Compline at Arundel Cathedral: Guildford Cathedral Choir (Barry Rose)

Another wonderful video from Archives of Sound; this time it's Compline for Ordinary Time, sung in English.  The full text of the service was included at the page as well, and I've copied it in below.



About the choir and the recording, from the YouTube page:

The Lay-clerks of Guildford Cathedral, directed by Barry Rose:
The Office of Compline, sung in English by the Lay Clerks of Guildford Cathedral on 25th July 1973, in the Cathedral Church of Our Lady and St Philip Howard, Arundel, West Sussex.
(Officiant: The Rev. Prebendary W. D. Kennedy-Bell. Musical director: Barry Rose. It was a busy day for the men of the choir; a couple of hours earlier, they had broadcast Vespers live on BBC Radio from the same cathedral, together with the boys of the choir.)

"Compline" is the final church service (or "office") of the day in the Christian tradition of canonical hours. Compline tends to be a contemplative Office that emphasizes spiritual peace. In many monasteries it is the custom to begin the "Great Silence" after Compline, during which the whole community, including guests, observes silence throughout the night until the morning service the next day. In the Anglican tradition, Compline was originally merged with Vespers to form Evening Prayer in the Book of Common Prayer.

Here's the full text for the service:

The Lord almighty grant us a quiet night and a perfect end.
Amen.

Brethren, be sober, be vigilant; because your adversary the devil,
as a roaring lion, walketh about, seeking whom he may devour:
whom resist, steadfast in the faith.

But thou, O Lord, have mercy upon us.
Thanks be to God.

O God, make speed to save us.
O Lord, make haste to help us.

Glory be to the Father, and to the Son,
and to the Holy Ghost;
as it was in the beginning, is now, and ever shall be,
world without end. Amen.

Praise ye the Lord.
The Lord's name be praised.

Have mercy upon me, O God,
and hearken unto my prayer.

Psalm 91:
1. Whoso dwelleth under the defence of the Most High : shall abide under the shadow of the Almighty.
2. I will say unto the Lord, Thou art my hope, and my stronghold : my God, in him will I trust.
3. For he shall deliver thee from the snare of the hunter : and from the noisome pestilence.
4. He shall defend thee under his wings, and thou shalt be safe under his feathers : his faithfulness and truth shall be thy shield and buckler.
5. Thou shalt not be afraid for any terror by night : nor for the arrow that flieth by day;
6. For the pestilence that walketh in darkness : nor for the sickness that destroyeth in the noonday.
7. A thousand shall fall beside thee, and ten thousand at thy right hand : but it shall not come nigh thee.
8. Yea, with thine eyes shalt thou behold : and see the reward of the ungodly.
9. For thou, Lord, art my hope : t hou hast set thine house of defence very high.
10. There shall no evil happen unto thee : neither shall any plague come nigh thy dwelling.
11. For he shall give his angels charge over thee : to keep thee in all thy ways.
12. They shall bear thee in their hands : that thou hurt not thy foot against a stone.
13. Thou shalt go upon the lion and adder : the young lion and the dragon shalt thou tread under thy feet.
14. Because he hath set his love upon me, therefore will I deliver him : I will set him up, because he hath known my name.
15. He shall call upon me, and I will hear him : yea, I am with him in trouble; I will deliver him, and bring him to honour.
16. With long life will I satisfy him : and shew him my salvation.
GLORIA

Have mercy upon me, O God,
and hearken unto my prayer.

Thou, O Lord, art in the midst of us, and we are called by thy name; leave us not, O Lord our God.
Thanks be to God.

Into thy hands, O Lord, I commend my spirit.
Into thy hands, O Lord, I commend my spirit.

For thou hast redeemed me, O Lord, thou God of truth.
I commend my spirit.

Glory be to the Father, and to the Son, and to the Holy Ghost.
Into thy hands, O Lord, I commend my spirit.

Hymn:
Before the ending of the day,
Creator of the world we pray,
That with thy wonted favour thou
Wouldst be our guard and keeper now.
From all ill dreams defend our eyes,
From nightly fears and fantasies;
Tread underfoot our ghostly foe,
That no pollution we may know.
O Father, that we ask be done,
Through Jesus Christ, thine only Son;
Who, with the Holy Ghost and thee,
Doth live and reign eternally. Amen.

Keep me as the apple of an eye.
Hide me under the shadow of thy wings.

Preserve us, O Lord, while waking,
and guard us while sleeping,
that awake we may watch with Christ,
and asleep we may rest in peace.

NUNC DIMITTIS

Preserve us, O Lord, while waking,
and guard us while sleeping,
that awake we may watch with Christ,
and asleep we may rest in peace.

CREED

Lord, have mercy upon us.
Christ, have mercy upon us.
Lord, have mercy upon us.

OUR FATHER

Blessed art thou, Lord God of our fathers:
to be praised and glorified above all for ever.

Let us bless the Father, the Son, and the Holy Ghost:
let us praise him and magnify him for ever.

Blessed art thou, O Lord, in the firmament of heaven:
to be praised and glorified above all for ever.

The almighty and most merciful Lord guard us and give us his blessing.
Amen.

CONFESSION

Wilt thou not turn again and quicken us;
that thy people may rejoice in thee?

O Lord, shew thy mercy upon us;
and grant us thy salvation.

Vouchsafe, O Lord, to keep us this night without sin;
O Lord, have mercy upon us, have mercy upon us.

O Lord, hear our prayer;
and let our cry come unto thee.

COLLECTS

We will lay us down in peace and take our rest.
For it is thou, Lord, only that makest us dwell in safety.

The Lord be with you
and with thy spirit.

Let us bless the Lord.
Thanks be to God.

The almighty and merciful Lord,
the Father, the Son and the Holy Ghost,
bless us and preserve us.

Amen.

Epiphany Matins: Tria sunt munera ("Three are the gifts")

Tria sunt munera ("Three are the gifts") is the 6th Responsory of Mattins of Epiphany in the Sarum Breviary; it is also sung as a Responsory at Vespers.   



This is the text in Latin, with an English translation, from Divinum Officium:

R. Tria sunt munera pretiosa, quae obtulerunt Magi Domino in die ista, et habent in se divina mysteria:
* In auro, ut ostendatur Regis potentia: in thure, Sacerdotem magnum considera: et in myrrha, Dominicam sepulturam.
V. Salutis nostrae auctorem Magi venerati sunt in cunjibulis, et de thesauris suis mysticas ei munerum species obtulerunt.
R. In auro, ut ostendatur Regis potentia: in thure, Sacerodtem magnum considera: et in myrrha, Dominicam sepulturam.

R. There are three precious gifts which the wise men offered unto the Lord on this day, and they speak a mystery of the things of God,
* Gold, to show His kingly power; frankincense, for our Great High Priest; and myrrh, against the Lord's burying.
V. The wise men worshipped the Captain of our Salvation, as He lay in the manger, and when they had opened their treasures, they presented unto Him mystic gifts.
R. Gold, to show His kingly power; frankincense, for our Great High Priest; and myrrh, against the Lord's burying. 

Here's the score, from the wonderful McMaster University Sarum Chant site:

As you can see from the Latin / English text above, I also found this Responsory used on Epiphany at Divinum Officium - but only in the early, "pre-Trident monastic" listing for Epiphany Mattins and not in any other version.  (It was not, seemingly, used at Vespers in the pre-Trident Breviary, either.)  The Responsory apparently disappeared after Trent, and it would be interesting to compare the various versions to see what happened at that point.  Perhaps some other emphasis became more important at the Feast of the Epiphany; I will see what I can find in that regard.

Here's a video of Juan Esquivel Barahona's (ca.1563 — after 1613) setting of a much shorter section of the text; it's only the first section of the first line, ending with the word "Domino."  The excellent singers are the Ensemble Corund.




I'm interested, too, in the idea of the three "mystic gifts" as symbols, an idea found explicitly stated in the Responsory:  "Gold, to show His kingly power; frankincense, for our Great High Priest; and myrrh, against the Lord's burying."  This, too, is obviously an old idea - one whose lineage I'd like to trace!  Will give a try, and will come back to edit this depending on what I find.

You find this idea expressed in the hymn "We Three Kings," of course, although less explicitly - and  I'd never really understood those words anyway.   Perhaps the song was too familiar - or perhaps nobody ever sang the "myrrh" verse!  Then a few years ago I heard Peter Warlock's Christmas carol, "Bethlehem Down," where it's much more explicit, and I was really struck by the thought.   Here's that one, sung by The Choir of Westminster Cathedral:



The text:

"When He is King we will give Him the King's gifts:
Myrrh for its sweetness, and gold for a crown,
Beautiful robes," said the young girl to Joseph,
Fair with her first-born on Bethlehem Down.

Bethlehem Down is full of the starlight,
Winds for the spices, and stars for the gold,
Mary for sleep, and for lullaby music,
Songs of a shepherd by Bethlehem fold.

When He is King, they will clothe Him in grave-sheets,
Myrrh for embalming, and wood for a crown,
He that lies now in the white arms of Mary,
Sleeping so lightly on Bethlehem Down.

Here He has peace and a short while for dreaming,
Close-huddled oxen to keep him from cold,
Mary for love, and for lullaby music,
Songs of a shepherd by Bethlehem Down.

Here's something pretty interesting that I've never seen before.  It's labeled "Adoration of the Magi. Panel from a Roman sarcophagus, 4th century CE. From the cemetery of St. Agnes in Rome."  (Photo credit: Jastrow.)

Reminds me quite a lot of this later work, labeled 'Basilica of Sant'Apollinare Nuovo in Ravenna, Italy: The Three Wise Men" (named Balthasar, Melchior, and Gaspar). Detail from: "Mary and Child, surrounded by angels", mosaic of a Ravennate italian-byzantine workshop, completed within 526 AD by the so-called "Master of Sant'Apollinare".'  (Photo credit:  Nina-no.)

Blessed Feast of the Epiphany.

A Lauds antiphon for the Vigil of the Epiphany: O Admirabile Commercium ("O Wondrous Exchange")

This is a recording of the single - in the Sarum breviary, anyway - Psalm antiphon at Lauds of the Vigil of Epiphany, which is today.  It's very beautiful, and sung here by the Schola Gregoriana Del Coro Paer:



The text, from CPDL, is this:

O admirabile commercium!
Creator generis humani,
animatum corpus sumens,
de Virgine nasci dignatus est:
et procedens homo sine semine,
largitus est nobis suam Deitatem.

O admirable exchange:
the creator of human-kind,
taking on a living body
was worthy to be born of a virgin,
and, coming forth as a human without seed,
has given us his deity in abundance.

Here's the chant score:

The Psalm sung on the recording is not the one for Lauds of the Vigil of Epiphany; it's instead the first Psalm at 2nd Vespers of the Circumcision: Psalm 110, Dixit Dominus.  That's because this antiphon is used on that day for that Psalm in the Roman Breviary.  In the Sarum, however, the Psalm prescribed to follow this antiphon is Psalm 93, Dominus Regnavit ("The Lord is King").

Many of the days of the Twelve Days of Christmas are also feasts in their own right:  December 26 is St. Stephen; December 27th is Holy Innocents; December 28th is St. John Evangelist, and so on.   As a result, there are numerous Octave days within the Twelve Days as well - and sometimes the Octave Days are feasts in their own right, too!  For example. Circumcision (also called Holy Name) is the Octave of Christmas - a big day.  (Octave days are the days eight days after a major feast, and bring that feast's eight-day "season" or celebration to a close.)

So there are numerous overlaps and recapitulations going on in the Breviary; chants are often repeated on the octave days of their feasts, and there are many intertwining themes happening in this period.   The Vigil of Epiphany seems to be celebrated as kind of a mini-octave of Circumcision in the Sarum Breviary.  For instance, the first three Matins Responsories on Circumcision are repeated at the Vigil of Epiphany, but at the tail end of Matins (in, more or less, the last three spots). 

And this antiphon, and its Psalm, are sung exactly in the same way at Lauds of Circumcision.


This is very interesting to me, and at some point I'll have to go through the Breviary to see exactly where the duplications occur - there are many! - and see what patterns may exist.

Meantime, here is Thomas Stolzer's (c.1480–1526) gorgeous setting of the chant text; I'd never heard it before today.   It's sung expertly and beautifully by the choir of Christ Church, New Haven CT.




Epiphany tomorrow!  Here's Full Homely Divinity's Epiphany page, which you really should not miss:  20 + C + M + B + 16.

Chistmas Day Matins: Sancta et immaculata virginitas ("Holy and spotless Virgin")

Sancta et immaculata virginitas is the sixth responsory of Christmas Matins, but as CPDL notes, it is "frequently used for Marian feasts as well."  It's sung here by Ensemble Officium:



Here's the text in Latin and English, from Divinum Officium:

R. Sancta et immaculata virginitas, quibus te laudibus efferam nescio: * Quia quem coeli capere non poterant, tuo gremio contulisti. V. Benedicta tu in mulieribus, et benedictus fructus ventris tui. R. Quia quem coeli capere non poterant, tuo gremio contulisti. V. Glória Patri, et Fílio, * et Spirítui Sancto. R. Quia quem coeli capere non poterant, tuo gremio contulisti.

R. O Mary, how holy and how spotless is thy virginity! I am too dull to praise thee! * For thou hast borne in thy breast Him Whom the heavens cannot contain. V. Blessed art thou among women, and blessed is the fruit of thy womb. R. For thou hast borne in thy breast Him Whom the heavens cannot contain. V. Glory be to the Father, and to the Son, * and to the Holy Ghost. R. For thou hast borne in thy breast Him Whom the heavens cannot contain.

See it here, too, in the Bute translation-Winter edition of the Roman Breviary (1908).

And sure enough, you find the same text as the Responsory after the first reading of "Matins of the Virgin," at medirvalist.net's Hypertext Book of Hours.

Here's the chant score, from the Liber Usualis 1961:

This Responsory contains one of those rare extra-Biblical citations; I'm trying to find the origin of the notion that "The highest heavens cannot contain God whom you carried in your womb"; that is an old idea.  But I haven't been able to pin down the coiner of that phrase so far; will return to edit this when I do.  It's a quite beautiful thought, and one of the reasons I wanted to post on this chant today.

[EDIT:  This cite may belong to Augustine, who said in Sermon 184, on the Nativity:  “He who sustains the world lay in a manger, a wordless Child, yet the Word of God. Him whom the heavens do not contain the bosom of one woman bore.  She ruled our King; she carried Him in whom we exist; she fed our Bread.” And in fact, it's not totally extra-biblical anyway;  Auggie was clearly riffing on 1 Kings 8:27 (or its clone, 2 Chronicles 6:18):  "But will God indeed dwell on the earth? Behold, heaven and the highest heaven cannot contain you...." ]

Several other composers have set this text; here's Gabrieli's:




A blessed Christmas to all.

December 16: O Sapientia ("O Wisdom")

O Sapientia is the Antiphon upon Magnificat on December 16 (in the English Church; it's December 17 elsewhere), and the first of the eight Great "O" Antiphons sung during the week before Christmas. These antiphons are sung before and after the Magnificat at Evensong.

The antiphon is sung here in English by the Salisbury Cathedral Choir; a reading from Isaiah 9 follows:



The text for this antiphon comes from Sirach 24:

O Wisdom, which camest out of the mouth of the most High, and reachest from one end to another, mightily and sweetly ordering all things: Come and teach us the way of prudence.

Here's a version in Latin, sung I believe by the Blackfriars:



December 16 is explicitly designated "O Sapientia" in the Church Calendar of the 1662 Book of Common Prayer. The texts for the Great "O"s come mostly from the Prophets and from the Wisdom literature, and become mystical  proclamations, made daily during those eight days, of the coming of Christ.  The antiphons themselves are over a thousand years old.

This is an "O Antiphon" page from the Poissy Antiphonal (1335-45); it's got "O Sapientia," "O Adonai," and "O Radix Jesse" - the first three "O"s:

Sing the Magnificat, too, if you wish; here's the Latin version:




The text of the Magnificat comes from Luke 1;  here are the words to the original Latin and the modern English (US BCP 1979) versions of this beautiful canticle, so that you can sing along if you wish.

Magnificat: anima mea Dominum.
Et exultavit spiritus meus: in Deo salutari meo.
Quia respexit humilitatem ancillae suae:
ecce enim ex hoc beatam me dicent omnes generationes.
Quia fecit mihi magna, qui potens est:
et sanctum nomen eius.
Et misericordia eius, a progenie et progenies:
timentibus eum.
Fecit potentiam in brachio suo:
dispersit superbos mente cordis sui.
Deposuit potentes de sede:
et exaltavit humiles.
Esurientes implevit bonis:
et divites dimisit inanes.
Suscepit Israel puerum suum:
recordatus misericordiae suae.
Sicut locutus est ad patres nostros:
Abraham, et semini eius in saecula.

Gloria Patri, et Filio, et Spiritui Sancto,
Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.

My soul proclaims the greatness of the Lord,
my spirit rejoices in God my Savior; *
for he has looked with favor on his lowly servant.
From this day all generations will call me blessed: *
the Almighty has done great things for me,
and holy is his Name.
He has mercy on those who fear him *
in every generation.
He has shown the strength of his arm, *
he has scattered the proud in their conceit.
He has cast down the mighty from their thrones, *
and has lifted up the lowly.
He has filled the hungry with good things, *
and the rich he has sent away empty.
He has come to the help of his servant Israel, *
for he has remembered his promise of mercy,
The promise he made to our fathers, *
to Abraham and his children for ever.

Glory to the Father, and to the Son, and to the Holy Spirit: *
as it was in the beginning, is now, and will be for ever. Amen.

This article, written in around 1914 by A.C.A. Hall, the Episcopal Bishop of Vermont, contains quite a bit more about the Great "O"s.

Here are links on Chantblog to posts on all the Great Os.  If you'd like to pray the whole office of Vespers, you can do it at St. Bede's Breviary; choose "Amplified Prayer Book" under "Style" to get the "O's".

• O Sapientia (December 16)
• O Adonai (December 17)
• O Radix Jesse (December 18)
• O Clavis David (December 19)
• O Oriens (December 20)
• O Rex Gentium (December 21)
• O Emmanuel (December 22)
• O Virgo Virginum (December 23)

Here, in addition, is a good longish article about these antiphons, and some other related ones - and this article contains a bit more historical information about the Great "O"s. 

A blessed Sapientia-tide.

A Lauds antiphon for Advent: Ecce Dominus veniet ("Behold the Lord comes")

Ecce Dominus veniet ("Behold the Lord comes") is a Psalm antiphon at Lauds on the First Sunday of Advent.



 These are the words, from CPDL:

Ecce dominus veniet et omnes sancti ejus cum eo
et erit in die illa lux magna alleluia.

Behold, the Lord comes and all his saints with him
and on that day there will be great light, alleluia.

(The Psalm verses sung here come from Psalm 148:

1  Alleluja. Laudate Dominum de caelis; laudate eum in excelsis.
2  Laudate eum, omnes angeli ejus; laudate eum, omnes virtutes ejus.)

So here's a clear example of a text referring to the Second Coming, as was (and still is) the theme in late Pentecost (or Trinity) and early Advent.   The footnote at the Roman Breviary (1879) says that the text comes from Zechariah 14:5-6 - and that's this:

5 And you shall flee to the valley of my mountains, for the valley of the mountains shall reach to Azal. And you shall flee as you fled from the earthquake in the days of Uzziah king of Judah. Then the Lord my God will come, and all the holy ones with him.

6 On that day there shall be no light, cold, or frost.

Intriguing to see that the text of the antiphon reverses the second verse of the citation!  I love it when that happens.  Although I should point out, too, that a footnote at verse six notes that "Compare Septuagint, Syriac, Vulgate, Targum; the meaning of the Hebrew is uncertain."  And that verse 7 goes on to say:

And there shall be a unique^[b] day, which is known to the Lord, neither day nor night, but at evening time there shall be light.

So perhaps it doesn't actually count as a "reversal."  It's an odd text in any case.

It's interesting to look at the other 4 Psalm antiphons for this day, too.  Here are all 5, which show up various arrangements of order in the manuscripts below:

1.  In illa die * stillabunt montes dulcedinem, et colles fluent lac et mel, alleluia.

2.  Iucundare * filia Sion, et exsulta satis filia Ierusalem, alleluia.

3.  Ecce Dominus veniet, * et omnes Sancti eius cum eo et erit in die illa lux magna, alleluia.

4.  Omnes sitientes * venite ad aquas quaerite Dominum, dum inveniri potest, alleluia.

5.  Ecce veniet * Propheta magnus, et ipse renovabit Ierusalem, alleluia.

1.  In that day * the mountains shall drop down sweet wine, and the hills shall flow with milk and honey. Alleluia.

2. Sing, O daughter of Zion, * and rejoice with all the heart, O daughter of Jerusalem. Alleluia.

3.  Behold, the LORD shall come, * and all His saints with Him ; and it shall come to pass in that day that the light shall be great. Alleluia.

4.  Ho, every one that thirsteth * come ye to the waters : seek ye the LORD while He may be found. Alleluia.

5.  Behold, a great Prophet * shall arise, and He shall build up a new Jerusalem. Alleluia.

These texts are all taken from the various Prophets of Advent:  Zechariah, Joel, Isaiah.  And they all do allude to both the First and Second Coming; that's one of the great things about Advent, to me:  it's not just one thing - and it's cosmic in a way that no other season really is.

At Cantus database, I've found some good, clear instances of Ecce Dominus veniet; it's quite easy to read and follow along with the scores.  You'll see that this melody is indeed the same as what's on the video, and is quite consistent between the manuscripts, too.   The antiphons all start with a highly decorated, larger capital letter, often in another color.

 
For instance, here's a page from a Fourteenth-century antiphoner from Klosterneuburg, Austria, used at the Augustiner-Chorherrenstift.  Ecce Dominus veniet is the 4th Lauds antiphon:

This one comes from the same monastery, but is 200 years earlier ("Twelfth-century antiphoner from Klosterneuburg, Austria").  Interesting to note the difference in musical notation styles!  This is the old style chant notation:

This one's from the Antiphonarium Benedictinum (1400), which comes from the Abbey of Sankt Lambrecht (Steiermark, Austria); here, Ecce Dominus veniet is the 3rd Lauds antiphon.

And this last one is from Einsiedeln, Stiftsbibliothek / Codex 611(89) – Antiphonarium pro Ecclesia Einsidlensi / f. 3r. ("14th-century antiphoner from the monastery of Einsiedeln, Switzerland.")  Ecce Dominus veniet was the 3rd Lauds antiphon at this monastery, too.

One of the interesting things, to me, about this text is that it shows up again, as the 2nd Responsory at Matins on Advent 2 - but includes another interesting bit of content:

R. Ecce Dominus veniet, et omnes Sancti ejus cum eo, et erit in die illa lux magna: et exibunt de Jerusalem sicut aqua munda: et regnabit Dominus in aeternum
* Super omnes gentes.
V. Ecce Dominus cum virtute veniet: et regnum in manu ejus, et potestas, et imperium.
R. Super omnes gentes.

R. Behold, the Lord shall come, and all His saints with Him, and it shall come to pass in that day that the light shall be great; and they shall go out from Jerusalem like clean water; and the Lord shall be King for ever,
* Over all the earth.
V. Behold, the Lord cometh with an host, and in His hand are the kingdom, and power, and dominion.
R. Over all the earth.

Recall that  Advent 2 is notable for its inclusion of references to Jerusalem, something I talked about last year.    Dom Dominic Johner points out, in his Chants of the Vatican Gradual, that:

[On Advent 2] the Introit, Gradual, and Communion speak of Sion, i.e., of Jerusalem.  The Alleluia-verse also alludes to this.  For at Rome the principal service was held in the Church of the Holy Cross in Jerusalem, close to the Lateran.  It was a royal palace; now it shelters a most venerable relic of the holy cross.  Our present Sion is the Catholic Church.  It is also our individual soul, and likewise the church building in which we look for the Redeemer today.  Here it is that we are being prepared for the heavenly Sion.

And so we have a preview of that emphasis on Sion at Matins by the addition of the extra text to the previous Sunday's Lauds antiphon, Ecce Dominus veniet: 

Behold, the Lord comes and all his saints with him
and on that day there will be great light, alleluia.

And shall go out from Jerusalem, like pure water.
And the Lord shall reign for ever over all the nations.

The reference to "pure water" is another bit of text from Zechariah 14 - this time, from verse 8:

On that day living waters shall flow out from Jerusalem, half of them to the eastern sea and half of them to the western sea. It shall continue in summer as in winter.

(Revelation 22:1 picks up the theme later on, too:

Then the angel showed me the river of the water of life, bright as crystal, flowing from the throne of God and of the Lamb....)

I wish I had a sound file of this Responsory, but alas - I don't.  My plan going forward is to create files in MuseScore and post them, though; it'll be electronic music and without words, but at least we'll get the sense of how the chants sounded.

But Hieronymus Praetorius set this text, and I can post a video of that piece:



Here are all the mass propers for Advent 2, from ChristusRex.org and sung by the monks of St. Benedict's Monastery, Sao Paulo, Brazil:

Hebdomada secunda adventus
Dominica Introitus: Cf. Is. 30, 19.30; Ps. 79 Populus Sion (3m15.8s - 3061 kb) score
Graduale: Ps. 40, 2.3. V. 5 Ex Sion (2m50.7s - 2675 kb) score
Alleluia: Ps. 121, 1 Lætatus sum (2m11.2s - 2057 kb) score
Offertorium: Ps. 84, 7.8 Deus, tu convertens (2m01.6s - 1901 kb) score
Communio: Bar. 5, 5; 4, 36 Ierusalem, surge cum Ps. 147, 12.13 (1m56.7s - 1825 kb) score

Here are posts on Chantblog for the Advent 2 Propers:

• The Introit:  Advent 2: Populus Sion ("People of Zion")
• The Advent 2 Gradual: Ex Sion ("Out of Zion")
• The Advent 2 Alleluia: Laetatus sum ("I was glad")
• The Advent 2 Offertory: Deus, tu convertens ("God, wilt Thou not turn again?")
•  The Communio:  Advent 2: Ierusalem Surge ("Arise, Jerusalem")
•  The Advent Office

"Vespers for the Feast of the Ascension: Hymnus: Salutis humanae Sator"

Claudio Monteverdi evidently wrote a setting of the service of Vespers for the Feast of the Ascension; this is the hymn from that service. As you can see, it's written in alternatim style, the chant alternating with the composed polyphony.


CPDL offers these Latin words and this English translation for this "Hymn for 2nd Vespers of the Ascension."   (Sarum, BTW, used a different hymn for Ascension Vespers:  Eterne Rex atissime.)

1. Salutis humanae Sator,
Jesu, voluptas cordium,
Orbis redempti Conditor,
Et casta lux amantium:

2. Que victus es clementia,
Ut nostra ferres crimina?
Mortem subires innocens,
A morte nos ut tolleres?

3. Perrumpis infernum chaos;
Vinctis catenas detrahis;
Victor triumpho nobili
Ad dexteram Patris sedes.

4. Te cogat indulgentia,
Ut damna nostra sarcias
Tuique vultus compotes
Dites beato lumine.

5. Tu dux ad astra, et semita,
Sis meta nostris cordibus,
Sis lacrymarum gaudium,
Sis dulce vitae praemium.


1. Hail, Thou who man's Redeemer art,
Jesu, the joy of every heart;
Great Maker of the world's wide frame,
And purest love's delight and flame:

2. What nameless mercy Thee o'ercame,
To bear out load of sin and shame?
For guiltless, Thou Thy life didst give,
That sinful erring man might live.

3. The realms of woe are forced by Thee,
Its captives from their chains set free;
And Thou, amid Thy ransomed train,
At God's right hand dost victor reign.

4. Let mercy sweet with Thee prevail,
To cure the wounds we now bewail;
Oh, bless us with Thy holy sight,
And fill us with eternal light.

5. Our guide, our way to heavenly rest,
Be Thou the aim of every breast;
Be Thou the soother of our tears,
Our sweet reward above the spheres.

Somebody has uploaded a video for every movement of this piece to YouTube; here, for instance, is "Viri Galilaei," the first Psalm antiphon (which begins with the same musical motif used for the Introit of the same name at the Ascension mass):


Here's the entire playlist, which runs the service in order:




You can follow along with the service in Latin and in English at Divinum Officium; enter 5-14-2015 for the date, and click Vesperae.


Here, from ChristusRex.org, are all the Mass Propers for Ascension, sung by the Sao Paulo Benedictines:

In Ascensione Domini
Dominica Introitus: Act. 1, 11; Ps. 46 Viri Galilæi (2m48.4s - 2635 kb) score here
Alleluia: Ps. 46, 6 Ascendit Deus (1m50.2s - 1725 kb) score here
Alleluia: Ps. 67, 18.19 Dominus in Sina (2m33.9s - 2409 kb) score here
Offertorium: Ps. 46, 6 Ascendit Deus (1m33.8s - 1469 kb MONO due to problems with my recording set) score here
Communio:
(anno A)Mt. 28, 18.19 Data est mihi (1m21.9s - 1283 kb) score here
(anno B)Mc. 16, 17.18 Signa (1m05.5s - 1027 kb)
(anno C)  Ps. 67, 33.34 Psallite Domino (59.0s - 925 kb MONO due to problems with my recording set) score here

You can read other posts about the day's propers on Chantblog as well:

• The Introit for the Feast of the Ascension: Viri Galilaei ("O men of Galilee")
• The 1st Alleluia and Offertory for Ascension:  Ascendit Deus ("God has gone up")
• The 2nd Alleluia for Ascension Day: Dominus in Sina ("The Lord is in Sinai")
• The Communion Song(s) for the Feast of the Ascension 
• The Sarum Ascension Office

And don't forget to read Full Homely Divinity's article on Ascension.

The art used on the videos is not, actually, related to the Ascension;  it's a Resurrection image, from Grunewald's Isenheim Altarpiece.  

Here's an Ascension image, though; it's "a decorated initial 'C'" that "contains the Ascension of Christ," from the Drogo Sacramentary, c. 850:

Blessed Ascension!

"Compline: A Spiritual Awakening"

Here's a short video about Sunday Compline at St. Mark's Cathedral, Seattle.  The service "hasn't changed in 57 years."



From the YouTube page:

Every Sunday evening at 9:30 p.m. in the nave of Saint Mark's Episcopal Cathedral (Seattle, WA), the all-male Compline Choir leads this formal choral service that is a Seattle tradition. An average audience of 500 packs the Cathedral each week for this meditative service. Many more listen to the broadcast on KING-FM, 98.1 on the radio dial.

Thanks to Anglicans Online for the link to the video, and for their story this week.

New York Polyphony sings Beata progenies (Lionel Power d. 1445)

This video was offered by NYP in its social media feeds this morning:



Here's the Latin text from CPDL; English translation "by The St. Ann Choir, directed by William Mahrt."  The text is described there as a "Matins Responsory, Feasts of the Blessed Virgin."

Beata progenies unde Christus natus est;
quam gloriosa est virgo que caeli regem genuit.

Blessed is the parent from whom Christ was born;
O how glorious is the virgin who brought forth the King of heaven

Cantus database lists this as an antiphon sung at various Marian feasts; the earliest certain date of its provenance listed there is ~1175, in a "Cistercian antiphoner from the Abbey of St. Mary of Morimondo in the diocese of Milan."  The antiphon in that volume was used at Mattins of Nativitas Mariae  (i.e., the Nativity of Mary, September 8).   I so far can't find any image of the antiphon from these manuscripts, but will post it if I do find one.

Wikipedia says about Leonel Power - that's another spelling of his first name - that:  "Leonel Power (1370 to 1385 – 5 June 1445) was an English composer of the late Medieval and early Renaissance eras. Along with John Dunstaple, he was one of the major figures in English music in the early 15th century.^[1][2]"

Also that:

While Power's output was slightly less than Dunstaple's (only 40 extant pieces can be definitely attributed to him), his influence was similar. He is the composer best represented in the Old Hall Manuscript, one of the only undamaged sources of English music from the early 15th century (most manuscripts were destroyed during the Dissolution of the Monasteries in 1536-1540 under Henry VIII).

Power was one of the first composers to set separate movements of the Ordinary of the Mass which were thematically unified and intended for contiguous performance. The Old Hall Manuscript contains his mass based on the Marian antiphon, Alma Redemptoris Mater, in which the antiphon is stated literally in the tenor in each movement, unornamented. This is the only cyclic setting of the mass Ordinary which can be attributed to him.^[4]

The audio was recorded at the Cathedral of St. John the Divine in New York; fantastic acoustics!

Compline: The Choir of Clare College, Cambridge

From the YouTube page:

A service of Compline, sung live by the Choir of Clare College, Cambridge, directed by Graham Ross

Recorded in Chapel of Clare College, Cambridge, UK

www.clarecollegechoir.com
www.grahamross.com

Introit: Robert White (1538-1574): 'Christe qui lux es et dies'

Christe qui lux es et dies,
Noctis tenebras detegis,
Lucisque lumen crederis,
Lumen beatum praedicans.

Precamur sancte domine,
Defende nos in hac nocte,
Sit nobis in te requies,
Quietam noctem tribue.

Ne gravis somnus irruat,
Nec hostis nos surripiat,
Nec caro illi consentiens,
Nos tibi reos statuat.

Oculi somnum capiant,
Cor ad te semper vigilet,
Dextera tua protegat
Famulos qui te diligunt.

Defensor noster aspice,
Insidiantes reprime,
Guberna tuos famulos,
Quos sanguine mercatus es.

Memento nostri domine
In gravi isto corpore,
Qui es defensor animae,
Adesto nobis domine.

Deo patri sit gloria,
Ejusque soli filio,
Cum spiritu paraclyto,
Et nunc et in perpetuum. Amen.

Christ, who art the light and day,
You drive away the darkness of night,
You are called the light of light,
For you proclaim the blessed light.

We beseech you, Holy Lord,
Protect us this night.
Let us take our rest in you;
Grant us a tranquil night.

Let our sleep be free from care;
Let not the enemy snatch us away,
Nor flesh conspire within him,
And make us guilty in your sight.

Though our eyes be filled with sleep,
Keep our hearts forever awake to you.
May your right hand protect
Your willing servants.

You who are our shield, behold;
Restrain those that lie in wait.
And guide your servants whom
You have ransomed with your blood.

Remember us, O Lord,
Who bear the burden of this mortal form;
You who are the defender of the soul,
Be near us, O Lord.

Glory be to God the Father,
And to his only Son,
With the Spirit, Comforter,
Both now and evermore. Amen.

Anthem: Josef Rheinberger (1839-1901): 'Abendlied'

Bleib bei uns, denn es will Abend werden, und der Tag hat sich geneiget

Bide with us, for evening shadows darken, and the day will soon be over.

On the Feast of the Annunciation of the B. V. Mary (Mar. 25)

From Hymn melodies for the whole year, from the Sarum service-books:

On the Feast of the Annunciation of the B. V. Mary (Mar. 25): as on the Feast of the Conception.

And the hymns at that listing in Hymn melodies are these:

Evensong: Ave! maris Stella ... ... ... 64
Mattins:  Quem terra, pontus, ethera  ... ... ... 63
Lauds: O gloriosa femina  ... ... ... 63

So I'm just grabbing content from that listing for this one.  The Mattins and Lauds hymns are the same, and sung to the same melody, at  The Conception of the B.V.M. (Dec. 8), at Purification (Candlemas, February 2), at Assumption (August 15), and at The Nativity of the B.V.M. (Sept. 8); the  Evensong hymn is the same one, again sung to the same melody, as at the Conception and the Nativity of the B.V.M. (Sept. 8).  So these hymns and melodies are most definitely associated with Mary throughout the year.

Follow along with the Offices for this feast at Breviary Offices, from Lauds to Compline Inclusive (Society of St. Margaret, Boston) (published in 1885). You can get all the Psalms, the collect, Chapter, antiphons, etc., for each of the offices of the day at that link, although no music is provided; also check the iFrame look-in at the bottom of this post.


Here is the score for the beautiful melody #64, used for the splendid hymn Ave! Maris Stella on this day (as, again, at the Conception and the Nativity of the B.V.M.); below that is a video of the hymn sung by the Benedictine Monks of the Abbey at Ganagobie.:

 

CPDL has the Latin and English words; non-metrical English translation is by Allen H Simon:

Ave, maris stella,
Dei Mater alma,
Atque semper Virgo,
Felix caeli porta.

Sumens illud Ave
Gabrielis ore,
Funda nos in pace,
Mutans Evae nomen.

Solve vincla reis,
Profer lumen caecis,
Mala nostra pelle,
Bona cuncta posce

Monstra te esse matrem,
Sumat per te preces,
Qui pro nobis natus
Tulit esse tuus.

Virgo singularis,
Inter omnes mitis,
Nos culpis solutos,
Mites fac et castos.

Vitam praesta puram,
Iter para tutum,
Ut videntes Jesum,
Semper collaetemur.

Sit laus Deo Patri,
Summo Christo decus
Spiritui Sancto,
Tribus honor unus. Amen.
   


Hail, star of the sea,
loving Mother of God,
and also always a virgin,
Happy gate of heaven.

Receiving that Ave
from Gabriel's mouth
confirm us in peace,
Reversing Eva's name.

Break the chains of sinners,
Bring light to the blind,
Drive away our evils,
Ask for all good.

Show yourself to be a mother,
May he accept prayers through you,
he who, born for us,
Chose to be yours.

O unique virgin,
Meek above all,
Make us, absolved from sin,
Gentle and chaste.

Keep life pure,
Make the journey safe,
So that, seeing Jesus,
We may always rejoice together.

Let there be praise to God the Father,
Glory to Christ in the highest,
To the Holy Spirit,
One honor to all three. Amen.

CPDL also offers a brief write-up about the hymn:

Hymn to the Virgin Mary (8th cent., author anon.)
Liturgical use: Hymn at Vespers on feasts of the Virgin Mary.

Mary's title of stella maris was first proposed by St. Jerome, in his treatise Liber de nominibus hebraicis (probably around AD 390), in which he explains the etymology of Hebrew names. He quotes unidentified sources as explaining the name of Mary as smyrna maris, literally bitterness of the sea. The Hebrew word miriam indeed refers to bitterness - it is explained as such in the anonymous Jewish account The life of Moses. St. Jerome dismisses the 'bitter' etymology, however, and proposes to change her title to stella maris. In order to justify his proposal, he quotes Syrus, most likely his contemporary St. Ephraem Syrus, who had insisted on Mary's status as domina or mistress.

View Wikipedia article for Ave maris stella.

This is from that Wikipedia link:

Ave Maris Stella (Latin, "Hail Star of the Sea") is a plainsong Vespers hymn to Mary. It was especially popular in the Middle Ages and has been used by many composers as the basis of other compositions. The creation of the original hymn has been attributed to several people, including Bernard of Clairvaux (12th century), Saint Venantius Fortunatus (6th century)^[1] and Hermannus Contractus (11th century).^[2] The text is found in 9th-century manuscripts, kept in Vienna^[3] and in the Abbey of Saint Gall.^[1]

The melody is found in the Irish plainsong "Gabhaim Molta Bríde", a piece in praise of St. Bridget. The popular modern hymn Hail Queen of Heaven, the Ocean Star, is loosely based on this plainsong original.

It finds particular prominence in the "Way of Consecration to the Blessed Virgin Mary" by Saint Louis de Montfort.

Here's a (very faint) recording of the same hymn, sung by the Benedictines of Brazil.

This is Guillame Dufay's beautiful chant/polyphony alternatim arrangement of the hymn, using the same melody in the chant portions.



Or, you can listen to 32 different versions of the hymn (!) in the below playlist:






Here is the chant score for melody #63 from Hymn Melodies; this tune is used for both the Mattins and Lauds hymns on this feast day, and, again, at the Conception of the B.V.M. (Dec. 8), on Purification (AKA Candlemas, February 2), at Assumption (August 15), and at the Nativity of the B.V.M. (Sept. 8).

Here's an mp3 the cantor from LLPB singing melody #63; it's the Mattins hymn Quem terra, pontus, ethera, called "The God Whom Earth and Sea and Sky" in English.

Here are the words from Oremus; the note says "Words: attributed to Fortunatus, sixth century; trans. John Mason Neale, 1854."

The God whom earth and sea and sky
adore and laud and magnify,
whose might they own, whose praise they swell,
in Mary's womb vouchsafed to dwell.

The Lord whom sun and moon obey,
whom all things serve from day to day,
was by the Holy Ghost conceived
of her who through his grace believed.

How blessed that Mother, in whose shrine
the world's Creator, Lord divine,
whose hand contains the earth and sky,
once deigned, as in his ark, to lie.

Blessed in the message Gabriel brought,
blessed by the work the Spirit wrought;
from whom the great Desire of earth
took human flesh and human birth.

O Lord, the Virgin-born, to thee
eternal praise and glory be,
whom with the Father we adore
and Holy Ghost for evermore.

The Lauds hymn, O gloriosa femina (sometimes "O gloriosa domina"), is sung to the same melody today;  O gloriosa domina is also sung at Lauds on Purification (Candlemas)

This set of words comes from the SSM Breviary mentioned above (p.291);  it uses the same meter as Quem terra, pontus, ethera, so just sing it to the same tune, as prescribed.

O GLORIOUS Virgin, throned in rest
Amidst the starry host above,
Who gavest nurture from thy breast
To God with pure maternal love:

What we had lost through sinful Eve
The Blossom sprung from thee restores.
And granting bliss to souls that grieve.
Unbars the everlasting doors.

O gate, through which hath passed the King:
O hall, whence light shone through the gloom;
The ransomed nations praise and sing,
Life given from the virgin womb.

All honour, laud, and glory be,
O Jesu, Virgin-born, to Thee;
All glory, as is ever meet,
To Father and to Paraclete. Amen.

CPDL has the words to O gloriosa Domina, in Latin and English; the words above are clearly taken from the same original Latin text, so it's definitely the same song:

O gloriosa Domina
excelsa super sidera,
qui te creavit provide,
lactasti sacro ubere.

Quod Eva tristis abstulit,
tu reddis almo germine;
intrent ut astra flebiles,
Caeli fenestra facta es.

Tu regis alti janua
et porta lucis fulgida;
vitam datam per Virginem,
gentes redemptae, plaudite.

Gloria tibi, Domine,
qui natus es de Virgine,
cum Patre et Sancto Spiritu
in sempiterna secula. Amen.


O Heaven's glorious mistress,
elevated above the stars,
thou feedest with thy sacred breast
him who created thee.

What miserable Eve lost
thy dear offspring to man restors,
the way to glory is open to the wretched
for thou has become the Gate of Heaven.

Thou art the door of the High King,
the gate of shining light.
Life is given through a Virgin:
Rejoice, ye redeemed nations.

Glory be to Thee, O Lord,
Born of a Virgin,
with the Father and the Holy Spirit,
world without end. Amen.

Here's a page from the Poissy Antiphonal that includes both of these hymns - but the melodies seem quite different:





Here's that peek-through to the SSM Breviary for today:




Here's a bit from Wikipedia about the history of this feast:

Annunciation by Paolo de Matteis, 1712.
The white lily in the angel's hand is
symbolic of Mary's purity ^[1] in Marian art.^[2]

The Annunciation (anglicised from the Latin Vulgate Luke 1:26-39 Annuntiatio nativitatis Christi), also referred to as the Annunciation to the Blessed Virgin Mary or Annunciation of the Lord, is the Christian celebration of the announcement by the angel Gabriel to the Virgin Mary that she would conceive and become the mother of Jesus, the Son of God, marking his Incarnation. Gabriel told Mary to name her son Jesus, meaning "Saviour". Many Christians observe this event with the Feast of the Annunciation on 25 March, nine full months before Christmas, the ceremonial birthday of Jesus. According to Luke 1:26, the Annunciation occurred "in the sixth month" of Elizabeth's pregnancy with John the Baptist.^[3] Irenaeus (c.130-202) of Lyon regarded the conception of Jesus as 25 March coinciding with the Passion.^[4] Approximating the northern vernal equinox, the date of the Annunciation also marked the New Year in many places, including England, where it is called Lady Day. Both the Roman Catholic and Eastern Orthodox Churches hold that the Annunciation took place at Nazareth, but differ as to the precise location. The Basilica of the Annunciation marks the site preferred by the former, while the Greek Orthodox Church of the Annunciation marks that preferred by the latter. The Annunciation has been a key topic in Christian art in general, as well as in Marian art in the Catholic Church, particularly during the Middle Ages and Renaissance.

In the Bible, the Annunciation is narrated in the book of Luke, Luke 1:26-38:

²⁶ And in the sixth month the angel Gabriel was sent from God unto a city of Galilee, named Nazareth, ²⁷ To a virgin espoused to a man whose name was Joseph, of the house of David; and the virgin's name was Mary. ²⁸ And the angel came in unto her, and said, Hail, thou that art highly favoured, the Lord is with thee: blessed art thou among women. ²⁹ And when she saw him, she was troubled at his saying, and cast in her mind what manner of salutation this should be. ³⁰ And the angel said unto her, Fear not, Mary: for thou hast found favour with God. ³¹ And, behold, thou shalt conceive in thy womb, and bring forth a son, and shalt call his name JESUS. ³² He shall be great, and shall be called the Son of the Highest: And the Lord God shall give unto him the throne of his father David: ³³ And he shall reign over the house of Jacob for ever; and of his kingdom there shall be no end. ³⁴ Then said Mary unto the angel, How shall this be, seeing I know not a man? ³⁵ And the angel answered and said unto her, The Holy Ghost shall come upon thee, and the power of the Highest shall overshadow thee: therefore also that holy thing which shall be born of thee shall be called the Son of God. ³⁶ And, behold, thy cousin Elisabeth, she hath also conceived a son in her old age: and this is the sixth month with her, who was called barren. ³⁷ For with God nothing shall be impossible. ³⁸ And Mary said, Behold the handmaid of the Lord; be it unto me according to thy word. And the angel departed from her.

A separate annunciation, which is more brief but in the same vein as the one in Luke, is given to Joseph in Matthew 1:18-21:

¹⁸ Now the birth of Jesus Christ was on this wise: When as his mother Mary was espoused to Joseph, before they came together, she was found with child of the Holy Ghost. ¹⁹ Then Joseph her husband, being a just man, and not willing to make her a public example, was minded to put her away privily. ²⁰ But while he thought on these things, behold, the angel of the Lord appeared unto him in a dream, saying, Joseph, thou son of David, fear not to take unto thee Mary thy wife: for that which is conceived in her is of the Holy Ghost. ²¹ And she shall bring forth a son, and thou shalt call his name JESUS: for he shall save his people from their sins.

Eastern traditions

In Eastern Christianity Mary is referred to as Theotokos (Θεοτόκος="God-bearer"). The traditional Troparion (hymn for the day) of the Annunciation which goes back to Saint Athanasius of Alexandria is:^[5]

Today is the beginning of our salvation,

And the revelation of the eternal mystery!

The Son of God becomes the Son of the Virgin

As Gabriel announces the coming of Grace.

Together with him let us cry to the Theotokos:

"Rejoice, O Full of Grace, the Lord is with you!"

The Feast of the Annunciation, celebrated March 25, is one of the twelve Great Feasts of the church year, and is among the eight of them that are counted as feasts of the Lord. As the action initiating the Incarnation of Christ, Annunciation has such an important place in Orthodox Christian theology that the festal Divine Liturgy of St. John Chrysostom is always celebrated on the feast, even if it falls on Great and Holy Friday, the day when Christ's Crucifixion is remembered. Indeed, the Divine Liturgy is celebrated on Great and Holy Friday only when the latter coincides with the feast of the Annunciation. If the Annunciation falls on Pascha (Easter Sunday) itself, a coincidence which is called Kyriopascha, then it is celebrated jointly with the Resurrection, which is the focus of Easter. Due to these and similar rules, the rubrics surrounding the celebration of the feast are the most complex of all in Orthodox Christian liturgics. The Annunciation is called Euangelismos (Evangelism) in Greek, literally meaning "spreading the Good News".

St. Ephraim the Syrian taught that the date of the conception of Jesus Christ fell on 10 Nisan on the Hebrew Calendar, the day in which the passover lamb was selected according to Exodus 12. Some years 10 Nisan falls on March 25, which is the traditional date for the Feast of the Annunciation and is an official holiday in Lebanon.

The feast of the Annunciation is usually held on March 25; it is moved in the Catholic Church, Anglican and Lutheran liturgical calendars when that date falls during Holy Week or Easter Week or on a Sunday.^[6] The Eastern Orthodox Church, Oriental Orthodoxy and Eastern Catholic Churches do not move the feast, having special combined liturgies for those years when the Annunciation coincides with another feast; in fact in these churches a Divine Liturgy is celebrated on Good Friday when it coincides with the Annunciation.

When the calendar system of Anno Domini was first introduced by Dionysius Exiguus in AD 525, he assigned the beginning of the new year to March 25 since, according to Catholic theology, the era of grace began with the Incarnation of Christ. The first certain mentions of the feast are in a canon, of the Council of Toledo (656), where it is described as celebrated throughout the church., and another of the Council of Constantinople "in Trullo" (692), forbidding the celebration of any festivals during Lent, excepting the Lord's Day (Sunday) and the Feast of the Annunciation. An earlier origin has been claimed for it on the ground that it is mentioned in various works of which the earliest surviving manuscripts are later and may have been added to.^[6]

The Annunciation in the Qur'an

The Annuciation in Qur'an explains that the angel Gabriel (two angels in another part of Qur'an) announced to Mary that She will have Jesus. The Annunciation is also described in the Qur'an, in Sura 003:045 (Al-i-Imran – The Family of Imran) verses 45-51 (Yusuf Ali translation):

⁴⁵Behold! the angels said: "O Mary! Allah giveth thee glad tidings of a Word from Him: his name will be Christ Jesus, the son of Mary, held in honour in this world and the Hereafter and of (the company of) those nearest to Allah;"

And Sura 019:016 (Maryam – Mary) verses 16-26 also refers to it. Muslim tradition holds that the Annunciation took place during the month of Ramadan.^[7]

Here are some Annuncation images I haven't used before.  (There is a great plethora of Annunciation art in the world, so we'll never run out of imagesto post and view!)

This is the  "Annunciation Ustyuzhskoe (from Ustyuzh)."  It's a Novgorod icon. and c. 1130, now at the Tretyakov Gallery (Russia):

This one is "The Annunciation" by Jan van Eyck, from 1434; love those rainbow wings!

 Finally, this one is "The Virgin Annunciate," by Italian painter Carlo Crivelli, created sometime in the 1400s.  It's now at the Städelsches Kunstinstitut und Städtische Galerie in Frankfurt am Main.