Showing 97–112 of 182 results
1.Meditationis cellula
2.In domum admissio
3.Prima aedis
4.Secunda aedis
5.Tertia aedis
6.Quarta aedis
7.Quinta aedis
8.Sexta aedis
9.Septima aedis
10.Octava aedis
11.Nona aedis
1.Meditationis cellula
2.In domum admissio
3.Prima aedis
4.Secunda aedis
5.Tertia aedis
6.Quarta aedis
7.Quinta aedis
8.Sexta aedis
9.Septima aedis
10.Octava aedis
11.Nona aedis
1.Versus de instantis temporis fato imminente
2.Praepositis collocatio
3.Funebris laudatio
4.Columbae collocatio
5.Sacra anniversaria Columbae
6.In memoriam
7.Domo silentii ineunte
8.Anno ineunte
9.Introitus primarii
10.Feriae pyramidis
1.Versus de instantis temporis fato imminente
2.Praepositis collocatio
3.Funebris laudatio
4.Columbae collocatio
5.Sacra anniversaria Columbae
6.In memoriam
7.Domo silentii ineunte
8.Anno ineunte
9.Introitus primarii
10.Feriae pyramidis
Artist Hildegard von Bingen
Artist Hildegard von Bingen
Artist Bill Douglas
Artist Bill Douglas
Primus Liber
Au Moyen âge, l’antiphonaire était le livre liturgique qui contenait les chants grégoriens de l’office du soir, de la nuit ou du matin. Par extension, il finit par régler l’usage de ces chants pendant la messe. D’une certaine manière, il fut donc le support qui permit aux moines de participer par leurs prières à la sanctification du temps qui passe et à la vénération divine.
L’Antiphonaire de la Rose-Croix, composé à la fin du XXe siècle sous l’égide de l’Université Rose-Croix Internationale, a également une vocation spirituelle. Ses musiques sont propices à la méditation et à l’élévation de l’âme.
In the Middles Ages, the Antiphonary was the liturgical book containing the Gregorian chants for evening, night or morning payers. It consequently came to govern the use of these chants during mass. To a certain extent, it was therefore the means by which through their prayer monks could participate in the holiness of passing time and divine veneration.
The Rose-Cross Antiphonary, composed at the end of the 20th Century under the aegis of the International Rose-Cross University, also has a spiritual vocation. Its music is beneficial for meditation and the elevation of the soul.
Primus Liber
Au Moyen âge, l’antiphonaire était le livre liturgique qui contenait les chants grégoriens de l’office du soir, de la nuit ou du matin. Par extension, il finit par régler l’usage de ces chants pendant la messe. D’une certaine manière, il fut donc le support qui permit aux moines de participer par leurs prières à la sanctification du temps qui passe et à la vénération divine.
L’Antiphonaire de la Rose-Croix, composé à la fin du XXe siècle sous l’égide de l’Université Rose-Croix Internationale, a également une vocation spirituelle. Ses musiques sont propices à la méditation et à l’élévation de l’âme.
In the Middles Ages, the Antiphonary was the liturgical book containing the Gregorian chants for evening, night or morning payers. It consequently came to govern the use of these chants during mass. To a certain extent, it was therefore the means by which through their prayer monks could participate in the holiness of passing time and divine veneration.
The Rose-Cross Antiphonary, composed at the end of the 20th Century under the aegis of the International Rose-Cross University, also has a spiritual vocation. Its music is beneficial for meditation and the elevation of the soul.
Artist Karunesh
Artist Karunesh
Artist Karunesh
Artist Karunesh
Artist Deva Premal
Artist Deva Premal
Artist Hans-Andre Stamm
Artist Hans-Andre Stamm
Artist Vangelis
Artist Vangelis
Artist Patrick Torre
Artist Patrick Torre
Artist Aigle Bleu
Artist Aigle Bleu
Artist Lama Tenzin Sangpo and music by Margot Reisinger
Artist Lama Tenzin Sangpo and music by Margot Reisinger
Artist Jean-Marc Staehle
Artist Jean-Marc Staehle
Artist Zoralkia
Artist Zoralkia