“O Bread Of Heaven”.

“O Bread Of Heaven”.

 Words: Saint Alphonsus Liguori.

Music: Tynemouth - H. F. Hemy.

Sung By: Westminster Cathedral Choir.

Divine Holy Mass In The Cathedral Of 

The Most Precious Blood Of Our Lord Jesus Christ, Westminster, London.

18 September 2010.

Available on YouTube

HERE

O Bread of Heaven, beneath this veil 

Thou dost my very God conceal: 

My Jesus, dearest treasure, hail ! 

I love Thee and, adoring, kneel; 

Each loving Soul by Thee is fed 

With Thine own Self in form of Bread. 

O food of life, Thou Who dost give 

The pledge of immortality; 

I live, no ’tis not I that live; 

God gives me life, God lives in me: 

He feeds my Soul, He guides my ways, 

And every grief with joy repays. 

O Bond of love that dost unite 

The servant to his living Lord; 

Could I dare live and not requite 

Such love - then death were meet reward: 

I cannot live unless to prove 

Some love for such unmeasured love. 

Beloved Lord, in Heaven above 

There, Jesus, Thou awaitest me, 

To gaze on Thee with endless love; 

Yes, thus I hope, thus shall it be: 

For how can He deny me Heaven, 

Who here on Earth Himself hath given ?

Saint Mary Magdalen De’ Pazzi. Virgin. Feast Day, Today, 29 May. White Vestments.

Text from The Saint Andrew Daily Missal,
unless otherwise stated.

Saint Mary Magdalen de’ Pazzi.

   Virgin.
   Feast Day 29 May.

Semi-Double.

White Vestments.

Saint Mary Magdalen de’ Pazzi.

Date: 1878.

Source: Scanned by uploader from page 296 of

“Little Pictorial Lives Of The Saints”, (Benzinger Brothers).

Author: Unknown.

(Wikimedia Commons)

Born at Florence, Italy, in 1566, of the illustrious Pazzi family, Saint Mary Magdalen de’ Pazzi, at the age of ten, Consecrated her Virginity to Christ, Whom she chose as her Spouse (Epistle, Gospel, Communion). Wherefore, God loved her with a love of preference (Introit), and made her one of the Virgins who form His Court of Honour (Offertory).

She took the Carmelite Habit in 1584 and subjected herself to frightful mortifications. The Holy Ghost, Who, from Heaven, sent Jesus Risen Again to her, inflamed her with such love that she had to pour fresh water on her burning breast.

She would bitterly deplore that the infidels and sinners were in the way to perdition and offered to endure any torments for their salvation.

Her motto was: “Suffer and not die”. She died in 1607 and her body, which she mortified in every way, has remained incorrupt to our day.

Mass: Dilexísti.

Vision of Saint Maria Magdalen de’ Pazzi.

Artist: Pedro de Moya (1610–1674).

Date: Early-17th-Century.

Current location: Museo de Bellas Artes de Granada

Source/Photographer: Web Gallery of Art

(Wikimedia Commons)

The following Text is from Wikipedia - the free encyclopædia.

Mary Magdalene de’ Pazzi, O.Carm. (Italian: Maria Maddalena de’ Pazzi), 2 April 1566 – 25 May 1607, was an Italian Carmelite Nun and Mystic. She has been declared a Saint by the Roman Catholic Church.

In 1580, at age fourteen, Pazzi was sent by her father to be educated at a Monastery of Nuns of the Order of Malta, but she was soon recalled to wed a young nobleman. She advised her father of her vow, and he eventually relented and allowed her to enter Monastic Life. 

She chose the Carmelite Monastery of Saint Mary of the Angels, in Florence, Italy, because The Rule there allowed her to receive Holy Communion daily. In 1583, she was accepted as a Novice by that Community, and given the Religious Name of Sister Mary Magdalen.

Numerous Miracles allegedly followed Pazzi’s death, and the process for her Beatification was begun in 1610 under Pope Paul V, and completed under Pope Urban VIII in 1626. She was not, however, Canonised until sixty-two years after her death, when Pope Clement X raised her to the Altars on 28 April 1669. 

The Church of the Monastery of Pažaislis, commissioned in 1662 in Lithuania, was one of the first to be Consecrated in her honour.

The Saint is little known outside Italy, but her cult is very strong, especially in Florence. Paulist Press issued a selection of her writings in English translation in their series of Classics of Western Spirituality.

The following Text is from “The Liturgical Year”,
by Abbot Guéranger, O.S.B.

Volume 8.
Paschal Time.
Book II.

SAINT MARY MAGDALEN DE’ PAZZI.

Our Paschal Calendar gives us three illustrious Virgins of beautiful Italy. We have already kept the Feast of the valiant Saint Catharine of Siena; in a few days, we shall be honouring the memory of Saint Angela dei Merici, surrounded by her school-children; today, it is the Fair Lily of Florence, Saint Magdalen de’ Pazzi, who embalms the whole Church with the fragrance of her name and intercession.

She devoted herself to the loving imitation of Our Crucified Jesus; was it not Just, that she should have some share in the joy of His Resurrection ?

Magdalen de’ Pazzi was one of the brightest ornaments of the Order of Carmel, by her Angelic Purity, and by the ardour of her love for God. Like Saint Philip Neri, she was one of the grandest manifestations of the Divine Charity that is found in the True Church.

Saint Magdalen, in her peaceful Cloister, and Saint Philip, in his active labours for the salvation of Souls, both made it their ambition to satisfy that desire, expressed by Our Jesus, when He said: “I am come to cast fire on the Earth; and what will I, but that it be kindled ?”

The life of this Spouse of Christ was one continued Miracle. Her Ecstasies and Raptures were almost of daily occurrence. The lights given to her regarding the Mysteries were extraordinary; and, in order to prepare her for those sublime communications, God would have her go through the severest trials of the Spiritual Life.

Ember Friday After Pentecost. Red Vestments.

Illustration: FR. Z's BLOG

Text is from The Saint Andrew Daily Missal,

unless stated otherwise.

Ember Friday After Pentecost.

Station at The Church of The Twelve Apostles.

Indulgence of 30 Years and 30 Quarantines.

Semi-Double.

Red Vestments.

Rogation Day.

Circa 1950.

The Vicar and Sunday School Children go out into 

the fields to Bless The Crops. The little boy is 

carrying a symbolic Tree of Plenty.

Picture Credit: Hulton Archive/Getty Images.

Illustration: ABOUT RELIGION

“PIETY”.

“The Gift of Piety awakens in our Souls an inclination and readiness to glorify God as Our Father and to have a filial confidence in Him.”

[Rev. M. Meschler.]

The Station takes place in The Church of The Twelve Apostles, who were the embodiment of the early Church, of which The Holy Ghost was the Soul.

The bountiful harvest of the fruits of the Earth, which The Church now asks of God at the beginning of Summer, is emblematic of the wealth of Spiritual Blessings which The Holy Ghost lavishes on our Souls in these days (Epistle).

And it was for this reason that the Liturgy filled the mouths of the children newly-born into The Church by Baptism with Hymns in praise of God (Introit, Offertory) and of The Spirit of The Lord “so good and sweet within us” (Alleluia).

The Gospel recounts the wonders that Jesus worked, by The Power of The Holy Ghost, in healing the sick, and, more particularly, the man with the palsy, whose sins He remitted at the same time that He restored him to health.

The Church, built up by The Holy Ghost (Collect), follows in a very special way the example of The Divine Master at this Season, for, at Pentecost, she receives in abundance Him, Who is the remission of all sins (Postcommunion for Tuesday), and she exercises the power given her by Our Lord when He said to her in the person of The Apostles: “Receive ye The Holy Ghost. Whose sins you shall forgive, they are forgiven them.”

Let us beseech The Holy Ghost to help us in our weakness (Postcommunion) by protecting us against the attacks of our enemies (Collect).

Mass: Repleátur os meum.

Sequence: Veni, Sancte Spiritus.

Creed.

Preface: For Pentecost.

Communicantes: For Pentecost.

Hanc igitur: For Pentecost.

Illustration: MATER DEI LATIN MASS PARISH

Ember Day Service.

1950.

Illustration: ABOUT RELIGION

Sunday School Children Celebrate Rogation Day in 1953.

A photo at Market Lavington Museum, Wiltshire, England.

Illustration: MARKET LAVINGTON MUSEUM

Saint Michael’s Church, Bunwell, Norfolk, England,

has always been the centre of Village Life. In this picture, taken on Rogation Sunday, April 1967, the Rector,

Rev. Samuel Collins, followed by the Choir, Parishioners,

and The New Buckenham Silver Band, walk

The Parish Boundaries and Bless the Stream.

Illustration: BUNWELL HERITAGE GROUP

“If Ye Love Me, Keep My Commandments”. Composer: Thomas Tallis.

 

“If Ye Love Me, Keep My Commandments”. 

Composer: Thomas Tallis. 

Sung By: Tenebræ. 

Director Of Music: Nigel Short.

Available On YouTube

HERE

. . . and, for comparison . . .

“If Ye Love Me, Keep My Commandments”. 

Composer: Thomas Tallis. 

Sung By: The Tallis Scholars.

Director Of Music: Peter Phillips.

Available On YouTube

HERE

“Ave Maria”. A Tribute To The Blessed Virgin Mary During Her Month Of May.

“Ave Maria”.

A Tribute To The Blessed Virgin Mary 

During Her Month Of May.

Available On YouTube

HERE

Saint William Of Gellone (755 A.D. - 814 A.D.)

“The Clothing” of Saint William of Gellone, also known as Guillaume d’Orange,  also known as William of Aquitaine.

Artist: Guercino (1591 - 1666).

Date: 1620.

Collection:

Pinacoteca Nazionale di Bologna.

Source/Photographer: Pinacoteca Bologna.

(Wikimedia Commons)

Text from Wikipedia - the free encyclopædia,

unless stated otherwise.

William of Gellone (755 A.D. - 814 A.D.), the Mediæval William of Orange,[1] was the 2nd Duke of Toulouse from 790 A.D. until 811 A.D. 

In 804 A.D., he Founded the Abbey of Gellone. He was Canonised a Saint in 1066 by Pope Alexander II.[2]

In the 10th Century or the 11th-Century,[3] a Latin hagiography, the “Vita Sancti Willelmi”, was composed. 

Saint William Of Gellone.

Artist: Antonio de Pereda (1611–1678).

Date: 1671.

Collection:

Royal Academy of Fine Arts of San Fernando.

Source/Photographer:

XAF09dAdI8UbuQ at Google Cultural Institute.

(Wikimedia Commons)

By the 12th-Century, William’s legend had grown. He is the hero of an entire cycle of Chansons de Geste, the earliest of which is the Chanson de Guillaume of about 1140. 

In the Chansons, he is nicknamed Fièrebrace (Fierce, or, Strong Arm)[4] due to his apparent strength, and the “Marquis au Court Nez” (Margrave with the Short Nose) as the result of an injury suffered in battle with a giant.

William was born in North France, in the Mid-8th-Century, to Thierry IV, Count of Autun, and his wife Aldana.[5] He was a relative of Charlemagne.

In 804 A.D., he Founded the Abbey in Gellone (now Saint-Guilhem-le-Désert), near Lodève in the Diocese of Maguelonne. 

Saint William of Gellone.

Available on YouTube

HERE

He granted property to Gellone and placed the Monastery under the general control of Benedict of Aniane, whose Monastery was nearby.[7] 

Among his gifts to the Abbey that he Founded, was a piece of the True Cross, a present from his cousin, Charlemagne. 

Charlemagne had received the Relic from the Patriarch of Jerusalem, according to the “Vita” [Editor: “The Life”] of William.

In 806 A.D., William retired to Gellone as a Monk, and died there[7] on 28 May 814. When he died, it was said the Bells at Orange rang on their own accord.

16th-Century Stained-Glass Window in the Catholic Church 

of Saint-Martin, Montmorency, France, depicting Saint William of Montmorency and Saint William of Aquitaine.

Bleiglasfenster (16. Jahrhundert), katholischen Pfarrkirche Saint-Martin, Montmorency, Frankreich. Guillaume de Montmorency und der hl. Wilhelm von Aquitanien.

Photo: 22 June 2011.

Source: Own work.

This File is licensed under the 

Creative Commons Attribution-

Share Alike 3.0 Unported licence.

Author: Reinhardhauke

(Wikimedia Commons)

Gellone remained under the control of the Abbots of Aniane. It became a subject of contention, however, as the reputation of William grew. 

So many Pilgrims were attracted to Gellone, that his corpse was exhumed from the modest site in the Narthex and given a more prominent place under the Choir, to the intense dissatisfaction of the Abbey of Aniane. 

A number of forged documents and assertions were produced on each side that leave details of actual history doubtful. 

Gellone Abbey was a major stop for Pilgrims on their way to Santiago de Compostela. Its Late-12th-Century Romanesque Cloister, systematically dismantled during the French Revolution, found its way to The Cloisters in New York. 

The Sacramentary of Gellone, dating to the Late-8th-Century, is a famous manuscript.

Saint Augustine Of Canterbury. Archbishop. Confessor. Feast Day 28 May. White Vestments.

Text from The Saint Andrew Daily Missal,
unless stated otherwise.

Saint Augustine Of Canterbury.
   Archbishop. Confessor.
   Feast Day 28 May.

Double.

White Vestments.

Illustration: 

FLORIDA CENTER FOR INSTRUCTIONAL TECHNOLOGY

“Saint Augustine of Canterbury”:

A Talk By Fr. Marcus Holden,

during “A Day With Mary”.

Available on YouTube

HERE

The ruins of Saint Augustine's Abbey,

with Canterbury Cathedral in the background.

Photo: 20 October 2012.

Source: Own work.

Author: Nessy-Pic

(Wikimedia Commons)

The Sanctoral Cycle Celebrates today The Feast of another son of Saint Benedict, who, filled with The Holy Ghost, like The Apostles, was sent to Great Britain by Saint Gregory, in 596 A.D., with forty Monks of his Community, in order to convert to Christ the people of that Country (Collect).

Wherefore, the Gospel recalls the seventy-two Disciples whom Jesus sent to Preach The Kingdom of God, and the Epistle alludes to The Apostolate of Saint Paul, who was busy night and day Preaching the Gospel of God.

Received by King Ethelbert, at Canterbury, Kent, the Capital of his Kingdom, Augustine built a Monastery there and later on established there his Episcopal Seat (Introit). The example of his life, added to his Preaching and Miracles, brought the King over to The True Faith, and Saint Augustine Baptised over ten thousand Anglo-Saxons one Christmas Day. This "Apostle of England" died in the year 604 A.D.

Let us ask, through the intercession of Saint Augustine, to bring back erring hearts to the unity of Christian Truth (Collect).

Mass: Sacerdotes tui.

Illustration: 

FLORIDA CENTER FOR INSTRUCTIONAL TECHNOLOGY

The Web-Site of

“A Day With Mary” can be found

HERE

The Most Beautiful Marian Hymns For The May Devotions. Die Schönsten Marienlieder Für Die Maiandacht.

The Most Beautiful Marian Hymns For The May Devotions.

Die Schönsten Marienlieder Für Die Maiandacht.

👑 Klassische Kirchenlieder.

Available on YouTube

HERE

Léonin And Perotin. 12th-Century French Composers Of Polyphonic Chanting.

Notre-Dame Cathedral and Paris in the 

background of a 1452 – 1460 manuscript.

Artist: Jean Fouquet (1410–1478).

Title: Heures d’Étienne Chevalier.

Collection: 

Metropolitan Museum of Art.

Source/Photographer: 

http://expositions.bnf.fr/

fouquet/grand/f117.htm (1)

https://www.metmuseum.org/fr/

art/collection/search/459207 (2)

(Wikimedia Commons)

Text from Wikipedia - the free encyclopædia,
unless stated otherwise.

Léonin (Leoninus, Leonius, Leo), active circa 1163–1190,[1] was the first known significant Composer of Polyphonic Organum. 

He was probably French, probably lived and worked in Paris at Notre-Dame Cathedral, and was the earliest member of the Notre Dame School of Polyphony and the Ars Antiqua style who is known by name, thanks to the writer known as Anonymous IV. 

Square notes in Pérotin’s “Salvatoris Hodie”.

“Novus Adam Natus Est”. From “Magnus Liber Organi”.

Date: 13th-Century.

Source: Centennial Library, Cedarville University

This File is licensed under the 

Creative Commons Attribution-

Share Alike 4.0 International Licence.

Author: Unknown.

(Wikimedia Commons)

Though no further identification is certain, the name “Leoninus” and its Latin diminutive “Leo” have the French equivalents Léonin/Léo.

All our knowledge about him starts from the writing of a 13th-Century student at the Cathedral known as “Anonymous IV”, an Englishman who left a treatise on theory and who mentions Léonin as the composer of the “Magnus Liber”, the “Great Book” of Organum.

“Viderunt Omnes”.

Leonin:

12th-Century French Composer.

Organum Duplum.

The Early Music Consort Of London.

David Munrow.

Available On YouTube

HERE

People say that Master Leoninus was the best Organista (Composer/Singer of Organum), and that he composed the great “Organum Book of Graduals and Antiphons” in order to expand the Divine Service.

The “Organum Book of Graduals and Antiphons” remained in use until the time of the great Composer, Perotin, [Editor: Late-12th-Century] who abridged it and composed Clausules and Sections that were many in number and better, because he was the best Discantor (Composer/Singer of Descant), and better than Leoninus. But this is not said for the subtlety of his Organum. [3]

Eugène Viollet-le-Duc’s reconstruction of the

Mediæval Choir of Notre Dame de Paris (1856).

Dictionary of French Architecture from 11th-Century to 

16th-Century (1856) by Eugène Viollet-le-Duc (1814 - 1879).

(Wikimedia Commons)

Much of the “Magnus Liber” (as it is reconstructed from later manuscripts) is devoted to Clausulæ — Melismatic portions of Gregorian Chant which were extracted into separate pieces, where the original note values of the Chant were greatly slowed down and a fast-moving Upper Part is superimposed.

Léonin may have been the first composer to use the Rhythmic Modes, and might have invented a notation for them. 

According to W.G. Waite, writing in 1954: “It was Léonin’s incomparable achievement to introduce a rational system of Rhythm into Polyphonic music for the first time, and, equally important, to create a method of notation expressive of this Rhythm.”[4]

The “Magnus Liber” was intended for Liturgical use. According to Anonymous IV: “Magister Leoninus (Léonin) was the finest Composer of Organum; he wrote the great book (“Magnus Liber”) for the Gradual and Antiphoner for the Sacred Service.” 

All of the “Magnus Liber” is for two voices, although little is known about actual performance practice: The two voices were not necessarily Soloists.

The Musicologist, Craig M. Wright, believes that Léonin may have been the same person as a contemporaneous Parisian Poet, Leonius, after whom Leonine verse may have been named. 

This could make Léonin’s use of meter even more significant.[5] Another possible suspect is Henricus Leonellus, who was at the Abbey of Saint Victor, circa 1163 - 1192.[6]

“Viderunt Omnes”.

Perotin:

12th-Century French Composer.

The Early Music Consort Of London.

David Munrow.

Available On YouTube

HERE

Pérotin[n 1] (circa 1200) was a Composer associated with the Notre Dame School of Polyphony, in Paris, and the broader “Ars Antiqua” musical style of High Mediæval Music. 

He is credited with developing the Polyphonic practices of his predecessor Léonin, with the introduction of three- and four-part harmonies.

Other than a brief mention by music theorist Johannes de Garlandia, in his “De Mensurabili Musica”, virtually all information on Pérotin’s life comes from Anonymous IV, a pseudonymous English student who probably studied in Paris.

Perotin: “Alleluia Nativitas”

 from Codex Guelf.

1099.

Date: 13th-Century.

Source:

http://diglib.hab.de/mss/

1099-helmst/max/00043.jpg

Author: Unknown.

(Wikimedia Commons)

Anonymous IV names seven Titles from a “Magnus Liber” — including “Viderunt Omnes”, “Sederunt Principes” and “Alleluia Nativitas” — that have been identified with surviving works and gives him the title “Magister Perotinus” (“Pérotinus the Master”), meaning he was licensed to teach. 

It is assumed that Perotinus was French and named Pérotin, a diminutive of Peter, but attempts to match him with persons in contemporary documents remain speculative.

Pérotin, about whom little is known, most likely lived around the end of the 12th-Century and beginning of the 13th-Century and is presumed to have been French.[1] 

The closest thing to a contemporary account of his life comes from two much later reporters: A brief mention attributed to the Music Theorist, Johannes de Garlandia[n 2] (circa 1270 – 1320) in his “De Mensurabili Musica”,[3][4][5] and four mentions[6] in the works of a Late-13th-Century English student known as Anonymous IV. 

At one stage Anonymous IV was thought to be a pupil of Johannes de Garlandia, but this is unlikely,[4] and the name is a misnomer, derived from the title of notes by Charles-Edmond-Henri de Coussemaker, Anonymus IV. 

These were probably notes taken by the student in a lecture.[7][8]