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Angel of the Day

psPast Life Reading

      Your angels can help you remember your past lives. By understanding the journey that your soul has made, you can help yourself heal from emotional, spiritual, and physical wounds.

Past Life Reading contains:

        Your past; Your path;
        Previous incarnation; Your lessons.

Reading length: approx 11 pages.

Price: $14.90

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Archangel

Archangels Reading

      A complete reading about your life covering a period of a year, between two birthdays. Find out what is out there for you: opportunities, dangers and how to avoid them, how to improve yourself and your relations.

Archangels Reading contains:

      Prevision for a year (between two birthdays)
      Important events of the year
      Message from your Guardian Angel

Reading length: approx 20 pages.

Price: $19.90

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Angel Card

      A divine message form the Angel of the moment. Please wait 5 minutes before asking the next question. Every Angel rules approximately 5 minutes of the day (after 6 hours they repeat). Don’t abuse the Angel Oracle.

How to do it

  1. Clear your mind.
  2. Think about your question.
  3. Click on the picture.

The answer will be revealed for you.

Your Angels

Your Angels

Contains: the Incarnation Angel (with description), the Heart Angel and the Intellect Angel.

Price: $9.95

Love Reading

Love Reading

Contains: your current situation regarding your love life, marriage, hidden things, attitude and future.

Price: $9.95

Career Reading

Job Career Reading

Contains: your current situation, business partnership, your career, attitude and future.

Price: $9.95

Music, ANGELS IN

Angels have often been represented singing or playing harps, trumpets, or lutes. It is not usually difficult to recognize angels in the visual arts, even when they lack wings, but it is sometimes difficult to detect them in music, unless a direct allusion is provided by the words.

Although angel voices abound in Christmas hymns and carols, such as “Hark the Herald Angels Sing,” for the most part historical knowledge is essential in order to recognize angels in music (independent of lyrics). This issue is discussed in some musicological literature, although more often in connection with bad angels than with good ones. Evil often seems to be more compelling than good, making the Devil seem more interesting than God.

Reinhold Hammerstein, for example, in his Diabolus in Musica a German study of the iconography of medieval music, focuses on bad angels. One of the basic ways of alluding to them musically is through the use of what he calls pervertierte instru- mente. One “perverts” an instrument to produce, for instance, a horrible cacophony. When this is set beside a beautifully harmonious musical sequence, the contrast, along with minimal verbal help either from the title or from an advance interpretation in the published program, forms a pointer.

In Robert Schumann’s Faust (first performed in 1862) it is possible to detect an evil angel taunting Gretschen in church. Then, in the epilogue, after she is transported to heaven, we can hear choirs of the good angels singing. Krzysztof Penderecki, in his Dies Irae (1978) seeks to present a hideous vision of hell on earth in which Satan and his hosts have descended to show us the nature of their terrible evil power. We can hear the lamentations of the damned and the vicious shrieks of their masters. In medieval mythology the Devil was supposed to leave an indescribably hideous stench behind him. In Penderecki’s music one can almost smell his stench rising through the lamentations in this foretaste of hell.

In Gustav Mahler’s Fourth Symphony (1892, rev. 1901-10)), a soprano angel sings, in an almost childlike way, a celebration of celes tial joy. Mahler also uses angel motifs in his second and third symphonies. Frederic Massenet, in Le Jongleur de Notre-Dame (1902), presents moving musical imagery of good angels carrying to heaven the soul of a humble and devout man who is a juggler by trade and has offered his juggling, all that he has, to God. In Franz Liszt’s Dante Symphony (1855-56), we can hear the angelic voices in the ninth heaven, to which Beatrice has guided Dante in the twenty-seventh canto of the Paradiso, after he has heard St. Peter bitterly rebuking his successors in the apostolic chair for avarice and power mania.

We know to expect circling angels ecstatically singing the praises of God. Very different is the Dance of Satan and his hosts in job (1927-30), by Ralph Vaughan Williams, who, although working in an Anglican context, was of a mystical temper. His music may perhaps be better described as religious rather than as belonging to the Anglican-or indeed any-choral church tradition.

Giuseppe Verdi, in Giovanna d’Arco (1845), uses a somewhat mischievous method to express the contrast between good and bad angels. Joan is confronted by a group of each kind. The bad ones sing what is really a variation of a Neapolitan bordello song, while the good ones sing church music. That is a comparatively simple device for a composer to use to bring home the distinction. As musical drama Verdi’s device is successful. The contrasting imagery of the bordello and the church colorfully expresses one symbol of the warfare between Lucifer and Michael, between the Devil and God.

In Sergei Prokofiev’s Third Symphony (1928) the angel who brings music to the girl is neither good nor bad; at any rate she does not seem to belong to one category or the other. Nevertheless, the entity is plainly supernatural. By contrast, Wagner’s Der Engel is a song about an angel engaged in the specific task of guiding him; it is thus a close cousin of the guardian angel concept, set to music.

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