Little of those written rules, however, was retained in the later penitentials. The earliest important penitentials were those by the Irish abbots Cummean (who based his work on a sixth-century Celtic monastic text known as the "Paenitentiale Ambrosianum"), Columbanus and Archbishop of Canterbury, Theodore of Tarsus. Most later penitentials are based on theirs, rather than on earlier Roman texts. The number of Irish penitentials and their importance is cited as evidence of the particular strictness of the Irish spirituality of the seventh century. Walter J. Woods holds that "[o]ver time the penitential books helped suppress homicide, personal violence, theft, and other offenses that damaged the community and made the offender a target for revenge." According to Thomas Pollock Oakley, the penitential guides first developed in Wales, probably at St.
Origin
Penitential
Penitential | Origin
It was developed by the  Irish abbots Cummean ,Columbanus and Archbishop of Canterbury, Theodore of Tarsus. Irish abbots Cummean, Columbanus and Archbishop of Canterbury etc According to Thomas Pollock Oakley, the penitential guides first developed in Wales, probably at St. David's The earliest important penitentials were those by the Irish abbots Cummean.
what is nach dir, herr, verlanget mich, bwv 150?
user
An extant cantata or a piece of music .
assistant
where is this music from?
user
The original piece is lost and this survives in a copy made by C F Penzel.
assistant
who composed this score?
user
Bach.
assistant
what is the history behind this score?
user
On the basis of the text, it has been suggested that the work was written for a penitential service.
assistant
what is the origin of this above mentioned service?
user
The Penitentials are collections intended for the guidance of confessors in estimating the penances to be imposed for various sins, according to the discipline in force in the Anglo-Saxon countries. They are all of Anglo-Saxon or Irish origin, and although certain of them were compiled on the continent, under the influence of the island missionaries, it seems quite certain that a Roman Penitential has never existed. They are, however, of difficult and uncertain ascription, since the collections have been largely amended and remodelled as practice required. Among the most important we may mention those bearing the names of Vinnianus (d.
Jus antiquum | Penitentials
The penitential follows the scheme of vices set up by John Cassian (c. 360 – 435) in his "De institutis coenobiorum". A preface includes a homily on the "twelve remissions of sins", based on early patristic sources.
Penitential of Cummean | Content
A penitential is a book or set of church rules concerning the Christian sacrament of penance, a "new manner of reconciliation with God" that was first developed by Celtic monks in Ireland in the sixth century AD. It consisted of a list of sins and the appropriate penances prescribed for them, and served as a type of manual for confessors.
Penitential | Introduction
These short lists of sins made up a genre of texts known as the 'penitential handbook' (or just 'penitential'). Penitentials were first employed as disciplinary tools by Irish and British monks living in cloistered, highly ascetical religious communities, but soon spread to England and France, where they developed into varied and grander forms. By the eighth century, penitentials had adopted a focus on lay sins; they were now commonly used by secular priests in their task of hearing confession from lay parishioners, and by bishops as tools for moral instruction. Their popularity was rivalled only by their variety; as the number of manuals in circulation grew, so did the discrepancies between them.
Collectio canonum quadripartita | Background
(See COLLECTION OF ANCIENT Canons.)
Penitential canons | Penitential canons of the Anglo-Saxon and Irish Churches
The Tridentine Roman Missal (editions from 1570 to 1962), which does not use the term "Penitential Act", has an equivalent, within the Prayers at the Foot of the Altar, in the "Confiteor": The priest says: Deacon and subdeacon at a solemn Mass, server(s) at a low Mass, or server(s) and people at a dialogue Mass respond:
Penitential Act | Tridentine Mass
The causes of this discrepancy are not currently understood, the original manuscript being still lost.
4′33″ | Versions of the score
589), Gildas (d. 583), Theodore of Canterbury (d. 690), the Venerable Bede (d. 735) and Egbert of York (732–767); the Penitentials which are ascribed to St Columbanus, the founder of Luxeuil and Bobbio (d. 615), and Cumean (Cumine Ailbha, abbot of Iona); in the Prankish kingdom the most interesting work is the Penitential of Halitgar, bishop of Cambrai from 817 to 831. As penances had for a long time been lightened, and the books used by confessors began to consist more and more of instructions in the style of the later moral theology (and this is already the case of the books of Halitgar and Rhabanus Maurus), the canonical collections began to include a greater or smaller number of the penitential canons.
Jus antiquum | Penitentials
Those laid down by the councils passed to the West in different translations, but were misunderstood or not enforced.
Penitential canons | Penitential canons of the East
Below is an example, taken from the Lutheran Service Book, Divine Service Setting I
Penitential Act | Formula
The penanced ended with the rest of the faithful. These different periods amounted in all to three, five, ten, twelve or fifteen years, according to the gravity of the sins. This discipline, which was rapidly mitigated, ceased to be observed by the close of the fourth century. The relative penitential canons are contained in the canonical letter of St. Gregory Thaumaturgus (about 263; P. G., X, 1019), the Councils of Ancyra (314), Neocaesarea (314-20), Nicaea (325), and the three canonical letters of St. Basil to Amphilochius (Ep. 188, 199, 217 in P. G., XXXII, 663, 719, 794). They passed into the Greek Collections and the Penitential Books.
Penitential canons | Penitential canons of the East
The penitential canons may be divided into three classes corresponding to the penitential discipline of the East, of Rome, or of the Anglo-Saxon Churches.
Penitential canons | Introduction
A penitential is a set of church rules concerning the Christian sacrament of penance; such sets were first developed by Celtic monks in Ireland in the sixth century AD. Unofficial handbooks compiled by monks were authorized by bishops, with the aim of enforcing uniform disciplinary standards within a given district. Notable early Irish penitentials were written by Finnian of Moville and his pupil Columbanus. The practice soon spread to the Anglo-Saxon church and reached the Continent in the eighth and ninth centuries. The "Excarpsus Cummeani" derives its name from the association with the so-called "Penitential of Cummean" (c. 650), a series of iudicia', or decisions, on matters of penance, attributed to an Irish abbot named Cummean or Cominianus".
Excarpsus Cummeani | Genesis and authorship
Around the year 700 there developed in either England or Germany a collection of penitential canons attributed to Theodore of Tarsus, Archbishop of Canterbury (died 690). This collection marked a major advance in the development of penitential-canonical collections, which had already been in development for centuries especially within the Irish church. Collections like the one attributed to Theodore were known as "penitentials", and were often rather short and simple, most likely because they were meant as handbooks for the use of confessors. There were many such books circulating in Europe from the seventh to the eleventh century, each penitential containing rules indicating exactly how much penance was required for which sins.
Legal history of the Catholic Church | "Jus antiquum"
David's, and spread by missions to Ireland. They were brought to Britain with the Hiberno-Scottish mission and were introduced to the Continent by Irish and Anglo-Saxon missionaries.
Penitential | Origin
The decree issues penance on the victors alone.
Ermenfrid Penitential | Introduction
The Penitential Psalms or Psalms of Confession, so named in Cassiodorus's commentary of the 6th century AD, are the Psalms 6, 31, 37, 50, 101, 129, and 142 (6, 32, 38, 51, 102, 130, and 143 in the Hebrew numbering). These psalms are expressive of sorrow for sin. Four were known as 'penitential psalms' by St. Augustine of Hippo in the early 5th century. The fiftieth Psalm ("Miserere") was recited at the close of daily morning service in the primitive Church. Translations of the penitential psalms were undertaken by some of the greatest poets in Renaissance England, including Sir Thomas Wyatt, Henry Howard, Earl of Surrey, and Sir Philip Sidney.
Penitential Psalms | Introduction
The number of these confraternities increased to such a degree, Rome alone counting over a hundred, that the way of classifying them was according to the colour of the garb worn for processions and devotional exercises. This consisted of a heavy robe confined with a girdle, with a pointed hood concealing the face, the openings for the eyes permitting the wearer to see without being recognized.
Confraternity of penitents | History
The Council of Paris of 829 condemned the penitentials and ordered all of them to be burnt. In practice, a penitential remained one of the few books that a country priest might have possessed. Some argue that the last penitential was composed by Alain de Lille, in 1180. The objections of the Council of Paris concerned penitentials of uncertain authorship or origin. Penitentials continued to be written, edited, adapted, and, in England, translated into the vernacular. They served an important role in the education of priests as well as in the disciplinary and devotional practices of the laity. Penitentials did not go out of existence in the late twelfth century.
Penitential | Opposition
Robert of Flamborough wrote his "Liber Poenitentialis" in 1208.
Penitential | Opposition
Settings of individual penitential psalms have been written by many composers. Well-known settings of the "Miserere" (Psalm 50/51) include those by Gregorio Allegri and Josquin des Prez; yet another is by Bach. Settings of the "De profundis" (Psalm 129/130) include two in the Renaissance by Josquin.
Penitential Psalms | Musical settings
Penitential canons are religious rules laid down by councils or bishops concerning the penances to be done for various sins. These canons, collected, adapted to later practice, and completed by suitable directions formed the nucleus of the "Penitential Book"s (see Moral Theology). They all belong to the ancient penitential discipline and retain only a historic interest; if the writers of the classical period continue to cite them, it is only as examples, and to excite sinners to repentance by reminding them of earlier severity. In a certain sense they survive, for the granting of indulgences is based on the periods of penance, years, day and quarantines.
Penitential canons | Introduction
These acts were regulated by the bishops. After the period of penance was completed, the repentant sinner was readmitted into the assembly. The Edict of Milan in A.D. 313 declared that the bishop could relegate the sinner into an Order of Penitents called "Conversi." This was done in a liturgical ceremony with the laying on of hands and the application of ashes. They worshiped separately from the rest of the congregation, but were not allowed to participate in the Eucharistic celebration. Other restrictions imposed by the bishop were called interdicts, and by the 4th century, some of these interdicts came to be imposed not only for the penitential period, but for life.
Penitent order | The Penitential Movement
The Penitential Act (capitalized in the Roman Missal) is a form of general confession of sinfulness that normally takes place at the beginning of the celebration of Mass in the Roman Rite. The term used in the original text of the Roman Missal (in Latin) is Actus Paenitentialis. In the English translation of the Roman Missal used from 1973 to 2011, it was called the Penitential Rite. A "Brief Order of Confession" sometimes takes place at the start of Lutheran Divine Service, and may include an Absolution, giving it sacramental weight.
Penitential Act | Introduction
This score was his only half century and came against Cambridge University.
Ivor Hale | Introduction
The Penitential of Cummean is an Irish penitential, presumably composed c. 650 by an Irish monk named Cummean (or Cominianus). It served as a type of handbook for confessors.
Penitential of Cummean | Introduction
Before the suppression of the minor orders and tonsure in 1972 by Paul VI, the seven penitential psalms were assigned to new clerics after having been tonsured.
Penitential Psalms | Introduction
Little of those written rules, however, was retained in the later penitentials. The earliest important penitentials were those by the Irish abbots Cummean (who based his work on a sixth-century Celtic monastic text known as the "Paenitentiale Ambrosianum"), Columbanus and Archbishop of Canterbury, Theodore of Tarsus. Most later penitentials are based on theirs, rather than on earlier Roman texts. The number of Irish penitentials and their importance is cited as evidence of the particular strictness of the Irish spirituality of the seventh century. Walter J. Woods holds that "[o]ver time the penitential books helped suppress homicide, personal violence, theft, and other offenses that damaged the community and made the offender a target for revenge." According to Thomas Pollock Oakley, the penitential guides first developed in Wales, probably at St.
Penitential | Origin
There are similar cases, in which we find it stated that the penitent was admitted to receive communion among the laity.
Lay communion | Origins
In the East, the prominent feature of penance was not the practice of mortification and pious works, though this was supposed; the penance imposed on sinners was a longer or shorter period of exclusion from communion and the Mass, to which they were gradually admitted to the different penitential "stations" or classes, three in number; for the "weepers" ("proschlaiontes, flentes"), mentioned occasionally, were not yet admitted to penance; they were great sinners who had to await their admission outside of the church. Once admitted, the penitents became "hearers" ("achrooeenoi, audientes"), and assisted at the Divine service until after the lessons and the homily; then, the "prostrated" ("hypopiptontes, prostrati"), because the bishop before excluding them, prayed over them while imposing his hands on them as they lay prostrate; finally the "systantes, consistentes", who assisted at the whole service, but did not receive communion.
Penitential canons | Penitential canons of the East
All voices are given equal weight, and the score achieves a motivic unity which was a significant change from previous practice.
Paraphrase mass | History
Compare the Magdalen Asylums.
Penitent order | Orders of penitents
The theme of the work is based on the Psalms and the "First Book of Samuel" of the Old Testament. The text was previously attributed to Lorenzo Da Ponte, following a report by Vincent Novello. However, it is now known that the text is taken from Italian translations of the Psalms by Saverio Mattei (1742–95).
Davide penitente | Authorship of text
The Roman penitential discipline did not recognize the various "stations", or classes; with this exception it was like the discipline of the East. The penitential exercises were not settled in detail and the punishment properly so called consisted in exclusion from communion for a longer or shorter period. But the practice of admitting to penance only once, which kept the penitents in a fixed order, was maintained longer. The most ancient Western canons relate to the admission or exclusion from public penance; for instance, the decision of Callixtus (Tertullian, "De pudic.", i) to admit adulterers, that of St. Cyril and the Council of Carthage (251) (Ep.
Penitential canons | Penitential canons of Rome
Complete score in manuscript available for viewing and downloading at http://www.internetculturale.it (Subcategory: Digital Contents)
Demofoonte (Mysliveček, 1775) | External links
More striking in the penitential canons of Anglo-Saxon and Irish origin is the particular fixation of the penitential acts imposed on the sinner to insure reparation, and their duration in days, quarantines ("carina"), and years; these consisted in more or less rigorous fasts, prostrations, deprivation of things otherwise allowable; also alms, prayers, pilgrimages etc. These canons, unknown to us in their original sources, are contained in the numerous so-called Penitential Books ("Libri Poenitentiales") or collections made in, and in vogue from, the seventh century. These canons and the penitential discipline they represent are introduced to the Continent by Anglo-Saxon missionaries, and were at first received unfavourably (Council of Châlons, 814; Paris, 829); finally, however, they were adopted and gradually mitigated.
Penitential canons | Penitential canons of the Anglo-Saxon and Irish Churches
A reduction written by the composer pared down the orchestral performance forces to organ, one harp, and percussion.
Chichester Psalms | Scoring
The principal tenets of The17 are stated on Penkiln Burn Notices created by Bill Drummond. These notices, along with approximately 400 composed scores for The17, are freely available for viewing, downloading and printing on a website dedicated to The17. The website also contains news about upcoming performances and images of Drummond's graffiti carried out in the name of the choir.:
The17 | Introduction
The Paenitentiale Bedae (also known as the "Paenitentiale Pseudo-Bedae", or more commonly as either Bede's penitential or the Bedan penitential) is an early medieval penitential handbook composed around 730, possibly by the Anglo-Saxon monk Bede.
Paenitentiale Bedae | Introduction
Most of the participants had little or no formal theological training and many developed heretical beliefs.
Penitent order | 12th and 13th centuries
Bartholomäus Ringwaldt wrote the lyrics of the penitential hymn in 1588, and possibly also created the melody. He wrote eight stanzas, beginning "" (Lord Jesus Christ, you highest good, you fountain of all mercy).
Herr Jesu Christ, du höchstes Gut | Penitential hymn
This gave rise during the early ninth century to a backlash against the diversity of penitentials and the diversity of disciplinary and theological 'errors' which they propagated. A number of Frankish councils demanded that the laws of the older penitentials be brought into line with the accepted canonical norms of the church, as reflected in the more conservative "collectiones canonum" (canon law collections) being compiled at the time. Partly as a result of such efforts towards standardization, the older penitentials eventually fell out of use and were replaced by the large collections of penitential and canon law which dominated in France and Italy in the tenth and eleventh centuries.
Collectio canonum quadripartita | Background
The Penitential of Cummean counseled a priest to take into consideration in imposing a penance, the penitent's strengths and weaknesses. Those who could not fast were obliged instead to recite daily a certain number of psalms, to give alms, or perform some other penitential exercise as determined by the confessor. Some penances could be commuted through payments or substitutions. While the sanctions in early penitentials, such as that of Gildas, were primarily act of mortification or in some cases excommunication, the inclusion of fines in later compilations derive from secular law, and indicate a church becoming assimilated into the larger society.
Penitential | Commutation
Several Protestants replied with a defense of the Masoretic text's authority and argued that the Samaritan text is a late and unreliable derivation from the Masoretic. The 18th-century Protestant Hebrew scholar Benjamin Kennicott's analysis of the Samaritan Pentateuch stands as a notable exception to the general trend of early Protestant research on the text. He questioned the underlying assumption that the Masoretic text must be more authentic simply because it has been more widely accepted as the authoritative Hebrew version of the Pentateuch:
Samaritan Pentateuch | Evaluations of its relevance for textual criticism
These manuals proved to be such a concise and effective method for conceptualizing and standardizing notions of sin and repentance that they spread from Ireland to the Continent in a wide variety of collections that became enshrined in official collections of church law by the twelfth century. The penitentials are of great value for studying early medieval notions of violence, its seriousness and its consequences in a variety of actions, circumstances, and classes of victims. The texts assign penances for killing in wartime, even under the lawful command of legitimate authority. Penances lasting from forty days to a year for killing someone in battle, were not uncommon.
Catholic peace traditions | Penitentials
The definitive version of the score was written from October to 13 November 1877 in Prague.
Stabat Mater (Dvořák) | History
One Hebrew script was only used for religious literature and by a small community of Samaritans up until the sixth century BC. Aramaic was the official script of the Babylonian, Assyrian and Persian empires and 'Square Hebrew' (the script now used in Israel) developed from Aramaic around the third century AD.
Penmanship | Origins
Its musical language – a fusion of the ancient (Greek, Byzantine, Middle Eastern, Hebrew, Indian), the liturgical (Perkins sets seven texts from the Vespers for Pentecost liturgy) and the idiosyncratic (a duel between the harp and the vibraphone in The Announcement of the Eternal Gospel) is both academic and passionate. The outstanding performance of this demanding work received a standing ovation.
Andrew Perkins | Recent works
Though the "Excarpsus" is not a Roman penitential, it references one—in fact, however, it cites not a Roman text but the "Paenitentiale Theodori" (attributed to Theodore of Canterbury), possibly to enhance its status: Theodore, a Greek and originally a Mediterranean monk before he became the eighth Archbishop of Canterbury, took twenty years of knowledge of Roman church and penitential traditions with him when he was sent to Canterbury. Rob Meens refers to the "Excarpsus" as a "tripartite penitential", since it "draw[s] upon three traditions: Irish, Anglo-Saxon, and Frankish".
Excarpsus Cummeani | Genesis and authorship
Those who fought at the Battle of Soissons were to conduct their penance during Lent for three successive years.
Ermenfrid Penitential | Similar Sources
All the "qərē" and "kətiv" are marked by the writer of the text with a final "nun" in the margin without any further direction as to what the reading should be.
Damascus Pentateuch | History
Its distance from the abbey - about - may have been to guard against the spread of infection. The present church was largely rebuilt in the mid-19th century, but retains two medieval windows and the base of a stone cross.
Penterry | History
The table is enclosed within a curtained arch. Some of the full page miniatures, such as that containing the miniature of Noah's Ark (folio 9r), contain a single scene. Other full page miniatures, such as that telling the story of Cain and Abel, contain many scenes which are placed in a register, with each scene having a different color background. The origin of this manuscript is uncertain. Although it has been described by some scholars as Spanish, it may have come from North Africa, Syria or Italy.
Ashburnham Pentateuch | Introduction
Scorers for the former pupil side were Scott (3), Stewart and Gray. For the school Cunningham scored the try and conversion.
Old Spierians | Formation and early history
The complementary acts of confession and penance, originally highly ritualized acts undertaken only once in a lifetime and in public fora, developed in the early Middle Ages into a disciplinary system known as private (or 'secret') penance, in which the faithful were encouraged to confess their sins regularly and in secret to a priest or confessor, who then enjoined an appropriate period of punishment. Through the Middle Ages the private penitential system became an increasingly elaborate and ritualized institution. In its earliest form, however―that is, as it was practiced from around the sixth to eighth centuries―this system was dependent upon the transmission of basic lists of sins (often sexual in nature, though also dietary, criminal and profane) and their corresponding punishments.
Collectio canonum quadripartita | Background
The origins of the 15, 30, and 40 scores are believed to be medieval French. The earliest reference is in a ballad by Charles D'Orleans in 1435 which refers to "quarante cinque" ("forty-five"), which gave rise to modern 40. In 1522, there is a sentence in Latin "we are winning 30, we are winning 45". The first recorded theories about the origin of 15 were published in 1555 and 1579. However, the origins of this convention remain obscure. It is sometimes believed that clock faces were used to keep score on court, with a quarter move of the minute hand to indicate a score of 15, 30, and 45.
Tennis scoring system | History
The complete score of Mysliveček's "Demofoonte" of 1775 is available for study online on the Italian website Internet Culturale in the form of a reproduction of a manuscript once in the possession of the Teatro San Carlo of Naples.
Demofoonte (Mysliveček, 1775) | Score
However, later scholars came to reject this idea, suggesting instead that the scores were later imports from either Wales or Scotland, but in light of the dearth of evidence one way or another, Markku Filppula, Juhani Klemola, and Heli Paulasto posit that it remains plausible that the counting systems are indeed of Cumbric origin.
Cumbric | Counting systems
Score of Act I in manuscript available for viewing and downloading at http://www.internetculturale.it
Demofoonte (Mysliveček, 1769) | External links
The examiner assigns a score to each component of 0 to 2 or 0 to 3. The highest possible score is 13 and the lowest possible score is 0.
Bishop score | Scoring
During the Carolingian period there evolved two different yet overlapping contexts in which the penitentials were used. The first of these was the pastoral context of confession between priest and parishioner. The second was an administrative and/or academic context, in which books of penitential law typically served bishops in their roles as administrators of local dioceses, adjudicators at judicial synods and students of moral philosophy and canon law. Naturally, the penitential required by a bishop was much different than that required by the confessor-priest, and it is largely within this episcopal context that the penitentials evolved from mere manuals into vast collections of penitential, disciplinary and administrative law.
Collectio canonum quadripartita | Background
The following table shows the sections with their incipit, the translation from the Book of Common Prayer, tempo marking, key and time signature, as provided in the vocal score.
Te Deum (Jenkins) | Scoring and structure
The collections began to look more like penitentials, even as penitentials everywhere were beginning to take on characteristics (size, systematization, papal and conciliar laws) of the more 'formal' "collectiones". Problems of textual stability and genre were further exacerbated by the fact that no one code or collection of canon law claimed status as the recognized standard. It was in this context of fluctuating generic and textual boundaries in France that the "Quadripartita" developed.
Collectio canonum quadripartita | Background
Philips' SSATB motet "Ascendit Deus" from "Cantiones Sacrae" (1612) appears in:
Peter Philips | Collections and scores
By the ninth century, chapters from penitential manuals had entered many of the influential canon law collections then being copied and compiled on the Continent. Since at least the fifth and sixth centuries, canon law collections could boast of being repositories of the ancient and authoritative conciliar and papal judgements of the Christian church. As such, these collections had at first stood in stark contrast to the early penitentials, whose lists of sins and corresponding penances was neither ancient nor authoritative. In time, however, the genres of "collectio" and penitential blended together. As canon law collections succumbed to revision and abandoned (or at least complicated) their claims to antique authority by including newer and less authoritative laws, it became more common for them to include penitential canons.
Collectio canonum quadripartita | Background
The manuscript once belonged to the collection of J. D. Carlyle († 1804), then to the Lambeth Palace (1255, No. 25). G. Bennet made a collation of Matthew and Mark it is held in the Lambeth Palace (1255, No. 25). In 1817 it returned to the Patriarch of Jerusalem. The manuscript was added to the list of New Testament manuscripts by Scrivener, who it examined and collated. Scrivener published its text in 1852. It is currently housed at the Library of Patriarch (49) in Jerusalem.
Minuscule 487 | History
It is generally accepted by scholars today that Theodore himself is not responsible for any of the penitential works ascribed to him. Rather, a certain associate of Theodore's named Eoda is generally regarded as the point of dissemination of certain judgements proffered by Theodore in an unofficial context and in response to questions put to him by students at his Canterbury school regarding proper ecclesiastical organization and discipline.
Paenitentiale Theodori | Background
Most of Boughton's original manuscript scores can be viewed at the British Library, Euston Road, London. Enquiries about the availability of scores for performance should be made to The Rutland Boughton Music Trust or in some cases via the appropriate publisher.
Rutland Boughton | Scores
Peter's. Two columns were placed below the pendentives on each of the four piers beneath the dome. Another column can now be observed up close in the St. Peter's Treasury Museum. Other columns from this set of twelve have been lost over the course of time.
Solomonic column | Etymology and origin
If that is his view, as seems, at least, highly probable, it is profoundly interesting as the opinion of a very distinguished lawyer and a fierce champion of Protestantism.
Priest–penitent privilege in England from the Reformation to the nineteenth century | Garnet's case
The authorship of Ambrose of Milan, for which Pimont contends, is not admitted by the Benedictine editors or by Luigi Biraghi. The hymn is found in a hymnary in Irish script (described by Clemens Blume in his "Cursus", etc.) of the eighth or early ninth century; but the classical prosody of its two stanzas ("solita" in the third line of the original text is the only exception) suggests a much earlier origin. In this hymnary it is assigned, together with the hymn "Christe qui splendor et dies" (also known as "Christe qui lux es et dies"), to Compline. An earlier arrangement (as shown by the Rule of Caesarius of Arles, c.
Te lucis ante terminum | Origin
The source is written in the imperative. It clearly lays out the requirements for every soldier who harmed or killed in battle and the penance owed to the sin committed. The three time periods into which the source is categorised creates the impression of, ‘circumstantial reliability.’ The ordinance reflects the stern discipline that William himself subjected to his forces and with the added, ‘zeal for disciplinary legislation,’ which was reflective of the Anglo-Saxon Church at this time.
Ermenfrid Penitential | Language and Style
The tracery of the east window suggests a date of 1420–50. The font stands on a pedestal dated 1662 but the bowl has decoration typical of the Norman period. During the 19th century the bowl was absent and was used for the salting of beef.
Pentrich | St Matthew's Church
Notated organ stops in the score:
Pari intervallo | Organ stops
According to Sassoon, the writer of the "Masora" (critical notes of the Masoretic annotations) was a follower of Ben Asher, yet the Bible text (orthography and vocalization) follows that of Ben Naphtali and his school. As to the age of the Codex, Sassoon has posited that “the manuscript is probably older than the British Museum MS., No. Oriental 4445, which is supposed to have been written about 820–850 CE., of Babylonian origin. The text is furnished with Tiberian vowel points, accents, and the "Rafeh" strokes, e.g. the horizontal line written above the non-accentuated letters of בג"ד כפ"ת, including the א in some cases, as on p.
Damascus Pentateuch | History
The penitential movement became popular among the laity after the Gregorian reform at the end of the 11th century. Introduced around A.D. 950, corporal penance or voluntary flagellation became more known. Also almsgiving as a penitential act became more common. There was also the rise of the Donati and the Oblates, who put themselves in the service of God by attaching themselves in service to a particular church or monastery. In all cases, the emphasis of the penance was to practice justice and mercy, to trust in God, to be of pure heart and intent, to have a zeal for Christ and the Scripture, and to be open to God's grace and inspiration.
Penitent order | 12th and 13th centuries
The 300-odd candidates below that level did not earn honours and were known as "poll men". The questions for the 1841 examination may be found within the Cambridge University Magazine (pages 191-208).
Mathematical Tripos | Origin
Based on his detailed analysis of the score, Guilherme Seixas concludes that stylistic considerations do not support a date of completion as early as the mid-1920s, either, and agrees with Peppercorn's hypothesis .
Chôros No. 12 | History
Complete score in manuscript available for viewing and downloading at http://www.internetculturale.it (Subcategory: Digital Contents)
Demetrio (1779) | External links
Margaret Davies donated the score to the library in 1962 along with autographed scores by Walford Davies.
O Spiritual Pilgrim | Introduction
The Mary figure presents a three-fold portrait: the tender virgin, the sorrowful mother, and the erotically writhing, then repentant, Magdalene.
El Penitente | Theme, structure and original cast
The duration was specified in days, quarantines, or years. Gildas lists the penance for an inebriated monk, "If any one because of drunkenness is unable to sing the Psalms, being stupefied and without speech, he is deprived of dinner." The penitentials advised the confessor to inquire into the sinner's state of mind and social condition. The priest was told to ask if the sinner before him was rich or poor; educated; ill; young or old; to ask if he or she had sinned voluntarily or involuntarily, and so forth. The spiritual and mental state of the sinner—as well as his or her social status was fundamental to the process.
Penitential | Praxis
The Paenitentiale Ecgberhti (also known as the "Paenitentiale Pseudo-Ecgberhti", or more commonly as either Ecgberht's penitential or the Ecgberhtine penitential) is an early medieval penitential handbook composed around 740, possibly by Archbishop Ecgberht of York. This work should not be confused with the vernacular works known as the "Old English Penitential" (formerly the "Paenitentiale Pseudo-Ecgberhti") and the "Scriftboc" (formerly the "Confessionale Pseudo-Ecgberhti").
Paenitentiale Ecgberhti | Introduction
The penitentials, written by Irish monks, were a series of manuals designed for priests who heard confessions that specified certain penances for certain categories of sins. These “penitentials” borrowed inspiration and specific regulations from the early church councils, monastic rules, and the letters of popes and bishops. Many of the regulations at first paralleled those aimed at insuring the special status of the clergy, including its nonviolence, but were gradually extended to the lay population. Penances ranged from fasting on bread and water for week, paying compensation to victims in money, goods or property, exile, pilgrimage, and excommunication. Readmission to Christian community was possible only after the completion of the prescribed penance.
Catholic peace traditions | Penitentials
The Confraternity of Saint Lazarus in Marseille was founded in 1550 and undertook as its charitable work the maintenance of a local leper hospital. Penitential confraternities developed in Italy and had spread to France by the end of the fifteenth century. Andrew E. Barnes describes Penitential Confraternities as initially "small exclusive associations for urban male elites, distinctive both for their robes and hoods which cloaked their members' identities and for the independence from parochial interference which their status as protégés of the mendicant orders permitted.
Confraternity of penitents | Background
Horst's score for flute, oboe and piano is 20 minutes in length. The bold, stark and stylized choreography tells of piety and ecstasy in ten brief vignettes. The ballet opens with the entrance of a troupe of strolling players. Donning simple costumes, they present a primitive panorama of flagellation, revelation, temptation, contrition, crucifixion and redemption. The trio ends the performance in a joyful "festival" dance. Through his motions, the Penitent embodies spiritual longing; he jumps, turns and whips himself in hopes of achieving union with God. The Christ figure moves stiffly, arms outstretched to strike cruciform poses and gestures of blessing or rebuke.
El Penitente | Theme, structure and original cast
The writer's score, also known as his or her Quality Points, is a numerical system used to establish the quality of the narrative.
Power of the Pen | Score
He may also be the Cummean of St. Brendan's foundation of Clonfert. One possible identification is with a bishop Cummean who retired to Bobbio Abbey (in modern-day Italy) between 711 and 744. The later "Excarpsus cummeani", or "Pseudo-Cummeani", is named such in reference to the penitential of Cummean.
Penitential of Cummean | Manuscripts
The complete score of "Artaserse" is available for study online on the Italian website Internet Culturale in the form of a reproduction of a manuscript once in the possession of the Teatro San Carlo of Naples.
Artaserse (Mysliveček) | Score
56) to admit the lapsi or apostates, although the Council of Elvira (about 300, Can. 1, 6, 8, etc.) still refused to admit very great sinners. Other canons of this council ordained penances of several years' duration. After Elvira and the Council of Arles in 314 the penitential canons were rather infrequent. They are more numerous in the councils and decretals of the popes after the close of the fourth century—Siricius, Innocent and later St. Leo. They reduce the duration of the penance very much, and are more merciful towards the lapsi or apostates. These texts, with the translations of the Eastern councils, passed into the Western canonical collections.
Penitential canons | Penitential canons of Rome
The authenticity of the source can be verified as it is in accordance with similar penitential orders. For example, by the ninth century, penitential books and decrees were fairly widespread across Northern Europe. The Ermenfrid Penitential is interesting in its rarity however, as few sources survive relating to atrocities committed in a single and specific battle. Following the Battle of Soissons (923) a decree was issued a year later, proscribing penance for those on both sides of the conflict. It therefore stands out as a comparatively rare example of impartiality, and mere presence at the battle warranted penitential activity. It has been suggested by Draper that the Ermenfrid Penitential lacks such impartiality as it was felt that the miseries of the defeated Saxons were great enough without the added imposition of penance.
Ermenfrid Penitential | Similar Sources
Note that reports of the presence of "Paenitentiale Umbrense" and/or "Canones Gregorii" excerpts in the tenth-century "Collectio 77 capitulorum" as found in Heiligenkreuz, Stiftsbibliothek, MS 217 and Munich, Bayerische Staatsbibliothek, Clm 3853 are in error. What such reports are actually referring to is the penitential known as the "Capitula iudiciorum" (previously known as the "Poenitentiale XXXV capitulorum"). The following table summarizes the manuscript distribution of the several versions of the "Paenitentiale Theodori" (not including small excerpts):
Paenitentiale Theodori | Excerpts
In the epistle dedicatory to the original libretto, Busenello explains the plot as follows:
Statira principessa di Persia | Synopsis
There is no inherent relationship between them.
Martin-Quinn score | History and method
Score is equal to "0" if the following are all present:
Glasgow-Blatchford score | Score
"" (Lord Jesus Christ, you highest good) is the beginning of two Lutheran hymns. One is a penitential hymn, written in 1588 by Bartholomäus Ringwaldt, who possibly also created the melody. The other is an anonymous communion hymn, probably based on the former, which appeared first in 1713. Johann Sebastian Bach's used the penitential hymn several times, including the chorale cantata , based on the hymn.
Herr Jesu Christ, du höchstes Gut | Introduction
Richard Hillert wrote a "Motet for the Day of Pentecost" for choir, vibraphone, and prepared electronic tape in 1969. Violeta Dinescu composed "Pfingstoratorium", an oratorio for Pentecost for five soloists, mixed chorus and small orchestra in 1993. Daniel Elder's 21st century piece, "Factus est Repente", for a cappella choir, was premiered in 2013.
Pentecost | Classical compositions
Before enumerating other and chief grounds of this probability it is well to remember that if the law of the secrecy of confession was already well established in the Church it would be very unlikely that we should find evidence of any direct notice of the decree as in the cases of the two others.
Priest–penitent privilege in England from the Reformation to the nineteenth century | Reach of canon law
In various ways these penitentials, mainly Insular in origin, came to affect the larger canon law collections in development on the continent. Iberia (i.e. Spain) possessed the "Capitula Martini", compiled about 572 by Martin, Bishop of Braga (in Portugal), and the immense and influential "Collectio Hispana" dating from about 633, attributed in the 9th century to St. Isidore of Seville. In the 9th century arose several apocryphal collections, viz. those of Benedictus Levita, of Pseudo-Isidore (also Isidorus Mercator, Peccator, Mercatus), and the "Capitula Angilramni". An examination of the controversies which these three collections give rise to will be found elsewhere (see False Decretals).
Legal history of the Catholic Church | "Jus antiquum"
No complete autograph score exists; fragments representing about three-quarters of the 1711 score are held by the Royal Music Library (a subdivision of the British Library in London) and the Fitzwilliam Museum in Cambridge. The oldest complete score, dating from about 1716, is an error-strewn manuscript that may be a copy from one or more of the performing scores from that period. The manuscript bears numerous notes and corrections in Handel's hand, and was possibly the basis for the substantial revisions which he effected in 1731. It was also used by the copyist John Christopher Smith to produce two performing scores for the 1720s Hamburg performances.
Rinaldo (opera) | Editions