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n. pl.1.(Mus.) A series of antiphons and responses, expressing the sorrowful remonstrance of our Lord with his people; - sung on the morning of the Good Friday in place of the usual daily Mass of the Roman ritual.
Webster's Revised Unabridged Dictionary, published 1913 by G. & C. Merriam Co.
References in periodicals archive ?
Jan Ryant Drizal: The Tree of Life; Jan Fila: Improperia for organ, bass, strings and percussion; Daniel Chudovsky: Mohenjo-daro and Harappa; Sona Vetcha: A Dream (world premieres).
The author finds a similar connection between musical style and purported anti-Semitic content embedded in Palestrina's musical setting of another highly charged text: Jesus's reproaches to the Jews in the Improperia sung as part of the Good Friday liturgy (1560).
Nor does she suggest that the music (as distinct from the words) of the Palestrina's Improperia was perceived by participants in the Good Friday service in the Sistine Chapel as conveying, through its chordal simplicity, any idea of Christian exclusion of Jewish noise.
21) derived from a stanza in "Flete, fideles anime" (18) and of a piece with the Improperia, only recently banned from the Good Friday service.
(2) They are compositions connected with the so-called Improperia tradition.
Scholars have pointed out the extraordinary diffusion of the Improperia compositions in Syriac, Greek, and Latin liturgical usage; in patristic writers such as Aphrahat, Ephrem of Nineveh, Jacob of Serugh, Melito of Sardis, Cyril of Jerusalem, Asterius Sophistes, Romanos the Melodist, Pseudo-Cyprian (the author of Adversus Iudaeos); in the sermon "On the Soul and the Body" ascribed to Alexander of Alexandria and preserved only in Coptic; in New Testament Apocrypha such as the Acts of Pilate, the Acts of Thomas, and the Gospel of Bartholomew.
Among the most difficult judgments for those planning Good Friday liturgies is whether to use the so-called "Reproaches," a litany of accusations placed on the lips of Jesus and directed at "his people." Also called the Improperia, the reproaches are part of the rite for the veneration of the cross.
Sbity white candles were first distributed between members of the six scuole grandi; five of the six scuole headed the procession,(23) followed by the clergy of St Mark's, and the cappella cantorum split into two groups.(24) When the bier carrying the Host reached the door of the sacristy one choir sang the invitatory |Venite et ploremus' as the congregation knelt, answered by the second choir with the opening verse of the Improperia |Popule meus' as the congregation rose to continue the procession.
Sections of the Improperia which were specified in the St Mark's use to be sung during the procession to the Sepulchre on the afternoon of Good Friday were performed by Venetian churches and monasteries in their rituals.
Instead the book contains a setting of the hymn Ave maris stella--unusually, of all seven verses--and a multipartite Improperia, as well as the sequence-motet Inviolata, Integra et casta es, Maria, in which Werrecore, like most sixteenth-century imitators, follows Josquin Desprez in dividing the text into three sections.
At first, the idealization and imitation of Palestrina were based on a surprisingly sparse acquaintance with his music; until the middle of the nineteenth century, few musicians knew more than three of his works: the Stabat mater, the Improperia, and the Missa Papae Marcelli.
In the final chapter, Mellers turns to Mompou's choral music for the Catholic Church, notably the Cantar del alma (1961), Improperia (1964), and Vida interior (1966), and concludes with a discussion of the composer's collection of piano pieces called Musica Callada (1959--67).