Capital from the Song of Solomon in Winchester...
Capital from the Song of Solomon in Winchester Cathedral. (Photo credit: Wikipedia)

Song of Solomon 8:6a,7a

Set me as a seal upon thine heart, as a seal upon thine arm: for love is strong as death; jealousy is cruel as the grave: the coals thereof are coals of fire, which hath a most vehement flame.

Many waters cannot quench love, neither can the floods drown it: if a man would give all the substance of his house for love, it would utterly be contemned.


Set me as a seal upon thine heart (1938), composed by Sir William Walton (1902-1983)

LUUMS Chamber Choir - William Walton - Set Me as a Seal Upon Thine Heart

Performed by LUUMS Chamber Choir

 

English: Samuel Wesley
English: Samuel Wesley (Photo credit: Wikipedia

Psalm 114:1-3 [Latin]

When Israel went out of Egypt, the house of Jacob from a people of strange language;

Judah was his sanctuary, and Israel his dominion.

The sea saw it, and fled: Jordan was driven back.


In Exitu Israel, composed by Samuel Wesley (1766-1837)

S. Wesley: In Exitu Israel

Performed by Choir of Gonville & Caius College, Cambridge · Geoffrey Webber

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Mary of Magdala recognizing Jesus, workshop of Peter Paul Rubens
Mary of Magdala recognizing Jesus, workshop of Peter Paul Rubens

John 20:13,15-17 [German]

13 And they say unto her, Woman, why weepest thou? She saith unto them, Because they have taken away my Lord, and I know not where they have laid him.

15 Jesus saith unto her, Woman, why weepest thou? whom seekest thou? She, supposing him to be the gardener, saith unto him, Sir, if thou have borne him hence, tell me where thou hast laid him, and I will take him away.

16 Jesus saith unto her, Mary. She turned herself, and saith unto him, Rabboni; which is to say, Master.

17 Jesus saith unto her, Touch me not; for I am not yet ascended to my Father: but go to my brethren, and say unto them, I ascend unto my Father, and your Father; and to my God, and your God.


Weib, was weinest du? SWV 443, composed by Heinrich Schütz (1585-1672)

Dialogo per la Pascua, SWV 443: Weib, was weinest du?

Performed by Cappella Augustana & Matteo Messori

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English: Jesus entering Jerusalem on a donkey
English: Jesus entering Jerusalem on a donkey (Photo credit: Wikipedia)

Matthew 21:9 [Latin]

And the multitudes that went before, and that followed, cried, saying, Hosanna to the son of David: Blessed is he that cometh in the name of the Lord; Hosanna in the highest.


Pueri Hebraeorum, composed by Tomás Luis de Victoria (1548-1611)

Hosanna filio David / Pueri Hebraeorum

Performed by Schola Antiqua

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The Lord is my Good Shepherd
The Lord is my Good Shepherd (Photo credit: Wikipedia)

Psalm 23:1-6

The Lord is my shepherd; I shall not want.

He maketh me to lie down in green pastures: he leadeth me beside the still waters.

He restoreth my soul: he leadeth me in the paths of righteousness for his name’s sake.

Yea, though I walk through the valley of the shadow of death, I will fear no evil: for thou art with me; thy rod and thy staff they comfort me.

Thou preparest a table before me in the presence of mine enemies: thou anointest my head with oil; my cup runneth over.

Surely goodness and mercy shall follow me all the days of my life: and I will dwell in the house of the Lord for ever.


The Lord is my shepherd (1886) composed by Sir Charles Villiers Stanford (1852-1924)

The Lord is My Shepherd

Performed by The Choir of New College, Oxford / directed by Edward Higginbottom

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John Blow
John Blow (Photo credit: Wikipedia)

Psalm 122:1-3,6,7

I was glad when they said unto me, Let us go into the house of the Lord.

Our feet shall stand within thy gates, O Jerusalem.

Jerusalem is builded as a city that is compact together:

Pray for the peace of Jerusalem: they shall prosper that love thee.

Peace be within thy walls, and prosperity within thy palaces.


I was glad when they said unto me, anthem for the Peace of Ryswick and the opening of St Paul’s Cathedral, 2 December 1697, composed by John Blow (1649-1708)

John Blow Symphony Anthems - I was glad (New College Choir)

Performed by the Choir of New College, Oxford

 

 

Ecce Homo by Mihály Munkácsy 1896.
Ecce Homo by Mihály Munkácsy 1896.

John 19:5,6,15; Matthew 27:23,17,21,22 [Latin]

Then came Jesus forth, wearing the crown of thorns, and the purple robe. And Pilate saith unto them, Behold the man!

When the chief priests therefore and officers saw him, they cried out, saying, Crucify him, crucify him. Pilate saith unto them, Take ye him, and crucify him: for I find no fault in him.

15 But they cried out, Away with him, away with him, crucify him. Pilate saith unto them, Shall I crucify your King? The chief priests answered, We have no king but Caesar.

23 And the governor said, Why, what evil hath he done? But they cried out the more, saying, Let him be crucified.

17 Therefore when they were gathered together, Pilate said unto them, Whom will ye that I release unto you? Barabbas, or Jesus which is called Christ?

21 The governor answered and said unto them, Whether of the twain will ye that I release unto you? They said, Barabbas.

22 Pilate saith unto them, What shall I do then with Jesus which is called Christ? They all say unto him, Let him be crucified.


Ecce Homo! motet from Tours, Bibliothèque Centrale Municipale, Ms. 168, fol. 107v. composed by Guillaume Bouzignac (1587-1643)

Bouzignac | Ecce Homo! [á 5; Les Arts Florissants]

Performed by Les Arts Florissants ft. Les Pages de la Chapelle, conducted by William Christie

 

Jesus' ascension to heaven depicted by John Singleton Copley, 1775
Jesus’ ascension to heaven depicted by John Singleton Copley, 1775

Acts 1:10-11 [Latin]

10 And while they looked stedfastly toward heaven as he went up, behold, two men stood by them in white apparel;

11 Which also said, Ye men of Galilee, why stand ye gazing up into heaven? this same Jesus, which is taken up from you into heaven, shall so come in like manner as ye have seen him go into heaven.

[plus additional music text, not scripture quotations]


Viri Galilaei, composed by Patrick Gowers (1936-2014) in 1987 for the Consecration of the Bishop of Oxford in St. Paul’s Cathedral on Ascension Day 1988


Performed by The Choir of Queens’ College Cambridge, organist James Southall and director Samuel Hayes

 

Song of Solomon 2:10-13

10 My beloved spake, and said unto me, Rise up, my love, my fair one, and come away.

11 For, lo, the winter is past, the rain is over and gone;

12 The flowers appear on the earth; the time of the singing of birds is come, and the voice of the turtle is heard in our land;

13 The fig tree putteth forth her green figs, and the vines with the tender grape give a good smell. Arise, my love, my fair one, and come away.


My beloved spake, composed in 1938 by Patrick Arthur Sheldon Hadley (1899-1973)

My beloved spake Hadley

Performed by the Choir of Winchester Cathedral conducted by Andrew Lumsden

 

 

York Minster church as seen from across the st...
York Minster church as seen from across the street, York, England (Photo credit: Wikipedia)

Isaiah 40:6-11 [Latin]

The voice said, Cry. And he said, What shall I cry? All flesh is grass, and all the goodliness thereof is as the flower of the field:

The grass withereth, the flower fadeth: because the spirit of the Lord bloweth upon it: surely the people is grass.

The grass withereth, the flower fadeth: but the word of our God shall stand for ever.

O Zion, that bringest good tidings, get thee up into the high mountain; O Jerusalem, that bringest good tidings, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah, Behold your God!

10 Behold, the Lord God will come with strong hand, and his arm shall rule for him: behold, his reward is with him, and his work before him.

11 He shall feed his flock like a shepherd: he shall gather the lambs with his arm, and carry them in his bosom, and shall gently lead those that are with young.


Vox Dicentis: Clama, composed in 1911 by Edward Woodall Naylor (1867-1934)

Vox Dicentis: Clama (Naylor) — Choir of York Minster

Performed by The Choir of York Minster, under the direction of Robert Sharpe and accompanied by David Pipe

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