Robert L. Kendrick
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780520297579
- eISBN:
- 9780520969872
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520297579.003.0005
- Subject:
- Music, Opera
The pieces had the task of projecting both Passion commemoration and personal penance, in line with the dynasty’s totalizing engagement with piety during Holy Week, famed even to outsiders. In order ...
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The pieces had the task of projecting both Passion commemoration and personal penance, in line with the dynasty’s totalizing engagement with piety during Holy Week, famed even to outsiders. In order to convey the Atonement, the texts also used the mercantilist vocabulary of court economic thought. Both abstract ideas and personalized traits were conveyed via allegorical characters, often of some complexity, figures whose music is not easily differentiated from that of the Biblical characters (the Virgin, Peter, Mary Magdalen) who populated the casts. These figures enacted lament, penance, and pedagogical explanation of Redemption, while issues of meditation and even ecstasy were apportioned to the more allegorical roles. Some of the characters and thematics were designed to function at specific political junctures in a given year, and worked together in subtle ways. The chapter concludes with a 1668 work that raises all these issues, Il Lutto dell’Universo, composed by Leopold himself in the midst of a series of disasters, including the death of the infant male heir to the throne.Less
The pieces had the task of projecting both Passion commemoration and personal penance, in line with the dynasty’s totalizing engagement with piety during Holy Week, famed even to outsiders. In order to convey the Atonement, the texts also used the mercantilist vocabulary of court economic thought. Both abstract ideas and personalized traits were conveyed via allegorical characters, often of some complexity, figures whose music is not easily differentiated from that of the Biblical characters (the Virgin, Peter, Mary Magdalen) who populated the casts. These figures enacted lament, penance, and pedagogical explanation of Redemption, while issues of meditation and even ecstasy were apportioned to the more allegorical roles. Some of the characters and thematics were designed to function at specific political junctures in a given year, and worked together in subtle ways. The chapter concludes with a 1668 work that raises all these issues, Il Lutto dell’Universo, composed by Leopold himself in the midst of a series of disasters, including the death of the infant male heir to the throne.
Bracha Yaniv
- Published in print:
- 2017
- Published Online:
- February 2021
- ISBN:
- 9781906764371
- eISBN:
- 9781800343436
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781906764371.003.0007
- Subject:
- Religion, Judaism
This chapter reviews the concept of the synagogue as a little sanctuary that stems from Ezekiel's prophecy, and the identification of this sanctuary as the gateway to heaven based on Jacob's words. ...
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This chapter reviews the concept of the synagogue as a little sanctuary that stems from Ezekiel's prophecy, and the identification of this sanctuary as the gateway to heaven based on Jacob's words. It talks about Jacob's words that became a popular inscription in houses of prayer and were painted above the entrance to the prayer hall of the synagogue in Lyuboml, Ukraine. It also explores the concept of a gateway to heaven through which prayers reach the Almighty that is deeply embedded in Jewish thought and finds expression in the annual cycle of prayers. The chapter talks about the earliest known use of biblical citations on an ark to express the concept of the gateway to heaven that was done in the Ben-Ezra synagogue in Fustat. It reflects the traditional concept of a virtual gateway to heaven as the main actual representation of a gate in the design of arks in the facade form.Less
This chapter reviews the concept of the synagogue as a little sanctuary that stems from Ezekiel's prophecy, and the identification of this sanctuary as the gateway to heaven based on Jacob's words. It talks about Jacob's words that became a popular inscription in houses of prayer and were painted above the entrance to the prayer hall of the synagogue in Lyuboml, Ukraine. It also explores the concept of a gateway to heaven through which prayers reach the Almighty that is deeply embedded in Jewish thought and finds expression in the annual cycle of prayers. The chapter talks about the earliest known use of biblical citations on an ark to express the concept of the gateway to heaven that was done in the Ben-Ezra synagogue in Fustat. It reflects the traditional concept of a virtual gateway to heaven as the main actual representation of a gate in the design of arks in the facade form.
