Podcasts about Stabat

No 16. līdz 20.aprīlim Rīgas Domā izskanēs trīs Lieldienu laika garīgās mūzikas koncerti, kuros uzstāsies dziedātāji Viktorija Majore un Rūdis Cebulis, čelliste Guna Šnē, ērģelnieki Ilze Reine un Aigars Reinis, trompetists Jānis Porietis, jauktais koris "Sōla" un citi mūziķi. Būs iespēja dzirdēt Džovanni Batistas Pergolēzi kantāti "Stabat mater", Pētera Vaska un Maijas Einfeldes darbus čellam un ērģelēm, mijoties ar J.S. Baha Piektās čellsvītas daļām, kā arī daudzveidīgu kormūzikas programmu. Plašāk par gaidāmo - Anetes Ašmanes-Vilsones sarunā ar Rīgas Doma mūzikas direktoru, ērģelnieku Aigaru Reini. Aigars Reinis: Šis laiks tiešām garīgi uzrunā cilvēkus, jo tās ir ne tikai Lieldienas, tas ir ciešanu laiks. Arī programmas un dievkalpojumi tematiski ļoti spēcīgi atšķiras, sākot ar Pūpolsvētdienu. Tā ir īpaša diena, kas sākas priecīgi un drīz vien iet uz skumīgu noti. Šis laiks liek izdzīvot pilnu emociju gammu gan mūzikā, gan dzīvē.  Ar kādu sajūtu šogad esat veidojis Lieldienu laika muzikālo programmu Rīgas Domā? Vai tai ir kopīga noskaņa? Noskaņa ir ceļš uz Lieldienām, kas ir galvenā kristiešu vēsts. Šie notikumi kaut kādā mērā veidojas arī neatkarīgi no manis, nav tā, ka es viens visu izdomāju, daudz kas notiek caur sadarbību ar dažādiem sadarbības partneriem. Šīs programmas ir ļoti daudzveidīgas.  Jau trīs gadus Lieldienu laiks un mūzika ar vēstījumiem, kas tajā izskan, arī šonedēļ pēc kārtējās traģēdijas Ukrainā liek domāt par pašlaik notiekošo, sajust un, cerams, arī rast mierinājumu un veldzi mūzikā.  Mūzika šo ļaunumu pasaulē dziedina, kaut kādā veidā mazina, un galu galā arī mēs, izvēloties skaņdarbus, nevienu negribam ievest bēdās, bet noteikti ir līdzās mūzika par gaismu un cerību.

Karol Szymanowski (1882-1937) - Stabat Mater, Op. 531.       Stała Matka bolejąca (Stabat mater dolorosa): 0:002.       I któż widział tak cierpiącą (Quis est homo qui non fleret) [7:49]3.       Matko Źródło Wszechmiłości (O, Eia, Mater, fons amoris) [10:54]4.       Spraw niech płaczę z Tobą razem (Fac me tecum pie flere) [15:49]5.       Panno słodka racz mozołem (Virgo virginum praeclara) [19:38]6.       Chrystus niech mi będzie grodem (Christe, cum sit hinc exire) [22:53] The Polish National Radio Symphony OrchestraThe Polish National Philharmonic ChorusKarol Stryja, conductor

PALESTRINA: Misa “O Rex Gloriae” a 4 vv (23.22). Coro de la Abadía de Westminster. Dir.: J. O’Donnell. Stabat mater a 8 vv (11.03). Taverner Consort. Dir.: A. Parrott. Tu es pastor ovium (5.20). Cappella Musicale Pontificia Sistina. Dir.: M. Palombella.Escuchar audio

Actrice Charlotte Vandermeersch is dezer dagen 'Master van Filmfestival Oostende' dat net begonnen is. In Bar Miroir vertelt ze waarom ze zich verwant voelt met het personage Forrest Gump uit de gelijknamige film, wat ze zo intrigerend vindt aan de Britse zangeres FKA twigs of aan het Stabat mater van Pergolesi, en hoe het boek All fours van Miranda July haar ontroert en tegelijkertijd roodgloeiend maakt. See omnystudio.com/listener for privacy information.

Actrice Charlotte Vandermeersch is dezer dagen 'Master van Filmfestival Oostende' dat net begonnen is. In Bar Miroir vertelt ze waarom ze zich verwant voelt met het personage Forrest Gump uit de gelijknamige film, wat ze zo intrigerend vindt aan de Britse zangeres FKA twigs of aan het Stabat mater van Pergolesi, en hoe het boek All fours van Miranda July haar ontroert en tegelijkertijd roodgloeiend maakt. See omnystudio.com/listener for privacy information.

Kontemplative Klavierklänge und Soundscapes, das ist die Welt des japanischen Pianisten und Komponisten Koki Nakano. Er komponiert seit einigen Jahren den Soundtrack für Modeschauen des Labels Issey Miyake. [01:30] Aktuell: Der «Nobelpreis der Musik», der Ernst von Siemens Musikpreis 2025, geht an den britischen Dirigenten Simon Rattle. (Florian Hauser) [10:00] Talk: Der japanische Pianist und Komponist Koki Nakano im Gespräch. (Fanny Opitz) [23:00] Neuerscheinungen: - Rita Strohl, Musique orchestrale: Symphonie de la forêt u.a. Orchestre national d'Île-de-France, Case Scaglione (Leitung), Marie Perbost (Sopran), Lucile Richardot (Mezzosopran) La boîte à pépites (2024) - «Sacro furore». Vivaldi: «Nisi dominus», «Stabat mater» u.a. Carlo Vistoli (Countertenor), Akademie für Alte Musik, Georg Kallweit (Konzertmeister) Harmonia Mundi (2024) (Felix Michel) [44:22] Swiss Corner: Ein wilder Ritt? Der Isländische Pianist Víkingur Ólafsson spielt als Fokuskünstler mit dem Tonhalle-Orchester Zürich das brandneue 4. Klavierkonzert von John Adams. Es trägt den Titel «After the Fall».

Mantan Bupati langkat, Terbit Rencana Perangin-Angin akan menjalani sidang putusan kasus TPPO, kerangkeng manusia di pengadilan negeri Stabat, Sumatera Utara. Terbit, dituntut hukuman 14 tahun penjara dan denda lima ratus juta rupiah

durée : 00:20:29 - Disques de légende du mercredi 15 mai 2024 - Une version longtemps tenue pour indépassable, et pourtant, une version arrivée 4e, à une écoute à l'aveugle dans une Tribune des critiques de disques en 2018.

Kaum fünf Jahre blieben Giovanni Battista Pergolesi für sein Gesamtwerk: 1736 raffte ihn in Neapel die Tuberkulose dahin, da war er gerade 26. Kurz vor seinem Tod vollendete er aber noch das Werk, mit dem er Unsterblichkeit errang: sein "Stabat mater". Von Volker Sellmann.

durée : 01:28:29 - En pistes ! du jeudi 07 mars 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme ce matin : La Flûte enchantée de Mozart, La Messe solennelle de Beethoven, le Concerto pour violon de Busoni interprété par Francesca Dego, le Quatuor Asasello dans l'œuvre de Chostakovitch, mais également le Stabat mater dolorosa de Serafino Razzi par l'ensemble La Morra. En pistes !

durée : 00:16:04 - Disques de légende du vendredi 29 décembre 2023 - Le claveciniste et chef d'orchestre français Christophe Rousset dirige le Stabat Mater de Pergolèse. Cette interprétation symbolise l'ouverture du monde musicale à la fin des années 1990.

durée : 00:13:44 - Disques de légende du mardi 31 octobre 2023 - La musique de Vivaldi est une des grande affaires de la vie musicale de Rinaldo Alessandrini.

Vad trodde Einstein på? Vad betyder Stabat mater och är andlig strävan bara något för religiösa? Vi tar även en ny diskussion om koranbränningarna. Ett av våra eldiga avsnitt, om vi får säga det själva. Hosted on Acast. See acast.com/privacy for more information.

Pedro de Dios (guitarra y voz) y Carlos Jimena (batería) son Guadalupe Plata. El grupo de Úbeda, reconvertido en dúo, nos presenta en primicia y en primera persona las canciones y entresijos de su álbum “La Ruina” (editado por Everlasting). Una colección de pasajes sonoros en donde el blues más cavernoso y la tradición de la Andalucía profunda de su ADN vuelven a sorprender y cautivar al oyente.Playlist;(sintonía) GUADALUPE PLATA “Calima”GUADALUPE PLATA “Tía Tragantía”GUADALUPE PLATA “Al infierno que vayas”GUADALUPE PLATA “Ruina”GUADALUPE PLATA “Zapateado”GUADALUPE PLATA “No hay donde ir”GUADALUPE PLATA “Y N T M A”GUADALUPE PLATA “Nunca llueve como truena”GUADALUPE PLATA “Maleficio”GUADALUPE PLATA “Stabat mater”ANGUSTIAS “Angustias” (Kosmodrome, 2023)FINALE “Navajas” (Visión de futuro, 2020)LA ELITE “A 180 con mi monopatín” (Nuevo punk, 2023)TENSÖ “Vacaciones en Canarias” (single 2023)TUMBA SWING “Dentro del vergel” (Directo para “Con las ondas en la masa”) Escuchar audio

Stabat máter.. la virgen del Fiat, al pie de la cruz. Atravesada tu alma por una espada. No huyes, no condenas. Eres consuelo para Jesús crucificado. amor sereno y fuerte. Fiel hasta el extremo. Quiero meterme en tu mirar, aprender a estar. #10minutosconJesús #cuaresma Estar como tú estabas Luispo Estabas como la estrella que nunca baila de madrugada y haciendo guardia, besando fuerte tus coordenadas. Estabas como el latido que nunca para, como la rosa que no se marcha cuando el invierno sin luz se alarga. Estabas como la Madre de Dios, estabas como la nana que susurrabas y nunca para. A la hora de la espada,  cuando el miedo nos alcanza, una Madre y un madero,  con su Niño cara a cara, con sus lágrimas le abraza,  y otro fiat se levanta cuando cruzan las miradas. A la hora de la espada,  cuando el cielo nos araña y se borran tantas huellas  en la orilla de la playa, tu silencio y tu presencia  dicen más que mil palabras porque estar como tú estabas es el verbo del que ama. Estabas como aun coral en el rompeolas, llena de vida, latiendo toda, coloreando de amor la roca. Estabas como la esclava que se enamora, como la niña que juega sola cuando su Padre se esconde, y llora. Estabas como la Madre de Dios, estabas como la nana que susurrabas y nunca para. A la hora de la espada,  cuando el miedo nos alcanza, una Madre y un madero,  con su Niño cara a cara, con sus lágrimas le abraza,  y otro fiat se levanta cuando cruzan las miradas. A la hora de la espada,  cuando el cielo nos araña y se borran tantas huellas  en la orilla de la playa, tu silencio y tu presencia  dicen más que mil palabras porque estar como tú estabas es el verbo del que ama,  es el verbo del que ama… Estar como tú estabas. ** Ponte en presencia de Dios. Trata de hablar con Él. ** 10 minutos son 10 minutos aunque te puedas distraer. Llega hasta el final. ** Sé constante. El Espíritu Santo actúa “a fuego lento” y requiere constancia. Audios de 10 minutos que te ayudan a rezar. Un pasaje del Evangelio, una idea, una anécdota y un sacerdote que te habla y habla al Señor invitándote a compartir tu intimidad con Dios. Busca tu momento, piensa que estás con Él y dale al play. Toda la info en nuestra web: www.10minutosconjesus.org diezminutosconjesus@gmail.com Para recibir cada día tu meditación por Whatsapp pulsa aquí: http://dozz.es/nu36t

IntroductionWelcome back to Praying the Mass! Over the last couple of weeks, we have learned what the Sacred Liturgy is, what it's for, and we looked a bit more intently at Sacred Music and the Introductory Rites of the Mass. Today, we are looking at the Liturgy of the Word, but I want to begin with “part two” of our exploration of Sacred Music. As we looked at last week, music is integral to the Sacred Liturgy. So, it's important for us to know the mind and heart of the Church on the subject. And then we are going to take a close look at one of the most important theological ideas of this entire series: the Mystical Body of Christ.Sacraments vs. SacramentalsLet us begin first with a quick look at the difference between a Sacrament and a sacramental. This will be exceptionally brief, but I do not want to take for granted that the difference is evident to everyone listening. A Sacrament is one of the seven sacraments instituted by Jesus Christ as an outward sign of God's inward grace. The Sacraments actually make present in a very real way what is being symbolized. Baptism is not a bath; it causes a real change in us. The Eucharist is not a mere symbol; it is actually Jesus' Body and Blood. Sacramentals, on the other hand, like holy water, the rosary, blessed salt, the Sign of the Cross, and crucifixes have no intrinsic power. They are not talismans or magic. They simply dispose of our hearts, minds, and souls to God's grace. They open us up to God's supernatural aid and love!Full, Conscious, and Actual Participation and Sacred MusicFull, Conscious, Actual ParticipationIntimately related to music, let us begin by looking at the phrase from the Second Vatican Council: full, conscious, and active participation.In Vatican II's Constitution on the Sacred Liturgy, Sacrosanctum Concilium, the Council Fathers write: “Mother Church earnestly desires that all the faithful should be led to that fully conscious, and active participation in liturgical celebrations which is demanded by the very nature of the liturgy. Such participation by the Christian people as ‘a chosen race, a royal priesthood, a holy nation, a redeemed people (1 Pet. 2:9; cf. 2:4-5),' is their right and duty by reason of their baptism. In the restoration and promotion of the sacred liturgy, this full and active participation by all the people is the aim to be considered before all else…”This notion of full, conscious, and active participation has been understood and misunderstood since the 1960s. There is a helpful distinction in the official text of the document. Of course, this constitution was promulgated in Latin not in English. The Latin word used for “active” is “actuosa.” While actuosa does mean active, busy, or energetic, this is not the meaning of the Church's document. If we dig a bit deeper into the notion of active we arrive at the notion of active, active rather than passive. We will arrive at actually proceeding rather than dormant. Based on liturgical documents before and after the Council, the true meaning of actuosa is better rendered as “actual” rather than “active.” Why do I think this matters? Well, if we stick to the idea of being busy or externally energetic, then we are missing the boat. Full, conscious, and actual participation in the Sacred Liturgy comes from the disposition of the heart which bears fruit in external ways through singing and saying the responses, sitting, standing, kneeling, beating one's breast, making the sign of the cross, and so forth. Full, conscious, and active participation does not mean that every member of the laity needs to busy themselves with some role to fulfill. As we will see in a few minutes, speaking about the Mystical Body of Christ, our role as laity differs in degree from that of the priest. The priest is offering the Mass in persona Christi capitis (in the Person of Christ, Head of His Body). The priest offers the holy sacrifice. We, the people, offer the Mass as Members of the Body of Christ. We do this by praying, singing, and focusing our mind, heart, soul, and strength on the liturgical action.As Pope Francis said in a homily in 2013, “Active and conscious participation in the liturgy constitutes being able to ‘enter deeply' into the mystery of God made present in the Eucharist: thanks in particular to the religious silence and musicality of language with which the Lord speaks to us (Sample, 11).” Liturgical activity is not a jamboree. It is not a festival. It is a sacred foretaste of the heavenly banquet. Above all, it is the presentation once more of the one sacrifice of the Cross in an unbloody manner. This is a great mystery. Our actual participation, as a member of the Body of Christ allows us to enter this sacred reality. Singing the MassAs Catholics, we are not called to sing at Mass. We are called to sing the Mass. We are not spectators at Mass, we are called to offer our own personhood, body and soul, in the celebration of the sacred mysteries. The parts of the Mass which are sung consist of the Ordinary, the Propers, the Orations and the Dialogues.The OrdinaryThe Ordinary are the parts of the Mass that are the same every Sunday (with the exception of Advent and Lent): Kyrie, Gloria, Sanctus, Mysterium Fidei, and Agnus Dei. The Creed (Credo) can also be sung. These parts are ordinarily for the congregation or a choir. These are beautifully done with the music which receives pride of place in the Roman liturgy: Gregorian chant. The PropersThe Propers consist of five parts in two sets. The first set: Entrance Antiphon, Offertory Antiphon, and Communion Antiphon. The second set: Responsorial Psalm and Gospel Proclamation with its Verse. Each of the Propers have accompanying refrains and verses. These are often done antiphonally with the cantor or choir singing the refrain, the congregation repeating the refrain, and then the cantor or choir singing the verses. Just as the 1st and 2nd Reading and the Gospel, there are Propers selected by the Church for each Sunday Mass of the year and for every major feast or solemnity.These are to be sung, when possible, as they are part of the Mass. Unfortunately, this integral practice has been neglected in the Church for many years. I will go into detail a bit later about why liturgical chant is more appropriate and efficacious for the Mass than a hymn or song.Orations and DialoguesThe Orations and Dialogues are “the texts of the Collects and other presidential prayers, and those in which the celebrant and people address each other, for example the greeting and its response: “The Lord be with you” - “And with your spirit”. Musical notations for these dialogues are provided in the Missal and should be used (Arch. Sample, Pastoral Letter 2019, 13).”Hymns at Mass?Hymns, in the mind of the Church, belong primarily in the Liturgy of the Hours, also called the Divine Office or the Breviary. This custom of singing hymns at Mass arose during the Low Mass of the Extraordinary Form of the Latin Mass when the priest was speaking in an inaudible voice praying in Latin. The congregation would sing vernacular devotional hymns during these silent prayers. More on why hymns are devotional rather than liturgical in a moment.Though hymn singing at low Mass was the case historically, the mind of the Church is to sing the Ordinary, the Propers, and the Orations and Dialogues. Hymn-singing at Mass is not envisioned in the documents of the Second Vatican Council or any subsequent magisterial documents. The only exception is the allowance of a hymn of praise after the distribution of Holy Communion prior to the Prayer After Communion.The normative practice of music at Mass was not envisioned by the Church. It was set in many ways over the last decades by large music publishers which gave us the processional, offertory (preparation), and communion hymns, and then usually a recessional hymn or song. The recessional, by the way, is not in the Missal or any of the Church's music documents. It was simply tacked on to give a sense of closure. However, for many centuries, after Sunday Mass, it was customary to sing antiphons in honor of the Blessed Virgin Mary. These four antiphons were done seasonally. More on those here.Liturgical vs. DevotionalHymns are devotional by nature. They are written by men and women and arise from the human heart up to God. Liturgical music, on the other hand, is handed down by tradition directly from Scripture (not paraphrased). In this way, liturgical chants are the written Word of God, which speaks to our hearts and comes to us from above, from God. We make these words our own as we sing them. By chanting, we are conforming ourselves to the word of God rather than giving God our word, as beautiful a gift as that can be. There is a time and a place. In a rosary prayer group, praying Marian devotional songs is always appropriate. In the Liturgy of the Hours, devotional hymns are always appropriate and called for. During praise and worship, devotional songs are our expression of our faith in God, our hope in Him, and our love of Him. However, there is something distinct and set apart, something utterly universal, something transcendent about the words of Christ coming down into our human existence in the context of the Mass. We take in these words, they form us more into Christ, and we glorify God. This is the action of the liturgy made flesh! The Son eternally offers Himself to the Father in the Spirit! As members of the Body of Christ, this is what we are participating in when we do liturgical singing and sing the Mass. InstrumentsThe Church gives us a clear vision of what has preference in terms of instrumentation as well. I do not want to spend a long time on this but I think it is worth mentioning. The Second Vatican Council says, “In the Latin Church the pipe organ is to be held in high esteem, for it is the traditional musical instrument which adds a wonderful splendor to the Church's ceremonies and powerfully lifts up man's mind to God and to higher things… (Other instruments may be admitted) only on condition that the instruments are suitable, or can be made suitable, for sacred use, accord with the dignity of the temple, and truly contribute to the edification of the faithful (SC, 120).”When it comes to instruments at Mass, the question we always want to keep in mind is: does this serve to facilitate praying and singing the Mass? Is it liturgical? Does it elevate or distract from what Christ Himself is doing?As an aside, pre-recorded music is forbidden to be used in liturgy by liturgical law. Ideally, musicians should not be particularly visually prominent. Choir lofts are the ideal, but may not be possible given your Church's architecture. It is simply always the standard that musicians at Mass should add to the solemnity of the occasion and never distract or detract. Solemnity is usually joyful; solemn does not need to mean somber unless the liturgical occasion calls for it.SilenceIt is also important to retain silence. God is manifest not only in the beauty of liturgical singing, but also in the powerful silence in which we hear His still, small voice. There is a rhythm to the Sacred Liturgy which must not be rushed or unduly prolonged by the music. Silence fosters communication with God. It allows for reflection and meditation. As St. John Paul II put it in 1998:“Active participation certainly means that, in gesture, word, song and service, all the members of the community take part in an act of worship, which is anything but inert or passive. Yet active participation does not preclude the active passivity of silence, stillness, and listening; indeed it demands it. Worshipers are not passive, for instance, when listening to the readings or the homily, or following the prayers of the celebrant, and the chants and music of the liturgy. These are experiences of silence and stillness, but they are in their own way profoundly active. In a culture which neither favors nor fosters meditative quiet, the art of interior listening is learned only with difficulty. Here we see how the liturgy, though it must always be properly inculturated, must also be counter-cultural.”Conclusion on MusicIn all things, pastors and musicians should familiarize themselves with the documents of the Church's Magisterium on Sacred Music and Liturgy. Special care should be given to Sacrosanctum Concilium, the General Instruction of the Roman Missal, Tra Le Solicitudini, the USCCB document Sing to the Lord, Musicae Sacrae, Mediator Dei. There is a lot to take in and these beautiful instructive and ecclesiastical law documents are not emphasized enough.Mystici CorporisA Reminder in Time of WarA full year before the invasion of Normandy by Allied forces during World War Two, in June 1943, Pope Pius XII issued an encyclical letter entitled “Mystici Corporis Christi.” This encyclical is nothing new in Catholic teaching but was an affirmation of the identity of the Church as the Mystical Body of Christ. This might seem like an odd topic to write about during such cataclysm in Europe, but the Pope thought it was important for people to understand the Church. Most especially, during this time and any time, the Church is called to share Christ with the world and make the invisible visible. The Church is called to be a source of love, faith, and hope in a beleaguered world.During the war, there was also widespread forced conversions of Jews to Christianity by anti-Semites. The Pope wanted to give a forceful condemnation of this practice. In Christianity, unlike some other major world religions, forced conversions are out of the question. Conversion to Christianity and incorporation into the Mystical Body of Christ must be voluntarily based on faith, hope, and love, not involuntary compulsion.As St. John Paul II said so well: “The Faith is always proposed, not imposed.”The Church is the Mystical Body of ChristPope Pius XII states clearly that the Church is a body and it must “be an unbroken unity, according to those words of Paul: ‘Though many we are one body in Christ.' (MCC, 14).” However, this mystical body is also visible. With a multiplicity of members of all different walks of life, the Church is united in Christ who is the Head. This reality is both invisible and visible, both divine and human. This encyclical picked up the teachings of St. Paul on the Body of Christ, the Church, and laid the groundwork for a much lengthier discussion during the Second Vatican Council. The constitution concerning the Church from Vatican II, Lumen Gentium, further develops much of what the Pontiff wrote in 1943. We must realize that if the Church is a body, then it is an organism. As St. John Henry Newman said, “The Church is not an organization, it is an organism.” Of course, Jesus is the Head of His Body. Without the Head, we can do nothing. But the Head does not choose to operate in the world without the use of the Body. The Church is composed of Head and Members. It has a means for people to enter the Body by the power of the Holy Spirit. It has an internal means of subsistence which is the Holy Eucharist. And it has a means to grow, mature, and prosper in the life of grace, especially the sacramental life.The Church as MysteryThe reason that the Mystical Body of Christ is called “mystical” is because this reality is a mystery. A mystery is not something unknowable. A mystery in the Church is something which is revealed by God but is not readily understandable by human reason alone. The vital principle of the Church is Jesus Christ Himself. He is fully God and fully man. This is a great mystery, but it is true. The Son of God took on flesh, sharing in our humanity, though He remains fully the Second Person of the Blessed Trinity. This is a great mystery. The Holy Trinity, truly, is a great mystery.By speaking of the Mystical Body of Christ, we distinguish it from the physical Body of Jesus. We also distinguish the Mystical Body of Christ from a natural body. Though we have spoken about how the Mystical Body of Christ is organized like a natural body, it is a supernatural reality. This must be the case because the Church is caught up in the mystery of God Himself. The Church is Invisible and DivineThe Church is not a human invention. The Church is the action of Almighty God, built on the firm foundation of Jesus Christ, directed to the Father, in the power and working of the Holy Spirit. The bonds of divine Charity are what bind us together. And so, the Church is invisible and divine. The Church is Visible and HumanGod moves first and then we respond. Knowing and loving us before time began, God sent His Son to gather us together. As Pope Pius XII writes, “Now the only-begotten Son of God embraced us in His infinite knowledge and undying love even before the world began. And that He might give a visible and exceedingly beautiful expression to this love, He assumed our nature in hypostatic union… (MCC, 75).”What the Pope is pointing out here is the enfleshment of the God-man is the point of reference for the Church. Though the Church appears visibly and seems to be a human institution, it was first the action of God. Just as Jesus Christ is both fully God and fully man, so too the Church is fully divine and fully human. What Is A Priest?The popular definition of a priest is given as an ordained person with the authority to perform certain rites and administer certain sacraments. Properly speaking, however, a priest is one who offers sacrifice. This is what a priest is. This is what a priest does. This is who a priest is. A priest has handed over his life to be at the service of Jesus Christ and to pour himself out in His service.Truly, there is only one Priest, the one mediator between God and man, the man Christ Jesus. Jesus is our great High Priest and every ordained man simply takes part in that one priesthood to varying degrees. For example, every baptized person shares in the priesthood of Christ in a general way. Whereas, deacons, priests, and bishops participate in the priesthood of Christ in particular and ever-greater degrees.Priesthood of All BelieversIn the general sense, we are all priests through our Baptism, because we all offer the sacrifice of our contrite hearts and our lives which take on new meaning when united with the one Sacrifice of Christ on the Cross. For our Baptism is a kind of death, a sharing in the Cross. Therefore, in the priesthood of believers, we come to share in His Resurrection.The Ministerial and Ordained PriesthoodThe priest, however, in a very particular way, acting in the person of Christ, Head of His Body, offers the one Sacrifice of Christ on Calvary. This is the essence of the Most Holy Sacrifice of the Mass. The entire Paschal Mystery of Christ becomes truly present by the power of God at every single Holy Mass. It is what He is doing! Our High Priest offers Himself in the Spirit to the Father and invites us to take part. But the way in which we take part, as Head or as Member of His Mystical Body, matters.The entrance of Christ into Jerusalem, His suffering, death, and resurrection, and His glorious ascension all become present once more. This one sacrifice is perpetuated as an everlasting memorial. Christ does not die again, yet His saving action becomes present once more through the Divine and Sacred Liturgy at the hands of the priest in the High Priesthood of Jesus Christ.Private vs. Public MassEvery single Holy Mass is celebrated primarily by Jesus Christ. In this heavenly banquet and sacrificial meal, there are many who are already living in the perfection of the Trinity. The saints in Heaven, whether they are officially canonized or not, are taking part fully, consciously, and actively in the Holy Mass. Likewise, the angels are constantly worshiping God in accord with His desires.When Mass is celebrated publicly, there is more than just the priest present on earth. There may be other ministers, a cantor, an altar server, a reader, or some other member(s) of the lay faithful. These Masses are beautiful because they show a greater sign of the Mystical Body of Christ gathered to worship God, head and members.However, what if a priest has to offer Mass privately? This has happened throughout the history of the Church. Priests are encouraged to offer Mass daily and they are therefore unable to have the faithful present every time they offer Mass. This is colloquially known as a private Mass, but the name is misleading.No Mass is private. At every single Mass, Jesus Christ is offering Himself eternally to the Father in the power and working of the Holy Spirit, and the angels and saints are actively taking part in this perfect worship. Heaven and Earth meet. The imminent and transcendent kiss. So, whether the faithful are present or not, the Holy Mass is the Holy Mass.Efficacy and Aims of the Most Holy Sacrifice of the MassAt the risk of treading on the same ground as Session 1, I think it is worth looking at the efficacy and aims of the Holy Mass. Since the very first Eucharist at the Last Supper, Jesus instituted the Most Holy Eucharist as the memorial of His suffering and death, by which the graces of the Cross would flow to the entire world, even two thousand years later. For, in the Mass, the Cross becomes truly present once more and the Blood of Christ flows to purify the world.The Mass is a true sacrifice that is offered to God alone. It is a sacrifice offered for the praise and adoration of our triune God in thanksgiving. The Mass is also offered for impetration, that is, to lay our requests for the world before God. The Mass is also a propitiatory sacrifice because it is the re-presentation of the Cross. In other words, the Blood of Christ flowing from the Cross is offered in expiation for the sins of mankind.Our High Priest, standing once again in the breach as our mediator, by the hands of the ordained priest, is offering His prayer on our behalf to God of praise, adoration, thanksgiving, propitiation, and imputation. Every single Mass is therefore infinitely efficacious and good, whether the faithful are present or not. Therefore, Mass is never really private. It is always crowded. We just do not yet have eyes to see this glorious reality.The Readings:First ReadingThe Liturgy of the Word begins after the Collect with the First Reading. Readings from Sacred Scripture of part of every Holy Mass. Each Mass, there is a First Reading, a Responsorial Psalm, and a reading from the Gospels. On Sundays, Solemnities, and some Feast Days, there is also a Second Reading. Generally, the First Reading is taken from the Old Testament. During the Easter Season (from Easter through Pentecost), the First Reading is taken from the New Testament.Responsorial PsalmThe Responsorial Psalm comes from the 150 Psalms, except for five times in the three year cycle of readings. These are a canticle from Exodus and Isaiah on Easter Vigil, the Magnificat on Gaudete year B, and Daniel 3 on Trinity Sunday year A.By the way, in the Lectionary, the part of the Roman Missal that contains the Readings for Mass, there is a two year cycle for daily readings and a three year cycle for Sunday Readings. When I was growing up I heard that we get through the entire Bible in three years. That's not quite true. The Sunday and weekday lectionaries contain 13.5 percent of the Old Testament (not counting the Psalms), 54.9 percent of the non-Gospel New Testament, 89.8 percent of the Gospels, and 71.5 percent of the entire New Testament. The Second Vatican Council called for a greatly increased amount of readings. In paragraph 35 of Sacrosanctum Concilium, they stated: “In the sacred rites, a more abundant, more varied, and more appropriate selection of readings from Sacred Scripture is to be restored (SC, 35).” For Sundays, vigils, and major feasts, the amount of Scripture read directly in the Tridentine Liturgy was 22 percent of the Gospels, 11 percent of the New Testament Epistles, and 0.8 percent of the Old Testament. The Responsorial Psalm is meant to be responsorial, of course. So, a large part of actual participation in the Mass means actually singing the response! If you can sing, sing loudly. If you don't think you can sing… sing even louder!Second Reading (on Sundays and solemnities)By adding a second reading on Sundays and solemnities, we are able to get through more of the story of salvation history over the three year cycle. But the Holy Mother Church also desires to show us more explicitly the intricate link between the Old and the New Testaments.Gospel AcclamationBefore the Gospel, outside of Lent, the Alleluia and accompanying verse, related to the Gospel of the day, are chanted. And during Lent, a traditional alternative acclamation is made: “Praise to you, Lord Jesus Christ.” Before this Gospel Acclamation, there are occasionally Sequences. These are the 11th Century Victimae paschali laudes for Easter, the 12th Century Veni Sancte Spiritus for Pentecost, and the 13th Century Lauda Sion Salvatorem written by St. Thomas Aquinas for Corpus Christi. The ones on Easter and Pentecost are not optional in the current Missal. Another optional sequence is the Stabat mater for Our Lady of Sorrows, added in 1727. The Dies irae for All Souls' Day and Requiem Masses was moved to the Liturgy of the Hours in 1970. GospelWe are seated for the readings, but we stand up for the Gospel Acclamation and the Gospel. Why? Because it is the life of our Lord Jesus Christ! When we hear the Gospel proclaimed by the Deacon or priest, then we are hearing the words of our Blessed Lord! And so we stand out of respect, reverence, and joy.Ordinary Ministers of ReadingThe readings used to be proclaimed only by the priest, at the altar, in Latin. Now, they are proclaimed at an ambo or lectern. The Old and New Testament readings and the Psalm interestingly were given to the laity as an Ordinary Ministry. This is a change from the pre-1970 liturgies and is a reform or development. The “lessons” as they used to be called were only offered by the priest. Now, they are proclaimed to the people in the vernacular. The Gospel, however, is never read by the laity, even an instituted lector. The Gospel “belongs”, so to speak, to the Deacon. Even at a papal Mass, a deacon will proclaim the Gospel. This is symbolized at the diaconal ordination when the man being ordained is given a Book of the Gospels. This is also why the deacon processes up to the altar, at the beginning of the Mass, with a Book of the Gospels held high!Liturgical ActualizationWhy does it matter that the readings are proclaimed or offered quietly in Latin? Following the authentic developments of the liturgical movement of the late 19th and early 20th centuries, there was an understanding brought to the foreground called liturgical actualization.When the readings are proclaimed at Mass, those sacred realities become present to us in a mystical way. When we hear of the Hebrews crossing dry shod across the Red Sea in the Exodus, we are there with them. By the power of Almighty God, the liturgy comes alive in a mysterious way and the fabric of space and time are folded in upon themselves. Thus, the readings are not mere recollections, nor mere instruction. The antiphons, the prayers of the Mass, and especially the proclaimed readings make the holy mysteries present to us and us present to them, in a way that escapes our understanding. As the Second Vatican Council teaches, quoting the Council of Trent: “... the Church has never failed to come together to celebrate the paschal mystery: reading those things ‘which were in all the scriptures concerning him (Luke 24:27),' celebrating the eucharist in which ‘the victory and triumph of his death are again made present (Trent),' and at the same time giving thanks ‘to God for his unspeakable gift (2 Cor. 9:15)' in Christ Jesus, ‘in praise of his glory (Eph. 1:12),' through the power of the Holy Spirit.”This sacred mystery of liturgical actualization is rendered more intelligible to our senses by having the readings proclaimed in the vernacular in a way that all can hear. Thus, reading at Mass is a true ministry and an action of our High Priest, Jesus Christ, working through the reader. “When the Sacred Scriptures are read in the Church, God himself speaks to his people, and Christ, present in his own word, proclaims the Gospel (GIRM, 29).”HomilySince the time of the Council of Trent, the sermon or homily was envisioned as taking place after the Gospel at least on Sundays and holy days. This was not happening everywhere, and so the Second Vatican Council ordered that these prescriptions of Trent actually come to fruition. The General Instruction of the Roman Missal says this of the homily:“Although in the readings from Sacred Scripture God's word is addressed to all people of every era and is understandable to them, nevertheless, a fuller understanding and a greater effectiveness of the word is fostered by a living commentary on the word, that is, the homily, as part of the liturgical action.”I have found that the best homilies are, at the same time, sufficient in depth, personally challenging, accessible, and focused on leading us towards the next part of the Mass: the Sacrifice on the altar!Profession of Faith After the homily, on Sundays, solemnities, and special occasions we profess our faith with either the Nicene or Apostles' Creed. These creedal statements are so very important in the life of the Church. The Niceno-Constantinopolitan Creed, to use the full name, is the fruit of the first two ecumenical councils in the 4th Century which safeguarded the Church against various heresies.The Creed is also something we profess together, as Head and Members of the Body of Christ, in response to the word of God that was proclaimed in the readings and expounded in the homily. Dr. Scott Hahn in his excellent book on the Creed refers to the profession in this way: “I want to show that creeds don't just make you who you are and I who I am; they also make us who we are. They are one of the ordinary means God uses to unite his people. God takes wayward tribes and makes them a nation--and, more than that, a family! He takes all the lawless, rebellious nations of the earth and makes them a Church--and, more than that, his own body! It begins with that cry from the heart: I believe!”Dr. Hahn also teaches us that the profession of the Creed is to the Liturgy of the Word what the reception of Holy Communion is to the Liturgy of the Eucharist! I find this so fruitful to contemplate before reciting the Creed! How can we pray the Creed better? First, if you do not know what is being professed, then ask questions and find the answers! The Catechism of the Catholic Church has an entire section devoted to walking through the Creed line by line. Second, do not just say it; really pray it! Savor every word and feel the weight of the History of the Church, the passionate preaching of the saints who defended each word, and the power of the focal points of Jesus Christ and the Blessed Trinity.Universal PrayerFinally, in the Liturgy of the Word is the Prayers of the Faithful or the Universal Prayer in which, standing, “the people respond in a certain way to the word of God which they have welcomed in faith and, exercising the office of their baptismal priesthood, offer prayers to God for the salvation of all (GIRM 69).”In these prayers, the Church asks us to pray:“a. For the needs of the Church;b. For public authorities and the salvation of the whole world;c. For those burdened by any kind of difficulty;d. For the local community (GIRM 70).”These prayers are directed by the priest and the intentions are announced by the deacon. If a deacon is not present, the priest can do so, or a cantor, lector, or one of the lay faithful are allowed to do so by the General Instruction of the Roman Missal. ConclusionOkay. That's it for the Liturgy of the Word. There is far more to say. I could have spent an entire hour just commenting on the formatting of the lectionary. But this series is an introduction to whet our appetite. If any questions came up in your mind today during the presentation, please send them to will.wright.catholic@gmail.com and I will happily answer them!See you next week for the session on the Liturgy of the Eucharist. I am so excited to share with you the astounding implications of liturgical actualization as it relates to the Liturgy of the Eucharist. The mystery and beauty of it is breathtaking! Until next week, may God bless us and keep us, seeking ever more after His heart!Thank you for reading Will Wright Catholic Podcast. This post is public so feel free to share it. Get full access to Will Wright Catholic Podcast at www.willwrightcatholic.com/subscribe

Interview réalisée par Eliane Pérus. Rose-Marie Chevalier et Pierre Belmas, fondateurs de Reliance en Bigorre, font un point sur les "Cafés-Philo" qui ont repris depuis le mois de septembre 2022 avec un nouvel animateur Christian Loubère, professeur de philosophie qui succède à Francis Sylvestre. Ils nous présentent la 6ème édition de "Tarbes en Philo" qui se déroulera du vendredi 31 mars 2023 au dimanche 2 avril 2023. "L'Art pour ne point mourir de la Vérité" est la thématique de cette édition qui recevra le philosophe Michaël Fœssel, le pianiste David Fray et le peintre Philippe Pujo. Vous découvrirez la programmation complète en écoutant ce podcast. Extraits musicaux choisis par Rose-Marie Chevalier et Pierre Belmas : - au début “Variations Goldberg” de Bach - David Fray - au milieu “Stabat mater” Pergolèse - à la fin “Je te veux” -Adamo 

VIVANCO: Magnificat octavi toni a ocho voces (11.44). Coro de la Abadía de Westminster, A.-L. King (arp. doble), A. van der Beek (bajón), J. O’Donell (órg.). Dir.: D. Hill. SOTO DE LANGA: Nell’apparir del sempiterno sole (3.29). Todos los Tonos y Ayres, Íliber Ensemble. VIVANCO: Misa “In manus tuas” precedida del motete homónimo (selec.) (Kyrie, Gloria, Agnus Dei) (17.34). Orchestra of the Renaissance. Dir.: R. Cheetham. Stabat mater (3.41). Pro Cantione Antiqua. Dir.: B. Turner. Escuchar audio

VIVANCO: Magnificat octavi toni a ocho voces (11.44). Coro de la Abadía de Westminster, A.-L. King (arp. doble), A. van der Beek (bajón), J. O’Donell (órg.). Dir.: D. Hill. SOTO DE LANGA: Nell'apparir del sempiterno sole (3.29). Íliber Ensemble. VIVANCO: Misa "In manus tuas" precedida del motete homónimo (selec.) (Kyrie, Gloria, Agnus Dei) (17.34). Orchestra of the Renaissance. Dir.: R. Cheetham. Stabat mater (3.41). Pro Cantione Antiqua. Dir.: B. Turner.Escuchar audio

Así es la vida aquí abajo. No todo sale bien. No hagas un drama cuando algo sale mal. Nada es perfecto.Stabat mater dolorosa.. allí, las 3 Marias permanecen al pie de la cruz. Refugio seguro, Virgen de dolores.- Sí, iremos. Aunque lluevan las dificultades.#10minutosconJesús** Ponte en presencia de Dios. Trata de hablar con Él. ** 10 minutos son 10 minutos aunque te puedas distraer. Llega hasta el final. ** Sé constante. El Espíritu Santo actúa “a fuego lento” y requiere constancia.Audios de 10 minutos que te ayudan a rezar. Un pasaje del Evangelio, una idea, una anécdota y un sacerdote que te habla y habla al Señor invitándote a compartir tu intimidad con Dios.Busca tu momento, piensa que estás con Él y dale al play.Toda la info en nuestra web: www.10minutosconjesus.orgdiezminutosconjesus@gmail.comPara recibir cada día tu meditación por Whatsapp pulsa aquí:http://dozz.es/nu36t

durée : 00:59:21 - Disques de légende du jeudi 23 décembre 2021 - Le Stabat Mater de Rossini dirigé par Myung-Wun Chung est notre disque de légende du jour !

... kann man niemals mehr aussteigen aus dem Beruf des Komponierens.» Da ist eine grosse Dringlichkeit, wenn Iris Szeghy über ihre Werke spricht. Zum Beispiel über «Stabat mater» von 2014: Es sei eine Metapher für jede Mutter der Welt, die ihr unschuldiges Kind durch gesellschaftliche Gewalt verloren habe. Iris Szeghy ist mutig mit der Auswahl der Themen für ihre Werke. Und die Dringlichkeit ist denn in ihrem Stabat Mater auch zu hören: Im letzten Satz liest die Sopranistin im Wechsel mit einem Klagegesang die Namen von Opfern, die in den letzten Jahrhunderten willkürlich wegen gesellschaftlich-politischer Umstände zu Tode kamen. Andere Werke der aus der Slowakei stammenden Komponistin sind leiser und poetischer, etwa «im Park meines Vaters» für Orchester von 2015: Eine Art Porträts von sechs verschiedenen Bäumen, in Erinnerung an den verstorbenen Vater von Iris Szeghy, der Astronom und Botaniker war.

Der mittelalterliche Text des "Stabat mater" lässt uns die Kreuzigung Jesu durch die Augen seiner Mutter Maria erleben. Pergolesi hat mit seiner berühmten Vertonung ein empfindsames Stück Sakralmusik geschaffen.

Qu'est-ce qui caractérise, au fond, le répertoire baroque ? Pauline Lambert et Christophe Rousset évoquent cette musique parfois bizarre, sérieuse, sensuelle ou comique, toujours foisonnante et même triomphante à l'époque baroque.     Générique : ·  Nyman, Meurtre dans un jardin anglais (BO du film), Michael Nyman Band Références musicales :   · Gesualdo, 4e livre de madrigaux, “Moro, e mentre sospiro”, Les Arts Florissants, Paul Agnew (dir.)  · Monteverdi, Le Retour d'Ulysse dans sa patrie, “Di misera regina”, Bernarda Fink, Concerto vocale, René Jacobs (dir.)  · Monteverdi, Le Retour d'Ulysse dans sa patrie, “Pastor gentil”, Guy de Mey, Concerto vocale, René Jacobs (dir.)  · Monteverdi, Le Couronnement de Poppée, “Pur ti miro”, Sylvia McNair, Dana Hanchard, English Baroque Soloists, Sir John Eliot Gardiner (dir.)  · Bach, Oratorio de Noël, Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner (dir.)  · Rameau, 6e Concert en sextuor, “La poule”, Les Talens Lyriques, Christophe Rousset (dir.)  · Rameau, Les Indes galantes, 2e entrée : Les Incas du Pérou, Purcell Choir, Monteverdi Orchestra, György Vashegyi (dir.)  · Rameau, Pièces de clavecin, Suite en mi mineur, gigue en rondeau, Christophe Rousset  · Gesualdo, 6e livre de madrigaux, “Moro, lasso al mio duolo”, Concerto Italiano, Rinaldo Alessandrini (dir.)  · Rameau, Pygmalion, Les Talens Lyriques, Christophe Rousset (dir.)  · Corelli, 1ère sonate pour violon op. 5, Stefano Montanari, Accademia Bizantina, Ottavio Dantone (dir.)  · Haendel, Le Messie, Les Arts Florissants, William Christie (dir.)  · Pergolesi, Stabat mater, Barbara Bonney, Andreas Scholl, Les Talens Lyriques, Christophe Rousset (dir.)   Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Luigi Pirandello (1867 - 1936)Superior stabat lupus Voce di Lorenzo Pieri (pierilorenz@gmail.com)

In unserer aktuellen "Musik der Woche"-Folge sprechen Dirigentin Marie Jacquot und Bahnrad-Olympiasigerin Miriam Welte, die beiden Hosts des Podcasts "Dein Weg. Dein Ziel." über den 3. Satz aus Antonín Dvoráks "Stabat mater".

In this special edition of Behind the Curtain, LA Opera's Richard Seaver Music Director, James Conlon contemplates some of the rich musical works, oratorios, opera and stage festival plays, that have been associated with Easter traditions and celebrations. Works featured include: Messiah by George Frideric Handel https://www.youtube.com/watch?v=r68P8TBWiIQ St. Matthew Passion, BWV 244 by Johann Sebastian Bach https://youtu.be/28bIf-OzKVE Anne Sofie von Otter - "Erbarme dich, mein Gott": https://youtu.be/r2C8TvF3dJk Easter Oratorio. BWV 249 by Johann Sebastian Bach https://youtu.be/xUKc_-x6v0M Stabat Mater by Antonín Dvořák https://youtu.be/MTPxgiAtTp0 https://youtu.be/BaKhp6voYdw Stabat Mater, Op. 53 by Karol Szymanowski https://youtu.be/soC2WFYgWH0 Quattro pezzi sacri: Stabat mater by Giuseppe Verdi https://youtu.be/HU9rqXpYWJk Christus by Franz Liszt https://youtu.be/PteHCN8_fHk Parsifal - Act Three - Karfreitag (Good Friday) Excerpt by Richard Wagner https://youtu.be/z-vcbbRREUgKarfreitagrauber

durée : 00:12:17 - Pergolèse : Stabat Mater & Rossell : Salve Regina - Ensemble Resonanz, Riccardo Minasi - Ce matin le titre du disque du jour est décerné à Riccardo Minasi et son ensemble Resonanz qui nous proposent une nouvelle version du Stabat Mater de Pergolèse. L'œuvre d'un génie, mort à 26 ans, fait partie des miracles de la musique religieuse du XVIIIe siècle.

A. Vivaldi (1678-1741)- Stabat Mater Rv 621- Nisi Dominus Rv 628- Salve Regina Rv 616James Bowman controtenoreAndreas Scholl controtenorePaul Dyer direttoreChristopher HogwoodAcademy of Ancient Music

durée : 00:15:18 - Julien Chauvin et Le Concert de la Loge gravent le Stabat Mater et les Symphonies n° 84 & 86 de Joseph Haydn - Les "Symphonies Parisiennes" n° 84 dite la "Discrète" & n° 86 dite la "Capricieuse" et le "Stabat Mater" de Haydn sont ici interprétés par l’Ensemble Aedes et les solistes Florie Valiquette, Adèle Charvet, Reinoud Van Mechelen et Andreas Wolf. Disque paru le 12 février 2021, sous le label Aparté.

durée : 01:57:31 - En pistes ! du vendredi 05 mars 2021 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme les Romances sans paroles de Mendelssohn par Escenbach, Wintereise de Schubert avec Roderick Williams et Iain Burnside. Marianne Beate Kielland et Nils Anders Mortensen mettent à l'honneur des Lieder de Schumann. Découvrons le russe Nikolaï Miaskovski, Debussy et encore Georges Enesco. - réalisé par : Gilles Blanchard

durée : 00:22:28 - La Discothèque idéale de France Musique : Le Stabat Mater de Karol Szymanowski, par Witold Rowicki - Composé en 1925-1926, Karol Szymanowski propose un Stabat Mater dans lequel la puissance du chœur exalte l'expression d'une foi naïve et brute, traversé par des couleurs, rythmes et mélodies, polonaises. Witold Rowicki en donne une version "inouïe d'ampleur et de sincérité".

Simeon and Anna Ponder the Incarnation: Luke 2:25-40 Joseph and Mary had walked the six miles from Bethlehem to Jerusalem for a purpose. (Read verses 22-24) The Law of Moses declared a woman to be ceremonially unclean following childbirth. The birth of a son called for seven days of seclusion as "contagiously" unclean, followed by another 33 days of religious impurity, during which she was not to come into contact with holy things nor enter the sanctuary. In the case of the birth of a daughter the numbers were doubled. (See Leviticus, chapter 12) Joseph and Mary had come to the temple to offer the prescribed sacrifice for her purification: "a pair of doves or two young pigeons." They had brought Jesus, now 40 days old, "to present him to the Lord." This ritual requirement, the redemption of the firstborn son, memorialized God's sparing the firstborn of the Israelite families in Egypt the night the angel of the Lord slew the firstborn of all the Egyptians. (Read Exodus 13:11-16) The concept was that from that time on the firstborn belonged to the Lord. The firstborn animals were to be sacrificed to him; the firstborn sons were to serve him throughout their lives. In actual practice the Levites served in the place of the firstborn. (Read Numbers 3:5-13) The firstborn sons were to be redeemed, bought back from the Lord to live with their parents, through offering the appointed sacrifice. This ritual presentation of Jesus to the Lord and his redemption through the offering of a sacrifice were carried out by Joseph and Mary at the same time that she went through her rite of purification. 1. What is especially striking about these two parents acknowledging that their firstborn son belonged to God? Simeon, is introduced simply as "a man in Jerusalem." He was not particularly prominent in Jerusalem's religious circles, but had great spiritual qualifications: he was _________ and ________; he was waiting for the __________ __________, and the ________ __________ was upon him." 2. What does it mean that Simeon was "waiting for the consolation of Israel"? 3. What promise had the Holy Spirit made to Simeon? 4. How did Simeon recognize the baby Jesus as the Lord's Christ? Simeon's "song" of praise is called The Nunc Dimittis from its first words in Latin. In the fifth century it became part of Church's worship life and is still often used as a liturgical song that celebrates our seeing the Lord's Christ in Holy Communion. 5. What did Simeon say that made Joseph and Mary marvel? Simeon spoke of the destiny that awaited Mary’s son, a destiny that would have a direct effect on her. 6. What does it mean that Jesus would cause "the falling and rising of many in Israel"? (See 1 Peter 2:6-8) 7. How would Jesus be "a sign spoken against, revealing the thoughts of many hearts"? (See John 10:22-33) 8. When did a sword pierce Mary's soul? Anna is introduced, not just as "a woman" but as "a prophetess." Since she was a "fixture" in the temple, Anna's testimony about Jesus must have carried some weight with those who heard her. The Greek here is in the imperfect tense, indicating continuing action. 9. What do you think Anna said as she "kept on giving thanks to God and kept on speaking about the child to all who were looking forward to the redemption of Jerusalem"? Hint: lutroosis, the Greek word for “redemption” is the price for ransoming a slave or prisoner. 10. Could we say about our own children in our Christian homes, "They grew and became strong, filled with wisdom, and the grace of God was upon them"? Stabat mater dolorosa ("The sorrowful mother stood") At the Cross her station keeping, stood the mournful Mother weeping, close to her Son to the last. Through her heart, His sorrow sharing, all His bitter anguish bearing, now at length the sword has passed. O how sad and sore distressed was that Mother, highly blest, of the sole-begotten One. Christ above in torment hangs, she beneath beholds the pangs of her dying glorious Son. Is there one who would not weep, whelmed in miseries so deep, Christ's dear Mother to behold? Can the human heart refrain from partaking in her pain, in that Mother's pain untold? For the sins of His own nation, She saw Jesus wracked with torment, All with scourges rent: She beheld her tender Child, Saw Him hang in desolation, Till His spirit forth He sent. O thou Mother! fount of love! Touch my spirit from above, make my heart with thine accord: Make me feel as thou hast felt; make my soul to glow and melt with the love of Christ my Lord. Holy Mother! pierce me through, in my heart each wound renew of my Savior crucified: Let me share with thee His pain, who for all my sins was slain, who for me in torments died. Let me mingle tears with thee, mourning Him who mourned for me, all the days that I may live: By the Cross with thee to stay, there with thee to weep and pray, is all I ask of thee to give. Virgin of all virgins blest!, Listen to my fond request: let me share thy grief divine; Let me, to my latest breath, in my body bear the death of that dying Son of thine. Wounded with His every wound, steep my soul till it hath swooned, in His very Blood away; Be to me, O Virgin, nigh, lest in flames I burn and die, in His awful Judgment Day. Christ, when Thou shalt call me hence, be Thy Mother my defense, be Thy Cross my victory; While my body here decays, may my soul Thy goodness praise, Safe in Paradise with Thee. Jacopo da Todi (ca. 1230-1306) Simeon and Anna Ponder the Incarnation “Now That I’ve Held Him in my Arms” by Michael Card An old man in the temple, Waiting in the court, Waiting for the answer to a promise, And all at once he sees them In the morning sunshine A couple coming carrying a baby. “Now that I’ve held Him in my arms My life can come to an end. Let Your servant now depart in peace. I’ve seen Your salvation. He’s the Light of the Gentiles, And the glory of His people Israel.” Mary and the baby come. And in her hand five sheckels, The price to redeem her baby boy. The baby softly cooing, Nestled in her arms. Simeon takes the boy and starts to sing. “Now that I’ve held Him in my arms My life can come to an end. Let Your servant now depart in peace. I’ve seen Your salvation. He’s the Light of the Gentiles, And the glory of His people Israel.” And now’s the time to take Him in your arms. Your life will never come to an end. He’s the only way that you’ll find peace. He’ll give you salvation, He’s the Light of the Gentiles, And the glory of His people Israel. What must it have been like for Simeon to wait in the temple every day for the promise? What must it have been like for Simeon when he first laid eyes on Mary, Joseph and the Baby? What does it mean when Simeon said as he looked at the little baby, “I’ve seen your salvation”? Based on what we talked about earlier, why did Mary and Joseph have to pay a price to “redeem” their baby? How can you “take Him in your arms” this Christmas? What does it mean that “your life will never come to an end”? How will Christmas bring you real peace this year? Promises. In a way this song describes how before Jesus was born, waiting was the greatest part of faith. It speaks of the power a promise can have. Simeon was a man who received a very special promise from God. The promise? You will not die until you have seen the coming of the Messiah. For a Jewish man of faith, there was no greater promise. It became the nexus of his whole life. From that time on, Simeon spent the remainder of his days waiting, as did all the faithful who lived before the advent of Jesus. Having faith meant waiting for God to keep His promise. How good are you at waiting? Could you have done what Simeon had done? What promise of God are you waiting for Him to fulfill in your life? We really don’t know what Simeon was expecting, though we can guess. Perhaps he was looking for a king who would come in great glory, since that was the image of “Messiah” for many of his friends. Perhaps as he sat in the temple court, Simeon kept his eyes focused on the sky, waiting for the clouds to part and reveal a great and glorious king. Each sunbeam that broke through might be a sign that the promise was about to come true. Perhaps Simeon was expecting a warrior. Many were hoping the Messiah would be a warlike leader, especially a group of radicals know as the zealots. They saw the Messiah as someone who would forcefully get rid of the Romans. The point is, we do not know what Simeon was expecting, but we do know what he got. A little baby wrapped in rags, with paupers for parents. Jesus. A most unlikely person to change the world. When the Holy Baby appeared, cradled in His mother’s arms, what must have gone through Simeon’s mind when God pointed out to him that this was His Promised One? Simeon was wise enough to expect the unexpected from the Lord because he went straight to Mary and Joseph. Luke gives us the wonderful detail that he took Jesus and held Him in his arms. That, for me, is one of the most significant moments of the nativity narratives. In this one simple moment, two worlds meet. The Old Testament embraces the New. As Simeon took Jesus into his arms he responded poetically, perhaps even in a song, as Adam had first responded to Eve, as Mary had responded to the angel. The promise had become flesh. It was real. It was “the good news.” Why is the promise of Jesus not a promise anymore? (Hint: a promise is about something that is yet to come.) Would you say Christmas is more about remembering what was? What is? or What will be? It was for sure good news for Simeon to finally be able to embrace the Promised One. But far and away the best news of all is that He embraces us. That was the reason for His coming. Many people say, “I’ve asked Jesus into my life.” We should really say He has invited us into His life! That was the reason for Simeon’s song. Deep inside his tired old heart, he knew that the infant he held in his arms was in truth the One who had been holding him all his life long.

Lisa Streich, compositora nacida en Norra Råda (Suecia) en 1985, protagoniza esta edición de Ars Sonora. Streich estudió Composición y Órgano en diferentes ciudades europeas (Berlín, Estocolmo, Salzburgo, París, Colonia...), con profesores como Johannes Schöllhorn, Adriana Hölszky, Mauro Lanza y Margareta Hürholz, entre otros. También ha recibido enseñanzas de Chaya Czernowin, Steven Takasugi, Beat Furrer y Daniel Roth. Su música ha sido interpretada por agrupaciones como la Deutsche Symphonieorchester Berlin, el cuarteto Diotima, el Ensemble Recherche, el Nouvel Ensemble Moderne, el coro de cámara Eric Ericson o el coro de la radio de Suecia, en muy diversos países (Suecia, Alemania, Israel, Francia, Austria, Reino Unido, Japón, Canadá, Estados Unidos...) y en festivales e instituciones como MATA (Nueva York), Ultraschall (Berlín), Tzlil Meudcan (Tel Aviv), Ircam (París), Wien Modern (Viena) y, tal y como comprobaremos a través de un registro fonográfico, la catedral de Colonia. Los sonidos evanescentes, casi esquemáticos -que por momentos se arraciman en densos "clusters" en los que las alturas solamente se separan entre sí por cuartos de tono-, de una pieza como "Segel" (un trabajo de 2017, que presentamos en la versión de la Orquesta del Festival de Lucerna, dirigida por Gregor A. Mayrhofer) nos sirven para iniciar un recorrido que continúa con una obra para coro de doce voces, voz blanca solista, objetos y electrónica. Se trata de "Agnel", de 2012-2013, que nos traslada el conjunto vocal de la catedral de Colonia, dirigido por Eberhard Metternich, con David Isberner y Sebastian Kellner como solistas en la grabación del estreno de la obra en 2013. Tras las resonancias sacras de "Agnel", otra obra nos mantiene en el ámbito de la reinterpretación religiosa: "Pietà", para ensemble y "cello motorizado". La lectura de esta obra nos llega a través del ensemble hand werk, que incluye el clarinete de Heather Roche, la flauta de Daniel Agi, las percusiones de Jens Ruland, el piano de Christoph Stöber, la viola de Annegret Mayer-Lindenberg, el violín de Stefanie van Backlé y el instrumento solista de Niklas Seidl. La temática espiritual prosigue en "Stabat", de 2017, escrita para 32 voces divididas en cuatro coros, que nos sirve para cerrar este programa en la versión del conjunto Ut Insieme Vocale-Consonante, dirigido por Lorenzo Donati. Tal y como la ha descrito el musicólogo Rainer Nonnenmann, la música de Lisa Streich es "polifónica, ambigua, incongruente, poética y profana, tan contradictoria como la vida misma". Escuchar audio

durée : 00:13:45 - Disques de légende du jeudi 15 octobre 2020 - Un grand moment de musique ! En 2007, le chef d'orchestre Jean-Christophe Spinosi enregistre le Nisi Dominus et le Stabat Mater de Vivaldi avec son Ensemble Matheus, la contralto Marie-Nicole Lemieux et le contreténor Philippe Jaroussky, pour le label Naïve.

ROSSINI: El Barbero de Sevilla (Obertura) (7.42). London Festival Orchestra. Dir.: A. Scholz. BEETHOVEN: Obertura Leonora nº 3, Op. 72A (14.44). Orq. Fil. de Berlín. Dir.: A. Vandernoot. PERGOLESI: Stabat mater dolorosa (Stabat mater) (3.27). J. Faulkner (sop.), A. Gonda (mez.), Camerata Budapest. Dir.: M. Halasz. BEETHOVEN: Sinfonía nº 3 en Mi bemol mayor, Op. 55 "Eroica" (Cuarto movimiento: Finale: Allegro) (12.04). Academy of Ancient Music. Dir.: C. Hogwood. Escuchar audio

Il y a des biographies trouées qui font des romans pleins. C’est la sensation que m’a laissée Shâb ou la nuit, l’un des romans de Cecile Ladjali qui écrit, par exemple :  «Cette manie que les phrases avaient de se dérober sous mes pieds comme un vieux tapis persan». Clin d’oeil aux origines iraniennes de celle qui fut adoptée en Suisse par un couple franco-algérien mutique, on est dans les années 70. Un début de récit familial autour d’une double énigme des origines qui va déterminer chez notre invité (agrégée de Lettres modernes) le lien à la langue, le lien a une certaine grammaire de la création. On aura l’occasion de se promener En Sol Majeur dans deux autres de ses romans Illettré et Benedict, tous parus chez Actes Sud. (Rediffusion du 17 février 2018) Les choix musicaux de Cécile Ladjali Mozart Requiem Lacrimosa David Bowie Heroes Wagner Tristan und Isold, La mort d'Isold ou Pergolese, Stabat mater : 1er Mvt

Den italienska konstnären Artemisia Gentileschi är berömd för sina tavlor över kvinnor som dödar och halshugger män. Vi dyker ner i de bibliska berättelserna bakom, hennes biografi och det råa livet som konstnär i 1600-talets Neapel.Musik: ”Chorus grave” ur "Stabat mater" av Giovanni Battista Pergolesi från European ArchiveBild: "Judith och Holofernes" av Artemisia Gentileschi / Wikimedia Commons See acast.com/privacy for privacy and opt-out information.

durée : 00:25:11 - Jolivet "Concerto pour piano" - par : Anne-Charlotte Rémond - Le Festival de Strasbourg est le plus ancien de France. On y entend des œuvres classiques et quelques créations. Le 13 juin 1951, le public a très bien accueilli la création du Stabat mater de Poulenc ce qui ne fut pas le cas du Concerto pour piano de Jolivet, créé le 19 juin.. au milieu des huées. - réalisé par : Philippe Petit

Corrado Tranzi, fino a ventiquattr'anni disprezzatore implacabile di tutte le donne, implacabile derisore di tutti gli uomini che se n'innamoravano, appena presa la laurea di dottore in medicina, chiamato per un caso d'urgenza mentre di buon mattino stava a concertare una partita di caccia nella farmacia d'un amico - (il bel cielo? il tepore della primavera imminente? qualche sogno della notte?) - s'innamorò anche lui tutt'a un tratto, proprio in quella sua prima visita di medico. [...]

Corrado Tranzi, fino a ventiquattr'anni disprezzatore implacabile di tutte le donne, implacabile derisore di tutti gli uomini che se n'innamoravano, appena presa la laurea di dottore in medicina, chiamato per un caso d'urgenza mentre di buon mattino stava a concertare una partita di caccia nella farmacia d'un amico - (il bel cielo? il tepore della primavera imminente? qualche sogno della notte?) - s'innamorò anche lui tutt'a un tratto, proprio in quella sua prima visita di medico. [...]

Ovim podcastom predstavit ćemo događaje u Knjigozemskoj i na nezavisnoj sceni u Zadru. U prvoj epizodi: izložba "Nezavisni prostori - prostori nezavisnih" i razgovor sa Matijom Mrakovčić iz udruge Kurziv i Dinkom Štimcem iz saveza udruga Clubturepredstavljanje "ZaBLUDé", četvrtog broja fanzina knjigozemske i dokumentarnog filma "The Lovetts" redatelja Igora BezinovićaMeđunarodna mail art izložba "MAN on the MOON"Musical "Stabat mater Dolorosa" poljskog punk dueta Siksakampanja "16 dana aktivizma protiv rodno uvjetovanog nasilja" Pridružite se toj kampanji putem facebook stranice udruge antifjaka: https://www.facebook.com/antifjaka ! Radio Knjigozemska možete kontaktirati putem facebooka, https://www.facebook.com/knjigozemska , ili maila, knjigozemska.zadar@gmail.com

durée : 01:59:23 - Portrait de Dinorah Varsi - par : Lionel Esparza - Un portrait de la pianiste uruguayenne Dinorah Varsi, le dernier disque de Christophe Rousset, et notre rubrique Disques de légende consacrée à la version du Stabat Mater de Vivaldi enregistrée par Christopher Hogwood dans les années 70. - réalisé par : Antoine Courtin

durée : 00:13:01 - Christopher Hogwood dirige le Stabat Mater de Vivaldi - Le chef d'orchestre britannique Christophe Hogwood enregistre en 1976 pour le label L'Oiseau Lyre le Stabat Mater et le Nisi Dominus d'Antonio Vivaldi, un disque qui va connaitre un succès énorme à sa sortie, tant en Angleterre qu'à l'international.

durée : 00:25:11 - Poulenc, Stabat Mater - par : Anne-Charlotte Rémond - Fin août 1950, Francis Poulenc compose les premières notes de son "Stabat Mater" qu'il a dédié à la mémoire de son ami Christian Bérard. Dans Musicopolis, Anne-Charlotte Rémond vous dit tout de cette oeuvre, de sa genèse jusqu'à sa création ! - réalisé par : Philippe Petit

Gillespie and Riley read and discuss John Bunyan's "The Pilgrim's Progress." This week, chapter one, The City of Destruction. We talk about apocalyptic literature, our old friend Plato, the necessity of a real present tense Jesus, and why Riley's version of The Pilgrim's Progress would be a pamphlet. Text: The Pilgrims Progress in Modern English Hardcover – 1979 Show Notes:  Order “Crucifying Religion” by Riley Donavon Riley on 1517, FB, and Instagram Wit (play) - HBO version Stabat mater Runaway Bunny Where the Wild Things Are Puritans (wiki)   — Questions? Comments? Show Ideas? Send them to us at BannedBooks@1517.org. Please subscribe, rate, and review the show on Apple Podcasts: https://itunes.apple.com/us/podcast/banned-books-podcast/id1370993639?mt=2. We’re proud to be part of 1517 Podcasts, a network of shows dedicated to delivering Christ-centered content through weekly, monthly, and seasonal audio platforms. Our podcasts cover a multitude of content, from Christian doctrine, apologetics, cultural engagement, and powerful preaching. Support the work of 1517 today. And as always, don't forget Gillespie's coffee for your caffeinated needs and especially the 1517 Reformation Roast

Am 2. März präsentiert der Chor des Bayerischen Rundfunks im Münchner Prinzregententheater unter der Leitung von Howard Arman subtile, ergreifende geistliche Musik. Zu hören sind das "Stabat mater" von Dvorák in der kammermusikalischen Frühfassung, sowie Chöre von Arvo Pärt und der tschechischen Komponistin Lubica Cekovská. Mit BR-KLASSIK hat Howard Arman über das Programm gesprochen.

Kuulame Belgia vokaalansambli Graindelavoix albumillt "The Liberation of the Gothic" inglise autori John Browne'i teoseid "Salve Regina" ja "Stabat mater". Kommenteerib ansambli liige Marius Peterson.

Kuulame Belgia vokaalansambli Graindelavoix albumillt "The Liberation of the Gothic" inglise autori John Browne'i teoseid "Salve Regina" ja "Stabat mater". Kommenteerib ansambli liige Marius Peterson.

"Rossini's Stabat mater is a longstanding specialty of Mr. Muti's. It moves in several directions at once: the arias are as operatic as can be, yet the two unaccompanied choruses are sublimely devotional. The music is unquestionably dramatic: not the extroverted drama of a costumed operatic pageant, but of a prayerful supplicant's interior passion" (The New York Times). Riccardo Muti leads the CSO, Chicago Symphony Chorus and internationally celebrated singers in Rossini's dramatic and thrilling Stabat mater. Lovers of opera and choral works alike will not want to miss this remarkable program that also features Mozart's Kyrie in D Minor and the haunting Chant sur la mort de Joseph Haydn by Cherubini, whom Beethoven considered the greatest of his contemporaries.

En este programa vamos a conocer una curiosa historia que relaciona al gran compositor Gioachino Rossini con la ciudad de Madrid. Además de que su mujer era una soprano madrileña, el mecenas D. Manuel Fernández Varela encargó a Rossini su obra Stabat Mater que se estrenó en el teatro de la Cruz en Madrid en 1833. Sin embargo, la historia no acaba aquí... Si os apetece descubrirla, escuchad este programa, una entrega más de nuestra sección de música y Madrid #NocheEnElReal dirigida por El Conde de Almaviva (@Ranenher). _______________________________________________________________ GUÍA PARA LA ESCUCHA 00:00 Presentación. El Stabat Mater de Rossini. 00:07 Semblanza de Rossini (Episodios Nacionales de Galdós) 00:13 La vida de Rossini en la época. 00:30 Los cantantes de las obras rossinianas. 00:35 La obra Stabat Mater. Secciones. 00:35 1. Introdución “Stabat mater dolorosa” 00:36 2. Aria (Tenor) “Cujus animan gementem” 00:40 3. Dueto (Soprano y mezzo) “Quis est homo” 00:42 4. Aria (Bajo) “Pro peccatis suae gentis” 00:43 5. Coro y recitativo (Bajo) “Eja, mater, fons amoris” 00:46 6. Cuarteto (Solistas) “Sancta ,mater, istud agas” 00:47 7. Cavatina (Mezzo) “Fac, tu portem Christi mortem” 00:49 8. Aria (Soprano) “Inflammatus et accensus” 00:51 9. Cuarteto “Quando corpus morietur” 00:56 Despedida y cierre. 10. Final “Amen. In sempiterna saecula” _______________________________________________________________ MÚSICA QUE PUEDE ESCUCHARSE EN ESTE PROGRAMA: - Obertura El barbero de Sevilla. - Preludio Guillermo Tell. London Philharmonic, Alfred Scholz. - Una voce poco fa. El barbero de Sevilla. María Bayo en el papel de Rosina. Orquesta del Teatro Real de Madrid. Coro de la Comunidad de Madrid. Director Musical: Gianluigi Gelmetti. - Stabat Mater. Rossini. Versión (1971) London Symphony Orchestra and Chorus (Director coro: Arthur Oldham). Director: István Kertész. Solistas: Soprano: Pilar Lorengar, Mezzo-soprano: Yvonne Minton, Tenor: Luciano Pavarotti y Bajo: Hans Sotin. ___________ En este programa de La Noche en el Real (#NocheEnElReal), sección musical de PodCastizo dirigida por El Conde de Almaviva (@Ranenher), han intervenido: Sara Black (@smorenab) y El Conde de Almaviva (@Ranenher). ___________ ¡Escríbenos! Puedes contactar con nosotros en: www.podcastizo.com Twitter: @PodCastizo Correo: oyentes@podcastizo.com También estamos en Facebook e Instagram. ________________________________________________________________ Todos los audios de PodCastizo se distribuyen bajo licencia Creative Commons: Licencia Reconocimiento-NoComercial-SinObraDerivada 4.0 Internacional. Esta licencia está permanentemente ubicada en http://creativecommons.org/licenses/by-nc-nd/4.0/. “PodCastizo” (R) Es una marca registrada. Todos los derechos reservados.

En este programa vamos a conocer una curiosa historia que relaciona al gran compositor Gioachino Rossini con la ciudad de Madrid. Además de que su mujer era una soprano madrileña, el mecenas D. Manuel Fernández Varela encargó a Rossini su obra Stabat Mater que se estrenó en el teatro de la Cruz en Madrid en 1833. Sin embargo, la historia no acaba aquí... Si os apetece descubrirla, escuchad este programa, una entrega más de nuestra sección de música y Madrid #NocheEnElReal dirigida por El Conde de Almaviva (@Ranenher). _______________________________________________________________ GUÍA PARA LA ESCUCHA 00:00 Presentación. El Stabat Mater de Rossini. 00:07 Semblanza de Rossini (Episodios Nacionales de Galdós) 00:13 La vida de Rossini en la época. 00:30 Los cantantes de las obras rossinianas. 00:35 La obra Stabat Mater. Secciones. 00:35 1. Introdución “Stabat mater dolorosa” 00:36 2. Aria (Tenor) “Cujus animan gementem” 00:40 3. Dueto (Soprano y mezzo) “Quis est homo” 00:42 4. Aria (Bajo) “Pro peccatis suae gentis” 00:43 5. Coro y recitativo (Bajo) “Eja, mater, fons amoris” 00:46 6. Cuarteto (Solistas) “Sancta ,mater, istud agas” 00:47 7. Cavatina (Mezzo) “Fac, tu portem Christi mortem” 00:49 8. Aria (Soprano) “Inflammatus et accensus” 00:51 9. Cuarteto “Quando corpus morietur” 00:56 Despedida y cierre. 10. Final “Amen. In sempiterna saecula” _______________________________________________________________ MÚSICA QUE PUEDE ESCUCHARSE EN ESTE PROGRAMA: - Obertura El barbero de Sevilla. - Preludio Guillermo Tell. London Philharmonic, Alfred Scholz. - Una voce poco fa. El barbero de Sevilla. María Bayo en el papel de Rosina. Orquesta del Teatro Real de Madrid. Coro de la Comunidad de Madrid. Director Musical: Gianluigi Gelmetti. - Stabat Mater. Rossini. Versión (1971) London Symphony Orchestra and Chorus (Director coro: Arthur Oldham). Director: István Kertész. Solistas: Soprano: Pilar Lorengar, Mezzo-soprano: Yvonne Minton, Tenor: Luciano Pavarotti y Bajo: Hans Sotin. ___________ En este programa de La Noche en el Real (#NocheEnElReal), sección musical de PodCastizo dirigida por El Conde de Almaviva (@Ranenher), han intervenido: Sara Black (@smorenab) y El Conde de Almaviva (@Ranenher). ___________ ¡Escríbenos! Puedes contactar con nosotros en: www.podcastizo.com Twitter: @PodCastizo Correo: oyentes@podcastizo.com También estamos en Facebook e Instagram. ________________________________________________________________ Todos los audios de PodCastizo se distribuyen bajo licencia Creative Commons: Licencia Reconocimiento-NoComercial-SinObraDerivada 4.0 Internacional. Esta licencia está permanentemente ubicada en http://creativecommons.org/licenses/by-nc-nd/4.0/. “PodCastizo” (R) Es una marca registrada. Todos los derechos reservados.

¿Quién fue Antonio Vivaldi? ¿Dónde nació? ¿Qué obras compuso? En este episodio los pequeños conocerán a Vivaldi y escucharán algunas de sus obras más conocidas. Conocerán también qué es un “concierto” y cuál es el concierto más famoso de este magnífico compositor.  Las notas del episodio en www.allegromagico.com/24. En este episodio vas a escuchar: [00:33] L'estro armonico No. 12 in E Major, Op. 3, RV 265_ I. Allegro [04:07] Gloria in D Major, RV 589_ Gloria in excelsis [05:38] Concerto in F Major for 2 Oboes, Bassoon, 2 Horns, Violin & Strings RV571_ I. Allegro [07:09] Stabat Mater, RV 621_ I. Stabat mater dolorosa (Largo) [09:14] Flute Concerto No. 4 in G Major, RV 435_ II. Largo [10:19] L'estro armonico No. 7 in F Major, Op. 3 (RV 567)_ III. Allegro [11:52] Flute Concerto No. 5 in F Major, RV 434_ III. Presto [12:08] Oboe Concerto in C Major, RV 452_ I. Allegro [12:19] Cello Concerto in D Major_ IV. Allegro vivace [12:33] Guitar Concerto in D Major_ I. Allegro [12:57] Mandolin Concerto in C Major, RV 425_ III. Allegro [14:00] Concerto for 2 Trumpets and String Orchestra in C Major, RV 537_ I. Allegro [15:31] Concerto for 2 Violins and Strings in A Major _Per Eco__ I. Allegro [17:59] Concerto for 2 Oboes and 2 Clarinets in C Major, RV 560_ I. Larghetto-Allegro [19:26] The four Seasons, Summer, Op. 8_2_ III. Presto. Tempo impettuoso d’Estate [19:51] The four seasons, Autumn, Op. 8_3_ III.Allegro (La caccia) [20:21] The four Seasons, Winter, Op. 8_4_ I. Allegro non molto [21:10] The four seasons, Spring, Op. 8_1_ I. Allegro   Si te gusta el episodio, califícalo en tu app favorita (Podcasts iTunes, iVoox) o puedes dejar tu review. :)    No te pierdas ningún episodio. Súscríbete al newsletter en allegromagico.com/suscribirme.    Síguenos en: Facebook, Twitter, Instagram y Pinterest.  Únete a la comunidad de padres y profesores de Allegro Mágico en allegromagico.com/comunidad.

Sausio 13-oji primena mums ne tik svarbų Lietuvai istorinį įvykį, bet ir stiprią mūsų dvasinės kultūros pamoką. Lietuvos valstybingumo 100-mečiui skirtoje „Audiologų“ rubrikoje skamba 1954-1955 metų kūrinių fragmentai, kurie asocijuojasi su viltimi ir laisve.Juliaus Gaidelio instrumentinė muzika (nuo 1:45 ir 38:15) bei Kazimiero Viktoro Banaičio operos „Jūratė ir Kastytis“ epizodas (50:27) sutaria ir su Karolio Szymanowskio stambios formos kūriniais, kurie savo dvasia labai artimi laidos temai. Skamba simfonijos „Giesmė apie naktį“ (XIII amžiaus persų poeto Jallal-al-din Rumi eilės) ir oratorijos „Stabat mater“ finalas.

Sausio 13-oji primena mums ne tik svarbų Lietuvai istorinį įvykį, bet ir stiprią mūsų dvasinės kultūros pamoką. Lietuvos valstybingumo 100-mečiui skirtoje „Audiologų“ rubrikoje skamba 1954-1955 metų kūrinių fragmentai, kurie asocijuojasi su viltimi ir laisve.Juliaus Gaidelio instrumentinė muzika (nuo 1:45 ir 38:15) bei Kazimiero Viktoro Banaičio operos „Jūratė ir Kastytis“ epizodas (50:27) sutaria ir su Karolio Szymanowskio stambios formos kūriniais, kurie savo dvasia labai artimi laidos temai. Skamba simfonijos „Giesmė apie naktį“ (XIII amžiaus persų poeto Jallal-al-din Rumi eilės) ir oratorijos „Stabat mater“ finalas.

I programmet diskuteras musik av Selim Palmgren, Timothy Fallon sjunger sånger av Franz Liszt, Molinari-kvartetten spelar György Kurtág samt Dvoráks Stabat mater med Jiri Belohlávek på pulten. Söndag den 12 nov 12.00 14.00 I panelen Boel Adler, Hans Häggström och Måns Tengnér som tillsammans med programledaren Johan Korssell betygsätter följande skivor: SELIM PALMGREN Pianokonserter nr 4 och 5, Pastoral i tre scener, Exotisk marsch Janne Mertanen, piano Pori sinfonietta Jan Söderblom, Dirigent Alba ABCD 400 FRANZ LISZT 15 sånger Timothy Fallon, tenor Ammiel Bushakevitz, piano Bis SACD 2272 GYÖRGY KURTÁG Stråkkvartetterna Molinari-kvartetten Atma Classique ACD2 2705 ANTONÍN DVORÁK Stabat mater Eri Nakamura, sopran, Elisabeth Kulman, mezzosopran, Michael Spyres, tenor, Jongmin Park, bas Prags filharmoniska kör Tjeckiska filharmonin Jiri Belohlávek, dirigent Decca 483 1510 (2) Referensen Dvoráks Stabat mater Johan jämför med och refererar till en inspelning av Dvoráks Stabat mater med solister, Collegium Vocale, Gent samt Flamländska filharmonin, Bryssel allt under ledning av Philippe Herreweghe på egna märket PHI.  Alexanders val Alexander Freudenthal väljer ur en box med 70 CD Complete Recordings on Deutsche Grammophon, vilken innehåller Amadeuskvartettens kompletta utgivning på Deutsche Grammophon, Decca och Westminster.  Andra i programmet nämnda eller rekommenderade inspelningar: Selim Palmgrens pianokonserter med solisterna Eero Heinonen (nr 1) Juhani Lagerspetz (nr 2 & 4) Matti Raekallio (nr 3) Raija Kerppo (nr 5) alla ackompanjerade av Åbo stadsorkester ledda av Jacques Mercier på skivmärket Finlandia samt med pianisten Henri Sigfridsson och Pori sinfonietta ledda av Jan Söderblom (nr 1 3) inspelad på Alba. Selim Palmgrens pianostycken Majnatt och Månsken Franz Liszts sånger i komplett utförande med olika solister ackompanjerade av Julius Drake i 4 volymer på Hyperion. Där nämndes särskilt tenoren Matthew Polenzani (vol 1) och barytonen Gerald Finley (vol 3); med Barbara Bonney ackompanjerad av Antonio Pappano på Decca samt med Thomas Hampson ackompanjerad av Geoffrey Parsons på skivmärket EMI. Kurtágs stråkkvartetter med Keller-kvartetten på ECM samt med Athena-kvartetten på Neos Productions.   Kurtágs orkesterstycke Stele, Symphonie funèbre med Berlins filharmoniker ledd av Claudio Abbado på DGG. Dvoráks Stabat mater med solister tillsammans med Londons filharmoniker & kör ledda av Neeme Järvi på egna märket LPO; med solister tillsammans med Bayerska radions kör och symfoniorkester under ledning av Mariss Jansons på BR Klassik; solister, Prags filharmoniska kör och symfoniorkester under Jiri Belohlávek på Supraphon; med solister, Prags filharmoniska kör och Tjeckiska filharmonin under Jiri Belohlávek på Chandos;  solister, Tjeckiska filharmonins kör & orkester ledda av Vaclav Talich på Supraphon; solister, Bayerska radions kör och orkester dirigerade av Rafael Kubelik på DGG samt med solister Collegium Vocale Gent, Flamländska filharmonin, Bryssel ledda av Philippe Herreweghe (Referensen). Dvoráks Requiem som dirigerades av Jiri Belohlávek i London i april 2017.  Svepet Johan sveper över ett album innehållande Peter Tjajkovskijs balett Törnrosa där Vladimir Jurowski leder ryska Svetlanov-orkestern. Skivan som består av 2 CD är utgiven på ICA Classics.

Karl jenkins Stabat mater Rehearsal at 10 Oct 2015

Caroline Gill with a personal recommendation from recordings of Vivaldi's intensely personal Stabat mater