Saturday 24 March 2018
The Saturday In Passion Week. Lenten Station Is At Saint John's-Before-The-Latin-Gate.
Roman Text is taken from The Saint Andrew Daily Missal,
unless otherwise stated.
Saturday in Passion Week.
Station at Saint John's-Before-The-Latin-Gate.
Indulgence of 10 Years and 10 Quarantines.
Violet Vestments.
English: The Portal of the Basilica of Saint John's-before-the-Latin-Gate, Rome, Italy.
Italiano: San Giovanni a Porta Latina de Rome.
Français: Puits et portique de l'Église San Giovanni-a-Porta-Latina de Rome.
Photo: July 2009.
Source: Own work.
Author: LPLT.
(Wikimedia Commons)
The Lenten Station, on this eve of Palm Sunday, is of a comparatively late origin: Formerly [before the Station at Saint John's-before-the-Latin-Gate was appointed in the 12th-Century], the Pope spent a part of the day distributing alms [in his Palace, the Basilica of Saint John Lateran] to the Poor, and rested in preparation for the tiring functions of the following days. When, later on, a Mass was appointed for this day, the parts to be sung by The Choir were borrowed from The Mass of yesterday.
The Stational Church chosen for this day was at Saint John's-before-the-Latin-Gate. It is near the place where The Appian Way branches off, forming, to the Left, The Latin Way.
English: The Nave of the Basilica of Saint John's-before-the-Latin-Gate, Rome, Italy.
Français: Nef de l'église San Giovanni-a-Porta-Latina, à Rome.
Photo: July 2009.
Source: Own work.
Author: LPLT.
(Wikimedia Commons)
[According to Tertullian (in The Prescription of Heretics), Saint John was banished (presumably to Patmos) after being plunged into boiling oil in Rome (by order of Emperor Domitian) and suffering nothing from it. It is said that all in the entire Colosseum audience were converted to Christianity upon witnessing this Miracle. This event would have occurred during the reign of Domitian, a Roman Emperor who was known for his persecution of Christians in the Late-1st-Century A.D.]
The Mass sums up all the great Mysteries which are about to fill Holy Week.
English: The Garden of Gethsemane (see, below).
The Church of Maria-Magdalene in the background.
Deutsch: Bild des Garten Gethsemane mit der Maria-Magdalena-Kirche im Hintergrund.
Photo: July 2006.
(Wikimedia Commons)
The Gospel shows us Jesus "The King of Israel" acclaimed by the Jews and, some days later, "Raised from the Earth" and Crucified. In the few Gentiles, who expressed to Philip their desire to see Christ, let us foresee the many recruits that The Church is to make among the heathen Nations.
Jesus is going to die, like the grain of wheat, that He may produce much fruit. For the moment, "His Soul is troubled", as It will be in The Garden of Gethsemane. But, "it is for that He has come", "to Glorify His Father". And, as a voice from Heaven tells us, this Glorification will be complete, for "the prince of this World shall be cast out" and The Saviour Raised upon a Cross and, reaching to Heaven, "will draw all things to Him".
The Saviour here reveals to us His Whole Heart, Which wishes, at the price of such cruel sufferings, to ruin our enemy and secure our Salvation.
The five Pairs of Columns in San Giovanni-a-Porta-Latina, Rome, Italy.
Photo: May 2009.
Source: Own work.
Author: LPLT.
(Wikimedia Commons)
Finally, Jesus speaks of those who refuse to follow Him and who walk in darkness, not knowing where they go, and, by the mouth of Jeremias, He anathematises "those who plot against the Just. Their children will be delivered up to famine and their husbands put to death, for an unforeseen enemy will fall upon them and exterminate them" (Epistle). This Prophecy was fulfilled. During The Siege of Jerusalem, by the Romans, in 70 A.D., the Jews, who had not died of famine, perished by the sword.
To avoid the effects of Divine Justice, let us die to sin and we shall produce much fruit unto Eternal Life.
Mass: Miserére mihi.
English: The wall of the Narthex in the Basilica of Saint John's-before-the-Latin-Gate, Rome, Italy.
Français: Mur du Narthex de l'Église San Giovanni a Porta Latina de Rome.
Photo: July 2009.
Source: Own work.
Author: LPLT.
(Wikimedia Commons)
San Giovanni a Porta Latina (Saint John-before-the-Latin-Gate) is a Basilica Church in Rome, near the Porta Latina (on the Via Latina) of the Aurelian Walls. It is currently the Titular Church of Cardinal Franciszek Macharski, former Archbishop of Kraków.
According to Tertullian, as quoted by Saint Jerome, in 92 A.D., Saint John the Evangelist survived Martyrdom at Rome, under the Emperor Domitian, by being immersed in a vat of boiling oil, from which he emerged unharmed. He was later exiled to the island of Patmos. This event was traditionally said to have occurred at The Latin Gate (located on the Southern portion of the Roman Wall). The nearby Chapel of San Giovanni in Oleo is said to be on this very spot.
English: His Eminence, Franciszek Macharski, Cardinal-Priest of San Giovanni-a-Porta-Latina.
Polski: Homilia kardynała Franciszka Macharskiego w sierpniu 2002 r. (21?)
w sanktuarium Miłosierdzia Bożego w Łagiewnikach Krakowskich.
Photo: April 2005.
Source: Own work.
Author: Robert Wrzesiński.
(Wikimedia Commons)
The event was referred to in The Roman Martyrology, which was begun in the 7th-Century A.D., when already there was a Celebration of the event.
The Tradition, for the building of the Basilica of Saint John-before-the-Latin-Gate, places its construction during the Pontificate of Pope Gelasius I (492 A.D. - 496 A.D.). This is consistent with the oldest of the roof tiles, which have the imprint of a taxation stamp for the Ostrogoth King and Ruler of Italy, Theodoric the Great (reigned 493 A.D. - 526 A.D.). One of these ancient roof tiles is now used in the Basilica as a Lectern.
In the 8th-Century A.D., the Basilica was restored by Pope Adrian I, and, later, the Bell-Tower and Portico were added. At the end of the 12th-Century, the Basilica was re-Consecrated by Pope Celestine III. In the 16th- and 17th-Centuries, a Baroque Ceiling and other Baroque features were added to the Interior.
English: Apsidal frescoes in San Giovanni-a-Porta-Latina, Rome, Italy.
Français: Fresques de l'abside de l'église San Giovanni a Porta Latina de Rome.
Photo: November 2008.
Source: Own work.
Author: LPLT.
(Wikimedia Commons)
In 1940 - 1941, the Baroque features were removed and the Basilica was returned to a more primitive simplicity. This last renovation was carried out by The Rosminian Fathers, who, in 1938, were given care of the Basilica and the nearby building, where they opened The Collegio Missionario Antonio Rosmini, which houses their International House of Studies.
The main entrance to the Basilica is fronted by a small Piazza, with a 100-year-old Cedar and an 8th-Century A.D. Well-Head, nearly reproducing this aspect of the Basilica that would have been seen at the re-Consecration by Pope Celestine III in the 12th-Century.
The Portico (or Porch) of the Basilica is supported by four re-used Classical Columns (each of a different Marble) supporting five Arches. The main door is framed with a simple mosaic of Red and Green Porphyry.
The Well-Head, from the time of Pope Adrian I, has a double row circular design around its barrel and a Latin inscription completely around its crown: IN NOMINE PAT[RES] ET FILII ET SPI[RITUS SANT]I "In the name of the Father, of the Son, and of the Holy Ghost" and a quote from the Prophet Isaiah: OMN[E]S SITIE[NTES VENITE AD AQUAS] "All you who are thirsty come to the water" and the name of the stone-carver: EGO STEFANUS "I am Stephen".
English: Marble Columns in the Nave of the Basilica of Saint John's-before-the-Latin-Gate, Rome.
Français: Les colonnes de la nef de l'Église San Giovanni a Porta Latina de Rome.
Photo: July 2009.
Source: Own work.
Author: LPLT.
(Wikimedia Commons)
The Interior of the Basilica is divided into three Naves, divided by two rows of Columns, on which rest semi-circular Arches. The two Columns closest to the Sanctuary are of White Marble with deep fluting. The other Columns are of various types of Marble and Granite, capped with a diverse collection of Ionic Capitals. The central Nave terminates with a half-hexagon Apse. Each of the three sides of the Apse opens with a large window, filled with Honey-coloured Onyx.
Occupying the Ledge of the central window, is a carved wooden Crucifixion scene, including Saint John the Evangelist and The Blessed Virgin Mary. In front of the Altar, is a mosaic Pavement in Cosmatesque Style. The geometric pattern of Red and Green Porphyry is framed in White Marble (as well as re-used fragments of White Marble with Latin lettering) and is thought to have been created before the 12th-Century. Inserted in the front step of the Altar, is the “Title” of the Basilica, of ancient origin, discovered during the renovations of 1940: "TIT. S. IOANNIS ANTE PORTAM LA[TINAM]".
In the years 1913-1915, then recently-discovered frescoes were restored above The High Altar. After this work, another search of the face of the Central Nave revealed the presence of a full circle of Mediaeval frescoes. The restoration of these frescoes was completed with the full restoration of the Basilica in 1940-1941. The Central Nave is decorated with about fifty scenes representing The Old and New Testaments, from The Creation of the World to the glorious Apocalypse of the New Jerusalem. The frescoes were executed by several artists under the direction of one Master.
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Friday 23 March 2018
Friday In Passion Week. The Seven Sorrows Of The Blessed Virgin Mary.
Text from The Saint Andrew Daily Missal for Friday in Passion Week,
unless otherwise stated.
The Seven Sorrows of The Blessed Virgin Mary.
Friday in Passion Week.
Greater-Double.
White Vestments.
English: The Blessed Virgin Mary surrounded by The Seven Sorrows.
Nederlands: Linkerluik van een diptiek Onze-Lieve-Vrouw der Zeven Weeën
door Adriaen Isenbrant (circa 1490-1551); KMSKB, Brussel.
Photo: June 2009.
Source: Own work.
Author: Georges Jansoone (JoJan) -artwork by Adriaen Isenbrant.
(Wikimedia Commons)
The Christmas Cycle Celebrated the part taken by The Blessed Virgin in The Mystery of The Incarnation, glorifying both The Divinity of Jesus and The Divine Maternity of Mary.
The Easter Cycle tells us how The Mother of The Saviour co-operated in The Mystery of The Redemption. It shows her in this Season of The Passion at The Foot of The Cross, where Christ is dying (Introit, Sequence, Gospel). “An ineffable union is established between The Oblation of The Incarnate Word and that of Mary; The Divine Blood and The Tears of The Mother flow together and are mixed for the redemption of the human race.” [The quoted Text is taken from “The Liturgical Year” by Dom Guéranger: Friday in Passion Week.]
“The Prophecy of Simeon is fulfilled: A Sword of Grief pierces The Most Gentle Soul of The Glorious Virgin Mary (Collect), who, by her unequalled love, becomes The Queen of Martyrs” (Communion). [The quoted Text is taken from Saint Bernard of Clairvaux: Sixth Lesson at Matins.]
As Judith had delivered Israel by killing Holofernes (Epistle), The Virgin is our Deliverer, with Jesus. Wherefore, the Gospel shows us, at The Foot of The Tree of Passion, in a scene which recalls The Tree of Prevarication, The Maternity of Mary with regard to The Church personified by Saint John.
“Let us Venerate The Transfixion of The Glorious Virgin Mary at The Foot of The Cross, in order to gather the happy fruit of The Passion of her Son” (Collect).
Mass: Stabant justa.
The Friday In Passion Week. The Feast Day Of Our Lady Of The Seven Sorrows.
English: Our Lady of Sorrows.
Español: Nuestra Señora de los Dolores, 1816.
Fernando Estévez de Salas.
Parroquia de San Juan Bautista,
Villa de La Orotava.
Photo: April 2010.
Source: Own work.
Author: JosuHdez.
(Wikimedia Commons)
Text from Wikipedia - the free encyclopaedia,
unless otherwise stated.
Our Lady of Sorrows (Latin: Beata Maria Virgo Perdolens), and The Sorrowful Mother, or Mother of Sorrows, (Latin: Mater Dolorosa, at times just Dolorosa), and Our Lady of The Seven Sorrows, or Our Lady of The Seven Dolours, are names by which The Blessed Virgin Mary is referred to, in relation to Sorrows in her Life.
As Mater Dolorosa, it is also a key subject for Marian Art In The Catholic Church.
English: The Descent from The Cross into The Arms of Mary (detail).
Francais: La descente de Croix, les larmes de Marie (Detail).
Current location: Unterlinden Museum, Colmar, France.
Source/Photographer: Own work, Alsace, Haut-Rhin, Colmar,
The Master of The Stauffenberg Altarpiece, Alsace, France, circa 1455.
(Wikimedia Commons)
The Seven Sorrows of Mary are a popular Roman Catholic Devotion. There are Devotional Prayers, which consist of Meditations on her Seven Sorrows. Examples include The Servite Rosary, or The Chaplet of The Seven Sorrows of Our Lady. Also, there is a corresponding Devotion to The Seven Joys of Mary. The term "Sorrowful and Immaculate Heart of Mary" refers to the combined Devotion of both The Immaculate Heart and The Seven Sorrows of Mary, as first used by the Franciscan Tertiary, Berthe Petit.
The Seven Sorrows (or Dolours) are events in The Life of The Blessed Virgin Mary, which are a popular Devotion and are frequently depicted in art. It is a common Devotion for Catholics to say, daily, one Our Father and seven Hail Marys for each of The Seven Sorrows, which are:
The Prophecy of Simeon. (Luke 2:34-35) or The Circumcision of Christ;
Mary Meets Jesus on The Way to Calvary;
The Body of Jesus is Placed in the Tomb. (John 19:40-42).
These Seven Sorrows should not be confused with The Five Sorrowful Mysteries of The Rosary.
The Feast of Our Lady of Sorrows was originated by a Provincial Synod of Cologne in 1413 as a response to the iconoclast, Hussites. It was designated for The Friday after The Third Sunday after Easter. It had the Title: Commemoratio angustiae et doloris Beatae Mariae Virginis. Before the 16th-Century, The Feast was Celebrated only in parts of Northern Europe.
Earlier, in 1233, seven youths in Tuscany founded The Servite Order (also known as "The Servite Friars", or "The Order of The Servants of Mary"). Five years later, they took up "The Sorrows of Mary, Standing Under The Cross", as the principal Devotion of their Order.
Over the Centuries, several Devotions, and even Orders, arose around Meditation on Mary's Sorrows. The Servites developed the two most common Devotions to Our Lady's Sorrows, namely The Rosary of The Seven Sorrows and The Black Scapular of The Seven Dolours of Mary. The Black Scapular is a symbol of The Confraternity of Our Lady of Sorrows, which is associated with The Servite Order. Most Devotional Scapulars have requirements regarding ornamentation or design. The Devotion of The Black Scapular requires only that it be made of Black Woollen Cloth.
On 2 February, the same day as The Great Feast of The Meeting of The Lord, Orthodox Christians and Eastern Catholics Commemorate a wonder-working icon of The Theotokos (Mother of God) known as "The Softening of Evil Hearts" or "Simeon's Prophecy."
It depicts The Virgin Mary at the moment that Simeon The Righteous says: "Yea, a Sword shall pierce through thy own Soul also . . ." (Luke 2:35) She stands with her hands upraised in Prayer, and Seven Swords pierce her heart, indicative of The Seven Sorrows. This is one of the few Orthodox icons of The Theotokos which do not depict The Infant Jesus. The refrain, " Rejoice, much-sorrowing Mother of God, turn our sorrows into joy and soften the hearts of evil men ! " is also used.
The first Altar to The Mater Dolorosa was set up in 1221 at The Monastery of Schönau, Germany. Especially in Mediterranean Countries, Parishioners Traditionally carry statues of Our Lady of Sorrows in Processions on the days leading to Good Friday.
No Feast in her honour was included in Pope Saint Pius V's 1570 Tridentine Calendar. Vatican approval for The Celebration of a Feast, in honour of Our Lady of Sorrows, was first granted to The Servite Order in 1667.
By inserting The Feast into The Roman Catholic Calendar of Saints in 1814, Pope Pius VII extended the Celebration to the whole of The Latin Church. It was assigned to The Third Sunday in September. In 1913, Pope Pius X moved The Feast to 15 September, the day after The Feast of The Cross. It is still observed on that date.
Another Feast, originating in the 17th-Century, was extended to the whole of The Latin Church in 1727. It was originally celebrated on Friday in Passion Week, one week before Good Friday. In 1954, it still held the Rank of Major-Double (slightly lower than the Rank of the 15 September Feast) in The General Roman Calendar.
The 15 September Feast is known as "The Feast of Our Lady of Sorrows" (Beatae Mariae Virginis Perdolentis). The Sequence, known as Stabat Mater, may be sung at Mass on that day.
Our Lady of Sorrows, depicted as "Mater Dolorosa" (Mother of Sorrows) has been the subject of some key works of Roman Catholic Marian Art. Mater Dolorosa is one of the three common artistic representations of a Sorrowful Virgin Mary, the other two being Stabat Mater ("The Mother Stood") and Pietà.
In this iconography, Our Lady of Seven Sorrows is, at times, simply represented in a sad and anguished mode by herself, her expression being that of tears and sadness. In other representations, The Virgin Mary is depicted with Seven Swords in her heart, a reference to the Prophecy of Simeon, at The Presentation of The Child Jesus in The Temple.
Our Lady of Sorrows is The Patron Saint of: Slovakia; The Congregation of Holy Cross; The village of Mola di Bari and the Molise region of Italy; The State of Mississippi, USA; Dolores, in The Philippines; Lanzarote, Canary Islands. Mater Dolorosa (Berlin-Lankwitz).
These Seven Sorrows should not be confused with The Five Sorrowful Mysteries of The Rosary.
English: Mater Dolorosa with open hands, 1555,
Español: Tiziano, Dolorosa con las manos abiertas, 1555,
óleo sobre mármol, museo del Prado (Madrid, España).
Author: Titian (1490–1576).
(Wikimedia Commons)
The Feast of Our Lady of Sorrows was originated by a Provincial Synod of Cologne in 1413 as a response to the iconoclast, Hussites. It was designated for The Friday after The Third Sunday after Easter. It had the Title: Commemoratio angustiae et doloris Beatae Mariae Virginis. Before the 16th-Century, The Feast was Celebrated only in parts of Northern Europe.
Earlier, in 1233, seven youths in Tuscany founded The Servite Order (also known as "The Servite Friars", or "The Order of The Servants of Mary"). Five years later, they took up "The Sorrows of Mary, Standing Under The Cross", as the principal Devotion of their Order.
Over the Centuries, several Devotions, and even Orders, arose around Meditation on Mary's Sorrows. The Servites developed the two most common Devotions to Our Lady's Sorrows, namely The Rosary of The Seven Sorrows and The Black Scapular of The Seven Dolours of Mary. The Black Scapular is a symbol of The Confraternity of Our Lady of Sorrows, which is associated with The Servite Order. Most Devotional Scapulars have requirements regarding ornamentation or design. The Devotion of The Black Scapular requires only that it be made of Black Woollen Cloth.
English: "Our Lady Softening The Evil Hearts".
Русский: Икона "Умягчение злых сердец".
Date: Mid-19th-Century.
Source: http://days.pravoslavie.ru
Author: Anonymous.
(Wikimedia Commons)
On 2 February, the same day as The Great Feast of The Meeting of The Lord, Orthodox Christians and Eastern Catholics Commemorate a wonder-working icon of The Theotokos (Mother of God) known as "The Softening of Evil Hearts" or "Simeon's Prophecy."
It depicts The Virgin Mary at the moment that Simeon The Righteous says: "Yea, a Sword shall pierce through thy own Soul also . . ." (Luke 2:35) She stands with her hands upraised in Prayer, and Seven Swords pierce her heart, indicative of The Seven Sorrows. This is one of the few Orthodox icons of The Theotokos which do not depict The Infant Jesus. The refrain, " Rejoice, much-sorrowing Mother of God, turn our sorrows into joy and soften the hearts of evil men ! " is also used.
"Dolorosa".
Artist: Bartolomé Esteban Murillo.
Current location: Museo de Bellas Artes de Sevilla,
.
España
Date: Circa 1665.
(Wikimedia Commons)
The first Altar to The Mater Dolorosa was set up in 1221 at The Monastery of Schönau, Germany. Especially in Mediterranean Countries, Parishioners Traditionally carry statues of Our Lady of Sorrows in Processions on the days leading to Good Friday.
No Feast in her honour was included in Pope Saint Pius V's 1570 Tridentine Calendar. Vatican approval for The Celebration of a Feast, in honour of Our Lady of Sorrows, was first granted to The Servite Order in 1667.
English: Our Lady of Sorrows,
El Viso del Alcor, Seville, Spain.
Español: Nuestra Señora de los Dolores.
Capilla del Sagrario de la Iglesia Parroquial
de Santa María del Alcor. El Viso del Alcor.
Procesiona bajo palio en la tarde noche del Viernes Santo.
Photo: December 2007.
Source: Own work.
Author: Ajjb.
(Wikimedia Commons)
By inserting The Feast into The Roman Catholic Calendar of Saints in 1814, Pope Pius VII extended the Celebration to the whole of The Latin Church. It was assigned to The Third Sunday in September. In 1913, Pope Pius X moved The Feast to 15 September, the day after The Feast of The Cross. It is still observed on that date.
Another Feast, originating in the 17th-Century, was extended to the whole of The Latin Church in 1727. It was originally celebrated on Friday in Passion Week, one week before Good Friday. In 1954, it still held the Rank of Major-Double (slightly lower than the Rank of the 15 September Feast) in The General Roman Calendar.
The 15 September Feast is known as "The Feast of Our Lady of Sorrows" (Beatae Mariae Virginis Perdolentis). The Sequence, known as Stabat Mater, may be sung at Mass on that day.
"The Madonna in Sorrow".
Author: Giovanni Battista Salvi da Sassoferrato (1609–1685).
(Wikimedia Commons)
Our Lady of Sorrows, depicted as "Mater Dolorosa" (Mother of Sorrows) has been the subject of some key works of Roman Catholic Marian Art. Mater Dolorosa is one of the three common artistic representations of a Sorrowful Virgin Mary, the other two being Stabat Mater ("The Mother Stood") and Pietà.
In this iconography, Our Lady of Seven Sorrows is, at times, simply represented in a sad and anguished mode by herself, her expression being that of tears and sadness. In other representations, The Virgin Mary is depicted with Seven Swords in her heart, a reference to the Prophecy of Simeon, at The Presentation of The Child Jesus in The Temple.
Our Lady of Sorrows is The Patron Saint of: Slovakia; The Congregation of Holy Cross; The village of Mola di Bari and the Molise region of Italy; The State of Mississippi, USA; Dolores, in The Philippines; Lanzarote, Canary Islands. Mater Dolorosa (Berlin-Lankwitz).
The Friday In Passion Week. The Feast Day Of Our Mother Of Sorrows.
Friday in Passion Week is the Feast Day of
The Seven Sorrows of The Blessed Virgin Mary.
Illustration: TRANSALPINE REDEMPTORISTS
Friday In Passion Week. The "Stabat Mater". Prepare For Good Friday.
unless otherwise stated.
English: "The Crucifixion".
Church of Jesus, Genoa, Italy.
Svenska: "Korsfästelsen".
Chiesa del Gesù. Genua.
Artist: Simon Vouet (1590–1649).
Date: 1622.
Source: Originally from sv.wikipedia;
description page is/was here.
Author: Simon Vouet.
(Wikimedia Commons)
Stabat Mater Dolorosa, often referred to as Stabat Mater, is a 13th-Century Catholic Hymn to Mary, variously attributed to the Franciscan, Jacopone da Todi, and to Pope Innocent III. It is about The Sorrows of Mary.
The Title of the sorrowful Hymn is an Incipit of the first line, Stabat mater dolorosa ("The Sorrowful Mother Stood"). The Dolorosa Hymn, one of the most powerful and immediate of extant Mediaeval poems, meditates on The Suffering of Mary, Jesus Christ's Mother, during His Crucifixion.
It is sung at The Liturgy on The Feast of Our Lady of Sorrows. The Dolorosa has been set to music by many composers, with the most famous settings being those by Palestrina, Pergolesi, Alessandro Scarlatti and Domenico Scarlatti, Vivaldi, Haydn, Rossini, Poulenc, and Dvořák.
The Dolorosa was well-known by the end of the 14th-Century and Georgius Stella wrote of its use in 1388, while other historians note its use later in the same Century. In Provence, France, about 1399, it was used during The Nine Days Processions.
As a Liturgical Sequence, The Dolorosa was Suppressed, along with hundreds of other Sequences, by The Council of Trent, but restored to The Missal by Pope Benedict XIII, in 1727, for The Feast of The Seven Dolours of The Blessed Virgin Mary.
"Stabat Mater"
(The Mother Stood),
Composer: Pergolesi.
Performed by
Andreas Scholl and Barbara Bonney.
Available on YouTube at
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