Te Deum - Te Deum \Te Deum is a hymn of praise of uncertain authorship. Some scholars have suggested that the hymn is the merger of two (or more) earlier hymns: one to the Christian God, another to God the Son in particular. Under this schema, the second begins with the phrase Tu rex gloriae, Christe. It is known that the petitions at the end of the hymn are of later composition. The hymn remains in regular use by the Roman Catholic Church, in the Office of Readings found in the Liturgy of the Hours, and for special occasions such as the canonization of a saint. The popularity of its sentiment has given rise to its translation into languages other than the original Latin; an example in contemporary English.
Jean-Baptiste Lully - music to Louis XIV and director of the Paris opera. The influence of his music produced a radical revolution in the style of the dances of the court itself. Instead of the slow and stately movements which had prevailed until then, he introduced lively ballets of rapid rhythm. In 1662 he was appointed music master to the royal family. In 1681 he was made a court secretary to the king and ennobled. While directing a Te Deum on January 8, 1687 with a rather long baton he injured his foot so seriously that (so it is said) it turned gangrenous, resulting in his death on the 22nd of March. Having found a congenial poet in Quinault, Lully composed twenty operas, which met with a most enthusiastic reception. Indeed he has good.
Catechism - the most important of these schools is held by tradition to have been established by Mark the Evangelist, in Alexandria, Egypt. In his Ecclesiastic History, Eusebius recounts the legend that Mark came to Egypt during the first or third year of the Roman Emperor Claudius, and he returned to preach and evangelize in Alexandria, between 61 and 68 A.D. This is the school of theology where Clement of Alexandria and Origen were teachers. Through schools such as this, summaries of doctrine were produced with a view to carefully and methodically hand down the teaching of the Church. The Nicene creed was taught in the Greek churches, and the Apostles' Creed was dominant in the Latin Church as a summary of what must be believed, the Lord's Prayer was taught as the.
Renata Tebaldi - when she auditioned in Milanfor Arturo Toscanini. Toscanini was favorably impressed, and Tebaldi made her La Scala debut that year at the concert which marked the reopening of the theater after World War II had ended. She sang the "Prayer" from Rossini's biblical opera, Mose, as well as the soprano part in Verdi's Te Deum. Tebaldi made her American debut as Aïda at the San Francisco Opera, followed soon after by her Metropolitan Opera debut on January 31, 1955, as Desdemona opposite Mario del Monaco's Otello. She then began appearing regularly at the Met as Mimi in La Bohème, Cio-Cio-San in Madama Butterfly, Tosca, Desdemona, Manon, and Violetta in a staging of La Traviata ccreated specially for her. For the 1962/1963 season, Tebaldi convinced the director of the Met, Rudolf Bing.
Krzysztof Penderecki - in the 1960s. The tendency in recent years has been towards more conservative romanticism, however, as seen in works like the Cello Concerto No. 2 and the Credo. Table of contents showTocToggle("show","hide") 1 Selected Works 1.1 Operas 1.2 Orchestral and instrumental 2 Choral works Selected Works Operas The Devils of Loudon (1969), based on the novel by Aldous Huxley of the same name Paradise Lost (1978), based on the epic poem by John Milton The Black Mask (1984) Ubu Rex (2003) Orchestral and instrumental Threnody to the Victims of Hiroshima (1960), probably Penderecki's best known piece Polymorphia (1961) Canon (1963) Capriccio (1967) String Quartet (1968) Cello Concerto No. 1 (1972) Symphony No. 1 (1973) Violin Concerto (1977) Adagietto from Paradise Lost (1979) Symphony No. 2 (1980) Capriccio (1980) Cello Concerto No..
Jean François Lesueur - Paris. At the foundation of the Paris Conservatoire (1795), Lesueur was appointed one of its inspectors of studies, but was dismissed in 1802, owing to his disagreements with Etienne Méhul. Lesueur succeeded Giovanni Paisiello as Maestro di cappella to Napoleon, and produced (1804) his Ossian at the Opera. He also composed for the emperor's coronation a mass and a Te Deum. King Louis XVIII, who had retained Lesueur in his court, appointed him (1818) professor of composition at the Conservatoire; and at this institution he had, among many other pupils, Hector Berlioz, Ambroise Thomas, Louis Désir, Carlo Besozzi and Charles Gounod. Lesueur composed eight operas and several masses, and other sacred music. See Raoul Rochette, Les Ouvrages de M. Lesueur (Paris. 1819). Reference This entry incorporates public domain text originally from.
Johann Christian Bach - he studied under Giovanni Baptista Martini, and from 1760 to 1762 held the post of organist at Milan cathedral, for which he wrote two Masseses, a Requiem, a Te Deum and other works. Having also gained some reputation as a composer of opera, he was in 1762 invited to London and there spent the rest of his life. For twenty years he was the most popular musician in England, his dramatic works, produced at the King’s theatre, were received with great cordiality, he was appointed music master to the Queen, and his concerts, given in partnership with Abel at the Hanover Square rooms, soon became the most fashionable of public entertainments. He is of some historical interest as the first composer who preferred the pianoforte to the older keyed-instruments; but his.
Henry Purcell - spoken dialogue from beginning to end; and the music is of the most genial character—a veritable inspiration, overflowing with spontaneous melody, and in every respect immensely in advance of its age. It never found its way to the theatre, though it appears to have been very popular among private circles. It is believed to have been extensively copied, but one song only was printed by Purcell's widow in Orpheus Britannicus, and the complete work remained in manuscript until 1840, when it was printed by the Musical Antiquarian Society, under the editorship of Sir George Macfarren. In 1682 Purcell was appointed organist of the chapel-royal, vice Edmund Lowe deceased, an office which he was able to hold conjointly with his appointment at Westminster Abbey. He had recently married, his eldest son being.
Giuseppe Verdi Compositions - adapted by Charles Nuitter & Camille du Locle. Don Carlo [rev 2 of Don Carlos] (10.1.1884 Teatro alla Scala, Milan). Opera in 4 acts. Don Carlo [rev 3 of Don Carlos] (29.12.1886, Modena). Opera in 4 acts. Otello (5.2.1887 Teatro alla Scala, Milan). Opera in 4 acts, Arrigo Boito, after William Shakespeare's Othello. Falstaff (9.2.1893 Teatro alla Scala, Milan). Opera in 3 acts, Arrigo Boito, after William Shakespeare's Falstaff and Henry IV, (1 & 2). Other Works Inno delle Nazioni (1862, London) String Quartet in e (1873) Requiem (22.5.1874, Church of San Marco, Milan): mass in memory of Alessandro Manzoni, for four solo voices, chorus, and orchestra Pater noster (1873): for 5-part chorus Ave Maria (1880): for soprano and strings Quattro Pezzi sacri (7.4.1898, Grande Opéra, Paris): Ave Maria: for mixed.
Edmund Campion - preached on July 14 and the following day, by popular request. Here he was captured by a spy and taken to London, bearing on his hat a paper with the inscription, "Campion, the Seditious Jesuit." Committed to the Tower of London, he was questioned in the presence of Elizabeth, who asked him if he acknowledged her to be true Queen of England. He replied in the affirmative, and she offered him wealth and dignities, on conditions which his conscience could not allow. He was kept a long time in prison, twice racked by order of the council, and every effort was made to shake his constancy. Despite the effect of a false rumour of retraction and a forged confession, his adversaries in despair summoned him to four public conferences (1st, 18th,.
Abbreviation - century. Table of contents showTocToggle("show","hide") 1 The 1911 list of abbreviations 1.1 Classical abbreviations 1.2 Medieval abbreviations 1.3 Abbreviations now in use (1911) 1.3.1 Abbreviated titles and designations 1.3.2 Abbreviations denoting monies, weights, and measures 1.3.3 Miscellaneous abbreviations The 1911 list of abbreviations Classical abbreviations The following list contains a selection from the abbreviations that occur in the writings and inscriptions of the Romans: A. Absolvo, Aedilis, Aes, Ager, Ago, Aio, Amicus, Annus, Antiquo, Auctor, Auditor, Augustus, Aulus, Aurum, Aut. A.A. Aes alienum, Ante audita, Apud agrum, Aurum argentum. AA. Augusti. AAA. Augusti tres. A.A.A.F.F. Auro argento acre flando feriundo.1 A.A.V. Alter ambove. A.C. Acta causa, Alins civis. A.D. Ante diem A.D.V. Ante diem quintum. A.D.A. Ad dandos agros. AEO. Aedes, Aedilis, Aedilitas. AEM. and AIM. Aemilius, Aemilia. AER. Aerarium. AER.P..
Anton Bruckner - to despite being somewhat repetitive. Finally, Bruckner's Symphony No. 5 in B flat minor crowns this productive era of symphony-writing, finished at the beginning of 1876. Unfortunately the original version seems unrecoverable and we know only the thoroughly revised version of 1878. Many consider this symphony to be Bruckner's lifetime masterpiece in the area of counterpoint. For example, the Finale is a combined fugue and sonata form movement. Symphony No. 6 in A major, written in 1879-1881, is an oft-neglected work. Whereas the Bruckner rhythm (3+2) is completely absent from the previous Symphony, in this one it permeates everything, appearing in the first movement in multiple simultaneous instances overlaid in divergent patterns resulting in rhythmic complexity. Perhaps the rhythmic difficulties of this work, especially in the first movement, are part of.
Battle of Dettingen - in alliance with those of Hanover and Hesse (the "Pragmatic Army" of 42,000 men), defeated a larger number of French under the duc de Noailles. In memory of this victory, Handel composed his Dettingen Te Deum..
Canonical hours - The major hours The major hours consist of Morning and Evening Prayer (or Vespers). The character of Morning Prayer is that of praise; of Evening Prayer, that of thanksgiving. Both follow the same format: a hymn, composed by the Church two psalms, or one long psalm divided into two parts, and a scriptural canticle a short passage from scripture a responsory, typically a verse of scripture, but sometimes liturgical poetry a canticle taken from the Gospel of Luke: the Canticle of Zechariah (Benedictus) for morning prayer, and the Canticle of Mary (Magnificat) for evening prayer intercessions, composed by the Church the Our Father the concluding prayer, composed by the Church The minor hours The daytime hours follow a simpler format: a hymn three short psalms, or, three pieces of longer psalms;.
Charles Villiers Stanford - in 1881 his first opera, The Veiled Prophet, was given at Hanover (revived at Covent Garden, 1893); this was succeeded by Savonarola (Hamburg, April, and Covent Garden, July 1884), and The Canterbury Pilgrims (Drury Lane, 1884). A long interval separates these from his later operas: Shamus O'Brien, a delightful piece of Irish dramatic writing (Opera Comique, 1896) and Much Ado About Nothing (Covent Garden, 1901). For the main provincial festivals, works by Stanford were commissioned as follows: "Orchestral serenade" (Birmingham, 1882) "Elegiac Ode" (Norwich, 1884) The Three Holy Children (Birmingham, 1885) The Revenge (Leeds, 1886) The Voyage of Maeldune (Leeds, 1889) The Battle of the Baltic (Hereford, 1891) Eden (Birmingham, 1891) The Bard (Cardiff, 1895) Phaudrig Crohoore (Norwich, 1896) Requiem (Birmingham, 1897) Te Deum (Leeds, 1898) The Last Post (Hereford, 1900).
Marc-Antoine Charpentier - later worked with Molière. His compositions include oratorios, masseses and operas. The introduction of his Te Deum is very well-known as the signature tune for Eurovision, heard in the opening credits of the Vienna New Year's Concert and the Eurovision Song Contest..
Mass in B Minor (Bach) - present an abbreviated Mass (Kyrie plus Gloria, BWV 232a) to the Saxon Elector Fredrich Augustus II as part of a request to add the title, "Electoral Saxon Court Composer," to his name, a political move he hoped would bolster his standing in Leipzig, where he was having minor political skirmishes with the town council. The score sat on Bach's, and the Elector's, shelves, unperformed, until 1737, when Bach revisited it. He began making small revisions to the Kyrie and Gloria and added the Credo and Sanctus over the next two years. In 1749, Bach was struck ill and spent several months in bed; the manuscript of these last parts of the Mass in B Minor, especially the Hosanna section of the Sanctus, are written in a wobbly, uneven hand, indicating that.
La Tosca - became a proverb: play with servants but respect saints), then goes away. Cavaradossi is alone when a noise reveals the presence of Angelotti, who comes out at the painter's invitation. Angelotti confesses that he has escaped from Castel Sant'Angelo (papal roman prison) and Cavaradossi gives him some food while Tosca is arriving. Angelotti hides again in his chapel. Floria Tosca is a singer, beloved by Cavaradossi; she is here to invite her lover Mario to a meeting later in the evening, but having heard voices by the closed door, she jealously imagines an intrigue with a woman, her fears being apparently confirmed by the picture. Appointed the meeting (Tosca: Non la sospiri la nostra casetta – “Our soft nest, hidden amid the trees.”) she departs. (Duet: Quale occhio al mondo –.
Vasco Nuñez de Balboa - Both the colony and Balboa himself thrived under his policies, making friends with surrounding peoples, and subduing and looting those who did not want to. He heard of a great sea on the other side of the mountains, and a land of great wealth (Birú, the Inca empire) to the south of this sea. As he heard that the king wanted to send him back to be tried for his conduct towards Enciso and Nicuesa, he decided he had to move fast. On September 1, 1513, he sailed to San Blas (a lucky choice, as it just happens to be the smallest point of the isthmus), and went south across the isthmus. As before he befriended the locals who were so inclined, and captured, tortured and looted those that remained hostile,.
Tertullian - the greatest interest to the church historian. Their general temper is austere, their purpose practical; they are full of life and freshness. In his endeavors to make the Latin language a vehicle for his somewhat tumultuous ideas, the author now and then becomes strained and obscure; but, as a rule, he is quick, precise, and pointed. He is always powerful and intrepid, commanding, not begging, the attention of the reader; with reference to earlier literature and customs he is a master of wit and sarcasm and is always original. He has been likened to a fresh mountain torrent, tumultuous, and making its own path, although some of the tumult in his writing seems hard to reconcile with modern liberal Christianity. In chapter xxx of his De Spectaculis (Concerning Public Spectacles) he.
