#the stabat mater is so good

[shredsandpatches]

Every once in a while I think about the final movement of the Poulenc Stabat Mater and just have to sort of sit there and gibber, mentally, at the sheer levels of yearning expressed in it

[rekishi-aka]

Five characters poll game

Tagged by @cycas, who decided to pull me away from my little tumblr hiatus, thank you!

Rules: Make a poll with five of your all time favorite characters and then tag five people to do the same. see which character is everyone's favorite.

What only five? 🙈 I shall go also with the five different fandoms, so let's see!

And look, I could have also added Crowley and Aziraphale, Wei Wuxian and Lan Wangji here, Bucky Barns, Diane Grad, and so many others. But I was limited to five here so what can I do.

I suspect that Leo will win this on account of people who may or may not be following me (maybe?), but with Good Omens or CQL this would hardly have been a competition at all.

If it was a match of characters, I suspect that Methos and Thranduil would either destroy each other or find common ground (really, both is an option). Scully would get along with Methos no question, and while she and Aeryn might be at odds at first, they wouldn't be fighting (anyway, Aeryn has a gun...well, so does Scully, but not a pulse pistol). Leo and Scully would get along on the count that they're both law enforcement and very much break the rules for the people they love.

But in a battle of the blades, so to speak? It's a toss up between Methos and Thranduil, really.

Thanks for the tag! This was fun but I need like...ten options. 😂

Oh and I almost forgot to tag people. Uhmmm @this-is-a-love-story-isnt-it, @theoniprince, @thisfeebleheart, @atthefishhouses, @stabat-mater

[sag-dab-sar]

"The Sorrowful Mother Was Standing"

Our Lady of Sorrows – 5th Sorrow: At the Cross of Her Son

Stabat Mater Caswall English Translation:

At the Cross her station keeping, stood the mournful Mother weeping, close to her Son to the last.

Through her heart, His sorrow sharing, all His bitter anguish bearing, now at length the sword has passed.

O how sad and sore distressed was that Mother, highly blest, of the sole-begotten One.

Christ above in torment hangs, she beneath beholds the pangs of her dying glorious Son.

Is there one who would not weep, whelmed in miseries so deep, Christ's dear Mother to behold?

Can the human heart refrain from partaking in her pain, in that Mother's pain untold?

For the sins of His own nation, She saw Jesus wracked with torment, All with scourges rent:

She beheld her tender Child, Saw Him hang in desolation, Till His spirit forth He sent.

O thou Mother! fount of love! Touch my spirit from above, make my heart with thine accord:

Make me feel as thou hast felt; make my soul to glow and melt with the love of Christ my Lord.

Holy Mother! pierce me through, in my heart each wound renew of my Savior crucified:

Let me share with thee His pain, who for all my sins was slain, who for me in torments died.

Let me mingle tears with thee, mourning Him who mourned for me, all the days that I may live:

By the Cross with thee to stay, there with thee to weep and pray, is all I ask of thee to give.

Virgin of all virgins blest!, Listen to my fond request: let me share thy grief divine;

Let me, to my latest breath, in my body bear the death of that dying Son of thine.

Wounded with His every wound, steep my soul till it hath swooned, in His very Blood away;

Be to me, O Virgin, nigh, lest in flames I burn and die, in His awful Judgment Day.

Christ, when Thou shalt call me hence, be Thy Mother my defense, be Thy Cross my victory;

While my body here decays, may my soul Thy goodness praise, Safe in Paradise with Thee.

.🗡️🗡️🗡️🗡️🗡️🗡️.

I found this hymn today. It is a part of the Liturgy of Our Lady of Sorrows. Being that it is her Feast Day I thought I would share it. It describes Virgin Mary standing at the cross of her Son weeping for him, in the hymn we implore her to allow us to join her in her sorrow. It is quite beautiful. The 5th Sorrow is watching her son die, grief beyond words for any parent, and she stood there with strength.

Credits

"The first English translation by Edward Caswall is not literal but preserves the trochaic tetrameter rhyme scheme and sense of the original text." — Wikipedia

Audio on Youtube

Album cover art taken from AirMaria; Artist not attibuted

Artwork is a statue from Church of the Holy Cross, Salamanca, Spain

-I am not Christian.

-Dyslexic, not audio proof read-

[iamfitzwilliamdarcy]

Stabat Mater

At the cross her station keeping, Stood the mournful Mother weeping, Close to Jesus to the last.

Through her heart, his sorrow sharing, All his bitter anguish bearing, Now at length the sword had passed.

Oh, how sad and sore distressed Was that Mother highly blessed Of the sole begotten One!

Christ above in torment hangs, She beneath beholds the pangs Of her dying, glorious Son.

Is there one who would not weep, 'Whelmed in miseries so deep, Christ's dear Mother to behold?

Can the human heart refrain From partaking in her pain, In that mother's pain untold?

Bruised, derided, cursed, defiled, She beheld her tender Child, All with bloody scourges rent.

For the sins of his own nation Saw him hang in desolation Till his spirit forth he sent.

O sweet Mother! font of love, Touch my spirit from above, Make my heart with yours accord.

Make me feel as you have felt; Make my soul to glow and melt With the love of Christ, my Lord.

Holy Mother, pierce me through, In my heart each wound renew Of my Savior crucified.

Let me share with you his pain, Who for all our sins was slain, Who for me in torments died.

Let me mingle tears with you, Mourning him who mourned for me, All the days that I may live.

By the cross with you to stay, There with you to weep and pray, Is all I ask of you to give.

Virgin of all virgins blest! Listen to my fond request: Let me share your grief divine.

Let me to my latest breath, In my body bear the death Of that dying Son of yours.

Wounded with his every wound, Steep my soul till it has swooned In his very Blood away.

Be to me, O Virgin, nigh, Lest in flames I burn and die, In his awful judgment day.

Christ, when you shall call me hence, Be your Mother my defense, Be your cross my victory.

While my body here decays, May my soul your goodness praise, Safe in heaven eternally. Amen. (Alleluia)

[ukdamo]

The Leavetaking

One of mine, from long ago.

The Stations of the Cross in Lourdes are massively cast in bronze. Verdigrised. Monumental. Compelling. They dominate an unkempt park, hard by a gouged and gritty path that toils up a steep, unforgiving hill. The day I walked that Way was akin to an April day many years ago - chilled by keening winds, heavy under a monochromed sky, wet with tears.

The others went ahead and I bided my time until I was alone, with strangers. There was a hubbub of pietistic babble in many tongues; Germans with books; Italians with mischievous children (who were, by turns, bored and prayerful); Spaniards with mantillas. All milled past, gawping, jostling one another, competing for God’s ear in their national languages. The regimentation was impressive and saddening.

I knelt at the first Station and accepted my fate. My habit was muddied, my cord damp and soiled, my sandals on the ground before me. I was conscious of the sharp flints cutting my knees, my cold feet washed by the rain, the bronzes (Pilate, Christ, the guards), and the path that I must ineluctably tread.

Rising, I felt the bare earth under my bare feet, strongly supportive and affirming. It encouraged my steps, tempering its hardness as I walked to the second Station. The sandals in my hand were down-at-heel, the brown leather was stamped with the callouses of my pilgrim-feet. Their scent was moist and good, an honest pungency. I had the sensation of holding my life in my hands.

I was moving too slowly for the crowds and they passed me. Their thoughts were private, like mine, but some showed a public face: I was a fanatic; a curio; a pious and sensitive man. None, however, recognised the truth - here was a man taking leave of his senses - at least of what made sense of his life. The rain fell steadily.

Scuffed shoes shuffled by. Some dressed for fashion and others for comfort; men, women, children. So much faith. So many journeys being made and all the same journey. The rain pattered down and camouflaged my tears. I brought to mind many good things and many good people I had encountered on this Way, true likenesses of the Christ. There was so little to regret and so much to be thankful for.

The twelfth Station dominated the top of the hill. Stylised, dramatic and poignant, it would have brought Pilate to his knees. The rain began to fall with unexpected ferocity. Streams of muddied water coursed down the path, sluicing my feet. The leaves on the trees flapped noisily. The pilgrims raised their voices so that the Stabat Mater might be heard above the din. I knelt before this scene for a long time. For the length of time it takes to walk a mile slowly. Many folk passed by. I noted their presence but focussed and re-focussed on the massive crucifixion tableau. Lord, you do all things well.

It was as difficult to walk down the hill as it had been to ascend. When I reached the tomb, a fissure in the rock, I laid my own dead self inside. Subsequently, I came to an Easter garden; I stayed but a little while there because I knew nothing of resurrection. Besides, I was late for the bus.

That figure who strolled by the Porte Saint Michel had the appearance of a friar It was simply the past lingering a while like morning mist on a lake. In time, the mist would be dissolved in the warmth of a new day. The dun habit was a chrysalis from which some novel creature would ultimately emerge, taking leave of a cosy home and entering upon some new adventure.

Easter 1992 / September 1992 © Damian

[iamacolor]

when you study philology (polish, german, scandinavian, english... whatever you pick), you focus mostly on literature and linguistics but also theater, film, art, music... i truly had all sorts of classes, including history and philosophy as well. basically everything important to understand not only literature and language but also culture of the country. and yeah, you also answered your own question about latin haha 😂 but the sentence is actually from the 13th century 😉 not that it's important lol. btw my year in uni was the first one who didn't have to take old church slavonic... truly a blessing because historical grammar was already hard and imo it counted as a foreign language... proto-slavic is nothing like modern polish 🥲

yeah, jewish people lived everywhere. from big towns to small villages. i always try to read and learn as much as i can, even about the most traumatic parts of their history here, and it always makes me feel like there's a big hole here which will never be filled.

oh i do like paris, it's a lovely place, so full of art and history 😍 i hope i can go at least one more time and experience it all again. that reminds me i went to a small shop with turkish pastries with my friend and the owner didn't know the word poland in english but he really wanted to know where we're from (he was super nice) and we tried everything, including explaining that it's where chopin was from but it obviously didn't help 🤣 luckily a younger guy came and explained it to him in turkish lmao. and another time i was standing in a line for something and some old guy approached me and started talking a bit in polish (he heard me talk on the phone), said he worked on ships and lived there for a bit so he still remembered some of the language 😂 so yeah, i met some nice people...just not "native" parisians 😬

we do study some history of music in schools but my passion comes from my mom who loves classical music and opera! i basically grew up on it. of course, i am not an expert or anything, just an enjoyer, but i listen to it a lot, go to many, many concerts and just love it dearly. and yes, film music can be classical music, of course :) as for chopin...i can't pick a fave, it really depends on my mood. my mom's ringtone is the so-called revolutionary etude 😊 if you want you, can try listening to ingolf wunder's chopin (he's my fave classical pianist) and if you like jazz, definitely check out leszek możdżer's impressions on chopin! but please don't feel obligated or anything, these are just my little recs 😳

oh and as for jp2, he actually saved the entire world. just so you know 🙂🙃🙂🙃

that genuinely sounds sooo interesting and fulfilling to study! also can't believe wikipedia lied to me like that about the date 😤 old-church slavonic does not sound fun lol

a huge part of the country's people and history is gone with them... even though they built this country as well and are part. I read last year a fantasy novel titled sinning silver and its main character is jewish and I think the author is polish-lithuanian-american so it's heavily influenced by the history of jewish people in the region

I'm glad you had a good time here (and also that I'm not the only one who didn't know where chopin was from 😂) there are so many nice things to do and see (and eat!!)

it's so cool that your mother shared her passion with you and that now it's also yours, that's a lovely thing to have in common 😊 my parents didn't listen to a lot when I was growing up and for some reason the only type of classical music that I can remember them listening to (although I know they listened to a bit more than just that lol) are some stabat maters because my father had a compilation cd or something like that lol but my grandmother loves it so I did go to an open air violin recital with her once (I don't know if you've heard of the menton music festival but it's her region and the setting of the concert is gorgeous, I love this town) and she once offered me a subscription for a program of operas being broadcasted in cinemas it was really cool! I've came back home this weekend for my birthday so I listened to some ingolf under (I picked the chopin recital album) and it was perfect to listen to as I watched the landscape go by my window on the train, but I do like jazz so I'm looking forward to your other rec!

also another fun info : we had my birthday lunch today (even if it's tomorrow) because it was more practical and so we got to also have a little celebration for my brother's girlfriend's birthday, anyway I love most cakes and her fave is what we call a tropézienne (named after the town, St tropez, where it was created) so that's what my mother made and by researching a recipe she learned that it was created by a polish pastry maker who came to france after ww2 and adapted a recipe from his grandmother to the south of france so after a week of chatting about poland and france I've had a french-polish cake for my birthday 🥰

[my18thcenturysource]

“Stabat Mater”, 1736, Giovanni Battista Pergolesi.

Emöke Barath, soprano / Philippe Jaroussky, contratenor / ORFEO 55, conductor Nathalie Stutzmann

Performed at the Chapelle de la Trinité, Château de Fontainebleau.

Well, also part of the catholic calendar for the past week (a little late, I know), here’s a Stabat Mater, to be sung during Good Friday at the liturgy on the memorial of Our Lady of Sorrows (Mater Dolorosa, in Latin).

The Stabat Mater is a hymn to the Virgin Mary, written in the 13th century by the  Franciscan friar Jacopone da Todi or Pope Innocent III (nobody knows), which portrays Mary’s suffering during Christ’s crucifixion. 

Nowadays, when it is performed in a religious setting, it’s usually accompanied with some meditation and Marian praying. As a liturgical sequence is was suppressed at the Council of Trent (between 1545 and 1563), and restored to the missal in 1727 for the Feast of the Seven Dolours of the Blessed Virgin Mary.

Very Catholic.

Much suffering.

So Baroque.

Believe it nor not, Pergolesi was 26 years old when he composed this and then, well he died of tuberculosis. From this Stabat Mater, my favourite part is the final 2 songs: "Quando corpus morietur"  and the final “Amen" (click to go directly to that part in the video), an well the entirety of it is great, especially with this version with musicians especialised in ancient music. Please PLEASE do not get tempted into listening the Anna Netrebko version. Just don’t. I love her, but the Baroque is not for her.

Anyway, Several other composers have made music for this hymn, and there are of course some other Stabat Mater from a selection of 18th century composers:

Sébastien de Brossard, 1702

Antonio Vivaldi, 1712

Emanuel d’Astorga, 1713

Domenico Scarlatti, 1715

Francesco Nicola Fago, 1719

Alessandro Scarlatti, 1723

Antonio Caldara, ca. 1725

Agostino Steffani, 1727

Nicola Logroscino, 1760

Joseph Haydn, 1767

Giuseppe Tartini, 1769

Tommaso Traette, 1770

Luigi Boccherini, 1781 (first version), 1801

Pasquale Cafaro, 1784

And other ones I personally like from other centuries:

Franz Schubert, 1815

Antonín Dvořák, 1876

Francis Poulenc, 1950

[roman-catholic-mass-readings]

15th September >> Mass Readings (USA)

Our Lady of Sorrows

    on 

Thursday, Twenty Fourth Week in Ordinary Time.

Thursday, Twenty Fourth Week in Ordinary Time

(Liturgical Colour: White)

(Readings for the feria (Thursday))

(There is a choice today between the readings for the ferial day (Thursday) and those for the memorial. The ferial readings are recommended unless pastoral reasons suggest otherwise)

First Reading

1 Corinthians 15:1-11

So we preach and so you believed.

I am reminding you, brothers and sisters, of the Gospel I preached to you, which you indeed received and in which you also stand. Through it you are also being saved, if you hold fast to the word I preached to you, unless you believed in vain. For I handed on to you as of first importance what I also received: that Christ died for our sins in accordance with the Scriptures; that he was buried; that he was raised on the third day in accordance with the Scriptures; that he appeared to Cephas, then to the Twelve. After that, he appeared to more than five hundred brothers at once, most of whom are still living, though some have fallen asleep. After that he appeared to James, then to all the Apostles. Last of all, as to one born abnormally, he appeared to me. For I am the least of the Apostles, not fit to be called an Apostle, because I persecuted the Church of God. But by the grace of God I am what I am, and his grace to me has not been ineffective. Indeed, I have toiled harder than all of them; not I, however, but the grace of God that is with me. Therefore, whether it be I or they, so we preach and so you believed.

The Word of the Lord

R/ Thanks be to God.

Responsorial Psalm

Psalm 118:1b-2, 16ab-17, 28

R/ Give thanks to the Lord, for he is good.

Give thanks to the LORD, for he is good,    for his mercy endures forever. Let the house of Israel say,    “His mercy endures forever.”

R/ Give thanks to the Lord, for he is good.

“The right hand of the LORD is exalted;    the right hand of the LORD has struck with power.” I shall not die, but live,    and declare the works of the LORD.

R/ Give thanks to the Lord, for he is good.

You are my God, and I give thanks to you;    O my God, I extol you.

R/ Give thanks to the Lord, for he is good.

Gospel Acclamation

Alleluia, alleluia. Blessed are you, O Virgin Mary; without dying you won the martyr’s crown beneath the Cross of the Lord. Alleluia, alleluia.

Either:

(The following reading is proper to the memorial, and must be used even if you have otherwise chosen to use the ferial readings)

Gospel

John 19:25-27

How that loving mother was pierced with grief and anguish when she saw the sufferings of her Son (Stabat Mater).

Standing by the cross of Jesus were his mother and his mother’s sister, Mary the wife of Clopas, and Mary Magdalene. When Jesus saw his mother and the disciple there whom he loved he said to his mother, “Woman, behold, your son.” Then he said to the disciple, “Behold, your mother.” And from that hour the disciple took her into his home.

The Gospel of the Lord

R/ Praise to you, lord Jesus Christ.

Or:

(The following reading is proper to the memorial, and must be used even if you have otherwise chosen to use the ferial readings)

Gospel

Luke 2:33-35

And you yourself a sword will pierce.

Jesus’ father and mother were amazed at what was said about him; and Simeon blessed them and said to Mary his mother, “Behold, this child is destined for the fall and rise of many in Israel, and to be a sign that will be contradicted and you yourself a sword will pierce so that the thoughts of many hearts may be revealed.”

The Gospel of the Lord

R/ Praise to you, lord Jesus Christ.

-----------------------------------

Our Lady of Sorrows

(Liturgical Colour: White)

(Readings for the memorial)

(There is a choice today between the readings for the ferial day (Thursday) and those for the memorial. The ferial readings are recommended unless pastoral reasons suggest otherwise)

First Reading

Hebrews 5:7-9

Christ learned obedience and became the source of eternal salvation.

In the days when Christ was in the flesh, he offered prayers and supplications with loud cries and tears to the one who was able to save him from death, and he was heard because of his reverence. Son though he was, he learned obedience from what he suffered; and when he was made perfect, he became the source of eternal salvation for all who obey him.

The Word of the Lord

R/ Thanks be to God.

Responsorial Psalm

Psalm 31:2 and 3b, 3cd-4, 5-6, 15-16, 20

R/ Save me, O Lord, in your kindness.

In you, O LORD, I take refuge;    let me never be put to shame. In your justice rescue me,    make haste to deliver me!

R/ Save me, O Lord, in your kindness.

Be my rock of refuge,    a stronghold to give me safety. You are my rock and my fortress;    for your name’s sake you will lead and guide me.

R/ Save me, O Lord, in your kindness.

You will free me from the snare they set for me,    for you are my refuge. Into your hands I commend my spirit;    you will redeem me, O LORD, O faithful God.

R/ Save me, O Lord, in your kindness.

But my trust is in you, O LORD,    I say, “You are my God.” In your hands is my destiny; rescue me    from the clutches of my enemies and my persecutors.

R/ Save me, O Lord, in your kindness.

How great is your goodness, O LORD,    which you have in store for those who fear you, And which, toward those who take refuge in you,    you show in the sight of the children of men.

R/ Save me, O Lord, in your kindness.

Sequence

Stabat Mater

At the cross her station keeping, Stood the mournful Mother weeping, Close to Jesus to the last.

Through her heart, his sorrow sharing, All his bitter anguish bearing, Now at length the sword had passed.

Oh, how sad and sore distressed Was that Mother highly blessed Of the sole begotten One!

Christ above in torment hangs, She beneath beholds the pangs Of her dying, glorious Son.

Is there one who would not weep, ‘Whelmed in miseries so deep, Christ’s dear Mother to behold?

Can the human heart refrain From partaking in her pain, In that mother’s pain untold?

Bruised, derided, cursed, defiled, She beheld her tender Child, All with bloody scourges rent.

For the sins of his own nation Saw him hang in desolation Till his spirit forth he sent.

O sweet Mother! font of love, Touch my spirit from above, Make my heart with yours accord.

Make me feel as you have felt; Make my soul to glow and melt With the love of Christ, my Lord.

Holy Mother, pierce me through, In my heart each wound renew Of my Savior crucified.

Let me share with you his pain, Who for all our sins was slain, Who for me in torments died.

Let me mingle tears with you, Mourning him who mourned for me, All the days that I may live.

By the cross with you to stay, There with you to weep and pray, Is all I ask of you to give.

Virgin of all virgins blest! Listen to my fond request: Let me share your grief divine.

Let me to my latest breath, In my body bear the death Of that dying Son of yours.

Wounded with his every wound, Steep my soul till it has swooned In his very Blood away.

Be to me, O Virgin, nigh, Lest in flames I burn and die, In his awful judgment day.

Christ, when you shall call me hence, Be your Mother my defense, Be your cross my victory.

While my body here decays, May my soul your goodness praise, Safe in heaven eternally. Amen. (Alleluia)

Gospel Acclamation

Alleluia, alleluia. Blessed are you, O Virgin Mary; without dying you won the martyr’s crown beneath the Cross of the Lord. Alleluia, alleluia.

Either:

Gospel John 19:25-27 How that loving mother was pierced with grief and anguish when she saw the sufferings of her Son (Stabat Mater).

Standing by the cross of Jesus were his mother and his mother’s sister, Mary the wife of Clopas, and Mary Magdalene. When Jesus saw his mother and the disciple there whom he loved he said to his mother, “Woman, behold, your son.” Then he said to the disciple, “Behold, your mother.” And from that hour the disciple took her into his home.

The Gospel of the Lord

R/ Praise to you, lord Jesus Christ.

Or:

Gospel

Luke 2:33-35

And you yourself a sword will pierce.

Jesus’ father and mother were amazed at what was said about him; and Simeon blessed them and said to Mary his mother, “Behold, this child is destined for the fall and rise of many in Israel, and to be a sign that will be contradicted and you yourself a sword will pierce so that the thoughts of many hearts may be revealed.”

The Gospel of the Lord

R/ Praise to you, lord Jesus Christ.

[infinitelytheheartexpands]

Traversing the Verdi Canon #28: Messa da Requiem and Quattro pezzi sacri

Recordings:

Messa da Requiem: this 1981 Munich performance with the almost-unbeatable team of Jessye Norman, Agnes Baltsa, José Carreras, Evgeny Nesterenko, and Riccardo Muti on the podium

Quattro pezzi sacri: this Wiener Philharmoniker recording with Claudio Abbado on the podium and Cheryl Studer

Experience: ...I’m about to single-handedly disappoint pretty much everyone.

I’ve never listened to either of these in full.

“You’ve never listened to the whole Verdi Requiem?!” you ask, aghast. (The Quattro pezzi sacri are much less well-known and therefore perfectly acceptable for being obscure.)

Yeah, I just...never got around to ever listening to the full thing. Excerpts, yes, the whole thing no. anyway, that is my secret Verdian shame being rectified specially for this series. please tolerate my incoherent quasi-liveblog of the piece below.

Messa da Requiem: okay, starting it now and wow this opening is beautiful. I am living for this drama. I’m also working on French homework, which may be a bad idea, but hey, you gotta do what you gotta do. I mean, this sounds like it could be in a Verdi opera if you close your eyes and don’t think about the words too much. oh hey, we’re at the Dies irae—iconic. alright these low strings are super freaking cool. YES JESSYE NORMAN YOU SING IT YOU ICON. this is a lovely trio right here and yet again I adore a good bassoon solo. so I’m reading about this on Wikipedia and apparently a lot of people didn’t like this piece because they thought it was too operatic for the work at hand, to which I say “fuck you I love this”. OH SHIT THAT EXPLOSION RIGHT THERE CAME OUT OF NOWHERE. this is a gorg duet. okay this tenor aria is one I’ve heard before and it’s even better “in context” as it were. this part sounds like it could be right at home in Don Carlo or Simon Boccanegra. oh hey the Dies irae is back! this quartet is *chef’s kiss*; worthy use of the music from Don Carlo. we’re on to Part III now—this is marvelous. oh this melody is incredible!!! this instrumental part here sounds like it’s ripped from Simon Boccanegra. oh I’ve heard this Sanctus and it BOPS. ooh this is pretty. like, INCREDIBLY PRETTY. so is this Lux aeterna. alright time to get my heart ripped out from me yet again by the Libera me. and as expected, Jessye Norman is utterly slaying me. anyway, I am slain. where has this been my whole life???

Quattro pezzi sacri: okay this Ave Maria is gorg. apparently Verdi was inspired to write it because of a scale published in a music magazine, which shows that Verdi never lost his taste for new ideas...who knows what his work would be like if he had kept opera-writing beyond 1893? also Verdi apparently made a joke about being beatified by the Pope on account of writing a lot of sacred music, which honestly raises a good question about why exactly Verdi wrote so much sacred music (and amazing sacred music, at that) as a nonreligious individual. maybe it was exactly like my thing where I’m not really religious per se but I am fascinated by the way religion and humanity intersect. but I digress. this is gorgeous and harmonically a lot of fun. alright time for the Stabat mater; perks up the ears right from the start. lots of big orchestral sounds and long, long string lines. the ending just sounds...ethereal, sublime. this Laudate is...enchanting, not sure how else to describe it. ooh, we’re starting this Te Deum with some actual Gregorian chant! OH BIG EXPLOSION RIGHT THERE OKAY GOTTA TURN MY VOLUME DOWN this sounds kinda like Boito or Tchaikovsky ngl and yet so quintessentially Verdian. oh wow this is so cool! there’s a real tension under the surface, almost a funeral march feel. big beautiful explosion! and finally we get the soprano solo! chorus comes back in...slow fade out...what. a. finish.

anyway the long and short of it is: why wasn’t this music in my life sooner? because I am a dumbass, that’s why, but here it is and here it will stay. what a master of sacred music Verdi was.

[theres-an-impulstor-among-us]

ok but consider these 3rd life smp songs: 'the parting glass' for the red kingdom mourning + celebrating skizz after his death and 'stabat mater' by woodkid for the progression of the wars in general ("hey, do you recall when the war was just a game")

this one ended up being kinda long so forgive the "keep reading" haha

gonna start with the second one: Stabat Mater.

In the glorious days till we lost our way Hey, do you recall when the war was just a game? Now the wind ventures to other plains Hey, when will I see you again if I go?

i like that last line especially bc it matches the uncertainty of what happens after they lose their red life. they don't know if they're gonna see each other again. and you're right, the "do you recall when the war was just a game?" really matches the whole situation. when things weren't so serious. when three certain people were still alive.

BUT OH MY GOSH THE OTHER ONE!

(there seemed to be a lot of versions i found so i chose the version by The High Kings)

i can totally imagine the three remaining Dogwarts members sitting together around a campfire singing The Parting Glass. Ren on guitar and singing, while Martyn plays the flute and Etho sings quietly.

Fill to me the parting glass And drink a health whate'er befalls And gently rise and softly call Good night and joy be to you all

But since it fell unto my lot That I should rise and you should not I gently rise and softly call Good night and joy be to you all

those lyrics in particular are so melancholy, and the way they're sung too is beautiful. "that i should rise and you should not" almost made me cry bc it fits the situation so well.

i just gotta say though OH MY GOSH this is one of my new favourites! it's... just so beautiful AND it has a section with bagpipes!! i am a HUGE sucker for bagpipes omg. i recommend anyone reading this to go listen to it at least once, bc it's just... wow. thank you anon for introducing me to this one, whether you meant this version or not lol

[shredsandpatches]

time to find an online sight-singing course I guess

The St. Louis Symphony posted a notice on facebook for chorus auditions and since I've been planning to audition anyway I went ahead and signed up—I tried out about a year before I moved to Michigan and didn't get in, but they told me to get back in shape vocally and try out again next year because I clearly had the talent but was just rusty. But then I moved away so I couldn't. So I'm gonna see if I can get my sight singing skills back; I did, after all, do a lot of singing while living in Michigan, and I can sight-sing when I'm actually part of a choir and rehearsing and stuff, I just need to be sure I can do it by myself during an audition. At any rate every single member of the Alto II section told me they were really depending on me to know when to come in during the Verdi Requiem. I wonder if I can put that on my audition form.

Anyway the choral repertoire for the 2022–23 season is pretty good: a Poulenc concert that includes Stabat Mater and the Dialogues de Carmélites finale (plus some other non-choral stuff), Holst's The Planets (for the Neptune movement, although I think it's only gonna be a select group that probably wouldn't include me), Handel's Messiah, Mendelssohn's Die erste Walpurgisnacht, and Berlioz's Damnation de Faust.

So now I'm thinking about pieces I can sing for the audition, out of the ones I usually have ready to go at the drop of a hat. I'll put my witterings behind the cut...

"Domine Deus, Agnus Dei" from Vivaldi's Gloria

Pros: I know it like the back of my hand and sing it really well; I have performed it in concert on several occasions; structure of song offers multiple opportunities to breathe which is important in an audition where I'll probably be nervous

Cons: I don't own a copy of the score

"Woe unto them" from Mendelssohn's Elijah

Pros: Again, I've performed this one in a concert; it's the kind of thing that suits my voice type really well

Cons: I sang this one at my last audition (the symphony had done the Vivaldi that season so I decided not to go with that one); it's hard to sing when you're nervous because it's very slow

"That yonge child" from Britten's Ceremony of Carols

Pros: A third one that I've performed in concert; I have been told that I sang it like Britten wrote it for me which is really the best compliment I've ever gotten

Cons: Not seasonally appropriate; hard to negotiate if you haven't had a chance to rehearse with the accompanist

"Die Forelle" by Schubert

Pros: It's fun to sing; gives me a chance to be expressive and to show off (non-Latin) foreign language diction

Cons: I've never performed it publicly; I prefer to sing it in A major and my book of Schubert lieder for low voice has it in B-flat major instead

So I dunno. I'm leaning toward the Vivaldi or maybe the Schubert but am open to suggestions.

[luc3]

dear psychiatric suitcase, info-point at the end of the... route ? -_- #almost

Then, what to say ?

We are Good Friday.

But above all : It's SPRING ! Birds, cats and plants everywhere, I'm crazy! 👻

~

I'm trying to compose mentally a little glamorous ointment which has nothing to do with "today". I don't really know why. I have the impression that it's my Mandrake who nudges me. Difficult to resist to Her call...

I think mixing Datura, Mandrake leaves, red rose petals (collected in a specific place), Spider web. That kind... I would like it to be an ointment that can both create the caesura, and at the same time make the bridge between one and the other side - of this caesura -

I also slowly plan a new flying ointment test / recipe.

~

About Lent? Observation of a failure, in a way. Sometimes I hate this imperfection of flesh that I am and that I drag (often) like a bag of bones behind me. (This image is by Antonin Artaud.)

- I struggled a lot with some little things. Unfortunately, I didn't manage to remove all the sugar. I nevertheless managed to remove the one from my coffees / tea / herbal teas which for me is kind a miracle.

- Fat, I did my best but it's not "that" yet.

- The meat was not bad, no more red, still a little white but I was not very creative in the kitchen, I was too stressed by the new job.

~

I managed to remove all witchcraft, all alcohol, all "home made" alcohol, to practice silent meditation / prayer 3 times a day (excluding working days) (2 times when I work) but it's really a constant struggle against myself, I have the impression of being an addict who struggles not to dive back while on the contrary, I would have to dive. (gn.?)

~

I also tidied up / cleaned / rearranged my "herbalist" cupboard.

~

I worked in the small garden and do some seedlings / cuttings here. So far the only ones that are going well are black basil, mint, rosemary cutting and marijuana! I relocated and re.potted most of my plants, pulled up some Datura (there were too many), then the Great Mother replanted her babies discreetly as many times !!

~

I thought a lot on Jacob's Struggle with The Angel, as well as on the Sacrifice of Isaac and this kind of "stupor" in which these two "stories" put me.

So I read Caïn by José Saramago, and it consoled me.

Currently, I try not to think too much about the death of Christ, I understand his death very well but it is difficult to accept all this resurrection thing, I am more in a Gnostic approach of Christ made MAN. The Snake-Heart, something like that...

Tonight I'll pray with Stabat Mater by Pergolesi.

~

I read a looot of very high quality novels. I can't get over the one with the shaman, Appaaluttok the Red.

Also, I reread an old gothic tale with a spider woman (by H. E. Ewers), I don't think I will spare you, it is so perfect. I will try to post excerpts here soon.

Actually I read old classical literature (Madame de La Fayette) just for the pleasure of stroking myself with this magnificent language.

:p

I also unearthed a thesis on Hecate as a vector of the "in between" which makes me salivate in advance. But I try not to dive back into the Grannies "right away", I promised Amandragore something.

~

I read earlier also, that @appleandelder felt that our summer would be very difficult, I know we are not in the same corner of the planet at all, but I have the same feeling.

So I think about how to collaborate with the two rivers that cross my city. Last year I had the help of the First River, the one folks here represent by a Snake (eh yes, these humans are sooo imaginative!), and we managed to maintain the correct level of rain / water all summer long... until they curb the river in September by opening / closing a dam. Anyway, assholes.

I will be enlisting the help of both this year (the other is represented in folklore by a Dragon, there is potential, isn't there?).

It's quite complicated for me to curry favor with a water point, well let's say it requires a lot of commitment and that I'm going to pull something from the bottom of me that I don't like going to pull . My fear. Black water, current speed, etc. (I almost drowned myself a number of times.) I will have to pull this fear out, otherwise the Spirit will not listen ; and to come completely naked, fear, love, the joy of being there and having gifts that count! That's a lot, I hope to be up to it (roughly) again this year.

~

I had two consecutive dreams with Mother Arachne. Thanks to her. The omens were very good. Thanks again to her.

~

The new job?

I am in Oncology department. (That's why I allow myself to compare with Afghanistan, for me it's a bit the same kind) I treat / heal a lot of people who are my age (and younger). Finally, "heal" ... Sighs ;) I'm getting started on the most "difficult" sector, my boss understood how I work am, so it suits me very well.

There are many more people who have brain cancer (Glioblastoma) than I imagined. This is the first observation I would make.

For the rest, frankly I don't think I would tell you too much about it, it's too hard and you don't want to hear that. (and I understand you.)

I am very happy to be here.

~

Annnnnd as it is spring, I try to start learning the birdsong again. I am very very bad. It's a good start ;)

~

Here is my Spring Blessings for You 💜

[opera-ghosts]

Adelina Patti's voice was one of moderate power, but great range and of wonderful flexibility. Her production was faultless, and she was, and is, undoubtedly, one of the greatest mistresses of vocalization of the century. As an actress, she could not com- pare with many other singers, and her greatest successes were gained in such operas as made the least demand upon the histrionic capabilities of the performer. Her repertoire included about thirty operas, mostly of the Italian school, though she also sang in the operas of Meyerbeer and Gounod, and others. She was one of the many " Carmens ; " but while her interpretation vocally was excellent, she was by no means equal dramatically to Mile. Hauk, and much less so to Calv6, the latest and by far the greatest interpreter of that role. One of the most notable events of Madame Patti's career occurred when, in 1868, at the funeral of Rossini, the com- poser, she sang with Madame Alboni the beautiful duet, " Quis est Homo," from Ros- sini's " Stabat Mater." On that occasion such an assembly of noted musicians and singers was gathered together to honor the great composer as probably never before met under the same roof. To hear that beautiful music, rendered by two such artists over the grave of the composer, was to feel in the truest sense the genius of Rossini, and the part that he played in the music of the nineteenth century.

The name of Patti has always been asso- ciated with high prices, and not without cause ; for, although other singers have received larger sums for isolated engagements, none have ever succeeded in maintaining such a uniformly high rate.

When she returned to America in 1881, after an absence of some twenty years, Patti held mistaken notions about the American people, and her early concerts were a bitter disappointment. High prices and hackneyed songs did not suit the public, and in order to make a success of the tour Madame Patti was obliged to throw over her French manager, and employ an American (Henry E. Abbey) who knew the public, and who immediately cut the prices down to one-half. Eventually the season was suc- cessful, both artistically and financially, her voice showing but little sign of wear, and her execution being as brilliant as ever. At Brooklyn the people took the horses out of her carriage, and dragged her home, one facetious writer remarking that he saw no reason for taking away her horses, and sub- stituting asses. The following clever rhyme, at the expense of her manager, taken from " Puck,' r voices the opinion of the public very neatly, in regard to Patti's tour, in 1881-2: Patti cake, Patti cake, Franchi man ! " So I do, messieurs, comme vite as I can." " Roulez et tournez et marquez ' with care,' Et posez au publique a ten dollars a chair."

Farinelli is said to have made $30,000 per annum, a very large sum for the times in which he lived. Catalani's profits ran almost to $100,000 a season. Malibran re- ceived $95,000 for eighty-five performances at La Scala. Jenny Lind, for ninety-five concerts, under Barnum's management, re- ceived $208,675, all good figures. But Rubini is said to have made $11,500 at one concert, and Tamagno is the highest-priced tenor of the present day.

Patti at one time made a contract for a series of performances at $4,400 a night, and later on her fee was $5,000 a night, paid in advance, but when she came to Boston in 1882, and sang in three performances given in a week, her share of the receipts was $20,895. The attendance at the Saturday matinee was 9,142 people, and her share of the receipts for that performance alone was $8,395.

Madame Patti always had the advantage of excellent management. Until her mar- riage with the Marquis de Caux she was under the management of her brother-in-law, Mau- rice Strakosch, and so assiduous was he in his protection of his young star from unnec- essary wear and tear that he became the subject of many jokes. It is said that he occasionally took her place at rehearsals, that when visitors called on her they saw him instead, and some people, with vivid imagination, declared that Strakosch sat for Patti' s photograph, and that he once offered to receive a declaration of love for her.

One is apt to doubt the necessity of all this management, for Patti seems to have been admirably adapted for self-defence, and even for aggression in financial matters. An amusing anecdote is told of her by Max Maretzek, who, one day, when she was a small child, in a moment of generosity prom- ised her a doll, or, as some accounts have it, some bon-bons as a reward for singing in a concert. It was to be her very first appear- ance. Patti did not forget the promise, and when it was nearly time for her to sing she asked for her doll. Maretzek had forgotten it, and promised that she should have it after the concert, or the next day. But no, she must have it first, or she would not go on and sing. The poor man was in despair. It was late and stores were all closed, but by some means he succeeded in getting the bribe, whether dolls or bon-bons, and, rushing back in breathless haste, he handed it to her. Then she became cheerful at once, and giving it to her mother to be taken care of, she went on and performed her part in the concert.

One of the most amusing of these anec- dotes was told by Colonel Mapleson, the well-known impresario, who says that no one ever approached Madame Patti in the art of obtaining from a manager the great- est possible sum that he could contrive by any possibility to pay. In 1882, owing to the competition of Henry Abbey, the Ameri- can impresario, Mapleson was obliged to raise Patti's salary from $1,000 per night to $4,000, and, finally, to $5,000 per night, a sum previously unheard-of in the annals of opera. The price, moreover, was to be paid at two o'clock of the day on which Patti was to sing.

On the second night of the engagement at Boston, Madame Patti was billed to sing in "Traviata." Expenses had been heavy and the funds were low, so that when Signor Franchi, Patti's agent, called at the theatre promptly at two o'clock, only $4,000 could be scraped together. Signor Franchi was indignant, and declared that the contract was broken, and that Madame Patti would not sing. He refused to take the $4,000, and went off to report the matter to the prima donna. At four o'clock, Signer Franchi returned to the theatre, and con- gratulated Colonel Mapleson on his facility for managing Madame Patti, saying that she would do for the colonel that which she would do for no other impresario. In short, Patti would take the $4,000 and dress for her part, all except her shoes. She would arrive at the theatre at the reg- ular time, and when the remaining paltry $1,000 was forthcoming she would put on her shoes and be ready to go on the stage.

Everything happened as Patti had prom- ised. She arrived at the theatre costumed as Violetta, but minus her shoes. Franchi called at the box-office, but only $800 was on hand. The genial Signer took the money and returned to Patti' s room. He soon ap- peared again to say that Madame Patti was all ready except one shoe, which she could not put on until the remaining $200 was paid. It was already time for the perform- ance to begin, but people were still coming in, and after some slight delay Signor Franchi was able to go in triumph to Madame Patti with the balance of the amount. Patti put on her other shoe and proceeded to the stage. She made her entrance at the proper time, her face radiant with smiles, and no one in the audience had any idea of the stirring events which had just taken place.

In later years, when Madame Patti in- vested some of her fortune in the beautiful castle at Craig-y-Nos, in Wales, the people employed to put the place into repair, know- ing of her reputed wealth and extravagance, sent in enormous bills. But Madame Patti was not to be imposed upon, and the result was that the amounts melted down consider- ably under the gentle influence of the law. The unkindest cut of all was, however, when a Belgian gentleman, who had amused him- self at Craig-y-Nos, who had fished, shot, and been entertained, but who always managed to be present during discussions on business, sent in a bill of ,3,000 for his services as agent.

Under the management of Colonel Maple- son, Patti travelled in most luxurious style. She had a special car which is said to have cost $65,000, and a whole retinue of ser- vants. At Cheyenne, the legislature and assembly adjourned and chartered a special car to meet the operatic train. A military band was at the station, and nearly the whole population turned out to witness the arrival. Tickets to the opera were ten dollars each, and there was an audience of 3,000 people.

California seems to have been considered doubtful territory, for Patti left the question undecided as to whether she would go so far. When she did arrive it was merely as a vis- itor, but her delight with the "heavenly place " was so great that she declared she must sing there. The necessary delay in- curred by sending to Chicago for numerous trunks containing her wardrobe, gave suffi- cient time for the excitement in San Fran- cisco to work up to fever heat. Tickets sold at unheard-of prices, and more or less damage to property was done in the scramble.

Adelina Patti made her first matrimonial venture in 1868, when she was united to the Marquis de Caux, an event which did not interfere with her operatic career, for she filled an engagement of six weeks at Paris, and then went on to St. Petersburg, where the town opened a subscription which amounted to 100,000 rubles, and presented her with a diamond necklace.

In 1885 Madame Patti obtained a divorce from the Marquis de Caux, from whom she had separated in 1877, and the following year married Ernest Nicolini, the tenor singer. Nicolini was a man of fine stage presence, and, for a time, after the retire- ment of Mario, was considered the best tenor on the stage. His voice was of mod- erate power and of pleasing quality, but his tremolo was, to say the least, extensive. For some years Madame Patti declined every engagement in which Nicolini was not included, until the public indignation found vent in many protests. Signer Nicolini seems to have been a devoted and admiring husband, and to have entered heartily into the pleasures of the luxurious life of Craig-y-Nos. He died in January, 1898.

After some years of retirement from the operatic stage, during which she sang only in concerts, Patti made a reappearance at Covent Garden in 1895, and showed that her voice, notwithstanding nearly forty years of use, was wonderfully well preserved. Nev- ertheless it was a disappointment to those who had heard her in her prime. As a reason for its preservation she says that she never sings when she is tired, and never strains for high notes. Sir Morell Macken- zie, the great throat specialist, said that she had the most wonderful throat he ever saw. It was the only one in which the vocal cords were in absolutely perfect condition after many years of use. They were not strained, warped, or roughened in the slight- est degree, but absolutely perfect, and there was no reason why they should not remain so for ten or even twenty years longer. It was by her voice alone that she charmed and delighted her audiences, and she will doubt- less be recorded as the possessor of the most perfect voice of the nineteenth century. She witnessed the rise of many rivals, but none ever equalled her in popularity, though many excelled her in dramatic powers. Lucca, Sembrich, Nilsson, were all greater as ac- tresses, but of all the rivals of her prime only Sembrich and Albani remain, and sev- eral years must elapse before their careers will equal the length of Patti's.

Probably no other singer has succeeded in amassing so great a fortune as Madame Patti. Her earnings enabled her to purchase, in 1878, the beautiful estate in Wales, which she remodelled to suit her own ideas. Here she has lived in regal style and entertained lavishly many of the most noted people of the civilized world.

Her wealth is by no means confined to real estate, for she has a rare collection of jewels, said to be the largest and most bril- liant owned by any of the modern actresses and opera singers. One of her gowns, worn in the third act of " La Traviata," was cov- ered with precious stones to the value of $500,000.

Madame Patti's most popular r61es were Juliet and Aida, and though she created no new parts of importance, she has amply fulfilled the traditional role of prima donna in matters of caprice and exaction, and has even created some new precedents. In 1898 she was still before the public, singing in concerts in London and elsewhere.

via Famous singers of to-day and yesterday by Lahee, Henry Charles, 1856-1953.

[tinyshe]

WASHINGTON, DC (Catholic Online) - “I started this list as the 100 Best Pieces of Sacred Music, but I decided instead to recommend specific recordings. Why? No matter how fine the music, say Bach's Mass in B minor, a poor performance will leave the listener wondering where the "greatness" went.  So the recommendations below represent a merging of both: All of the compositions are among the very best sacred music ever written, but the recorded performances succeed in communicating their extraordinary beauty.  

“I also dithered over whether or not to make a list of "liturgical" music, or "mass settings," or "requiems." Each of these would make interesting lists, but I chose the broader "sacred music" with the hope that this list might be of interest to a wider spectrum of people. Composers are not limited to any denomination -- some are known to have been non-believers -- although the music belongs to the Christian tradition.  

“I've also decided to limit my choices to recordings that are presently available on CDs, DVDs, Blu-rays, or digital downloads.  I don't expect those who are curious about a particular title to start hunting down LPs, especially since these vinyl recordings are suddenly in great demand and prices are rising.  

“This list is alphabetized, rather than listed in chronological order. This was necessary, since recordings will often include several pieces composed years apart, perhaps much more. Thus, to reiterate, there has been no attempt to arrange them in order of preference -- all 100 are among "the best" recordings of sacred music currently available. The recording label is indicated in parentheses.

What I would call 'Indispensable Sacred Music Recordings' are marked with an ***.

1.Allegri, Miserere, cond., Peter Phillips (Gimell).*** 2.Bach Mass in B Minor, cond., Nikolaus Harnoncourt (1968 recording;Teldec).*** 3.Bach, St. Matthew Passion, cond., Philippe Herreweghe (Harmonia Mundi).*** 4.Bach, Cantatas, cond., Geraint Jones and Wolfgang Gonnenwein (EMI Classics). 5.Barber, Agnus Dei, The Esoterics (Naxos). 6.Beethoven, Missa Solemnis, cond., Otto Klemperer (EMI/Angel). 7.Bernstein, Mass, cond., Leonard Bernstein (Columbia). 8.Berlioz, Requiem, cond. Colin Davis (Phillips). 9.Brahms,  Requiem, cond., Otto Klemperer (EMI/Angel).*** 10.Briggs, Mass for Notre Dame, cond., Stephen Layton (Hyperion). 11.Britten, War Requiem, cond., Benjamin Britten (Decca). 12.Brubeck, To Hope! A Celebration, cond. Russell Gloyd (Telarc). 13.Bruckner, Motets, Choir of St. Mary's Cathedral (Delphian).*** 14.Byrd, Three Masses, cond., Peter Phillips (Gimell). 15.Burgon, Nunc Dimittis, cond., Richard Hickox (EMI Classics). 16.Celtic Christmas from Brittany, Ensemble Choral Du Bout Du Monde (Green Linnet) 17.Chant, Benedictine Monks of Santo Domingo de Silos (Milan/Jade). 18.Charpentier, Te Deum in D, cond., Philip Ledger (EMI Classics). 19.Christmas, The Holly and the Ivy, cond., John Rutter (Decca). 20.Christmas, Christmas with Robert Shaw, cond., Robert Shaw (Vox). 21.Christmas, Cantate Domino, cond., Torsten Nilsson (Proprius).*** 22.Christmas, Follow That Star, The Gents (Channel Classics). 23.Christmas, The Glorious Sound of Christmas, cond., Eugene Ormandy (Sony). 24.Christmas: Moravian Christmas, Czech Philharmonic Choir (ArcoDiva) 25.Desprez, Ave Maris Stella Mass, cond., Andrew Parrott (EMI Reflexe). 26.Dufay, Missa L'homme arme, cond., Paul Hillier (EMI Reflexe). 27.Duruflle, Requiem & Motets, cond. Matthew Best (Hyperion) 28.Dvorak, Requiem, cond. Istvan Kertesz (Decca). 29.Elgar, The Dream of Gerontius, cond. John Barbirolli (EMI Classics).*** 30.Elgar, The Apostles, cond. Adrian Boult (EMI Classics). 31.Elgar, The Kingdom, cond., Mark Elder (Halle). 32.Eton Choirbook, The Flower of All Virginity, cond., Harry Christophers (Coro). 33.Faure, Requiem, cond., Robert Shaw (Telarc). 34.Finnish Sacred Songs, Soile Isokoski (Ondine). 35.Finzi, In Terra Pax, cond. Vernon Handley (Lyrita). 36.Gabrieli, The Glory of Gabrieli, E. Power Biggs, organ (Sony). 37.Gesualdo, Sacred Music for Easter, cond., Bo Holten (BBC). 38.Gonoud, St. Cecilia Mass, cond. George Pretre (EMI Classics). 39.Gorecki, Beatus Vir & Totus Tuus, cond. John Nelson (Polygram). 40.Gospel Quartet, Hovie Lister and the Statesman (Chordant) 41.Guerrero, Missa Sancta et immaculata, cond., James O'Donnell (Hyperion) 42.Handel, Messiah, cond., by Nicholas McGegan (Harmonia Mundi)*** 43.Haydn, Creation, cond., Neville Marriner (Phillips). 44.Haydn, Mass in Time of War, cond., Neville Marriner (EMI Classics). 45.Hildegard of Bingen, Feather on the Breath of God, Gothic Voices (Hyperion). 46.Howells, Hymnus Paradisi, cond., David Willocks (EMI Classics).*** 47.Hymns, Amazing Grace: American Hymns and Spirituals, cond. Robert Shaw (Telarc).*** 48.Lauridsen, Lux Aeterna & O Magnum Mysterium, cond. Stephen Layton (Hyperion).*** 49.Lassus, Penitential Psalms, cond. Josef Veselka (Supraphon). 50.Leighton, Sacred Choral Music, cond., Christopher Robinson (Naxos). 51.Liszt, Christus, cond., Helmut Rilling (Hannsler). 52.Liszt, The Legend of St. Elisabeth, cond., Arpad Joo (Hungaroton). 53.Lobo, Requiem for Six Voices, cond., Peter Phillips (Gimell). 54.Martin, Requiem, cond. James O'Donnell (Hyperion). 55.Machaut, La Messe de Nostre Dame, cond., Jeremy Summerly (Naxos). 56.Mahler, 8th Symphony, cond., George Solti (Decca). 57.Mendelssohn, Elijah, cond. Rafael Frühbeck de Burgos (EMI 58.Monteverdi, 1610 Vespers, cond., Paul McCreesh (Archiv). 59.Morales, Magnificat, cond., Stephen Rice (Hyperion). 60.Mozart, Requiem, cond. Christopher Hogwood (L'Oiseau-Lyre). 61.Mozart, Mass in C Minor, cond. John Eliot Gardiner (Phillips). 62.Nystedt, Sacred Choral Music, cond., Kari Hankin (ASV). 63.Organum, Music of the Gothic Era, cond., David Munrow (Polygram). 64.Palestrina, Canticum Canticorum, Les Voix Baroques (ATMA). 65.Palestrina, Missa Papae Marcelli, cond. Peter Phillips (Gimell). 66.Part, Passio (St. John Passion), cond., Paul Hillier (ECM New Series). 67.Parsons, Ave Maria and other Sacred Music, cond., Andrew Carwood (Hyperion). 68.Pizzetti, Requiem, cond., James O'Donnell (Hyperion). 69.Poulenc, Gloria & Stabat Mater, cond., George Pretre (EMI Classics). 70.Poulenc. Mass in G Major; Motets, cond., Robert Shaw (Telarc). 71.Puccini, Messa di Gloria, cond., Antonio Pappano (EMI Classics). 72.Purcell, Complete Anthems and Services, fond., Robert King (Hyperion). 73.Rachmaninov, Liturgy of St. John Chrysostom, cond., Charles Bruffy (Nimbus). 74.Rachmaninov, Vespers, cond., Robert Shaw (Telarc). 75.Respighi, Lauda Per La Nativita Del Signore, cond., Anders Eby Proprius). 76.Rheinberger, Sacred Choral Music, cond., Charles Bruffy (Chandos). 77.Rossini, Stabat Mater, cond., Antonio Pappano (EMI). 78.Rubbra, The Sacred Muse, Gloriae Dei Cantores (Gloriae Dei Cantores). 79.Rutter, Be Thou My Vision: Sacred Music, cond., John Rutter (Collegium).*** 80.Russian Divine Liturgy, Novospassky Monastery Choir (Naxos). 81.Rutti, Requiem, cond., David Hill (Naxos). 82.Saint Saens, Oratorio de Noel, cond., Anders Eby (Proprius). 83.Schubert, 3 Masses, cond., Wolfgang Sawallisch (EMI Classics). 84.Schutz, Musicalische Exequien, cond., Lionel Meunier (Ricercar). 85.Spirituals, Marian Anderson (RCA).*** 86.Spirituals, Jesse Norman (Phillips) 87.Telemann, Der Tag des Gerichts, cond., Nikolaus Harnoncourt (Teldec). 88.Thompson, Mass of the Holy Spirit, cond., James Burton (Hyperion). 89.Shapenote Carols, Tudor Choir (Loft Recordings) 90.Stravinsky, Symphony of Psalms, cond., Robert Shaw (Telarc). 91.Tallis, Spem in alium & Lamentations of Jeremiah, cond., David Hill (Hyperion).*** 92.Tschiakovsky, Liturgy of St. John Chrysostom, cond, Valery Polansky (Moscow Studio). 93.Taneyev, At the Reading of a Psalm, cond., Mikhail Pletnev (Pentatone). 94.Vaughn Williams, Five Mystical Songs, cond., David Willcocks (EMI Classics).*** 95.Vaughn Williams, Mass in G, cond. David Willcocks (EMI Classics). 96.Vaughn Williams, Pilgrims Progress, cond., Adrian Boult (EMI Classics).*** 97.Verdi, Requiem, cond., Carlo Maria Guilini (EMI Classics).*** 98.Victoria, O Magnum Mysterium & Mass, cond., David Hill (Hyperion).*** 99.Victoria, Tenebrae Responsories, cond., David Hill (Hyperion). 100.Vivaldi, Sacred Music, cond., Robert King (Hyperion).   “ -----

Deal W. Hudson is president of the Pennsylvania Catholics Network and former publisher/editor of Crisis Magazine. Dr. Hudson also a partner in the film/TV production company, Good Country Pictures.

[ukdamo]

The Leavetaking

One of mine, from September 1992

The Stations of the Cross in Lourdes are massively cast in bronze. Verdigrised. Monumental. Compelling. They dominate an unkempt park, hard by a gouged and gritty path that toils up a steep, unforgiving hill.

The day I walked that Way was akin to an April day many years ago - chilled by keening winds, heavy under a monochromed sky, wet with tears.

The others went ahead and I bided my time until I was alone, with strangers. There was a hubbub of pietistic babble in many tongues; Germans with books; Italians with mischievous children (who were, by turns, bored and prayerful); Spaniards with mantillas. All milled past, gawping, jostling one another, competing for God’s ear in their national languages. The regimentation was impressive and saddening.

I knelt at the first Station and accepted my fate. My habit was muddied, my cord damp and soiled, my sandals on the ground before me. I was conscious of the sharp flints cutting my knees, my cold feet washed by the rain, the bronzes (Pilate, Christ, the guards), and the path that I must ineluctably tread.

Rising, I felt the bare earth under my bare feet, strongly supportive and affirming. It encouraged my steps, tempering its hardness as I walked to the second Station. The sandals in my hand were down-at-heel, the brown leather was stamped with the callouses of my pilgrim-feet. Their scent was moist and good, an honest pungency. I had the sensation of holding my life in my hands.

I was moving too slowly for the crowds and they passed me. Their thoughts were private, like mine, but some showed a public face: I was a fanatic; a curio; a pious and sensitive man. None, however, recognised the truth - here was a man taking leave of his senses - at least of what made sense of his life. The rain fell steadily. Scuffed shoes shuffled by. Some dressed for fashion and others for comfort; men, women, children. So much faith. So many journeys being made and all the same journey. The rain pattered down and camouflaged my tears. I brought to mind many good things and many good people I had encountered on this Way, true likenesses of the Christ. There was so little to regret and so much to be thankful for.

The twelfth Station dominated the top of the hill.

Stylised, dramatic and poignant, it would have brought Pilate to his knees. The rain began to fall with unexpected ferocity. Streams of muddied water coursed down the path, sluicing my feet. The leaves on the trees flapped noisily. The pilgrims raised their voices so that the Stabat Mater might be heard above the din. I knelt before this scene for a long time. For the length of time it takes to walk a mile slowly.

Many folk passed by. I noted their presence but focussed and re-focussed on the massive crucifixion tableau. Lord, you do all things well.

It was as difficult to walk down the hill as it had been to ascend. When I reached the tomb, a fissure in the rock, I laid my own dead self inside. Subsequently, I came to an Easter garden; I stayed but a little while there because I knew nothing of resurrection.

Besides, I was late for the bus.

That figure who strolled by the Porte Saint Michel had the appearance of a friar. It was simply the past lingering a while, like morning mist on a lake. In time, the mist would be dissolved in the warmth of a new day. The dun habit was a chrysalis from which some novel creature would ultimately emerge, taking leave of a cosy home and entering upon some new adventure.

September 1992 © Damian

[akimbohimbo]

as you all know, i feel a lot of things about cats (2019).... so i made a playlist about it. here’s the tracklist, explained in full detail:

Listen to the playlist here! (x) 

Stabat Mater from The Liberation of the Gothic

We must start strong; thus, we begin with a solemn lament. 

Rossini: Duetto buffo di due gatti (Cat Duet)

Continuing with the classical music vibe, but with a twist. Have you ever heard cats sing opera?

Meow Mix Theme

30 seconds of the worst thing you’ve ever heard. It’s better to go into this without knowing anything about this.

Those Magnificent Men In Their Flying Machines from Sounds of the Circus South Shore

A clown song for a clown of a movie. I was tempted to put every single song from this clown group’s discography, but I figured one ode would suffice.

Pussycat Meow by Deee-Lite

Ngl this track slaps. It’s awful, but it slaps. We stan dance music mixed with terrible meows in the background. 

The Bad Touch by Bloodhound Gang 

This is a sex song. A really bad one. Because I feel like that’s the energy that the entire movie just... radiates, you know? Also it’s 4:20 long, which I think is yet another excellent and justifiable reason for me to add this track. 

Scatman (ski-ba-bop-ba-dop-bop) by Scatman John

Absolute gibberish. What more can I say? 

Blue (Da Ba Dee) by Eiffel 65

A nonsensical, classic song for a nonsensical, classic film. 

Axel F by Crazy Frog

The most annoying yet iconic song to perfectly match the most annoying yet iconic movie of all time. 

We like to Party! (The Vengabus) by the Vengaboys 

The orgy scene. Need I say more? 

What’s New Pussycat? by Tom Jones but 7 times in a row, followed by 1 It’s Not Unusual... along with What’s New Pussycat? twice more

Thought it would be funny to include a bit of a John Mulaney reference, but I didn’t want to *overdo* it so... 

Winter Wonderland by Christmas Cats

Yes. This is another song where cats are singing. Except it’s tone deaf and doesn’t slap like the initial cat duet I put near the beginning of the playlist. It makes me want to scratch my ears out.

Nyan Cat Theme 

Such an awful, iconic song. 

Go on by Top Cats

Okay this is actually a good song. I just included it because it has lowkey horny vibes and that’s what Cats (2019) is, at its core. 

Vaya Con Dios by The Cats

This song encapsulates the town that the cats in the movie hang around. Kind of dark, kind of sad, yet hopeful in a sense. Another slapper.

Kitty by Snail’s House

I needed to add a cutesy instrumental, alright? There needs to be a hint of playfulness and childishness in this playlist. 

The Rum Tum Tugger from Cats the Musical 

I had to include this song, alright? And it fits perfectly after the song I mentioned prior! 

A Wonderful Awful Idea by Danny Elfman

Another instrumental, except this one is much more ominous and it’s from the Grinch soundtrack. 

Bitches Brew by Crosses

Yet another ominous and dark track. It works, trust me.

I Can’t Stop Farting by The Queers

This song slaps and is also completely pointless, just like the movie!

Kitty Empire by Big Black 

“When the cat’s away, it’s a regular rat day. When the rat’s away, King cat can play.” BARS

this s*it will fcuk you up by Combichrist 

This is a BANGER of a song, and also perfectly describes my sentiments towards the movie :’) It’s also kinky as hell. 

Ascension by Moses Sumney 

As the playlist comes to an end, we come to take a moment to reflect on the grief with which this movie has given us. 

Lament by Teodor Wolgers 

Piano instrumental. Very sad. Much lamentation. 

Everything Is Awful by the Decemberists 

Do I even need to say anything about this? Also, the song is a BOP. 

The Jellicle Ball from Cats the Musical 

I needed to end this playlist with the song that plays during the orgy scene. Surely, you all understand why. This track is a masterpiece. Absolute perfection. Creepy, horny, grandiose, everything you could ever ask for in a playlist finale! 

Thank you for reading this... and I’m sorry for this monstrosity.