Bath Bach Choir, formerly The City of Bath Bach Choir (CBBC), is based in Bath, Somerset, England, and is a registered charity. Founded in 1946 by Cuthbert Bates, who also became a founding father of the Bath Bach Festival in 1950, the choir's original aim was to promote the music of Johann Sebastian Bach via periodic music festivals. Bates – an amateur musician with a great love and understanding of this composer's works – was also the CBBC's principal conductor and continued in this role until his sudden death, in April 1980. This untimely exit pre-empted his planned retirement concert performance of J. S. Bach's Mass in B minor, scheduled for July of the same year, and effectively ended the first period of the choir's history. Distinguished Handel scholar Denys Darlow succeeded Cuthbert Bates as musical director in 1980 and remained in the post until 1990. He was followed by Nigel Perrin, who remained Musical Director until December 2022. Perrin began his musical life as a chorister at Ely Cathedral, then won a choral scholarship to King's College, Cambridge, studying under Sir David Willcocks. In 1970 he also joined the newly formed King's Singers, having sung with them on an occasional basis after graduation in the summer of 1969, and thereafter entertaining the world throughout the 1970s as the highest voice (counter-tenor) of the irrepressible and ground-breaking vocal group. In 2023, Benedict Collins Rice was appointed music director, only the fourth in 75 years. Originally from Oxfordshire, Collins Rice held two conducting scholarships at the University of Cambridge before continuing his studies with the Heads of Conducting at the Royal College of Music, the Royal Northern College of Music, the University of Music and Performing Arts Vienna and the University of Birmingham where he studied under Simon Halsey. Performing throughout Europe and the US, he has recorded for several labels, broadcast live on BBC Radio 3, and founded a chamber group, The Facade Ensemble. The first president of the CBBC was Dr Ralph Vaughan Williams until 1958. Sir Arthur Bliss, then Master of the Queen's Music (Musik), took over as president in 1959, followed in 1975 by Sir David Willcocks, until 2015. In 2016 David Hill, musical director of The Bach Choir, was elected president of Bath Bach Choir, and Jonathan Willcocks a vice president.

This is a Nonesuch Records discography, organized by catalog number.

This is a list of Charpentier's compositions. His works were catalogued by Hugh Wiley Hitchcock in his Les œuvres de Marc-Antoine Charpentier: Catalogue Raisonné, (Paris: Picard, 1982); references to works are often accompanied by their H (for Hitchcock) number. The following lists (554 H) show the entire production in each genre.

A chaconne ( shə-KON, French: [ʃakɔn]; Spanish: chacona [tʃaˈkona]; Italian: ciaccona [tʃakˈkoːna]; earlier English: chacony) is a type of musical composition often used as a vehicle for variation on a repeated short harmonic progression, often involving a fairly short repetitive bass-line (ground bass) which offers a compositional outline for variation, decoration, figuration and melodic invention. In this it closely resembles the passacaglia. It originates and was particularly popular in the Baroque era; a large number of Chaconnes exist from the 17th and 18th centuries. The ground bass, if there is one, may typically descend stepwise from the tonic to the dominant pitch of the scale; the harmonies given to the upper parts may emphasize the circle of fifths or a derivative pattern thereof.

Jean-Baptiste Lully (born Giovanni Battista Lulli; 28 or 29 November [O.S. 18 or 19 November] 1632 – 22 March 1687) was an Italian-French composer, dancer and instrumentalist, who is considered a master of the French Baroque music style. Best known for his operas, he spent most of his life working in the court of Louis XIV and became a French subject in 1661. He was a close friend of the playwright Molière, with whom he collaborated on numerous comédie-ballets, including L'Amour médecin, George Dandin ou le Mari confondu, Monsieur de Pourceaugnac, Psyché and his best known work, Le Bourgeois gentilhomme.

This is a list of Charpentier's compositions. His works were catalogued by Hugh Wiley Hitchcock in his Les œuvres de Marc-Antoine Charpentier: Catalogue Raisonné, (Paris: Picard, 1982); references to works are often accompanied by their H (for Hitchcock) number. The following lists (554 H) show the entire production in each genre.

Psalm 27 is the 27th psalm of the Book of Psalms, beginning in English in the King James Version: "The LORD is my light and my salvation; whom shall I fear?". The Book of Psalms is part of the third section of the Hebrew Bible, and a book of the Christian Old Testament. In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Bible, this psalm is Psalm 26. In Latin, it is known as "Dominus illuminatio mea". The psalm forms a regular part of Jewish, Catholic, Lutheran, Anglican and Nonconformist Protestant liturgies. It has been set to music by Marc-Antoine Charpentier and Frances Allitsen among others.

This is a list of Charpentier's compositions. His works were catalogued by Hugh Wiley Hitchcock in his Les œuvres de Marc-Antoine Charpentier: Catalogue Raisonné, (Paris: Picard, 1982); references to works are often accompanied by their H (for Hitchcock) number. The following lists (554 H) show the entire production in each genre.

This is a list of Charpentier's compositions. His works were catalogued by Hugh Wiley Hitchcock in his Les œuvres de Marc-Antoine Charpentier: Catalogue Raisonné, (Paris: Picard, 1982); references to works are often accompanied by their H (for Hitchcock) number. The following lists (554 H) show the entire production in each genre.

This is a list of Charpentier's compositions. His works were catalogued by Hugh Wiley Hitchcock in his Les œuvres de Marc-Antoine Charpentier: Catalogue Raisonné, (Paris: Picard, 1982); references to works are often accompanied by their H (for Hitchcock) number. The following lists (554 H) show the entire production in each genre.

Psalm 31 is the 31st psalm of the Book of Psalms, beginning in English in the King James Version: "In thee, O LORD, do I put my trust". In Latin, it is known as "In te Domine speravi". The Book of Psalms is part of the third section of the Hebrew Bible, and a book of the Christian Old Testament. In the slightly different numbering system used in the Greek Septuagint version of the Bible, and in its Latin translation, the Vulgate, this psalm is Psalm 30. The first verse in the Hebrew text indicates that it was composed by David. The psalm forms a regular part of Jewish, Catholic, Lutheran, Anglican and other Protestant liturgies. Metrical hymns in English and German were derived from the psalm, such as "In dich hab ich gehoffet, Herr" and "Blest be the name of Jacob's God". The psalm has often been set to music, both completely and using specific sections such as "Illumina faciem tuam" (Make thy face to shine). Vocal settings were written by Johann Crüger, Heinrich Schütz, Joseph Haydn, and Felix Mendelssohn, among others. "Into thine hand I commit my spirit" were the last words of many Christian figures, including Jesus, Saint Bernard, Jerome of Prague, and Martin Luther. "My times are in Thy hand" also became a frequently quoted phrase. Psalm 31:24 be strong and take heart all you who hope in the Lord. "In te Domine speravi", the Psalm's first line in Latin, is also the final line of the ancient Te Deum hymn. Rendered in English frequently as, "O Lord, in thee have I trusted: let me never be confounded," the Te Deum in both the Latin and English texts have been set numerous times to music, notably by Hector Berlioz in Latin and John Rutter in English.

This is a list of chaconnes composed in the 17th century. Included are all pieces of 17th-century music, or clearly marked off sections of pieces, labeled "chaconne" (or some variant of that word) by their composers, that have been found by contributors to this article among the works of musicians, musicologists, and music historians. A few pieces not labeled "chaconne" by their composers, when they have been clearly identified as chaconnes by later commentators, have also been included. A definitive list would be impossible to make, because there was in the 17th century, and there remains today, disagreement about the defining characteristics of a chaconne. That subject is treated in the article Chaconne. Jump to decade:

The Litany of the Blessed Virgin Mary is a Marian litany originally approved in 1587 by Pope Sixtus V. It is also known as the Litany of Loreto (Latin: Litaniae lauretanae), after its first-known place of origin, the Shrine of Our Lady of Loreto in Italy, where its usage was recorded as early as 1558. The litany contains many of the titles used formally and informally for the Virgin Mary, and would often be recited as a call and response chant in a group setting. They are used to recite or sing at the end of the Rosary, and as a separate act of Marian devotion. In the latter case, for example, they can form the main element of a celebration of prayer to the Virgin Mary, be a processional song, or form part of a celebration of the Word of God. A partial indulgence is granted to those who recite this litany.

Marc-Antoine Charpentier (French: [maʁk ɑ̃twan ʃaʁpɑ̃tje]; 1643 – 24 February 1704) was a French Baroque composer during the reign of Louis XIV. One of his most famous works is the main theme from the prelude of his Te Deum H.146, Marche en rondeau. This theme is still used today as a fanfare during television broadcasts of the Eurovision Network and the European Broadcasting Union. Marc-Antoine Charpentier dominated the Baroque musical scene in seventeenth century France because of the quality of his prolific output. He mastered all genres, and his skill in writing sacred vocal music was especially hailed by his contemporaries. He began his career by going to Italy, where he fell under the influence of Giacomo Carissimi as well as other Italian composers, perhaps Domenico Mazzocchi. He would remain marked by the Italian style and become the only one with Jean-Joseph Cassanéa de Mondonville in France to approach the oratorio. In 1670, he became a master of music (composer and singer) in the service of the Duchess of Guise. From 1690 Charpentier composed Médée, on a piece by Corneille. It was a determining failure in his career of composer: he henceforth devoted himself to religious music. He became the composer of the Carmelites of the "Rue du Bouloir", Montmartre Abbey, Abbaye-aux-Bois and Port-Royal. In 1698, Charpentier was appointed music master for the children of the Sainte-Chapelle du Palais. After having obtained from the king Louis XIV a softening of Lully's monopoly, Molière turned to Charpentier to compose the music for the intermissions of Circe and Andromeda, as well as sung scenes for the revivals of The Forced Marriage, and finally the musical pieces of The Imaginary invalid. He composed secular works, stage music, operas, cantatas, sonatas, symphonies, as well as sacred music, motets (large or small), oratorios, masses, psalms, Magnificats, Litanies. At the time of his death, Charpentier's complete works must have numbered about 800 opus numbers, but today only 28 autograph volumes remain, or more than 500 pieces that he himself took care to classify. This collection, called Mélanges, is one of the most comprehensive sets of musical autograph manuscripts of all time.

Marc-Antoine Charpentier (French: [maʁk ɑ̃twan ʃaʁpɑ̃tje]; 1643 – 24 February 1704) was a French Baroque composer during the reign of Louis XIV. One of his most famous works is the main theme from the prelude of his Te Deum H.146, Marche en rondeau. This theme is still used today as a fanfare during television broadcasts of the Eurovision Network and the European Broadcasting Union. Marc-Antoine Charpentier dominated the Baroque musical scene in seventeenth century France because of the quality of his prolific output. He mastered all genres, and his skill in writing sacred vocal music was especially hailed by his contemporaries. He began his career by going to Italy, where he fell under the influence of Giacomo Carissimi as well as other Italian composers, perhaps Domenico Mazzocchi. He would remain marked by the Italian style and become the only one with Jean-Joseph Cassanéa de Mondonville in France to approach the oratorio. In 1670, he became a master of music (composer and singer) in the service of the Duchess of Guise. From 1690 Charpentier composed Médée, on a piece by Corneille. It was a determining failure in his career of composer: he henceforth devoted himself to religious music. He became the composer of the Carmelites of the "Rue du Bouloir", Montmartre Abbey, Abbaye-aux-Bois and Port-Royal. In 1698, Charpentier was appointed music master for the children of the Sainte-Chapelle du Palais. After having obtained from the king Louis XIV a softening of Lully's monopoly, Molière turned to Charpentier to compose the music for the intermissions of Circe and Andromeda, as well as sung scenes for the revivals of The Forced Marriage, and finally the musical pieces of The Imaginary invalid. He composed secular works, stage music, operas, cantatas, sonatas, symphonies, as well as sacred music, motets (large or small), oratorios, masses, psalms, Magnificats, Litanies. At the time of his death, Charpentier's complete works must have numbered about 800 opus numbers, but today only 28 autograph volumes remain, or more than 500 pieces that he himself took care to classify. This collection, called Mélanges, is one of the most comprehensive sets of musical autograph manuscripts of all time.

The Magnificat, in Latin also canticum Beat(issim)ae Virginis Mariae (the song of the (most) Blessed Virgin Mary), is a common part of Christian worship, for instance traditionally included in vespers, evensong or matins. As such it is often sung and was set to music by various composers.

The Magnificat (Latin for "[My soul] magnifies [the Lord]") is a canticle, also known as the Song of Mary or Canticle of Mary, and in the Byzantine Rite as the Ode of the Theotokos (Greek: Ἡ ᾨδὴ τῆς Θεοτόκου). Its Western name derives from the incipit of its Latin text. This most popular of all canticles is used within the liturgies of the Catholic Church, the Eastern Orthodox Church, the Lutheran Church and the Anglican Communion. The text of the canticle is taken from the Gospel of Luke (1:46–55) where it is spoken by Mary upon the occasion of her Visitation to her cousin Elizabeth. In the narrative, after Mary greets Elizabeth, who is pregnant with John the Baptist, the latter moves within Elizabeth's womb. Elizabeth praises Mary for her faith (using words partially reflected in the Hail Mary), and Mary responds with what is now known as the Magnificat. Some ancient authorities have Elizabeth, rather than Mary, speaking the Magnificat. The Magnificat is one of the eight most ancient Christian hymns and perhaps the earliest Marian hymn. Within the whole of Christianity, the canticle is most frequently recited within the Liturgy of the Hours. In Western Christianity, the Magnificat is most often sung or recited during the main evening prayer service: Vespers in the Catholic and Lutheran churches, and Evening Prayer (or Evensong) in Anglicanism. The traditional form is found the Book of Common Prayer (1662) and in Common Worship, as well as the Book of Common Prayer (1928) and Book of Common Prayer (1979) of the Episcopal Church (United States). In Eastern Christianity, the Magnificat is always sung at Matins. The Magnificat may also be sung during worship services, especially in the Advent season during which these verses are traditionally read.

Messe de minuit pour Noël (Midnight mass for Christmas), H.9, is a mass for four voices and orchestra by Marc-Antoine Charpentier, written in 1694 based on the melodies of ten French Christmas carols. Charpentier called for eight soloists, a duo of two sopranos and two trios of alto, tenor and bass, but it can be performed by five soloists. Choir and orchestra are in four parts, scored for flutes, strings (violins and viols), organ and basso continuo. The mass is regarded as unique in both the composer's work and in the genre. While in Charpentier's time, the mass was performed by all-male choirs, it has later been performed and recorded also by mixed choirs with modern instruments.

The resurrection of Jesus has long been central to Christian faith and Christian art, whether as a single scene or as part of a cycle of the Life of Christ. In the teachings of the traditional Christian churches, the sacraments derive their saving power from the passion and resurrection of Christ, upon which the salvation of the world entirely depends. The redemptive value of the resurrection has been expressed through Christian art, as well as being expressed in theological writings. However, the moment of the Resurrection is not described as such in the Gospels, and for over a thousand years it was therefore not represented directly in art. Instead at first it was represented by symbolic depictions such as the Chi Rho, the first two Greek letters of Christ, encircled by a wreath symbolizing the victory of resurrection over death. Later various scenes that are described in the Gospels were used, and also the Harrowing of Hell, which is not. In Byzantine and later Eastern Orthodox art this has remained the case, but in the West the depiction of the actual moment of Resurrection became common during the Gothic period.

Messe de minuit pour Noël (Midnight mass for Christmas), H.9, is a mass for four voices and orchestra by Marc-Antoine Charpentier, written in 1694 based on the melodies of ten French Christmas carols. Charpentier called for eight soloists, a duo of two sopranos and two trios of alto, tenor and bass, but it can be performed by five soloists. Choir and orchestra are in four parts, scored for flutes, strings (violins and viols), organ and basso continuo. The mass is regarded as unique in both the composer's work and in the genre. While in Charpentier's time, the mass was performed by all-male choirs, it has later been performed and recorded also by mixed choirs with modern instruments.

This is a list of Private Passions episodes from 2010 to 2014. It does not include repeated episodes or compilations.

Bath Bach Choir, formerly The City of Bath Bach Choir (CBBC), is based in Bath, Somerset, England, and is a registered charity. Founded in 1946 by Cuthbert Bates, who also became a founding father of the Bath Bach Festival in 1950, the choir's original aim was to promote the music of Johann Sebastian Bach via periodic music festivals. Bates – an amateur musician with a great love and understanding of this composer's works – was also the CBBC's principal conductor and continued in this role until his sudden death, in April 1980. This untimely exit pre-empted his planned retirement concert performance of J. S. Bach's Mass in B minor, scheduled for July of the same year, and effectively ended the first period of the choir's history. Distinguished Handel scholar Denys Darlow succeeded Cuthbert Bates as musical director in 1980 and remained in the post until 1990. He was followed by Nigel Perrin, who remained Musical Director until December 2022. Perrin began his musical life as a chorister at Ely Cathedral, then won a choral scholarship to King's College, Cambridge, studying under Sir David Willcocks. In 1970 he also joined the newly formed King's Singers, having sung with them on an occasional basis after graduation in the summer of 1969, and thereafter entertaining the world throughout the 1970s as the highest voice (counter-tenor) of the irrepressible and ground-breaking vocal group. In 2023, Benedict Collins Rice was appointed music director, only the fourth in 75 years. Originally from Oxfordshire, Collins Rice held two conducting scholarships at the University of Cambridge before continuing his studies with the Heads of Conducting at the Royal College of Music, the Royal Northern College of Music, the University of Music and Performing Arts Vienna and the University of Birmingham where he studied under Simon Halsey. Performing throughout Europe and the US, he has recorded for several labels, broadcast live on BBC Radio 3, and founded a chamber group, The Facade Ensemble. The first president of the CBBC was Dr Ralph Vaughan Williams until 1958. Sir Arthur Bliss, then Master of the Queen's Music (Musik), took over as president in 1959, followed in 1975 by Sir David Willcocks, until 2015. In 2016 David Hill, musical director of The Bach Choir, was elected president of Bath Bach Choir, and Jonathan Willcocks a vice president.

The Mass (Latin: missa, Italian: messa, French: messe, German: Messe) is a form of musical composition that sets the invariable portions of the western Christian Eucharistic liturgy (principally that of the Catholic Church, the Anglican Communion and Lutheranism) known as the Mass. Most Masses are settings of the liturgy in Latin, the sacred language of the Catholic Church's Roman Rite, but there are a significant number written in the languages of non-Catholic countries where vernacular worship has long been the norm. For example, there have been many Masses written in English for a United States context since the Second Vatican Council, and others (often called "communion services") for the Church of England. Masses can be a cappella, that is, without an independent accompaniment, or they can be accompanied by instrumental obbligatos up to and including a full orchestra. Many masses, especially later ones, were never intended to be performed during the celebration of an actual mass.

Psalm 127 is the 127th psalm of the Book of Psalms, beginning in English in the King James Version: "Except the Lord build the house". In Latin, it is known by a two-word incipit, "Nisi Dominus". It is one of 15 "Songs of Ascents" and the only one among them attributed to Solomon rather than David. In the slightly different numbering system used in the Greek Septuagint and the Latin Vulgate, this psalm is Psalm 126. The text is divided into five verses. The first two express the notion that "without God, all is in vain", popularly summarized in Latin in the motto Nisi Dominus Frustra. The remaining three verses describe progeny as God's blessing. The psalm forms a regular part of Jewish, Catholic, Lutheran, Anglican and other Protestant liturgies. The Vulgate text Nisi Dominus was set to music numerous times during the Renaissance and Baroque periods, often as part of vespers, including Claudio Monteverdi's ten-part setting as part of his 1610 Vespro della Beata Vergine, Marc-Antoine Charpentier, (3 sets), H 150, H 160, H 231, Handel's Nisi Dominus (1707) and two settings by Antonio Vivaldi. Composers such as Adam Gumpelzhaimer and Heinrich Schütz set the German "Wo Gott zum Haus".

Psalm 127 is the 127th psalm of the Book of Psalms, beginning in English in the King James Version: "Except the Lord build the house". In Latin, it is known by a two-word incipit, "Nisi Dominus". It is one of 15 "Songs of Ascents" and the only one among them attributed to Solomon rather than David. In the slightly different numbering system used in the Greek Septuagint and the Latin Vulgate, this psalm is Psalm 126. The text is divided into five verses. The first two express the notion that "without God, all is in vain", popularly summarized in Latin in the motto Nisi Dominus Frustra. The remaining three verses describe progeny as God's blessing. The psalm forms a regular part of Jewish, Catholic, Lutheran, Anglican and other Protestant liturgies. The Vulgate text Nisi Dominus was set to music numerous times during the Renaissance and Baroque periods, often as part of vespers, including Claudio Monteverdi's ten-part setting as part of his 1610 Vespro della Beata Vergine, Marc-Antoine Charpentier, (3 sets), H 150, H 160, H 231, Handel's Nisi Dominus (1707) and two settings by Antonio Vivaldi. Composers such as Adam Gumpelzhaimer and Heinrich Schütz set the German "Wo Gott zum Haus".

Psalm 127 is the 127th psalm of the Book of Psalms, beginning in English in the King James Version: "Except the Lord build the house". In Latin, it is known by a two-word incipit, "Nisi Dominus". It is one of 15 "Songs of Ascents" and the only one among them attributed to Solomon rather than David. In the slightly different numbering system used in the Greek Septuagint and the Latin Vulgate, this psalm is Psalm 126. The text is divided into five verses. The first two express the notion that "without God, all is in vain", popularly summarized in Latin in the motto Nisi Dominus Frustra. The remaining three verses describe progeny as God's blessing. The psalm forms a regular part of Jewish, Catholic, Lutheran, Anglican and other Protestant liturgies. The Vulgate text Nisi Dominus was set to music numerous times during the Renaissance and Baroque periods, often as part of vespers, including Claudio Monteverdi's ten-part setting as part of his 1610 Vespro della Beata Vergine, Marc-Antoine Charpentier, (3 sets), H 150, H 160, H 231, Handel's Nisi Dominus (1707) and two settings by Antonio Vivaldi. Composers such as Adam Gumpelzhaimer and Heinrich Schütz set the German "Wo Gott zum Haus".

Augustine of Hippo ( aw-GUST-in, US also AW-gə-steen; Latin: Aurelius Augustinus Hipponensis; 13 November 354 – 28 August 430) was a Christian theologian and philosopher from Roman Africa. He was the bishop of Hippo Regius from Thagaste in Numidia Cirtensis, (present-day Souk Ahras, Algeria). His writings deeply influenced the development of Western philosophy and Western Christianity, and he is viewed as one of the most important Church Fathers of the Latin Church in the Patristic Period. His many important works include The City of God, On Christian Doctrine, and Confessions. According to his contemporary, Jerome of Stridon, Augustine "established anew the ancient Faith". In his youth he was drawn to the Manichaean faith, and later to the Hellenistic philosophy of Neoplatonism. After his conversion to Christianity and baptism in 386, Augustine developed his own approach to philosophy and theology, accommodating a variety of methods and perspectives. Believing the grace of Christ was indispensable to human freedom, he helped formulate the doctrine of original sin and made significant contributions to the development of just war theory. When the Western Roman Empire began to disintegrate, Augustine imagined the Church as a spiritual City of God, distinct from the material Earthly City. The segment of the Church that adhered to the concept of the Trinity as defined by the Council of Nicaea and the Council of Constantinople closely identified with Augustine's On the Trinity. Augustine is recognized as a saint in the Catholic Church, the Eastern Orthodox Church, the Lutheran churches, and the Anglican Communion. He is also a preeminent Catholic Doctor of the Church and the patron of the Augustinians. His memorial is celebrated on 28 August, the day of his death. Augustine is the patron saint of brewers, printers, theologians, and a number of cities and dioceses. His thoughts profoundly influenced the medieval worldview. Many Protestants, especially Calvinists and Lutherans, consider him one of the theological fathers of the Protestant Reformation due to his teachings on salvation and divine grace. Protestant Reformers generally, and Martin Luther in particular, held Augustine in preeminence among early Church Fathers. From 1505 to 1521, Luther was a member of the Order of the Augustinian Eremites. In the East, his teachings are more disputed. The most controversial doctrine associated with him, the filioque, was rejected by the Eastern Orthodox Church. Other disputed teachings include his views on original sin, the doctrine of grace, and predestination. Though considered to be mistaken on some points, he is still considered a saint and has influenced some Eastern Church Fathers, most notably Gregory Palamas. In the Greek and Russian Orthodox Churches, his feast day is celebrated on 15 June. Among modern Eastern Orthodox theologians, his views were notably attacked by John Romanides, but others have shown significant approbation, chiefly Georges Florovsky.

Le Concert Spirituel is a French ensemble specialising in works of baroque music, played on period instruments. Founded by Hervé Niquet in 1987, it is named after the 18th-century concert series Concert Spirituel. The group performs internationally, playing mostly rarely performed sacred music and operas, and making recordings. Its focus is on French music played at the court of Versailles.

Psalm 88 is the 88th psalm of the Book of Psalms, beginning in English in the King James Version: "O LORD God of my salvation, I have cried day and night before thee". In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Bible, this psalm is Psalm 87. In Latin, it is known as "Domine Deus salutis meae". According to the title, it is a "psalm of the sons of Korah" as well as a "maskil of Heman the Ezrahite". The psalm forms a regular part of Jewish and Catholic liturgies as well as a part of Protestant psalmody. It has been set to music, for example by Baroque composers Heinrich Schütz in German and by Marc-Antoine Charpentier in Latin. In the 20th century, Christoph Staude and Jörg Duda set the psalm for choir or solo voice.

Psalm 42 is the 42nd psalm of the Book of Psalms, often known in English by its incipit, "As the hart panteth after the water brooks" (in the King James Version). The Book of Psalms is part of the third section of the Hebrew Bible, and a book of the Christian Old Testament. In the Hebrew Bible, Psalm 42 opens the second of the five books (divisions) of Psalms, also known as the "Elohistic Psalter" because the word YHWH is rarely used and God is generally referred to as "Elohim". In the slightly different numbering system used in the Greek Septuagint version of the bible, and generally in its Latin translations, this psalm is Psalm 41, although the Nova Vulgata translation follows the Hebrew numbering. The psalm is a hymn psalm. It is one of twelve psalms attributed to the sons of Korah. In Latin, its incipit in the Psalterium Gallicanum (the version in the Roman Breviary until the optional introduction of the Versio Piana in 1945) is Quemadmodum desiderat cervus; but Sicut cervus in the Psalterium Romanum. It begins "As pants the hart" in the English metrical version by Tate and Brady (1696) and in Coverdale's translation in the Book of Common Prayer, "Like as the hart". The psalm forms a regular part of Jewish, Catholic, Lutheran, Anglican and other Protestant liturgies and has often been set to music, notably in Palestrina's Sicut cervus, Handel's As pants the hart and Mendelssohn's Psalm 42.

Jean-Baptiste Lully (born Giovanni Battista Lulli; 28 or 29 November [O.S. 18 or 19 November] 1632 – 22 March 1687) was an Italian-French composer, dancer and instrumentalist, who is considered a master of the French Baroque music style. Best known for his operas, he spent most of his life working in the court of Louis XIV and became a French subject in 1661. He was a close friend of the playwright Molière, with whom he collaborated on numerous comédie-ballets, including L'Amour médecin, George Dandin ou le Mari confondu, Monsieur de Pourceaugnac, Psyché and his best known work, Le Bourgeois gentilhomme.

The Litany of the Blessed Virgin Mary is a Marian litany originally approved in 1587 by Pope Sixtus V. It is also known as the Litany of Loreto (Latin: Litaniae lauretanae), after its first-known place of origin, the Shrine of Our Lady of Loreto in Italy, where its usage was recorded as early as 1558. The litany contains many of the titles used formally and informally for the Virgin Mary, and would often be recited as a call and response chant in a group setting. They are used to recite or sing at the end of the Rosary, and as a separate act of Marian devotion. In the latter case, for example, they can form the main element of a celebration of prayer to the Virgin Mary, be a processional song, or form part of a celebration of the Word of God. A partial indulgence is granted to those who recite this litany.

This is a list of chaconnes composed in the 17th century. Included are all pieces of 17th-century music, or clearly marked off sections of pieces, labeled "chaconne" (or some variant of that word) by their composers, that have been found by contributors to this article among the works of musicians, musicologists, and music historians. A few pieces not labeled "chaconne" by their composers, when they have been clearly identified as chaconnes by later commentators, have also been included. A definitive list would be impossible to make, because there was in the 17th century, and there remains today, disagreement about the defining characteristics of a chaconne. That subject is treated in the article Chaconne. Jump to decade:

Tenebrae responsories are the responsories sung following the lessons of Tenebrae, the Matins services of the last three days of Holy Week: Maundy Thursday, Good Friday and Holy Saturday. Polyphonic settings to replace plainchant have been published under a various titles, including Responsoria pro hebdomada sancta (Responsories for Holy Week). In most places, Matins as well as Lauds of these days were normally anticipated on the evening of the preceding day and were celebrated on Wednesday, Maundy Thursday and Good Friday, respectively. The 1955 reform of the Holy Week ceremonies by Pope Pius XII, redefining Triduum Sacrum to include Easter Sunday and take in only the close of Maundy Thursday, moved them to Thursday, Friday and Saturday evenings. Tenebrae as such was not included in the 1970 Liturgy of the Hours, vanishing altogether around 1977. Summorum Pontificum (2007) now permits clerics bound to recitation of the Divine Office to use the 1961 Roman Breviary. Composers who produced polyphonic settings include Carlo Gesualdo (Responsoria et alia ad Officium Hebdomadae Sanctae spectantia, 1611), Tomás Luis de Victoria, Jean L'Héritier, Marc-Antoine Charpentier, (19 settings: H.111 -119, H.126 - 134 and H.144), Jan Dismas Zelenka (ZWV 55), Max Reger and Francis Poulenc.

This is a list of Private Passions episodes from 1995 to 1999. It does not include repeated episodes or compilations.

Messe de minuit pour Noël (Midnight mass for Christmas), H.9, is a mass for four voices and orchestra by Marc-Antoine Charpentier, written in 1694 based on the melodies of ten French Christmas carols. Charpentier called for eight soloists, a duo of two sopranos and two trios of alto, tenor and bass, but it can be performed by five soloists. Choir and orchestra are in four parts, scored for flutes, strings (violins and viols), organ and basso continuo. The mass is regarded as unique in both the composer's work and in the genre. While in Charpentier's time, the mass was performed by all-male choirs, it has later been performed and recorded also by mixed choirs with modern instruments.

This is a list of notable events in music that took place in 1931.

Marc-Antoine Charpentier (French: [maʁk ɑ̃twan ʃaʁpɑ̃tje]; 1643 – 24 February 1704) was a French Baroque composer during the reign of Louis XIV. One of his most famous works is the main theme from the prelude of his Te Deum H.146, Marche en rondeau. This theme is still used today as a fanfare during television broadcasts of the Eurovision Network and the European Broadcasting Union. Marc-Antoine Charpentier dominated the Baroque musical scene in seventeenth century France because of the quality of his prolific output. He mastered all genres, and his skill in writing sacred vocal music was especially hailed by his contemporaries. He began his career by going to Italy, where he fell under the influence of Giacomo Carissimi as well as other Italian composers, perhaps Domenico Mazzocchi. He would remain marked by the Italian style and become the only one with Jean-Joseph Cassanéa de Mondonville in France to approach the oratorio. In 1670, he became a master of music (composer and singer) in the service of the Duchess of Guise. From 1690 Charpentier composed Médée, on a piece by Corneille. It was a determining failure in his career of composer: he henceforth devoted himself to religious music. He became the composer of the Carmelites of the "Rue du Bouloir", Montmartre Abbey, Abbaye-aux-Bois and Port-Royal. In 1698, Charpentier was appointed music master for the children of the Sainte-Chapelle du Palais. After having obtained from the king Louis XIV a softening of Lully's monopoly, Molière turned to Charpentier to compose the music for the intermissions of Circe and Andromeda, as well as sung scenes for the revivals of The Forced Marriage, and finally the musical pieces of The Imaginary invalid. He composed secular works, stage music, operas, cantatas, sonatas, symphonies, as well as sacred music, motets (large or small), oratorios, masses, psalms, Magnificats, Litanies. At the time of his death, Charpentier's complete works must have numbered about 800 opus numbers, but today only 28 autograph volumes remain, or more than 500 pieces that he himself took care to classify. This collection, called Mélanges, is one of the most comprehensive sets of musical autograph manuscripts of all time.

Tenebrae responsories are the responsories sung following the lessons of Tenebrae, the Matins services of the last three days of Holy Week: Maundy Thursday, Good Friday and Holy Saturday. Polyphonic settings to replace plainchant have been published under a various titles, including Responsoria pro hebdomada sancta (Responsories for Holy Week). In most places, Matins as well as Lauds of these days were normally anticipated on the evening of the preceding day and were celebrated on Wednesday, Maundy Thursday and Good Friday, respectively. The 1955 reform of the Holy Week ceremonies by Pope Pius XII, redefining Triduum Sacrum to include Easter Sunday and take in only the close of Maundy Thursday, moved them to Thursday, Friday and Saturday evenings. Tenebrae as such was not included in the 1970 Liturgy of the Hours, vanishing altogether around 1977. Summorum Pontificum (2007) now permits clerics bound to recitation of the Divine Office to use the 1961 Roman Breviary. Composers who produced polyphonic settings include Carlo Gesualdo (Responsoria et alia ad Officium Hebdomadae Sanctae spectantia, 1611), Tomás Luis de Victoria, Jean L'Héritier, Marc-Antoine Charpentier, (19 settings: H.111 -119, H.126 - 134 and H.144), Jan Dismas Zelenka (ZWV 55), Max Reger and Francis Poulenc.

Veni Creator Spiritus (Latin: Come, Creator Spirit) is a traditional Christian hymn believed to have been written by Rabanus Maurus, a ninth-century Frankish Benedictine monk, teacher, archbishop, and saint. When the original Latin text is used, it is normally sung to a Gregorian Chant tune first known from Kempten Abbey around the year 1000. The hymn has been translated and paraphrased into several languages, and adapted into many musical forms, often as a hymn for Pentecost or for other occasions that focus on the Holy Spirit.