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The Ambrosian hymns are a collection of early hymns of the Latin liturgical rites, whose core of four hymns were by Ambrose of Milan in the 4th century.. The hymns of this core were enriched with another eleven to form the Old Hymnal, which spread from the Ambrosian Rite of Milan throughout Lombard Italy, Visigothic Spain, Anglo-Saxon England and the Frankish Empire during the early medieval ...
Nearly all of the texts used in Ambrosian chant are biblical prose, not metrical poetry, despite Ambrose having introduced Eastern hymnody to the West. Ambrosian chant serves two main functions in the Ambrosian liturgy: to provide music for the chanting of the Psalms in the monastic Offices, and to cover various actions in the celebration of ...
Te Deum stained glass window by Christopher Whall at St Mary's church, Ware, Hertfordshire. The Te Deum (/ t eɪ ˈ d eɪ əm / or / t iː ˈ d iː əm /, [1] [2] Latin: [te ˈde.um]; from its incipit, Te Deum laudamus (Latin for 'Thee, God, we praise')) is a Latin Christian hymn traditionally ascribed to a date before AD 500, but perhaps with antecedents that place it much earlier. [3]
"We praise thee, O God" (Ambrosian hymn) 281 Te Deum ("Chandos" or "Cannons") B-flat major c. 1717–18 c. 1717–18 St. Lawrence, Whitchurch, London: Composed by Handel during his stay with the Duke of Chandos at Cannons. "We praise thee, O God" (Ambrosian hymn) 282 Te Deum A major 1726 ?16 January 1726 Chapel Royal, St. James's Palace, London
The Ambrosian roots largely disappeared; after centuries of habit, the Cistercians were eager to preserve their textual versions of the hymns, even when scholarly research showed that the Cistercian texts did not always correspond with the Ambrosian originals. [4] or even different hymns for the special liturgical times. [5]
The Ambrosian Eucharistic Prefaces. translated by Alan Griffiths, first published by The Canterbury Press, Norwich, (a publishing imprint of Hymn Ancient & Modern Limited, a registered charity) St. Mary's Woods, St. Mary Plain, Norwich, Norfolk. This is an English translation of the two hundred proper prefaces at present used with the ...
The communion part of the Ambrosian Mass, as it had been celebrated in the cathedrals of Milan (called after the famous local bishop Ambrose), was composed around the Anaphora. It was opened by a litany called "Ter Kyrie", the Pater Noster , and the chant which preceded the Postcommunio , was called " Transitorium ".
The later hymn "Veni Creator Spiritus" borrows two lines from the hymn (Infirma nostri corporis — Virtute firmans perpeti). "Veni redemptor gentium" was particularly popular in Germany where Martin Luther translated it into German as "Nun komm, der Heiden Heiland," which then he, or possibly Johann Walter, set as a chorale, based on the original plainchant. [3]