Gregorian Chants & Hymns for Sleep, Study & Solitude  5

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Exsurge Domine 1520
Exsurge Domine (Latin Arise O Lord) is a papal bull issued on 15 June 1520 by Pope Leo X. It was written in response to the teachings of Martin Luther which opposed the views of the papacy.

It censured forty one propositions extracted from Luther's 95 theses and subsequent writings, and threatened him with excommunication unless he recanted within a sixty day period commencing upon the publication of the bull in Saxony and its neighboring regions. 

Luther refused to recant and responded instead by composing polemical tracts lashing out at the papacy and by publicly burning a copy of the bull on 10 December 1520.

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Exsurge Domine 1520

Recording Session at Trinity Episcopal in Seattle. July 11, 2014.
Duo Seraphim - Tomás Luis de Victoria
In Pace - Orlande de Lassus
Missa Brevis - Stephanie Martin

In Pace - Orlande de Lassus

Wiz Khalifa v. Chainsmokers v. Kasum Mashup 
I do not own the rights to any of the songs used in this mashup. 

No Sleep For Kanye (Alec Milton Mashup)

A spiritual song recorded by the following youth from St. Mary's Coptic Orthodox church in Ottawa, Canada:

- Sami Botros
- Mina Rezk
- Daniel Abdalla
- Jan Mikhail
- Tamer Ibrahim
- Fadi Guirguis

I Heard The Voice Of Jesus Say

Free interpretation of original tetragram - Guido d'Arezzo took first syllabes of every verse of Saint John's hymn to name musical notes.

Interpretación libre del tetragrama. 
Ut queant laxis es el primer verso del Himno a San Juan Bautista. 
De las primeras sílabas de los versos de este himno se toma el nombre las notas musicales de la notación latina moderna, hecho realizado por Guido de Arezzo en el Siglo XI. 
Guido de Arezzo utilizó la primera sílaba de cada estrofa, excepto la última: ut, re, mi, fa, sol, la. Siglos más tarde, Anselmo de Flandes introdujo el nombre si para la nota faltante, combinando las iniciales de Sancte Ioannes.

Posteriormente, en el siglo XVII el musicólogo italiano Giovanni Battista Doni sustituyó la nota ut por do, pues esta sílaba facilitaba el solfeo por terminar en vocal :

UT queant laxis ( Ut = Do )
REsonare fibris
MIra gestorum
FAmuli tuorum
SOLve polluti
LAbi reatum
Sancte Iohannes ( SI )


http://es.wikipedia.org/wiki/Ut_queant_laxis

Download - Descarga

Ut Queant Laxis - Hymn to Saint John - note names

A remix of Chris August's cover of Gavin Degraw's "Not Over You."
This is my first house song for a while, hope you like it!

Chris August - Not Over You (Throttle Remix)

 'Hell's Kitchen Angel' out April 8th on DCD2. Pre-order on:

iTunes: http://smarturl.it/HellsKitchenAngel
Amazon: http://smarturl.it/HellKitchenAngelA
Google Play: http://smarturl.it/HellsKitchenAngelGP


Wrong Feat. Lil Uzi Vert (Lodent Remix)

Lost Kings - You feat. Katelyn Tarver (Halogen x Niko The Kid Remix) is part of 'You (The Remixes)' and is out now: lostkings.lnk.to/YouTheRemixes

Download/Stream

Lost Kings - You Ft. Katelyn Tarver (Halogen X Niko The Kid Remix)

Kyrie

AVSTIN JAMES   Palace Stared At Me (A$AP Rocky X ClayJay)

Finally new music!

Tracks Sampled:
Galantis - In My Head
Halsey - Colors (Audien Remix)

Control (ft. Galantis, Audien)[BUY = FREE DL]

Jan Pieterszoon Sweelinck: Miserere

Great remix by Trinix, Just edited the speed on audacity.

Son Lux - Easy (Trinix Remix + 1.25x Speed)

122 tracks
@vowlmusic

Sample 1 : 1:07
Sample 2 : 2:37
Sample 3 : 3:59
Sample 4 : 4:52
Sample 5 : 1:40

© ZUPEKTASE / murderMusic

[WIN] ZUPEKTA$E - VOWL. $AMPLE CHALLENGE

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Eren

6 FEET UNDER

My remix of Dada Life's "Happy Violence", hope you like it!

Dada Life - Happy Violence (Throttle Remix)

a remix for one of my favourite songs by one of my favourite artists

@billieeilish

free download

billie eilish - hostage (sonn remix)

This is my (winning!) entry in Louis La Roches' "Untrue" remix competition. Hope you like it.

Louis La Roche - Untrue (feat Ad-Apt) (Throttle Remix)

Son réalisé pour le second Cream and Pics Challenge organisé par @lacrememusicale.

Hésitez pas à aimer ou partager. <3

BREAKING THE SILENCE

For all the Saints SATB - Alto Predominant - Ralph Vaughan Williams, arr. Robert Shaw - 1/1

Exsultate justi in Domino (Lodovico Grossi da Viadana)

Harvard Glee Club
Harris Ipock, conductor
March 2014

Unity and Joy

Exsultate justi in Domino (Lodovico Grossi da Viadana)

for SATTBB unaccompanied
'Victimae paschali laudes' is an atmospheric arrangement of the plainsong melody for this Latin text for Easter Sunday. Lawson employs interjections of 'alleluia' within the main text as an expression of the triumph of life over death.

More on the OUP site

Victimae paschali laudes - Philip Lawson

https://soundcloud.com/iylablue

RIP https://soundcloud.com/madjbeats (1998-2019) [Go follow him he's lit]

Poetry

This is my official remix for Usher's new smash hit, "Numb"

Please heart the track on Hypem for me: http://hypem.com/track/1r7v2/Usher+-+Numb+(Throttle+Remix)

Release date to be announced

https://www.facebook.com/throttleofficial

Usher - Numb (Throttle Remix)

Songs of the Spirit

Ave Regina Caelorum

Faith Of Our Fathers - Arr. Lorie Line

This track is currently available on iTunes at: https://itunes.apple.com/us/album/lamentations-jeremiah-i-single/id626743855

Mortensemble was officially founded in January, 2013 with the debut release of William Byrd's "Ave verum corpus".

The concept of Mortensemble, under the direction of Erik-Peter Mortensen, is to be an ensemble of recording artists specializing in recording and producing performances of the great choral masters, as well as the choral works of Mr. Mortensen. Based in New York, it is especially difficult to get top professional singers to coordinate recording and performance schedules, as they are always in high demand, and very busy. To that end, Erik-Peter chooses recording projects based on the availability of his roster and the vocal requirements of a particular piece, which means, in some cases, a very versatile member may sing more than one vocal part on the recording. in the case of the debut release, for example, Mr. Mortensen sang all choral parts (SATB) doubled, producing a recorded ensemble of 8 singers!

Current Roster

The initial roster of professional singers that Mr. Mortensen will call upon for projects includes:

Sarah Moulton Faux (soprano, alto)
Katrina Montagne (soprano, alto)
Catherine Hedberg (soprano, alto)
John Tully (countertenor)
Aaron Lauber (countertenor)
Bill Heigen (countertenor, tenor)
Edwin Santayana (tenor)
Erik-Peter Mortensen (countertenor, tenor, baritone, bass)
Benjamin Clements (baritone, bass)
Elliot Levine (bass)

This roster will no doubt expand in the coming years, and it's more than probable that a live performance of Mortensemble may be planned in the future.

About the Track

Thomas Tallis made two famous sets of the Lamentations. Scored for five voices (either one on a part or in a choral context), they show a sophisticated use of imitation, and are noted for their expressiveness. The settings are of the first two lessons for Maundy Thursday. As many other composers do, Tallis also sets the following:

The announcements: Incipit Lamentatio Ieremiae Prophetae ("The Lamentation of Jeremiah the Prophet begins") and De Lamentatione Ieremiae Prophetae ("From the Lamentation of Jeremiah the Prophet")

The Hebrew letters that headed each verse: Aleph, Beth for the first set; Gimel, Daleth, Heth for the second. These letters were considered part of the text in the Latin Vulgate Bible of Tallis's day, although most English translations omit them. Tallis's use of 'Heth' rather than the correct 'He' appears to have been an error

The concluding refrain: Ierusalem, Ierusalem, convertere ad Dominum Deum tuum ("Jerusalem, Jerusalem, return unto the Lord thy God") – thus emphasising the sombre and melancholy effect of the pieces

Tallis's two settings happen to use successive verses, but the pieces are in fact independent even though performers generally sing both settings together. Composers have been free to use whatever verses they wish, since the liturgical role of the text is somewhat loose; this accounts for the wide variety of texts that appear in these pieces.

Text for Tallis' setting of Lamentations I:

(Opening announcement)

Incipit lamentatio Ieremiae prophetae.

(from Lamentations, Chapter 1)

1:1 ALEPH. Quomodo sedet sola civitas plena populo! Facta est quasi vidua domina gentium; princeps provinciarum facta est sub tributo.
1:2 BETH. Plorans ploravit in nocte, et lacrimæ ejus in maxillis ejus: non est qui consoletur eam, ex omnibus caris ejus; omnes amici ejus spreverunt eam, et facti sunt ei inimici.

(Concluding refrain)

Ierusalem, Ierusalem, convertere ad Dominum Deum tuum

English translation:

(Opening announcement)

Here begins the Lamentation of Jeremiah the Prophet.

(from Lamentations, Chapter 1)

1:1 ALEPH. How lonely sits the city that was full of people! How like a widow has she become, she that was great among the nations! She that was a princess among the cities has become a vassal.
1:2 BETH. She weeps bitterly in the night, tears on her cheeks; among all her lovers she has none to comfort her; all her friends have dealt treacherously with her, and they have become her enemies.

(Concluding refrain)

Jerusalem, Jerusalem, return unto the Lord thy God

Original Hebrew text (without introductions or conclusions)

(from Lamentations, Chapter 1)

     א  אֵיכָה יָשְׁבָה בָדָד, הָעִיר רַבָּתִי עָם--הָיְתָה, 
כְּאַלְמָנָה; רַבָּתִי בַגּוֹיִם, שָׂרָתִי בַּמְּדִינוֹת--הָיְתָה, 
                                                        לָמַס.  {ס}

ב  בָּכוֹ תִבְכֶּה בַּלַּיְלָה, וְדִמְעָתָהּ עַל לֶחֱיָהּ--אֵין-לָהּ 
מְנַחֵם, מִכָּל-אֹהֲבֶיהָ:  כָּל-רֵעֶיהָ בָּגְדוּ בָהּ, הָיוּ לָהּ 
                                                    לְאֹיְבִים.  {ס}

Mortensemble members recorded on this track

Bill Heigen, alto, tenor 1, tenor 2
Erik-Peter Mortensen, alto, tenor 1, tenor 2, baritone (doubled), bass (doubled)

Authorship

According to Jewish and Christian traditions, authorship is assigned to the Prophet Jeremiah, who was ministering the Word of God during the conquest of Jerusalem by Nebuchadnezzar, during which the First Temple was destroyed and King Zedekiah was taken prisoner (cf. 2 Kings 24-25, Jer. 39:1-10 and Jer. 52). In the Septuagint and the Vulgate the Lamentations are placed directly after the Prophet.

It is said that Jeremiah retired to a cavern outside the Damascus gate, where he wrote this book. That cavern is still pointed out by tour guides. "In the face of a rocky hill, on the western side of the city, the local belief has placed 'the grotto of Jeremiah.' There, in that fixed attitude of grief which Michelangelo has immortalized, the prophet may well be supposed to have mourned the fall of his country" (Arthur Penrhyn Stanley, History of the Jewish Church).

However, the strict acrostic style of four of the five poems is not found at all in the Book of Jeremiah itself and Jeremiah's name is not found anywhere in the book itself (nor any other name, for that matter), so authorship of Lamentations is disputed. The Book of Chronicles says that Jeremiah did write a lament on the death of King Josiah. The work is probably based on the older Mesopotamian genre of the "city lament", of which the Lament for Ur is among the oldest and best-known.

According to F. W. Dobbs-Allsopp, "the widely observed unity of form and point of view... and general resemblance in linguistic detail throughout the sequence are broadly suggestive of the work of a single author," though other scholars see Lamentations as the work of multiple authors.

Setting

Most commentators see Lamentations as reflecting the period immediately following the destruction of Jerusalem in 586 BC, though Provan argues for an interpretation that is ahistorical. Many elements of the lament are borne out in the historical narrative in 2 Kings concerning the fall of Jerusalem: Jerusalem lying in ruins (Lamentations 2:2 and 2 Kings 25:9), enemies entering the city (Lamentations 4:12 and 2 Kings 24:11), people going into exile (Lamentations 1:3 and 2 Kings 24:14) and the sanctuary being plundered (Lamentations 1:10 and 2 Kings 24:13). On the other hand, Babylon is never mentioned in Lamentations, though this could simply be to make the point that the judgment comes from God, and is a consequence of Judah disobeying Him.

Date

Lamentations was probably composed soon after 586 BC. Kraus argues that "the whole song stands so near the events that one feels everywhere as if the terrible pictures of the destruction stand still immediately before the eyes of the one lamenting."

Contents

The book consists of five separate poems. In chapter 1 the prophet dwells on the manifold miseries oppressed by which the city sits as a solitary widow weeping sorely. In chapter 2 these miseries are described in connection with national sins and acts of God. Chapter 3 speaks of hope for the people of God. The chastisement would only be for their good; a better day would dawn for them. Chapter 4 laments the ruin and desolation that had come upon the city and temple, but traces it only to the people's sins. Chapter 5 is a prayer that Zion's reproach may be taken away in the repentance and recovery of the people.

Structure

The first four poems (chapters) are acrostics, like some of the Psalms (25, 34, 37, 119), i.e., each verse begins with a letter of the Hebrew alphabet taken in order. The first, second, and fourth have each twenty-two verses, the number of the letters in the Hebrew alphabet. The third has sixty-six verses, in which each three successive verses begin with the same letter. The fifth is not acrostic, but also has twenty-two verses.[1] In the second, third and fourth chapters, the order of the 16th letter (ע) and the 17th (פ) is reversed.

Use

Readings, chantings, and choral settings, of the book of Lamentations, are used in the Christian religious service known as the Tenebrae (Latin for darkness). In the Church of England, readings from Lamentations are used at Morning and Evening Prayer on the Monday and Tuesday of Holy Week, and at Evening Prayer on Good Friday.

The Book of Lamentations is recited annually on the Tisha b'Av, the anniversary of the destruction of both of the Jewish Temples as well as numerous other unfavorable days in Jewish history.

As quoted by Scottish Presbyterian preacher, Matthew George Easton (1823-1894), at the "Wailing Wall" in the Old City of Jerusalem, "the Jews assemble every Friday afternoon to bewail the downfall of the holy city, kissing the stone wall and watering it with their tears. They repeat from their well-worn Hebrew Bibles and prayer-books the Lamentations of Jeremiah and suitable Psalms."

In the Coptic Orthodox Church chapter three is chanted on the twelfth hour of the Good Friday service, that commemorates the burial of Jesus.

Follow EP on Facebook!: www.facebook.com/NYTroubador

Follow EP on Soundcloud: www.soundcloud.com/erik-peter


Son Lux - Easy (Trinix Remix + 1.25x Speed)

Mute Bard