How to read this programme. It is written in three layers. You can stay with the first or read on to the last.
Layer 1 · The essentials. A listening key and a fact sheet for each work. It takes a couple of minutes to read, before the music begins.
Layer 2 · Learn more. The story of each work, told for any listener. It opens with the ‘Learn more’ button.
Layer 3 · Critical study. Sources, context, formal analysis and a theological reading, with a verifiable bibliography. Meant to be read at leisure, after the concert.
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Programme
I
Abendlied, op. 69 no. 3 Josef Rheinberger
II
O nata lux de lumine Thomas Tallis
III
O magnum mysterium Tomás Luis de Victoria
IV
Ave Maria, op. 19b (choral arrangement by Clemente Mata Ruiz) Antonín Dvořák
V
Gabriel's Oboe, from The Mission (choral arrangement by Clemente Mata Ruiz on the text Angele Dei) Ennio Morricone
VI
O bone Iesu (attributed for centuries to Palestrina) Marc'Antonio Ingegneri
VII
Crucifixus a 8 Antonio Lotti
VIII
O vos omnes Pau Casals
IX
Mother of God, here I stand John Tavener
X
Pan divino, gracioso Francisco Guerrero
XI
Ubi caritas, op. 10 no. 1 Maurice Duruflé
XII
Locus iste, WAB 23 Anton Bruckner
XIII
Regina coeli Gregor Aichinger
XIV
Cantate Domino Giuseppe Ottavio Pitoni
About 45 minutes of music, without an interval. Please do not applaud between the works.
Performers and forces
Mixed choir a cappella, unaccompanied in all fourteen works. Some divide the choir into as many as eight parts, like Lotti’s Crucifixus.
Fourteen works in four languages: Latin in ten of them, German in the first, English in Tavener’s and Spanish in Guerrero’s. More than four centuries separate the oldest from the most recent.
Two pieces were not written for choir and are heard in arrangements by the conductor: Dvořák’s Ave Maria, composed for low voice and organ, and the melody of Gabriel's Oboe, which was originally instrumental and here carries the Latin text of the prayer to the guardian angel.
Conductor’s note
Tonight’s title is what the two disciples at Emmaus say to the stranger who has walked with them all afternoon: mane nobiscum, quoniam advesperascit, ‘stay with us, for night is falling’. Luke places it at the end of a long day, when there is no longer light enough to walk on.
Rheinberger set that verse to music as a student, in Luther’s German translation, and with that work we begin. The rest of the programme follows the story.
The disciples are talking about what has happened in Jerusalem, and the stranger explains the Scriptures to them from the beginning. The programme does something similar and travels through the Christian year: light and Christmas, with Tallis and Victoria, and then Mary, with Dvořák. Fifth comes a melody that Morricone wrote for a solo oboe and that here carries the text of the prayer to the guardian angel. It asks the one who walks beside us to enlighten, guard, rule and guide; that is what the stranger is doing with them without their knowing it.
Then comes the Passion, in three consecutive works that occupy the centre of the concert: Ingegneri, Lotti and Casals. When the choir sings o vos omnes qui transitis per viam, ‘all you who pass along the way’, think of where we are: on a road, at dusk, with two men who do not understand what they have seen. After that comes Tavener, with a prayer to the Mother of God in which the one praying asks nothing for himself.
Then comes the bread. Luke says they recognised him in the breaking of it, and at that point we sing Pan divino, gracioso, by Guerrero, published in Venice in 1589.
What follows is the return. The disciples go back to Jerusalem by night, find the eleven gathered together and hear the news: the Lord has risen. That is why the ending passes through Duruflé, who sings of the gathered community; through Bruckner’s Locus iste, which speaks of a consecrated place; and through the Easter antiphon Regina coeli. We close with the psalm that bids us sing a new song.
We sing at San Nicolás de la Villa, one of the churches built in Córdoba after the conquest of 1236. Its tower rises over an Islamic minaret and was completed in 1496; the main portal is by Hernán Ruiz II. The central nave is covered by a timber roof on wrought-iron tie-beams, and a roof of that kind returns the sound drier and closer than a stone vault. For fourteen a cappella works that is an advantage, because the inner voices can be heard.
Two clarifications about the names in the programme. The O bone Iesu still appears in many editions as a work by Palestrina: it is by Marc'Antonio Ingegneri, and its entry explains how the error was undone. And the hymn to the Mother of God is by John Tavener, the English composer who died in 2013, who is often confused with John Taverner, a musician of the Tudor period.
The works
Abendlied
Josef Gabriel Rheinberger (1839–1901) · Op. 69 no. 3 · 1855 · F major · six voices
Listening key. Listen to the first chords. The work begins in F major and, almost at once, the harmony darkens. In two bars it moves from light to dusk, which is what the text says: night is falling.
Composition
1855; the composer revised it before publication
First edition
Berlin, N. Simrock, 1873, in Drei geistliche Gesänge, op. 69
Forces
Six-part choir (SSATTB) a cappella
Text
Lk 24:29 in Luther’s German version, with the shortened form Bleib sung in the score
A student work
Rheinberger wrote it in 1855, just after finishing his studies in Munich, on the basis of a piece from his student years. He revised it before including it in the Drei geistliche Gesänge that Simrock published in 1873 as op. 69. Its critical edition, within the complete works published by Carus, records the different versions.
The text
Bleib bei uns, denn es will Abend werden, und der Tag hat sich geneiget: ‘stay with us, for it is towards evening and the day is now far spent’. It is the Emmaus verse in Luther’s version, which in his Bible appears as Bleibe bei uns; Rheinberger sets Bleib. It is the same text that, in Latin, gives this concert its title.
O nata lux de lumine
Thomas Tallis (c. 1505–1585) · London, 1575 · five voices
Listening key. The choir sings the text together, as a single body, without staggered entries. Pay attention to the final phrase, which Tallis repeats.
Publication
Cantiones, quae ab argumento sacrae vocantur, London, Thomas Vautrollier, 1575
Forces
Five-part choir a cappella
Text
Hymn for Lauds on the feast of the Transfiguration; Tallis sets the first two stanzas
A book for a queen
In 1575 Tallis and William Byrd, his colleague at the Chapel Royal, jointly published the Cantiones sacrae, dedicated to Elizabeth I: seventeen motets by each. That same year the queen had granted them for twenty-one years the privilege of printing music in England, perhaps to encourage them to publish the book. It was printed by Thomas Vautrollier, a Huguenot émigré, and was also sold at the Frankfurt fair.
A bad business
The book did not reach the sales expected. In 1577 the two musicians petitioned the queen for help, pleading that the edition had lost them money and that Tallis was by then an old man. The copies that circulated ended up mostly in private hands, where they were used as music for domestic devotion.
Light born of light
The hymn asks Christ, ‘light born of light’, to accept the praises and supplications of those who call upon him. At the start of a concert that begins at nightfall, it is an invocation of light just as the light withdraws.
O magnum mysterium
Tomás Luis de Victoria (1548–1611) · Venice, 1572 · four voices
Listening key. Around the middle, at the words O beata Virgo, the music almost stops and lowers its voice. Then the Alleluia changes to triple time and seems to set off walking.
Publication
Motecta, Venice, sons of Antonio Gardano, 1572
Dedication of the book
Cardinal Otto Truchsess von Waldburg
Forces
Four-part choir a cappella
Text
Fourth responsory of Christmas Matins, in the second nocturn
Rubric in the print
In Circumcisione Domini, 1 January, a feast the current Roman calendar celebrates as the solemnity of Mary, Mother of God
The first book of a Spaniard in Rome
Victoria was about twenty-four and living in Rome when he published in Venice his first book of motets, dedicated to Cardinal Otto Truchsess von Waldburg, Bishop of Augsburg. It brings together thirty-three pieces arranged by number of voices, from four to eight.
Christmas or the Circumcision
The text is a responsory from Christmas Matins. Yet in his book Victoria assigned it to the feast of the Circumcision, on 1 January. Adriano Giardina has pointed this out: all the liturgical sources assign the text to Christmas, and Victoria reserves it for the octave.
A Mass on the motet
Twenty years later, in 1592, Victoria published an entire Mass built on his own motet, the Missa O magnum mysterium.
Ave Maria
Antonín Dvořák (1841–1904) · Op. 19b, B. 68 · 1877 · choral arrangement by the conductor
Listening key. A long melody in F major, written for a single voice. Listen to it as what it was: a song composed in two days for the person closest to the composer.
Composition
Sychrov Castle, 23–24 July 1877
Original
Low voice and organ
First performance
Chapel of Sychrov Castle, 26 July 1877
First edition
Prague, Emanuel Starý, 1883
Text
Ave Maria in liturgical Latin
Tonight
Choral arrangement by Clemente Mata Ruiz
A gift
Dvořák composed it at Sychrov Castle, where he was visiting his friend Alois Göbl, and dedicated it to his wife, Anna. She sang it for the first time on 26 July 1877, her name day, in the castle chapel, with the composer at the organ.
What the choir sings
The original is for low voice and organ, and Dvořák made no choral version. What is heard tonight is an arrangement by the conductor of this concert: the melody and harmony are Dvořák’s; the distribution among the voices of the choir is not.
Gabriel's Oboe
Ennio Morricone (1928–2020) · The Mission, 1986 · choral arrangement by the conductor on the text Angele Dei
Listening key. This melody was born without words, for a solo oboe. Hear it now with the text of the prayer to the guardian angel, which asks the one who walks beside us to enlighten, guard, rule and guide. It is the only moment of the evening when the choir sings music written for an instrument.
Origin
Soundtrack of The Mission (Roland Joffé, 1986), Palme d’Or at Cannes
Original
Solo oboe and orchestra, without text
Widely known version with words
Nella fantasia, with Italian words by Chiara Ferraù, which is not sung tonight
Text sung tonight
Angele Dei, prayer to the guardian angel, author undocumented; the arrangement sets it to a melody that originally had no text
Tonight
Choral arrangement by Clemente Mata Ruiz, a cappella
The scene
In The Mission, which won the Palme d’Or at Cannes in 1986, the Jesuit Gabriel goes deep into the Guaraní forest and, before saying a word, sits down and plays the oboe. The scene entrusts to music the first contact between him and those who hear him.
A melody without words
The theme was written for solo oboe, without text. Years later Italian words by Chiara Ferraù were added, Nella fantasia, which is the version usually sung and which is not performed here. It should be made clear that both Morricone’s music and those words are protected by copyright, and that the arrangement is performed with the corresponding permission.
The text the choir sings
The arrangement performed sets to the melody the Angele Dei, the prayer to the guardian angel: Angele Dei, qui custos es mei, me tibi commissum pietate superna, illumina, custodi, rege et guberna. The prayer is among the common prayers in the Compendium of the Catechism of the Catholic Church. Its author is not recorded: there is an attribution to Reginald of Canterbury, a Benedictine monk of around 1100, which is repeated in devotional literature, but we have found no support for it in the critical literature, so the programme does not accept it.
Why it is here
The piece occupies in the programme the place of the encounter before the recognition. In Luke’s account, someone draws near to two men on the road and walks with them without their knowing who he is. The text of the arrangement asks exactly that of the one who walks beside us: to enlighten, to guard, to rule and to guide.
O bone Iesu
Marc'Antonio Ingegneri (c. 1535–1592) · Venice, 1588 · four voices · attributed for centuries to Palestrina
Listening key. A short prayer, almost always in block chords. The plea miserere nobis comes straight away, in the second phrase; notice how the music broadens on reaching sanguine tuo pretiosissimo.
Attribution
Today usually assigned to Marc'Antonio Ingegneri, choirmaster of Cremona Cathedral; for a long time it circulated as a work by Palestrina
Context
Transmitted alongside Ingegneri’s Responsoria hebdomadae sanctae, published in Venice by Ricciardo Amadino in 1588
Forces
Four-part choir a cappella
State of the question
The critical Palestrina catalogue still lists it among works of doubtful authorship. The assignment to Ingegneri derives from the wholesale reattribution of the 1588 responsories
An attribution undone
Ingegneri’s twenty-seven Holy Week responsories were sung as works by Palestrina throughout the nineteenth century and much of the twentieth, and entered the complete Palestrina edition among the doubtful pieces. Franz Xaver Haberl identified the Venetian print of 1588 and published his study in 1898; Raffaele Casimiri returned to the matter and documented it in 1926.
What we know about this motet
The four-voice O bone Iesu travelled with that repertoire and today is usually sung as a work by Ingegneri. It is worth saying how far the certainty goes: the critical Palestrina catalogue keeps it among works of doubtful authorship, and there is no record of its appearing in the 1588 print. What is firm is that the attribution to Palestrina does not hold; what is not settled is to whom it belongs.
Monteverdi’s teacher
Ingegneri was choirmaster of Cremona Cathedral and had as his pupil the young Claudio Monteverdi, who in his first publications presented himself as his disciple.
Why it matters
The case illustrates how the nineteenth century dealt with early polyphony. Palestrina had become the model of church music, and the editions of the time tended to group under his name repertoire of similar style. Undoing those attributions is slow work, and this one is not yet finished.
Crucifixus
Antonio Lotti (1667–1740) · For eight voices · from a Credo with orchestra
Listening key. The voices enter one by one, starting with the low ones, until they form eight parts. Each entry clashes with what is already sounding, and the clash resolves a moment later. That friction, forming and resolving again and again, is the material from which the whole piece is made.
Origin
Section of a Credo in F for four voices, strings and basso continuo
Source
Dresden, Sächsische Landesbibliothek – Staats- und Universitätsbibliothek, Mus.2159-D-5
Forces
Eight-part choir a cappella
A fragment of a Credo
The Crucifixus is almost always sung as a separate piece, though it is part of a Credo with instruments. In this passage the strings fall silent and the choir divides into eight parts. The copy preserved in Dresden is dated between 1717 and around 1740.
A Venetian
Lotti worked almost all his life at St Mark’s in Venice, where he was singer, organist and, from 1736, choirmaster. Between 1717 and 1719 he was in Dresden composing operas for the Saxon court.
The text
Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est: the article of the Creed that tells of the crucifixion, passion and burial of Christ. Lotti writes it in the old style that the Venice of his day reserved for the church, with a texture of chained suspensions.
O vos omnes
Pau Casals (1876–1973) · Four voices · c. 1932–1933 · Montserrat repertoire
Listening key. A dialogue between low and high voices, in a minor key. The text is the lament of Jerusalem and Casals treats it with an almost harsh sobriety. Listen for the word dolor.
Forces
Four-part choir a cappella
Text
Lamentations 1:12
Liturgical use
Fifth responsory of the second nocturn of Matins on Holy Saturday
Date
The sources disagree: the Grup d'Estudis de Música Catalana dates it to 1932 and the Gran Enciclopèdia Catalana to 1933
The cellist who wrote for choir
Over his lifetime Casals composed a group of religious works connected with the abbey of Montserrat, and O vos omnes belongs to that repertoire. His work as a composer has lagged far behind his work as a performer in the literature, which has dealt mainly with the cellist, the teacher and the public figure.
All you who pass along the way
O vos omnes qui transitis per viam, attendite et videte si est dolor sicut dolor meus. It is the lament of ruined Jerusalem, which the liturgy places in the mouth of Christ on Holy Saturday. In this programme, the text is addressed to those on the road to Emmaus.
Mother of God, here I stand
John Tavener (1944–2013) · London, 2003–2004 · from The Veil of the Temple
Listening key. A prayer to the Mother of God in which the one praying asks nothing for himself and dedicates it entirely to someone else. Four voices, here unaccompanied, very soft, with long chords that recall Orthodox chant.
Origin
The Veil of the Temple, an all-night vigil first performed at the Temple Church, London, in 2003
Separate hymn
Published by Chester Music, dated 2004, dedicated to the choir of the Temple Church and its director, Stephen Layton
Forces
Four-part mixed choir; the Chester edition has an organ accompaniment, which is not used tonight
Character
Hushed, with infinite tenderness (crotchet ≈ 72), pp sempre
Text
English paraphrase of the first two stanzas of ‘Prayer’ (Molitva) by Mikhail Lermontov, 1837; the translator is not named in the publisher’s record
The composer
Sir John Tavener, an Englishman who converted to Orthodoxy, died in 2013. He is often confused with John Taverner, a musician of the Tudor period.
A vigil lasting all night
The hymn comes from The Veil of the Temple, a vigil commissioned from Tavener by the Temple Music Trust and first performed overnight at the Temple Church in London in 2003, with the church’s choir and the Holst Singers conducted by Stephen Layton. The hymn was later published as a separate piece.
A poem by Lermontov
The text adapts into English the first two stanzas of ‘Molitva’, a poem by Mikhail Lermontov from 1837. The one praying says what he has not come to ask for: neither to be saved in battle, nor to give thanks, nor forgiveness for his sins, nor even for the desolate souls of the earth. He prays for one person alone, ‘her’, whom he entrusts entirely to the Mother of God. The poem then continues with images the English paraphrase leaves out, and the music remains suspended on the act of entrusting. The English words are in copyright and are not reproduced here.
Pan divino, gracioso
Francisco Guerrero (1528–1599) · Venice, 1589 · four voices · in Spanish
Listening key. The music comes from a secular song by Guerrero himself, Prado verde y florido. With the same music, the text now speaks of the Eucharist. The music is the same; what changes is what it speaks about.
Publication
Canciones y villanescas espirituales, Venice, Giacomo Vincenti, 1589
Forces
Four voices a cappella
Text
Anonymous; sacred version (a lo divino) of Prado verde y florido
A lo divino
Guerrero had written a secular song, Prado verde y florido. In 1589 he published the same music with a new, Eucharistic text. The procedure is called contrafactum and was common in Counter-Reformation Spain. Rosanne King studied the whole of the Canciones y villanescas espirituales and their relation to the secular repertoire in her doctoral thesis.
A book printed on a journey
Guerrero was choirmaster of Seville Cathedral. In 1588 he set out from Venice on pilgrimage to the Holy Land and recounted the journey in his Viage de Hierusalem. The Canciones y villanescas espirituales were printed in Venice in 1589.
The recognition
In the Emmaus story, the disciples recognise Christ in the breaking of the bread. This song occupies that place in the programme.
Ubi caritas
Maurice Duruflé (1902–1986) · Op. 10 no. 1 · on the Gregorian melody
Listening key. It begins without sopranos: the Gregorian melody is presented by the lower voices, with a dark colour, and the sopranos come in afterwards, on the words congregavit nos in unum. The choir becomes complete just as the text speaks of gathering.
Collection
Quatre motets sur des thèmes grégoriens, op. 10, no. 1
Publisher
Paris, Durand, 1960
Dedication
Auguste Le Guennant, director of the Institut grégorien in Paris
Text
Antiphon for the washing of the feet (Mandatum), Maundy Thursday
Gregorian chant with harmony
Duruflé was an organist and knew Gregorian chant from childhood. In the four motets of op. 10 he takes melodies from the Gregorian tradition and harmonises them without altering their free rhythm, which he notates with changing time signatures. The collection is dedicated to Auguste Le Guennant, director of the Institut grégorien in Paris.
Where charity is
Ubi caritas et amor, Deus ibi est. Congregavit nos in unum Christi amor. The antiphon accompanied the washing of the feet on Maundy Thursday. In the current missal it is sung at the presentation of the gifts in the Mass of the Lord’s Supper, and with another reading of the first line, Ubi caritas est vera; Duruflé sets the older form.
Locus iste
Anton Bruckner (1824–1896) · WAB 23 · 1869 · C major · four voices
Listening key. Three phrases of text and barely three minutes. Almost everything moves in block chords and in C major; the central section strays into other keys and does without the basses, before the opening material returns.
Composition
August 1869
Occasion
Written for the consecration of the votive chapel of the new cathedral in Linz, on 29 September 1869
Premiere
In that same chapel a month later, on 29 October 1869, conducted by Johann Baptist Burgstaller
Forces
Four-part choir a cappella
Text
Gradual of the Mass for the dedication of a church
For a half-finished building
Bishop Franz Joseph Rudigier commissioned music from Bruckner for the consecration of the votive chapel, the first completed part of the new cathedral in Linz. The consecration took place on 29 September 1869, and the Mass in E minor was first performed at it. The Locus iste, composed in August, was written for that same celebration, but was not heard that day: it was first performed a month later, on 29 October, in the now consecrated chapel.
This place was made by God
Locus iste a Deo factus est, inaestimabile sacramentum, irreprehensibilis est. It is a non-biblical text from the Common of the Dedication of a Church, also sung on its anniversary. It can be associated with Jacob’s awakening at Bethel, though the gradual does not quote that passage: the allusion belongs to another chant of the same Mass, the Terribilis est locus iste.
Here
In San Nicolás, built from 1236 onwards, the gradual speaks of the very place in which it is sounding.
Regina coeli
Gregor Aichinger (1564/65–1628) · Four voices · original source not established
Listening key. Each line ends with an alleluia that leaps from voice to voice. It is one of the two shortest pieces of the evening, and the fastest.
Composer
Gregor Aichinger, organist to the Fugger family in Augsburg
Forces
Four-part choir a cappella
Text
Final Marian antiphon of Compline in Eastertide
Source
The original print could not be established: the piece does not appear in the Cantiones ecclesiasticae of 1607, and the earliest edition located is that of the Schola Cantorum, Paris, 1953
A German trained in Italy
Aichinger was born in Regensburg and worked almost all his life in Augsburg as organist to the Fugger family. He travelled to Italy and came to know the Venetian music of his time, which he brought to Germany. His Cantiones ecclesiasticae of 1607 are among the first German collections with basso continuo.
He has risen, as he said
Regina caeli, laetare, alleluia: quia quem meruisti portare, alleluia: resurrexit, sicut dixit, alleluia: ora pro nobis Deum, alleluia. It is the Marian antiphon that closes Compline from the Easter Vigil to Pentecost, and the one that replaces the Angelus in that season. At Emmaus, the eleven greet the two travellers with the same news: surrexit Dominus vere.
Cantate Domino
Giuseppe Ottavio Pitoni (1657–1743) · Rome · four voices
Listening key. Barely a minute in triple time, with shifts of accent that displace the pulse and make the music seem to dance. It is the programme’s farewell, on the command to sing a new song.
Composer
Giuseppe Ottavio Pitoni, master of the Cappella Giulia at St Peter’s
Forces
Four-part choir a cappella
Text
Psalm 149:1–2
Master at St Peter’s
Born in Rieti, Pitoni held posts as choirmaster in Monterotondo and Assisi before spending the rest of his career in Roman churches; from 1719 until his death he was master of the Cappella Giulia at St Peter’s. He took Palestrina’s style as his touchstone, but also practised the concertato style and left a large body of polychoral music.
How it reached us
Neither the autograph nor the date of this motet is known. Its popularity is largely due to Karl Proske and Musica divina, the anthology with which the German church-music reform movement sought to restore Roman polyphony to worship. Noel O'Regan has studied how that diffusion made Pitoni one of the composers most sung by choirs.
Sing a new song
Cantate Domino canticum novum: laus eius in ecclesia sanctorum. It is Psalm 149. After Emmaus, the disciples go back to Jerusalem to tell what happened; this psalm is what is sung on arrival.
Sung texts
The text sung by the choir is printed. When the lyrics are protected by copyright they are not reproduced: instead they are summarised and the public-domain text from which they derive is published, with its translation. English translations made for this version from the original texts, following the Spanish translations by Clemente Mata Ruiz.
Size
Abendlied
Bleib bei uns, denn es will Abend werden,Stay with us, for it is towards evening,
und der Tag hat sich geneiget.and the day is now far spent.
Lk 24:29 in Luther’s German version, which reads Bleibe bei uns; Rheinberger’s score sets the shortened form Bleib.
O nata lux de lumine
O nata lux de lumine, Iesu redemptor saeculi,O light born of light, Jesus, redeemer of the world,
dignare clemens supplicum laudes precesque sumere.in your mercy deign to accept the praises and prayers of those who entreat you.
Qui carne quondam contegi dignatus es pro perditis,You who once, for the lost, deigned to clothe yourself in flesh,
nos membra confer effici tui beati corporis.grant that we may be made members of your blessed body.
O magnum mysterium
O magnum mysterium, et admirabile sacramentum,O great mystery and wonderful sacrament,
ut animalia viderent Dominum natum, iacentem in praesepio.that animals should see the new-born Lord lying in a manger.
O beata Virgo, cuius viscera meruerunt portare Dominum Christum.O blessed Virgin, whose womb was worthy to bear Christ the Lord.
Alleluia.Alleluia.
Ave Maria
Ave Maria, gratia plena, Dominus tecum,Hail Mary, full of grace, the Lord is with thee;
benedicta tu in mulieribus, et benedictus fructus ventris tui, Iesus.blessed art thou among women, and blessed is the fruit of thy womb, Jesus.
Sancta Maria, Mater Dei, ora pro nobis peccatoribus,Holy Mary, Mother of God, pray for us sinners,
nunc et in hora mortis nostrae. Amen.now and at the hour of our death. Amen.
Latin text of the prayer, in the form fixed after the Council of Trent.
Gabriel's Oboe · Angele Dei
Angele Dei, qui custos es mei,Angel of God, who are my guardian,
me tibi commissum pietate superna,since heaven’s goodness has entrusted me to you,
illumina, custodi, rege et guberna. Amen.enlighten, guard, rule and guide me. Amen.
The melody was originally instrumental. The arrangement sung tonight sets to it the text of the Angele Dei. The Italian lyric Nella fantasia, often heard with this music, is still in copyright and is not performed here.
O bone Iesu
O bone Iesu, miserere nobis,O good Jesus, have mercy on us,
quia tu creasti nos, tu redemisti nosfor you created us, you redeemed us
sanguine tuo pretiosissimo.with your most precious blood.
Crucifixus
Crucifixus etiam pro nobis sub Pontio Pilato,He was crucified also for us under Pontius Pilate;
passus et sepultus est.he suffered and was buried.
O vos omnes
O vos omnes qui transitis per viam,O all you who pass along the way,
attendite et videtelook and see
si est dolor sicut dolor meus.if there is any sorrow like my sorrow.
Lamentations 1:12. The Tenebrae responsory reads si est dolor similis sicut dolor meus; the form sung in the score is printed.
Mother of God, here I stand
What is sung. The one who prays stands before the icon of the Mother of God, in its radiance. He first says what he has not come to ask for: he does not pray to be saved on the battlefield, he does not give thanks or ask forgiveness for the sins of his soul, nor does he pray for all the souls living on earth, numb, joyless and desolate. He prays only for her, one person whom he entrusts entirely to the Virgin. The music stops there, in suspense.
Source poem: Lermontov, ‘Molitva’ (1837), first two stanzas
Я, Матерь Божия, ныне с молитвоюI, Mother of God, now in prayer
Пред твоим образом, ярким сиянием,before your icon, before its bright radiance,
Не о спасении, не перед битвою,do not ask for salvation, nor pray before battle,
Не с благодарностью иль покаянием,I do not come to give thanks or to do penance,
Не за свою молю душу пустынную,I do not pray for my own desert soul,
За душу странника в свете безродного;the soul of a wanderer without a home in this world;
Но я вручить хочу деву невиннуюbut I wish to entrust an innocent maiden
Теплой заступнице мира холодного.to the warm intercessor of a cold world.
It is sung in English. Those words are in copyright and are not reproduced: they are summarised above, and the Russian poem from which they derive, which is in the public domain, is printed. The English text is a free paraphrase of these two stanzas, not a translation: it condenses the final lines, extends to all the souls on earth what the Russian says of the speaker’s own soul, and reduces the ‘innocent maiden’ of the seventh line to ‘her’. The translator is not named in the publisher’s record.
Pan divino, gracioso
Pan divino, gracioso, sacrosanto, manjar que da sustento al alma mía; dichoso fue aquel día, punto y hora que en tales dos especies Cristo mora; que si el alma está dura aquí se ablandará con tal dulzura.
Translation: Divine bread, gracious, most holy, / food that sustains my soul; / blessed was that day, that moment and that hour / when Christ came to dwell in these two kinds; / for if the soul is hard, / here it will be softened by such sweetness. The first part of the text is sung. The piece is a contrafactum: the same music that Guerrero had set to the secular song Prado verde y florido here receives Eucharistic words.
Ubi caritas
Ubi caritas et amor, Deus ibi est.Where charity and love are, there is God.
Congregavit nos in unum Christi amor.The love of Christ has gathered us together.
Exsultemus, et in ipso iucundemur.Let us rejoice and be glad in him.
Timeamus, et amemus Deum vivum.Let us fear and love the living God.
Et ex corde diligamus nos sincero.And let us love one another with a sincere heart.
Ubi caritas et amor, Deus ibi est. Amen.Where charity and love are, there is God. Amen.
Locus iste
Locus iste a Deo factus est,This place was made by God,
inaestimabile sacramentum,a mystery beyond price;
irreprehensibilis est.there is no fault in it.
Regina coeli
Regina coeli, laetare, alleluia;Queen of heaven, rejoice, alleluia;
quia quem meruisti portare, alleluia,for he whom you were worthy to bear, alleluia,
resurrexit, sicut dixit, alleluia;has risen, as he said, alleluia;
ora pro nobis Deum, alleluia.pray for us to God, alleluia.
Cantate Domino
Cantate Domino canticum novum:Sing to the Lord a new song;
laus eius in ecclesia sanctorum.let his praise resound in the assembly of the saints.
Laetetur Israel in eo qui fecit eum,Let Israel rejoice in its Maker,
et filii Sion exsultent in rege suo.let the children of Zion be glad in their King.
Layer 3 · Critical study
Academic layer. The statements rest on primary sources, critical editions and published studies, cited in notes (print version) and in the final bibliography. Where the documentation falls short, the text says so.
I. Sources, attributions and versions
A programme of fourteen works spread across five centuries requires each piece to be examined separately before looking at the whole. Several are not exactly what their titles suggest, and in two of them the authorship is not settled. This chapter sets out those problems, because they affect the performance and what can be stated publicly about each work.
The attribution of the O bone Iesu
The twenty-seven four-voice Responsoria hebdomadae sanctae of Marc'Antonio Ingegneri, published in Venice by Ricciardo Amadino in 1588, circulated as works by Palestrina throughout the nineteenth century and much of the twentieth, and entered his complete edition among the doubtful works. Franz Xaver Haberl identified the original print and published his study in the Kirchenmusikalisches Jahrbuch of 1898; Raffaele Casimiri documented the question in 1926.
The four-voice O bone Iesu commonly sung travelled with that repertoire and is today attributed to Ingegneri, but it is worth being precise about what that attribution rests on. There is no record of the motet appearing in the 1588 print: the assignment derives from the wholesale reattribution of the responsories, and the critical Palestrina catalogue still keeps it among works of doubtful authorship. What is established is that it cannot be taken as a work by Palestrina; the positive authorship remains open, and the programme records this.
The case illustrates how the nineteenth-century image of Palestrina as the model of sacred music drew to his name repertoire by other composers, and also how slowly such attributions are undone once they have settled into performing editions.
Two English composers with almost identical names
The Marian hymn in this programme is by Sir John Tavener (1944–2013). John Taverner (c. 1490–1545) was a composer of the Tudor period. Confusion between the two is frequent in programmes and catalogues, and should be pointed out: both are English and wrote religious music, but four and a half centuries separate them.
Works that are not motets
Work
What it originally is
Consequence
Lotti, Crucifixus
Section of a Credo for four voices, strings and continuo
Sung out of its context; in this passage the strings fall silent, which makes performance a cappella possible
Dvořák, Ave Maria
Song for low voice and organ, 1877
Sung in a choral arrangement by Clemente Mata Ruiz
Morricone, Gabriel's Oboe
Instrumental film music, 1986
Sung in a choral arrangement by Clemente Mata Ruiz, with the Latin text Angele Dei
Tavener, Mother of God
Hymn from an all-night vigil, 2003
Later published as a separate piece, with organ; here sung unaccompanied
Guerrero, Pan divino
Sacred version (a lo divino) of his song Prado verde y florido
The music predates the text that is sung
Victoria and the rubric of 1572
The text of O magnum mysterium is the fourth responsory of Christmas Matins, in the second nocturn. In the 1572 print, however, Victoria assigns it to the feast of the Circumcision, and Pedrell’s edition of 1902 keeps it so. Adriano Giardina has shown that the book is organised as a liturgical cycle and that the assignment is deliberate. The motet was therefore conceived for the octave of Christmas, 1 January, and not for the night of the 24th.
What remains unresolved
Several works in the programme raise doubts that could not be resolved with the documentation available, and they are noted here for anyone who wishes to pursue them.
The print from which Aichinger’s four-voice Regina caeli comes has not been located. The piece does not appear in the Cantiones ecclesiasticae of 1607, and the earliest edition identified is that of the Schola Cantorum, Paris, 1953.
The date of Casals’s O vos omnes is not firm: the Grup d'Estudis de Música Catalana places it in 1932 and the Gran Enciclopèdia Catalana in 1933.
The whereabouts of the autograph of Rheinberger’s Abendlied could not be documented, so this programme does not assign it to any library.
Neither the autograph nor the date of Pitoni’s Cantate Domino is known, and its modern circulation depends on nineteenth-century editions.
The copy of Lotti’s Credo preserved in Dresden is dated between 1717 and around 1740, with no greater precision.
II. Five centuries of a cappella singing
The programme does not follow chronological order. Arranged by date, however, it spans five centuries of unaccompanied choral singing in the Western Church, and that span explains why works so far apart sound related.
Sixteenth-century polyphony
Tallis (1575), Victoria (1572), Ingegneri (1588), Guerrero (1589) and Aichinger write in very different places (Elizabethan England, Rome, Cremona, Seville, Augsburg), but they share a technique and an assumption: church music is sung without instruments or with instruments doubling the voices, and its task is to make the liturgical text intelligible and memorable. Within that unity, the differences can be heard. In this piece Tallis writes in block chords, with the syllabic clarity of the English anthem. Victoria alternates imitation and homophony with a dramatic sense entirely his own. Guerrero starts from the Spanish song and turns it a lo divino.
The old style as a choice
Lotti and Pitoni write in the full Baroque, when church music already used orchestra, soloists and basso continuo. Their a cappella works reflect a conscious choice: in Venice and in Rome the stile antico, the polyphonic writing inherited from the sixteenth century, was preserved for certain texts and places, and was considered the most fitting for the church. Lotti’s Crucifixus shows this well: within a Credo with strings and continuo, the composer withdraws the instruments precisely at the article of the crucifixion and burial.
The nineteenth-century restoration
Rheinberger (1855) and Bruckner (1869) write at a time when German and Austrian church music looked to Roman polyphony as a model of liturgical purity. That climate also explains how two works in this programme have reached us: Pitoni’s Cantate Domino spread thanks to Musica divina, Karl Proske’s anthology, and the attribution of Ingegneri’s repertoire to Palestrina became established in that same climate. Bruckner’s Locus iste, diatonic and almost syllabic, is a work of that sensibility written by a composer who in the symphony was fully Romantic.
The twentieth century
Casals, Duruflé and Tavener close the journey by different paths. Casals writes for Montserrat with a sobriety close to Hispanic polyphony. Duruflé takes Gregorian melodies and harmonises them respecting their rhythm. Tavener, a convert to Orthodoxy, seeks in Byzantine and Russian chant a sound of sustained chords that lies outside the Western tradition. Outside that line are two pieces that were not written for choir, Dvořák’s Ave Maria and Morricone’s melody, which enter the programme for the place they hold in the Emmaus story and are sung in arrangements by the conductor.
III. Analysis and questions of performance
Three ways of setting a text to music
The programme allows three treatments of the sacred text to be compared. The first is declaimed homophony: Tallis, Rheinberger, Bruckner and the motet attributed to Ingegneri sing the text in block chords, all voices on the same syllable at the same time, so that every word is understood. The second is imitative polyphony, in which the voices enter one after another with the same motif: it appears in Victoria and, taken to the extreme, in Lotti’s Crucifixus. The third is Duruflé’s harmonised Gregorian melody, in which the rhythm is set by the plainchant and not by the bar.
Rheinberger, Abendlied
Six voices, F major, almost syllabic declamation. The harmonic movement towards dusk in the first bars translates the image of the text. The difficulty lies not in the notes but in balancing six parts that sing almost always together and in keeping the intonation through the inflections towards the minor mode.
Victoria, O magnum mysterium
The motet is in the D mode transposed to G, with one flat in the key signature. Victoria alternates the opening imitation with homophonic blocks and reserves for O beata Virgo a moment of recollection in long note values. The final Alleluia moves into triple time before closing. In less than five minutes there are three clearly distinct moods.
Lotti, Crucifixus
The voices enter one by one from the bass until eight parts are complete. Each entry creates a dissonant suspension with the voices already sounding, which resolves when the next arrives. The result is a chain of tensions that does not relax until the end. The technique was already old in Lotti’s time; its use in this article of the Creed, within a work with instruments that here fall silent, is an expressive decision.
Duruflé, Ubi caritas
The work begins without sopranos: altos, tenors and basses present the antiphon with a dark colour. The sopranos come in afterwards, precisely on the words congregavit nos in unum, so that the choir becomes complete when the text speaks of gathering.
Bruckner, Locus iste
C major, four voices, ternary form with a central section of less stable harmony. The work is written to sound stable and clear, and its difficulty is tuning the pure chords at a slow tempo.
Performance decisions
Question
Decision
Rationale
Continuity
No applause between works
The programme is a single journey
Intonation
Reference pitch at the start of each block
Fourteen a cappella works in different keys require control of drift
Vibrato
Restrained in the repertoire before 1700
The clarity of the suspensions depends on it
Languages
Latin with Italianate ecclesiastical pronunciation; German, English and Spanish with their own pronunciation
Customary usage in the liturgical repertoire
Crucifixus
Eight real parts
Eight-voice version from the Dresden Credo
San Nicolás de la Villa has three naves without a transept. The central nave is covered by a timber roof with wrought-iron tie-beams, and the side naves by groin vaults. A wooden roof usually reverberates less than a stone vault, which helps the text to be understood and exposes any lapse in tuning. There are no acoustic measurements of the church; the placing of the choir and the tempi are decided at the rehearsal.
IV. Theological reading
The programme is built on a single Gospel passage: the road to Emmaus (Lk 24:13–35). Two disciples leave Jerusalem in the evening of Easter Day; a stranger joins them, explains the Scriptures to them, sits at table with them and, in the breaking of the bread, they recognise him. Then he vanishes, and they return by night to Jerusalem to tell what they have seen.
A story of recognition
At Emmaus what is decisive is the recognition: the appearance by itself is not enough. Luke says that the disciples’ eyes ‘were kept from recognising him’. The whole story is about how one comes to see what was in front of one. Several works in the programme share that theme. In O magnum mysterium, those who see the new-born Lord are the animals of the stable. The Locus iste invites us to recall Jacob’s awakening at Bethel, ‘the Lord was in this place and I did not know it’, though those words belong to another chant of the dedication Mass. In all three cases, God’s presence is recognised after it has been there.
The Scriptures explained from the beginning
Luke tells that the stranger, ‘beginning with Moses and all the prophets’, explained to them what the Scriptures said about him. The programme does something similar with the liturgical year: light, Christmas, Mary, the Passion in three consecutive works (O bone Iesu, Crucifixus, O vos omnes), the Eucharist, Maundy Thursday and Easter.
The road
The responsory Casals sets, O vos omnes qui transitis per viam, is originally the lament of ruined Jerusalem in the Book of Lamentations, and the liturgy places it in the mouth of Christ on Holy Saturday. In this programme it takes on a literal sense: the disciples of Emmaus are those who pass along the road without understanding the sorrow they have seen.
Intercession
Lermontov’s poem, sung by Tavener, is a singular prayer. The one praying says what he has not come to ask for and prays for one person alone, whom he entrusts entirely to the Mother of God. It is intercession in its barest form: the one who prays steps aside and places in Mary’s hands the one he loves. Tavener’s version ends before the poem does, at the act of entrusting, and the music remains suspended. In the programme it occupies the place of the last plea before the recognition.
In the breaking of the bread
Cognoverunt eum in fractione panis: they recognised him in the breaking of the bread. Guerrero’s song answers that verse. That it is a secular song turned a lo divino adds a meaning theology recognises: the everyday, the bread of every table, becomes a place of presence without ceasing to be what it was. The music that described a meadow comes to speak of the sacrament without needing to be rewritten.
The return to the community
The disciples do not stay in Emmaus. They return that same night to Jerusalem and find the eleven, who greet them with the news: surrexit Dominus vere. The end of the programme follows that movement. Duruflé sings of the community gathered by the love of Christ; Bruckner, of the consecrated place; Aichinger, with the Easter antiphon, of the resurrection ‘as he said’; and Pitoni closes with Psalm 149, the new song.
Beauty as a way
Hans Urs von Balthasar held that beauty is a path of theological knowledge and not an ornament of truth. A programme of a cappella sacred music is a good place to test this: without instruments or staging, fourteen works from five centuries tell a story of recognition. Emmaus ends when the disciples understand what was burning within them on the road. The concert hopes to provoke, on its own scale, something similar.
Accessibility
What will happen
The concert lasts about 45 minutes, without an interval. The lights in the nave stay on at half strength. There are no sound effects or sudden changes of lighting.
Only a choir sings, without orchestra. There are fourteen short pieces, nearly all between two and five minutes long, one after another.
It is calm music from beginning to end. There are no very loud moments. The most intense is the Crucifixus, the seventh piece, in which the choir divides into eight parts.
There is a reserved low-stimulation area; the front-of-house staff can take you there and show you the nearest exit. Applause comes only at the end, when the conductor turns towards the audience. You may leave at any time.
The concert in easy read
Tonight you will hear a choir.
A choir is a group of people who sing together. Tonight they sing without instruments. You will only hear voices.
The concert lasts less than an hour. There is no interval.
You will hear 14 short songs. Each one lasts a few minutes. They are sung one after another.
There are very old songs and modern songs. The oldest is more than 450 years old. The newest is just over 20 years old.
Almost all are sung in Latin. Latin is an old language used in the Church. One song is sung in German, one in English and one in Spanish.
One of the songs uses the music from a film. The choir sings an old prayer over it.
The concert is called Mane nobiscum. It means: stay with us.
These are words from the Bible. Two friends of Jesus were walking along a road. A man they did not know walked with them. At night they invited him to supper. When he broke the bread, they realised it was Jesus.
The songs tell that story.
People listen in silence. Everyone claps only at the end, when the conductor turns towards the audience.
The music is calm. There are no loud noises.
If you feel overwhelmed, you can go out. That is fine.
There is a quiet place to rest. Ask a member of staff.
Audio description of the space
Listen to the audio description
Text of the audio track, for those who prefer to read it.
0:00You are in the parish church of San Nicolás de la Villa, in the centre of Córdoba. It is a medieval church, founded after King Ferdinand III conquered the city in 1236.
0:11The church has three naves, that is, three long parallel spaces, separated by arches. You are in one of them. Above the central nave there is a wooden ceiling, with iron beams running across it from side to side.
0:24At the far end, in front of you, is the apse, with the high altar. The choir has been placed in front of it.
0:31Tonight there is no orchestra. You will see only singers, standing, in several rows, dressed in black and holding their music in dark folders. The high voices are on the left as you look, and the low voices on the right.
0:44The conductor stands in front of the choir, with their back to you. When the conductor raises their hands, the music will begin.
0:51During the concert the light will be dim and steady. There will be no changes of lighting or effects.
0:57You will hear fourteen short pieces in a row. The first begins with a bright chord that soon darkens: it is a German song about the falling of evening.
1:06Around the middle you will hear a piece in which the voices come in one by one, from the lowest, until eight lines sound at once, with clashes that resolve little by little. It is Lotti’s Crucifixus.
1:18Shortly afterwards you will hear the only song in Spanish, with the air of a pastoral dance. It is Guerrero’s Pan divino, and it comes at the moment in the story when the disciples recognise Jesus in the breaking of the bread.
1:31If you need to leave during the concert, the exit is behind you, where you came in. You may do so at any time and the front-of-house staff will accompany you.
1:40The concert ends with a very short, joyful piece, in which the choir sings in Latin ‘sing to the Lord a new song’. When the conductor lowers their hands and turns round, you may applaud.
Accessibility statement
This programme has been prepared following the WCAG 2.2 guidelines, level AA, and the standard EN 301 549.
This concert offers: accessible navigation with screen reader and keyboard, audio description of the space, an easy-read version, sung texts with translation in high contrast and enlargeable type, an anticipation guide and a low-stimulation area.
The programme will grow from concert to concert, and each new feature will be announced when it is available and tested.
Sources and bibliography
Chicago Manual of Style, 17th edition, notes and bibliography system. Only primary sources, critical editions, scholarly reference works, official publications and published studies are cited.
Primary sources and editions
Aichinger, Gregor. Cantiones ecclesiasticae. Edited by William E. Hettrick. Recent Researches in the Music of the Baroque Era 13. Madison, WI: A-R Editions, 1972.
Bruckner, Anton. Kleine Kirchenmusikwerke. Edited by Hans Bauernfeind and Leopold Nowak. Sämtliche Werke 21. Vienna: Musikwissenschaftlicher Verlag, 1984.
Guerrero, Francisco. Canciones y villanescas espirituales. Venice: Giacomo Vincenti, 1589.
———. Opera omnia. Vols. 1–2, Canciones y villanescas espirituales (Venecia, 1589). Transcribed by Vicente García, with a study by Miguel Querol. Monumentos de la Música Española 16 and 19. Barcelona: CSIC, 1955–1957.
Rheinberger, Josef Gabriel. Drei geistliche Gesänge, op. 69. Berlin: N. Simrock, 1873.
———. Geistliche Gesänge II. Sämtliche Werke 7. Stuttgart: Carus, 2003.
Tallis, Thomas, and William Byrd. Cantiones sacrae 1575. Edited by John Milsom. Early English Church Music 56. London: Stainer & Bell, 2014.
Victoria, Tomás Luis de. Motecta. Venice: sons of Antonio Gardano, 1572.
———. Opera omnia. Edited by Felipe Pedrell. Vol. 1. Leipzig: Breitkopf & Härtel, 1902.
Studies
Byram-Wigfield, Benjamin. ‘The Sacred Music of Antonio Lotti: Idiom and Influence of a Venetian Master’. PhD diss., The Open University, 2016. https://doi.org/10.21954/ou.ro.0000bc4c.
Casimiri, Raffaele. ‘I XXVII responsoria di M. A. Ingegneri attribuiti a G. P. da Palestrina’. Note d'archivio per la storia musicale 3 (1926): 17–40.
Frazier, James E. Maurice Duruflé: The Man and His Music. Eastman Studies in Music 47. Rochester, NY: University of Rochester Press, 2007.
Giardina, Adriano. ‘In principio erat liber: l'organisation du premier livre de motets de Tomás Luis de Victoria (Venise, 1572)’. Schweizer Jahrbuch für Musikwissenschaft, n.s., 30 (2010): 27–54.
———. ‘Les motets de 1572 et de 1585 pour le Commun des Saints de Tomás Luis de Victoria: écriture et destination’. Acta Musicologica 86, no. 2 (2014): 177–195.
Haberl, Franz Xaver. ‘Marcantonio Ingegneri: Eine bio-bibliographische Studie’. Kirchenmusikalisches Jahrbuch 13 (1898): 78–94.
Howie, A. Crawford. ‘Bruckner and the Motet’. In The Cambridge Companion to Bruckner, edited by John Williamson, 54–63. Cambridge: Cambridge University Press, 2004.
King, Rosanne Cecilia. ‘The Canciones y villanescas espirituales of Francisco Guerrero and the Tradition of Sacred Song in Renaissance Spain’. PhD diss., University of Toronto, 2004. http://hdl.handle.net/1807/120760.
Kirk, H. L. Pablo Casals: A Biography. New York: Holt, Rinehart and Winston, 1974.
McCarthy, Kerry. Tallis. Composers Across Cultures. New York: Oxford University Press, 2020.
Milsom, John. ‘Tudor Music on the International Stage’. British Academy Review 25 (2015).
Morricone, Ennio, and Alessandro De Rosa. Ennio Morricone: In His Own Words. New York: Oxford University Press, 2019.
O'Regan, Noel. ‘Karl Proske's Musica Divina and the Popularity of Giuseppe Ottavio Pitoni's Cantate Domino and Laudate Dominum’. In Giuseppe Ottavio Pitoni e la musica del suo tempo, edited by Gaetano Stella, 61–70. Rome: Istituto Italiano per la Storia della Musica, 2009.
Saenz Abarzuza, Igor. ‘El músico detrás del mito: una revisión de la bibliografía sobre Pau Casals’. Cuadernos de Etnomusicología 15, no. 1 (2020): 47–69.
Delfino, Antonio. ‘Ingegneri, Marc'Antonio’. In Dizionario Biografico degli Italiani, vol. 62. Rome: Istituto della Enciclopedia Italiana, 2004.
Gmeinwieser, Siegfried. ‘Pitoni, Giuseppe Ottavio’. In Dizionario Biografico degli Italiani, vol. 84. Rome: Istituto della Enciclopedia Italiana, 2015.
Irmen, Hans-Josef. Thematisches Verzeichnis der musikalischen Werke Gabriel Josef Rheinbergers. Regensburg: Gustav Bosse, 1974.
Šupka, Ondřej, ed. Antonín Dvořák. Online catalogue. https://www.antonin-dvorak.cz.
Wise Music Classical. Work record ‘Mother of God, here I stand’. https://www.wisemusicclassical.com/work/14468/.
Biblical text, theology and place
Bruckner-Lexikon online. Österreichische Akademie der Wissenschaften, Austrian Centre for Digital Humanities and Cultural Heritage. https://api-brucknerlex.acdh.oeaw.ac.at.
Compendio del Catecismo de la Iglesia Católica. Vatican City: Libreria Editrice Vaticana, 2005.
Balthasar, Hans Urs von. Gloria: Una estética teológica. Vol. 1, La percepción de la forma. Madrid: Encuentro, 1985.
Spain. Decreto 288/2003, de 7 de octubre, por el que se declara Bien de Interés Cultural, con la categoría de Monumento, la Iglesia de San Nicolás de la Villa, en Córdoba. Boletín Oficial del Estado, no. 288, 2 December 2003, 43164–43170.
Fitzmyer, Joseph A. The Gospel According to Luke X–XXIV. Anchor Bible 28A. Garden City, NY: Doubleday, 1985.
Lermontov, Mikhail. ‘Molitva’ [‘Я, Матерь Божия, ныне с молитвою’]. 1837.