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De torrente in via bibet, propterea exaltabit caput. 9 Chorus Glory be to the Father, and to the Son, and to the Holy Ghost. As it was in the beginning, is now; and ever shall be, world without end. Amen. Gloria Patri, et Filio, et Spiritui Sancto, Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.
It still remains unclear who was responsible for the creation of the music. Some sources claim that Frenchman Francisco Sauvageot de Dupuis was the composer, while others claim it to be the work of the Hungarian-born Francisco José Debali (Debály Ferenc József), who composed the music for the Uruguayan national anthem. [1]
The Gloria Patri, also known in English as the Glory Be to the Father or, colloquially, the Glory Be, is a doxology, a short hymn of praise to God in various Christian liturgies. It is also referred to as the Minor Doxology (Doxologia Minor) or Lesser Doxology , to distinguish it from the Greater Doxology, the Gloria in Excelsis Deo .
"Virgen de las virgenes" mocked girls who said they were virgins but had actually lost their virginity, and "¡Ya no!" went against the machismo movement of México. Following the release of the album, Gloria was working hard in promoting radio, television and print media.
The use of these additional phrases in honour of the Blessed Virgin Mary was so common that in editions of the Roman Missal earlier than the 1921 revision, the text of the Gloria was followed by the rubric: "Sic dicitur Gloria in excelsis Deo, etiam in Missis beatæ Mariæ, quando dicenda est" (When the Gloria in excelsis Deo is to be recited ...
"El Dolor de Tu Presencia" (English: "The Pain of Your Presence") is a chart-topping hit from Jennifer Peña’s 2002 album Libre. The song was the second to be released from the album, after the promotional single “Vamos al Mundial.”
As with other choral pieces the composer, Vivaldi, wrote many introduzioni (introductory motets) that were to be performed before the Gloria itself. Four introduzioni exist for these Glorias: Cur Sagittas (RV 637), Jubilate, o amoeni cori (RV 639) (the last movement of which is compositionally tied with the first movement of RV 588), Longe Mala, Umbrae, Terrores (RV 640), and Ostro Picta (RV 642).
In their early releases, Los Destellos popularized the sharp sound of the electric guitar and bass in the context of a cumbia ensemble. By replacing the horns and accordion with the strings, they played a key role in developing the genre that later became known as Peruvian cumbia, [1] influencing bands such as Los Mirlos, Los Ecos, and Los Diablos Rojos. [2]