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Well, another week of firsts folks. My first foray into Karaoke was with Paul Simon and late in the evening. Funny how the difficulty goes up when you happen to be responsible for the rhythmical and lyrical production. A few stumbles, but I managed to stay in time and in tune. ;)

I was lying In my bed I couldn’t of been no more Than one or two

I remember there’s a radio Comin’ from the room next door And my mother laughed The way some ladies do

When it’s late in the evening And the music s seeping through

The next thing I remember I am walking down the street I’m feeling all right I’m with my boys I’m with my troops, yeah

And down along the avenue Some guys were shootin pool And I heard the sound Of a cappella groups, yeah

Singing late in the evening And all the girls out on the stoops, yeah

Then I learned to play some lead guitar I was underage In this funky bar And I stepped outside to smoke myself a “J”

And when I came back to the room Everybody just seemed to move And I turned my amp up loud and I began to play

And it was late in the evening And I blew that room away

The first thing I remember When you came into my life I said I’m gonna get that girl No matter what I do

Well I guess I’d been in love before And once or twice I been on the floor

But I never loved no one The way that I loved you

And it was late in the evening And all the music seeping through

It’s a rough road sometimes folks.  Celebrate the good times, accept the bad times the best you can.  Move forward, if you can.

 

 

“And still I dream he’ll come to me
That we will live the years together
But there are dreams that cannot be
And there are storms we cannot weather”

 

There was a time when men were kind
When their voices were soft
And their words inviting
There was a time when love was blind
And the world was a song
And the song was exciting
There was a time
Then it all went wrong
I dreamed a dream in time gone by
When hope was high
And life worth living
I dreamed that love would never die
I dreamed that God would be forgiving
Then I was young and unafraid
And dreams were made and used and wasted
There was no ransom to be paid
No song unsung, no wine untasted
But the tigers come at night
With their voices soft as thunder
As they tear your hope apart
As they turn your dream to shame
He slept a summer by my side
He filled my days with endless wonder
He took my childhood in his stride
But he was gone when autumn came
And still I dream he’ll come to me
That we will live the years together
But there are dreams that cannot be
And there are storms we cannot weather
I had a dream my life would be
So different from this hell I’m living
So different now from what it seemed
Now life has killed the dream I dreamed.

Guess who is singing this mass. :) Just the Kyrie for today, the soporano soloist is quite good.  Enjoy. :)

Just saw the upcoming repertoire for next semester. Can’t wait to sing this one. :)

Josef Gabriel Rheinberger, whose father was the treasurer for Aloys II, Prince of Liechtenstein, showed exceptional musical talent at an early age. When only seven years old, he was already serving as organist of the Vaduz parish church, and his first composition was performed the following year. In 1849, he studied with composer Philipp M. Schmutzer (31 December 1821 – 17 November 1898) in Feldkirch, Vorarlberg.[1]
In 1851, his father, who had initially opposed his son’s desire to embark on the life of a professional musician, relented and allowed him to enter the Munich Conservatorium. Not long after graduating, he became professor of piano and of composition at the same institution. When this first version of the Munich Conservatorium was dissolved, he was appointed répétiteur at the Court Theatre, from which he resigned in 1867.[2]

Josef and Fanny shortly after their marriage
Rheinberger married his former pupil, the poet and socialite Franziska “Fanny” von Hoffnaass (eight years his senior) in 1867. The couple remained childless, but the marriage was happy. Franziska wrote the texts for much of her husband’s vocal work.
The stylistic influences on Rheinberger ranged from contemporaries such as Brahms to composers from earlier times, such as Mendelssohn, Schumann, Schubert and, above all, Bach. He was also an enthusiast for painting and literature (especially English and German).
In 1877 he was appointed court conductor, responsible for the music in the royal chapel. He was subsequently awarded an honorary doctorate by Ludwig Maximilian University of Munich. A distinguished teacher, he numbered many Americans among his pupils, including Horatio Parker, William Berwald, George Whitefield Chadwick, Bruno Klein and Henry Holden Huss. Other students of his included important figures from Europe: Italian composer Ermanno Wolf-Ferrari, and German composers Engelbert Humperdinck and Richard Strauss and the conductor (and composer) Wilhelm Furtwängler. See: List of music students by teacher: R to S#Josef Rheinberger. When the second (and present) Munich Conservatorium was founded, Rheinberger was appointed Royal Professor of organ and composition, a post he held for the rest of his life.
On 31 December 1892 his wife died, after suffering a long illness. Two years later, poor health led him to give up the post of Court Music Director.[3]

Rheinberger in his later years
Rheinberger was a prolific composer. His religious works include twelve Masses (one for double chorus, three for four voices a cappella, three for women’s voices and organ, two for men’s voices and one with orchestra), a Requiem and a Stabat Mater. His other works include several operas, symphonies,[4] chamber music, and choral works.

he following translation by Edward Caswall is not literal, and represents the trochaic tetrameter rhyme scheme, and sense of the original text.

Stabat mater dolorósa
juxta Crucem lacrimósa,
dum pendébat Fílius.

Cuius ánimam geméntem,
contristátam et doléntem
pertransívit gládius.

O quam tristis et afflícta
fuit illa benedícta,
mater Unigéniti!

Quae mœrébat et dolébat,
pia Mater, dum vidébat
nati pœnas ínclyti.

Quis est homo qui non fleret,
matrem Christi si vidéret
in tanto supplício?

Quis non posset contristári
Christi Matrem contemplári
doléntem cum Fílio?

Pro peccátis suæ gentis
vidit Iésum in torméntis,
et flagéllis súbditum.

Vidit suum dulcem Natum
moriéndo desolátum,
dum emísit spíritum.

Eia, Mater, fons amóris
me sentíre vim dolóris
fac, ut tecum lúgeam.

Fac, ut árdeat cor meum
in amándo Christum Deum
ut sibi compláceam.

Sancta Mater, istud agas,
crucifíxi fige plagas
cordi meo válide.

Tui Nati vulneráti,
tam dignáti pro me pati,
pœnas mecum dívide.

Fac me tecum pie flere,
crucifíxo condolére,
donec ego víxero.

Juxta Crucem tecum stare,
et me tibi sociáre
in planctu desídero.

Virgo vírginum præclára,
mihi iam non sis amára,
fac me tecum plángere.

Fac, ut portem Christi mortem,
passiónis fac consórtem,
et plagas recólere.

Fac me plagis vulnerári,
fac me Cruce inebriári,
et cruóre Fílii.

Flammis ne urar succénsus,
per te, Virgo, sim defénsus
in die iudícii.

Christe, cum sit hinc exíre,
da per Matrem me veníre
ad palmam victóriæ.

Quando corpus moriétur,
fac, ut ánimæ donétur
paradísi glória.

Amen.
At the Cross her station keeping,
stood the mournful Mother weeping,
close to her Son to the last.

Through her heart, His sorrow sharing,
all His bitter anguish bearing,
now at length the sword has passed.

O how sad and sore distressed
was that Mother, highly blest,
of the sole-begotten One.

Christ above in torment hangs,
she beneath beholds the pangs
of her dying glorious Son.

Is there one who would not weep,
whelmed in miseries so deep,
Christ’s dear Mother to behold?

Can the human heart refrain
from partaking in her pain,
in that Mother’s pain untold?

For the sins of His own nation,
She saw Jesus wracked with torment,
All with scourges rent:

She beheld her tender Child,
Saw Him hang in desolation,
Till His spirit forth He sent.

O thou Mother! fount of love!
Touch my spirit from above,
make my heart with thine accord:

Make me feel as thou hast felt;
make my soul to glow and melt
with the love of Christ my Lord.

Holy Mother! pierce me through,
in my heart each wound renew
of my Savior crucified:

Let me share with thee His pain,
who for all my sins was slain,
who for me in torments died.

Let me mingle tears with thee,
mourning Him who mourned for me,
all the days that I may live:

By the Cross with thee to stay,
there with thee to weep and pray,
is all I ask of thee to give.

Virgin of all virgins blest!,
Listen to my fond request:
let me share thy grief divine;

Let me, to my latest breath,
in my body bear the death
of that dying Son of thine.

Wounded with His every wound,
steep my soul till it hath swooned,
in His very Blood away;

Be to me, O Virgin, nigh,
lest in flames I burn and die,
in His awful Judgment Day.

Christ, when Thou shalt call me hence,
be Thy Mother my defense,
be Thy Cross my victory;

While my body here decays,
may my soul Thy goodness praise,
Safe in Paradise with Thee.

– Translation by Edward Caswall, Lyra Catholica (1849)

That basso profondo…wow. :)

This is a nice arrangement for choir of the Ian Tyson Canadian classic song.  Our choir is also sing this, the only downside being is that we only have six men.  Very jealous of the balance this choir has.

Love the Angus Dei from this mass, getting the phrasing correct was a challenge but well worth the effort.  :)

The Missa brevis Sancti Joannis de Deo, Hob. XXII:7, Novello 8, is a mass in B-flat major by Joseph Haydn.[1] The missa brevis (short mass) was written around 1775 for the order of the Barmherzige Brüder (Brothers Hospitallers) in Eisenstadt, whose patron saint was St. John of God. Scored modestly for soprano, four-part mixed choir, two violins, organ and bass, it is known as the Kleine Orgelsolomesse (Little Organ Mass) due to an extended organ solo in the Benedictus movement.

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