Akathistos - Antiguo himno liturgico mariano
Track Listings
| 1. Estancia 1 | ||
| 2. Estancia 2 | ||
| 3. Estancia 3 | ||
| 4. Estancia 4 | ||
| 5. Estancia 5 | ||
| 6. Estancia 6 | ||
| 7. Estancia 7 | ||
| 8. Estancia 8 | ||
| 9. Estancia 9 | ||
| 10. Estancia 10 | ||
| 11. Estancia 11 | ||
| 12. Estancia 12 |
Editorial Reviews consummate contemplative; so large, that he knew to translate in a praying synthesis what the faith professed; so humble, that its name disappeared. God knows his name, but the world ignores it. It's better this way; for then the hymn belongs to everyone, because it belongs to the church. The date of the composition of the AKATHISTOS is around the second half of the V century and the first years of the VI century. It had from its origins its own music, over which Romn the Melode inspired in the composition of a kontakin. The hymn has always been sung in the Byzantine liturgy, and as it has been translated to other languages, there has been also several melodies attached to it.
From the Artist
It has been a very inspiring adventure to have participated in this project of making available to christians this hymn, which has so much richness in words, meaning, and music, to praise and celebrate the Virgin Mary, mother of God, and her son Jesus Christ our lord. This hymn can be wrapped in a liturgical ceremony and is being celebrated in many parishes in Mexico, specially these times in which the Catholic church is celebrating the Jubilee Year.
Album Description
The AKATHISTOS is a great liturgical hymn from the ancient Greek church, a long poetical composition to celebrate the mystery of the Mother of God. In greek, the term Akthistos means "not seated", in other words, standing. This is, then, a hymn that, differently from the other hymns of the Byzantine church, must be sung and listened in a standing position. The AKATHISTOS has already been living for 15 centuries in the heart of many generations, that take from it true devotion to the Virgin. No doubt it is the most beautiful marian hymn of ancient and all times, literary monument of first class, masterpiece of ecclesial importance. This hymn has been translated and is sung in all the languages of the byzantine rite, in the orthodox branch as well as the catholic one, ancient and new. It was translated to the latin around the year 800, by Cristobal, bishop of Venice, having a notable influence in the medieval hymnography. Today it is more and more known and loved. There are many translations to the modern languages and many the ecclesial and communitary celebrations where it is used. It is specially noted the solemn celebration of the 1550 anniversary of the Concil of Efeso, that took place by wish of Pope John Paul II in the Basilica de Santa Mara Mayor, on june 7,1981, with the presence of many catholic bishops of all the world and representatives of the orthodox churches and others; it was then sung by the choir and all the people in the ceremony. The AKATHISTOS belongs to the ancient hymnographic gender called kontkion, which is based not on the amount of syllables short and long like in classic poetry, but in the tonic accent in the verses. The metric structure of the original text is very precise, the parts called estancias, are organized arquitectonically, the verses are well inserted, the accents properly placed, the syllables conveniently numbered, a perfect wallpaper, beautified with an intrincate and elegant design, with perfect rhymes. Its structure seems to be supported in the number 12: the twenty-four estancias, that follow the letters of the Greek alphabet, are intentionally divided into two parts, of twelve estancias each, historic the first one and theological the second. The different workmanship of the odd estancias and even estancias subdivide the hymn in other two groups of twelve: twelve long estancias, the odd ones, that after a historic presentation develop into twelve acclamations to the Virgin, and finish with the acclamation "Salve Virgen y Esposa" Hail, virgin and wife; twelve shorter estancias, the even ones, that finish with the acclamation: ALELUIA. Going more deeply, the number of syllables of the hymn is also a multiple of twelve. It is believed that in the root of the twelve number, that remembers the 12 tribes of Israel and the 12 apostles of Christ, that is to say, the story of salvation that passes through the chosen people and the Church, are the sacred numbers 2 and 3, aymbol of the dogms defined in Neice and Effess: the trinity of the divine Persons and the two natures united hypostatically in the Incarnate Word. So then, Mary, as a figure and a presence, comes out and irradiates from the mystery of the Divine Verb engendered by her, only Son of the Father , but goes deep in the trinitary mystery, source and end of human salvation. The vast manuscript tradition transmits almost always the AKATHISTOS as anonymous; the liturgical books collect it always as anonymous. Only some writings, attributes it to the Patriarc Sergio (s VII)or to the Patriarc Germn (x. VIII). But a so elaborate hymn was certainly not composed in a night; being more than a moment and an art, it expresses a life. Some studious have proposed like a probable author to be Romn the Melode, Prince of the hymnographs. But neither Romn nor any other hymngraph reaches the sublimate and the depth of the Akthistos. Its author was certainly a great poet, a famous theologist, a
Akathistos - Antiguo himno liturgico mariano, Music, Palestrina Musica Sacra, Margarita de García Narro, Gilberto Islas, Antonio Valdez Alonso, SBD Maestro Don Luigi Lasagna, Palestrina Música Sacra
Akathistos - Antiguo himno liturgico mariano
Music Review:
Recommended Music:
Music: 23/6/00 - Hallenstadion, Zurich, Switzerland [Live]
Three Sets: A Compilation of Jambands from Across the Country
To Love Somebody [Import] [Original recording remastered]