Music for OT-22-A (Aug 31)

Prelude:           Minuete em La Menor: (unknown 1700s)
Processional Hymn: 846: When I Survey The Wondrous Cross
Kyrie:             -spoken-
Gloria:            113: Mass for Congregations: Andrews
Readings:          641
Offertory:         384: Take Up Your Cross
                   (11) Crux fidelis: King John IV of Portugal
Sanctus/Mem/Amen:  117-118-119: Peoples Mass; Danish Mass
Agnus Dei:         188: Holy Cross Mass: Isele
Communion Hymn:    242: Tree Of Life
Final Hymn:        423: Lift High The Cross
Postlude:          Batalha de 6 Tom: Araujo

Music Notes:


The Communion Antiphon (Graduale Romanum Chant Proper):
Qui vult venire post me, abneget semetipsum; et tollat crucem
suam, et sequatur me (If a man wishes to come after me, let him
deny himself and take up his cross and follow me).


John IV (1603-1656) was born at Vila Vicosa Portugal and succeeded (1630) his father Teodosio II as Duke of Braganza. As grandson of Duchess Catherine of Braganza who had in 1580 claimed the Portuguese crown and sparked the struggle for the throne, John was acclaimed King by the voice of the people in 1640; a long war against Spain (Philip IV) ensued through 1668, with fronts in Europe, Africa, Brazil. His son Afonso VI succeeded him; his daughter Catherine of Braganza married King Charles II of England. A patron of music and the arts, John collected a large library (destroyed 1755, Lisbon earthquake). Among his writings is a defense of Palestrina, and a Defense of Modern
Music (1649). His most famous composition is "Crux fidelis".


Pedro de Araujo (f1662-f1705) lived in Braga Portugal, and was the leading figure of a school of secular and monastic organists active in the Braga archdiocese: music teacher (1662-68) at Saint Peter Seminary, second (asst?) organist (-1665) at Braga cathedral, benefice recipient (1665-1704 and maybe later) at Saint Salvador in nearby Joane (now Famalicão). In his compositions, Portuguese organ music reached its zenith, achieving a level of quality and formal variety that made it the equal of Spain's. His "Batalha de 6 Tom" (Battle scene on the sixth tone) makes use of highly impressive timbres (mixtures, cornets, horizontal reeds).

http://www.ohscatalog.org/voxhuminormu4.html

http://pipedreams.publicradio.org/listings/2004/0412/
timestamp = 00:33:20 -- 00:38:30

http://organartmedia.de/sounds/frechilla/Araujo-BatalhaVITom.mp3