#notably Credo and Sanctus

[basil-does-arttt]

i like to think Kyrie is the type of person everybody assumes is really sweet and innocent so they want to keep her away from all the gorey and fucked up parts of devil-hunting - nero especially - when in reality all she wants is for them to stop coddling her and let her join in on the fun dammit!!

[put-me-out-of-my-destiny]

Because I am constantly plagued by visions but can't/won't actually write, you get another long-ass Put Me Out Of My Destiny Original Plot Synopsis™.

It's going under a read-more, but you may be interested if you're a Nero enjoyer, and you aren't entirely weary of time travel and multiverses as plot devices, as has become common in the superhero genre.

Though not directly inspired, I'd compare this to Flashpoint (the story where The Flash goes back in time to save his mom, and it has a butterfly effect that basically ruins the entire world). However, the offending party in this story actually played a much more direct hand in fucking up the world.

So, like the aforementioned Flash story, this one begins with Nero waking up one day to find himself in an alternate timeline, in which:

He is Nico's foster brother, raised by Rock Goldstein.

He is Nico's lab assistant at the Research and Development division of the ruling party in Fortuna, apparently led by a king called Rodin, who is believed by many to be Sparda incarnate.

Luckily, Nero still has his powers, which - along with his funny new accent - are a big help toward convincing Nico that something extremely fucky is going on.

Nico catches Nero up on the history of this timeline, specifically on the feats of Emperor Rodin:

His earliest known appearance was after the Temen-ni-gru appeared in Capulet City. Rodin entered the tower, and emerged with Sparda's own Devil Sword, as well as Yamato, the sword Sparda used to cut off the human world from the demon world. He quickly exterminated any remaining demons, and began to develop a following.

His followers claim that he is Sparda incarnate gained further legitimacy about a decade later, when he defeated Mundus, who had returned to the human world to conquer it once more.

He gained actual political power some years later, when he went to Fortuna, and exposed Sanctus's scheme to open hell gates and unleash demons into the human world, and killed him shortly after.

Some years after that, Rodin forced all civilians out of Redgrave City, and turned it into a city-wide prison for his enemies. No one has seen the inside and lived.

What Nero notices on his own, however, is that all statues of the Idol Of Space And Time have been destroyed, which Nico explains was at the king's command. Given that history has changed, Nero concludes that making contact with the Idol is his best bet at figuring out what's going on.

Nico restores a statue, and Nero sacrifices a lot of demon blood to it - probably from the Angelo Knights that serve Rodin - and they make contact with the Idol. She confirms that history has been changed, and that Rodin is responsible. However, she is unsure why Nero suddenly has knowledge of another timeline.

Nero, with the help of Nico and the Idol, begins fighting to reach the king and figure out what's going on, until Nero meets Rodin's highest-ranking fighter - Credo. Unwilling to fight Credo with all of his strength, Nero loses, and is taken into custody.

However, Nero and Nico are freed by none other than Kyrie, who turns out to be some sort of insurgent working against Rodin.

It's also around this point that he learns that Credo and Kyrie's parents are still alive. I also don't think Kyrie and Credo even know Nero in this timeline, which really hurts for him. He couldn't bear to live in a world where Kyrie doesn't love him.

Kyrie informs them of the crueler side of their king - notably, that the Redgrave Prison is home to a demonic tree called the Qliphoth, which fed on the blood of Rodin's enemies, and bore a fruit which granted him a massive power boost.

Kyrie and her allies help Nero get close to Rodin, and his true identity is revealed:

Rodin is a future version of Nero himself.

In Rodin's timeline, a series of events occurs in which Dante's actions lead to Kyrie dying.

So Rodin, using his own power - a replication of Yamato's power - to travel back in time to kill Dante as a child. This same power is the reason Nero was sort of protected from the altered timeline.

He then waited for this timeline's Nero to be conceived, took him to Rock Goldstein, and then waited until the Temen-ni-gru incident to kill Vergil, and take both Yamato and Sparda.

While this idea certainly needs a lot more time to cook, I like it as a means to explore Nero's darker side, to make him face up to the fact that Kyrie is the only thing keeping him from Vergiling harder than Vergil ever did (something one of the writers apparently said once? I don't have a source for that). I think it would be interesting to see Nero evaluate and really define his reasons for fighting beyond protecting Kyrie, seeking approval from his uncle, or seeking the acceptance of his father.

Besides exploring Nero, I think it could also be a good opportunity to flesh out the metaphysics of DMC. I know a lot of people are already sick of multiverses, and I'm not necessarily saying DMC should adopt one, but I think it could hypothetically work. There's already a DMC2 tie-in novel set in an alternate timeline, there's a reboot with a very different continuity, and DMC3 retconned enough things that the established timeline before that game came out could be considered it's own continuity. But if DMC had a multiverse, it raises the question of why the Idol would even care what Rodin had done, unless she just doesn't want anyone but her messing with time?

There's also the question of why, from the perspective of everyone within the altered timeline, Nero regained his memories and powers on that particular day. Since Rodin exists, and by extension, the future exists, considering Nero's time "the present" is pretty arbitrary, so what makes that instance of Nero special?

I don't have the clearest picture of how the story ends, either. I'm thinking maybe at some point Rodin's actions lead to Credo and/or Kyrie dying, which causes him to see how far he's gone and allow Nero to go back in time to save Dante from past Rodin. However, I would like this timeline's Credo to survive, and I really wouldn't want to fridge even an alternate timeline Kyrie.

That's all I have to share at this time, but if you made it this far, thank you for your interest, and have a nice day.

[lesser-known-composers]

Bartłomiej Pękiel - Missa Brevis

Bartłomiej Pękiel (fl. from 1633; d. ca. 1670) was a notable Polish composer of baroque music.

I: Kyrie 00:00 II: Gloria 1:52 III: Credo 6:43 IV: Sanctus, Benedictus 17:36 V: Agnus Dei 21:06

Performers: Krzysztof Szmyt. Ensemble: Canto, Il.

[emilymaddison1112]

Why was the motet important?

The motet has notably evolved from its origins in the Middle Ages.

1. Medieval motets: The motet first emerged in the thirteenth century as a mostly secular form, likely as an offshoot of what music historians call the Notre Dame school of composition. They likely derived from the clausula section of plainchant organums, an early form of a cappella vocal polyphony. Medieval secular motets were performed in different local languages over an isorhythmic cantus firmus (a fixed, preexisting melody). Typically the cantus firmus came from older Gregorian chants and was sung in Latin. Notable motet composers of this period include the French Philippe de Vitry and Guillaume de Machaut.

2. Renaissance motets: As Medieval motets gave way to Renaissance motets, they increasingly featured lyrics drawn from sacred texts. Instead of a Gregorian cantus firmus, Renaissance composers use antiphons (Latin text drawn from Christian liturgy). In many ways, the Renaissance motet became sacred music's answer to the madrigal, which was a popular form of polyphonic vocal music. Key Renaissance motet composers include Giovanni Pierluigi da Palestrina (an Italian of the Roman School of compositional technique), Josquin des Prez (a Frenchman of the Franco-Flemish School), Thomas Tallis (an Englishman), and Giovanni Gabrieli (an Italian of the Venetian School).

3. Baroque motets: The motet did not play the same prominent role in the Baroque era as it did in the Renaissance era, but several composers did embrace it. Most notably among these was J.S. Bach, who used sacred text in German and basso continuo for instrumental accompaniment. As with all of his works, Bach used the motet to display leading-edge techniques in contrapuntal compositions.

4. The Classical era and beyond: The motet has endured through the present day, although composers now enjoy many other polyphonic vocal forms to work from. Mozart composed a Classical-era motet, Ave verum corpus (K. 618), and nineteenth-century composers like Brahms, Bruckner, and Elgar also made use of the form. Avant-garde interpretations of the motet have periodically emerged in twentieth and twenty-first-century classical music.

When talking about the ancient music of the Renaissance, it generally referred to music that was sung in church services, but wasn’t part of the Mass Ordinary (Kyrie, Gloria, Credo, Sanctus, Agnus Dei). And since it was a setting of a religious text, it would not be confused with later musical developments that were more secular in nature, such as madrigals, or operas

To know more visit: https://chorsymphonica.org/what-is-a-motet/

[brazenautomaton]

Hosanna

PUPPETEER OF THE SEFIROT

DMC OC Week Day 5: Weapons / Abilities

As Agnus’s assistant, in a sense Hosanna had a hand in designing many of the Order’s weapons tech. Most notably she supervised testing of Alto and Bianco Angelo, as well as the shield / jetpack device they employ. She was also a major contributor to the creation of the HALO Insertion Array, an arcane projector that, once aligned, allowed the Order to point-summon demonic units into battle zones. When Nero or Dante were constantly hearing that “WHUM-WHUM” and seeing the golden rings signifying another Angelo had been summoned into the fight, it was because Hosanna was mashing the “Deploy” button. 

Hosanna designed the Soprano Angelo enhancement process to create a means of Ascension that wouldn’t result in her heart arrythmia killing her. It was never fully implemented during the Order’s reign, and in the six years after the Order’s fall she took the time to perfect the design and theory. As a member in good standing of the Order privy to its darkest secrets, she is on the list of officers that Alto and Bianco Angelos are to obey, unless she contradicts the orders of one of the four members higher on the chain of command: Sanctus, Agnus, Credo, and Lauda. In the bounds of the Sefirot, she also has the command passphrase to Arius’s Secretary Demons, and is followed by Secretary Demon Rho who serves as bodyguard and assistant when on Arius’s business.

As a Soprano Angelo, like Kyrie, Hosanna’s magical ability is directed on moving things from one place to another. Like Kyrie, she is a conduit through which demonic power can be redirected and routed; unlike Kyrie, she mostly uses it to lend power to herself than to imbue power to her familiars. She is able to snap-summon any Order units to anywhere in her line of sight, and uses this to constantly flank enemies and pull back wounded units to recover. She can hover like Sanctus, as well as use a similar spherical barrier and his little floaty demon laser dealies. As long as the barrier holds, she is able to keep commanding her units flawlessly, and can use them to beat back whatever is threatening the barrier so she can continue to hover around and scorn the battle. She is somehow able to channel the phantasmal energy of major demons she has studied or defeated, conjuring them long enough to throw out a single attack, like a blast of frost from Bael or a sword sweep from Berial. 

She has a Devil Trigger form that presumably enhances her physical abilities and opens up the “bandwidth”, for lack of a better term, of demonic power she can channel at once. Unlike Kyrie’s it looks “complete”, totally remaking her body into a faux-angelic insect humanoid with white chitinous armor and an incomplete golden halo instead of whatever the hell is going on with Kyrie’s where it can’t even cover her whole body or get rid of all her clothes. She has not used it much, presumably because it hurts like Kyrie’s does.

She doesn’t take hits well, but she doesn’t take hits. She has a magical barrier around her, and minions to throw in the way of attacks, to keep her from getting hurt. Unlike Kyrie, her minions have no restriction on being able to score a killing blow, and also unlike Kyrie, she has no problem throwing them to their deaths.

[sketchiedetails]

Something I like in the character designs for Devil May Cry 4 is the recurring motif of the Order of the Sword’s logo and what it means on each character.

The symbol looks like a stylized abstraction of Sparda’s sword with the iconic horns he sports when he’s in his legendary Dark Knight form.

(Sparda’s sword ... er, Sparda)

(Sparda in his legendary Dark Knight form) Every member of the religion wears the logo on some part of their outfit and it carries different implications of their character based on their coloring and their look. The lay people all wear cowls with the insignia adorning the bottom corner (this is really clever design because it saves Capcom from spending any real resources modeling individual faces to be repeated again and again in the crowd scenes).

The three main characters of Nero’s story all wear the symbol on some part of their uniform.

They seem to indicate different statuses based on their color and their look. Kyrie is part of the choir and a noncombatant, so her insignia looks more fanciful with the floral patterns and implication of a heart encircling the symbol. Nero and Credo are part of the Order of the Sword’s Knights and theirs are practical symbols with red to indicate their stations. Nero’s outfit doesn’t look like its a standard uniform and his insignia is larger and in worse wear than Credo’s. His jacket could be an older-style one or one that’s used to more fieldwork due to the faded condition of his insignia (this also denotes his wavering faith since he doesn’t wear the brand as proudly on his sleeves as those around him). Credo is the captain of the Holy Knights and his uniform looks more regal compared to Nero’s duster, which might imply that he spends more time at headquarters tending to Sanctus' whims than actual fieldwork.

By the way, Nero's outfit looks like it's supposed to be an amalgamation of Vergil and Dante's aesthetics, going by the mix of red and blue and how his duster resembles young Dante's in 3 down to having the leather harness that carries his equipment while his profile has a slimmer cut similar to Vergil's austere sensibilities over Dante's slacker getup.

(This game finally got me to understand how the leather looped through the jacket) 

The other notable characters who are part of the Order are Agnus, Sanctus himself, and the mysterious newcomer Gloria.

Agnus' uniform makes him look like a scientist but with the trimmings of the upper echelon of the order. His insignia is gold - again, not red so a noncombatant - and in the lower part of his robe, as if to obscure it from a casual glance to denote his nature as a character who works behind the scenes.

Sanctus doesn't really have the insignia on his robes, but there is imagery of a horned helm and swords in the gold tracery and his Pope hat has a literal halo affixed to it. Considering the true nature of his character, his design is almost sarcastic in its depiction of a holy man (his name is Sanctus, which sounds all too similar to sanctimonious).

Gloria is the only notable female besides Kyrie to represent the Order, yet her design clashes with the more puritanical aesthetic the Order seems to endorse. She wears very provocative clothing even for someone who's part of the knights, and her insignias are gold instead of red (bear in mind the color coding is my assumption and not a stated fact at all; whether it's an intentional choice to cast doubt on her character or is just part of the design is a question I don't think I can strongly answer). More importantly, her Order insignia dwarfs in size compared to the pattern on the back of her outfit.

This is the first clue that Gloria is in fact Trish (SPOILERS!). Trish is the only character in the series who associates with lightning and it heavily features in her regular outfit.

(HEAVILY FEATURES)

Devil May Cry 4 had some interesting character designs and I think they did a great job creating a set of unique characters while still making sure it was visually obvious that they're part of an organization through some simple iconography and fashion choices.

[elmartillosinmetre]

Réquiem por una emperatriz

[Albert Recasens, director de La Grande Chapelle]

Albert Recasens reconstruye la liturgia musical completa para las exequias por María de Austria en 1603

Después de pasar veinte años en Roma, Tomás Luis de Victoria regresó a España en 1585. Aunque los cabildos catedralicios más ricos y prestigiosos del país estaban dispuestos a ofrecerle sus más altas responsabilidades, Victoria escogió un puesto, en principio no musical, en el convento de las Descalzas Reales de Madrid, el de capellán de María de Austria, hermana de Felipe II y emperatriz, que se había retirado al convento al quedar viuda en 1581. El conjunto de capellanes personales que la atendían formaban en la práctica una auténtica capilla musical, y en ella, aun sin un nombramiento oficial, Victoria empezó a ejercer tareas de maestro.

Aunque a menudo se quejaba de que sus obligaciones eran muchas, el músico abulense disfrutó en su nuevo puesto de una notable libertad de movimientos para promover y difundir su obra, lo que por ejemplo le permitió tomarse en 1592 un largo permiso para revisar en Roma una nueva edición de sus misas.

Todo cambió cuando la emperatriz María enfermó a principios de 1603 y falleció el 26 de febrero de aquel año. Victoria disfrutaría en adelante de la bien dotada capellanía que le había dejado su patrona y, hasta su muerte en 1611, asumió exclusivamente tareas de organista del convento.

Para las exequias de la emperatriz, Victoria compondría la más popular de sus obras, un imponente Oficio de difuntos a 6 voces, convertido en el Réquiem más extraordinario e influyente jamás producido por compositor español alguno. Aunque la obra no se publicó hasta 1605 y fue dedicada a la infanta Margarita, hija de María, que la acompañaba en el convento, el propio Victoria comenta en la edición que se trata de una revisión de la música utilizada en 1603.

Protectora de los jesuitas, a quienes legó gran parte de su fortuna, María de Austria fue honrada en la iglesia de la Compañía con unas exequias “de tanta majestad y grandeza que sólo la relación de lo que pasó en ellas, verdaderamente admira”, como se recoge en la Historia de las Descalzas Reales que Juan Carrillo escribiera en 1616. El impresor madrileño Luis Sánchez dejó también testimonio del acontecimiento en el Libro de las honras, impreso para la ocasión y que en portada exhibía orgulloso la corona imperial, exactamente igual que la edición del Oficio de difuntos de Victoria.

Pero además de la ceremonia organizada por los jesuitas, las honras fúnebres de la emperatriz ocuparon otros espacios y ámbitos. Tras un oficio y una misa corpore insepulto celebrados con toda solemnidad, María fue enterrada el 1 de marzo en el claustro bajo del monasterio. La capilla del convento acogió unas primeras exequias de carácter privado los días 18 y 19 de marzo.

Las honras fúnebres públicas se encadenaron a la ceremonia privada: 19 y 20 de marzo el Ayuntamiento de Madrid las montó en el mismo convento de las Descalzas. 20 y 21 de marzo fue la propia monarquía la que las organizó en el convento de San Benito el Real de Valladolid, que era por entonces capital del reino. Las de la Compañía de Jesús tuvieron lugar el 21 y el 22 de abril. Se sabe que la Capilla de las Descalzas participó en las ceremonias madrileñas, reforzada por cantores llegados de la catedral de Toledo. Aunque no se conoce con certeza qué música sonó en cada una de estas ceremonias algunos autores están convencidos de que la implicación de Victoria fue especial en las exequias de los jesuitas y que fue allí donde debió de presentar su Réquiem.

Las dos jornadas de la liturgia fúnebre incluían música: la vigilia de difuntos se cantaba al atardecer y la misa a la mañana siguiente. A pesar de las dudas sobre qué fue exactamente lo que pudo escucharse en aquellas jornadas, las regulaciones de los misales pontificios, las constituciones de la Capilla Real y algunas descripciones del Libro de las honras de Luis Sánchez han permitido a Albert Recasens proponer una reconstrucción completa para un doble álbum de su sello Lauda. Recasens parte obviamente de la edición del Officium defunctorum de 1605, que incluye la lectura del primer nocturno (Taedet animam meam), que es aquí restituida a su entorno litúrgico, las cinco partes del común (Kyrie, Gloria, Credo, Sanctus, Agnus Dei), el propio (introito, gradual, ofertorio y comunión), un motete para la Elevación (Versa est in luctum) y el responso absolutorio Libera me.

Otras ediciones de Victoria (1585, 1592) han servido para aportar responsorios y salmos y, por supuesto, se ha recurrido al canto llano, que soportaba toda la arquitectura de estas liturgias musicales. Juan Carlos Asensio, líder de Schola Antiqua, ha recurrido a los cantorales del monasterio de El Escorial (c.1583) y a libros de la imprenta real de la época. La polifonía se interpreta a dos voces por parte, y como instrumento se añade exclusivamente un bajón, preceptivo en los oficios fúnebres del tiempo.

[Diario de Sevilla. 07-12-2020]

[mikrokosmos]

Bach - Mass in b minor, BWV 232

Often considered to be the greatest piece of religious music, as well as greatest piece of music...period...in history. The reason is because this is, as I like to think of it, a “Bach’s greatest hits compilation album”. Throughout his career as being an organist and church composers for churches around Northern Germany, he had written hundreds of cantatas. During his most established position as the organist at St. Thomas church in Leipzig, Bach had taken different arias, duos, and trios from different cantatas and mixed them together with new music to write a setting of the Latin Mass, an unusual move for a Protestant composer and scholars aren’t sure what Bach’s exact motive was. No matter the reason, the result is, and yes I don’t care I’m about to use a cliche, heavenly. This is the music of the otherworldly and spiritual, where mathematic precision and religious meditation/philosophy come together to create a profound mountaintop of human achievement. The entirety of the mass is spectacular, but I will take the time to highlight my favorite moments in the work under each “movement” of the mass. Also interesting to note, each movement was filed in its own folder, implying that they could be played independently instead of performing the work in its entirety. I’m sure J.S. Bach would be pleasantly surprised that we insist upon showcasing the entire mass. I’m sharing my favorite performance of the work, Neville Marriner and the Academy of St. Martin in the Fields...the power of the organ, the brightness of the instruments...it doesn’t matter if your religious or not, or even Christian or not...this is music of the human spirit at its best.

Movements [notable sections in italics underneath]

I. Kyrie et Gloria [“Missa”]

Kyrie eleison 1 [0:00]

Kyrie eleison 2 [15:40]

Gloria [19:45]

Cum Sancto Spiritu [~53:35]

II. Credo [“Symbolum Nicenum”]

Et resurrexit [1:14:32]

III. Sanctus [1:31:45]

IV. Osana, Agnus Dei, Benedictus, Dona Nobis Pacem

Osana [1:37:45]

[sonyclasica]

MUSICA FIATA Y CAPELLA DUCALE

BODA REAL, MUNICH 1568

Los conjuntos Musica Fiata y Capella Ducale, bajo la dirección de Roland Wilson, han grabado un disco dedicado a la música que acompañó a la Boda Real celebrada en Munich el 22 de febrero de 1568, que fue dirigida por Orlando di Lasso y está considerada como uno de los eventos musicales más importantes del siglo XVI.

Lasso compuso varias piezas específicas para esta ocasión pero el disco también contiene obras de contemporáneos suyos, como Annibale Padovano y Alessandro Striggio, que también sonaron en la boda del príncipe Guillermo de Baviera y Renata de Lorena. El álbum contiene la Misa que se intérpreto en la boda, así como la música de banquete muy colorida que fue descrita de forma detallada por uno de los cantantes de la Cortte, Massimo Troiano.

La boda tuvo lugar en la Corte del Duque Albrecht V de Baviera y las celebraciones se prolongaron durante dos semanas y atrajeron a miembros de la aristocracia y embajadores de toda Europa. Bajo la dirección de Orlando di Lasso, la música fue interpretada por grandes conjuntos musicales como las Hofkapelle de Munich, Graz e Insbruck. Lasso compuso diversas obras para la ocasión pero también incluyó piezas como la Misa de Annivable Padovano o un Motete de Alessandro Striggio.  

Las misas diarias y los banquetes fueron los principales eventos musicales de las celebraciones. La grabación que ahora se presenta sólo puede mostrar una pequeña muestra de la música que se interpretó en aquella oportunidad, pero se sigue la descripción que realizó Troiano e incluso se han reconstruido instrumentos de la época como la dolzaina, la cornamusa y el trombón contrabajo.

Musica Fiata fue fundado en 1976 como un conjunto para la interpretación de la música de los siglos XVI y XVII en instrumentos de época auténticos. El extenso estudio de las fuentes originales sobre la interpretación, los instrumentos originales de este período y las técnicas para tocarlas llevaron al desarrollo de un estilo y un sonido característico.

El conjunto ha aparecido como invitado en festivales importantes como Brujas, Praga, Copenhague, Utrecht, Barcelona, ​​Venecia, Ravenna, Israel, Ansbach, Graz, Breslau y York. Además de realizar numerosas grabaciones para radio y televisión, Musica Fiata tiene una impresionante discografía de 30 CD en los sellos Sony Classical, Deutsche Harmonia Mundi, Pure Classics y CPO. Varios de ellos han ganado premios internacionales.

La Capella Ducale fue fundada en 1992 por Roland Wilson como un complemento de Musica Fiata para asegurar una unidad estilística en obras más grandes. El éxito del primer CD para Sony, con música de “Selva Morale” de Monteverdi, les llevó a recibir invitaciones para festivales de toda Europa. Otras grabaciones han consolidado la reputación de un conjunto que ha conseguido grandes éxitos junto a Musica Fiata.  

Roland Wilson estudió trompeta en el Royal College of Music de Londres. Debido a su interés por la música de los siglos XVI y XVII, aprendió a tocar el “cornetto” y continuó sus estudios en el Conservatorio Real de La Haya. Como fundador y líder de Musica Fiata, ha actuado en los principales festivales de toda Europa y, además, ha participado como invitado en otros conjuntos de renombre.

Su trabajo se enfoca ahora en Musica Fiata y La Capella Ducale, así como en la investigación sobre la práctica de la interpretación de la época y sus propias ediciones de obras no descubiertas anteriormente. Su notable conocimiento de la música del siglo XVII le ha permitido reconstruir versiones incompletas de obras de compositores como Biber, Scheidt, Valentini, Buxtehude y Gabrieli, siempre respetando el estilo original del compositor. Sus actuaciones están marcadas por la combinación de precisión histórica e inspiración artística.

CONTENIDO

MISSA FESTIVA

1.Orlando di Lasso (1532-1594)        Beati omnes qui timent Dominum à 5

2.Annibale Padovano (1527-1575)    Missa à 24: Kyrie

3.Annibale Padovano                         Missa à 24: Gloria

4.Orlando di Lasso                            Laudate Dominum, quoniam bonus à 7

5.Annibale Padovano                         Missa à 24: Credo

6.Orlando di Lasso                             Exsultate justi à 4

7.Annibale Padovano                         Missa à 24: Sanctus, Benedictus

8.Annibale Padovano                         Missa à 24: Agnus Dei

9.OrlandodiLasso                             Laudate Dominum omnes gentes à 12

BANQUET

10.Annibale Padovano                       Aria della Battaglia à 8

1.Course

11.OrlandodiLasso                          Laudate pueri Dominum à 7

2. Course

12.AlessandroStriggio(1536-1592)   Lasciat’hai, morte, senza sol il mondo à 6

3. Course

13.Cipriano de Rore (1516-1565)         Mirabar solito laetas à 6

4. Course

14. Andrea Gabrieli(1532-1585)           O passi sparsi à 12

5. Course

15. OrlandodiLasso                            Quid trepidas à 6  

6. Course

16.OrlandodiLasso                             Domine, quid multiplicati sunt à 12

7. Course                                                

17.OrlandodiLasso                             Decantabat populus à 7

Fruit                                                      

18.AlessandroStriggio                        Ecce beatam lucem à 40

[islam4christes-blog]

Papel de los primeros papas y del Primer Concilio de Nicea en el establecimiento del cristianismo contemporáneo. La tradición cristiana en la balanza

http://es.islamforchristians.com/papel-los-primeros-papas-del-primer-concilio-nicea-establecimiento-del-cristianismo-contemporaneo-la-tradicion-cristiana-la-balanza/

Papel de los primeros papas y del Primer Concilio de Nicea en el establecimiento del cristianismo contemporáneo. La tradición cristiana en la balanza

Imagen figurada del Concilio de Nicea

Muchos cristianos no saben que muchas de sus creencias, leyes y ritos contemporáneos no se basan en la Biblia, ni en el Antiguo Testamento y ni en el Nuevo Testamento.

Como tal, el cristianismo es una telaraña tejida principalmente por los primeros papas, antes y durante el Primer Concilio de Nicea, que fue el primer concilio ecuménico que sentó las bases del cristianismo contemporáneo.

Es curioso que la tradición de los primeros padres y papas fuera divinizada de tal manera que la hizo equivalente a las revelaciones de Dios, así como las enseñanzas de Jesús en los cuatro evangelios sinópticos y las complementarias a las epístolas de Pablo y otros, así como los libros complementado con los cuatro evangelios sinópticos.

Por lo tanto, la tradición cristiana transmitida por los primeros papas y padres de la iglesia se ha convertido en una importante fuente de legislación, principio de fe y referencia de la práctica religiosa en el cristianismo.

Aunque las declaraciones y los actos de algunos de los primeros musulmanes se consideran fuentes para la jurisprudencia islámica, como las declaraciones de los Compañeros y las prácticas de la gente de Medina, existen grandes diferencias entre ellos y la tradición de la iglesia.

Por ejemplo, las declaraciones de los Compañeros y las prácticas de la gente de Medina no tienen nada que ver con los fundamentos sino con las cuestiones subsidiarias del Islam. Los fundamentos del Islam se establecieron en la vida del Profeta Muhammad. Pero la tradición cristiana subyace en el sistema de creencias, la ley y la práctica en el cristianismo.

Además, las declaraciones de los Compañeros y las prácticas de la gente de Medina no son fuentes unánime en el Islam. Son adoptados por unos pocos eruditos musulmanes.

Además, las declaraciones o actos de los primeros musulmanes no pueden considerarse credos o leyes a menos que se basen en pruebas válidas del Corán o la Sunnah (tradición del Profeta Muhammad) o, al menos, no contradigan pruebas más claras del Corán o de la Sunnah. En cuanto a los sentimientos y preferencias de los primeros musulmanes que no se basan en pruebas válidas del Corán o la Sunnah, no son vinculantes para los musulmanes posteriores.

En lo que respecta a la tradición cristiana, es adoptada por la mayoría de los cristianos aunque no se basen en la Biblia. Ahora echemos un vistazo a las creencias, leyes y ritos más importantes derivados de la tradición cristiana:

Profesión de fe

La primera profesión de fe, es decir, el Credo de Nicea, que contiene la doctrina de la Santísima Trinidad y la divinidad de Jesús, fue adoptada en el Concilio de Nicea en 325, principalmente bajo la influencia del Papa Alejandro I de Alejandría, el 19º Papa de Alejandría y Patriarca de la sede de San Marcos.

Compilación de la Biblia

Antes del Concilio de Nicea, no había nada llamado “Biblia” en su forma actual. Había solo libros dispersos, evangelios y epístolas.

En este consejo, se acordó prácticamente la estructura de la Biblia actual. Por lo tanto se escogieron los libros, evangelios y epístolas considerados consistentes con la doctrina de la Trinidad adoptada por Constantino.

Lo que es más, los libros, evangelios y escritos considerados inconsistentes con esta doctrina fueron quemados y borrados siguiendo órdenes de Constantino.

En el 331 d. C., Constantino ordenó a Eusebio de Cesarea que preparara cincuenta biblias, mejor conocidas como las “Cincuenta Biblias de Constantino”. Fueron hechos para el uso del Obispo de Constantinopla ante el creciente número de iglesias en esa nueva ciudad.

Fechas del ayuno

Fue el papa Demetrio I de Alejandría, el XII papa de Alejandría y Patriarca de la Sede de San Marcos, quien estableció una base fija para los ayunos y los días santos cristianos. Estableció el ajuste de cuentas mediante el cual se determinaron las fechas del ayuno. Un erudito por derecho propio, Demetrius, participó en la controversia sobre el cálculo adecuado de la Pascua. Fue el primero en idear el cálculo para fijar las fechas para celebrar la Pascua cada año. Su cálculo fue aprobado por el Consejo Ecuménico de Nicea (325 d. C.). Hoy en día, muchas de las iglesias ortodoxas orientales continúan utilizando su cálculo.

Siete semanas de Cuaresma

La cuaresma de siete semanas previa a la Pascua se atribuye generalmente al pontificado del papa Telesphorus, el papa de la Iglesia Católica de 126 a 137.

Lenguaje litúrgico

Fue el papa Víctor I, el papa de la Iglesia Católica a fines del siglo segundo, quien provocó que la iglesia romana cambiara del griego al latín para la liturgia.

Sacramento del Matrimonio

Fue el papa Soter, el papa de la Iglesia Católica de 167 a 174, quien declaró que el matrimonio solo era válido como un sacramento bendecido por un sacerdote.

Matrimonio clerical

Desde la Ascensión de Jesús hasta el Concilio de Nicea, el clero no estaba obligado a permanecer célibe, aunque esto fuera recomendado por Pablo en sus epístolas en el Nuevo Testamento.

Es notable que antes del Concilio de Nicea, el papa Calixto I, obispo de Roma del 218 al 223, permitió que el bajo clero se casara y se volviera a casar.

Sin embargo, a raíz del Concilio de Nicea, al clero no se le permitió volver a casarse. Al clero ya casado se le ordenó mantener los matrimonios sin sexo. Los clérigos post-concilio no han podido casarse.

Día (Cristiano) de Pascua

El día (cristiano) de Pascua permaneció sujeto a una considerable controversia entre los cristianos e incluso entre los papas, los patriarcas y los mismos padres de la iglesia durante más de tres siglos desde la Ascensión de Jesús hasta el Concilio de Nicea en 325.

Hubo algunas iglesias que insistieron en celebrar esta fiesta el mismo día del día judío de Pascua (Pascua), el 14 de Nisan, que fue el día en que supuestamente Jesús fue crucificado de acuerdo con el credo cristiano contemporáneo, incluso si no coincidía con Domingo.

Otras iglesias, incluida la Iglesia Católica Romana durante el pontificado de sus sucesivos papas, insistieron en celebrar la Pascua en domingo.

La diferencia intercristiana llegó a veces tan lejos que el papa Anicetus, el papa de la Iglesia Católica de 157 a 168, permitió que cada iglesia conservara la fecha a la que estuviera acostumbrada.

La controversia declarada duró hasta que el Concilio de Nicea creado en 325 lo decidió a favor de la Iglesia Católica Romana. El Consejo resolvió: primero, que la Pascua se celebrara siempre un domingo; segundo, sería ese domingo siguiente al 14 de Nisan.

Día de Navidad

Fue el papa Julio, el papa de la Iglesia Católica de 337 a 352, quien fijó la fecha del 25 de diciembre para celebrar la Natividad.

Misa de medianoche de Navidad

La tradición de las Misas de medianoche de Navidad se suele atribuir al pontificado del papa Telesforo, el papa de la Iglesia católica de 126 a 137.

Agua Bendita

La introducción de las costumbres de usar agua bendita mezclada con sal para la purificación de influencias malvadas de hogares cristianos, así como la de mezclar agua con el vino sacramental, se atribuyen al papa Alejandro I, el papa de la Iglesia Católica del 107 al 115.

Última cena en la liturgia de la misa

Según el Liber Pontificalis, fue Alejandro I, papa de la Iglesia Católica del 107 al 115, quien insertó la narración de la Última Cena (el Qui pridie) en la liturgia de la Misa.

Recitación del Sanctus con la gente

Fue el papa Sixto I, papa de la Iglesia Católica de 115 a 124, quien aprobó una ordenanza que después del Prefacio en la Misa el sacerdote recitará el Sanctus con el pueblo.

Canto de Gloria

El canto de Gloria generalmente se atribuye al pontificado del papa Telesphorus, papa de la Iglesia Católica del 126 al 137.

Mantenerse los sacerdotes en pie e inclinando la cabeza mientras leen de los Evangelios

Fue el papa Anastasio I, papa de la Iglesia Católica de 399 a 401, quien instruyó a los sacerdotes a estar levantados e inclinar la cabeza mientras leían los evangelios.

Referencias

La Santa Biblia

Liber Pontificalis

st-takla.org

Lea también:

El papel de los emperadores romanos en el establecimiento del cristianismo contemporáneo

[sketchiedetails]

This is gonna be part of a series of posts about my thoughts on Devil May Cry 4′s story. I already talked about Dante and Nero, so I’ll cover the rest of the cast.

The supporting characters aren't as fleshed out as Dante and Nero, so I'll just go through the list of them based on their importance to the plot.

Credo is Kyrie's brother and the captain of the Holy Order Knights. There seems to be some tension between him and Nero, but it's never elaborated.

Credo is devoted wholeheartedly to Sanctus' cause, and this places him in opposition with Nero. Once Credo learns that Sanctus ordered Agnus to kidnap his sister Kyrie, he turns over and tries to help Nero escape from the Savior's clutches. Unfortunately, Sanctus killed him and his dying wish to Dante and Trish was for them to save Kyrie and Nero.

I think Credo could have been a decent rival, but unfortunately there's not enough screentime for his character to fully develop. He needed a scene of either confronting Kyrie about Nero or a scene where he's shown facing an internal conflict between following orders and betraying his childhood friend. His redemption and death are well earned, however, and he comes off as something of a foil to Vergil in that he started off as a character with a singleminded determination much like Vergil, but the key difference is that he was willing to change his view once he realized the error of his ways. Vergil was too proud to do that, and that was his downfall; Credo died a noble death trying to save the ones he cared for (something interesting about Credo is that Dan Southworth - the voice and mocap actor for Vergil for DMC3 - did the mocap for Credo).

(This dude has the best face in the entire series)

Agnus is a scientist for the Order who is helping Sanctus with his goal of attaining godhood. Sanctus is the key to explaining why all the demons are running amok in Fortuna. Under Sanctus' orders, he had been constructing hellgates to summon demons so that he could perfrom experiments such as enchanting suits of armor to operate without a body, or make Sanctus immortal. It's implied that he's the one responsible for turning most of the Order into demon hybrids. In order to power the hellgates, Agnus had to use Devil Arms as a power source - this is the justification for how Dante keeps getting new Devil Arms after beating each demon boss.

The best thing about Agnus is that he comes off more condescending towards Nero and Credo but seems to have some level of respect for Dante, and his speech impediment is nonexistent for the first part of their encounter. It seems like he's prone to fits of anger and that gets in the way of talking for him.

I like how the Order maintains an overall motif of white in their clothing and in the colors for their demonic angelic forms. They're capitalizing off of the Western tendency to associate the color white with purity when their designs are garish and assymetric, and there's an implication that they resorted to using any kind of animal as a reference for their angelic forms since Credo looks like a harpy while Agnus has more insectoid features.

Sanctus doesn't really have much going on for him. He comes off as a benevolent, gentle old man but quickly reveals himself to be a psycho with a Messiah complex. He wants to use demonic power to control a giant statue that will kill demons that come from the hellgate he constructed so that he could harvest their demonic power and keep the propaganda train rolling.

It's literally the same plot as The Incredibles.

Kyrie is an interesting case because she's the driving force for most of the plot, but she's barely a character.

She mostly serves as a damsel to dangle in front of Nero to keep him moving the plot along, and that's kind of disappointing honestly considering this is a series that features Lady and Trish (and Lucia, but I haven't gotten to her so v0v). I don't think she needs to be a badass action girl with guns akimbo, but there could have been moments where she was able to make an impact in the plot.

However, she does have one of the better lines in the game when it comes to Nero.

Also, she’s part of the reason why I like DMC4′s ending credits compared to 3.

It’s similar to DMC3′s but now the camera is focused on Kyrie and Nero has to defend her from the horde of demonic puppets. There’s a timer counting down how long the player needs to hold off the demons, and it can cut short if one gets to close to Kyrie. It ends the segment prematurely, and I’m not sure if it prevents you from getting the final shot with Nero and Kyrie standing among the ruins of Fortuna, hand in hand.

The least interesting group in the game are the demons. There's no real reason why they're in the setting other than because they came out of the hellgate. It's really by pure coincidence that they happen to run into any of the characters in the story. Something that could have worked would be if each demon guarding the gate was actually an Order Knight that had undergone the demonic procedure. It could have been the way to introduce a proper boss squad that would have been really memorable, but they do have an notable part in the overall plot in that they have no association with the Order whatsoever, and are being used as a means to scare the public into submission to the local hegemony.

I think the thing that holds DMC4′s story back is that there’s a lot more characters involved in the plot compared to DMC3, which technically only had 4 characters make up the main cast. More characters allows the story to weave a more intricate plot, but at the cost of having enough time to fully flesh out all of the characters equally. It’s not a bad story by any means, it just lacks the focus DMC3 had with its small cast and singular locale.