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' A rose has sprung up ') is a Christmas carol and Marian hymn of German origin. It is most commonly translated into English as "Lo, how a rose e'er blooming" and is also called "A Spotless Rose" and "Behold a Rose of Judah". The rose in the German text is a symbolic reference to the Virgin Mary.
Personent hodie in the 1582 edition of Piae Cantiones, image combined from two pages of the source text. "Personent hodie" is a Christmas carol originally published in the 1582 Finnish song book Piae Cantiones, a volume of 74 Medieval songs with Latin texts collected by Jacobus Finno (Jaakko Suomalainen), a Swedish Lutheran cleric, and published by T.P. Rutha. [1]
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"Erev Shel Shoshanim" (English: Evening of Lilies or Evening of Roses; the Hebrew word shoshana has been identified with both flowers [1]) is a poetic Hebrew love song. Its melody is often used as wedding music in Jewish weddings .
Printed antiphonary (ca. 1700) open to Vespers of Easter Sunday. (Musée de l'Assistance Publique – Hôpitaux de Paris)An antiphonary or antiphonal is one of the liturgical books intended for use in choro (i.e. in the liturgical choir), and originally characterized, as its name implies, by the assignment to it principally of the antiphons used in various parts of the Latin liturgical rites.
O vos ómnes qui transítis per víam, atténdite et vidéte: Si est dólor símilis sícut dólor méus. V. Atténdite, univérsi pópuli, et vidéte dolórem méum. Si est dólor símilis sícut dólor méus. Translation O all you who walk by on the road, pay attention and see: if there be any sorrow like my sorrow.
Flos Carmeli (Latin, "Flower of Carmel") is a Marian Catholic hymn and prayer honouring Our Lady of Mount Carmel.. In the Carmelite Rite of the Mass, this hymn was the sequence for the Feast of Saint Simon Stock (c. 1165 - 1265), and since 1663, for the Feast of Our Lady of Mount Carmel on 16 July throughout the Latin liturgical rites.
The chant is always present in one or more voices. [2] The music has been described as "rich in subtle harmonies, well-written for voices, and reminiscent of impressionism ". [ 4 ] A reviewer notes: "Here Duruflé shows his particular genius for invoking the spiritual element of plainsong in a polyphonic context, achieving a suppleness of ...