Throughout the Middle Ages Mary was a focal point for meditation and prayer.
Because she had been human herself, she was pre-eminently able to understand
human shortcomings and weaknesses. At the same time, by having conceived and
borne the Son of God while retaining her virginity, she was a human being in
close contact with the divine. For medieval man the combination of divinity
and humanity was one f the most appealing of Mary's characteristics.
Mary was invokes as a 'mediatrix', a mediator between man and God, and as 'advocata',
an advocate pleading or man with God.
| 1. | Danza Maria pia (instrumental) | ||
| 2. | Laet ons mit hogher vrolicheit MS Utrecht, ca. 1480 |
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| 3. | Edi be thu (song) end 13th century | ||
| 4. | Dance tune (instrumental) ca. 1270 | ||
| 5. | Salve Regina (antiphon) 11th century | ||
| 6. | Santa Maria, strela do dia Cantiga de Santa Maria, ca. 1270 |
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| 7. | Gaudeamus omnes in Domino (introitus) 9th century | ||
| 8. | Quen bõa dona querrá Cantiga de Santa Maria |
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| 9. | O divina virgo fiore (lauda, instrumental) ca. 1340 |
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| 10. | Or piangiamo ché piange Maria (lauda) Firenze, BR 18 |
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| 11. | Estampida splendida (instrumental) Llibre Vermell, Bibl Monts. ms 1 |
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| 12. | Mariam matrem Llibre Vermell, Bibl Monts. ms 1 |
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| 13. | Royne celestre (lai) Gautier de Coinci (1277-1326) |
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| 14. | La quarte estampie Royale ca. 1280 | ||
| 15. | Maria virgo virginum (motet) cirle of Philippe de Vitry (1291-1361) |
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| 16. | Ave generosa (hymn) | ||
| 17. | Ave Maria gratia plena (antiphon) after 930 |
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| 18. | Bassa danza sopra Salve Regina (improvisation) ca. 1450 |
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| 19. | Verbum bonum et suave (Mariasequence) ca. 1445 |