Podcasts about laudibus

Moveable Snippets will bring you one piece that a composer would like to share with the world. Today's Moveable Snippet comes from composer Anthony Mosakowski and his piece "Resonet in laudibus". Learn more about Anthony and his music at https://www.anthonymosakowski.com/. Keep the music moving! Connect with us! Email: moveabledo@gmail.com Website: https://sdcompose.com/moveabledo Instagram: @Moveable_do_podcast Twitter: @MoveableDo --- Send in a voice message: https://podcasters.spotify.com/pod/show/moveabledo/message Support this podcast: https://podcasters.spotify.com/pod/show/moveabledo/support

Esta noche, estando aún en tiempo navideño, vamos a acercarnos a algunas composiciones vinculadas a la Navidad, a la adoración de los Magos y los pastores. Y será con obras de Praetorius, Byrd, Scheidt y G.Gabrieli entre otros. Escuchar audio

Link to the musicA hymn to St. John the Baptist, written by Paul the Deacon in the 8th century. You may never have heard of this hymn, unless you've studied music history or theory, as it's not particularly well-known or popular, but it is actually extraordinarily influential. In this episode, you'll learn about the origin of SOLFEGE, which of course culminated in 1956, when Rogers and Hammerstein composed the most important piece of music ever written; Do, a Deer. Enjoy!Link to full lyrics (all 13 verses)For thy spirit, holy John, to chastenLips sin-polluted, fettered tongues to loosen;So by thy children might thy deeds of wonderMeetly be chanted.Lo! a swift herald, from the skies descending,Bears to thy father promise of thy greatness;How he shall name thee, what thy future story,Duly revealing.Scarcely believing message so transcendent,Him for a season power of speech forsaketh, Till, at thy wondrous birth, again returnethVoice to the voiceless.The heavenly citizens celebrate you with lauds, one God and at once triune; we also come imploring forgiveness; spare us among the redeemed.Thou, in thy mother's womb all darkly cradled, Knewest thy Monarch, biding in His chamber, Whence the two parents, through their children's merits, Mysteries uttered.Praise to the Father, to the Son begotten,And to the Spirit, equal power. possessing,One God whose glory, through the lapse of ages,Ever resoundeth. Amen.Ut queant laxis resonare fibris mira gestorum famuli tuorum, solve polluti labiis reatum, sancte Joannes.Nuntius celso veniens Olympo, te patri magnum fore nasciturum, nomen, et vitae seriem gerendae, ordine promit.Ille promissi dubius superniper didit promptae modulos loquelae; sed reformasti genitus peremptae organa vocis.Laudibus cives celebrant supernite, Deus simplex pariterque trine; supplices ac nos veniam precamur: parce redemptis.Ventris obstruso recubans cubili, senseras Regem thalamo manentem: hinc parens, nati, meritis, uterque, abdita pandit.Sit decus Patri, genitaeque proliet tibi, compare utriusque virtus, Spiritus semper, Deus unus, omni Temporis aevo. Amen.

Angels Appearing Sermon by the Rev. Dr. Agnes W. Norfleet ---------------- Invitational Carol - What Sweeter Music © 1988 Oxford University Press. Reprinted and streamed with permission under ONE LICENSE #A-716211. All rights reserved. Choir Carol - Resonet in Laudibus © 1977 E. C. Schirmer Music Company. Reprinted and streamed with permission under ONE LICENSE #A-716211. All rights reserved. Choir Carol - Star Carol © 1972 Oxford University Press. Reprinted and streamed with permission under ONE LICENSE #A-716211. All rights reserved. Choir Carol - Noel We Sing © 1968 Okemo Music Publishers, Inc. All rights reserved. Choir Carol - O Nata Lux © 1997 Southern Music Publishing Co., Inc. All rights reserved. Offertory Anthem - Lullaby, My Lovely Child © 1988 Boosey & Hawkes, Inc. All rights reserved. Choir Carol - Carol of the Candle Music © 1977 Hinshaw Music, Inc. © reassigned to Stephen Paulus in 1998. All rights reserved.

PRAETORIUS: Der Morgenstern ist Aufgegangen (1.55). Herzlich tut mich erfreuen (1.45). M. Bauer (niño con.), Coro de Niños de Windsbach, Ulsamer Collegium. Dir.: J. Ulsamer. GUERRERO: Lamentaciones (9.01). El León de Oro. Dir.: P. Philiips. PRAETORIUS: Resonet in Laudibus a 7 voces (3.06). Niederaltaicher Scholaren. Dir.: K. Ruhland. Terpsichore Musarum Aoniarum Quinta (selec. de Danzas) (13.56). La Fenice. Dir.: J. Tubéry. Summo Parenti Gloria (4.28). J.-C. Ablitzer (órg.). Escuchar audio

PRAETORIUS: Ballet des matelots (35”) Ballet des feux (1.07). Bransle de la royne (50”). Bransle double (1.05). Philov (1.18). Musica Antiqua Toulon. Dir.: C. Mendoze. A Solis Ortu Cardine (13.12). Resonet in Laudibus (10.13). Conditor Alme Siderunt (7.25). Bremer Barock Consort. Dir.: M. Cordes. SWEELINCK: Tonto Simon (1.22). PRAETORIUS: Canaria a 4 (1.10). Ensemble Ricercare für Alte Musik de Zurich. Escuchar audio

MÚSICA William Byrd, Laudibus in sanctis (CD) Laudibus in sanctis, The Cardinall's Musick, Andrew Carwood © Hyperion Records - www.hyperion-records.co.uk -- AUTOR DOS TEXTOS Pedro Gil -- LEITORES Maria Helena Falé (pontos) Tiago Godinho (textos bíblicos)

Just in time for Easter and Passover, this episode harnesses the power of the Bible. Jill and Connor kick it off with the Biblical hits written in lyrical form ala the Aeneid. Then its off to Genesis with a sharp turn into Creationism, followed by an exploration of the kooky world of Creationist Museums. Welcome to the world of pseudoscience where laughs and mysteries abound! Follow WikiFreakz @WikiFreakzz Follow Jill Weiner @jill_lives on Twitter and Instagram Follow Connor Creagan @connorcreagaon on Twitter and @speakingmytruth247 on Intagram

In this weeks Choral Cacophony Podcast episode (the first of two parts) we rehearse a piece called Resonet in laudibus. It's a latin sacred composition from the 14th century, transcribed by our director, Pierre Massie. Please DONATE to support our 40th year events! All Donations receive a charitable receipt. A registered Canadian charity, we also help local charities with our concerts and CDs ! The Stairwell Carollers: Pierre Massie started our a cappella choir in 1977 while he was a music student at Ottawa University. The Stairwell Carollers are ranked among the best of Ontario choirs, winning both the 2010 and 2013 Ontario Music Festival Association competitions.

Frank reviews the Westminster Choir concert and Waiting for Godot from the 2017 Spoleto Festival USA. Read Full Dispatch > There are few settings in Charleston more idyllic for a concert than the Cathedral Church of St. Luke and St. Paul. Watching the late afternoon light as it slants through the windows on the west side of the sanctuary, with the stained glass behind the altar providing a dramatic backdrop to the Westminster Choir in their evening attire, you feel like you’re in for a special experience, and indeed, you are. The Westminster Choir has been the Choir in Residence at the Spoleto Festival USA in Charleston for many years, since the days when the ensemble was led by the legendary Joseph Flummerfelt. Upon Flummerfelt’s retirement, Joe Miller assumed the role, and he continues the tradition of presenting sublime a cappella concerts in that special hour before a late spring evening gets underway. Miller has distinguished himself by programming especially thoughtful and inventive choral performances, and the concert I attended on Memorial Day is a perfect example of his approach. Contemporary settings of sacred texts in Latin formed the bookends of the first part of the concert. “Lux surgit aurea” – “See the golden sun arise” – by Bernat Vivancos harkens back to medieval chant and Renaissance polyphony at the opening and close, but in the middle enters an ethereal, contemporary realm. On the far side of the concert program, “Laudibus in Sanctis” – “Celebrate the Lord Most High” – by Ugis Praulins had dramatic shifts in mood propelled by driving rhythms reminiscent of Carl Orff. In between there was an Abendstandschen, or Evensong, by Johannes Brahms that featured his characteristically rich choral writing, and a setting by Kile Smith of the words of the Apollo 8 astronauts on Christmas Eve of 1968 which was made otherworldly by the use of hand bells and the resonant droning of high soprano voices. There was also an infectious pair of folk hymns, sung in the distinctive, American 18 th century shape note style of singing. These were sung by a subset of the choir separating from the group and assembling in the crossing between the transepts of the cathedral; and a stirring spiritual, “Yonder Come Day,” with alto soloists Taria Mitchell and Pauline Taumalolo, as well as percussion provided by choir members using a tambourine and a broom handle. Paul Crabtree’s “Death and Resurrection” brought us back to the present day. It concludes with a haunting Shaker text: “Do all your work as though you had a thousand years to live/And as you would if you knew you must die tomorrow.” The second part of the program consisted of the American folk tunes in choral arrangements that have become a signature of the Westminster Choir, including the nostalgic “Shenandoah.” I have never been to concert by this choir at the festival that hasn’t received a standing ovation at the end, and this one was no exception. In exchange, we were rewarded with two encores, one of them an apt and exquisite setting of the standard, “I’ll Be Seeing You.” The choir repeats the program on Saturday, June 3 rd . Playwright Samuel Beckett’s absurdist masterpiece Waiting for Godot has attracted legendary performers, from familiar movie character actors Tom Ewell and Burt Lahr in the first U.S. production, to comic icons Steve Martin and the late Robin Williams, and more recently distinguished knighted thespians Patrick Stewart and Ian McKellan. No doubt the attraction for performers is the challenge of keeping an audience engaged over two and a half hours of theater where the meaning can be elusive, though the rewards are plentiful. By turns bawdy and poetic, and frequently hilarious, in one sense the play isn’t all that mystifying when taken at face value as a rumination on existence. The cast of this production from Ireland’s Druid Theater is more than up to the challenge. In their tattered costumes, and with their distinct physical types, they have some of the pathos of silent film comedians, but with their broad physical humor, exaggerated stances, heightened gestures and manic expressions, they seem like Warner Brothers cartoon characters come to life. The team of director Garry Hynes and designer Francis O’Connnor, who worked such magic with the Festival production of the Vivaldi opera Farnace, deliver another visually rich experience with this play. To borrow a recurring bit of dialogue between Vladimir and Estragon: “Is this a good thing?” “It will pass the time.” To which I would add, “It will pass it very well.” Waiting for Godot has numerous performances through the end of the festival at the Dock Street Theatre. Check the schedule at spoletousa.org for show dates and times.

Westminster Choir conductor Joe Miller joins WWFM The Classical Network host David Osenberg to discuss the theme and repertoire for the Westminster Choir’s 2017 tour program, titled “A Thousand Years to Live” and the “Today I Will” project. From traditional shape-note singing to Paul Crabtree’s The Valley of Delight: Death and Resurrection, the concert explores the gifts and challenges each day presents to the world. The program also includes Uģis Prauliņš’ Laudibus in sanctis, Johannes Brahms’ Abendständschen, and much more.

The Rev. Victoria Hart Gaskell preaches a sermon entitled "Faith. Healing.". The Marsh Chapel Choir sings "Laudibus in sanctus" by William Byrd and "Behold, O God our defender" by Herbert Howells along with service music and hymns.

The Rev. Victoria Hart Gaskell preaches a sermon entitled "Faith. Healing.". The Marsh Chapel Choir sings "Laudibus in sanctus" by William Byrd and "Behold, O God our defender" by Herbert Howells along with service music and hymns.

Br. Lawrence A. Whitney, LC+ preaches a sermon entitled "Journeying On". The Marsh Chapel Choir sings "Ehre sei Gott in der Hohe" by Felix Mendelssohn and "Laudibus in sanctis" by William Byrd along with service music and hymns.

Br. Lawrence A. Whitney, LC+ preaches a sermon entitled "Journeying On". The Marsh Chapel Choir sings "Ehre sei Gott in der Hohe" by Felix Mendelssohn and "Laudibus in sanctis" by William Byrd along with service music and hymns.

Br. Lawrence A. Whitney, LC+ preaches a sermon entitled "Journeying On". The Marsh Chapel Choir sings "Ehre sei Gott in der Hohe" by Felix Mendelssohn and "Laudibus in sanctis" by William Byrd along with service music and hymns.

Br. Lawrence A. Whitney, LC+ preaches a sermon entitled "Journeying On". The Marsh Chapel Choir sings "Ehre sei Gott in der Hohe" by Felix Mendelssohn and "Laudibus in sanctis" by William Byrd along with service music and hymns.

Fri, 1 Jan 1560 12:00:00 +0100 http://epub.ub.uni-muenchen.de/2613/ http://epub.ub.uni-muenchen.de/2613/1/W2H.lit.176_123.pdf Macer, Caspar Macer, Caspar: De Laudibus D. Catharinae Virginis Elegia ad M. Casparum Macrum missa. [S.l.]: 1560

Fri, 1 Jan 1554 12:00:00 +0100 http://epub.ub.uni-muenchen.de/2614/ http://epub.ub.uni-muenchen.de/2614/1/W2H.lit.176_129.pdf Diechtel, Georg Diechtel, Georg: De Laudibus Medicinae Ioannis Aurpachii Elegia Ingolstadii, Cum ... Ioannes Agricola Georgio Diechtelio Docto