The Tenebrae Responsories by Tomás Luis de Victoria are a group of eighteen motets for four voices a cappella. The late Renaissance Spanish composer set them for Holy Week, specifically for the Triduum of Maundy Thursday, Good Friday and Holy Saturday. They use liturgical texts and were published in Rome in 1585. The eighteen Tenebrae Responsories are set for four voices each but with a varying disposition of the voices soprano (S), alto (A), tenor (T) and bass (B). Soprano, tenor and bass are at times divided. Six responsories are dedicated to each Matins of Maundy Thursday ("coena Domini", the Lord's supper), Good Friday, and Holy Saturday ("Sabbato Sancto"). Feria V in coena Domini ad Matutinum 1. Amicus meus – SATB 2. Judas, mercador pessimus – SSAT (also TTBB) 3. Unus ex discipulis – SATB 4. Eram quasi agnus – SATB 5. Una hora – SSAT (also TTBB) 6. Seniores populi – SATB Feria VI in parasceve ad Matutinum 7. Tamquam ad latronem – SATB 8. Tenebrae factae sunt – TTBB (also SSAT) 9. Animam meam dilectam – SATB 10. Tradiderunt me – SATB 11. Jesum tradidit impius – SSAT 12. Caligaverunt oculi mei – SATB Sabbato Sancto ad Matutinum 13. Recessit pastor noster – SATB 14. O vos omnes – SSAT (also SATB, TTBB) 15. Ecce quomodo moritur justus – SATB 16. Astiterunt reges – SATB 17. Aestimatus sum – TTBB (and SSAT) 18. Sepulto Domino – SATB

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

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.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

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.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Ave Maria University (AMU) is a private Catholic university in Ave Maria, Florida, United States. It existed formerly as Ave Maria College in Ypsilanti, Michigan, which was founded in 1998 and reestablished in 2007 along with an interim Naples, Florida campus (first named Ave Maria University) created in 2003. The school was founded by philanthropist and entrepreneur Tom Monaghan. In 2024, the enrollment was 1,326 students. In 2016 its student body was 80% Catholic.

Ave Maria University (AMU) is a private Catholic university in Ave Maria, Florida, United States. It existed formerly as Ave Maria College in Ypsilanti, Michigan, which was founded in 1998 and reestablished in 2007 along with an interim Naples, Florida campus (first named Ave Maria University) created in 2003. The school was founded by philanthropist and entrepreneur Tom Monaghan. In 2024, the enrollment was 1,326 students. In 2016 its student body was 80% Catholic.

The Hail Mary or Ave Maria (from its first words in Latin), also known as the Angelic Salutation, is a traditional Catholic prayer addressing Mary, the mother of Jesus. The prayer is based on two biblical passages featured in the Gospel of Luke: the Angel Gabriel's visit to Mary (the Annunciation) and Mary's subsequent visit to Elizabeth, the mother of John the Baptist (the Visitation). It is also called the Angelical Salutation, as the prayer is based on the Archangel Gabriel's words to Mary. The Hail Mary is a prayer of praise for and of petition to Mary, regarded as the Theotokos (Mother of God). Since the 16th century, the version of the prayer used in the Catholic Church closes with an appeal for her intercession. The prayer takes different forms in various traditions and has often been set to music. In the Latin Church, the Hail Mary forms the basis of other prayers such as the Angelus and the Rosary. In the psalmody of the Oriental Orthodox Churches a daily Theotokion is devoted to ascribing praise to the Mother of God. In addition, the Eastern Orthodox Churches have a common private prayer quite similar to the Hail Mary, though without the explicit request for intercession. The Eastern Catholic Churches follow their respective traditions or adopt the Latin Church version, which is also used by many other Western groups historically branching from the Catholic Church, such as Lutherans, Anglicans, Independent Catholics, and Old Catholics.

"Ave maris stella" (Latin for 'Hail, star of the sea') is a medieval Marian hymn, usually sung at Vespers. It was especially popular in the Middle Ages and has been used by many composers, as the basis of other compositions.

"Ave Regina caelorum" is one of the Marian antiphons said or sung in the Liturgy of the Hours at the close of compline. In the Roman Breviary as revised by Pope Pius V in 1569 it was assigned for this use from compline of 2 February until compline of Wednesday of Holy Week. Since the revision of the Liturgy of the Hours in 1969, the only Marian antiphon for whose use a fixed period is laid down is the Easter season antiphon Regina caeli. Like the other Marian antiphons, Ave Regina caelorum has been set to polyphonic music by composers such as Leonel Power (d. 1445), Guillaume Du Fay (d. 1474), Tomás Luis de Victoria (1548-1611), Marc-Antoine Charpentier, 3 settings, H.22, H.19, H. 45, Manuel de Sumaya (1678-1755), and Joseph Haydn (1732-1809). The prayer, whose author is unknown, is found in manuscripts from the twelfth century onward.

"Ave Regina caelorum" is one of the Marian antiphons said or sung in the Liturgy of the Hours at the close of compline. In the Roman Breviary as revised by Pope Pius V in 1569 it was assigned for this use from compline of 2 February until compline of Wednesday of Holy Week. Since the revision of the Liturgy of the Hours in 1969, the only Marian antiphon for whose use a fixed period is laid down is the Easter season antiphon Regina caeli. Like the other Marian antiphons, Ave Regina caelorum has been set to polyphonic music by composers such as Leonel Power (d. 1445), Guillaume Du Fay (d. 1474), Tomás Luis de Victoria (1548-1611), Marc-Antoine Charpentier, 3 settings, H.22, H.19, H. 45, Manuel de Sumaya (1678-1755), and Joseph Haydn (1732-1809). The prayer, whose author is unknown, is found in manuscripts from the twelfth century onward.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

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.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Francesco Foggia (baptized 17 November 1603 – 8 January 1688) was an Italian Baroque composer.

The Evil of the Daleks is the mostly missing ninth and final serial of the fourth season of the British science fiction television series Doctor Who, which originally aired in seven weekly parts from 20 May to 1 July 1967. In this serial, the Doctor (Patrick Troughton) and his travelling companion Jamie (Frazer Hines), shortly after losing the TARDIS, are transported to 1866, where the Daleks force the Doctor to help them in their latest plot to implement the human factor into Dalek brains in order to 'humanise' themselves into even deadlier living weapons. This serial marked the debut of Deborah Watling as the Doctor's new companion, Victoria Waterfield. It is also notable for introducing the Dalek Emperor. Only episode two, the episode in which Victoria first appears, is held in the BBC archives; the other six remain missing. This story was initially intended to be the last Dalek story on Doctor Who. Writer Terry Nation, the creator of the Daleks, was trying to sell the Daleks to American television at the time and it was intended to give them a big send-off from the series. Aside from a few cameos, the Daleks did not properly return to the series until Day of the Daleks in 1972. In 1993, readers of DreamWatch Bulletin voted The Evil of the Daleks as the best ever Doctor Who story in a special poll for the series' thirtieth anniversary. The story was released on DVD and Blu-ray in animated form on 27 September 2021, with the surviving episode two included.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

The righteous perishes are the words with which the 57th chapter of the Book of Isaiah start. In Christianity, Isaiah 57:1–2 is associated with the death of Christ, leading to liturgical use of the text at Tenebrae: the 24th responsory for Holy Week, "Ecce quomodo moritur justus" (See how the just dies), is based on this text. More generally, the text is associated with the death of loved ones and is used at burials. As such, and in other versions and translations, the Bible excerpt has been set to music.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

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.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Palm Sunday is the Christian moveable feast that falls on the Sunday before Easter. The feast commemorates Christ's triumphal entry into Jerusalem, an event mentioned in each of the four canonical Gospels. Its name originates from the palm branches waved by the crowd to greet and honor Jesus Christ as he entered the city. Palm Sunday marks the first day of Holy Week; in Western Christianity, this is the beginning of the last week of the solemn season of Lent, preceding Eastertide, while in Eastern Christianity, Holy Week commences after the conclusion of Great Lent. In most Christian rites, Palm Sunday is celebrated by the blessing and distribution of palm branches (or the branches of other native trees), representing the palm branches that the crowd scattered before Christ as he rode into Jerusalem. These palms are sometimes woven into crosses. The difficulty of procuring palms in unfavorable climates led to the substitution of branches of native trees, including box, olive, willow, and yew. Many churches of mainstream Christian denominations, including the Orthodox, Catholic, Lutheran, Moravian, Reformed, Anglican and Methodist traditions, distribute palm branches to their congregations during their Palm Sunday liturgies. Christians take these palms, which are often blessed by clergy, to their homes, where they hang them alongside Christian art (especially crosses and crucifixes) or keep them in their Bibles and daily devotional books. In the days preceding the next year's Lent in Western Christianity, known as Carnival or Shrovetide, churches often place a basket in their narthex to collect these palms, which are then ritually burned on Shrove Tuesday to make the ashes to be used on the following day, Ash Wednesday, which is the first day of Lent. In Eastern Christianity, where Ash Wednesday is non-existent, it is typical to return the Palms the following Palm Sunday prior to receiving new Palms.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

The Book of Lamentations (Hebrew: אֵיכָה, romanized: ʾĒḵā, from its incipit meaning "how") is a collection of poetic laments for the destruction of Jerusalem in 586 BCE. In the Hebrew Bible, it appears in the Ketuvim ("Writings") as one of the Five Megillot ("Five Scrolls") alongside the Song of Songs, Book of Ruth, Ecclesiastes, and the Book of Esther. In the Christian Old Testament, it follows the Book of Jeremiah, for the prophet Jeremiah is traditionally understood to have been its author. By the mid-19th century, German scholars doubted Jeremiah's authorship, a view that has since become the prevailing scholarly consensus. Most scholars also agree that the Book of Lamentations was composed shortly after Jerusalem's fall in 586 BCE. Some motifs of a traditional Mesopotamian "city lament" are evident in the book, such as mourning the desertion of the city by God, its destruction, and the ultimate return of the deity; others "parallel the funeral dirge in which the bereaved bewails... and... addresses the [dead]". The tone is bleak: God does not speak, the degree of suffering is presented as overwhelming, and expectations of future redemption are minimal. Nonetheless, the author repeatedly makes clear that the city—and even the author himself—has profusely sinned against God, thus justifying God's wrath. In doing so, the author does not blame God but rather presents God as righteous, just, and sometimes even merciful.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Jesu dulcis memoria is a Christian hymn often attributed to Saint Bernard of Clairvaux. The name can refer either to the entire poem, which, depending on the manuscript, ranges from forty-two to fifty-three stanzas, or only the first part. The hymn inspired other variants, such as the "De nomine Iesu." Three sections of it are used as hymns in the Liturgy of the Hours of the Feast of the Holy Name of Jesus: "Iesu dulcis memoria" (Vespers), "Iesu rex admirabilis" (Matins), "Iesu decus angelicum" (Lauds). Several English hymns sung today are based on translations of Jesu dulcis memoria. These include "Jesus, Thou Joy of Loving Hearts" (1858 translation by Ray Palmer) and "Jesus, the Very Thought of Thee" (1849 translation by Edward Caswall).

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.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

'I was glad' (Latin incipit: Laetatus sum) is an English text drawn from selected verses of Psalm 122. It has been used at Westminster Abbey in the coronation ceremonies of British monarchs since those of King Charles I in 1626.

Good Friday, also known as Holy Friday, Great Friday, Great and Holy Friday, or Friday of the Passion of the Lord, is a solemn Christian holy day commemorating the crucifixion of Jesus and his death at Calvary (Golgotha). It is observed during Holy Week as part of the Paschal Triduum. Members of many Christian denominations, including the Catholic, Eastern Orthodox, Lutheran, Anglican, Methodist, Oriental Orthodox, United Protestant and some Reformed traditions (including certain Continental Reformed, Presbyterian and Congregationalist churches), observe Good Friday with fasting and church services. In many Catholic, Lutheran, Anglican and Methodist churches, the Service of the Great Three Hours' Agony is held from noon until 3 p.m.—the hours the Bible records darkness covering the land until Jesus' death on the cross. In the Catholic, Lutheran and Anglican traditions of Christianity, the Stations of the Cross are prayed in the evening of Good Friday, as with other Fridays of Lent. Communicants of the Moravian Church have a Good Friday tradition of cleaning gravestones in Moravian cemeteries. The date of Good Friday varies from one year to the next in both the Gregorian and Julian calendars. Eastern and Western Christianity disagree over the computation of the date of Easter and therefore of Good Friday. Good Friday is a widely instituted legal holiday around the world. Some predominantly Christian countries, such as Germany, have laws prohibiting certain acts—public dancing, horse racing—in remembrance of the sombre nature of Good Friday.

Good Friday, also known as Holy Friday, Great Friday, Great and Holy Friday, or Friday of the Passion of the Lord, is a solemn Christian holy day commemorating the crucifixion of Jesus and his death at Calvary (Golgotha). It is observed during Holy Week as part of the Paschal Triduum. Members of many Christian denominations, including the Catholic, Eastern Orthodox, Lutheran, Anglican, Methodist, Oriental Orthodox, United Protestant and some Reformed traditions (including certain Continental Reformed, Presbyterian and Congregationalist churches), observe Good Friday with fasting and church services. In many Catholic, Lutheran, Anglican and Methodist churches, the Service of the Great Three Hours' Agony is held from noon until 3 p.m.—the hours the Bible records darkness covering the land until Jesus' death on the cross. In the Catholic, Lutheran and Anglican traditions of Christianity, the Stations of the Cross are prayed in the evening of Good Friday, as with other Fridays of Lent. Communicants of the Moravian Church have a Good Friday tradition of cleaning gravestones in Moravian cemeteries. The date of Good Friday varies from one year to the next in both the Gregorian and Julian calendars. Eastern and Western Christianity disagree over the computation of the date of Easter and therefore of Good Friday. Good Friday is a widely instituted legal holiday around the world. Some predominantly Christian countries, such as Germany, have laws prohibiting certain acts—public dancing, horse racing—in remembrance of the sombre nature of Good Friday.

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.

Gregorian chant is the central tradition of Western plainchant, a form of monophonic, unaccompanied sacred song in Latin (and occasionally Greek) of the Roman Catholic Church. Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, with later additions and redactions. Although popular legend credits Pope Gregory I with inventing Gregorian chant, scholars believe that he only ordered a compilation of melodies throughout the whole Christian world, after having instructed his emissaries in the Schola Cantorum, where the neumatical notation was perfected, with the result of most of those melodies being a later Carolingian synthesis of the Old Roman chant and Gallican chant. Gregorian chants were organized initially into four, then eight, and finally 12 modes. Typical melodic features include a characteristic ambitus, and also characteristic intervallic patterns relative to a referential mode final, incipits and cadences, the use of reciting tones at a particular distance from the final, around which the other notes of the melody revolve, and a vocabulary of musical motifs woven together through a process called centonization to create families of related chants. The scale patterns are organized against a background pattern formed of conjunct and disjunct tetrachords, producing a larger pitch system called the gamut. The chants can be sung by using six-note patterns called hexachords. Gregorian melodies are traditionally written using neumes, an early form of musical notation from which the modern four-line and five-line staff developed. Multi-voice elaborations of Gregorian chant, known as organum, were an early stage in the development of Western polyphony. Gregorian chant was traditionally sung by choirs of men and boys in churches, or by women and men of religious orders in their chapels. It is the music of the Roman Rite, performed in the Mass and the monastic Office. Although Gregorian chant supplanted or marginalized the other indigenous plainchant traditions of the Christian West to become the official music of the Christian liturgy, Ambrosian chant still continues in use in Milan, and there are musicologists exploring both that and the Mozarabic chant of Christian Spain. Although Gregorian chant is no longer obligatory, the Roman Catholic Church still officially considers it the music most suitable for worship.

Lauda Sion (Japanese: ラウダシオン, foaled 2 February 2017) is a Japanese Thoroughbred racehorse. He showed promise as a two-year-old in 2019 when he won two of four races and finished third in the Kokura Nisai Stakes. In the following year he won the Crocus Stakes and ran second in the Falcon Stakes before taking the Grade 1 NHK Mile Cup.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

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.

Heavenly Spheres (L'Harmonie des Sphères) is an a cappella choral album by the Studio de musique ancienne de Montréal under the direction of Christopher Jackson. Recorded in 1998, it features songs from the late 15th to early 16th century. It was awarded a Félix Award from the ADISQ and was nominated for the Juno Award for Classical Album of the Year – Vocal or Choral Performance in 2000. The album includes performances of compositions by Nicolas Gombert, Roland de Lassus, Giovanni Pierluigi da Palestrina, Josquin des Prez, and others.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

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.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Renaissance music is traditionally understood to cover European music of the 15th and 16th centuries, later than the Renaissance era as it is understood in other disciplines. Rather than starting from the early 14th-century ars nova, the Trecento music was treated by musicology as a coda to medieval music and the new era dated from the rise of triadic harmony and the spread of the contenance angloise style from the British Isles to the Burgundian School. A convenient watershed for its end is the adoption of basso continuo at the beginning of the Baroque period. The period may be roughly subdivided, with an early period corresponding to the career of Guillaume Du Fay (c. 1397–1474) and the cultivation of cantilena style, a middle dominated by Franco-Flemish School and the four-part textures favored by Johannes Ockeghem (1410s or '20s–1497) and Josquin des Prez (late 1450s–1521), and culminating during the Counter-Reformation in the florid counterpoint of Palestrina (c. 1525–1594) and the Roman School. Music was increasingly freed from medieval constraints, and more variety was permitted in range, rhythm, harmony, form, and notation. On the other hand, rules of counterpoint became more constrained, particularly with regard to treatment of dissonances. In the Renaissance, music became a vehicle for personal expression. Composers found ways to make vocal music more expressive of the texts they were setting. Secular music absorbed techniques from sacred music, and vice versa. Popular secular forms such as the chanson and madrigal spread throughout Europe. Courts employed virtuoso performers, both singers and instrumentalists. Music also became more self-sufficient with its availability in printed form, existing for its own sake. Precursor versions of many familiar modern instruments (including the violin, guitar, lute and keyboard instruments) developed into new forms during the Renaissance. These instruments were modified to respond to the evolution of musical ideas, and they presented new possibilities for composers and musicians to explore. Early forms of modern woodwind and brass instruments like the bassoon and trombone also appeared, extending the range of sonic color and increasing the sound of instrumental ensembles. During the 15th century, the sound of full triads became common, and towards the end of the 16th century the system of church modes began to break down entirely, giving way to functional tonality (the system in which songs and pieces are based on musical "keys"), which would dominate Western art music for the next three centuries. From the Renaissance era, notated secular and sacred music survives in quantity, including vocal and instrumental works and mixed vocal/instrumental works. A wide range of musical styles and genres flourished during the Renaissance, including masses, motets, madrigals, chansons, accompanied songs, instrumental dances, and many others. Beginning in the late 20th century, numerous early music ensembles were formed. Ensembles specializing in music of the Renaissance era give concert tours and make recordings, using modern reproductions of historical instruments and using singing and performing styles which musicologists believe were used during the era.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Popule meus (My people) is a motet for Good Friday by Tomás Luis de Victoria. He set a liturgical text from the Improperia, which contains the Greek-Latin Trisagion, prescribed for use in the Catholic responsory for Good Friday. It begins "Popule meus, quid feci tibi?" (My people, what have I done to you?). The composition, scored for four voices, SATB, was published in Rome in 1585 in Officium Hebdomadae Sanctae (Office of the Holy Week).

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

The Oxford Camerata is an English chamber choir based in Oxford, England. The Camerata was founded in 1984 by conductor Jeremy Summerly and singers David Hurley and Henrietta Cowling and gave its first performance on 22 May of that year. The ensemble consists of a core membership of fifteen singers, though personnel size varies according to the demands of the repertoire. While the Camerata is known for performing primarily unaccompanied repertoire, it has also performed accompanied repertoire, employing the services of the Oxford Camerata Instrumental Ensemble (founded 1992) and the Oxford Camerata Baroque Orchestra (founded 2007).

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

A Requiem (Latin: rest) or Requiem Mass, also known as Mass for the dead (Latin: Missa pro defunctis) or Mass of the dead (Latin: Missa defunctorum), is a Mass of the Catholic Church offered for the repose of the souls of the deceased, using a particular form of the Roman Missal. It is usually celebrated in the context of a funeral (where in some countries it is often called a Funeral Mass). Musical settings of the propers of the Requiem Mass are also called Requiems, and the term has subsequently been applied to other musical compositions associated with death, dying, and mourning, even when they lack religious or liturgical relevance. The term is also used for similar ceremonies outside the Catholic Church, especially in Western Rite Orthodox Christianity, the Anglo-Catholic tradition of Anglicanism, and in certain Lutheran churches. A comparable service, with a wholly different ritual form and texts, exists in the Eastern Orthodox and Eastern Catholic churches as well as some Methodist churches. The Mass and its settings draw their name from the introit of the liturgy, which begins with the words Requiem aeternam dona eis, Domine (Latin for "Eternal rest grant them, O Lord"), which is cited from 2 Esdras 2:34-35 — requiem is the accusative singular form of the Latin noun requies, "rest, repose". The Roman Missal as revised in 1970 employs this phrase as the first entrance antiphon among the formulas for Masses for the dead, and it remains in use to this day.

A Requiem (Latin: rest) or Requiem Mass, also known as Mass for the dead (Latin: Missa pro defunctis) or Mass of the dead (Latin: Missa defunctorum), is a Mass of the Catholic Church offered for the repose of the souls of the deceased, using a particular form of the Roman Missal. It is usually celebrated in the context of a funeral (where in some countries it is often called a Funeral Mass). Musical settings of the propers of the Requiem Mass are also called Requiems, and the term has subsequently been applied to other musical compositions associated with death, dying, and mourning, even when they lack religious or liturgical relevance. The term is also used for similar ceremonies outside the Catholic Church, especially in Western Rite Orthodox Christianity, the Anglo-Catholic tradition of Anglicanism, and in certain Lutheran churches. A comparable service, with a wholly different ritual form and texts, exists in the Eastern Orthodox and Eastern Catholic churches as well as some Methodist churches. The Mass and its settings draw their name from the introit of the liturgy, which begins with the words Requiem aeternam dona eis, Domine (Latin for "Eternal rest grant them, O Lord"), which is cited from 2 Esdras 2:34-35 — requiem is the accusative singular form of the Latin noun requies, "rest, repose". The Roman Missal as revised in 1970 employs this phrase as the first entrance antiphon among the formulas for Masses for the dead, and it remains in use to this day.

Officium Defunctorum is a musical setting of the Office of the Dead composed by the Spanish Renaissance composer Tomás Luis de Victoria in 1605. The texts have also been set by other composers including Morales. Victoria includes settings of the movements of the Requiem Mass, accounting for about 26 minutes of the 42 minute composition, and the work is sometimes referred to as Victoria's Requiem. However, it is not his only requiem; in 1583, Victoria composed and published a book of Masses, reprinted in 1592, including a Missa pro defunctis for four-part choir.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

The Queen of Sheba, named Bilqis in Arabic and Makeda in Geʽez, is a figure first mentioned in the Hebrew Bible. In the original story, she brings a caravan of valuable gifts for Solomon, the fourth King of Israel and Judah. This account has undergone extensive elaborations in Judaism, Ethiopian Christianity, and Islam. It has consequently become the subject of one of the most widespread and fertile cycles of legends in West Asia and Northeast Africa, as well as in other regions where the Abrahamic religions have had a significant impact. Modern historians and archaeologists identify Sheba as one of the South Arabian kingdoms, which existed in modern-day Yemen. However, because no trace of her has ever been found, the Queen of Sheba's existence is disputed among historians.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

O magnum mysterium is a responsorial chant from the Matins of Christmas.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

The Vienna Boys' Choir (German: Wiener Sängerknaben) is a choir of boy sopranos and altos based in Vienna, Austria. It is one of the best known boys' choirs in the world. The boys are selected mainly from Austria, but also from many other countries. The choir is a private, non-profit organization. There are approximately 100 choristers between the ages of nine and fourteen. The boys are divided into four touring choirs, named after Austrian composers Bruckner, Haydn, Mozart and Schubert, which combined perform about 300 concerts each year before almost 500,000 people. Each group tours for about nine to eleven weeks. Some pieces include "Good Morning" and "Merry Christmas from Vienna Boys".

"O sacrum convivium" is a Latin prose text honoring the Blessed Sacrament. It is included as an antiphon to the Magnificat in the vespers of the liturgical office on the feast of Corpus Christi. The text of the office has been attributed to Saint Thomas Aquinas. Its sentiments express the profound affinity of the Eucharistic celebration, described as a banquet, to the Paschal mystery : "O sacred banquet at which Christ is consumed, the memory of his Passion is recalled, our souls are filled with grace, and the pledge of future glory is given to us."

"O sacrum convivium" is a Latin prose text honoring the Blessed Sacrament. It is included as an antiphon to the Magnificat in the vespers of the liturgical office on the feast of Corpus Christi. The text of the office has been attributed to Saint Thomas Aquinas. Its sentiments express the profound affinity of the Eucharistic celebration, described as a banquet, to the Paschal mystery : "O sacred banquet at which Christ is consumed, the memory of his Passion is recalled, our souls are filled with grace, and the pledge of future glory is given to us."

O vos omnes is a responsory, originally sung as part of Roman Catholic liturgies for Holy Week, and now often sung as a motet. The text is adapted from the Latin Vulgate translation of Lamentations 1:12. It was often set, especially in the sixteenth century, as part of the Tenebrae Responsories for Holy Saturday. Some of the most famous settings of the text are by: Tomás Luis de Victoria (two settings for four voices: 1572 and 1585) Carlo Gesualdo (five voices: 1603; six voices: 1611) Pablo Casals (mixed choir: 1932)

Holy Week (Koine Greek: Ἁγία καὶ Μεγάλη Ἑβδομάς, romanized: Hagía kaì Megálē Hebdomás, lit. 'Holy and Great Week') commemorates the seven days leading up to Easter. It begins with the commemoration of Christ's triumphal entry into Jerusalem on Palm Sunday, marks the betrayal of Jesus on Spy Wednesday (Holy Wednesday), climaxing with the commemoration of the Last Supper on Maundy Thursday (Holy Thursday) and the Passion of Jesus on Good Friday (Holy Friday). Holy Week concludes with Christ's death and descent into hell on Holy Saturday. For all Christian traditions, it is a moveable observance. In Eastern Christianity, which also calls it Great Week, it is the week following Great Lent and Lazarus Saturday, starting on the evening of Palm Sunday and concluding on the evening of Great Saturday. In Western Christianity, Holy Week is the sixth and last week of Lent, beginning with Palm Sunday and concluding on Holy Saturday. Christians believe that Jesus rested in death from the ninth hour (3 pm) on Good Friday until just before dawn on Sunday morning, the day of his resurrection from death, known as Easter Sunday. However, in 1 Peter 3:19, there may be a clue as to a task Jesus performed during this period between death and resurrection: "By which also he went and preached unto the spirits in prison." This marks the beginning of the season of Eastertide, with its first week being known as Easter Week (or Bright Week). Holy Week liturgies generally attract the largest crowds of the year. Many Christian cultures have different traditions such as special liturgies or services, floats, sculptures or live reenactments of Christ's life, his arrest and crucifixion (also called the Lord's Passion or Passion of Jesus); the latter are known as Passion Plays, which are often interdenominational productions. In Eastern Rite Churches there are also many means to commemorate the Great Feasts and emphasize the theme of resurrection.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Popule meus (My people) is a motet for Good Friday by Tomás Luis de Victoria. He set a liturgical text from the Improperia, which contains the Greek-Latin Trisagion, prescribed for use in the Catholic responsory for Good Friday. It begins "Popule meus, quid feci tibi?" (My people, what have I done to you?). The composition, scored for four voices, SATB, was published in Rome in 1585 in Officium Hebdomadae Sanctae (Office of the Holy Week).

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

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.

"Regina caeli" (Ecclesiastical Latin: [reˈdʒina ˈtʃeli]; Queen of Heaven) is a musical antiphon addressed to the Blessed Virgin Mary that is used in the liturgy of the Roman Rite of the Catholic Church during the Easter season, from Easter Sunday until Pentecost. During this season, it is the Marian antiphon that ends Compline (Night Prayer) and it takes the place of the traditional thrice-daily Angelus prayer. In the past, the spelling Regina coeli was sometimes used, but this spelling is no longer found in official liturgical books.

The "Salve Regina" ( SAL-vay rə-JEE-nə, Ecclesiastical Latin: [ˈsalve reˈdʒina]; meaning "Hail Queen"), also known as the "Hail Holy Queen", is a Marian hymn and one of four Marian antiphons sung at different seasons within the Christian liturgical calendar of the Catholic Church. The Salve Regina is traditionally sung at Compline in the time from the Saturday before Trinity Sunday until the Friday before the first Sunday of Advent. The Hail Holy Queen is also the final prayer of the Rosary. The work was composed during the Middle Ages and originally appeared in Latin, the prevalent language of Western Christianity until modern times. Though traditionally ascribed to the eleventh-century German monk Hermann of Reichenau, as well as to Bernard of Clairvaux, Peter of Compostela and Adhemar of Le Puy, among others, it is regarded as anonymous by most musicologists. Traditionally it has been sung in Latin, though many translations exist. These are often used as spoken prayers.

The "Salve Regina" ( SAL-vay rə-JEE-nə, Ecclesiastical Latin: [ˈsalve reˈdʒina]; meaning "Hail Queen"), also known as the "Hail Holy Queen", is a Marian hymn and one of four Marian antiphons sung at different seasons within the Christian liturgical calendar of the Catholic Church. The Salve Regina is traditionally sung at Compline in the time from the Saturday before Trinity Sunday until the Friday before the first Sunday of Advent. The Hail Holy Queen is also the final prayer of the Rosary. The work was composed during the Middle Ages and originally appeared in Latin, the prevalent language of Western Christianity until modern times. Though traditionally ascribed to the eleventh-century German monk Hermann of Reichenau, as well as to Bernard of Clairvaux, Peter of Compostela and Adhemar of Le Puy, among others, it is regarded as anonymous by most musicologists. Traditionally it has been sung in Latin, though many translations exist. These are often used as spoken prayers.

The "Salve Regina" ( SAL-vay rə-JEE-nə, Ecclesiastical Latin: [ˈsalve reˈdʒina]; meaning "Hail Queen"), also known as the "Hail Holy Queen", is a Marian hymn and one of four Marian antiphons sung at different seasons within the Christian liturgical calendar of the Catholic Church. The Salve Regina is traditionally sung at Compline in the time from the Saturday before Trinity Sunday until the Friday before the first Sunday of Advent. The Hail Holy Queen is also the final prayer of the Rosary. The work was composed during the Middle Ages and originally appeared in Latin, the prevalent language of Western Christianity until modern times. Though traditionally ascribed to the eleventh-century German monk Hermann of Reichenau, as well as to Bernard of Clairvaux, Peter of Compostela and Adhemar of Le Puy, among others, it is regarded as anonymous by most musicologists. Traditionally it has been sung in Latin, though many translations exist. These are often used as spoken prayers.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

The Tenebrae Responsories by Tomás Luis de Victoria are a group of eighteen motets for four voices a cappella. The late Renaissance Spanish composer set them for Holy Week, specifically for the Triduum of Maundy Thursday, Good Friday and Holy Saturday. They use liturgical texts and were published in Rome in 1585. The eighteen Tenebrae Responsories are set for four voices each but with a varying disposition of the voices soprano (S), alto (A), tenor (T) and bass (B). Soprano, tenor and bass are at times divided. Six responsories are dedicated to each Matins of Maundy Thursday ("coena Domini", the Lord's supper), Good Friday, and Holy Saturday ("Sabbato Sancto"). Feria V in coena Domini ad Matutinum 1. Amicus meus – SATB 2. Judas, mercador pessimus – SSAT (also TTBB) 3. Unus ex discipulis – SATB 4. Eram quasi agnus – SATB 5. Una hora – SSAT (also TTBB) 6. Seniores populi – SATB Feria VI in parasceve ad Matutinum 7. Tamquam ad latronem – SATB 8. Tenebrae factae sunt – TTBB (also SSAT) 9. Animam meam dilectam – SATB 10. Tradiderunt me – SATB 11. Jesum tradidit impius – SSAT 12. Caligaverunt oculi mei – SATB Sabbato Sancto ad Matutinum 13. Recessit pastor noster – SATB 14. O vos omnes – SSAT (also SATB, TTBB) 15. Ecce quomodo moritur justus – SATB 16. Astiterunt reges – SATB 17. Aestimatus sum – TTBB (and SSAT) 18. Sepulto Domino – SATB

The Tenebrae Responsories by Tomás Luis de Victoria are a group of eighteen motets for four voices a cappella. The late Renaissance Spanish composer set them for Holy Week, specifically for the Triduum of Maundy Thursday, Good Friday and Holy Saturday. They use liturgical texts and were published in Rome in 1585. The eighteen Tenebrae Responsories are set for four voices each but with a varying disposition of the voices soprano (S), alto (A), tenor (T) and bass (B). Soprano, tenor and bass are at times divided. Six responsories are dedicated to each Matins of Maundy Thursday ("coena Domini", the Lord's supper), Good Friday, and Holy Saturday ("Sabbato Sancto"). Feria V in coena Domini ad Matutinum 1. Amicus meus – SATB 2. Judas, mercador pessimus – SSAT (also TTBB) 3. Unus ex discipulis – SATB 4. Eram quasi agnus – SATB 5. Una hora – SSAT (also TTBB) 6. Seniores populi – SATB Feria VI in parasceve ad Matutinum 7. Tamquam ad latronem – SATB 8. Tenebrae factae sunt – TTBB (also SSAT) 9. Animam meam dilectam – SATB 10. Tradiderunt me – SATB 11. Jesum tradidit impius – SSAT 12. Caligaverunt oculi mei – SATB Sabbato Sancto ad Matutinum 13. Recessit pastor noster – SATB 14. O vos omnes – SSAT (also SATB, TTBB) 15. Ecce quomodo moritur justus – SATB 16. Astiterunt reges – SATB 17. Aestimatus sum – TTBB (and SSAT) 18. Sepulto Domino – SATB

Psalm 137 is the 137th psalm of the Book of Psalms, beginning in English in the King James Version: "By the rivers of Babylon, there we sat down". 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 136. In Latin, it is known by the incipit, "Super flumina Babylonis". The psalm is a communal lament about remembering Zion, and yearning for Jerusalem while dwelling in exile during the Babylonian captivity. The psalm forms a regular part of liturgy in Jewish, Eastern Orthodox, Catholic, Lutheran, Anglican and other Protestant traditions. It has often been set to music and paraphrased in hymns.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

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.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

The Te Deum (Op. 22 / H.118) by Hector Berlioz (1803–1869) was completed in 1849. Like the earlier and more famous Grande Messe des Morts, it is one of the works referred to by Berlioz in his Memoirs as "the enormous compositions which some critics have called architectural or monumental music." While the orchestral forces required for the Te Deum are not as titanic as those of the Requiem, the work calls for an organ that can compete on equal terms with the rest of the orchestra. It lasts approximately fifty minutes and derives its text from the traditional Latin Te Deum, although Berlioz changed the word order for dramatic purposes.

The Tenebrae Responsories by Tomás Luis de Victoria are a group of eighteen motets for four voices a cappella. The late Renaissance Spanish composer set them for Holy Week, specifically for the Triduum of Maundy Thursday, Good Friday and Holy Saturday. They use liturgical texts and were published in Rome in 1585. The eighteen Tenebrae Responsories are set for four voices each but with a varying disposition of the voices soprano (S), alto (A), tenor (T) and bass (B). Soprano, tenor and bass are at times divided. Six responsories are dedicated to each Matins of Maundy Thursday ("coena Domini", the Lord's supper), Good Friday, and Holy Saturday ("Sabbato Sancto"). Feria V in coena Domini ad Matutinum 1. Amicus meus – SATB 2. Judas, mercador pessimus – SSAT (also TTBB) 3. Unus ex discipulis – SATB 4. Eram quasi agnus – SATB 5. Una hora – SSAT (also TTBB) 6. Seniores populi – SATB Feria VI in parasceve ad Matutinum 7. Tamquam ad latronem – SATB 8. Tenebrae factae sunt – TTBB (also SSAT) 9. Animam meam dilectam – SATB 10. Tradiderunt me – SATB 11. Jesum tradidit impius – SSAT 12. Caligaverunt oculi mei – SATB Sabbato Sancto ad Matutinum 13. Recessit pastor noster – SATB 14. O vos omnes – SSAT (also SATB, TTBB) 15. Ecce quomodo moritur justus – SATB 16. Astiterunt reges – SATB 17. Aestimatus sum – TTBB (and SSAT) 18. Sepulto Domino – SATB

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

The Tenebrae Responsories by Tomás Luis de Victoria are a group of eighteen motets for four voices a cappella. The late Renaissance Spanish composer set them for Holy Week, specifically for the Triduum of Maundy Thursday, Good Friday and Holy Saturday. They use liturgical texts and were published in Rome in 1585. The eighteen Tenebrae Responsories are set for four voices each but with a varying disposition of the voices soprano (S), alto (A), tenor (T) and bass (B). Soprano, tenor and bass are at times divided. Six responsories are dedicated to each Matins of Maundy Thursday ("coena Domini", the Lord's supper), Good Friday, and Holy Saturday ("Sabbato Sancto"). Feria V in coena Domini ad Matutinum 1. Amicus meus – SATB 2. Judas, mercador pessimus – SSAT (also TTBB) 3. Unus ex discipulis – SATB 4. Eram quasi agnus – SATB 5. Una hora – SSAT (also TTBB) 6. Seniores populi – SATB Feria VI in parasceve ad Matutinum 7. Tamquam ad latronem – SATB 8. Tenebrae factae sunt – TTBB (also SSAT) 9. Animam meam dilectam – SATB 10. Tradiderunt me – SATB 11. Jesum tradidit impius – SSAT 12. Caligaverunt oculi mei – SATB Sabbato Sancto ad Matutinum 13. Recessit pastor noster – SATB 14. O vos omnes – SSAT (also SATB, TTBB) 15. Ecce quomodo moritur justus – SATB 16. Astiterunt reges – SATB 17. Aestimatus sum – TTBB (and SSAT) 18. Sepulto Domino – SATB

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

The Vienna Boys' Choir (German: Wiener Sängerknaben) is a choir of boy sopranos and altos based in Vienna, Austria. It is one of the best known boys' choirs in the world. The boys are selected mainly from Austria, but also from many other countries. The choir is a private, non-profit organization. There are approximately 100 choristers between the ages of nine and fourteen. The boys are divided into four touring choirs, named after Austrian composers Bruckner, Haydn, Mozart and Schubert, which combined perform about 300 concerts each year before almost 500,000 people. Each group tours for about nine to eleven weeks. Some pieces include "Good Morning" and "Merry Christmas from Vienna Boys".

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.

List of Catholic Church musicians is a list of people who perform or compose Catholic music, a branch of Christian music. Names should be limited to those whose Catholicism affected their music and should preferably only include those musicians whose works have been performed liturgically in a Catholic service, or who perform specifically in a Catholic religious context.

Veni Sancte Spiritus ("Come, Holy Spirit"), sometimes called the "Golden Sequence" (Latin: Sequentia Aurea), is a sequence sung in honour of God the Holy Spirit, prescribed in the Roman Rite for the Masses of Pentecost Sunday. It is usually attributed to either the 13th-century Pope Innocent III, or to the Archbishop of Canterbury, Stephen Langton, among others. Veni Sancte Spiritus is one of only four medieval sequences which were incorporated into the Liturgy of the Roman Curia – a Roman carryover from the pre-Tridentine Mass celebrated before the standardisations by the Council of Trent (1545–63). It is therefore found in editions of the Roman Missal published in 1570; before the Tridentine Missal, many feasts also had their own sequences. Today, it is still sung or recited at Mass on Pentecost, generally before the Gospel reading.

Veni Sancte Spiritus ("Come, Holy Spirit"), sometimes called the "Golden Sequence" (Latin: Sequentia Aurea), is a sequence sung in honour of God the Holy Spirit, prescribed in the Roman Rite for the Masses of Pentecost Sunday. It is usually attributed to either the 13th-century Pope Innocent III, or to the Archbishop of Canterbury, Stephen Langton, among others. Veni Sancte Spiritus is one of only four medieval sequences which were incorporated into the Liturgy of the Roman Curia – a Roman carryover from the pre-Tridentine Mass celebrated before the standardisations by the Council of Trent (1545–63). It is therefore found in editions of the Roman Missal published in 1570; before the Tridentine Missal, many feasts also had their own sequences. Today, it is still sung or recited at Mass on Pentecost, generally before the Gospel reading.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

The vexillum (; pl.: vexilla) was a flag-like object used as a military standard by units in the Roman army. A common vexillum displayed imagery of the Roman aquila on a reddish backdrop.

Asperges me is a Latin antiphon said or sung at a Roman Catholic High Mass in all seasons except the Easter (Paschal) season and Palm Sunday. It traditionally accompanies the Asperges, the ritual sprinkling of the congregation by the celebrating priest with holy water, as part of an entrance ritual, symbolising the cleansing of the people. Its words are taken from Psalm 51 (50): It is followed by the conventional doxology (except on the first Sunday of Passiontide): It is not uncommon for the priest to pause sprinkling at the Gloria Patri, then bow towards the Tabernacle out of reverence for the Holy Trinity. He then resumes as the antiphon is recited a second time. From Easter until Pentecost, Asperges me is replaced by the more lengthy and florid antiphon, Vidi aquam. Although usually sung to plainchant, Asperges Me has been set to music; two well-known examples are those by Gilles Binchois (Bologna, International museum and library of music, Ms Q15) and Tomás Luis de Victoria.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.