art historian Giuseppe Poggi in 1907 in the psychiatric hospital of San Salvi in Florence. There are several theories about the provenance of the panel: Poggi assigned it to the Villa of Castelpulci, owned by the Riccardi family, who bought Palazzo Medici in 1655. According to another, the Madonna was instead part of the original decoration of the palace.

After having been acquired by the Italian state, it was moved to Palazzo Medici-Riccardi, where now is displayed in the Hall of the Triumphs and Arts in the first floor, near the gallery of Luca Giordano. It has been restored in 2001 by the Opificio delle Pietre Dure.

Description

The model of the painting had been used by Lippi since as early as 1436: it portrays the Madonna's half-bust in a niche with a shell-shaped dome, holding the Child; in this case, he stands on a marble parapet. The style is however typical of his late career, not far from the frescoes in the Cathedral of Spoleto, and is thus generally considered on the of the artists' last panels.

The rear of the panel has a drawing with St. Jerome's head.

 

Officium Hebdomadae Sanctae (The Holy Week Office): Tomás Luis de Victoria

This is quite amazing; a complete - I think so, anyway; it's 2.5+ hours of music - recording of this work by Victoria. 



Victoria wrote this piece in or around 1585.   The YouTuber includes the following credits:

Coro de monjes del Monasterio de Santo Domingo de Silos
Coro de voces blancas de Burgos
Concertador: Dom Felipe Fernández, O.S.B.
Director: Ismael Fernandez de la Cuesta.

Below is the (partial, it seems) track list from the above page; the first part is from Palm Sunday - and most of the rest comes from Matins of Maundy Thurday (In Coena Domini), Good Friday (Parasceve), and Holy Saturday (Sabbato Sancto).

In other words, the greatest part of this music was written for the Office of Tenebrae - Matins and Lauds of the great Three Days.   Included, too, are readings (including some from the Lamentations of Jeremiah), antiphons, responsories, hymns, and pieces from John's Passion and the Adoration of the Cross on Good Friday.

To follow along with the Matins sections, use Divinum Officium; enter the date at the top of the page, then click "Matutinum" at the bottom.  You can listen to St. Thomas' Tenebrae sung in plainsong here.

Officium Hebdomadae Sanctae- S.XVI. ( Integral)

I DOMINICA IN RAMIS PALMARUM

Pueri Hebraeorum

II FERIA V IN COENA DOMINI

In I Nocturno ( Lectiones I,II,III )
In II Nocturno ( Lectiones et Responsoria:
IV " Amicus meus",V " Judas mercator"
VI " Unus ex discipulis" )
Lector: Francisco Lara

In III Nocturno ( Lectiones et Responsoria:
VII " Eran quasi Agnus", VIII "Una Hora"
IX " Seniores populi "
Lector: Dom Pedro Alonso, O.S.B.
Benedictus Dominus
Lectores: Dom Baudilio López O.S.B. y
Francisco Lara ( Primer coro)- Dom Jose Luis Angulo, O.S.B.
y Dom Constancio del Alamo, O.S.B. ( segundo Coro)

III FERIA VI PARASCEVE ( principio )

In I Nocturno ( Lectiones I, II, III ).......
In II Nocturno ( Lectiones et Responsalia:
IV " Tamquam ad latronem", V " Tenebrae factae sunt", VI " Animam meam" )
Lector: Francisco Lara
In III Nocturno ( Lectiones y Responsoria:
VII " Tradiderunt me", VIII " Jesum tradidit",
IX " Caligaverunt" )
Lector: Dom Pedro Alonso, O.S.B.

III FERIA VI IN PARASCEVE ( final)

Passio secundum Joannem ....
Sinagoga: Francisco Lara
Cronista y Jesucristo:
Ismael Fernández de la Cuesta
Improperia: " Popule meus"......
Soprano: Hermana Maria Begoña Martínez
Contralto: Hermana, Maria Lourdes Gabilondo
Tenor: Francisco Lara
Bajo: Dom Constancio del Alamo, O.S.B.

IV SABBATO SANCTO

In I Nocturno ( Lectiones I, II, III )
In II Nocturno ( Lectiones et Responsoria:
IV " Recessit pastor nortes", V " O vos omnes",
VI " Ecce quomodo" )...........
In III Nocturno ( Lectiones et Responsoria:
VII " Astiterunt", VIII " Aestimatus sum",
IX " Sepulto Domino")...........
Miserere mei, Deus