Podcasts about Fratres

‘SALA STAMPA DELLA SANTA SEDE RECTORIS DECLARATIO’, ‘MATTHAEUS BRUNI’. // ‘VICESIMO PRIMO DIE APRILIS MENSE’ ‘ANNO DOMINI BIS MILLESIMO VICÉSIMO QUINTO’. // TRANSLATIO A CASANDRA FREIRE VERSAM EST. ‘EMINENTIAE SUAE CARDINALIS *IOSEPHUS FARRELL, SANCTAE ROMANAE ECCLESIAE CAMERARIUS’, ‘MORTEM PAPAE FRANCISCI’ ‘MAEROREM’ ‘*PRONUNTIAVIT’: «‘CARISSIMI FRATRES SORORESQUE’, ‘CUM MAGNO MEO DOLORE’ ‘MORTEM SANCTI PATRIS NOSTRI FRANCISCI’ ‘*NUNTIO’. // ‘TEMPORA MATUTINA SEPTEM TRIGINTAQUINQUE’, ‘*FRANCISCUS, EPISCOPUS ROMAE’, ‘AD PATRIS DOMUM’ ‘*REDIIT’. // ‘TOTAM VITAM SUAM IN SERVITIO DOMINI ET IN ECCLESIA SUA’ ‘*DEDICAVIT’ ‘AC’ ‘VIVERE NOS VIRTUTES EVANGELII’ ‘*DOCUIT’ ‘PRASERTIM BENEVOLENTIA PAUPERRIMOS ET SEGREGATOS’. // ‘EIUS EXEMPLUM IMMENSA GRATITUDINE’ ‘UT VERUS DISCIPULUS DOMINI IESU’, ‘ANIMAM SUMMI PONTIFICIS FRANCISCI’ ‘IMMENSO MISERICORDI DEI TRINI ‘*COMMENDAMUS AMORI’. PAPAE FRANCISCI TESTAMENTUM. // ‘VICESIMO PRIMO DIE APRILIS MENSE’ ‘ANNO DOMINI BIS MILLESIMO VICÉSIMO QUINTO’. // TRANSLATIO A FERNANDA SOLÍS VERSAM EST. ‘MISERANDO ATQUE ELIGENDO’. ‘*SUMMUS PONTIFEX’ *DIXIT’: ‘IN NOMINE SANCTISSIMAE TRINITATIS. AMEN’. // ‘NUNC SENTIENS OCCASUM VITAE TERRENAE MEAE’ PROXIMUM’, ‘CUM SPE FIRMA’ ‘IN VITAM AETERNAM’, ‘VOLUNTATEM MEAM’ ‘DE SEPULCRO MEO’ ‘CONCEDERE’ ‘*VOLO’. // ‘SEMPER’ ‘VITAM MEAM ATQUE MINISTERIUM SACERDOTALEM ET EPISCOPALEM’ ‘VIRGINI DEI GENITRICE MARIA’ ‘*COMMENDAVI’. // PROPTEREA, ‘UT’ ‘RELIQUAS CORPORIS MEI’ ‘*QUIESCANT’ ‘IN BASILICA SANCTAE MARIAE MAIORIS’ ‘VOLUNTAS MEA’ ‘*EST’, DONEC ‘DIES RESURRECTIONIS’ ‘*VENIAT’. // ‘*OPORTET’ ‘UT’ ‘SEPULCRUM MEUM’ ‘IN TERRA ET SIMPLEX’ ‘*SIT’, ‘SINE MULTA DECORATIONE’ ET ‘CUM EPIGRAMMATE’ QUOD ‘TANTUM *DICET’: ‘*FRANCISCUS’. // ‘DOMUS SANCTAE MARTHAE’, ‘UNDETRICESIMO JUNII MENSE ANNO DOMINI BIS MILLESIMO VICESIMO SECUNDO’. LIBER PRO CELEBRATIO. DE FRANCISCI ARCAE TRANSLATIONE. // ‘VICESIMO TERTIO DIE APRILIS MENSE’ ‘ANNO DOMINI BIS MILLESIMO VICÉSIMO QUINTO’. Fratres et soróres caríssimi, magna cum ánimi commotióne corpus Papæ nostri Francísci deférimus in Basílicam Vaticánam, ubi múnere Epíscopi Ecclésiæ quæ est Romæ, et Ecclésiæ universális Pastóris sæpe est functus. // Ex hac domo discedéntes grátias agámus Dómino pro multis donis quæ per servum suum Papam Francíscum christianórum plebi est largítus eúmque supplicémus ut, miséricors et benígnus, perpétuam sedem in regno cælórum eídem concédat et famíliæ pontifíciæ, plebi suæ sanctæ, quæ Romæ vivit, christifidélibus toto orbe diffúsis supérnæ spei áfferat solácium. EX CELEBRATIONIS LIBRO DE FRANCISCI ARCAE CLAUDENTE. ‘VICESIMO QUINTO DIE APRILIS MENSE’ ‘ANNO DOMINI BIS MILLESIMO VICÉSIMO QUINTO’. Fratres et soróres caríssimi, in nómine Dómini huc convénimus ad quædam pietátis offícia adimplénda ante Missam exsequiálem pro Papa nostro Francísco /// Rógitum legémus quod eius commémorat vitam et ópera præcípua, pro quibus grátias Deo Patri persólvimus. // Vultum Defúncti reverénter operiémus, fulti spe eum Patris vultum posse contemplári et beátæ Vírginis Maríæ omniúmque Sanctórum frui consórtio. SANCTAE SEDIS TEXTUS. // ‘VICESIMO QUARTO DIE APRILIS MENSE’ ‘ANNO DOMINI BIS MILLESIMO VICÉSIMO QUINTO’. // TRANSLATIO A SAID RAIMUNDO DELGADO VERSAM EST. ‘*PAUPERES’ ‘LOCUM PECULIAREM’ ‘IN CORDE DEI’ ‘*TENENT’. // ETIAM ‘IN CORDE SANCTI PATRIS ET IN EIUS MAGISTERIO’ ‘*COMMORANTUR’. // ‘*SANCTUS PATER’ ‘NOMEN FRANCISCI’ ‘*ELEGIT’, ‘NE PAUPERES UMQUAM’ ‘*OBLIVISCERETUR’. // PROPTER HOC, ‘*GREX PAUPERUM ET NECESSITATUM’ ‘IN GRADIBUS AD BASILICAM PAPALEM SANCTAE MARIAE MAIORIS’ ‘*PRAESENS ERIT’. IBI ‘ULTIMUM HOMAGIUM’ ‘PAPAE FRANCISCO’ ‘*RENDENT’. // ‘*HOC’ ‘ANTE SEPULTURAM FERETRI’ ‘*ACCIDET’. EX FRANCISCI FUNERALIS MISSA. SANCTI PETRI FORO. ‘VICESIMO SEXTO DIE APRILIS MENSE’ ‘ANNO DOMINI BIS MILLESIMO VICÉSIMO QUINTO’. Requiem aeternam dona ei, Domine, et lux perpetua luceat ei. ETIAM, EX COLLECTA. Deus, immortalis pastor animarum, respice populum supplicantem, et præsta, ut famulus tuus Papa Franciscus, qui Ecclesiæ tuæ in caritate præfuit, fidelis dispensatoris remunerationem cum grege sibi credito misericorditer consequatur. Per Dominum nostrum Iesum Christum Filium tuum, qui tecum vivit et regnat in unitate Spiritus Sancti, Deus, per omnia sæcula sæculorum. ETIAM, EX MISSAE POST COMMUNIONE. Ad mensam æterni accedentes convivii, misericordiam tuam, Domine, pro anima famuli tui Papæ Francisci suppliciter imploramus, ut veritatis possessione tandem congaudeat, in qua populum tuum fidenter confirmavit. EX MISSAE RESPONSORIO Credo quod Redemptor meus vivit et in novissimo die de terra surrecturus sum; // Quem visurus sum ego ipse et non alius et oculi mei conspecturi sunt // Reposita est hæc spes mea in sinu meo. // Et in carne mea videbo Deum salvatorem meum. SI NUNTII IN LINGUA LATINA TRADUCTOR ESSE VOLUERIS, QUAESO LITTERAM ELECTRONICAM AD lpesquera@up.edu.mx MITTAS’. If you would like to collaborate as a translator in Nuntii in Lingua Latina, please send an email to lpesquera@up.edu.mx

Hoewel Arvo Pärt niet specifiek ‘strijkkwartetten' geschreven heeft, zijn Psalom, Summa en Fratres bijzonder geliefd bij een breed publiek. Fratres, dat oorspronkelijk voor strijkorkest is geschreven, is zelfs een ware ‘hit' te noemen. Het Tweede strijkkwartet van de Letse componist Martins Vilums zijn tal van klankexperimenten te horen, maar opvallend zijn de voorgeschreven trommel en […]

Gisteren werd John Adams tegen wil en dank toch filmcomponist, vandaag hoor je het bizarre verhaal van Ligeti's filmmuziek carrière.  Componist Karmit Fadael verteld over haar nieuwe werk 'Ludus' voor het Nederlands Studenten Orkest, dat daar op dit moment mee door het land reist en we drijven de nacht in met een hele bijzondere uitvoering van Arvo Pärts Fratres. 

Credo nicejsko-konstantynopolitańskie czy może Skład Apostolski? Modlitwa wiernych czytana czy improwizowana? O czym są te tajemnicze modlitwy, które celebrans recytuje po cichu podczas przygotowania darów? I o co chodzi z „bielizną kielichową”? Ach, i jeszcze o słynnej tacy. To wszystko w kolejnym odcinku naszego „spaceru” przez obrzędy Mszy świętej.

durée : 00:04:39 - "Fratres" d'Arvo Pärt : Liberté, Égalité, Fraternité - par : Max Dozolme - À l'heure de la réouverture de Notre-Dame, écoutons une partition qui nous invite à nous élever et à méditer, une œuvre contemporaine spirituelle et très populaire puisqu'il s'agit de "Fratres" d'Arvo Pärt, une page qui pourrait elle aussi avoir pour devise : liberté, égalité, fraternité !

El teatro Jofre acogerá mañana la actuación del reconocido Dúo Cassadó que vuelve a Ferrol, una vez más, de la mano de la Sociedad Filarmónica Ferrolana. La prestigiosa formación, integrada por el violonchelista Damián Martínez y la pianista Marta Moll, presenta en esta ocasión Hypnotik, un disco publicado por Warner Classics. Marta Moll destaca que Hypnotik «está concebido como una experiencia personal, que nos invita a conectar con lo más íntimo de nosotros mismos» y ha señalado que «es un viaje musical en el que se pone de manifiesto la esencia del ser humano y la música minimal desde el barroco hasta nuestros días». El concierto comenzará con la tercera Suite para violoncelo solo de Johann Sebastian Bach y acabará con Fratres del compositor estonio Arvo Pärt. El Dúo Cassadó interpretará también obras de Zoltan Kodály, Ernest Bloch y Philip Glass. El galardonado dúo ha actuado en prestigiosos auditorios y festivales de todo el mundo y será un privilegio volver a disfrutar con su música este viernes 20.30 horas en el teatro Jofre.

We conclude our study of Chapter 3 from An Explanation of the Holy Sacrifice of the Mass.

Við lítum í heimsókn í vinnustofu úti á Granda, þar sem tónlistamennirnir og bræðurnir Halldór og Úlfur Eldjárn taka á móti okkur, en ný tónverk eftir þá bræður verða frumflutt af kammerhópnum Cauda Collective í Hörpu næstkomandi sunnudag. Í strengjakvartettinum Flug/ Vindur sækir Halldór innblástur í teikningar af vindáttum og flugvöllum en í verkinu Mirari veltir Úlfur fyrir sér hæfileika okkar til að komast yfir erfiðleika og sjá ljósið í myrkrinu. Á tónleikunum mun Cauda Collective einnig flytja verkið Fratres eftir Arvo Pert. Trausti Ólafsson verður einnig með okkur í þættinum og að þessu sinni rýnir hann í leikverkið Óbærilegur léttleiki knattspyrnunnar sem sýnt er um þessar mundir í Borgarleikhúsinu. En við byrjum á íslensku bókmenntaverðlaununum. Það vakti talsverða athygli þegar verðlaunin voru veitt síðastliðin miðvikudag að nýr verðlaunagripur hvíldi í höndum verðlaunahafa. Gripurinn nefnist Blængur og er bronshrafn og tekur hann við af verðlaunagrip Jóns Snorra Sigurðssonar, op­inn­ar bók­ar á granít­stöpli. Höfundurinn, myndhöggvarinn Matthías Rúnar Sigurðsson, er gestur okkar í dag.

1968. Een jonge Estse componist wordt in de Sovjet-Unie op het matje geroepen. Zijn werk is te experimenteel, zijn boodschap te religieus. Arvo Pärt belandt in een crisis. Hij trekt zich terug als een kluizenaar en verdiept zich in Middeleeuwse gezangen. Enkele jaren later slaat hij terug met een nieuw soort muziek, die zeer spiritueel klinkt en waarvoor hij een eigen composietechniek bedacht heeft: tintinnabuli. Moeilijke woorden: arpeggio en minimalisme Beste uitvoering: Anne Akiko Meyers

SynopsisIn 1980, the Estonian composer Arvo Pärt emigrated from his Soviet-controlled homeland and settled in Austria. Since the 1960's, Pärt's increasingly spiritual and overtly religious music, imbued with mystical and contemplative rituals of the Russian Orthodox Church, did not sit well with the communist authorities, and Pärt found it increasing hard to live and work in Estonia.On today's date in 1980, at the Salzburg Festival in Austria, another Baltic artist, the Latvian violinist Gidon Kremer, gave the premiere performance of a new violin-piano arrangement of Part's Fratres, or Brothers—an instrumental work from 1977 that Pärt subsequently rescored for a variety of ensembles. In the version commissioned by the Salzburg Festival, the original harmonic material resides in the serene piano part, while the violin plays virtuosic variations above it. That serenity is the result of Pärt's effort to—as he put it— “learn to walk again as a composer.” He came up with a term, tintinnabulation, for the simplicity and directness of expression he sought.“Tintinnabulation is like this,” writes Pärt. “I am alone with silence. I work with very few elements… The three notes of the triad are like bells. And that is why I called it tintinnabulation.”Music Played in Today's ProgramArvo Pärt (b. 1935) Fratres Gidon Kremer, vn;Keith Jarrett, p. ECM 1275

[LA] Iacobus duodecim habuit filios quorum Iosephus, natu minor, a patre maxime amabatur. Fratres eis invidentes, consilium ceperunt Iosephi occidendi. Quodam fratre dissuadente, ab hoc autem nefario consilio deterriti, Iosephum mercatoribus Aegyptum petentibus vendiderunt. [EN] In today's video we will tell the story of Joseph, son of Jacob. His brothers, filled with jealousy, decided to take his life. However, the older brother managed to convince the others not to kill him.

Musical analysis and investigation on the meaning of a true masterpiece of the 20th century. ‘Fratres' represents a moment of dialogue between profound intellectualism and genuine emotionality, a rare case of Contemporary Art Music that speaks straightforwardly and without filters to the listener. Why is this piece so meaningful? How come it connects with us in such a deep, almost metaphysical way?The key is in the notes. I will offer an interpretation that takes from the score and integrates music with physics and geometry.Link to Fratres, by Arvo Part, for Piano and Violin, performed by G. Kremer and K. Jarretthttps://open.spotify.com/track/1gRJOkMPSNUddnnfb0g2fF?si=dff7eccab767412aWhere is the Music Podcast is the home of musical investigation.It is available on all major platforms:SPOTIFY https://open.spotify.com/show/1kBBFkibFPLXPG7xPT39SdAPPLE https://podcasts.apple.com/us/podcast/where-is-the-music/id1686494630YOUTUBE https://youtube.com/playlist?list=PLqRrwZuZFOqwXI4pJurmVn8NvXFD_Wr52TUNEIN http://tun.in/ptYNhLinks to my work:Music, concerts and blog: https://www.albertoferro.com/YouTube: https://www.youtube.com/channel/UCSwjhqixWMo4Fs-qwQM9BPAInstagram: https://www.instagram.com/alberto.l.ferro/Facebook: https://www.facebook.com/alberto.l.ferroSpotify: https://open.spotify.com/artist/2hBpLXGCZigUh0wForJFiU

ELISA BERNA MARTÍNEZ. (Zaragoza, 1978) – II Con esta segunda entrega completamos la selección de poemas realizada por su autora. La grabación, a cargo de Trafulla Teatro, la realizamos el pasado mes de marzo-2023 en los locales de la Asociación Vecinal de San José (Zaragoza). CRÉDITOS - 2 (Poema / Voz / Música) 1. Poeta en Niu Yol – Isla de Ellis / Elena Parra / Arvo Pärt (Fratres) 2. Poeta en Niu Yol – Seguir la norma / Lola Orti / Arvo Pärt (Fratres) 3. Poeta en Niu Yol – Chelsea Hotel / Manuel Alcaine / Arvo Pärt (Fratres) 4. Canción lenta para huérfanos / José Luis Hernández /Arvo Pärt (Spiegel Im Spiegel) 5. Los tiempos paralelos – La cuna / Elena Parra / Arvo Pärt (Spiegel Im Spiegel) 6. Los tiempos paralelos – Ruido / José Luis Hernández / Arvo Pärt (Spiegel Im Spiegel) 7. Los tiempos paralelos – La cuna (2) / Mª José Sampietro / Arvo Pärt (Spiegel Im Spiegel) 8. Los espacios continentes – Horror Vacui / Ika Ventura / Arvo Pärt (Tabula Rasa) 9. Los espacios continentes II / Elena Parra / Arvo Pärt (Tabula Rasa) 10. Los espacios continentes III / Lola Orti / Arvo Pärt (Tabula Rasa) 11. Los espacios continentes VII / María José Sampietro / Arvo Pärt (Tabula Rasa) 12. Inédito I / Mingo España / Arvo Pärt (Für Alina) 13. Inédito II / José Luis Hernández / Arvo Pärt (Für Alina) 14. Inédito III - Canción / Ika Ventura / Arvo Pärt (Für Alina) 15. Inédito IV / Mingo España / Arvo Pärt (Für Alina) 16. Inédito V / Lola Orti / Arvo Pärt (Für Alina) 17. Inédito VI /Manuel Alcaine / Arvo Pärt (Für Alina)

IntroductionWelcome back to session 4 of “Praying the Mass.” I am thrilled to share with you today the Liturgy of the Eucharist. With the Prayers of the Faithful completed, the Offertory begins. Presentation of the GiftsGiftsBread and wine are brought to the altar and prayers of offering and blessing are made. This presentation of the gifts, the bread and wine, and the preparation of the altar is getting us ready to enter into the most sacred part of the Holy Mass. The bread and wine, now present on the altar, are gifts because all created things come from God. Without the act of creation and the sustaining of being itself, we would not have bread and wine to offer in the first place. Even from the earliest days, humanity has offered the first fruits of their harvest or flock back to God in thanksgiving. Recognizing an abundant harvest or a healthy flock or even a child being born as a gift from the divine is not isolated to Christianity and Judaism. In the oldest pagan religions, armed only with God-given human reason, there is an understanding that there is a higher power which created and sustains all things. And, so, the bread and wine are gifts. But that is not all. Our own lives are gifts. The churches in which we worship are gifts. The vestments, sacred vessels, and artwork are gifts. Without God, there is nothing. Everything we have is a gift in a very real sense. As St. Therese of Lisieux said, “Everything is grace.” OfferingsThe bread and wine are offerings because they are being set aside for sacred use. Ordinary bread and wine are placed upon the altar with the full expectation of the miracle that is to come. These gifts are being offered for a specific purpose. Namely, to make Christ present Body, Blood, Soul, and Divinity, under the veil of a sacrament. The bread and wine are not the only things being offered. We offer God, each day, our works, joys, sufferings, in union with the action of Jesus at the altar at Holy Mass. As St. Paul says in Romans 12: “I appeal to you therefore, brothers, by the mercies of God, to present your bodies as a living sacrifice, holy and acceptable to God, which is your spiritual worship (Rom. 12:1).”Everything we do throughout our day, which is intentionally united to Christ, is our spiritual offering. In offering ourselves, we are transformed to be more like Christ, just as the bread and wine become Christ. We can also offer all of the many requests and intentions that we have. We offer all we are next to the bread on the paten and in the chalice with the wine.Finally, the bread and wine are holy and unblemished sacrifices. When the bread and wine are set aside for sacred use, they can no longer be used as ordinary food. In a simple sense, this is a sacrifice. When we understand that we are uniting ourselves to this offering at Mass, we come to realize that the content of our day to day lives is the sacrifice that we are offering. These sacrifices are acts of love: cleaning the dishes so your spouse does not have to do it, practicing virtue rather than vice, setting aside time for prayer, or striving to live the commands of Jesus Christ each moment of the day. Then, at Holy Mass, we offer these actions, as well as our failings, alongside the bread and wine. We become a sacrifice offered to God in humility. Holy because we are set apart by God in our Baptism. Unblemished because we are set right with God by our Baptism, frequent reception of the Sacrament of Penance, and by being transformed by our receiving of Holy Communion in a state of grace. Prayer Over the OfferingsDuring Sunday Mass, the collection is taken during the Prayers Over the Offerings. This is a chance for the assembly to make their tithing a liturgical action. Just as the gifts of bread and wine are offered, so too are our “first fruits.” During this preparation, you might see the Deacon or Priest pour wine into the chalice at the altar and then a bit of water as well. They are also quietly saying, “By the mystery of this water and wine, may we come to share in the divinity of Christ, who humbled himself to share in our humanity.”Water, in most places of the world, is a fairly common thing. This is symbolic of humanity. Yet, wine is expensive and takes a long time to make; this is symbolic of divinity. And when the wine and water are mixed, can they be separated again? No! So, it is with the Incarnation of Jesus Christ. The Byzantine tradition takes the symbolism a step further. During Divine Liturgy, warm water is added to the wine during the preparatory prayers because the blood of a living Man is warm!Turning to the people after the Offertory Prayers, the priest says, “Pray, brethren, that my sacrifice and yours may be acceptable to God, the almighty Father.” This is not a prayer. This is an invitation. This is a command. The people then respond, speaking to the priest saying, “May the Lord accept the sacrifice at your hands for the praise and glory of his name, for our good and the good of all his holy Church.” This beautiful exchange is a call to action. The priest is about to enter into the Holy of Holies to offer the one Sacrifice of Jesus Christ in the Person of Christ, Head of His Body. The people offer sacrifice as well, but in a different way as members of the Body of Christ.Also, the people are acknowledging that the Sacrifice being offered is 1) primarily at the hands of the priest, 2) is for the praise and glory of God, and 3) is for the “making holy” (sanctification) of the people.It should be noted that after the priest says the Orate, Fratres and he is offering the Mass in the ad orientem posture, the Roman Missal does not direct him to turn back towards the people until the Ecce Agnus Dei (“Behold the Lamb of God…”). He is in the fight. His attention, and ours, should then be entirely fixed upon entering into the Sacred Action of the one Sacrifice of Jesus Christ, presented once more, outside of space and time. Attention entirely fixed upon the task at hand, the priest begins the Eucharistic Prayer by saying, “The Lord be with you.” (Latin: Dominus vobiscum) The people respond, “And with your spirit.” (Latin: Et cum spiritu tuo) This small exchange is not a greeting. The priest is acknowledging that, in our Baptism, we are members of the Body of Christ. And as members of the Body of Christ, we offer ourselves in union with the Sacrifice of Jesus Christ.  We say, “And with your spirit” because we are acknowledging that by the power of the Holy Spirit, in his ordination, the priest is acting in the Person of Christ the Head of His Body. We are not speaking of “your spirit” as the priest's human spirit. We are acknowledging his priestly spirit, in Christ, in the power of the Holy Spirit.  Next the priest says, “Lift up your hearts.” (Latin: Sursum corda) The people respond, “We lift them up to the Lord.” (Latin: Habemus ad Dominum) Literally in Latin, this response means something like, “We hold towards the Lord.” This means we are lifting our hearts now or we have already been lifting them up and will continue to do so. God, ever-patient, is giving us another chance to clue in to the miracle in front of us before we charge into the breach in the battle of prayer. Then the priest says, “Let us give thanks to the Lord our God.” (Latin: Gratias agamus Domino Deo nostro) And the people acclaim, “It is right and just.” (Latin: Dignum et iustum est) It is “right” for us to give thanks to God because that is why human beings were ultimately created. We are made to worship God. It is “just” because God alone deserves glory and praise.  This ancient dialogue of the Preface Dialogue begins the Eucharistic Prayer. It reminds us of who we are as priest and people, Head and Members of the Body of Christ. It reminds us of our active internal role in entering into the Sacrifice of the Mass. It reminds us of the glory due to God and our role in offering Him praise.  The PrefaceThe first essential part of the Eucharistic Prayer is the Preface for the day which is then offered by the priest. These prefaces change depending on the season of the Church liturgical year and the feast, solemnity, or memorial that is being celebrated. Directly following the Preface and just before the beginning of the Eucharistic Prayer comes the Sanctus (Holy, Holy, Holy). This ancient prayer was added to the Sacred Liturgy in the first half of the fifth century and is drawn from Isaiah 6:3 and Matthew 21:9. The Preface and the Sanctus specifically call to mind the angels and remind us that we are praising God, with all of the angels and saints in Heaven present with us. Heaven is touching Earth and we are present for this spectacular event.In the 1962 Roman Missal, there is a beautiful insight in the rubrics. At the word Sanctus, the priest joins his hands and bows in humble adoration of God. Then, at the words Benedictus qui venit in nomine Domini (Blessed is he who comes in the name of the Lord), he stands fully and makes the Sign of the Cross. In the midst of the angels and the saints, the grace of God is pouring out upon us and blessing us as we enter into the great Action of Jesus Christ in the remainder of the Eucharistic Prayer.This is no longer called for in the rubrics of the 1970 Missal, but the spirit of the theological significance is no less for us!The Sanctus is one of the oldest congregational hymns in existence. In Greek it is the ton epinikion hymnon or “Hymn of Victory.” This the final part of the Eucharistic Preface and is said or sung at every single Mass in the Latin Rite. The hymn also exists in some form in all but one of the Eastern Rites of the Catholic Church. Historically, in the Latin Church, the bells were rung at the start of the Sanctus to signal that the Roman Canon was coming imminently. Let us now walk through the Sanctus piece by piece. “Holy, Holy, Holy, Lord God of hosts.” (Latin: Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth.) There are two main points of interest I would like to draw out here: the repetition of Holy and the word “hosts.”  In English, and many other languages, there are words called comparatives and superlatives. For example, we have the word “good,” the comparative “better,” and the superlative “best.” In Hebrew, this construction does not exist. To say “better,” you would say “good, good.” And to say “best,” you would say, “good, good, good.” Therefore, to say Holy, Holy, Holy is saying that God is the Most Holy. It is also a call to worship, often done in threes. Think, for example, of the popular Christmas chant where “O come, let us adore Him (Venite adoremus)” is repeated three times. And, of course, the repetition of three refers also to the Trinity. Like most things in the Church, there are multiple levels of meaning.The word “hosts” refers to the heavenly hosts of angels, which St. Luke refers to in his account of the birth of Jesus. These legions of angels do the will of God and bring Him glory. They are with us in the fight and they join us in worship of Him.  As Dr. Scott Hahn wrote so eloquently, “When we go to Mass, the congregation is never small, even if it is nonexistent in terms of human attendance. The angels are there, as is evident even in the words of the Mass: ‘And so with all the choirs of angels we sing: Holy, holy, holy…' The Mass itself cries out for us to be aware of our angels (Hahn, Signs of Life).” “Heaven and earth are full of your glory.” (Latin: Pleni sunt cæli et terra gloria tua) Of course, here we are giving God praise, acclaiming the truth that for those with the eyes of Faith, He is recognizable all around. All things are directed ultimately to Him. “Hosanna in the highest. Blessed is He who comes in the name of the Lord. Hosanna in the highest.” (Latin: Hosanna in excelsis. Benedictus qui venit in nomine Domini. Hosanna in excelsis.) This refers to the cry of the people as Christ entered Jerusalem to the sight of palm branches being waved, reminiscent of Solomon's entrance into Jerusalem. The people exclaimed of Christ, “And the crowds that went before him and that followed him were shouting, ‘Hosanna to the Son of David! Blessed is he who comes in the name of the Lord! Hosanna in the highest!' (Mt. 21:9)”  Hosanna means “Praise to the Lord!” And so, we are offering praise to the Father for the gift of the Son. In this hymn, the coming of Christ in the Nativity is called to mind. We know that Christ will come again. The Sanctus reminds us that Christ comes to us now. At the Mass, the Body, Blood, Soul, and Divinity of Jesus become present under the veil of a sacrament on the altar. The Sanctus, with its mention of the angels and the triumph of Christ, is like a bridge between Heaven and earth. The Lord of Heaven and earth is drawing us deep into His heart. The eternal self-offering of the Son to the Father in the Spirit is veiled before us by signs and symbols. But there is no doubt that the Holy Sacrifice of the Mass, especially in the Eucharistic Prayer is a foretaste of Heaven.  Epiclesis and Institution NarrativeThere are currently a few different options for the Eucharistic Prayer, proper. However, they all contain two more essential parts: the Epiclesis (Greek: Epiklesis, Latin: Invocatio) and the Institution Narrative. The Epiclesis is the calling down of the Holy Spirit upon the gifts of bread and wine that they may become the Body, Blood, Soul, and Divinity of Jesus Christ. Every Western and Eastern liturgy contains this essential prayer. The Institution Narrative is the full narrative of the Last Supper in which Christ instituted the Eucharist as the New Covenant, including the words of consecration (This is My Body… This is My Blood…).In the Catholic Church, there has always been an understanding that this invocation of the Holy Spirit was essential, along with the words of consecration.We may be tempted to ask exactly when does the bread and wine actually become Jesus' Body and Blood? Is it at the Epiclesis or is it at the Institution Narrative? This has been a source of tension through the history of discussions between the East and the West in the Church. The important thing is to recognize the essential nature of both. Without the words of consecration, there is no Eucharist. But without the power of the Holy Spirit, there is no Eucharist. This is absolutely not to say that the Holy Spirit waits for the priest to call on Him. The entire Holy Mass is the prayer and working of Almighty God: Father, Son, and Holy Spirit. But God has designed that His creatures should cooperate with His sacred Action. Therefore, the invocation of the Holy Spirit and the words of consecration of the Son are both to the glory of the Father and the making holy of the people, which hopefully we will remember are the two main ends of the Holy Sacrifice of the Mass.We take our cue of the importance of both elements, the Institution Narrative and the Epiclesis, from the posture of the people at the Holy Mass. Following the Preface and the Sanctus, the people kneel. In the Roman Rite, the posture of kneeling is twofold: humility and adoration. We kneel in humble adoration because God is sending His Holy Spirit in power to consecrate the bread and wine to become the Most Holy Eucharist, at the hands of the priest. We are humble because we understand who God is and who we are in relationship to Him. We adore Him because it is right and just, especially given the miracle that is taking place in front of us.During the Epiclesis, the priest's posture changes as well. He extends his hands, palms facing down, over the gifts to show the calling down of the Holy Spirit. The bells are also rung at this time to draw our sense's attention to what is happening. During the Institution Narrative, the priest is engaged in the Sacred Action of Jesus Christ. When speaking the words of consecration, he bows and speaks in a straight tone. This is to show that the words are not his own, rather Jesus Christ is speaking through him at that moment. Back in ancient times, a messenger would visit a foreign king and speak the words of his own master. The foreign king would know that the words did not belong to the messenger because the messenger would speak them while bent at the waist. Then, the priest genuflects before the King of kings now present on the altar. Here, in the climax of the Mass, the bells are rung three times as if to say Holy, Holy, Holy. As I mentioned earlier, in Hebrew, there are no grammatical comparatives and superlatives. To say holier, you would say “holy, holy,” and to say holiest, you say “holy, holy, holy.”AnamnesisThe fourth essential part of the Eucharistic Prayer is Anamnesis.During the Institution Narrative, the bread and wine are consecrated separately, first the bread then the wine, and they become the Body and Blood of Jesus. The result of separating blood from a body is death. In this way, the Institution Narrative makes present the Passion and Death of Jesus. Is this just a metaphor? Is it symbolic? Far from being merely a symbol, this means the Holy Cross is made present to us in the here and now, outside of time, by the power of God. Rather, we could say that we are transported to the foot of the Holy Cross where the Son of God shed His blood and life for our sake. When we begin to see with the eyes of faith that this is a reality and not simply symbolic, we begin to understand anamnesis.Anamnesis in Greek literally means bring to mind. We could also translate it as a deliberate recollection. Anamnesis in the context of liturgy is more than just a memory or a calling to the mind in some abstract way. Through the power of the Holy Spirit and the mediation of Jesus Christ, our High Priest, the One Sacrifice becomes present once again in an unbloody manner. The word anamnesis is what Jesus says in the words of consecration when He says, “Do this in remembrance of me.” The Anamnesis makes present the Sacred Action of Jesus Christ to our senses through external signs and symbols. It is a reminder on the surface level. But if we push past the veil, God allows us to see and to receive the full power of His saving Mysteries which were so powerful that they cannot be contained in a single moment of history. The Cross was two thousand years ago, but it comes present once again at every single Mass. What we see as signs and symbols are made truly present to us, in reality.Of course, after the Eucharistic Prayer, the priest puts a piece of the Sacred Host into the Sacred Chalice in the Fraction Rite. In this action, anamnesis makes the reunion of the Body and Blood of Christ, the Resurrection, present to us once more. He who died will not die again. The whole Christ is risen. This is why the faithful receive the full risen Christ in His Body, Blood, Soul, and Divinity in every particle of the Host or every drop from the Chalice.IntercessionsThe fifth main part of the Eucharistic Prayer is the Intercessions. Intercession means to intervene on behalf of another. From the outset, it should be clear that the Eucharistic Prayer must essentially be intercessory because it makes present the Saving Mysteries of Jesus Christ who suffered, died, and rose to redeem all mankind. St. Paul says to St. Timothy: “For there is one God, and there is one mediator between God and men, the man Christ Jesus… (1 Timothy 2:5).” Jesus Christ is our mediator. He is the Pontifex Maximus (the “Greatest Bridge-Maker“). He stands in the gap between mankind and the Father, a gap which was caused by Adam's first sin and perpetuated by each personal sin of every sinner. He is the only Way to the Father. He is the Bridge. And so, in the Eucharistic Prayer, we see this reality take form especially with the Intercessions. The Sacred Liturgy is a priestly action. It is the prayer of our High Priest, Jesus Christ, active in a special way through the instruments of the ordained minister and the baptized faithful as Head and Members. The Sacred Liturgy is the work of God for His glory and for the sanctification (making holy) of His people and the whole world. As the Eucharistic Prayer begins, the priest asks in the confidence of Jesus Christ for what we need, in and through Jesus Christ. The priest asks for the gifts of bread and wine, and the personal intentions and sacrifices of those gathered, to be accepted and blessed by God.  In this way, our own personal sacrifices and intentions are being offered to the Father, in the Son, and through the Holy Spirit. Jesus Christ, the Son of God, is interceding for us to the Father. He intercedes for the whole world, beginning with the Church. We ask that God may give the Church peace, guidance, union, and governance throughout the world. Then we offer intercessory prayer for the Pope and for our local bishop. In the first Eucharisitic Prayer, there are prayers of intercession for “all those who, holding to the truth, hand on the catholic and apostolic faith.” This means, firstly, the whole college of bishops who are the successors of the Apostles. But, it also means all those throughout the entire Church. The Church exists in order to evangelize. She exists in order to bring glory to God and full, abundant life to all men and women. This happens by fidelity to the catholic and apostolic faith which must be handed on without change or lessening.We should not forget the saints, as well!Since it has been established by the Church that we have recourse to the saints, to the glory of God, then we ought to exercise it. We have previously discussed the one perfect Sacrifice of Jesus Christ. On the Cross, Jesus Christ earned superabundant merit. His perfect, eternal Sacrifice was sufficient to redeem all of mankind. But God has given us the ability to unite our own actions with His perfect Action. The merits of those who have come before us, the saints, are united to the Cross of Jesus Christ. Their cooperation with God's grace is what allowed them to accept the invitation to eternal life. No human action is done in isolation. Our actions have consequences, and they affect other people. Therefore, our good actions, our good works, create a ripple effect that positively affects the souls of others. When applied to the Cross of Jesus Christ, these good works share in the superabundant merit of Jesus Christ. This is the essence of what Catholics mean when they say, “offer it up.”It is not only the past merits and prayers of saints that have efficacious power in God's grace. The saints, alive in Heaven, pray for the good of those still below on Earth. The Church investigates alleged miracles, wrought by God's grace through the intercession of a specific person. If the miracle is found to be legitimate, then it confirms that the person is in Heaven. This is part of the official canonization process of the Church. By the merits and prayers of the saints, we are defended from temptation and evil. The genius of the saints is found in their fidelity to and love of God. The example of their lives and the fervor of their preaching is a testament to God's goodness and an acclamation of His glory. Even in the midst of suffering, we can claim the joy of Jesus Christ. Even if we feel utterly alone, we know that we are never alone. As the author of Hebrews writes: “Therefore, since we are surrounded by so great a cloud of witnesses, let us also lay aside every weight, and sin which clings so closely, and let us run with endurance the race that is set before us, looking to Jesus, the founder and perfecter of our faith, who for the joy that was set before him endured the cross, despising the shame, and is seated at the right hand of the throne of God (Heb. 12:1).”The Words of ConsecrationLet us finish today by looking at the gems of the Holy Mass: the words of consecration. The Holy Sacrifice of the Mass is one prayer of our High Priest Jesus Christ from beginning to end. But even in that one prayer, the Words of Consecration are precious jewels. These holy words, spoken after Jesus has taken ordinary bread in His holy and venerable hands, make His own Body present in a mystical way. Mystical, however, does not mean “less real.” The physical is brought up into the spiritual and transcendent in a way that is hidden to our senses but very much real. We have to remember the power of the speech of God. When God speaks, things come into being. Think back to Genesis: God said “Let there be light” and there was light. So, when the God-man Jesus Christ says, “This is my Body,” He means it. The bread is no more. The characteristics remain, but the substance underneath the appearances has transformed or shifted. This is the miracle of transubstantiation. Ordinary bread and wine become the Body, Blood, Soul, and Divinity of Jesus Christ.The miracle of the Eucharist is a mystery. Though, we should be careful to take Jesus at His Word and to understand that God who made all things visible and invisible can make this reality present to us. When the priest elevates the Host, after the Words of Consecration, we are adoring our Eucharistic Lord, fully present under the veil of the Sacrament. The Eucharist is the Sacrament of Sacraments. Baptism orients us towards Holy Communion, as does Confirmation. Penance restores us to union with God, to partake worthily of the Blessed Sacrament. Holy Orders and Matrimony are at the service of Communion. Finally, the Anointing of the Sick is healing for soul and body and can be followed by reception of Holy Communion. Each of these outward showings of God's inner-life, His grace, draw from the source of the Eucharist and are oriented to the summit which is the Eucharist. The Holy Body of Jesus Christ was “pierced for our transgressions; he was crushed for our iniquities; upon him was the chastisement that brought us peace, and with his wounds we are healed (Is 53:5).” His Body was given up for you and for me. He went to the Cross for you and for me. But that was not enough for the gratuitous and superabundant love of God. He also established for us the everlasting memorial of His suffering and death by which the Holy Eucharist is made present for us to receive. The Byzantine traditions contain a remarkably beautiful prayer before Holy Communion which is said every single day at Divine Liturgy. This is a prayer of the heart, packed with meaning, gratitude, and seeking healing for soul and body. We will end today with this prayer and then pick up with the words of consecration over the chalice next week!“O Lord, I believe and profess that You are truly Christ, the Son of the living God, Who came into the world to save sinners, of whom I am the first. Accept me as a partaker of Your mystical supper, O Son of God, for I will not reveal Your mystery to Your enemies, nor will I give you a kiss as did Judas, but like the thief I confess to You: Remember me, O Lord, when You shall come into Your kingdom. Remember me, O Master, when You shall come into Your kingdom. Remember me, O Holy One, when You shall come into Your kingdom. May the partaking of Your Holy mysteries, O Lord, be not for my judgment or condemnation, but for the healing of my soul and body.O Lord, I also believe and profess that this, which I am about to receive, is truly Your most precious body and Your life-giving blood, which, I pray, make me worthy to receive for the remission of all my sins and for life everlasting. Amen. O God, be merciful to me a sinner. O God, cleanse me of my sins and have mercy on me. O Lord, forgive me for I have sinned without number.” Get full access to Will Wright Catholic Podcast at www.willwrightcatholic.com/subscribe

Alec & Nick take to the proverbial skies with this discussion around the dreaming and engineering feats which make possible the various metaphorical and real forms of Flight. Diverting from some of FT's established conversations dealing with cultural and musical wreckage, this episode looks into moments of lift and inspiration, as supported by efforts of imagination, study and experimentation. The discussion ranges from a consideration of passive and active flight, the commercial airline experience, musical tuning systems and just intonation, the tensions inherent in human progress, the journals of Leonardo DaVinci, synthesis and synthesizers as instruments of belief and knowledge, Buckminster Fuller's “Great Pirate” paradigm, Evagrius Ponticus' “Demon Pilot,” and more.

Nothing Shines Unless It Burns by Belladonna and Fratres by Arvo Pärt

Jojo Moyes joins Nikki Bedi and Richard Coles. The bestselling author has sold over 50 million novels and Me Before You was adapted into a film starring Sam Claflin and Emilia Clarke. Jojo talks about the inspirational for her new book Someone Else's Shoes, rebooting her life, and her unusual painting collection. Henry Naylor is an award-winning playwright but before that he wrote comedy satire for Spitting Image and Smith and Jones. His latest show Afghanistan is Not Funny looks back at a trip he made to Kabul in 2002. Aaron Horn's life changed forever after a tragic accident involving his mother, when he was in his early 20s. Coming from a musical family, performing took on increased significance in helping Aaron deal with the resulting trauma. Carlo Rovelli chooses his Inheritance Tracks: Nothing Shines Unless It Burns by Belladonna and Fratres by Arvo Pärt. Anaximander and the Nature of Science is out now. Crime writer CJ Daugherty talks about her latest novel The Chase which is written under the pseudonym Ava Glass. With a female British spy at its centre, Ava talks about the real life experiences that inspired her. Producer: Claire Bartleet

Het heeft sfeer, het neemt je mee, het zijn de klanken van een gedroomde werkelijkheid. Soms brengt muziek je naar een plek die je misschien niet verwacht had, en die schoonheid en eindeloosheid ademt. Het zit allemaal tussen de oren, die dan ook onmisbaar zijn voor zo'n ervaring. En verder: Martijn Padding en zijn link met Schumann.  23.04 CD Wild Port of Europe (V-Flow 06) Eric Vloeimans: Blote Bunzingbaby's Eric Vloeimans [trompet]; Jörg Brinkmann [cello] 1'57” CD Wild Port of Europe (V-Flow 06) Eric Vloeimans: Kansloos klein Eric Vloeimans [trompet] 1'01” 23.08 CD Bach & Pärt (Pentatone PTC 5187 017) Arvo Pärt: Fratres (versie voor viool, strijkorkest en slagwerk) Arabella Steinbacher [viool]; Stuttgarter Kammerorchester 12'34” 23.22 CD Revolver (Unsounds 72U) Kate Moore: The Boxer Manna McMichal [viool]; Rowena Macneish [cello]; Kirsty McCahon [contrabas]; Geneviève Lang [harp]; Claire Edwardes [slagwerk] 7'01” 23.31 CD Infinity: Choral Works (Naxos 8.573788) Kim André Arnesen: Making or Breaking Kantorei olv Joel Rinsema; John Gunther [saxofoon] 4'35” 23.37 eigen opname November Music Robert Schumann arr. Jörgen van Rijen: Ich grolle nicht Jörgen van Rijen (trombone); Alma Quartet 1'40” CD Mirrored in Time (BIS ) Martijn Padding: Schumann's last procession (version for trombone & string quartet) Jörgen van Rijen (trombone); Alma Quartet 7'40” 23.50 CD Nuït (TRPTK ttk0081) Maya Fridman, Maarten van Veen: VIII + VI Maya Fridman [cello]; Maarten van Veen [piano] 4'50” + 3'41”

durée : 00:09:03 - La Chronique musicale de Marina Chiche - Aujourd'hui, tuto de violon à partir d'une musique d'Arvo Pärt, "Fratres", entendue au cinéma dans le film de Paul Thomas Anderson "There will be blood".

Pour ce nouvel épisode des Rituels, on recueille les confidences de Jean-Benoît Ugeux. Formé au Conservatoire Royal de Liège, Jean-Benoît Ugeux commence sa carrière sur les planches, oeuvrant auprès de nombreuses compagnies étrangères, et collaborant également avec la metteuse-en-scène belge Anne-Cécile Vandalem.  Au cinéma, on le voit chez Joachim Lafosse, Xavier Seron, David Lambert, Emmanuel Marre, Benoît Mariage, Michael Roskam, mais aussi aussi Kervern & Delépine, Olivier Babinet ou Delphine Lehericey.   En 2017, il écrit et réalise "Eastpak", puis enchaine courts métrages et documentaires: "La Musique", Grand Prix à Namur, "Abada", "Belgium-20", "Fratres". Il co-écrit "Mobile Home" avec François Pirot et "Krump" avec Cédric Bourgeois, et travaille actuellement sur son premier long métrage, "L'Age mûr". Il nous parle à cette occasion de ce riche et complexe passage au format long…

At the table this week, the guy's discussed: (7:41) What is a scandal from high school that could have been turned into a school play. (28:43) In regards to Women, do you enjoy the chase? (50:43) How important is your family's opinion on your relationship? Social: @thebltpod Email: theblteu@gmail.com Thanks for the love and support! --- Send in a voice message: https://anchor.fm/theblt/message Support this podcast: https://anchor.fm/theblt/support

Wer glaubt, dass Neue Musik immer schräg klingen muss, erlebt bei Arvo Pärt eine Überraschung. Der gebürtige Este hat nichts gegen Tonleiter und Dreiklang. Sein sparsamer Stil schult das Ohr für kleinste Ereignisse und hat besonders in der New Age Bewegung Anhänger gefunden. (Autor: Murat Kayi) Von Murat Kayi.

Var finns Gud i allt detta, när världen är som mörkast? Kriget i Ukraina skrämmer och oroar. Många känner sig ensamma och utelämnade, om det kan man läsa i artiklar och höra rapporter om. Världens ondska är inte ny, otaliga är bibelberättelserna om det.  I Matteusevangeliet beskrivs hur makthavaren Herodes lät döda alla små pojkar i regionen.Det är ord som kan läsas också in i vår tid, som en beskrivning av oron, lidandet och ondskan i Ukraina. Det finns inga garantier för ett liv, inte för något liv, i någon tid drabbas av ondska. Vi drabbas alla på olika sätt. Det finns bara en enda garanti och det är att jag och du inte är ensamma i våra liv.Joakim Hagerius är Equmeniakyrkans biträdande kyrkoledare. Text Matteus 2:16-18Musik  Fratres for 12 cellis av Arvo Pärt med Berliner FilharmonikerProducent Neta Norrmo Slutmix Frida Claesson Johansson för Sveriges Radio Göteborg liv@sverigesradio.se

NPR Music's picks for the best new albums out this week include ones from the Portland rapper Aminé, Snail Mail, composer and saxophonist Terrace Martin, the string ensemble Attacca Quartet and more.Featured Albums:1. Aminé — TWOPOINTFIVEFeatured Song: "OKWME"2. Attacca Quartet — Of All JoysFeatured Songs: "Mishima / Closing," "Miserere," "Fratres"3. Tasha — Tell Me What You Miss The MostFeatured Song: "Bed Song 1"4. Snail Mail — ValentineFeatured Song: "Mia"5. Terrace Martin — DronesFeatured Song: "Leave Us Be"6. Sloppy Jane — MadisonFeatured Songs: "Judy's Bedroom," "Overture" and "Lullaby Formica"7. Curtis Harding — If Words Were FlowersFeatured Song: "Hopeful"8. Remy Le Boeuf — Architecture of StormsFeatured Song: "The Melancholy Architecture of Storms"Other notable releases for Nov. 5: ABBA — Voyage; Diana Ross — Thank You; Hana Vu — Public Storage; Joan As Police Woman — The Solution is Restless; Radiohead — Kid A Mnesia; serpentwithfeet — DEACON'S GROVE; Summer Walker — Still Over It.

Postavy rytířů, udatných reků i sveřepých bojovníků vítají návštěvníky galerie v malé rakouské příhraniční vesnici Fratres. Na statku hraběte Petera Coretha vystavuje své obrazy a menší sochy český výtvarník Jaroslav Róna. Vernisáž byla součástí Slavonice Festu.

Performed by Isabel Ettenauer on a Michelsonne toy piano on July 24th, 2021 at Kulturbrücke Fratres. Score and more: https://www.essl.at/works/webernspielwerk.html On September 15, 1945, Anton Webern was shot by an American occupation soldier in alleged self-defense in Mittersill, where he had taken refuge from the approaching Red Army. Thus ended the life of one of the most influential composers of the modern era in an inconceivable and tragic way. 60 years later - on September 15, 2005 - two commemorative events for Anton Webern will take place within the framework of the 10th Composers' Forum Mittersill: for an event in public space, Karlheinz Essl has created the algorithmic sound installation WebernUhrWerk for computer-controlled Carillon. For the subsequent commemorative concert in St. Anna's Church, he wrote WebernSpielWerk for Toy Piano, which is a kind of projection of the Carillon music onto a toy piano. The pervasive character of the carillon, which filled the whole place in the afternoon, is reduced to the "poor" sound world of a toy piano, whose sound produced by struck metal rods resembles that of a bell - but is much more restrained and intimate.

This episode is packed full of juicy goodness!! We cover the current discord painting comp, 2 colours only (join our discord), a truly awesome fan made project; a 30K live action movie called Fratres (link below) before crashing into our community segment. We reached out to find what everyone's favourite Black Library book is and why others should read it. A recommended reading list! Joining us for our interview is fellow warboss, Merc Girl Emma! _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Show your support to LTL over at https://www.patreon.com/letstalklorehammer If you want to be a guest one day come join the fun over at https://discord.gg/fqKe36E Check out the 30K live action movie: https://fratres.movie/

In questa puntatala la testimonianza diretta di una giovane donna con talassemia che ringrazia i donatori di sangue e invita chi può a fare la propria prima donazione. Con lei anche il Direttore dell'Associazione donatori di sangue Fratres di Palermo

Fratres,  ("Brothers") by the Estonian composer Arvo Pärt (1935–), is a set of nine variations on a slow, sustained melody that suggests liturgical chants of Estonian Orthodox religion. The composition uses three parallel voices, one high, one middle and one low, each with a distinctive tonality and rhythmic texture. The variations are six to nine measures long, the pitches dictated by an unchanging mathematical algorithm that generates variety and a sense of calm progression within a unified framework. Each variation ends in a percussive two-measure "refuge," used like the bell in a group meditation, signaling that the participants will pause, reflect and move on. Pärt refers to his compositional technique as tintinnabuli, Latin for the little bells carried in a procession.Fratres was first composed in 1977 as an instrumental piece for chamber orchestra with variable instrumentation. In 1980 Pärt scored it for piano and violin. It has become widely popular in concert music, in over a dozen films and documentaries, and in recordings for guided meditation. From 2011 to 2018, Pärt was the world's most performed living composer.Dolci thanks Gloria Cheng, our friend and mentor, for her invaluable help in adapting Fratres for piano and oboe and in preparing our performance. Our changes from the published score for violin and piano retain the original pitches and rhythms as best we can. Our occasional octave transpositions and instrumentation changes reflect technical and metabolic necessity.

Ikke mye lå til rette for at Håvard skulle bli musikkinteressert i oppveksten, så han måtte ta saken i egne hender. Da han tjenestegjorde i Afghanistan kunne klassisk musikk gi en følelse av trygghet blant de støvete fjellene, og musikken minner ham på de små gledene, som tross alt er selve livet. https://open.spotify.com/playlist/1H6k40CdabAovOcDzpfjv9?si=aqEMv7NQQHWRhc-9UbF9ww Hosted on Acast. See acast.com/privacy for more information.

In this episode, Andrea Kleibel and Rebecca Schmid explore an evolution that has been quietly taking place in the classical music world: the transformation of orchestras and concert presenters into part-time broadcasters. Executives from the Cleveland Orchestra, Konserthuset Stockholm, Vienna Symphony and New World Symphony speak about their strategies, from monetization to infrastructure, and offer their thoughts about the future. Show Notes:  *0:42 – Introduction of interviewees [underscoring: A. Pärt's “Fratres” (for solo violin, strings, and percussion) / Cleveland Orchestra; Amy Lee, associate concertmaster; Franz Welser-Möst, conductor] *1:41 – John Kieser on producing for the digital medium; remaining in hybrid mode; and the leveling out of audience numbers *3:09 – Andre Gremillet on the launch of Adella and implications for internal operations *4:52 – musical excerpt: G. Walker's“Antifonys” (for string orchestra) / Cleveland Orchestra; Franz Welser-Möst, conductor *6:53 – musical excerpt: I. Stravinsky's“The Firebird”/Royal Stockholm Philharmonic Orchestra; Andre Manze, conductor *7:31 – Stefan Forsberg on defining digital audiences and a Swedish system for making donations on their Play app *10:03 – musical excerpt: E.W. Korngold's “Ständchen” from “Einfache Lieder,” op. 9 / Wiener Symphoniker; Andrés Orozco-Estrada, conductor; Christiane Karg, soprano) *10:50 – Jan Nast on the need to maintain online audiences beyond the pandemic and the particular challenges faced by a publicly-funded orchestra without its own hall *12:50 – musical excerpt: O. Respighi's “Ancient Airs and Dances,” Set 3 (Italiana) / Cleveland Orchestra; Franz Welser-Möst, conductor *13:53 – Gremillet on the competition with digital offerings outside classical music and maintaining value Musical excerpts provided courtesy of the Cleveland Orchestra, Konserthuset Stockholm, and Wiener SymphonikerIntro and outro composed by Miguel Kertsman

Violinist Simone Porter joins Manfred Honeck and the Pittsburgh Symphony to play three favorites--Winter from the Four Seasons by Vivaldi, Praeludium and Allegro by Kreisler and Fratres by Arvo Part. She talks about the concert which can be seen in the Front Row series starting Saturday April 10th from the orchestra website. Simone discusses nerves and the musician, the strange world of pandemic music making, her latest book suggestions including one from her blog - "The Possesed Adventures with Russian Books and the People Who Read Them" by Elif Batuman, she reveals a favorite hipser cafe near Echo Park in LA, great for books, coffee and people watching and invites you to check out her new instrument by Bergonzi.

Rosanne Philippens, viool Julien Quentin, piano * K. Szymanowski - Drie mythes, op. 30 * A. Pärt - Fratres * F. Schubert - Fantasie in C, D.934

Rosanne Philippens, viool Julien Quentin, piano * K. Szymanowski - Drie mythes, op. 30 * A. Pärt - Fratres * F. Schubert - Fantasie in C, D.934

In October 2020 we hosted our first ever Digital Dash Café EUROPEANS: ARVO PÄRT to celebrate Estonian composer Arvo Pärt’s 85th birthday, and were overwhelmed and delighted to be joined by almost 300 screens from 25 countries. Due to popular demand, we’ve turned the event into a podcast, with some new, bonus content for our listeners. We were joined by son of the composer and Chairman of the Arvo Pärt Centre, Michael Pärt, violinist Andres Kaljuste and pianist Sophia Rahman to listen to Pärt’s music and discuss his life and work. Hosted by Josephine Burton, hear snippets of Spiegel im Spiegel, Fratres, Für Alina and Estonian Lullaby played at the Arvo Pärt Centre in Laulasmaa, Estonia, with brand new questions posed to our guests.With thanks to the following organisations and individuals for supporting this event: Riin Eensalu and the Arvo Pärt Centre; Kersti Kirs, Kadri-Liis Turton and the Estonian Embassy in London (principal funders), Tammo Sumera, Kaupo Kikkas, Rebecca Dawson, Universal Edition and Deirdre Bates at MDS / Schott Music.
Compositions by Arvo Pärt played by Sophia Rahman and Andres Kaljuste:
Fratres Für Alina Spiegel im Spiegel
Estonian LullabyListen to more Dash Arts Podcasts at www.dasharts.org.uk/podcasts See acast.com/privacy for privacy and opt-out information.

Eesti Sinfonietta Jõuluootuskontserdil „Ingli osa” pühapäeval Nigulistes kõlab eesti helilooming: Pärt Uusbergi Palve, Erkki-Sven Tüüri Viiulikontsert nr 2 ja Arvo Pärdi Fratres.

Eesti Sinfonietta Jõuluootuskontserdil „Ingli osa” pühapäeval Nigulistes kõlab eesti helilooming: Pärt Uusbergi Palve, Erkki-Sven Tüüri Viiulikontsert nr 2 ja Arvo Pärdi Fratres.

ERSO Paavo Järvi juhatusel esitab Arvo Pärdi 3. sümfoonia ja pala "Fratres". Eesti Filharmoonia Kammerkoor laulab Tõnu Kaljuste juhatusel tsükli "Magnificat-antifonid".

ERSO Paavo Järvi juhatusel esitab Arvo Pärdi 3. sümfoonia ja pala "Fratres". Eesti Filharmoonia Kammerkoor laulab Tõnu Kaljuste juhatusel tsükli "Magnificat-antifonid".

Seinen Klang erkennt man nach wenigen Sekunden - und mit Werken wie "Fratres" oder "Spiegel im Spiegel" hat er Welthits geschrieben und das weit über die Grenzen der Klassik hinaus. Am 11. September feiert der estnische Komponist Arvo Pärt seinen 85. Geburtstag.

Ain't No Big Thing podcast, here and on iTunes (https://itunes.apple.com/us/podcast/aint-no-big-thing-radio-show/id1106603822), with the first hour featuring the esteemed guest and second hour the host. This episode I host The Patchouli Brothers from Toronto, Canada. https://djshmeejay.com/2020/08/23/the-patchouli-brothers-and-dj-shmeejay-aint-no-big-thing/ https://soundcloud.com/thepatchoulibrothers https://www.discogs.com/artist/6256678-The-Patchouli-Brothers https://www.facebook.com/thepatchoulibrothers https://www.instagram.com/thepatchoulibrothers/ Now keep an eye out for the next Ain't No Big Thing. Fratres patchouli, folO Olof

In 1980, the Estonian composer Arvo Pärt emigrated from his Soviet-controlled homeland and settled in Austria. Since the 1960’s, Pärt’s increasingly spiritual and overtly religious music, imbued with mystical and contemplative rituals of the Russian Orthodox Church, did not sit well with the communist authorities, and Pärt found it increasing hard to live and work in Estonia. On today’s date in 1980, at the Salzburg Festival in Austria, another Baltic artist, the Latvian violinist Gidon Kremer, gave the premiere performance of a new violin-piano arrangement of Part’s “Fratres,” or “Brothers”—an instrumental work from 1977 that Pärt subsequently rescored for a variety of ensembles. In the version commissioned by the Salzburg Festival, the original harmonic material resides in the serene piano part, while the violin plays virtuosic variations above it. That serenity is the result of Pärt’s effort to—as he put it— “learn to walk again as a composer.” He came up with a term, tintinnabulation, for the simplicity and directness of expression he sought. “Tintinnabulation is like this,” writes Pärt. “I am alone with silence. I work with very few elements… The three notes of the triad are like bells. And that is why I called it tintinnabulation.”

In 1980, the Estonian composer Arvo Pärt emigrated from his Soviet-controlled homeland and settled in Austria. Since the 1960’s, Pärt’s increasingly spiritual and overtly religious music, imbued with mystical and contemplative rituals of the Russian Orthodox Church, did not sit well with the communist authorities, and Pärt found it increasing hard to live and work in Estonia. On today’s date in 1980, at the Salzburg Festival in Austria, another Baltic artist, the Latvian violinist Gidon Kremer, gave the premiere performance of a new violin-piano arrangement of Part’s “Fratres,” or “Brothers”—an instrumental work from 1977 that Pärt subsequently rescored for a variety of ensembles. In the version commissioned by the Salzburg Festival, the original harmonic material resides in the serene piano part, while the violin plays virtuosic variations above it. That serenity is the result of Pärt’s effort to—as he put it— “learn to walk again as a composer.” He came up with a term, tintinnabulation, for the simplicity and directness of expression he sought. “Tintinnabulation is like this,” writes Pärt. “I am alone with silence. I work with very few elements… The three notes of the triad are like bells. And that is why I called it tintinnabulation.”

Famous musician Billy Joel has said, “I think music in itself is healing. It's an explosive expression of humanity.” Seeing the humanity in each other is an essential part of sharing music. In this episode, relax to a soothing soundscape of strings, piano, and percussion from works by Claude Debussy, Joe Tompkins, Arvo Pӓrt, and Gustav Mahler. We recommend looking at the stars while you listen to Episode 4. Meet your host, Music Director Michael Sachs.@1:00 Jamey Lamar reflects on meditation, or meditates on reflection. How do musicians listen to their music to understand? “[Mindfulness] is opening yourself up to the world, truly, by stopping all of that inner noise. The same can be true when we stop to listen to a piece of music.”@04:56 Jump to the Debussy, performed by Joyce Yang @08:18 Percussionist Joe Tompkins talks about composing for a place as unique as The Tank, and the experience of driving hours through  Colorado to arrive at the one-of-a-kind recording space. “In my opinion it was like walking into Mad Max beyond the Thunderdome, and saying we’re going to record a piece here in the middle of the desert. You kind of expected Mel Gibson to come around the corner in a crazy truck.”@13:18 Jump to 4Round@23:06 Did you know Arvo Pärt combined numerology and harmony? Vijay Gupta, violinist and founder of Street Symphony, discusses the form of the piece, which is “a kind of musical miracle … that fluttering light that is constant in all of us, all the time.”@26:35 Jump to the Pärt, performed by Vijay Gupta and the Strings Festival Orchestra@37:57 Michael Sachs’ favorite piece of music ever written: Mahler’s Adagietto movement in Symphony No. 5. “Being married to a harpist … I always take this moment to reflect on our many years together, how much we’ve shared, and like this is my love letter to my own wife.”@39:38 Jump to the Mahler, conducted by Brett Mitchell and performed by the Strings Festival Orchestra Pieces PerformedDEBUSSY Préludes - Book 2, No. 5, BruyèresJoyce Yang, PianoPerformed at Strings Music Festival in 2016TOMPKINS 4Round Marc Damoulakis, PercussionJeremy Epp, PercussionJoseph Tomkins, Percussion and ComposerKevin Watkins, PercussionPerformed at The Tank in Rangely, CO in 2018PÄRT Fratres (for Solo Violin, Strings, and Percussion) Vijay Gupta, ViolinStrings Festival Orchestra/Michael Sachs, ConductorPerformed at Strings Music Festival in 2017MAHLER Symphony No. 5 IV. Adagietto Strings Festival Orchestra/Brett Mitchell, ConductorPerformed at Strings Music Festival in 2018About Strings Music Festival in Steamboat Springs, Colorado: Strings Music Festival presents music of the highest quality in an intimate mountain setting. Our summer festival includes a genre-spanning lineup featuring classical musicians from the nation’s top orchestras and chart-topping popular contemporary artists, all of whom perform in an intimate, 569-seat Pavilion nestled at the base of Steamboat’s mountains. Outside of our venue, we serve the community with a variety of free programming and an in-school education program called Strings School Days. This offering cultivates music appreciation and ability in Northwest Colorado’s K-12 students.StringsMusicFestival.com/donateFacebook.com/stringsmusicfestivalInstagram @stringsmusicfestival

Beide sind Fratres - also Brüder - in der Benediktinerabtei Plankstetten. Beide sind aber auch "echte" Brüder: Fr. Andreas und Fr. Richard. Aufgewachsen sind sie nur wenige Kilometer entfernt im Schatten des Klosters. Und sie haben großen Anteil daran, dass das Kloster auf ökologischen Anbau umgestellt hat. Bernhard Löhlein hat mit ihnen gesprochen.

Beide sind Fratres - also Brüder - in der Benediktinerabtei Plankstetten. Beide sind aber auch "echte" Brüder: Fr. Andreas und Fr. Richard. Aufgewachsen sind sie nur wenige Kilometer entfernt im Schatten des Klosters. Und sie haben großen Anteil daran, dass das Kloster auf ökologischen Anbau umgestellt hat. Bernhard Löhlein hat mit ihnen gesprochen.

durée : 00:58:30 - Disques de légende du vendredi 13 mars 2020 - En 1984, le label ECM fait paraître "Tabula Rasa", un album qui réunit trois œuvres majeures du compositeur estonien Arvo Pärt, enregistrées par plusieurs formations musicales, parmi lesquelles le duo formé par Gidon Kremer et Keith Jarrett pour le célébrissime "Fratres".

La palabra "Fraternidad" proviene del latín (Fraternitas) y significa “cualidad propia de hermanos”. La mayoría de las veces la idea de una “Fraternidad Humana” o “Fraternidad Universal” esconde un deseo, una aspiración bastante vaga, algo así como: “¡qué bueno sería que los hombres estuviéramos más unidos, como si fuésemos hermanos!”. Pues no. La Fraternidad no es simplemente una aspiración sino una ley de la naturaleza y al hablar de ella es bueno recordar ese antiguo axioma que muchas personas repiten sin entender su significado: “Todos somos uno”.

Violinist Margaret Batjer has been associated with the Los Angeles Chamber Orchestra for a number of years. In their first CD for the Swedish BIS label, Batjer and the LACO begin with a new violin concerto by Quebec-born composer, Pierre Jalbert. With movements titled “Soulful, mysterious”, and “With great energy”, Jalbert’s concerto is in good hands with Ms. Batjer, no stranger to contemporary music. She ties this newest work to established, mystical pieces by Estonian Arvo Pärt (one of his Fratres pieces), and Latvian Peteris Vasks (Lonely Angel). Completing the circle among these spiritualistic composers, J. S. Bach’s Concerto in A Minor reminds us that whether sacred or secular, Bach approached composition with equal seriousness.

Filmový a hudební festival se z jihočeských Slavonic letos poprvé rozšířil i do Rakouska. Malá vesnice Fratres, která leží těsně za hranicemi, je novým místem letošního Slavonice Festu.

Jörgen van Rijen and I chatting at J. Landress Brass in NYC! We talk about his musical influences, stories from the RCO, and his incredible new album Fratres!

I begynnelsen var musik och ur musiken uppstod allt. Ingen annan aktivitet engagerar, berör, förmedlar, enar och splittrar som musik. Vi har den i hissar, när vi väntar på ett samtal, när vi marscherar ut i krig och när vi är kära. Den är en meditation, en aktivitet, näring för själen, vibrationer av energi och alla är musiker, framförallt... Här är Ulfs band Jump4Joy på Spotify >> Här är Fredriks absoluta favoritstycke Fratres av Arvo Pärt från Estland >> På bilden en grym musikant: Sheila E, The Queen of Percussion >>

LEOPOLDO MARÍA PANERO (Madrid 1948 – 2014 Las Palmas de G. Canaria) No faltan razones para considerar la figura de Leopoldo María Panero como la de un “maldito”. Ahora bien, una cosa es la figura, el hombre, y otra muy distinta, el Poeta. Basta leer “Proyecto de un beso”, “El circo”, “La canción del croupier del Mississippi” o “¿Qué es el destino?”, “La maldad nace de la supresión hipócrita del gozo”, “La cuádruple forma de la nada” o “Página veinte”, “El loco”, “Diario de un seductor “o el “Himno a Satán”, o “El lamento de José de Arimatea”,o la “Glosa a un epitafio (carta al padre)” para darse uno cuenta de que estamos ante un Poeta en acto, esto es, alguien que vive sólo en el poema: ahí nace y ahí muere. Por mucho que en ocasiones recurra a máscaras. Por eso la suya es una obra rigurosamente metafísica: la escritura le proporciona el ser, su memoria y su fin. El hombre pasó su patética vida recluido en psiquiátricos. El Poeta –máxima expresión del ser- vive y muere en su poesía. CRÉDITOS: 1. Ma mère – Voz: Manuel Alcaine – Música: Arvo Pärt (Spiegel im Spiegel) 2. El circo – Voz: Fernando Alcaine - Música: Arvo Pärt (Spiegel im Spiegel) 3. Érase una vez – Voz: Oskar Aguilar y Santi Ric - Música: Tchaikovsky (Cascanueces) 4. El loco mirando – Voz: José Mª Burillo – Música: Arvo Pärt (Fratres) 5. Página veinte - Voz: José Mª Burillo – Música: György Ligueti (Movimiento preciso e mecanico) 6. Dedicatoria - Voz: José Mª Burillo – Música: György Ligueti (Dedicatoria) 7. Inédito – Voz: Carlos Sangüesa – Música: György Ligueti (Como mecanismo di precisione) 8. Diario de un seductor – Voz: Oskar Aguilar – Música: György Ligueti (Presto, furioso e brutale) 9. Deseo de ser Piel Roja – Voz: Orión González – Música: György Ligueti (Alegro nervoso) 10. El loco – Voz: Santi Ric – Música: György Ligueti (Presto) 11. Peter Punk – Voz: Santi Ric – Música: Tchaikovsky (Cascanueces-Danza del hada Dulcísima)

LEOPOLDO MARÍA PANERO (Madrid 1948 – 2014 Las Palmas de G. Canaria) No faltan razones para considerar la figura de Leopoldo María Panero como la de un “maldito”. Ahora bien, una cosa es la figura, el hombre, y otra muy distinta, el Poeta. Basta leer “Proyecto de un beso”, “El circo”, “La canción del croupier del Mississippi” o “¿Qué es el destino?”, “La maldad nace de la supresión hipócrita del gozo”, “La cuádruple forma de la nada” o “Página veinte”, “El loco”, “Diario de un seductor “o el “Himno a Satán”, o “El lamento de José de Arimatea”,o la “Glosa a un epitafio (carta al padre)” para darse uno cuenta de que estamos ante un Poeta en acto, esto es, alguien que vive sólo en el poema: ahí nace y ahí muere. Por mucho que en ocasiones recurra a máscaras. Por eso la suya es una obra rigurosamente metafísica: la escritura le proporciona el ser, su memoria y su fin. El hombre pasó su patética vida recluido en psiquiátricos. El Poeta –máxima expresión del ser- vive y muere en su poesía. CRÉDITOS: 1. Ma mère – Voz: Manuel Alcaine – Música: Arvo Pärt (Spiegel im Spiegel) 2. El circo – Voz: Fernando Alcaine - Música: Arvo Pärt (Spiegel im Spiegel) 3. Érase una vez – Voz: Oskar Aguilar y Santi Ric - Música: Tchaikovsky (Cascanueces) 4. El loco mirando – Voz: José Mª Burillo – Música: Arvo Pärt (Fratres) 5. Página veinte - Voz: José Mª Burillo – Música: György Ligueti (Movimiento preciso e mecanico) 6. Dedicatoria - Voz: José Mª Burillo – Música: György Ligueti (Dedicatoria) 7. Inédito – Voz: Carlos Sangüesa – Música: György Ligueti (Como mecanismo di precisione) 8. Diario de un seductor – Voz: Oskar Aguilar – Música: György Ligueti (Presto, furioso e brutale) 9. Deseo de ser Piel Roja – Voz: Orión González – Música: György Ligueti (Alegro nervoso) 10. El loco – Voz: Santi Ric – Música: György Ligueti (Presto) 11. Peter Punk – Voz: Santi Ric – Música: Tchaikovsky (Cascanueces-Danza del hada Dulcísima)

William Walton: Violakonzert | Max Bruch: "Kol Nidrei" op. 47 für Viola und Orchester | Arvo Pärt: "Fratres" für Viola, Streicher, Percussion | Nil Mönkemeyer (Bratsche) | Markus Poscher: Bamberger Symphoniker

Your browser does not support the audio element. Podcast (30m26s): Play in new window | DownloadNOTE: In another post, we have given the 12th Sunday After Pentecost as a case study in the unity of the Propers. The Unity of the PropersMasses sometimes are called by the first word of the introit. So, for instance, the third Sunday of Advent is called Gaudete and the fourth of Lent Laetare, and the Sunday after Easter is often called Quasimodo Sunday. Each one of these are named after the first words of their introit.Usually a proper Mass has its own Introit, Epistle, Gradual, Alleluia (or Tract), Gospel, Offertory, and Communion. Oftentimes there is a theme that runs through and connects all of these together. In some seasons, such as Advent, the theme can be very strong and obvious. At other times, it can require some reflection to discover.In this podcast, we examine two examples of Masses, the Mass for the Second Sunday of Advent, with it's clear theme of Christ, the savior of the Gentiles, coming as the anointed of the Lord to bring peace; and the Mass for the Fifth Sunday after Pentecost, which, at first glance, doesn't seem to have much binding the Mass texts together. Just for the sake of reference, we've included the propers we refer to in the podcast below:The Second Sunday of AdventIntroitPopulus Sion, ecce Dóminus véniet ad salvándas gentes: et audítam fáciet Dóminus Glóriam vocis suæ in lætítia cordis vestri. (Ps. 79: 2) Qui regis Israël inténde: qui dedúcis velut ovem, Joseph. v. Gloria Patri, et Filio, et Spiritui Sancto. Sicut erat in principio et nunc et semper et in saecula saeculorum. Amen. Repeat Populus Sion... People of Sion, behold the Lord shall come to save the nations: and the Lord shall make the glory of His voice to be heard, in the joy of your heart. (Ps. 79: 2) Give ear, O Thou that rulest Israel: Thou that leadest Joseph like a sheep. v. Glory be to the Father and to the Son and to the Holy Ghost, as it was in the beginning, is now and ever shall be, world without end. Amen. Repeat People of Sion...Collect Let us pray. O Lord, our God, multiply Thy graces upon us, and grant that joy may follow in the holy praise of those whose glorious festival we anticipate Who livest and reignest, with God the Father, in the unity of the Holy Ghost, God. Forever and ever. R.Amen. EpistleLéctio Epistolæ beáti Pauli Apóstoli ad Romanos. Fratres, quæcúmque scripta sunt, ad nostram doctrínam scripta sunt: ut per patiéntiam et consolatiónem Scripturárum, spem habeámus. Deus autem patiéntiæ et solátii det vobis idípsum sápere in altérutrum secúndum Jesum Christum: ut unánimes uno ore honorificétis Deum, et patrem Dómini nostri Jesu Christi. Propter quod suscípite invicem, sicut et Christus suscépit vos in honórem Dei. Dico enim Christum Jesum ministrum fuisse circumcisiónis propter veritátem Dei, ad con-firmándas promissiónes patrum. Gentes autem super misericórdia honoráre Deum, sicut Scriptum est: Proptérea confitébor tibi in géntibus Dómine, et nomini tuo cantábo. Et iterum dicit: Lætámini Gentes cum plebe ejus. Et iterum: Laudáte omnes Gentes Dóminum: et magnificáte eum omnes pópuli. Et rursus Isaías ait: Erit radix Jesse et qui exsúrget regere Gentes, in eum Gentes sperábunt. Deus autem spei répleat vos omni gáudio, et pace in credéndo: ut abundétis in spe, et virtute Spíritus Sancti. Lesson from the Epistle of Blessed Paul the Apostle to the Romans. Brethren, What things soever were written, were written for our learning: that, through patience and the comfort of the Scriptures, we might have hope. Now the God of patience and of comfort grant you to be of one mind one towards another, according to Jesus Christ: that with one mind and with one mouth you may glorify the God and Father of our Lord Jesus Christ. Wherefore receive one another, as Christ also hath received you unto the honor of God. For I say that Christ Jesus was minister of the circumcision for the truth of God, to confirm the promises made unto the fathers: but that the Gentiles are to glorify God for His mercy, as it is written: Therefore will I confess to Thee, O Lord, among the Gentiles, and will sing to Thy name. And again He saith: Rejoice ye Gentiles, with His people. and again, praise the Lord, all ye Gentiles, and magnify Him, all ye people. And again, Isaias saith: There shall be a root of Jesse and He that shall rise up to rule the Gentiles, in Him the Gentiles shall hope. Now the God of hope fill you with all joy and peace in believing: that you may abound in hope, and in the power of the Holy Ghost. GradualEx Sion spécies decóris ejus; Deus maniféste véniet. V. Congregáte illi sanctos ejus, qui ordinavérunt testaméntum ejus super sacrifíciaOut of Sion the loveliness of His beauty: God shall come manifestly. V. Gather ye together His saints to Him, who have set His covenant before sacrifices. GospelIn illo tempore: Cum audisset Jóannes in vinculis ópera Christi, mittens duos de discípulis suis, ait illi: Tu es, qui ventúrus es, an álium exspectámus? Et respóndens Jesus ait illis: "Eúntes renuntiáte Joánni quæ audístis, et vidístis. Cæci vident, claudi ámbulant, leprósi mundántur, surdi áudiunt, mórtui resúrgunt, páuperes evangélizátur: et beátus est, qui non fúerit scandalizátus in Me. Illis autem abeúntibus, coepit Jesus dícere ad turbas de Joánne: "Quid exístis in desértum vidére? Arúndinem vento agitátem? Sed qui exístis vidére? Hóminem móllibus vestítum? Ecce qui móllibus vestiúntur, in dómibus regum sunt. Sed quis exístis vidére? Prophétam? Etiam dico vobis, et plus quam prophetam. Hic est enim de quo scriptum est: Ecce ego mitto angelum meum ante fáciem tuam, qui præparábit viam ante te."At that time, when John had heard in prison the works of Christ, sending two of his disciples, he said to Him: Art thou He that art to come, or look we for another? And Jesus, making answer, said to them: "Go and relate to John what you have heard and seen. The blind see, the lame walk, the lepers are cleansed, the deaf hear, the dead rise again, the poor have the gospel preached to them: and blessed is he who shall not be scandalized in Me." And when they went their way, Jesus began to say to the multitudes concerning John: "What went you out into the desert to see? A reed shaken with the wind? But what went you out to see? A man clothed in soft garments? Behold they that are clothed in soft garments are in the houses of kings. But what went you out to see? A prophet? Yea I tell you and more than a prophet. For this is he of whom it is written: Behold I send my Angel before Thy face, who shall prepare Thy way before Thee." Communion Jerúsalem, surge, et sta in excélso: et vide jucunditáatem, quæ véniet tibi a Deo tuo Arise, O Jerusalem, and stand on high, and behold the joy that cometh to thee from God.  Fifth Sunday After Pentecost INTROIT Exaudi, Domine, vocem meam, qua clamavi ad te: adjutor meus esto, ne derelinquas me, neque despicias me, Deus salutaris meus. -- Dominus illiminatio mea, et salus mea, quem timebo? V.: Gloria Patri . . . -- Exaudi, Domine . . .Psalms 26: 7-9 Hear, O Lord, my voice with which I have cried to Thee: be Thou my helper, forsake me not, nor do Thou despise me, O God, my Savior. -- (Ps. 26. 1). The Lord is my light, and my salvation, whom shall I fear? V.: Glory to the Father -- Hear, O Lord, my voice . . .EPISTLE1 Peter 3: 8-15Dearly beloved, Be ye all of one mind, having compassion one of another, being lovers of the brotherhood, merciful, modest, humble; not rendering evil for evil, nor railing for railing, but contrariwise, blessing: for unto this you are called, that you may inherit a blessing. For he that will love life, and see good days, let him refrain his tongue from evil, and his lips that they speak no guile. Let him decline from evil and do good; let him seek after peace, and pursue it: because the eyes of the Lord are upon the just, and His ears unto their prayers, but the countenance of the Lord against them that do evil things. And who is he that can hurt you, if you be zealous of good? But if also you suffer anything for justice' sake, blessed are ye. And be not afraid of their fear, and be not troubled: but sanctify the Lord Christ in your hearts. GRADUALProtector noster aspice Deus: et respice super servos tuos. V.: Domine Deus virtutem, exaudi preces servorum tuorum. Alleluia, alleluia. V.: Domine, in virtute tua laetabitur rex: et super salutare tuum exsultabit vehementer. Alleluia. Psalms 86: 10, 9Behold, O God our protector, and look upon Thy servants. V.: O Lord God of hosts, give ear to the prayers of Thy Servants. Alleluia, alleluia. V.(Ps. 20. 1). In Thy strength, O Lord, the king shall joy; and in Thy salvation he shall rejoice exceedingly. Alleluia. GOSPEL Matthew 5: 20-24 At that time Jesus said to His disciples: Except your justice abound more than that of the Scribes and Pharisees, you shall not enter into the kingdom of heaven. You have heard that it was said to them of old: Thou shalt not kill; and whosoever shall kill, shall be in danger of the judgment. But I say to you, that whosoever is angry with his brother, shall be in danger of the judgment; and whosoever shall say to his brother: Raca, shall be in danger of the council; and whosoever shall say: Thou fool, shall be in danger of hell fire. If therefore thou offer thy gift at the altar, and there thou remember that thy brother hath anything against thee, leave there thy offering before the altar, and go first to be reconciled to thy brother; and then coming thou shalt offer thy gift. OFFERTORYBenedicam Dominum, qui tribuit mihi intellectum: providebam Deum in conspectu meo semper: quoniam a dextris est mihi, ne commovear.Psalms 15: 7, 8 I will bless the Lord, who hath given me understanding: I set God always in my sight; for He is at my right hand, that I be not moved. COMMUNIONUnam petii a Domino, hanc requiram: ut inhabitem in domo Domini omnibus diebus vitae meae. Psalm 26: 4 One thing I have asked of the Lord, this will I seek after; that I may dwell in the house of the Lord all the days of my life. POST COMMUNION - Grant, O Lord, we beseech Thee, that we whom Thou hast fed with the heavenly Gift, may be cleansed from our hidden sins and delivered from the snares of our enemies. Through our Lord Jesus Christ, Thy Son, who liveth and reigneth . . .Previous Episodes:Episode 01: A Sacrifice More Pleasing than Sin DispleasesEpisode 02: Sacramentality & the Cosmic Liturgy -- the Body in Divine WorshipEpisode 03: Sacred Music Part IEpisode 04: Sacred Music Part II-- Antiphonality and the Chants of the MassEpisode 05: The Structure of the Traditional Latin MassEpisode 06: Different Types of Masses  

Berlin-based composer Ben Lukas Boysen, otherwise known as HECQ, joins us this week to tell us about his musical influences, the struggles of finding new music in the Internet-age, and how German culture has affected his work. This episode is sponsored by MAXON, the creators of Cinema 4D, who will be livestreaming from Siggraph 2015 Los Angeles at C4DLive.com. GUEST LINKS: Ben's Website: http://hecq.de/ Ben's Twitter: https://twitter.com/benlukasboysen Ben's SoundCloud: http://soundcloud.com/benlukasboysen Sorry: https://www.youtube.com/watch?v=VFCftcU9-z0 Sundays: https://vimeo.com/122325664 ------------------------------ The Collective Newsletter: http://www.thecollectivepodcast.com/newsletter Subscribe on iTunes: http://www.thecollectivepodcast.com/itunes Subscribe via RSS: http://www.thecollectivepodcast.com/rss Like us on Facebook: http://www.facebook.com/thecollectivepodcast Follow us on Twitter: https://www.twitter.com/thecpodcast ------------------------------ SHOW NOTES: Restive: http://www.imdb.com/title/tt1766037/ Arvo Pärt: https://en.wikipedia.org/wiki/Arvo_P%C3%A4rt Arvo Pärt - Fratres: https://www.youtube.com/watch?v=7vdgZAJVnes Mstislav Rostropovich - Tchaikovsky's Andante Cantabile: https://www.youtube.com/watch?v=vNG1RIq-VD4 Spotify: www.spotify.com “No software [or] piece of hardware will save or help you. They're only good and useful if you actually have an idea.” -Ben Lukas Boysen The views and opinions expressed in this podcast are solely those of the speakers and do not necessarily reflect the views of their employers.

- direkte fra Tranesalen på Hindsgavl Slot: Violinisten Alina Ibragimova og pianisten Steven Osborne. Violinsonater af Debussy og Prokofiev samt Arvo Pärts ikoniske stykke Fratres. Desuden uddrag af festivalkonceter med bl.a. den tyske sopran Juliana Banse. Koncerten begynder kl. 20. Først kan du høre pianisten Bingbing Zhu, der er debuteret fra Det Kgl. Danske Musikkonservatorium. Hun spiller musik af Ginastera. Vært: Klaus Mølller-Jørgensen.

con Francesco Antonioni

Tue, 1 Jan 1771 12:00:00 +0100 http://epub.ub.uni-muenchen.de/2772/ http://epub.ub.uni-muenchen.de/2772/1/4P.germ.209_15.pdf Unbekannter Autor Andreas, et Bela, fratres tragoedia. Trauervolle Zwietracht zweener in Ungarn herrschenden Brüder ; vorgestellt ... von dem ... Lyceum, und Gymnasium der Gesellschaft Jesu zu Landshut den 4. und 6. Herbstmonats 1771. Landshut: Hagen, 1771