Spirited verse.
Prudentius (Aurelius Prudentius Clemens) was born in AD 348 probably at Caesaraugusta (Saragossa) and lived mostly in northeastern Spain, but visited Rome between 400 and 405. His parents, presumably Christian, had him educated in literature and rhetoric. He became a barrister and at least once later on an administrator; he afterwards received some high honor from Emperor Theodosius. Prudentius was a strong Christian who admired the old pagan literature and art, especially the great Latin poets whose forms he used. He looked on the Roman achievement in history as a preparation for the coming of Christ and the triumph of a spiritual empire.
The Loeb Classical Library edition of the poems of Prudentius is in two volumes. Volume I presents: “Preface” (Praefatio); “The Daily Round” (Liber Cathemerinon); twelve literary and attractive hymns, parts of which have been included in the Breviary and in modern hymnals; “The Divinity of Christ” (Apotheosis), which maintains the Trinity and attacks those who denied the distinct personal being of Christ; “The Origin of Sin” (Hamartigenia) attacking the separation of the “strict” God of the Old Testament from the “good” God revealed by Christ; “Fight for Mansoul” (Psychomachia), which describes the struggle between (Christian) Virtues and (Pagan) Vices; and the first book of “Against the Address of Symmachus” (Contra Orationem Symmachi), in which pagan gods are assailed.
The second volume contains the second book of “Against the Address of Symmachus,” opposing a petition for the replacement of an altar and statue of Victory; “Crowns of Martyrdom” (Peristephanon Liber), fourteen hymns to martyrs mostly of Spain; “Lines To Be Inscribed under Scenes from History” (Tituli Historiarum), forty-nine four-line stanzas that are inscriptions for scenes from the Bible depicted on the walls of a church; and an Epilogue.
Since 1892, Harvard University, like many distinguished academic institutions, has compiled a hymnal for use in its own worship services. The fourth edition of The Harvard University Hymn Book represents the culmination of a ten-year process of revision and re-creation based on the 1964 third edition. Containing over 370 hymns, over 100 more than its predecessor, the book includes many that have become a regular part of worship at The Memorial Church in the years since the publication of the previous edition.
In addition to many familiar hymns old and new, the fourth edition includes selections that were unique to the previous editions, hymns previously unpublished, and other noteworthy “discoveries” that have not appeared in print for many years.
This newest volume in The Works of Giuseppe Verdi series comprises his only two surviving secular choral works: Inno popolare, or Hymn of the People, for unaccompanied male chorus, and Inno delle nazioni, or Hymn of the Nations, for tenor solo, chorus, and orchestra.
Verdi wrote the brief Inno popolare in 1848 at the behest of the Italian philosopher and patriot Giuseppe Mazzini, intending that it become an anthem for Italy at a time when the country had just driven away its Austrian overlords. He wrote no more independent patriotic pieces until he was asked in 1861 to represent his country with a patriotic composition at a musical jubilee during London’s International Exhibition of 1862. The resulting piece was Inno delle nazioni, the critical edition of which is based on Verdi’s autograph score, preserved at the British Library. Other important sources include the composer's musical sketches, recently discovered in the Verdi family villa, and the performing parts Toscanini used for a BBC broadcast in 1943.
Callimachus of Cyrene, 3rd century BCE, became after 284 a teacher of grammar and poetry at Alexandria. He was made a librarian in the new library there and prepared a catalogue of its books. He died about the year 240. Of his large published output, only 6 hymns, 63 epigrams, and fragments survive (the fragments are in Loeb no. 421). The hymns are very learned and artificial in style; the epigrams are good (they are also in the Loeb Greek Anthology volumes).
Lycophron of Chalcis in Euboea was a contemporary of Callimachus in Alexandria where he became supervisor of the comedies included in the new library. He wrote a treatise on these and composed tragedies and other poetry. We possess Alexandra or Cassandra wherein Cassandra foretells the fortune of Troy and the besieging Greeks. This poem is a curiosity—a showpiece of knowledge of obscure stories, names, and words.
Aratus of Soli in Cilicia, ca. 315–245 BCE, was a didactic poet at the court of Antigonus Gonatas of Macedonia, where he wrote his famous astronomical poem Phaenomena (Appearances). He was for a time in the court of Antiochus I of Syria but returned to Macedonia. Phaenomena was highly regarded in antiquity; it was translated into Latin by Cicero, Germanicus Caesar, and Avienus.
More than forty years ago in the state archives of Lucca, Italy, musicologist Reinhard Strohm noticed that bindings on some of the books were unusual: they consisted of the pages of a centuries-old music manuscript. In the following years, Strohm worked with the archivists to remove these leaves and reassemble as much as possible of the original manuscript, a major cultural recovery now known as The Lucca Choirbook.
The recovered volume comprises what remains of a gigantic cathedral codex commissioned in Bruges around 1463 and containing English, Franco-Flemish, and Italian sacred music of the fifteenth century—including works by the celebrated composers Guillaume Du Fay and Henricus Isaac.
This facsimile of the choirbook includes all the known leaves, ordered according to their proper placement in the original codex. In the introduction, Strohm tells the fascinating story of this choirbook, identifying its early users and reconstructing its travel from Bruges to Lucca.
“How I wept at your hymns and songs, keenly moved by the sweet-sounding voices of your church!” wrote the recently converted Augustine in his Confessions. Christians from the earliest period consecrated the hours of the day and the sacred calendar, liturgical seasons and festivals of saints. This volume collects one hundred of the most important and beloved Late Antique and Medieval Latin hymns from Western Europe.
These religious voices span a geographical range that stretches from Ireland through France to Spain and Italy. They meditate on the ineffable, from Passion to Paradise, in love and trembling and praise. The authors represented here range from Ambrose in the late fourth century ce down to Bonaventure in the thirteenth. The texts cover a broad gamut in their poetic forms and meters. Although often the music has not survived, most of them would have been sung. Some of them have continued to inspire composers, such as the great thirteenth-century hymns, the Stabat mater and Dies irae.
Spirited verse.
Prudentius (Aurelius Prudentius Clemens) was born in AD 348 probably at Caesaraugusta (Saragossa) and lived mostly in northeastern Spain, but visited Rome between 400 and 405. His parents, presumably Christian, had him educated in literature and rhetoric. He became a barrister and at least once later on an administrator; he afterwards received some high honor from Emperor Theodosius. Prudentius was a strong Christian who admired the old pagan literature and art, especially the great Latin poets whose forms he used. He looked on the Roman achievement in history as a preparation for the coming of Christ and the triumph of a spiritual empire.
The Loeb Classical Library edition of the poems of Prudentius is in two volumes. Volume I presents: “Preface” (Praefatio); “The Daily Round” (Liber Cathemerinon); twelve literary and attractive hymns, parts of which have been included in the Breviary and in modern hymnals; “The Divinity of Christ” (Apotheosis), which maintains the Trinity and attacks those who denied the distinct personal being of Christ; “The Origin of Sin” (Hamartigenia) attacking the separation of the “strict” God of the Old Testament from the “good” God revealed by Christ; “Fight for Mansoul” (Psychomachia), which describes the struggle between (Christian) Virtues and (Pagan) Vices; and the first book of “Against the Address of Symmachus” (Contra Orationem Symmachi), in which pagan gods are assailed.
The second volume contains the second book of “Against the Address of Symmachus,” opposing a petition for the replacement of an altar and statue of Victory; “Crowns of Martyrdom” (Peristephanon Liber), fourteen hymns to martyrs mostly of Spain; “Lines To Be Inscribed under Scenes from History” (Tituli Historiarum), forty-nine four-line stanzas that are inscriptions for scenes from the Bible depicted on the walls of a church; and an Epilogue.
A thorough text for students of ancient Mesopotamian religion and the Hebrew Bible
Alan Lenzi places Akkadian prayers and hymns within both a religious studies perspective and a Mesopotamian studies perspective. Complete with vocabulary glosses, grammatical notes, literary commentary, and comparative suggestions to biblical material, this book provides a crucial tool for accessing ancient texts related to our understanding of the Hebrew Bible.
Features:
Alan Lenziis Associate Professor of Hebrew Bible and Ancient Near East at University of the Pacific. He is the author of Secrecy and the Gods: Secret Knowledge in Ancient Mesopotamia and Biblical Israel (Neo-Assyrian Text Corpus Project).
Hymns and hymnbooks as American historical and cultural icons.
This work is a study of the importance of Protestant hymns in defining America and American religion. It explores the underappreciated influence of hymns in shaping many spheres of personal and corporate life as well as the value of hymns for studying religious life. Distinguishing features of this volume are studies of the most popular hymns (“Amazing Grace,” “O, For a Thousand Tongues to Sing,” “All Hail the Power of Jesus’ Name”), with attention to the ability of such hymns to reveal, as they are altered and adapted, shifts in American popular religion. The book also focuses attention on the role hymns play in changing attitudes about race, class, gender, economic life, politics, and society.
Singing the Gospel offers a new appraisal of the Reformation and its popular appeal, based on the place of German hymns in the sixteenth-century press and in the lives of early Lutherans. The Bohemian mining town of Joachimsthal--where pastors, musicians, and laity forged an enduring and influential union of Lutheranism, music, and culture--is at the center of the story.
The Lutheran hymns, sung in the streets and homes as well as in the churches and schools of Joachimsthal, were central instruments of a Lutheran pedagogy that sought to convey the Gospel to lay men and women in a form that they could remember and apply for themselves. Townspeople and miners sang the hymns at home, as they taught their children, counseled one another, and consoled themselves when death came near.
Shaped and nourished by the theology of the hymns, the laity of Joachimsthal maintained this Lutheran piety in their homes for a generation after Evangelical pastors had been expelled, finally choosing emigration over submission to the Counter-Reformation. Singing the Gospel challenges the prevailing view that Lutheranism failed to transform the homes and hearts of sixteenth-century Germany.
A collection of ancient Byzantine hymns featuring women as pivotal characters, now in a new translation.
At a time when Christianity was becoming the dominant religion in the Byzantine Roman Empire, Romanos the Melodist (ca. 485–565) was a composer of songs for festivals and rituals in late antique Constantinople. Most of his songs include dramatic dialogues or monologues woven with imagery from ordinary life, and his name became inseparably tied to the kontakion, a genre of dramatic hymn. Later Byzantine religious poets enthusiastically praised his creative virtuosity and a legend claimed that Romanos’s inspiration came directly from the Virgin Mary herself.
Songs about Women contains eighteen works related to the liturgical calendar that feature important female characters, many portrayed as models for Christian life. They appear as heroines and villains, saints and sinners, often as transgressive and bold. Romanos’s songs offer intriguing perspectives on gender ideals and women’s roles in the early Byzantine world.
This edition presents a new translation of the Byzantine Greek texts into English.
The activist anthem “We Shall Not Be Moved” expresses resolve in the face of adversity; it helps members of social movements persevere in their struggles to build a better world. The exact origins of the song are unknown, but it appears to have begun as a Protestant revival song sung by rural whites and African slaves in the southeastern United States in the early nineteenth century. The song was subsequently adopted by U.S. labor and civil rights activists, students and workers opposing the Franco dictatorship in Spain, and by Chilean supporters of that country’s socialist government in the early 1970s.
In his fascinating biography, We Shall Not Be Moved, David Spener details the history and the role the song has played in each of the movements in which it has been sung. He analyzes its dissemination, function, and meaning through a number of different sociological and anthropological lenses to explore how songs can serve as an invaluable resource to participants in movements for social change.
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