Divine Music Free Download
Septimio Sallah
Grammy-Winning Experiential Orchestra and collaborators Artefact Ensemble bring their acclaimed interpretation of the music of Arvo Pärt to New York for the first time since their two sold-out concerts of the music of Arvo Pärt at the Metropolitan Museum of Art in 2021.
This concert will be performed as an offering for peace and healing in the world.
Join the Cathedral's Friends of Music and meet other dedicated and generous music lovers who partner with us to help produce these splendid concerts. Friends of Music may enjoy exquisite benefits across the Cathedral's music programming, including pre- and post-concert talks and receptions, and complementary passes to special events.
Organist Jacob Gruss is a third-year undergraduate at the Juilliard School in New York City studying in the studio of Paul Jacobs. A native of Pittsburgh, PA, Jacob was fortunate to develop his musical interest through generous teachers and prominent church music positions. In high school, Jacob was Director of Music at Otterbein United Methodist Church (Greensburg), Assistant Organist at Blessed Sacrament Cathedral (Greensburg), and Sacred Music Intern at St. Bernard Church (Mt. Lebanon). Jacob recently completed a two-year music intern position at Hitchcock Presbyterian Church in Scarsdale, NY. Currently, he serves as Organ Scholar at the Cathedral of St. John the Divine in New York City. Jacob placed first in the Westmorland Symphony Orchestra's Young Artist Competition, and first in the Cassel Competition sponsored by the Harrisburg AGO. Additionally, he placed second in the 2023 AGO Quimby Northeast Regional Competition.
Ruston Ropac holds an MM degree in Contemporary Performance from the Manhattan School of Music, where she studied with Lucy Shelton, and sang with the contemporary chamber ensemble Tactus and the MSM Chamber Choir under Kent Tritle and Dr. Ronald Oliver. Before joining the music staff at the Cathedral of St. John the Divine, she held administrative positions with Barrett Artists Management and the Amateur Astronomers Association of New York. She is a native of Southern California, where she received her BM degree in vocal performance and music composition at the University of Redlands.
A passionate advocate for new music, Ruston brings her dynamic soprano voice to the concert hall, chamber music, contemporary opera, and beyond. She has performed as a soloist with the Albany Symphony and its contemporary chamber orchestra, Dogs of Desire, and with the National Sawdust Ensemble in its Blueprint concert series. She is the vocalist of the NYC-based BlackBox Ensemble, and performed as soloist on the ensemble's debut recording Elegy. Ruston has sung the world premieres of over thirty new works of chamber music, and created the lead role of the Princess in Jed Bolipata's operatic comedy The Wages of Sin.
In addition to her work in contemporary music, Ruston is the vocalist of Four and Twenty Strings, Long Island's premier early music ensemble, and recently sang as a Messiah soloist with St. John's Lutheran Church in Stamford, Connecticut. She has made concert appearances with the chamber music commissioning project Shrew Brew, the Bach Collegium Choir of Saint Peter's Church, Ember Choral Ensemble, Melodia Women's Choir, and as a member of the New York Philharmonic Chorus.
That same year, Divine decided to get back in contact with his estranged parents. His mother had learned of his cinematic and disco career after reading an article about the films of John Waters in Life magazine, and had gone to see Female Trouble at the cinema, but had not felt emotionally able to get back in contact with her son until 1981. She got a friend to hand Divine a note at one of his concerts, leading Divine to telephone her, and the family was subsequently reunited.[95] The relationship was mended, and Divine bought them lavish gifts and informed them of how wealthy he was. In fact, according to his manager Bernard Jay, he was already heavily in debt due to his extravagant spending.[96] In 1982, he then joined forces with young American composer Bobby Orlando, who wrote a number of Hi-NRG singles for Divine, including "Native Love (Step By Step)", "Shoot Your Shot", and "Love Reaction". To help publicize these singles, which proved to be successful in many discos across the world, Divine went on television shows like Good Morning America, as well as on a series of tours in which he combined his musical performances with comedic stunts and routines that often played up to his characters' stereotype of being "trashy" and outrageous.[97][98] Throughout the rest of the 1980s, Divine took his musical performances on tour across the world, attaining a particularly large following in Europe.[99][100]
Divine's final film role was in the low-budget comedy horror Out of the Dark, filmed and produced in Los Angeles with the same crew as Lust in the Dust. Appearing in only one scene within the film, he played the character of Detective Langella, a foul-mouthed policeman investigating the murders of a killer clown. Out of the Dark was released the year after Divine's death.[113] Divine had become a well-known celebrity throughout the 1980s, appearing on American television chat shows such as Late Night with David Letterman, Thicke of the Night, and The Merv Griffin Show to promote both his music and his film appearances. Divine-themed merchandise was produced, including greeting cards and The Simply Divine Cut-Out Doll Book. Portraits of Divine were painted by several famous artists, including David Hockney and Andy Warhol, both of whom were known for their works which dealt with popular culture.[114]
After developing a name for himself as a female impersonator known for "trashy" behavior in his early John Waters films, Divine capitalized on this image by appearing at his musical performances in his drag persona. In this role, he was described by his manager Bernard Jay, as displaying "Trash. Filth. Obscenity. In bucket-loads".[125] Divine described his stage performances as "just good, dirty fun, and if you find it offensive, honey, don't join in."[124] As a part of his performance, he constantly swore at the audience, often using his signature line of "fuck you very much." Excited audience members would frequently come onstage, where he would fondle their buttocks, groins, and breasts, to the approval of the audience.[126] Divine and his stage act proved particularly popular among gay audiences, and he appeared at some of the world's biggest gay clubs, such as Central London's Heaven. According to Divine's manager Bernard Jay, this was not because Divine himself was gay, but because the gay community "openly and proudly identified with the determination of the female character Divine".[127]
Divine has left an influence on a number of musicians. During the mid-1980s, the androgynous performer Sylvester decorated the powder room of his San Francisco home with Divine memorabilia.[66] Anohni of the band Antony and the Johnsons wrote a song about Divine which was included in the group's self-titled debut album, released in 1998. The song, titled "Divine", was an ode to the actor, who was one of Anohni's lifelong heroes. Her admiration is expressed in the lines: "He was my self-determined guru" and "I turn to think of you/Who walked the way with so much pain/Who holds the mirror up to fools."[152] In 2008, Irish electronic singer Róisín Murphy paid homage to Divine in the music video for her song "Movie Star" by reenacting the attack by Lobstora from Multiple Maniacs.[153]
Divine was an inspiration for Ursula the Sea Witch, the villain in the 1989 Disney animated film The Little Mermaid.[154] Due to Divine's portrayal of Edna Turnblad in the original comedy-film version of Hairspray, later musical adaptations of Hairspray have commonly placed male actors in the role of Edna, including Harvey Fierstein and others in the 2002 Broadway musical, and John Travolta in the 2007 musical film. A twelve-foot-tall (3.7-meter) statue in the likeness of Divine by Andrew Logan can be seen on permanent display at The American Visionary Art Museum in Divine's hometown of Baltimore.[155]I Am Divine, a feature documentary on the life of Divine, was premiered at the 2013 South by Southwest film festival, and had its Baltimore premiere within Maryland Film Festival. It is produced and directed by Jeffrey Schwarz of the Los Angeles-based production company Automat Pictures.[citation needed] In August 2015, a play based on the final day of Divine's life, Divine/Intervention, was performed at the New York Fringe Festival.[156]
This website contains more than 6000 pages of Byzantine music in Western and Byzantine notation in the style of chanting used on the Holy Mountain. The scope of this project covers the liturgies of St. John Chrysostom, St. Basil the Great, St. James, and the Liturgy of the Presanctified Gifts, as well as various doxologies, and hymns for Vespers, Orthros the Mysteries, and the Menaion. The words of the hymns are provided in Elizabethan English, Modern English, and Greek.
Unlike the fifth-century Roman theorist Boethius, the great classical source for medieval theory, Augustine never directly discussed harmonics. His concern in De Musica was the mathematics of poetic rhythm rather than the divisions of vibrating strings. Yet the problem of higher-order numbers forced itself upon the fifteenth century through musical practice, when musicians began to alter the natural harmonic intervals to suit the requirements of the emerging tonal system.
The contrast of tonic and dominant as individual melodic tones underlies modal and pentatonic folk music as much as it does Western tonal music. But the emerging musical art of the West found a way to prolong this procession of tones by making the dominant (and other tones) into temporary tonics. Once composers learned to create distance from the tonic, they could also prolong intermediate tonics, and add new layers of complexity to musical teleology. Delayed resolution made it possible to evoke suspense, longing, reverence, and even humor. Once composers learned to create long-range expectations of tonal resolution, they gained the freedom to manipulate these expectations to produce a palette of affects. The plasticity of musical time made possible by tonality, and the perception of the passage of time at multiple levels, gave Western music the capacity to evoke a sense of the sacred.
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