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Attende, Domine is a Christian liturgical chant for the season of Lent, referred to in English as the Lent Prose matching Rorate caeli which is known as the Advent prose. [1] The themes of this hymn are the sinfulness of man and the mercy of God, a theological concept emphasised during Lent.
The mass was recorded in 2008 by the Purcell Choir, conducted by György Vashegyi, combined with other lenten music by the composer, titled Sacred music for the season of Lent. [7] A reviewer notes the homophonic setting and simple rhythm, resulting in a floating meditative sound. [8]
Lent: SATB, with organ I Want to Walk as a Child of the Light: Epiphany: Let Us Ever Walk with Jesus: Unison, with a solo On My Heart Imprint Thine Image: Lent: SATB a capella Peace Came to Earth: Christmas: SATB Praise to the Lord, the Almighty: Easter: SATB with Organ and brass quartet Preserve Me, O Lord: SATB a capella Sing a New Song to ...
Thomas Tallis set the first lesson, and second lesson, of Tenebrae on Maundy Thursday between 1560, and 1569: "when the practice of making musical settings of the Holy Week readings from the Book of Jeremiah enjoyed a brief and distinguished flowering in England (the practice had developed on the continent during the early 15th century)".
The late church cantatas by Johann Sebastian Bach are sacred cantatas he composed after his fourth cycle of 1728–29. Whether Bach still composed a full cantata cycle in the last 20 years of his life is not known, but the extant cantatas of this period written for occasions of the liturgical year are sometimes referred to as his fifth cycle, as, according to his obituary, he would have ...
In Christian music, a Passion is a setting of the Passion of Christ. Liturgically , most Passions were intended to be performed as part of church services in the Holy Week . Passion settings developed from medieval intoned readings of the Gospel texts relating Christ's Passion, to which later polyphonic settings were added.
Handel often stresses a word by extended coloraturas, especially in several movements which are a parody of music composed earlier on Italian texts. He uses a cantus firmus on long repeated notes especially to illustrate God's speech and majesty, for example "for the mouth of the Lord has spoken it" in movement 4 .
Biblical Songs was written between 5 and 26 March 1894, while Dvořák was living in New York City. It has been suggested that he was prompted to write them by news of a death (of his father Frantisek, or of the composers Tchaikovsky or Gounod, or of the conductor Hans von Bülow); but there is no good evidence for that, and the most likely explanation is that he felt out of place in the ...