![]() Urn:matrix_no:12-1120B 2S IE Foldoutcount 0 Genre GBIA8002607D Condition Worn External-identifier is the equalized version recorded with the 3.5mil truncated eliptical stylus, and has been copied to have the more friendly filename. The preferred version suggested by an audio engineer at George Blood, L.P. These were recorded flat and then also equalized with Turnover: 400.0, Rolloff: -12.0. They are 3.5mil truncated eliptical, 2.3mil truncated conical, 2.8mil truncated conical, 3.3mil truncated conical. Four stylii were used to transfer these records. In English (Arranged by Tenor Conductor (Adapted from the "Intermezzo" from Cavalleria Rusticana) (English words by (Arranged by Tenor Conductor In Latin (Arranged by Tenor Conductor (Arranged by Tenor Conductor (Arranged by Tenor Conductor (Arranged by Tenor Conductor.ĭigitized at 78 revolutions per minute. Weatherly Bizet Franck Jean Baptiste Faure Bach Gounod ![]() I tune my ear to all of these songs.Performer: James Melton RCA Victor Orchestra and Chorus RCA Victor Orchestra The bird’s performance is instinctive the violinist’s imitation is practiced. All the while the lark sings its melodious song. In Williams’ famous piece, the violin soloist imitates the lark in flight, lifting from a meadow, where it nests, then circling, low to the ground, round and round, before catching an updraft and soaring to the sky. Modestly sized and colored, still the lark has inspired much imitation in poetry and in music, both romantic and spiritual. Where I live, I don’t see larks, a bird known for singing as it soars. Perhaps I should listen harder to all of God’s music. Perhaps, in their earthly way, the flora and fauna also entreat: Ora, ora pro nobis. All at once, I feel an overwhelming gratitude for nature’s songs. I’m on a break from the “Ave Maria.” But the violin strains of Ralph Vaughan Williams’ “The Lark Ascending” mingle with the plaintive cries of the osprey that nest not far from my home. I open my windows, breathe in the soft air and the scents of flowering trees. It is springtime, then Mary’s month and Mother’s Day. My heart soars, and I thank God I’m witness to such breath and beauty, even if I can’t replicate it. I close my eyes and listen, not just to Schubert’s “Ave Maria,” but to Liszt and Tchaikovsky, Bach and Brahms, Sibelius and Williams. And I decide to truly listen, with my God-given ears-as much instruments of music as my mouth and throat. Eventually, the house rings with those notes, and my children clap their hands over their ears. I practice and practice the first few bars of sung music, while cooking dinner, while cleaning the bathroom, while putting my children to bed. Still, I feel only my nervousness, and not my devotion, deepening at the thought of my own minor performance. So I slow down, resuscitate the significance: Ave Maria, gratia plena. But with all the repetition over all the years, the words have become a river, one flowing into the next, the meaning drowned. “Ave Maria.” “Hail Mary.” As a woman, wife and mother, the “Hail Mary” is my go-to prayer: standard penance and distress prayer, standard bedtime prayer with my children. But, practicing my pronunciation, I’m struck by how little attention I pay to the words in either language. I parse the prayer’s Latin easily enough. Still, singing the “Ave Maria” feels like a foreign thing. ![]() Augustine: “To sing is to pray twice.” Music is my second language, my voice my first-and only-musical instrument. Just ask my children, whom I entreat with that famous mis-quote often attributed to St. I am a firm believer in the “great importance…of singing in the celebration of the Mass,” as stated in the Roman Missal. Singing at Our Lady of Sorrows in West River, Maryland, is nothing new I sing in the choir and serve as a Mass cantor. So it is that I approach, with trepidation, an opportunity to sing the “Ave Maria” at a wedding at my parish. At life’s new beginnings and endings, that sung prayer to the Blessed Mother plays on, as it has for more than 150 years. Then there’s the fact that Franz Schubert’s “Ave Maria” is one of our most popular hymns, for the Mass, and for weddings and funerals both intimate and grandly public. There are tricky crescendos and decrescendos. There’s the glottal sound on the very first note, a B-flat that comes out of nowhere.
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