the Judeo-Christian tradition, God has always remained in a "cloud of
unknowing." During the Middle Ages, it was established among Christian
mystics that God's word was directly revealed at times as Vox de
Nube, "Voice from the Cloud." It is in this holy tradition that
Nóirin Ni Riain and the monks of Glenstal Abbey offer Vox
de Nube, an authentic recreation of the medieval liturgy's most
penetrating masterworks - treasured both as spiritual statements and for
their "... deep healing powers."
1. Magnificat cum Alleluia (Song of Praise)
The greatest feminine song of salvation from the Christian tradition echoing the Psalms, the speech of Hannah in Samuel and the triumph song of Miriam in the Old Testament. This setting from the Gregorian chant is taken from the Cantus Selecti
2. Peter Noster (Our Father)
A Latin harmonic setting of the "Our Father."
3. Lob/Ehre, Christe: Joa Bolendas (Praise/Glory to Christ)
Two hymns from the visionary music of the Swiss mystic, Joa Bolendas.
4. A Dhia Ghléuguk (Oh Glorious God)
A religious song from the Irish tradition collected in Mayo on the turn of this century and published in Dánta Dé
5. O Viridissima Virga: Hildegard of Bingen (Most Holy Virgin)
Hildegard (1098-1179) was a Benedictine abbess of a monastery near Bingen in the Rhine Valley. Her creative legacy has not only been in the field of chant but she wrote poetry and prose, scientific and medical treatises and was a powerful influence on her clerical contemporaries both male and female.
6. (a) A Song for Mary Magdalen, (b) Pater Superni Luminis (Our Father of Light)
(a) A poem by Padraic H. Pearse. (b) A version of the hymn sung at Vespers (verse 1,2,4) and Lauds (verse 3) on the Feastday of St. Mary magdalen, July 22nd and taken from Antiphonal Monasticum.
7. Kyrie Eleison: Hildegard of Bingen (Lord, Have Mercy)
Hildegard's setting of 'Kyrie Eleison' forcefully illustrates the uniqueness of her chant in its highly ornate melismas and its magnificent vocal range, particularly in the 'Christe Eleison.'
8. We Venerate Thy Cross
The Benedictine monastery of Chevetogne, Belgium was founded in 1925 (just one year before Glenstal Abbey). There, daily worship in song takes two forms: on the one hand, Gregorian chant repertoire and on the other, the Byzantine hymnography of the Orthodox churches of the east.
9. Cum processit: Hildegard of Bingen (When You Came Forth)
"Created by God's finger, Made in God's image, When you came forth, Adam's Fall was far removed from your first beginnings, O Mary, worthy of praise. The sky is aglow, the elements received the joys of life, It is of you that they sing."
10. Án tAiséirl (The Resurrection)
In this traditional religious hymn, we celebrate the singing of the last Seosamh Ó hÉanai (Joe Heaney) from whom Nóirin leant this version.
11. Go Beannaitear Duit (Hail, Mary)
There is no traditional setting of the 'Hail Mary' in Irish and this setting by Peadar Ó Riada captures all the power of feminine nobility.
12. Homilia Sancti Bernardi Abbatis (Homily of Saint Bernard)
Text excerpted from the concluding paragraph of St. Bernard's Second Homily Praise of the Virgin Mary. The interpretation "Star of the Sea" goes back, at least to St. Jerome.
13. The Beatitudes
Over the past decade, this adaptation by Kevin Healy OSB from the Byzantine tradition has often been part of our communal worship in Glenstal Abbey.
14. Regnavit Dominus (The Lord Now Reigns)
An Easter chant from the tradition of Monte Cassino (South Italy). There are other forms of the text with slight changes of vocabulary.
15. Saint Brigid's Prayer
From the Irish tradition, this translation was made by the poet Brendan Kennelly, in his book, Love of Ireland-Poems from the Irish published by the Mercier press, Cork and Dublin.
16. O Frondens Virga: Hildegard of Bingen
This Marian antiphon and the three other Hildegard chants on this record were adapted from the collection of her music; Hildegard von bingen Lieder, Prudentiana Barth O.S.B. / Immaculata Ritscher O.S.B. and Joesph Schmidt-Gorg.
17. Seacht Suáilci na Maighdine Muire (The Seven Rejoices of Mary)
The medieval carol 'The Seven Rejoices of Mary' collected recently in the Donegal Gaeltacht from Maggie Antoin shortly before she died. It is the most complete version of the carol probably introduced to Ireland by the Franciscans in the thirteenth century.
18. Ar nAthair (Our Father)
An Irish harmonic setting of the 'Our Father.'
19. In Paupertatis Praedio (In the Farmland of Poverty)
This song, which cannot postdate St. Francis's death (1226) by many years, comes from a calumnious manuscript containing music sung in Paris, both in the great church, and in various educational foundations, in the later twelfth and earlier thirteenth centuries.
20. Vater Unser: Joa Bolendas (Our Father)
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