the church music association of america

oThe Church Music Association

of America

June 25—July 1, 2012Salt Lake City

2 n Sacred MuSic colloquiuM 2012 liturgical MuSic

Sacred Music Colloquium XXII June 25–July 1, 2012

Liturgical Music

Tuesday, June 26, 5:15 p.m.Mass in English, ordinary form, Votive Mass of St. John the Baptist ........................................ 33

Organ prelude: Fantasy & Fugue in C Minor, BWV 537, J. S. Bach (Ryan)Introit: De ventre matris meae, mode i (men’s schola) Kyrie: Mueller (Brouwers)Gloria: Mueller (Brouwers)Gradual: Priusquam, mode v (women’s schola) Alleluia: Tu puer, mode ii (women’s schola) Offertory: Justus ut palma, mode iv (men’s schola) Motet at Offertory: Hear the Voice and Prayer, Thomas Tallis (Mahrt) Sanctus: Mueller (Brouwers)Agnus Dei: Mueller (Brouwers)Communion: Tu puer, mode ii (women’s schola) Motet at Communion: Come Holy Ghost, Orlando Gibbons (Buchholz) Recessional: Ut queant laxis, tuttiOrgan postlude: Pièce d’Orgue, BWV 572, J. S. Bach (Ryan)

Sacred MuSic colloquiuM 2012 n 3

Wednesday, June 27, 5:15 p.m.Requiem Mass, extraordinary form ........................................................................................... 57

Introit: Requiem aeternam, mode vi (women’s refresher) Kyrie: Mass XVIII, ninefold, men beginGradual: Requiem aeternam, mode ii (women’s schola) Tract: Absolve, mode viii (men’s schola) Sequence: Dies irae, mode ii, men beginOffertory: Domine Jesu Christe, Francisco Guerrero (Mahrt) Sanctus: Mass XVIIIAgnus Dei: Mass XVIIICommunion: Lux aeterna, mode viii (men’s refresher)

See notes beginning on page 269.

Thursday, June 28, 5:15 p.m.Memorial of St. Irenaeus, Bishop and Martyr, ordinary form ................................................... 73

Organ prelude: Variations on Sanctorum Meritis, Jean Titelouze (Labounsky)Introit: Loquetur Dominus pacem, mode iii (Brouwers seminar)Kyrie: Mass II, ninefold, women beginGradual: Inveni David, servum meum, mode i (men’s schola)Alleluia: Spiritus Sanctus docebit vos, mode viii (men’s schola) Offertory: Benedicam Dominum, mode i (Schaefer seminar)Sanctus: Mass II Agnus Dei: Mass II Communion: Quod dico vobis, mode iv (women’s schola)Motet at Communion: O Sacrum Convivium, Giovanni Croce (Buchholz) Organ postlude: Magnificat on the Eighth Tone, Titelouze (Labounsky)

liturgical MuSic

4 n Sacred MuSic colloquiuM 2012 liturgical MuSic

Friday, June 29, 5:15 p.m.Solemnity of Sts. Peter and Paul, Apostles, extraordinary form ............................................... 87

Organ prelude: “Adagio” from Symphonie No. 3 in F-sharp Minor, Op. 28, Louis Vierne (Ryan)Introit: Nunc scio vere, mode iii (men’s schola)Kyrie: Messe solennelle, Vierne (Buchholz)Gloria: Messe solennelle (Buchholz)Gradual: Constitues eos, mode v (women’s schola) Alleluia: Tu es Petrus, mode ii (women’s schola)Credo I: tuttiOffertory: Constitues eos, with verses, mode iii (Brouwers seminar) Sanctus: Messe solennelle (Buchholz)Agnus Dei: Messe solennelle (Buchholz)Communion: Tu es petrus, mode vi (men’s schola)Motet at Communion: Quem dicunt, Adrian Willaert (Mahrt)Recessional: The Son of Man, Newman/PluthOrgan postlude: “Final” from Symphonie No. 3 in F-sharp Minor, Op. 28, Vierne (Ryan)

See notes beginning on page 274.

Saturday, June 30 11 a.m. Votive Mass of the Blessed Virgin Mary, ordinary form ......................................................... 155

Organ prelude: “Virgo mediatrix” from Offrande à la Vierge, Op. 40, Marcel Dupré (O’Neill)Introit: Salve sancta parens, mode ii (men’s refresher)Kyrie: Mass IX, ninefold, men beginGloria: Mass IX, tuttiGradual: Diffusa est, mode v (men’s schola) Alleluia: Virga Jesse floruit, mode viii (men’s schola) Offertory: Ave Maria, mode viii (women’s schola) Motet at Offertory: Ave Maria . . . Virgo serena, Josquin des Prez (Brouwers) Sanctus: Mass IX Agnus Dei: Mass IX Communion: Beata viscera, mode i (men’s foundation)Motet at Communion: Ave Maria, Edward Elgar (Nam) Recessional: Ave maris stella, alternatim, women beginOrgan postlude: “Fantasie-Improvisation sur Ave maris stella” from Five Improvisations

(Reconstructed by Maurice Duruflé), Charles Tournemire (O’Neill)


Saturday, June 30, 3 p.m.Vespers, extraordinary form, conducted by William Mahrt .................................................... 179

Sunday, July 1, 11 a.m.13th Sunday of the Year (Year B), ordinary form .................................................................... 219

Organ prelude: Chaconne in C Minor, BuxWV 159, Dietrich Buxtehude (Buchholz)Introit: Omnes gentes, mode vi (women’s schola)Kyrie: Messa da cappella à 4, 1650, Claudio Monteverdi (Brouwers)Gloria: Messa da cappella à 4 (Brouwers)Gradual: Venite filii, mode v (Schaefer seminar)Alleluia: Omnes gentes, mode i (men’s schola)Credo III: tuttiOffertory: Sicut in holocausto, mode v (women’s schola)Motet at Offertory: O sacrum convivium, Cristóbal Morales (Brouwers)Sanctus: Messa da cappella à 4 (Brouwers)Agnus Dei: Messa da cappella à 4 (Brouwers)Communion: Inclina aurem tuam, mode iv (women’s foundation)Motet at Communion: to be determined (Nam)Recessional: Ave Maria, Anton Bruckner, tuttiOrgan postlude: Improvisation—Hommage à Buxtehude (Buchholz)

AppendixBrouwers Advanced Chant Seminar ........................................................................................ 264

Propers for the Requiem Mass ................................................................................................ 269

Propers for the Solemnity of Sts. Peter and Paul .................................................................... 274

Veni Creator Spiritus .............................................................................................................. 278

Prayer for Religious Liberty .................................................................................................... 280

liturgical MuSic

6 n Sacred MuSic colloquiuM 2012 chooSing a chant courSe

Choosing a chant course

When you come to the Colloquium, you will need to choose a chant course for your partici-pation during the week. There are few joys greater than singing in a well-prepared Grego-

rian chant schola. Although there is always a little tweaking after the first day, i.e., singers moving up or down a level, most people find it relatively easy to choose.

The following guidelines will help you find the right group in which to sing for the week.

Foundations (two sections: men, women)Faculty: Arlene Oost-Zinner, women; David J. Hughes, men

This course in Gregorian chant, according to the Solesmes method, is intended for real chant beginners—both those who can read modern notation and those with no musical training. Participants will learn how to read the four-line staff, the names of the neumes, and how to navigate intervals with solfege. Rhythm will be introduced. Course material will include the Ordinaries of the Mass and one Proper, with the latter being performed during Mass toward the end of the week.

Refresher (two sections: men, women)Faculty: Mary Jane Ballou, women; Jeffrey Ostrowski, men

This course offers continued study in Gregorian chant and is intended for those who have had some background in chant but do not sing chant on a regular basis. Instructors will focus on using the Solesmes method (to establish common vocabulary among Colloquium participants). The primary aim of this beginning-to-intermediate course (as with the foundations course) is not performance during the liturgy. Participants will be responsible for singing the Ordinaries of the Mass and will be prepared to sing one chant Proper toward the end of the week. Methods beyond Solesmes will be introduced.

Schola (two sections: men, women)Faculty: Charles Cole, women; Jeffrey Morse, men

This course is intended for proficient and advanced singers who sing chant regularly. The two scholas (men, women) will be responsible for the bulk of the Mass Propers sung during the week. Method of interpretation is left to the conductor.

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Advanced Seminars (two sections, men and women combined)Faculty: Wilko Brouwers and Edward Schaefer

These courses are intended for advanced singers (both men and women) who wish to continue their study of Gregorian chant. Instructors will focus on their areas of specialty (conducting, history, semiology, etc.). The raison d’etre is study rather than performance, with each seminar preparing one or two Mass Propers during the week.

Wilko Brouwers: Style and interpretation in chant performance

Day One: This introductory lecture will examine chant notation while asking the question “Are all notes of equal importance?” If they are not, what are the consequences of this conclusion for the performance of chant? The technique of melody reduction (skeleton) and reconstruction is a helpful instrument to “understand” the importance of notes.

Day Two: The technique of melody reduction and reconstruction (continued)

Days Three and Four: Questions of style and interpretation. Should chant be sung without (too much) expression? Should it always be sung at the same tempo? What about the dynamic range? On days three and four participants can do a solo performance of a (self-chosen) chant piece.

Day Five: Unfinished business, Q & A

Edward Schaefer: Semiology

This seminar will engage in a study of the earliest chant-notation systems as demonstrated in the Laon and St. Gall families of manuscripts and reproduced in the Graduale Triplex. In particular, focus will be given to the interpretation of the rhythmic signs in these notation systems and their application to contemporary chant performance.

Day One: Syllabic and semi-florid chants

Day Two: Semi-florid chants

Day Three: The principle of separation

Day Four: Florid chants

Day Five: Unfinished business, Q & A

8 n Sacred MuSic colloquiuM 2012 chooSing a polyphonic choir

Choosing a polyphonic choir

Being part of a polyphonic choir is one of the many highlights of the Colloquium. Note that there is no sign-up or pre-registration for any of the groups. Simply arrive at the rehearsal of your choice on Tuesday afternoon. If the conductors find they have too many sopranos

or too few tenors, for example, a little shifting around may occur from choir to choir on the first day. But as a matter of good choir etiquette, conductors ask that you not bounce from choir to choir. Five days of rehearsal is not a long time to develop an ensemble sound, and the deadlines of performing in liturgy loom delightfully throughout the week. N.B. If your plans require that you depart the Colloquium before Sunday, July 1, please do not pick the choir whose main work will be performed on that day (Brouwers) and so on.

Mee Ae Nam: Beginning polyphony

This choir is designed to introduce and improve on the critical vocal and musical techniques necessary for singing polyphonic music. Singers will learn how to carry a part on their own, independent of other sections, and without accompaniment. Members of the choir will learn rhythm, pitch, and vocal production. The choir is designed for novice singers who would not yet benefit from a more advanced choir, but it might also be useful for directors to see how a master goes about teaching inexperienced singers to make beautiful music. Several motets, including the Elgar Ave Maria, are part of this choir’s agenda and will be sung during the liturgy.

William Mahrt

For the fifth year Dr. Mahrt will present a highly unusual and spectacular rendering of polyphonic Vespers, the likes of which most Americans have never experienced as worshipers, much less as singers. This year’s focus will be on the works of Orlando di Lasso (c1532–1594). The format alternates between chant and polyphony and requires highly skilled singers with confidence at frequent and exposed stops and starts. This choir provides a rich education in liturgical history as well as performance experience that will take the already advanced singer to the next level. The choir will also sing motets throughout the week. Vespers will be sung on Saturday afternoon.

Wilko Brouwers

This year Maestro Brouwers will conduct Claudio Monteverdi’s Messa da cappella à 4 (1650).The work of Monteverdi (1567–1643) marked the transition from the Renaissance style of music to that of the Baroque period, and Brouwers is profoundly in tune with what is necessary to bring this unique music to life. A notable skill level among singers is required to achieve the desired results. The Monteverdi Mass will be sung during the Colloquium’s closing liturgy on Sunday, July 1. This choir will also sing motets during the week.

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Horst Buchholz

Dr. Buchholz is a conductor with near-universal experience with both early choral music and the romantic repertoire. He has a particular affection for music that is symphonic in scope yet accessible to both singers and listeners. His choir will sing the Messe Solennelle, Op. 16, with its notably grand organ accompaniment, by French composer Louis Vierne (1870-1937), considered one of the greatest musical improvisers of his generation. The Vierne Mass will be sung during Mass in the extraordinary form on Friday, June 29, the Solemnity of Sts. Peter and Paul. This choir will also sing motets during the week.

10 n Sacred MuSic colloquiuM 2012 Morning breakout SeSSionS

Morning breakout sessionsAlphabetical by presenter

Wilko BrouwersConducting: Principles of conducting technique

Horst BuchholzConducting: Technical aspects of choral singing

Organ breakout: Organ improvisation 101. Instruction on creating short preludes, interludes, and postludes that are both suitable and practical for liturgical celebration. The thematic base will primar-ily be drawn from hymns.

Charles ColeConducting: Basic conducting technique The Solesmes chant tradition: The original neumatic signs and practical performance today.

Aristotle Esguerra Chant engraving with Gregorio: An introduction The class will introduce and demonstrate the use of Gregorio software for transcribing Gregorian chants and composing plainsong melodies. Participants will learn the basics of the gabc chant-markup language, rules of typesetting Latin and vernacular texts, and how to produce an attractive, high-reso-lution chant score using one of two online Gregorio interfaces.

Prerequisites: Working knowledge of chant notation and terminology, wifi-enabled laptop with a up-to-date web browser and OpenOffice software (available at openoffice.org). N.B. This course will not cover installing Gregorio software on one’s own computer.

Paul Ford The Graduale Simplex and By Flowing Waters: What they are, how they came to be, how they are used

David Hughes Composers’ forum: The composers’ forum meets each day. Composers should plan to bring a work in progress, which will be critiqued and discussed by the instructor and class, with the goal of produc-ing polished pieces by the end of the week. Composers should bring manuscript paper or a laptop with music-notation software so they can make revisions and edits to the works in progress during the week. Composers planning to participate in the forum are asked to e-mail [email protected]. Finished works will be read by Colloquium attendees at the New Music Reading Session on Sat-urday afternoon.

Ann Labounsky Lecture: Building a degree program in sacred music, using the example of Duquesne University

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Organ session/recital: “Jean Langlais: The Man and His Music.”

“A Servant of the Church” Advent: Pensez à l’éternité Christmas: Eight Songs of Brittany, Noël Breton Palm Sunday: Dominica in Palmis Holy Saturday: Incantation pour un jour sainte Pentecost: Troisième personne: le Saint Esprit

“A Story Teller” Offrande à Marie: Regina Angelorum American Suite: Boys Town, Place of Peace; Scherzo-Cats Neuf Pièces: Chant Héroïque

“A Man of Many Moods” Organ Book: Pasticcio Suite française: Nazard Suite française: Dialogue sur les flûtes Fête

Melanie Malinka Teaching young choristers healthy vocal habits: 11 a.m. to noon Thursday, June 28As choir directors, music teachers, and voice coaches, we are entrusted with the care of our singers’ voices. When those singers are 10 years old or even as young as 7, our concern should be not only for their immediate vocal health but also the longevity of their developing voices. The goal of this class is to provide choral conductors and music instructors with a concise vocal-training curriculum that fo-cuses on the promotion of healthy vocal habits when singing challenging sacred choral repertoire. The class will culminate in a short master class with students and choristers from The Madeleine Choir School.

Teaching adolescent choristers healthy vocal habits: 11 a.m. to noon Friday, June 29As choir directors, music teachers, and voice coaches, we are entrusted with the care of our singers’ voices. Although emphasis should be placed on the development of a natural voice when instructing young boy and girl choristers, we must also focus on maintaining healthy vocal habits when working with the maturing voices of adolescent singers. The goal of this class is to provide choral conductors and music instructors with an overview of basic vocal technique while focusing on the unique vocal challenges male and female adolescent singers face during the crucial teenage years. The class will culminate in a short master class with choristers from The Madeleine Choir School and The Choir of The Cathedral of the Madeleine.

Matthew J. Meloche Maintain and strengthen your position and programThis practical course will show you how to maintain and strengthen your current position and pro-gram, whether you are the music director of a large parish or the director of a small choir. Special emphasis will be given to changing the direction of a program, with positive advice for doing so while keeping your leadership role secure.

12 n Sacred MuSic colloquiuM 2012 Morning breakout SeSSionS

Mee Ae Nam Vocal pedagogy, session one: Exercises to control vocal qualityThis session will help understanding and developing healthy and even (blendable) vocal tone produc-tion through specific exercises to correct vocal tone problems such as tight, breathy, flat singing and unfocused and uncontrolled production. The session will introduce an efficient use of consonants, vocal improvisation techniques, how to find the center of voice and useful vocal range, how to clas-sify voices, and other simple tricks for tone-quality control. Attendees will actively participate in vocal exercises.

Vocal pedagogy, session two: Tone building and breath supportThe session will demonstrate the use of respiration in vocal production, how to be aware of and man-age the efficient use of breath, and how to recognize proper breath support in the body and the voice. A number of exercises will be demonstrated during the session.

Jeffrey Ostrowski Toward a “complete” parish hymnal: The Vatican II project Is there such a thing as a “perfect” Catholic hymnal? Should we even be talking about a hymnal for the Catholic Mass? Jeff Ostrowski, editor of Corpus Christi Watershed’s new Vatican II Hymnal, shares the vision behind the project as well as some successes and failures. One thing the editor learned is that every musician has an opinion when it comes to hymns!

Sister Marie Agatha Ozah, HHCJ, Ph.D. Gregorian chant and world music: Tensions and solutions for the liturgy Chant is one of the oldest religious music genres in the world, and its centrality in Buddhist, Hindu, Judaic, Christian, and Islamic worship cannot be overemphasized. In the Christian Church alone, one can name Byzantine, Ethiopian, Anglican, and Gregorian chant, for example, as indispensable vehicles of religious worship. This lecture explores the significance and uses of chant in some world religions. It will focus specifically on Gregorian chant in the Roman Catholic liturgy.

The traditionalism and canonicity that Gregorian chant enjoyed for centuries was disputed by the Second Vatican Council, which encouraged the use of other forms of world music as backdrop in the liturgy. The introduction and use of world music in the liturgy has fostered the continuous decline of the use of Gregorian chant, an issue that has become a cause of concern among sacred music scholars. The dilemma of whether or not the Roman Catholic liturgy is a common ground where tensions can be resolved persists today.

The Rev. Robert Pasley Priest and deacon chants for Mass: If you’re going to sing the Rite, sing it right! In this four-day course for priests, deacons, seminarians, and those who can teach all of the above, registrants will have the opportunity to learn chants for the celebrant at sung Masses in both the ordi-nary and extraordinary forms of the Roman Rite. The basics for the priest’s chants, in both forms, are founded on the rules stated in the Liber Usualis.

This course will address “singing the Mass, not singing at Mass”: the singing of orations, readings, prefaces, various intonations, and more. It is extremely important that you bring the new English Mis-sal. Priests and deacons should bring one from their parish. Everyone else should borrow one from

Sacred MuSic colloquiuM 2012 n 13Morning breakout SeSSionS

their home parish or school and bring it along. The class will involve instruction as well as practical applications and will progress from simple to more complex chants as the week unfolds.

Kathleen Pluth Vernacular hymns: The good, the bad, and the heretical Although sung Propers are always the best choice for Mass, parish musicians are still often called upon to select hymns for Mass, devotions, and the Liturgy of the Hours. Choosing among the various op-tions can be a daunting task. This lecture begins with an examination of the importance of hymns in the Church from apostolic times, preceding the Reformation by many centuries. Then individual hymns will be sung and analyzed for their usefulness in teaching and evangelization, focusing primar-ily upon textual and theological considerations.

Kurt Poterack Lecture: Documents on Church music

Conducting: Gregorian chironomy

Jonathan RyanHigh music for a low SundayThis organ session will focus on easy-to-intermediate and/or little-known organ repertoire from mul-tiple periods appropriate for liturgical celebrations throughout the Church year. Repertoire based on Gregorian chant will be included. A handout will provide publisher information. Certain practical performance practice issues will also be discussed. Although all are welcome, this session is geared toward not-so-advanced organists, organists new to Catholic liturgical contexts, and organists looking for new service-music repertoire.

Susan Treacy Treasures of sacred music in liturgical contextMany masterpieces of sacred music are well appreciated as concert pieces or ornamental accessories to the Mass. In this lecture, however, selected motets will be discussed in relation to their liturgical func-tions. The lecture will feature recorded examples.

Monsignor Andrew Wadsworth Aspects of English translation This lecture will examine challenges and difficulties in rendering Latin liturgical text into English, as well as musical considerations.

Paul WeberAn introduction to the music of Joseph Gabriel Rheinberger This session examines Rheinberger’s significance as a composer of sacred music in the late 19th centu-ry. Composer, performer, and pedagogue, this largely forgotten master was at the center of the Wagner and Brahms controversies at the time and an influence on the trajectory of Church music at the dawn of the 20th century.

14 n Sacred MuSic colloquiuM 2012 afternoon breakout SeSSionS

Afternoon breakout sessions

Offered concurrently with polyphony rehearsalsFor non-singers and singers alike

Edward Schaefer History of sacred music, 2–3 p.m. Tuesday through Friday

Tuesday: The extraordinary form of the Mass and its special musical considerationsA session of particular value to those less familiar with the extraordinary form of the Mass. A look at some of the most significant musical differences between the extraordinary and ordinary forms of the Mass, how the musical practices of the traditional Mass developed, and how they serve as the handmaid of the liturgy. This session will make it much easier to follow the celebrations of the traditional Mass during the colloquium.

Wednesday: Vive la France! A look at some of the unique contributions of France to the musical patrimony of the Church

Thursday: Inculturation A look at the evolving definition of this term: how it has been applied in the past versus the way it is applied today

Friday: Contemporary music in a traditional Church A walk through 20th- and 21st-century musical developments for the extraordinary form of the Mass

Jeffrey TuckerLecture series, 2–3 p.m. Tuesday through Friday

Many people who stumble into a Catholic parish for the first time expect Gregorian chant and heavenly music and find themselves startled by the modern reality. How did this happen? How did we get where we are today? And what efforts are being made to bring to the liturgy its true voice? This four-part series will explore the 20th-century history of the status of Church music and elucidate a coherent picture of the efforts to restore Gregorian chant. There will be particular focus on one of the great puzzles of our time: the loss of the Mass propers as primary liturgical song texts.

In Tucker’s view, the present challenges we face stem not from conspiracy or malice but a series of small missteps that upset the delicate consensus that had been arrived at only at the turn of the 20th century. Understanding this history helps illuminate a path forward for reform—a reform that is much closer within our reach than is usually believed.

Sacred MuSic colloquiuM 2012 n 15organ MuSic noteS

Organ music notesJonathan Ryan, organistTuesday, June 26, 5:15 p.m. Mass

Likely dating from the end of the Weimar period (1708–1717) of Johann Sebastian Bach (1685–1750), the somber Fantasy & Fugue in C Minor, BWV 537, represents a growth in Bach’s free-form composition to include works of more poignancy than virtuosity. Indeed, the opening exclamatio figure of an ascending minor sixth that forms the imitative basis for the Fantasy yields a work of extraordinary surprises and highly forward-looking harmonies. The notable chromaticism of the Fantasy gives way to an exclusively chromatic secondary theme in the Fugue, heard first in the middle “B” section and then in combination with the declamatory primary theme.

Also from the Weimar years but around 1710, the Pièce d’Orgue, BWV 572, also termed “Preludio” and “Fantasie,” stands as a unique work in the Baroque organ repertoire. Not paired with a fugue, this étude in harmony consists of three sections—Très Vitement-Gravement-Lentement—and perhaps owes its French title to the weighty middle Gravement section, whose nearly endless deceptive cadences and chromaticism closely resemble the Grand Jeu movements of the French Baroque.

Ann Labounsky, organistThursday, June 28, 5:15 p.m. Mass

Like Nicolas DeGrigny, Jean Titelouze (1562-1633) spent most of his life outside of Paris and court life in the smaller town of Rouen in Normandy, where he was a priest and organist of the Cathedral. His entire opus comprises variations on 11 familiar Gregorian-chant hymns (1624) and Magnificat settings (1626), which were performed in alternation between the choir and the organ. The style is exemplary of the vocal Renaissance period yet idiomatic for the organ, with well-defined voice-leading and pedal parts that employ strict imitation and canon. Unlike his successors, such as Couperin and DeGrigny, he was not influenced by the French court dances such as the minuet and gigue.

Jonathan Ryan, organistFriday, June 29, 5:15 p.m. Mass

In summer 1911, eight years after completing his Second Symphony, Louis Vierne (1870-1937) returned to writing the third of his Six Organ Symphonies. Demonstrating Vierne’s stylistic development at the time, the Troisième Symphonie in F-sharp Minor is noted for its comparatively compact yet memorable nature. Perhaps the emotional center of the work, the fourth of five movements, the sublime Adagio, hearkens back to César Franck in its soaring yet meditative melody, highly chromatic harmony, and frequently vague rhythm. The Finale, true to organ-symphony form, launches immediately as a quintessential fiery toccata with its first rhythmically charged theme heard at the outset, surrounded by a restless accompaniment. The second theme, by contrast, is more lyrical but seems unable to achieve any true lyricism in its turbulent surroundings. The first theme ultimately brings the movement to a thrilling conclusion in F-sharp major.

16 n Sacred MuSic colloquiuM 2012 organ MuSic noteS

Doug O’Neill, organistSaturday, June 30, 11 a.m. Mass

Marcel Dupré (1886–1971) was famous for performing organ concerts throughout the world but also left a legacy of music suitable for the Church. He composed Offrande à la Vierge (“Offering to the Virgin”) in 1944. The third movement is titled “Virgo mediatrix” and refers to Mary’s traditional role in the Church as a mediator in salvation. Charles Tournemire (1870–1939), unlike many of his contemporaries, concentrated his life’s work principally on music for the liturgy, culminating in his massive organ cycle L’Orgue Mystique for the liturgical year, specifically for use during the Mass and almost entirely based on plainchant. Tournemire was also perhaps the first great organ improviser of the 20th century and made many 78-RPM recordings of this art. His student Maurice Duruflé (1902–1986) later transcribed five of these improvisations, selecting two free improvisations and three based on plainchant: the hymn Te Deum laudamus, the Easter sequence Victimae paschali laudes, and this piece on the Marian hymn Ave maris stella. It is the legacy of a great musician fully and humbly devoted to his work for the Church.

Horst Buchholz, organistSunday, July 1, 11 a.m. Mass

Seemingly preceding the 20th-century minimalist movement by centuries, a chaconne centers itself around comparatively slim musical material, namely, a repeating harmonic progression, to create a series of continuous variations. One of three “ostinato” organ works by Dietrich Buxtehude (c1637–1707), the Chaconne in C Minor utilizes a four-measure harmonic progression to yield a piece of extraordinary variety, intimacy, and drama, perhaps giving just insight to J. S. Bach’s captivation with the North German Baroque master.

Sacred MuSic colloquiuM 2012 n 17Morning and night prayer

Morning and Night Prayer

o

Prepared by William Mahrt

Extraordinary Form

18 n Sacred MuSic colloquiuM 2012 Morning prayer

Sacred MuSic colloquiuM 2012 n 19Morning prayer

26 n Sacred MuSic colloquiuM 2012 night prayer

COMPLINE NIGHT PRAYER

Lector:

Vbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbhbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbb≥gzbbbbbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbhbbbbbbbbbbsbbbbbbbbbbsmbbbbbbbbbbbbbbbbbbb} V. Jube, domne benedí-ce-re. Officiant:

Vbbbbbbbbbbbbbhbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbhbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbhbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbhbbbbbbbbbh.bbbbbbbbbb[bbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbhbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbhbbbbbbbbb Noctem qui-é-tam et finem perféctum concédat no-bis

Vbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbhbbbbbbbbbbbbbhbbbbbbbbbbhbbbbbbbbbbbbbbbbhbbbbbbbbbbsbbbbbbbbbbbbsmbbbbbbbbbbbbbbbbbbb}bbbbbbbbbbbbbbbgbbbbbbbbbbbbh.bbbbbbbbbbbbbb} Dóminus omnípo-tens. R. Amen.

Lectio brevis 1 Peter 5:8–9

Lector:

Vbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbhbbbbbbbbbbbbbbb[bbbbbbbbhbbbbbbbbbbbbhbbbbbbbhbbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbbf,bbbbbbbbbbb{bbbbbbbbbbbhbbbbbbbbhbbbbbbbbhbbbbbbbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbb Fratres: Sóbri-i estó-te et vi-gi-lá-te: qui-a adversá-

Vbbbbbbbbbbhbbbbbbbbbhbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbhbbbbbbbbbbbbbhbbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbbhbbbbbb[bbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbbbhbbbbbbbbbhbbbbbbbbbbb[bbbbbbbbbbbhbbbbbbbbhbbbbbbbbbhbbbbbbb ri-us vester di-á-bolus, tamquam le-o rúgi-ens, círcu-it,

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Vbbbbbbbbbbbbbhbbbbbbbbbbbbbbgbbbbbbbbbbbfbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbb[bbbbbbbhbbbbbbbbbbbhbbbbbbbbbbhbbbbbbbbhbbbbbbbbbbbh.bbbbbbbbbbbsmbbbbbb}bbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbhbbbbbbbbbbbbbbhbbbbbbbsbbbbbbbsmbbbbbbbbbbbbb} Tu au-tem Dómi-ne mi-serére nobis. R. Deo grá-ti-as. Officiant:

Vbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbhbbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbhvbbbhbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbfbbbbbbbbf,bbbbbbbbbbb} V. Adju-tó-ri-um nostrum in nómi-ne Dómini. R. Qui fecit caelum et terram.

Lector:

Vbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhzbbbbbbbbbbbbbbbbbbbbbbbb≥gzbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbsmbbbbbbbbbbbbbbbbbbb} V. Pray, Sir, give a blessing. Officiant:

Vbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbhbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbbbbbbh.bbbbbbbbbbbb[bbbbbbbbbbbbbhbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbb May the Lord almighty grant us a peaceful night and a

Vbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbsmbbbbbbbbbbbbbbbb}bbbbbbbbbbbbbbbgbbbbbbbbbbbbbbh.bbbbbbbbbbbbbbbbb} perfect end. R. Amen.

Short Lesson 1 Peter 5:8–9

Lector:

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Vbbbbbbbbbbgbbbbbbbbbbbbbfbbbbbbbbbbhbbbbbbbbbbbbbbbbbb]bbbbbbbbbbbbbbbbhbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbsmbbbbbbbbbbbbb} to devour. Re-sist him, firm in faith.

Vbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbb[bbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbhbbbbbbbbhbbbbbbbbbbbbh.bbbbbbbbbbbbbsmbbbbbbbbbbbbbbbb}bbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbsmbbbbb} But thou, O Lord, have mercy upon us. R. Thanks be to God. Officiant:

Vbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbhbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbf,bbbbbbbbbbbbbbbbbbbb} V. Our help is in the Name of the Lord. R. The maker of heaven and earth.

Officiant:

Confíteor Deo omnipoténti, beátæ Maríæ semper vírgini, beáto Michaéli archángelo, beáto Joánni Baptístæ, sanctis Apóstolis Petro et Paulo, ómnibus Sanctis et vobis fratres, quia peccávi nimis cogitatióne, verbo, et ópere: (striking the breast three times) mea culpa, mea culpa, mea máxima culpa. Ideo precor beátam Maríam semper vírginem, beátum Michaélem archángelum, beátum Joánnem Baptistam, sanctos apóstolos Petrum et Paulum, omnes Sanctos, et vos fratres, oráre pro me ad Dóminum Deum nostrum. Congregation:

Misereátur tui omnípotens Deus, et dimíssis peccátis tuis, perdúcat te ad vitam ætérnam. Officiant:

Amen.

Officiant:

I confess to almighty God, to blessed Mary ever virgin, to blessed Michael the archangel, to blessed John the Baptist, to the holy apostles Peter and Paul, to all the saints, and to you, brethren, that I have sinned exceedingly in thought, word, and deed: (striking the breast three times) through my fault, through my fault, through my most grievous fault. Therefore I beseech blessed Mary ever virgin, blessed Michael the archangel, blessed John the Baptist, the holy apostles Peter and Paul, all the saints, and you, brethren, to pray to the Lord our God for me. Congregation:

May almighty God have mercy on thee and having forgiven thee thy sins, bring thee to life everlasting. Officiant: Amen.

Sacred MuSic colloquiuM 2012 n 27night prayer

Congregation:

(bowing) Confíteor Deo omnipoténti, beátæ Maríæ semper vírgini, beáto Michaéli archángelo, beáto Joánni Baptístæ, sanctis Apóstolis Petro et Paulo, ómnibus Sanctis et tibi Pater, quia peccávi nimis cogitatióne, verbo, et ópere: (striking the breast three times) mea culpa, mea culpa, mea máxima culpa. Ideo precor beátam Maríam semper vírginem, beátum Michaélem archángelum, beátum Joánnem Baptistam, sanctos apóstolos Petrum et Paulum, omnes Sanctos, et te Pater, oráre pro me ad Dóminum Deum nostrum. Officiant:

Misereátur vestri omnípotens Deus, et dimíssis peccátis vestris, perdúcat vos ad vitam ætérnam. Congregation: Amen (rise). Officiant: Indulgéntiam, ✠ absolutiónem, et remissiónem peccatórum nostrórum tríbuat nobis omnípotens et misericors Dóminus. Congregation:

Amen.

Congregation:

(bowing) I confess to almighty God, to blessed Mary ever virgin, to blessed Michael the archangel, to blessed John the Baptist, to the holy apostles Peter and Paul, to all the saints, and to thee, Father, that I have sinned exceedingly in thought, word, and deed: (striking the breast three times) through my fault, through my fault, through my most grievous fault. Therefore I beseech blessed Mary ever virgin, blessed Michael the archangel, blessed John the Baptist, the holy apostles Peter and Paul, all the saints, and thee, Father, to pray to the Lord our God for me. Officiant: May almighty God have mercy on you, and having forgiven you your sins, bring you to life everlasting. Congregation: Amen (rise). Officiant: May the almighty ✠ and merciful Lord grant us pardon, absolution, and remission of our sins. Congregation: Amen.

A cross is made on the heart.

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A cross is made on the heart.

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Vbbbbbbbbbgbbbbbbbbbbbbbh.bbbbbbbbbbbb{bbbbbbbbbbbbbhbbbbbbbbbbbbjbbbbbbbbbbbbygbbbbbbbbbbbbbbbbg<bbbbbbb} Amen. Al-le-lu-ia.


PSALMODY

8G Cantor (Gospel side): All:

BbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbgbbbbbbbbbbbbbhbbbbbbbbtfbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbGYbbbbbbbbbhbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbFTbbbbbbbbbbbbbbbg<bbbbbbbbbbbbbbb{bbbb Antiphon: Mi-se-ré-re * mi-hi Dó-mi-ne

BbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbkbbbbbbbbbbbbbbbJIbbbbbbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbbbbygzbbbbbbbbbbfbbbbbbbbbbbbbGYbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbbg<bbbbbbbbbbbbbg<bbbbbbbbbbbbbbbbbbb}b Et ex-áu-di o- ra- ti- ó-nem meam.

Psalm 4 Cantor (Gospel side):

´ BbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbÃbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbblbbbbbbbÃbbbbbbbbbbbbbbk/bbbbbbbbbb] 1. Cum in-vocárem exaudívit me Deus justítiæ me- æ * Be seated.

All (Gospel side):

´ ´ BbbbbbbbbbbbÃbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbjbbbbbbbbbkbbbbbbbbbbbbbbbbhbbbbbbbbbbbòbbbbbbbbbbg<bbbbbbbbbbbbbbbbbb}bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbkbbbbbbbbùbbbbbbbbh.bbbbbbbbb} In tribulatióne dilatásti mihi. . flex: jus-ti-ti-æ, †

Cantor (Gospel side): All:

BbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbbGYbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbFTbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbb{bbbbbbbbbbbbbbbbbbb Antiphon: Have mer-cy * up-on me, O Lord

BbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbHIbbbbbbbbbbbbbbbbbbbbbJ¯IbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbtfbbbbbbbbbbbbbbbbGYbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbg<bbbbbbbbbbbbbbbbbbb} and hearken un- to my prayer.

Psalm 4 Cantor (Gospel side):

´ BbbbbbbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbhbbbbbbbbbbbbbbbÃbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbblbbbbbbbbbbbbbbbbbbbÃbbbbbbbbbbbkbbbbbbbbb]bbbbb 1. When I called upon him, the God of my justice heard me: * Be seated.

All (Gospel side):

´ ´ BbbbbbbbbbbbbbbbbbbÃbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbjbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbòbbbbbbbbbgbbbbbbbbb}bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbùbbbbbbbh.bbbbbbb} when I was in distress, thou hast enlarged me. flex: justices †

2. (Ep. side:) Miserére mei, * et exáudi oratiónem meam. 3. Fílii hóminum, úsquequo gravi corde? * ut quid

dilígitis vanitátem et quaéritis mendácium. 4. Et scitóte quóniam mirificávit Dóminus sanctum suum:

* Dóminus exáudiet me cum clamávero ad eum. 5. Irascímini, et nolíte peccáre: † quæ dícitis in córdibus

vestris, * in cubílibus vestris compungímini. 6. Sacrificáte sacrifícium justítiæ, † et speráte in Dómino.

* Multi dicunt: Quis osténdit nobis bona? 7. Signatum est super nos lumen vultus tui Dómine: *

dedísti lætítiam in corde meo. 8. A fructu fruménti, vini et olei sui, * multiplicáti sunt. 9. In pace in idípsum * dórmiam et requiéscam. 10. Quóniam tu Dómine singuláriter in spe * constituísti

me. 11. (bow) Glória Patri, et Fílio, * et Spirítui Sancto. 12. (rise) Sicut erat in princípio, et nunc, et semper, * et

in saécula sæculórum. Amen.

Psalm 90 Cantor (Epistle side): All (Epistle side):

1. Qui hábitat in adjutório Altíssimi, * in protectióne Dei cæli commorábitur.

2. (Gospel side): Dicet Dómino: Suscéptor meus es tu et refúgium meum: * Deus meus, sperábo in eum.

3. Quóniam ipse liberávit me de láqueo venántium, * et a verbo áspero.

4. Scápulis suis obumbrábit tibi: * et sub pennis ejus

sperábis. 5. Scuto circúmdabit te véritas ejus: * non timébis a

timóre noctúrno,

2. (Epistle side:) Have mercy on me * and hear my prayer. 3. O ye sons of men, how long will you be dull of heart? *

Why do you love vanity, and seek after lying? 4. Know ye also that the Lord hath made his holy one

wonderful: * the Lord will hear me when I shall cry to him. 5. Be ye angry, and sin not: † the things you say in your

hearts, * be sorry for them upon your beds. 6. Offer up the sacrifice of justice, † and trust in the Lord: *

many say, Who showeth us good things? 7. The light of thy countenance, O Lord, is signed upon us: *

thou hast given gladness in my heart. 8. By the fruit of their corn, their wine, and oil, * they are

multiplied. 9. In peace in the selfsame, * I will sleep and I will rest: 10. For thou, O Lord, singularly in hope* hast settled me. 11. (bow) Glory be to the Father and to the Son * and to the

Holy Spirit. 12. (rise) As it was in the beginning, is now, and ever shall be,

* world without end. Amen.

Psalm 90 Cantor (Epistle side): All (Ep. side):

1. He that dwelleth in the aid of the most High, * shall abide under the protection of the God of heaven.

2. (Gospel side): He shall say to the Lord: Thou art my protector and my refuge: * my God, I will trust in him.

3. For he hath delivered me from the snare of the hunters: * and from the sharp word.

4. He will overshadow thee with his shoulders: * and under his wings shalt thou be hopeful.

5. His truth shall compass thee with a shield: * thou shalt not be afraid of the terror of the night.


6. A sagítta volánte in die, † a negótio perambulánte in ténebris: * ab incúrsu, et dæmónio meridiáno.

7. Cadent a látere tuo mille, † et decem míllia a dextris

tuis: * ad te autem non appropinquábit. 8. Verúmtamen óculis tuis considerábis: * et

retributiónem peccatórum vidébis. 9. Quóniam tu es Dómine spes mea: * Altíssimum

posuísti refúgium tuum. 10. Non accédet ad te malum: * et flagéllum non

appropinquábit tabernáculo tuo. 11. Quóniam Ángelis suis mandávit de te: * ut custódiant

te in ómnibus viis tuis. 12. In mánibus portábunt te: * ne forte offéndas ad

lápidem pedem tuum. 13. Super áspidem et basilíscum ambulábis: * et

conculcábis leónem et dracónem. 14. Quóniam in me sperávit, liberábo eum: * prótegam

eum, quoniam cognóvit nomen meum. 15. Clamábit ad me, et ego exáudiam eum: † cum ipso

sum in tribulatióne: * erípiam eum et glorificábo eum. 16. Longitúdine diérum replébo eum: * et osténdam illi

salutáre meum. 17. (bow) Glória Patri, et Fílio, * et Spirítui Sancto. 18. (rise) Sicut erat in princípio, et nunc, et semper, * et

in saécula sæculórum. Amen.

Psalm 133 Cantor (Gospel side): All (Gospel side):

1. Ecce nunc benedícite Dóminum, * omnes servi Dómini.

2. (Epistle side): Qui statis in domo Dómini, * in átriis domus Dei nostri.

3. In nóctibus extóllite manus vestras in sancta, * et benedícite Dóminum.

4. Benedícat te Dóminus ex Sion, * qui fecit cælum et terram.

5. (bow) Glória Patri, et Fílio, * et Spirítui Sancto. 6. (rise) Sicut erat in princípio, et nunc, et semper, * et in

saécula sæculórum. Amen. All:

BbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbgbbbbbbbbbbbbhbbbbbbbbtfbbbbbbbbbbbbbbbbbbbGYbbbbbbbbbhbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbFTbbbbbbbbbbbbbbbg<bbbbbbbbbbbbbbb{bbbb Antiphon: Mi-se-ré-re mi-hi Dó-mine

BbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbkbbbbbbbbbbbbbJIbbbbbbbbbbbbbbbbbhbbbbbbbbhbbbbbbbbbygzbbbbbbbbbbbfbbbbbbbbbbbbbGYbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbg<bbbbbbbbbbg<bbbbbbbbbbbbbbbbbbb}b Et ex-áu-di o- ra- ti- ó-nem meam.

6. Of the arrow that flieth in the day, † of the business that walketh about in the dark: * of invasion, or of the noonday devil.

7. A thousand shall fall at thy side, † and ten thousand at thy right hand: * but it shall not come nigh thee.

8. But thou shalt consider with thy eyes: * and shalt see the reward of the wicked.

9. Because thou, O Lord, art my hope: * thou hast made the most High thy refuge.

10. There shall no evil come to thee: * nor shall the scourge come near thy dwelling.

11. For he hath given his angels charge over thee, * to keep thee in all thy ways.

12. In their hands they shall bear thee up, * lest thou dash thy foot against a stone.

13. Thou shalt walk upon the asp and the basilisk: * and thou shalt trample under foot the lion and the dragon.

14. Because he hoped in me I will deliver him: * I will protect him because he hath known my name.

15. He shall cry to me, and I will hear him: † I am with him in tribulation, * I will deliver him, and I will bring him to honor.

16. I will fill him with length of days: * and I will show him my salvation.

17. (bow) Glory be to the Father and to the Son * and to the Holy Spirit.

18. (rise) As it was in the beginning, is now, and ever shall be, * world without end. Amen.

Psalm 133 Cantor (Gospel side): All: (Gospel side):

1. Behold now bless the Lord: * all ye servants of the Lord: 2. (Epistle side): Who stand in the house of the Lord, * in the

courts of the house of our God. 3. In the nights lift up your hands to the holy places: * and

bless ye the Lord. 4. May the Lord out of Sion bless thee, * he that made heaven

and earth. 5. (bow) Glory be to the Father and to the Son * and to the

Holy Spirit. 6. (rise) As it was in the beginning, is now, and ever shall be,

* world without end. Amen. All:

BbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbgbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbbGYbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbFTbbbbbbbbbbbbbbbbbbbbbg<bbbbbbbbbbbbb{bbbbbbbbbbbbbbbbbbb Antiphon: Have mer-cy up-on me, O Lord

BbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbHIbbbbbbbbbbbbbbbbbbbbbJ¯IbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbtfbbbbbbbbbbbbbbbbGYbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbg<bbbbbbbbbbbbbbbbbbb} and hearken un- to my prayer.


HYMN

All stand

Cantor (Epistle side): All (Epistle side):

Bbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbkbbbbbbbbbbkbbbbbbbbbbbbkbbbbbbbbbbkbbbbbbbbbbbbbbblbbbbbbbbbbbbbbkbbbbbbbbbjbbbbbbbbbbbbbbb[bbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbhbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbjbbbbbbbbbbbbbbhbbbbbbbbbbbg<bbbbbbbbb{b 1. Te lucis ante términum, * Rerum Creátor, póscimus,

Bbbbbbbbbbbjbbbbbbbbbbbbbbbbbhbbbbbbbbgbbbbbbbbbbbgbbbbbbbbbbbbbbbbfbbbbbbbbbbbbgbbbbbbbbbbbbbbhbbbbbbbbbhbbbbbbbbbbbbbb[bbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbjbbbbbbbbbbbbhbbbbbbbbg<bbbbbbbbbbbbbb}bb Ut só-li-ta cleménti-a, Sis præsul ad custó-di-am.

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All stand

Cantor (Epistle side): All (Epistle side):

Bbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbblbbbbbbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbjbbbbbbbbbbbbbbb[bbbbbbbbbbbbbbbbbbbhbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbbbbbbhbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbjbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbb 1. To thee before the close of day, * Cre-a-tor of all things we

Bbbbbbbbbbbbg<bbbbbbbbb{bbbbbbbbbbbbbbbbbbjbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbhbbbbbbb[bbbbbbbbbbkbbbbbbbbbbbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbhbbbbbbbbb pray That in thy constant clemency Our guard and keeper

Bbbbbbbbbbbbbbbbbbjbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbg<bbbbbbbbbbb}bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbkbbbbbbbbbbbkbbbbbbbbkbbbbbbbbbbbbbbblbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbbbbbbbbb thou wouldst be. (Gospel side): 2. Far off let idle visions

Bbbbbbbbbbbbbbbjbbbbbbbbbb[bbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbjbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbg<bbbbbbbbbbbbb{bbbbbbbbbbbbbbbjbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbfbbbbbbbbbbbb flee; No phantom of the night molest: Curb thou our raging

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CHAPTER & SHORT RESPOND

Tu autem in nobis es Dómine, † et nomen sanctum tuum invocátum est super nos: * ne derelínquas nos Dómine Deus noster. (Jerem. 14: 9)

VbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbhbbbbbbbbbbbbbbbfbbbbbbbbbbbbbdbbbbbbbbbbbbDRM,bbbbbbbbbbbbbbbb} R. De- o gra- ti- as.

Thou art in the midst of us, O Lord, † and upon us thy holy name is invoked: * do not desert us, O Lord our God.

VbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbdbbbbbbbbbbbbbbbbbbbbbbDRM,bb bbbbbbbbbbbbbb} R. Thanks be to God.

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Bbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbhbbbbbbb\bbHUbbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbGYbbbbbbbbbbbbgbbbbbbbb≥gbbbbbbbbbbbb[bbbbbbbbhbbbbbbgbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbtfbbbbbbbbbbbgbbbbbbbbbbbbbbbGY,.bbbbbbbbbb} V. Redemísti nos Dómine, De-us ve- ri- tá- tis. Repeat: Commendo . . .

Bbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbb\bHUbbbbbbbbbbbb bhbbbbbbb[bbbbbbbbbhbbbbbbbbbbbbbbbbGYbbbbbbbbbbbbgbbbbbbbbbb≥gbbbbbbbb[bbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbhbbbbbbbbbgbbbbbbbbbfbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbGY,.bbbbbbbbbbbb} V. Gló-ri- a Pa-tri et Fí- li- o, et Spi-rí-tu- i Sancto. Spirit. Repeat: In manus tuas . . .

BbbbbbbbbbbbfbbbbbbbbfbbbbbbbbbbbbbbbbbbbbFTbbbbbbbbbbbbbbbbbbbbbbbtfbbbbbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbGYbbbbbbbbbbbbbb{bbbbbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbbGYbbbbbbbbbbbbbbbbbbb5z$@bbbbbbbbbbbbbbbbbbbFTbbbbbbbbbbbbbbbbg,bbbbbbbbbbbbbbbbbbbbbbbfb,bbbbbbbbbbbbbbb} R. Into your hands, O Lord, * I commend my spirit. Repeat: Into your hands

Bbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbb\bbHUbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbhbbbbbbbbbb[bbbbbbbbbbbgbbbbbbbbbbbbbbbtfbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbGY,.bbbbbbbbbb} V. For you have redeemed me, O Lord, O God of truth. Repeat: I commend . . .

Bbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbhbbbbbbbbbbbhbbbbbbbbbbhbbbbbbbbbbbbbbbhbbbbbbbbbbbbb\bHUbbbbbbbbbbbbbbbhbbbbbbb[bbbbbbbbbgbbbbbbbbbbbbbbbbbGYbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbb[bbbbbbbbbbgbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbgbbbbbbbbbbbb V. Glory be to the Father, and to the Son, and to the Ho-ly

BbbbbbbbbbbbbbbbbbbbbGYbbbbbbbbbbbh.bbbbbbbbbbbbb} Spi-rit. Repeat: Into your hands


Bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbfbbbbbbbbbfbbbbbbbbbbbbfbbbbbbbbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbfbbbbbbbfbbbbbbbbbbbbbfbbbbbbbbbbbbbbfbbbbbbbbbbbfbbbbbbbbfbbbbbbbbbbbbbbbbbbfbbbbbbbbbfbbbbbbbb≤dzz4z#@!zsdsmbbbbbbbbbbbbbbbbbb} V. Custódi nos Dómine, ut pupíllam óculi. R. Sub umbra alárum tuárum prótege nos.

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GOSPEL CANTICLE

3a Cantor (Gospel side): All:

BbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbHIbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbKObbbbbbbbbbbbbkbbbbbbbbbbijbbbbbbbbbbbbbhbbbbbbbbbjbbbbbbbbbbbbbhbbbbbbbbbbbbbg<bbbbbbbbbbbb{bbbbbbvgbbbbbbbbbbjbbbbbbbbbbkbbbbbbb Salva nos, * Dómi-ne, vi-gi-lántes, custódi

bBbbbbbbbbbbbbbblbbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbkbbbbbbbbbbbbj.bbbbbbbbbbb{bbbbbbbbbbbbjbbbbbbbbbbbbbbgbbbbbbbbbbbbjbbbbbbbbbbbblbbbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbJ¯Ibbbbbbbbbbbbbbbbb[bbbbbbbbbbbbbbb nos dor-mi-éntes: ut vi-gi- lé-mus cum Chrí-sto,

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Canticum Simeonis The sign of the cross is made Cantor (Gospel side):

´ ´ } BbbbbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbbHIbbbbbbbbbbbbÃbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbblbbbbbbbbbbbbbÃbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbbbbbbbÃbbbbbbbbbbuhbbbbbbbbbbbbbbk/bbbbbbbbbbbbb]bbbb 1. Nunc dimíttis ✠ servum tuum Dómi-ne, * All (Gospel side):

´ bBbbbbbbbbbbbbbbbbbbbbÃbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbkbbbbbbbbbbbbÃbbbbbbbbbbbuh<>bbbbbbbbbbbbbbbbbbbb} secúndum verbum tuum in pace. (Epistle side): 2. Quia vidérunt óculi mei * salutáre tuum. 3. Quod parásti * ante fáciem ómnium populórum. 4. Lumen ad revelatiónem géntium, * et glóriam plebis tuæ Ísrael. 5. (bow) Glória Patri, et Fílio, * et Spirítui Sancto. 6. (rise) Sicut erat in princípio, et nunc, et semper, * et in saécula sæculórum. Amen. Repeat antiphon

Cantor (Gospel side): All:

BbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbbHIbbbbbbbbbbbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbKObbbbbbbbbbbbbbbbbbbbbbbbbbijbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbjbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbg<bbbbbbbbbbbbb{bbbbbbv Save us * O Lord while we are wa-king,

bBbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbbbbjbbbbbbbbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbbbbbbbbbblbbbbbbbbbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbj.bbbbbbbbbbb{bbbbbbbbbbbbbbbbbbbbbbbbbjbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbjbbbbbbbbbbbbbbbbbbbbbbbbbblbbbbbbbbbbbbbbbbbbbbbb and guard us while we are sleeping; that we may watch

BbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbbbbbbbbbbbJ¯Ibbbbbbbbbbbbbbb[bbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbfbbbbbbbbbbbbbbbbbbbbbGYbbbbbbbbbbbbbtfbbbbbbbbbbbbbbbbdMbbbbbbbbbbbbbbbb} with Christ, and that we may rest in peace. .

Canticle of Simeon The sign of the cross is made Cantor (Gospel side):

´ ´ } BbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbbHIbbbbbbbbbbbbbbbbbbbbbbbbbbbbbÃbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbblbbbbbbbbbbbbbÃbbbbbbbbbbbbkbbbbbbbbbbbbbbÃbbbbbbbbbbbbbbbuhbbbbbbbbbbbbk/bbbbbbbbbbbbb]bbbb 1. Now dost thou ✠ dismiss thy servant, O Lord, * All (Gospel side):

´ bBbbbbbbbbbbbbbbbbbbbbÃbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbbbbbbbbbÃbbbbbbbbbbbbbbbuh<>bbbbbbbbbbbbbbbbbbbb} according to thy word, in peace. (Epistle side): 2. Because my eyes have seen * thy salvation. 3. Which thou hast prepared * before the face of all peoples. 4. A light to the revelation of the Gentiles, * and the glory of thy people Israel. 5. (bow) Glory be to the Father, and to the Son, * and to the Holy Spirit. 6. (rise) As it was in the beginning, is now, and ever shall be, * world without end. Amen. Repeat antiphon

COLLECT

V. Dóminus vobíscum. R. Et cum spíritu tuo. Oremus. Visita, quaésumus Dómine, habitatiónem istam, et omnes insídias inimíci ab ea longe repélle: † Ángeli tui sancti hábitent in ea, qui nos in pace custódiant; * et benedíctio tua sit super nos semper. Per Dóminum nostrum Jesum Christum Fílium tuum: † qui tecum vivit et regnat in unitáte Spíritus Sancti Deus, * per ómnia saécula sæculórum. R. Amen.

V. The Lord be with you. R. And with thy spirit. Let us pray. Visit, we beseech thee, O Lord, this dwelling-place, and drive far from it all the deceits of the enemy: † let thy holy Angels dwell herein to keep us in peace, * and may thy blessing be ever upon us. Through Jesus Christ our Lord, thy Son, † who with thee in the unity of the Holy Spirit * lives and reigns God, world without end. R. Amen.


V. Dóminus vobíscum. R. Et cum spíritu tuo.

VbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbhbbbbbbbbbbhbbbbbbbbbbbHUbbbbbbbbbbbbbjbbbbbbbbbbbbbbbbbbbbbbbbjbbbbbbbbbbbbbbbjbbbbbbbbbbb7xx %<bbbbbbbbbbbbb}bbbbbbbbbbbbbbbbbbbjbbbbbbbbbbjbbbbbbbbbbbbbbbbjbbbbbbbbbbbbbbjbbbbbbbbbbbb7xx %<bbbbbbbbbbbbbbb} V. Benedi-cámus Dómi-no. R. De-o grá- ti- as.

Blessing Benedícat et custódiat nos omnípotens et miséricors Dóminus, Pater, ✠ et Fílius, et Spíritus Sanctus. R. Amen.

V. The Lord be with you. R. And with thy spirit.

VbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbHUbbbbbbbbbbbbbbbbbbbbbbbbbbjbbbbbbbbbbbbbbbbbbb7xx %<bbbbbbbbbbbbb}bbbbbbbbbbbbbbbbbbbbbbbbbbbbbjbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbjbbbbbbbbbbbbjbbbbbbbbbbbbb7xx %<bbbbbbbbbbbbbbb} V. Let us bless the Lord. R. Thanks be to God.

Blessing May the almighty and merciful Lord bless and guard us, the Father, ✠ the Son, and the Holy Spirit. R. Amen.

MARIAN ANTIPHON

Bbbbbbbbbbbbbbbbbbbbbbbfbbbbbbbbbgbbbbbbbbbbbfbbbbbbbbbbbbbgbbbbbbbbbbbhz.bbbbbbbbbbb\bbbjbbbbbbbbbbbbbbhbbbbbbbbbbb≥gbbbbbbbbbbbbbbbb\zzjbbbbbbbbbbbbbhbbbbbbbbbbbbgbbbbbbbbbbf,bbbbbbbbbbbbbbbbbbbbbbbbbb{bb Regi-na cæ-li, læ-ta-re, al-le-lu-ia;

Bbbbbbbbbbbbbbbbfbbbbbbbb¿kbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbbbbbbbbbblbbbbbbbbbbbbkbbbbbbbbbjbbbbbbbbbbbbbbhbbbbbbbbbbbbbbfbbbbbbbbbbgbbbbbbbbbbbbhbbbbbbb\zzjbbbbbbbbhbbbbbbbgbbbbbbbbf,bbbbbbbbbbbbb{ Quia quem me-ru-i-sti porta-re, allelu-ia,

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Bbbbbbbbbbbbbbbbkbbbbbbbbbbfbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbb\zzjbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbf,bbbbbbbbbbbbbbbbbbbbbdbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbgzgbbbbbbbbbf,bbbbbbbbbbbbbbbbbbbb} O- ra pro no-bis De- um, al-le- lu- ia.

Queen of heaven, rejoice, alleluia; For he whom thou didst merit to bear, alleluia, Has risen as he said, alleluia. Pray for us, to God, alleluia.

V. Gaude et lætare, Virgo Maria, alleluia. R. Quia surrexit Dominus vere, alleluia.

V. Rejoice and be glad, O Virgin Mary, alleluia. R. For the Lord has risen indeed, alleluia.

Orémus. Deus, qui per resurrectiónem Fílii tui, Dómini nostri Jesu Christi, mundum lætificare dignátus es: † præsta, quaésumus; ut, per ejus Genitrícem Vírginem Maríam, * perpétuæ capiámus gáudia vitæ, per eúmdem Christum Dóminum nostrum. Amen.

Let us pray. O God, who didst vouchsafe to give joy to the world through the resurrection of thy Son, our Lord Jesus Christ; grant, we beseech thee, that through his Mother, the Virgin Mary, we may obtain the joys of everlasting life, through the same Christ our Lord.

Amen.

V. Divinum auxilium maneat semper nobiscum. R. Amen.

Lord’s Prayer, Hail Mary, Apostles’ Creed, silently

MARIAN ANTIPHON

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Hail, holy Queen, mother of mercy! Hail, our life, our sweetness, and our hope! To thee do we cry, poor banished children of Eve; to thee do we send up our sighs, mourning and weeping in this vale of tears. Turn then, most gracious advocate, thine eyes of mercy toward us. And after this our exile show unto us the blessed fruit of thy womb, Jesus. O clement, O loving, O sweet Virgin Mary.

V. Ora pro nobis, sancta Dei Génitrix. R. Ut digni efficiámur promissiónibus Christi.

V. Pray for us, O holy Mother of God. R. That we may be made worthy of the promises of Christ.

Oremus. Omnípotens sempitérne Deus, qui gloriósæ Vírginis Matris Maríæ corpus et ánimam, ut dignum Fílii tui habitáculum éffici mererétur, Spíritu Sancto cooperánte præparásti: † da, ut cujus commemoratióne lætamur, * ejus pia intercessione ab instantibus malis et a morte perpétua liberémur, per eúmdem Christum Dóminum nostrum. Amen.

Let us pray. Almighty, everlasting God, who, by the co-operation of the Holy Spirit, didst prepare the body and soul of the glorious Virgin-Mother Mary, to be a worthy dwelling for thy Son: † grant that we, who rejoice in her commemoration, * may by her loving intercession, be delivered from present evils and from everlasting death, through the same Christ our Lord. Amen.

V. Divinum auxilium maneat semper nobiscum. R. Amen.

Lord’s Prayer, Hail Mary, Apostles’ Creed, silently


Tuesday

o

5:15 p.m. June 26

Votive Mass of St. John the BaptistOrdinary Form

tueSday, june 26

34 n Sacred MuSic colloquiuM 2012 tueSday, june 26

40 n Sacred MuSic colloquiuM 2012 tueSday, june 2650 n Sacred MuSic colloquiuM 2012 TueSday, June 14

Sacred MuSic colloquiuM 2012 n 41tueSday, june 26


Hear The Voice and Prayer Tallis

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of

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of

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of

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ser

vants

that

they

make

be

fore

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on this

day,

be

fore

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day,

that

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eyes

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thee

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may be o

pen

be

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day,

that

thine


that

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night

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house

night

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day,

this

house

night

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house

night

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day,

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eyes

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pen to

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night

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day,

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ev er to

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of

day,

ev er to

ward this

place,

ev er to

ward this

place,

day,

ev er to

ward this place,

ev er to

ward this place,

of

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ev er to

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ev er to

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which

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"My name

shall

be

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name

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name

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have

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tueSday, june 26


be

there."

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when

thouhear'st,

have

mer y

on

shall be

there."

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when

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have

mer

cy on

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have

mer

cy on

shall

be

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when

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them,

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cy

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have

mer

cy

on

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when

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have

mer cy

up on

them.

hear'st,

have

mer

cy

on

them.

them,

and

when

thouhear'st

have

mer cy

on

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them,

andwhen

thouhear'st

have

mer

cy on

them.


So that these your servants can, with all their voice, sing your wonderful feats, clean the blemish of our spotted lips. O St. John!

An angel came from the heavens to announce to your father the greatness of your birth, dictating to him the name that you should take and discovering him the course of your destination.

He (Zacarias) doubted of these divine promises and was deprived of the use of speech; but when you were born, he recovered the voice that he had lost.

Still locked in your mother’s breast, you felt the King’s presence housed in the vestal womb. And prophet, before being born, you revealed this mystery to your parents.

Glory be to the Father and to the engendered Son; glory similar to the Holy Spirit that is knot of both, for every century. Amen.

56 n Sacred MuSic colloquiuM 2012


Wednesday

o

5:15 p.m. June 27

Requiem for Deceased Members Extraordinary Form

WedneSday, june 27

58 n Sacred MuSic colloquiuM 2012 WedneSday, june 27

Sacred MuSic colloquiuM 2012 n 59WedneSday, june 27

alternatim,men begin


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WedneSday, june 27


Thursday

o

5:15 p.m. June 28

Memorial of St. Irenaeus, Bishop and Martyr

Ordinary Form

thurSday, june 28

74 n Sacred MuSic colloquiuM 2012 thurSday, june 28

Sacred MuSic colloquiuM 2012 n 75thurSday, june 28

alternatim,women begin


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q=100

O Sacrum Convivium

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O sacred banquet,in which Christ is received,the memory of His Passion is renewed,the mind is filled with grace, and a pledge of future glory given to us. Alleluia. - Thomas Aquinas

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Friday

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5:15 p.m. June 29

Solemnity of Sts. Peter and Paul, Apostles

Extraordinary Form

friday, june 29

88 n Sacred MuSic colloquiuM 2012 friday, june 29

Sacred MuSic colloquiuM 2012 n 89friday, june 29


Bv b zhv v zb hv v v v hb .v v vv zzg b ,v zb }v b v hv v zzhb v v zhv vv v v zàhv v zzhbb v v b g b ,v z bb }v b v hv v zzhv v zb hv b v zzhv z b zz àhv v zhv v zzg b ,z zzz zb ÷

Bb v b j v b v zzáj v v v v vv b k vv zzHU zà % zk zKO z* á& zk zHU z ^ % b ,v b }v zzhv v v v v zzb hv v vv zb hv v vv b hv v b hvv zhb .v v v bb hv v v vv îu îhîv îzîv îg v ö

Bv bîàhîv î bb îv îv îv îbîj î bb îv îv îàhîv îv îv î bî bîhî îv îz zîb zî bîhb .v v b [ v zb hb v v v b g hg zHU z^ ß% z6 zß% î$ îÝî# î zîFT v âîg î zîg v âî5 î zî$ î# îz îdv }bb b x x vv v vv bbb c v v

Bzb g v v b Ýdv v b v f v v zb s vv bb Ýdx zg v v zb hb . v z} v \ vHU cb àhczb hc v zg v v zÞf v v b zg vv v b g b ,v v zb { v vDR zb zõ

Bv v g vv zb ßg cv v bb g v v zb Þf v v zhczg b ,v v zzg b ,v v v [v zzÝdv v bb f v v zßg v v zb g zzbb v zàhc zb z b g c v b f v v zes b Nmv zz[ b z b \ v HU v b v b àhv bbb bb õ

Bv zg v b v b Þf v v zb hv v zt f bb v zg b ,v z} v v Ýdv v bb zf vb v zzg zb v z b ßg x zzg v v zb f zzv zz zdf dzdz bb [ v s vv zb Ýdx v v zg b v v zb hb .v bb b { b ö

Bzz\ v HU v v hzzv zàhcczhv zzàhv v b g v v zzb Þf v v zb hv v zt f b v vg b ,v zb }z b zv Ýdv v zf cv zb g v zb zz b Ýd v b v zzg v v zhb .v zb [ bb \ v HU v v zzzàh bbb bb ö

Bv zhcv b g zb zz zzÞf v v b zb hv v zt f b v zzg b ,v } v b zb g b v zb zÞf cv v zhczb g b ,v v v g b ,v zb [ b v g v v zz zÞf cb v b hv zzzb ßg v v b zf bbb v v df dzdbb [ b ò

Bv b zb s v zzb Ýdcb v v g v v zhb .cv zzàhcb z b g v zzb Þ f bb v v zzg v v g b ,v z}v zb Ýdv v b f b v v g b ,cv v zb zàhc zb zg v zb z zdb mv v z[ v v b Þf v vv b s bbbb ó


Bv zzÝdv v zzf v v b g v zzzb Ýdcv v zg v v b hb .v zz b { z \ zzb H U cv v zzàhczzhc zb z b g v v zÞf v bb v b hv v zzt f v b v g b ,v v zb } c zb Ýd bbb zb zzz zb b v f bbbb õ

Bzzg b cz b àhcv b g v v zzf b v v zdb mv v [ v b s czv zÝdczf czzg czÝdcv zb f v v b g v v zg b ,v vzb [ b v v ßg v v zg cb Þf c zhbbbb bbb õ

Bzzg b ,v v zzg b ,v b }b v zs v v zb Ýdcf cb ßg v v zzf v v zb db mcb z zzdcv zÞf b v v b s b z zv zÝdv v zz b g c v bb hb .v bb b ] b\ bbb HU cv bb zz àhv v b g bb v zÞf b ö

Bzb z b hv v zbt f zb z bb z zg b ,v z bb z{ z \ v HU cv zb hcÞf bb v v zhv v vt f vv bb g b ,v v } v bb v zzÝdv b v f v v g vv zzÝdv v zbb f v bb v dv v b Üs x zb dbb bbb b õ

Bzzb g z b v zz zhb .v z zb b { bb\ v HU cv v b àhzzz zzz zb hv v b g b cÞf b v v b g v v zb g b ,v zbbb { bb \ v HU zz zz zzb zàhcz b g c zÞ f v v b hzzzzz zzt f b v zb zg b ,v zz b }v b z b zs v bb ó

Bbb z b Ýd b v v zb f v v zzg v bbb zb Ýdcbb f v zz bb s v v b Ýdv b v zg b z zv zhb .v z zb { b \ b z zHU z b v zb àhv z b z zb v g b v v v zzzzz zv zz b Þf v bb v zb g b v v zb g b ,v b }zb bb zb Ýdv b v f v zzb v g bb b b bbb ô

Bbb z bb Þf v bb v dcv b g b v v hb .v v { z \v HU v v zzzàhv bbb v z hczv àhv v zzg v v zb Þf cv v zb g vv zg b ,v z}b v zb DR bb v v ßg v v zg b v v zßg cvv zg v bbb õ

Bv zb ßg v v zzg cßg cv v hxbßg v v b f v zzzdf dzdv b [ v s v zzb zz Ýdv zzz zg v v zhb .v zz b \ v HU bb v zb hv v zzÞf c v zbb h zz zzz zbt f v v g b ,v bbbb { b ó

Bv v Ýdv v zb f cbb zb g zz zzz zz bbb ßg czb g cÞf v bb v hv b v zzg b ,czg b ,v v } v v b Ýdv bb v zf cv v zzb ßg v v b g v v zb ßg cv v zzg cv zzhb .v v b õ

Bzbb zz ßg v v zzf zb v v e s b mNv z[ z \ v b HU v v zb zzàhz b v zzg b v v Þf v v zg zzzzz zzzg b ,b c{ zz zz zzz zb Ýdv v b f c v zg vv bb ß g v zv zg v vg v v b g zzzzzzb v Þf v v v v zhbbbb õ

friday, june 29

Bv b zhv v zb hv v v v hb .v v vv zzg b ,v zb }v b v hv v zzhb v v zhv vv v v zàhv v zzhbb v v b g b ,v z bb }v b v hv v zzhv v zb hv b v zzhv z b zz àhv v zhv v zzg b ,z zzz zb ÷

Bb v b j v b v zzáj v v v v vv b k vv zzHU zà % zk zKO z* á& zk zHU z ^ % b ,v b }v zzhv v v v v zzb hv v vv zb hv v vv b hv v b hvv zhb .v v v bb hv v v vv îu îhîv îzîv îg v ö

Bv bîàhîv î bb îv îv îv îbîj î bb îv îv îàhîv îv îv î bî bîhî îv îz zîb zî bîhb .v v b [ v zb hb v v v b g hg zHU z^ ß% z6 zß% î$ îÝî# î zîFT v âîg î zîg v âî5 î zî$ î# îz îdv }bb b x x vv v vv bbb c v v

Bzb g v v b Ýdv v b v f v v zb s vv bb Ýdx zg v v zb hb . v z} v \ vHU cb àhczb hc v zg v v zÞf v v b zg vv v b g b ,v v zb { v vDR zb zõ

Bv v g vv zb ßg cv v bb g v v zb Þf v v zhczg b ,v v zzg b ,v v v [v zzÝdv v bb f v v zßg v v zb g zzbb v zàhc zb z b g c v b f v v zes b Nmv zz[ b z b \ v HU v b v b àhv bbb bb õ

Bv zg v b v b Þf v v zb hv v zt f bb v zg b ,v z} v v Ýdv v bb zf vb v zzg zb v z b ßg x zzg v v zb f zzv zz zdf dzdz bb [ v s vv zb Ýdx v v zg b v v zb hb .v bb b { b ö

Bzz\ v HU v v hzzv zàhcczhv zzàhv v b g v v zzb Þf v v zb hv v zt f b v vg b ,v zb }z b zv Ýdv v zf cv zb g v zb zz b Ýd v b v zzg v v zhb .v zb [ bb \ v HU v v zzzàh bbb bb ö

Bv zhcv b g zb zz zzÞf v v b zb hv v zt f b v zzg b ,v } v b zb g b v zb zÞf cv v zhczb g b ,v v v g b ,v zb [ b v g v v zz zÞf cb v b hv zzzb ßg v v b zf bbb v v df dzdbb [ b ò

Bv b zb s v zzb Ýdcb v v g v v zhb .cv zzàhcb z b g v zzb Þ f bb v v zzg v v g b ,v z}v zb Ýdv v b f b v v g b ,cv v zb zàhc zb zg v zb z zdb mv v z[ v v b Þf v vv b s bbbb ó


Bv zzÝdv v zzf v v b g v zzzb Ýdcv v zg v v b hb .v zz b { z \ zzb H U cv v zzàhczzhc zb z b g v v zÞf v bb v b hv v zzt f v b v g b ,v v zb } c zb Ýd bbb zb zzz zb b v f bbbb õ

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friday, june 29


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From Sir John Hawkins'History of Music

Motet

Adrian Willaert (c1490-1562)

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friday, june 29


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œ

˙œ

menJe -

rockbe

Pe -

andsus

nothe

ter

˙ œ œb

œ œ œœ œ œ

˙œ

wom -guides

moreLord

died

enthe

de -whose

up -

˙ œ

œ œ œ

˙ œ

œ œ œ

bounderr -

niessaints

onthe

ingin

re -

a

˙ œn

œb œ œ

œœ œ

&

?

bbb

bbb

˙ œ

Lord

soulchains

veal

cross,Its

WithIn

The

And

˙ œ

œ œ œ

˙ œ

œ œœ

foe

HisHim

tri -

Paul

theirre -

nowumph

be -

˙ œ

œ œ œ˙ œ

˙ œ

free -deem -

leadsof

neath

doming

HisHis

a

˙ œ

œ œ œ

˙ œ

.˙

find.hand.

praise.Cross.

sword.

.˙

.˙ .˙

The Son Of ManNEWMAN Sir Richard Terry

Kathleen Pluth

TEXT ©2005 CanticaNOVA Publications. Used with permission.

Verses 1–4: parts

Verse 5: unison

Sacred MuSic colloquiuM 2012 n 155Saturday, june 30

Saturday

o

11 a.m. June 30

Votive Mass of the Blessed Virgin Mary

Ordinary Form

Saturday, june 30

156 n Sacred MuSic colloquiuM 2012 Saturday, june 30


&

V

V?

C

C

C

C

Discantus

Contratenor

Tenor

Bassus

w wA ve

„

„

„

w wMa

„

„

„

w wri

w wA ve

„

„

›a,

w wMa

„

„

„

w wri

w wA ve

„

„

›a,

w wMa

„

„

„

w wri

w wA ve

.w ˙Gra

„

›a,

w wMa

- - - -

- - -

- - -

- -

&

V

V?

9 w wti a

„

„

w wri

˙ ˙ wple

.w ˙Gra

„

›a,

˙ œ œ w

w wti a

„

„

›na,

.˙ œ wple

.w ˙Gra

„

„

˙ œ œ w

w wti a

„

„

›na,

˙ ˙ wple

.w ˙Gra

„

„

˙ œ œ w

w wti a

∑ wDo

„

›na,

.w ˙ple

- - - - - - -

- - - - - - - -

- - - - - - - -

- - - - -

Copyright © 2005 by Charles H. Giffen for the Choral Public Domain Library(http://www.cpdl.org). May be freely copied, distributed, performed or recorded.

Ave Maria ... virgo serena(a 4)

Josquin des Prez (ca. 1440-1521)edited by Charles H. Giffen

Rev. & corrected

2009-10-16

Saturday, june 30


&

V

V?

17 ˙ ˙ wmi nus

„

„

›na,

w wte

∑ wDo

„

„

.˙ œ ˙ ˙

˙ ˙ wmi nus

„

„

w ˙ ˙

w wte

∑ wDo

„

œ œ w ˙

›cum,

˙ ˙ wmi nus

„

w wcum,

„

w wte

∑ wDo

„

›Vir

˙ .˙ œ ˙

˙ ˙ wmi nus

„

w wgo se

˙ # wcum,

w wte

- - - - - - - - - - - -

- - - - - - -

- - - - - - - -

- - -

&

V

V?

25 ›Vir

.˙ œ wre

„

›cum,

w wgo se

˙ ˙ w

›Vir

„

w wre

˙ œ œ .˙ œ

w wgo se

„

w Ó ˙na, se

œ œ .w.˙ œ œ œ ˙

re

›Vir

œ œ w ˙re

˙ ˙ w

œ œ ˙ w

w wgo se

›na.

›na.

›na.

.w ˙re

∑ wA

∑ wA

›

›na.

w wve cu

w wve cu

„

„

- - - - - - - - -

- - - - - - - - - - - - - -

- - - - - - - -

- - - - -

&

V

V?

33 w ˙ ˙jus con cep

w ˙ ˙jus con cep

„

„

œ œ w ˙ti˙ ˙ w

ti

„

„

›o,

›o,

∑ wA

∑ wA

„

∑ wcon

w wve cu

w wve cu

„

.w ˙cep

.w ˙jus con

w ˙ ˙jus con cep

„

œ œ w ˙ti

œ œ w ˙cep ti

˙ ˙ wti

„

›o,

›o,

›o,

∑ wSo

∑ wSol

∑ wSo

∑ wSo

- - - - - -

- - - - - - - - - -

- - - - - -

- - - - - -

2 Josquin: Ave Maria ... virgo serena, a 4


Saturday, june 30


&

V

V?

41 w wlem ni

w wlem ni

w wlem ni

w wlem ni

.w ˙ple na

.w œ œple.w ˙ple na

.˙ œ ˙ ˙ple na

w wgau di

˙ ˙ wna

w wgau di

˙ ˙b w

gau di

w wo, Coe

›

w ˙ ˙o, Coe le

.w ˙o, Coe

w wle sti

˙ ˙ wgau di

˙ w ˙sti a,

w wle sti

w wa, ter

w wo, Coe

˙ w ˙ter re

.w ˙a, ter

w wre stri

˙ ˙ wle sti a,

˙ w ˙stri a,

w wre stri

- - - - - - - - - -

- - - - - - - - - -

- - - - - - - - - -

- - - - - - - - - -

&

V

V?

48 w wa, No

.˙ œ ˙ ˙ter re stri

˙ w ˙No va

.w ˙a, No

w wva re

w Ó ˙a, No

˙ w ˙re plet

w wva re

.˙ œ ˙ ˙plet lae

˙ .˙ œ ˙va re

˙ .˙ œ ˙lae.˙ œ ˙ ˙

plet lae

œ œ œ œ ˙ ˙ti

˙ .˙ œ Nplet lae

˙ .˙ œ ˙ti

.b œ b ˙ti

œ œ w ˙ti

˙ ˙ wti ti a,

˙ ˙ wti

˙ ˙ wti

›a.

˙ .˙ œ œ œlae ti ti

›a.

›a.

∑ wA

w ∑a.

›

›

- - - - - - - - - -

- - - - - - - - - - -

- - - - - - - - - -

- - - - - - - - -

&

V

V?

55 .w ˙ve cu

w wA ve

„

„

w wjus na

˙ ˙ wcu jus

„

„

.w œ œti vi

w wna ti

„

„

w ˙ ˙tas, na ti

˙ œ œ w

„

„

œ œ w ˙vi

˙ ˙ wvi

∑ wNo

„

›tas,

w ∑tas,

.w ˙stra fu

w wNo stra

„

„

w wit so

˙ ˙ wfu it

„

„

.w œ œlem ni

w wso lem

- - - - - - - - -

- - - - - - - - - -

- - - - -

- - - -

3Josquin: Ave Maria ... virgo serena, a 4


Saturday, june 30


&

V

V?

63 „

„

w ˙ ˙tas, so lem

˙ œ œ w

∑ wUt

„

œ œ w ˙ni

˙ ˙ wni

w wlu ci

„

›tas,

›tas,

w wfer lux

∑ wUt

„

„

.˙ œ wo riw wlu ci

∑ wUt

„

›ens,

w wfer lux

w wlu ci

„

„.˙ œ w

o ri

w wfer lux

∑ wUt

„

.˙ œ ˙ ˙ens, Ve

.˙ œ wo ri

w wlu ci

- - - -

- - - - -

- - - - - - - - -

- - - - - - - -

&

V

V?

71 ∑ wVe

œ œ w ˙rum so

w wens, Ve

w wfer lux

w wrum so

œ œ w œ œlem praew w

rum so

.˙ œ wo ri

w ˙ ˙lem prae ve

w wve

w Ó ˙lem prae

w wens, Ve

œ œ w ˙

w wni

˙ .˙ œ œ œve

w wrum so

œ œ w ˙

›ens.

˙ ˙ w

w wlem prae

œ œ w ˙ni

„˙ ˙ w

ni

w wve ni

w ∑ens.

„

›ens.

›ens.

- - - - - - - - - - - -

- - - - - - - -

- - - - - - - - - -

- - - - - - -

&

V

V?

78 w ˙ ˙A ve pi

w ˙ ˙A ve pi

„

„

w ˙ ˙a hu mi

w ˙ ˙a hu mi

„

„

˙ ˙ wliœ œ w #

li

„

„

›tas,

›tas,

w ˙ ˙Si ne vi

w ˙ ˙Si ne vi

„

„

w ˙ ˙ro foe cun

w ˙ ˙ro foe cun

„

„

˙ ˙ wdi

œ œ w #di

w ˙ ˙Cu jus an

.˙ œ ˙ ˙Cu jus an

›tas,

›tas,

w ˙ ˙nun ti a

w ˙ ˙nun ti a

„

„

- - - - - - - - - -

- - - - - - - - - - - -

- - - - -

- - - - - - -



Saturday, june 30


&

V

V?

13

13

13

13

86 ˙ ˙ wti

œ œ w ˙ti

„

„

w Ó ˙o, (o)

.w œ œo,

„

„

˙ œ œ ww w

∑ wNo

∑ wNo

„

„

w wstra fu

.w ˙stra fu

„

„w wit sal

˙ œ œ ˙ ˙it sal

„

„

.˙ œ ˙ ˙va

˙ w œ œva

„

„

œ œ w ˙ti

˙ ˙ wti

„

„

›o.

›o.

- - -

- - -

- - - - - - - -

- - - - - - -

&

V

V?

13

13

13

13

94

w w wA ve ve

w w wA ve ve

∑ w wA vew w w

A ve ve

› wra vir

.w ˙ ˙ ˙ra vir

w ›ve ra

› wra vir

› wgi ni

› wgi ni

w ›vir gi

› wgi ni

› ∑tas,

› ∑tas,

w ›ni tas,

› ∑tas,

w w wIm ma cu

w w wIm ma cu

∑ w wIm maw w w

Im ma cu

› wla ta

.w ˙ ˙ ˙la ta

w ›cu la

› wla ta

- - - - - - - - -

- - - - - - - - -

- - - - - - - - -

- - - - - - - - -

&

V

V?

100 › wca sti

› wca sti

w ›ta ca

› wca sti

› wtas, Cu

› wtas, Cu

w ›sti tas,

› wtas, Cu

› wjus pu› wjus pu

w ›Cu jus

› wjus pu

› wri fi

› wri fi

w ›pu ri› wri fi

.w ˙ ˙ ˙ca ti

› wca ti

w .w ˙fi ca

› wca ti

› wo No

› wo No

˙ ˙ ›ti o› wo No

- - - - - - - - -

- - - - - - - -

- - - - - - - - - -

- - - - - - - - -



Saturday, june 30


&

V

V?

C

C

C

C

106 › wstra fu.w ˙ ˙ ˙stra fu

w ›No stra

› wstra fu

w .w ˙it pur

w w wit pur ga

w w wfu it pur

w w wit pur

› wga ti

w ›w ›

ga ti

w ›ga ti

›o.

w w

›o.

›o.

„

˙ œ œ wti o.

›

›

›A

∑ wA

„

„

w wve prae

w wve prae

„

„

- - - - - -

- - - - - - - - - - - -

- - - - - - -

- - - - - -

&

V

V?

113 .w œ œcla

˙ œ œ wcla

„

„

w ˙ ˙ra om

›ra

›A

∑ wA

˙ œ œ wni

∑ wom

w wve prae

w wve prae

›bus

˙ w ˙ni

.w œ œcla

w wcla ra

„

œ œ œ œ wbus

w ˙ ˙ra om

.w œ# œom

„

„

˙ œ œ wni# w #

ni

›An

∑ wAn

›bus

›bus

- - - - - - -

- - - - - - - -

- - - - - - - - - - -

- - - - - - - - - -

&

V

V?

120 w wge li

w wge le

„

„

.w œ œcis

˙ œ œ wcis

„

„

w ˙ ˙vir tu

››

An

∑ wAn

˙ œ œ wti

∑ wvir

w wge li

w wge li

›bus,

˙ w ˙tu ti

.w œ œcis

w wcis vir

„

œ œ œ œ wbus,

w ˙ ˙vir tu

.w œ# œtu

„

„

˙ œ œ wti# w #

ti

- - - - - -

- - - - -

- - - - - - - - - -

- - - - - - - - - -



Saturday, june 30


&

V

V?

127 ∑ wCu

Ó w œ œCu

›bus,

›bus,

w wjus fu

˙ w ˙jus fu

„

„

.w ˙it as

˙ œ œ wit

∑ wCu

∑ wCu

w wsump ti

Ó w œ œas

w wjus fu

.˙ œ wjus fu it

›o

.˙ œ ˙ ˙sump

.w ˙it as

.˙ œ œ œ ˙as

„

œ œ œ œ w

w wsump ti

˙ ˙ wsump ti

∑ wNo

˙ ˙ wti o

›o

›o

- - - - - -

- - - - - - - - - - - - -

- - - - -

- - - - - - -

&

V

V?

134 w wstra glo

Ó .˙ œ ˙No

„

„

.w ˙ri fi

˙ .˙ œ œ œ

„

„

w wca

w w

∑ wNo

„

˙ .wti

w Ó ˙stra glo

w wstra glo

∑ wNo

w ∑o.

œ œ œ œ ˙ ˙ri

.w ˙ri fi

˙ .˙ œ œ œstra glo

„

˙ ˙ ˙ ˙fi ca

w wca

˙ ˙ ˙ ˙ri fi ca

„

œ œ wti

˙ .wti

œ œ œ œ wti

- - - - -

- - - - - - - - - - - - - - - - -

- - - - - - -

- - - - - - - - - -

&

V

V?

141 „

›o.

›o.

›o.

„

„

„

„

›O

›O

›O

›O

w wMa ter

w wMa ter

w wMa ter

w wMa ter

›De›De

.w ˙De

.w œ œDe

›i,

›i,

›i,

›i,

∑ wMe

∑ wMe

∑ wMe

∑ wMe

- - - - -

- - - - -

- - - - -

- - - - -




&

V

V?

148 w wmen to

w wmen to

w wmen tow wmen to

›me

w wme

›me

›me

›i.

›i.

›i.

›i.

››

›

›

›A

›A

›A

›A

››

›

›

›men.

›men.

›men.

›men.

››

›

›

- - - - - - - - -

- - - - - - - - -

- - - - - - - - -

- - - - - - - - -



Ave Maria, Gratia plena,Dominus tecum, Virgo serena.Ave cujus conceptio,Solemni plena gaudio,Coelestia, terrestria,Nova replet laetitia.Ave cujus nativitas,Nostra fuit solemnitas,Ut lucifer lux oriens,Verum solem praeveniens.Ave pia humilitas,Sine viro foecunditas,Cujus annuntiatio,Nostra fuit salvatio.Ave vera viginitas,Immaculata castitas,Cujus purificatioNostra fuit purgatio.Ave praeclara omnibusAngelicis virtutibus,Cujus assumptio,Nostra glorificatio.O Mater Dei,Memento mei.Amen.


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Adantino e = 88

Adantino e = 88

Sir Edward Elgar(1857-1934)

Ave, MariaOpus 2, No. 2

Copyright © 2006 by the Choral Public Domain Library (http://www.cpdl.org)Edition may be freely distributed, duplicated, performed, or recorded.

Please send comments, amendments, suggestions and corrections to [email protected]

SOPRANO

ALTO

TENOR

BASS

Organ

A

f ve,

- A

psemplice

ve,

- Ma

ri- a,

- gra ti

- a- ple

ten.

na;

- Do

mi

- nus- te

-

A

f

ve,

- A

p

ve,

- Ma

ri- a,

- gra

ti

- a- ple

ten.

na;

- Do

mi

- nus- te

-

A

f

ve,

- A

pve,

- Ma ri

- a,

- gra

ti

- a- ple

ten. na;

- Do

mi

- nus- te

-

A

f

ve,

- A

pve,

- Ma ri

- a,

- gra

ti

- a- ple

ten.

na;

- Do

mi

- nus- te

-

f

Ped.

p

senza Ped.

5

cum;

be

mfne

- dic

- ta,

- be

ne

- dic

cresc.- ta

-

largamente

tu

in

mu

fli

- e

- ri

- bus,

p -

cum;

be

mf

ne

- dicta

- tu

cresc.

in

mu

f

li

- e

- ri

- bus,

p

-

cum;

be

mfne

- dic

- ta,

- be

ne

- dic

cresc.

- ta

- tu

in

mu

f

li

- e

- ri

- bus,

p

-

cum;

be

mf

- ne

dic

- ta

- tu

cresc.

in

mu

f

- li

e

- ri

- bus,

p -

espress.

ten.

mf

cresc.

largamente

f

p

Ped.


10

et

pp tranquillamentebe

ne- dic

- tus

- fruc tus

poco. - ven

tris

- tu i,

- Je

- sus.

et

pp

be

ne- dic

- tus

- fruc

tus

poco.

- ven

tris

- tu i,

- Je

- sus,

Je

cresc.

sus,

-

Je

-

et

pp

be

ne- dic

- tus

- fruc

tus

poco.

- ven

tris

- tu i,

- Je

sus,

-

Je

cresc.

- sus,

Je

-

et

ppbe

ne- dic

- tus

- fruc

tus

-

poco.

ven

tris

- tu i,

- Je

sus,

-

Je

cresc.

sus,

-

Je

-

pp

poco.

cresc.

tranquillamente

senza Ped.

15

molto allargandoSanc

ffmolto express.

ta

- Ma

ri- a,

- Ma ter

- De

i,

dim. a tempo-

O

p ra

- pro

sus.

molto allargando

Sanc

f

ta,

- Sanc

ff

molto express.

ta

- Ma

ri- a,

- Ma

ter

- De

i,

dim. a tempo

- O

p ra

- pro

no

bis,

-

sus.

molto allargando Sanc

ffmolto express.

ta

- Ma ri

- a,

- Ma

ter

- De

i,

dim. a tempo

- O

p ra

- pro

no

bis,

-

sus.

molto allargando fSanc

ta,

- Sanc

ffmolto express.

ta

- Ma ri

- a,

- Ma

ter

- De

dim. a tempo

i,

-

O

p ra

- pro

ff

dim. a tempo

molto allargando

senza Ped.

Ped.

2

Saturday, june 30


20

no

ten.

bis,

-

no

bis- pec

ca

- to- ri

- bus,

-

pp

nunc

Più lento

et

in

ho ra

-

o

ra

- pro

no

bis,

- nunc

pp

et

in

ho ra

-

o

ra

- pro no

bis

- pec

ca

- to- ri

- bus,

-

pp

nunc

et

in ho

ra

-

no

ten.

- bis,

pec

ca

- to

- ri

- bus,

- nunc

ppet

in ho

ra

-

pp

senza Ped.

Più lento

24

mor

tis

- nos

træ,

-

O

ra

- pro no

bis.

-

mor

tis

- nos

træ,

-

O

ra

- pro no

bis.

-

mor

tis

- nos

træ,

-

O

ra

- pro no

bis.

-

mor

tis

- nos

træ,

-

O

ra

- pro no

bis.

-

3


28

A

p

men,

- - -

A

pp

rall.

men.

- - -

A

p

men,

- - -

A

pp

rall.

men.

- - -

A

p

men,

- - -

A

pp

rall.

men.

- - -

A

p men,

- - -

A

pp rall.

men.

- - -

pp

rall.

SOURCE: Novello 1907COMPOSER: Sir Edward Elgar (1857-1934), Op.2, No.2

transcribed from Novello edition by Robert G. Nottingham 23/5/06, rev. 8/5/07 & 20/9/07edition prepared for Coro Nostro Chamber Choir of Leicester, UK

TEXT:

Ave Maria, gratia plena, Dominus tecum;benedicta tu in mulieribus,et benedictus fructus ventris tui, Jesus.Sancta Maria, Mater Dei,ora pro nobis peccatoribus,nunc et in hora mortis nostrae. Amen.

TRANSLATION:

Hail Mary, full of grace, the Lord is with thee;blessed art thou among women,and blessed is the fruit of thy womb, Jesus.Holy Mary, Mother of God,pray for us sinners,now and at the hour of our death. Amen.

(senza Ped.)

Ped.

4


alternatim,women begin


Vespers

o

3 p.m. June 30

Extraordinary Form

VeSperS, Saturday, june 30

180 n Sacred MuSic colloquiuM 2012 VeSperS, Saturday, june 30

page is intentionally left blank

Sacred MuSic colloquiuM 2012 n 181VeSperS, Saturday, june 30


&

V

V

?

C

C

C

C

Superius

Altus

Tenor

Bassus

„

„

„

w wEt ex

„

„

„.w ˙

sul

„

„

∑ wEt.˙ œ œ œ ˙

ta

„

∑ wEt

w wex

w wvit- - - - - -

-

&

V

V

?

S.

A.

T.

B.

5

w wEt ex

w wex

˙ ˙ .˙ œsul ta

„

.w ˙sul˙ ˙ ˙ ˙

sul ta

œ œ w ˙

„

˙ .˙ œ ˙ta˙ ˙ .˙ œ œ

˙ ˙ w

„

˙ ˙ wvit

w .˙ œvit

w Ó ˙vit spi

∑ Ó ˙spi

- -

- - - -

- - - - - - --

- - - - -

- - - - - - -

-

Orlandus Lassus (1530-1594)

This engraving is given into the Public Domain as a gift to those who sing and those who love Sacred Music

in honor of the XXII. Sacred Music Colloquium. http://www.musicasacra.com

Magnificat Tertii Toni


&

V

V

?

S.

A.

T.

B.

9 ∑w ∑

˙ ˙ wri tus

˙ ˙ ˙ ˙ri tus me

∑ Ó ˙spi

∑ Ó ˙spi

w œ œ œ œme

œ œ œ œ wus

˙ ˙ wri tus˙ ˙ ˙ ˙ri tus me

w w

˙ ˙ ˙ ˙spi ri tus me

w ˙ ˙me us in

˙ ˙ œ œ œ œus in De

w Ó ˙us in˙ ˙ w

us

- - - - - - -

- - - - - -

- - - -

- - -

&

V

V

?

S.

A.

T.

B.

13

w ˙ ˙De o saw w

o

w wDe o

Ó ˙ win De

˙ ˙ ˙ ˙lu ta ri

Ó w ˙sa lu

w ∑

˙ w ˙o sa lu

˙ œ œ ˙ ˙me

˙ ˙ ˙ ˙ta ri me

∑

˙ ˙ ˙ ˙ta ri me

w wo. sa

w œ œ œ œo.

Ó w ˙sa lu

˙ # ˙ ˙o. sa

- -

- - - - - - -

- - - - -

- - -

- - - - - - -

-

&

V

V

?

S.

A.

T.

B.

17 ˙ ˙ ˙ ˙lu ta ri˙ ˙ wsa lu

˙ ˙ ˙ ˙ta ri me

˙ ˙ ˙ ˙lu ta ri

˙ w ˙#

me˙ ˙ wta ri me

œ œ œ œ w

˙ ˙ wme

Wo.Wo.

Wo.

Wo.

- - - -

- - - - - -

- - - - - -

- - - - - -


&

V

V

?

C

C

C

C

Superius

Altus

Tenor

Bassus

20 ∑ wQui

w ˙ ˙Qui a fe

„

„

˙ w ˙a fe cit˙ ˙ ˙ ˙

cit mi hi

„

„

w wmi hi

˙ .˙ œ ˙mag

„

∑ wQui

œ œ œ œ œ wmag

w ˙ ˙na qui

∑ wQui

˙ w ˙a fe cit

- - - -

- - - - - -

- -

-

&

V

V

?

S.

A.

T.

B.

24

w Ó ˙na Qui˙ ˙ wpo tens est,

˙ w ˙a fe cit

w wmi hi

˙ w ˙a fe cit

Ó ˙ ˙ ˙Qui a fe

˙ ˙ ˙ ˙mi hi mag na

˙ ˙ wmag

˙ ˙ œ œ œ œ œmi hi mag˙ ˙ ˙ ˙

cit mi hi

w ˙ ˙qui po tens

w ∑na

w ˙ ˙na qui

œ œ œ ˙ wmag

w Ó ˙est, qui

Ó ˙ ˙ ˙qui po tens

-

- -

- - -

-

- - - - - -

- - -

-

-


&

V

V

?

S.

A.

T.

B.

28

˙ w ˙po tens

w Ó ˙na qui

˙ ˙ wpo tens est,

w west,

˙ ˙ ˙ ˙est, qui po

˙ ˙ wpo tens est,

Ó w ˙qui po

„

.˙ œ œ œ ˙tens

Ó ˙ ˙ ˙qui po tens

.˙ œ wtens

w ˙ ˙qui po tens

˙ œ œ œ œ ˙

˙ ˙ ˙ ˙est, et sanc tum

w Ó ˙est, et

West,

-

-

- -

-

- -

- - -

&

V

V

?

S.

A.

T.

B.

32

w ∑est,

˙ ˙ ˙ ˙No men e

˙ ˙ ˙ ˙sanc tum No men

Ó ˙ ˙ ˙et sanc tum

„

œ œ œ œ œ w

˙ w ˙#

e

˙ ˙ wNo men e

w ˙ ˙et sanc tum

w Ó ˙ius, et

˙ ˙ ˙ ˙ius, et sanc tum

Wius,

˙ ˙ ˙ ˙No men e


˙ ˙ .˙ œNo men e

„

- - - - -

- - - - -

- - -

- -

- - -

- - -

&

V

V

?

S.

A.

T.

B.

36

˙ ˙#˙ ˙ius, et

.˙ œ ˙ ˙e ius,

w ˙ ˙ius, et

w wet sanc


Ó ˙ ˙ ˙et sanc tum

˙ ˙ wsanc tum No

˙ ˙ ˙ ˙tum No men

˙ w ˙#

e

˙ ˙ wNo men e

w wmen e

We

Wius.

W#ius.

Wius.

Wius.

- -

-

- - - - -

- - - - -

- - - - -

- - -


&

V

V

?

C

C

C

C

Superius

Altus

Tenor

Bassus

40 „

w ˙ ˙Fe cit po

„

„

w ˙ ˙Fe cit po

˙ ˙ .˙ œ œten ti am

„

„


˙ ˙ ˙ ˙in bra chi

„

„

w w

˙ .˙ œ œ ˙o su

„

w ˙ ˙Fe cit po

- - - - - - -

- - - -

- -

&

V

V

?

S.

A.

T.

B.

44


Wo,

„


˙ .˙ œ ˙o su

w ˙ ˙fe cit po

„


˙ ˙#wo,

˙ ˙ ˙ ˙ten ti am in

∑ Ó ˙Fe

w .˙ œo su

∑ Ó ˙in

˙ ˙ wbra chi o

˙ ˙ ˙ ˙cit po ten ti

˙ œ œ œ œ ˙

-

- -

- - - - - - - -

- - - - -

- - -

- - - -


&

V

V

?

S.

A.

T.

B.

48 ˙ ˙ wbra chi o

w wsu

.˙ œ œ ˙ ˙am in

˙ .˙ œ œ ˙o, in

˙ .˙ œ ˙su

˙ œ œ ˙ ˙

˙ ˙ ˙ ˙bra chi o su

˙ ˙ wbra chi o

˙ ˙ wo:

w w

œ œ w ˙#

w wsu

Ó ˙ wdi sper

w# Ó ˙o: di

Wo:

Wo:

- - - - - -

- - - - -

- - - - - -

- - - - -

- -

-

&

V

V

?

S.

A.

T.

B.

52

˙ ˙ ˙ ˙sit su per

˙N ˙ ˙ ˙sper sit su per

„

„

œ œ ˙ wœ œ w ˙

Ó w ˙di sper

∑ wdi

˙ ˙ ˙ ˙bos, di sper sit

˙ ˙ wbos, di sper

˙ ˙ ˙ ˙sit su per

w ˙ ˙sper sit su

˙ .˙ œ ˙su per

˙ ˙ wsit su per

˙ œ œ œ œ ˙

˙ .˙ œ ˙per

- - - - - - - - -

- - - - - - - - -

- - - - - -

- - - - - -

&

V

V

?

S.

A.

T.

B.

56

w œ œ œ œbos

.˙ œ ˙ ˙bos men

˙ ˙ wbos

w wbos

˙ w ˙men te˙ ˙ ˙ ˙te cor dis

w Ó ˙men

Ó w ˙men te

˙ .˙ œ ˙cor dis.w œ œsu

˙ ˙ wte cor dis

.˙ œ ˙ ˙cor dis

˙ w ˙#

su

W

˙ ˙ wsu

Wsu

Wi.

Wi.

Wi.

Wi.

- - - -

- -

- - - -

- - - -

-

-

- - - -


&

V

V

?

C

C

C

C

Superius

Altus

Tenor

Bassus

61

WE

∑ wE

„

„

w .˙ œsu ri

w ˙ ˙su ri en

„

„

˙ .˙ œ ˙en

œ œ œ œ ˙ ˙

„

„

˙ œ œ w

˙ œ œ wtes,

WE

∑ wE

- - -

- - - - - -

- - - -

-

-

&

V

V

?

S.

A.

T.

B.

65 Wtes

Ó ˙ ˙ ˙e su ri

w .˙ œsu ri

w ˙ ˙su ri en

„

w ˙ ˙en tes im

˙ .˙ œ ˙en

œ œ œ œ ˙ ˙

„

.w œ œple

˙ œ œ w

œ œ œ œ w

Ó ˙ wim ple

˙ ˙ ˙ œ œvit bo

Wtes

˙ ˙ ˙ ˙tes im ple vit

- - - - - - - -

- -

- - - - - -

- - - - - - - - - -

-


&

V

V

?

S.

A.

T.

B.

69 w wvit bo

œ œ w ˙

„

w wbo nis,

w Ó ˙nis, im

˙ ˙ ˙ ˙nis, im

„

Ó ˙ ˙ ˙im ple vit

˙ œ œ œ œ ˙ple vit

˙ w ˙ple vit

Ó ˙ wim ple

œ œ œ œ œ œ ˙bo

œ œ w ˙bo.w œ œ

bo

w wvit bo

.˙ œ ˙ ˙nis, im

w ∑nis,

.˙ œ w

w Ó ˙nis, im

˙ .˙ œ ˙ple vit-

- - - - -

- - - -

- - - - -

- - - -

- - - -

&

V

V

?

S.

A.

T.

B.

74 Ó ˙ ˙ ˙et di vi

w ∑nis:

˙ œ œ œ œ ˙ple

.˙ œ ˙ œ œbo

w ∑tes

w ˙ ˙et di vi

œ œ w ˙vit bo

œ œ œ œ w

Ó ˙ wdi mi

w ˙ ˙tes di mi

w ∑nis:

˙ ˙ ˙ ˙nis: et di vi

w wsitœ œ œ œ ˙ ˙

sit in

Ó ˙ ˙ ˙et di vi

˙ ˙ ˙ ˙tes di mi sit

˙ ˙ win a

œ œ w #

a

w ∑tes

w win a- - - - - -

- - - -

- - - -

- - - - - -

- -

- - - -

- -

&

V

V

?

S.

A.

T.

B.

79

w Ó ˙nes, di˙ w ˙nes, di mi

Ó ˙ wdi mi

˙ ˙ ˙ œ œnes, di mi sit

˙ ˙ ˙ ˙mi sit in a

˙ ˙ wsit in

w wsit

œ œ ˙ .˙ œin

œ œ w ˙#

Wa

˙ ˙ win a

w wa

Wnes,

Wnes.

Wnes.

Wnes.

- -

- - - - --

- - - - - -

- - - - - -

- - - -


V

V

?

C

C

C

Altus

Tenor

Bassus

83 w wSi cut

„

„

˙ ˙ ˙ ˙lo cu tus

w wSi cut

„

w Ó ˙est ad

˙ ˙ ˙ ˙lo cu tus

„

˙ w œ œpa

˙ w ˙est ad pa

w wSi cut

- - - -

- - - -

-

V

V

?

A.

T.

B.

87 ˙ ˙ wtres no

˙ .˙ œ ˙tres no

˙ ˙ b b

lo cu tus

w wstros, si

˙ œ œ œ œ ˙

˙ w ˙est ad pa

.w ˙cut lo

˙ ˙ ˙ ˙stros, si cut lo

˙ .˙ œ ˙tres no

˙ ˙ wcu tus est

˙ ˙ ˙ ˙cu tus est ad

w wstros, ad

- - - - -

- - - -

- - - -

- - -

V

V

?

A.

T.

B.

91 Ó w ˙ad pa

˙ ˙ ˙ œ œpa tres no

w wpa tres

˙ .˙ œ ˙tres no

œ œ œ .˙ œ ˙

˙ .˙ œ œ œ

w wstros,

˙ ˙ .˙ œstros,

w Ó ˙A

.w ˙A bra

W

˙ ˙ .˙ œbra ham,

- -

-

- - - - - -

- -

- -


V

V

?

A.

T.

B.

95 ˙ ˙ ˙ ˙ham et se mi

Ó w ˙A bra

œ œ œ œ wA bra ham

˙ ˙ ˙ ˙ni e ius in

˙ ˙ ˙ ˙ham et se mi

„

˙ ˙ wsæ cu la.


Ó ˙ ˙ ˙et se mi

∑ Ó ˙A

˙ ˙ œ œ œ œ œsæ cu la.

˙ ˙ ˙ ˙ni e ius in- - - - -

- - - - - - -

- - - - - -

V

V

?

A.

T.

B.

99 ˙ ˙ œ œ œ œbra ham

w Ó ˙A

˙ ˙# wsæ cu la.

W

˙ ˙ ˙ ˙bra ham et

∑ wA

w ∑

˙ ˙ ˙ ˙se mi ni e

˙ ˙ ˙ ˙bra ham et

∑ Ó ˙et

˙ ˙ ˙ ˙ius in sæ cu

˙ ˙ ˙ ˙se mi ni e- -

- -

- -

- - - - -

- - - - -

V

V

?

A.

T.

B.

103 ˙ ˙ ˙ ˙se mi ni e

.˙ œ œ œ ˙la.

w Ó ˙ius in

.w ˙ius in

Ó ˙ ˙ ˙et se mi

˙ ˙# wsæ cu la.

˙ ˙# œ œn œ œ œsæ cu la.


Ó ˙ ˙ ˙in sæ cu

˙ ˙ ˙ ˙in sæ cu

˙ ˙# wsæ cu la.

w wla.

Wla.

W#

W- - - -

- - - - - - -

- - - - -


&

V

V

?

C

C

C

C

S.

A.

T.

B.

108

WSi

.˙ œ œ œ ˙Si

∑ wSi

∑ .˙ œSi

W˙ ˙ œ œ œ œcut e rat

˙ ˙ ˙ ˙cut e rat

œ œ ˙ ˙ ˙cut e

Wcut˙ w ˙

in prin

.w ˙#in prin

.˙ œ œ œ ˙rat

- - - - - -

- - - -

- - -

- - - -

-

-

&

V

V

?

S.

A.

T.

B.

111

w we˙ ˙ w

ci pi o,

˙ ˙ wci pi o,

˙ ˙ .˙ œin prin ci

˙ w ˙rat in prin˙ ˙ ˙ ˙

et nunc, et

˙ ˙ ˙ ˙et nunc, et

œ œ ˙ ˙ ˙pi o,

˙ ˙ ˙ ˙ci pi o, etw ˙ ˙sem per, et

w wsem

.˙ œ œ œ ˙et

w ˙ ˙nunc, et sem˙ ˙ wnunc, et sem

w ˙ ˙

œ œ ˙ ˙ ˙nunc, et- - - - -

- - - -

- - - - - - -

- - - - -

&

V

V

?

S.

A.

T.

B.

115 ˙ œ œ wW

per,

W

Wsem

Wper,

Ó w ˙et in

w Ó ˙per, et

Wper,

Ó w ˙et in.˙ œ œ œ ˙

sæ

˙ ˙ ˙ ˙in sæ cu.w ˙

et in

˙ ˙ wsæ cu la˙ ˙ .˙ œ œ

cu la

w wla

˙ ˙ .˙ œ œsæ cu la-

- - -

- - -

- - - - -

- -

- -

-


&

V

V

?

S.

A.

T.

B.

119 W

˙ w ˙sæ cu

W

˙ w ˙sæ cu

„˙ ˙ ˙ ˙lo rum. A

„˙ ˙ ˙ ˙lo rum. A

„

œ œ œ œ œ w

„

œ œ w #

Ó w ˙sæ cu

w ∑men,

Ó w ˙sæ cu

w wmen, sæ- - -

- - - - - - -

- - - - -

- -

- -

&

V

V

?

S.

A.

T.

B.

123 ˙ ˙ ˙ ˙lo rum. A˙ ˙ wsæ cu lo

˙ ˙ ˙ ˙lo rum. A

˙ ˙ ˙ ˙cu lo rum. A

œ œ w ˙#

.w ˙rum. A

œ œ œ œ œ w

w wmen,

Wmen,˙ ˙ w

men,

˙ w ˙men, sæ cu

∑ wsæ

.w ˙sæ cu

Ó w ˙sæ cu

˙ ˙ ˙ ˙lo rum. A

˙ ˙ ˙ ˙cu lo rum.

- - - -

- - - - -

- - - - - - - - -

- - - - - - -

- -

-

&

V

V

?

S.

A.

T.

B.

127

w wlo rum.˙ ˙ ˙ ˙lo rum. A

œ œ w ˙

.˙ œ ˙ ˙#A

WAW

W

W

Wmen.Wmen.

W#men.

Wmen.

- - - - -

- -

- - - -

- - - - -

VeSperS, Saturday, june 30

Sacred MuSic colloquiuM 2012 n 219Sunday, july 1

13th Sunday in Ordinary Time

o

11 a.m. July 1

Ordinary Form

220 n Sacred MuSic colloquiuM 2012 Sunday, july 1


&

&

V

?

?

#

#

#

#

#

#

#

#

#

#

C

C

C

C

C

canto

alto

tenore

basso

basso continuo

==

==

==

==

==

C

C

C

C

C

&b „

bB„

Bb

›

Ky -bB

„

Bb

›

„

„

w w

ri - e e -

„

w w

›

Ky -„

ww

lei -

„

ww

w w

ri - e e -„

ww

„

ww

ww

lei -„

w w

„

w w

ww

„

w Ó ˙

son Ky -„

.w ˙

&

&

V

?

?

#

#

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#

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7

w w

„

˙ ˙˙˙

ri - e e - le -„

˙ ˙˙˙

˙ ˙ w

„

˙# w ˙

i -∑ Ó

˙

Ky -

˙# ˙

w

4 3

›

son„

w

Ó

˙

son Ky -

˙ ˙˙˙

ri-e e-lei -

˙ ˙˙˙

„

„

˙ ˙˙˙

ri - e e - le -˙˙ ˙˙

˙˙ ˙˙

„

Ó

˙ ˙˙

Ky - ri - e e -

˙œ œœ œ˙

.w ˙

.w ˙

Ó

˙ ˙˙

Ky-ri-e e -

˙˙ ˙ ˙

lei -

˙ ˙# w

i - son

w w

son

w w

˙˙ ˙ ˙

lei -

˙ ˙w

„

„

˙ ˙w

C. Monteverdi, Messa del 1650 - p. 1La Stagione Armonica

MESSA A 4 VOCI DA CAPELLA

Claudio Monteverdi

Kyrie - Christe - Kyrie


&

&

V

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?

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#

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#

#

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#

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14

˙ ˙w

w ˙ ˙

Ó ˙ ˙˙

Ky-ri - e e -

„

˙˙ ˙˙

w w

˙˙ ˙ ˙

˙˙ ˙ ˙

lei -

„

˙˙ ˙ ˙

w

Ó ˙

son Ky -

.˙ œw

.˙œ w

„

.˙œ w

˙ ˙˙˙

ri - e e - le - i -

˙ ˙ w

˙ ˙ w

„

˙ ˙ w

w∑

son

˙w ˙

son Ky- ri -

˙˙ w

son Ky-ri -w w

Ky - ri -w w

„

˙ w ˙

e e - lei -

w w

e e - lei -w w

e e - lei -w w

„

˙w ˙

w w

w w

w w

„

˙w ˙

w w

w w

w w

&

&

V

?

?

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22Ó ˙ ˙

˙

Ky-ri-e e -

˙ ˙˙˙

w w

son˙ ˙ w

˙ ˙ w

˙˙ ˙ ˙

lei -

˙˙ ˙˙

„

w ∑

son˙ ˙ ˙

˙

.˙œ w

.w ˙

∑ Ó˙

Ky -

„

w ˙

˙

˙ ˙ wn

w w

˙ ˙˙n˙

ri-e e - lei -

Ó ˙ ˙˙

Ky-ri - e e -˙

˙ ˙˙

6b

w w

˙

˙ w

son Ky- ri -

˙˙ ˙˙

˙˙ ˙ ˙

lei -˙˙ ˙ ˙

w∑

son

.w ˙

e e -

.wn ˙

.˙œ w

.˙œ w

„

˙ ˙˙˙

lei -

w w

˙ ˙ w

˙ ˙ w

Ó ˙ ˙˙

Ky-ri - e e -

.˙ œ ˙ ˙

.w ˙

.w ˙

.w ˙

&

&

V

?

?

#

#

#

#

#

#

#

#

#

#

30˙˙ ˙ ˙

lei -

˙ ˙w

w w

son

w w

w w

˙ ˙w

˙˙ ˙˙

son Ky-ri-e e -

∑ Ó ˙

Ky -w ∑

sonw

˙ ˙

w ˙

˙

son Ky -

˙˙ ˙ ˙

le -

˙ ˙˙˙

ri-e e-lei -

„

˙ ˙˙˙

w w

ri - e e -

˙ ˙w

˙˙ .˙

œ

∑ Ó˙

Ky -˙˙ ˙

˙

ww

le -

w ˙ ˙

w ˙˙

˙ ˙˙˙

ri - e e - lei -˙ ˙˙˙

ww

˙

˙ w

˙˙.˙ œ

˙˙ .˙œ

˙˙ .˙œ

.w ˙

w

˙ ˙

.˙ œw

.w ˙

.w ˙

œ œ w ˙#

i -

˙ ˙w

i - son

w w

sonw w

w w

C. Monteverdi, Messa del 1650 - p. 2 La Stagione Armonica


&

&

V

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#

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#

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C

C

C

C

38w ∑

son

w w

Ky - ri -

Ó ˙ ˙ ˙

Ky- ri - e e -

w w

son Ky -

w w

„

w w

e e -

˙˙ ˙˙

lei -w w

ri - e e -w w

„

w w

le -

˙ ˙ w

w w

lei -

w w

Ó ˙ ˙ ˙

Ky - ri - e e -

w w

˙

˙ ˙ ˙

w w

w w

˙˙ w

lei -

ww

˙

˙w

w

w

w

w

w w

w ˙ ˙

.w ˙n

w w

w w

˙ ˙ w

˙# w ˙

i -

›

›

›

›

son

›

son

›

son›

son›

&

&

V

?

?

#

#

#

#

#

#

#

#

#

#

C

C

C

C

C

46

w ˙ ˙

Chri-ste e -

w ˙ ˙#

Chri-ste e -w ˙

˙

Chri-ste e -

„

w ˙

˙

ww

lei -

ww

le -w

w

lei -

„

w

w

.˙œ .˙ œ

.˙œ ˙ ˙

.w ˙

son e -

„

.w ˙

˙ œœ ˙ ˙

˙ œœ ˙ ˙

ww

lei -

„

ww

˙ œœ œn œ œ œ

w w

wnw

„

wnw

›

w w#

i -

›

∑ Ó˙

Chri -w ˙

˙

›

son

›

son

.w

˙

son Chri-˙ ˙# ˙ ˙

ste e-lei -˙ ˙# ˙ ˙

&

&

V

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53„

„

˙ ˙ ˙ ˙

ste e - le -.˙ œ ˙ ˙

.˙ œ ˙ ˙

„

„

.˙ œ œ œ œ œ

œ œ œ œœ œ œœ


„

∑ Ó

˙

Chri -

œ œ œ œœ œœœ#

œ

œ œœ ˙ ˙

œ

œ œœ ˙ ˙

∑ Ó

˙

Chri-

˙ ˙# ˙ ˙

ste e-lei -

˙# w ˙

i -

˙ ˙ w

˙ ˙ w

˙ ˙ ˙ ˙

ste e - le -

.˙ œ ˙ ˙

›

son

›

son

›

.˙ œ œ œ œ œ


„

„

œ œ œ œw

˙œ œœ œ˙

œ

œ œœ ˙ ˙

∑ Ó ˙

Chri -„

w ˙

˙



&

&

V

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60

˙# w ˙

i -

˙ ˙ w

˙ ˙# ˙ ˙

ste e -∑ Ó

˙

Chri -˙ ˙# ˙

˙

›

son

›

son.˙ œ ˙ ˙

lei -˙ ˙# ˙ ˙#

ste e - le -˙ ˙# ˙ ˙#

„

„


.˙ œ

#

˙˙

.˙ œa ˙ ˙

w ˙ ˙

Chri - ste e -„

œ

œ œœ ˙ ˙

˙

#

œ œœ

#

œ œ œ#

˙#œ œœ œœœ

˙ ˙# ˙ ˙

le -∑ Ó

˙

Chri -

˙ ˙ w

˙# w ˙

i -˙# w ˙

˙ ˙ ˙ ˙

˙ ˙ ˙ ˙

ste e - le -

›

son›

son›

&

&

V

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66˙ ˙ ˙

˙

i -˙ ˙ ˙ ˙

∑ Ó ˙

Chri -„

˙ ˙ ˙˙

.w

˙

son Chri -

˙ ˙ ˙˙

˙ ˙# ˙ ˙

ste e -„

˙ ˙# ˙ ˙

˙ ˙ ˙ ˙

ste e -

˙ ˙ ˙ ˙

i -˙ ˙ ˙ ˙

lei -„

˙ ˙ ˙ ˙

.˙ œ œ œ œ œ

le -

w

∑

son


„

ww

˙œ œœ œœœ#

∑ Ó

˙

Chri -.w ˙

„

.w ˙

˙# w ˙

i -

˙ ˙# ˙ ˙

ste e - le - i -

˙ ˙ w

„

˙ ˙ w

›

son

›

son

›

son„

›

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&

V

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73

w

˙ ˙

#

Chri - ste e -

w˙ ˙

Chri - ste e -

w˙ ˙

Chri - ste e -w ˙

˙

Chri - ste e -w ˙

˙

ww#

lei -

w w

lei -ww

lei -w

w

lei -w

w

.˙œ ˙ ˙

›

son

.˙ œ ˙ ˙

.w ˙#

.w ˙#

˙ œœ ˙ ˙

›

Chri -

˙ œœ ˙ ˙

ww

ww

w w

w w

ste e -w w

ww

ww

w w#

›

lei -

›

›

›

›

son

›

son

›

son

›

son

›



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V

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80˙˙ ˙ ˙

Ky-ri - e e -„

„

„

˙

˙ ˙

˙

˙˙ ˙ ˙

lei -

˙˙ ˙ ˙

Ky-ri - e e -

„

„

˙˙ ˙ ˙

w

w

˙n˙ ˙

˙

le -˙˙ ˙ ˙

Ky-ri-e e -

∑

˙˙

Ky-ri -˙n˙ ˙ ˙

w w

˙ w ˙

˙n˙ ˙ ˙

lei -˙˙ ˙ ˙

e e - lei -˙˙ ˙ ˙

b

w w

son

˙ ˙ ˙ ˙

˙˙ ˙ ˙

˙˙ ˙ ˙

˙˙ ˙ ˙

∑

w

Ky -

˙ w ˙

i -

˙˙ w

˙˙ wn

˙˙ wn

w wn

ri - e

˙

w ˙

son Ky - ri -

w

∑

son

w∑

son

w

˙ ˙

&

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V

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87˙ .˙n œ ˙

e - le -˙ w ˙

e e -w w

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w w

œ œ .˙ œ ˙

w w

le -

wn w

e e -„

wn w

˙ ˙ w

i - son

wn ˙ ˙n

w w

lei -∑ w

Ky -w

w

b 65 b

„

œ œ .˙ œ ˙

w ˙

˙

w wn

ri - e e -w wn

7 6 7 6

„

œ œ w ˙i -w wn

w w

lei -

w w

7 6 67b

ww

Ky - ri -

˙

w˙

son Ky - ri -

w ∑

son

w

∑

son

˙

w˙

ww

e e -

˙ w ˙

e e -

∑w

Ky -„

˙ ˙

w

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lei -

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lei -

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ri - eww

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#

ww

w w

˙w ˙

e - le -ww

e e -ww

6

ww

w w

˙

w

˙

ww

lei -ww

6

›

w

w

son Ky -

˙˙

.˙ œ

ww

ww

›

son

w wn

ri - e

˙˙

.˙ œ

.˙ œ ˙n˙

.˙ œ ˙n˙

„

w w

e - lei -

œ œ ˙.˙ œ

.˙ œ œ œ ˙

.˙ œ œ œ ˙

Ó

˙w

Ky-ri -

w ˙

˙

son Ky -

œ œ ˙.˙ œ

.˙n œ œ œ ˙

.˙n œ œ œ ˙



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˙

e e -

w ˙˙

ri - e e -

˙

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i -

.˙ œ ˙

˙

.˙ œ ˙

˙

.˙n œ œ œ ˙

lei -.˙ œ ˙

˙

le -

w

.˙ œ

son Ky -˙ œ œ w

˙ œ œ w

.˙ œ ˙˙

.˙ œ œ œ ˙

˙˙

.˙n œ

ri - e e -w

∑

sonw

.˙n œ

.˙ œ œ œ ˙

.˙ œ ˙˙

œ œ ˙

w

lei -

∑

.˙ œ

Ky - ri -w .˙ œ

.˙ œ œ œ ˙

.˙ œ ˙˙

w w

˙˙

.˙ œ

e e - lei -˙˙

.˙ œ

.˙ œ ˙˙

.˙ œ œ œ ˙

w w

œ œ ˙w

œ œ ˙w

.w ˙

˙ ˙ ˙# ˙

w w

sonw w

son

w w

3#

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108

w w

son

˙ ˙# w

i - son

Ó

w˙#

Ky - ri -

∑

w

Ky -

˙ ˙

w

4

„

∑

w

Ky -w˙ ˙

e e - le -˙# w ˙

ri - e e -˙# w ˙

w˙# ˙

Ky - ri - e

˙ w ˙

ri - e e -˙˙ w

w˙ ˙

lei -w

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˙˙ w

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son Ky - ri -.˙ œ ˙

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son

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ter - ra.w ˙

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w

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mi - ni -

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mi - ni -

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w w

bus bo -

w w

bus bo -

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bus bo -

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bus bo -

w w

w w

nae

w w

nae

w w

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w w

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130

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vo - lun -

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w

w

vo - lun -

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vo - lun -

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w w

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ta -

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tis

w

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tis Lau -

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tis

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∑ Ó

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da - mus te lau -

„

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˙ ˙# ˙˙

˙ ˙ ˙

˙

da - mus te lau -

.˙ œ œ œ œ œ

da -

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.˙ œ œ œ œ œ

da -

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œ

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Gloria in excelsis Deo


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136


œ

œ œœ ˙ ˙

∑ Ó ˙

Lau -

„

w ˙

˙

˙# w ˙

mus

˙ ˙ w

mus˙ ˙# ˙

œ œ

damus teBe-ne -

∑ Ó˙

Lau -˙ ˙# ˙ ˙

6

›

te

›

te

.˙ œ ˙ œ œ

di - ci-musBe-ne-˙ ˙# ˙ œ# œ

da-muste Be-ne-˙ ˙# ˙ œ# œ

„

„


di -.˙ œ# ˙ ˙

di -.˙ œN ˙ ˙

„

∑ Ó

œ œ

Be - ne -

.w ˙

œ# œ œ œœ œœœ

œ# œ œ œœ œœœ

∑ Ó

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˙ œ œ# ˙ œ œ

di-ci - muste A - do-

˙ ˙ w

ci - mus˙# w ˙

ci - mus˙# w ˙

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142˙ œ œ ˙

œ œ

di-ci-mus te A-do -

.˙ œ œ œœ œ

ra -

›

te›

te›

.˙ œ œ œ œ œ

ra -


„

„

w .˙ œ


œ

œ œœ ˙ ˙

∑ Ó œ œ

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„

˙

w

˙

˙# w ˙

mus

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mus˙ ˙# ˙

˙

ra - muste Glo -

∑ Óœ œ

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›

te

›

te

˙ ˙ ˙ ˙

ri-fi - ca-mus˙ ˙# ˙

˙#

ra-mus te Glo-˙ ˙# ˙

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œ œ

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˙ ˙ ˙ ˙

te glo-ri-fi -˙ ˙# ˙ ˙

ri - fi - ca-mus˙ ˙ ˙ ˙

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148„

˙ ˙ ˙ ˙#

ra - mus te Glo -

.w ˙

ca -˙ ˙ ˙ ˙

te glo - ri - fi -˙ ˙ ˙ ˙

#

∑ Ó œ œ

A- do -

˙ ˙# ˙ ˙

ri - fi - ca - mus

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mus.˙ œ ˙ ˙#

ca -.˙ œ ˙ ˙#

#

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ra - mus te Glo -

˙ ˙ ˙˙

te glo - ri - fi -

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te glo -.w

˙

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˙

˙ ˙ ˙ ˙

ri - fi - ca - mus

˙ ˙ ˙ ˙

ca -

.w ˙

ri - fi -

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˙

mus glo -

w ˙

˙

˙n ˙ ˙ ˙

te glo- ri - fi -

›

.w˙

ca -

wn w

ri - fi -

wn w

.w ˙

ca - mus

w w#

mus

w w

mus

.w ˙

ca - mus

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154

w# w

te Gra -

w w

te Gra -

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w

te Gra -w w

te Gra -w w

˙ ˙# w

ti - as

˙ ˙ w

ti - as

˙ ˙ w

ti - as˙ ˙

w

ti - as˙ ˙

w

w ˙ ˙

a - gi - mus

w ˙ ˙

a - gi - mus

w ˙ ˙

a - gi - mus

w ˙ ˙

a - gi - mus

w ˙ ˙

w w

ti - bi

w w

ti - bi

w# w

ti - biw w

ti - biw w

#

∑

w

prop -∑

w

prop -

∑ w

prop -

∑w

prop -

∑w

˙ ˙˙ ˙

ter ma - gnam

˙ ˙˙ ˙

ter ma - gnam

˙ ˙˙ ˙

ter ma - gnam˙

˙ ˙˙

ter ma - gnam˙

˙ ˙˙

.˙ œ.˙ œ œ

glo -

.˙œ .˙ œ œ

glo -

œ œ.˙ œ œ ˙

glo -.˙ œ œ .˙ œ

glo -.˙ œ œ .˙ œ

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161

.˙œ .˙

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.˙ œ œ .˙ œ

.˙ œ œ.˙œ

œ œ œ w ˙

ri -.˙œ w

.˙œ w

.˙ œ

˙

˙

ri-am tu -

w ˙ ˙

ri - am

.˙œ œw

am

w w

ri - am

w w

˙ œ œ w

›

tu -›

tu -w w

tu - amw w

w∑

am

w

∑

am

w .˙ œ

am Do-mi -.˙ œ w#

Do-mi - ne.˙ œ w#

„

„

w œ œ œ œ

ne De -œ œ œ œ ˙ ˙

De - usœ œ œ œ ˙ ˙

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167„

„

˙ ˙ œœ œ œ

us Rexœ œ œ œ ˙ ˙

Rex cae -œ œ œ œ ˙ ˙

„

„

˙ ˙ ˙ ˙

cae - le - stis˙ ˙

˙# ˙

le-stis De-us˙ ˙

˙# ˙

„

„

˙# ˙ w

De-us Pa -w

w

Pa - terw

w

# 6

„

„

w w

ter om -

w# w

om - ni -

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∑ .˙ œ

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ni - po -w w#

po -w w#

w# œ œ œ œn

ne Fi -

.˙ œ w

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w

∑

tensw ∑

tensw

w



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173

˙ ˙ œœ œ œ

li u -

œ œ œ œ ˙ ˙

Fi - li

„

„

.˙ œ w

˙ ˙ .˙ œ

ni - ge - ni -

œn œ œ œ ˙ ˙

u - ni -

„

„

.˙n œ w

w#.˙ œn

te Je -

.˙ œ w#

ge - ni - te

„

„

.˙ œ w#

w w

su

˙˙

w

Je-su Chri -

„

„

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w

›

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w w#

∑

.˙ œ

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„

˙

˙.˙ œ

#

w

∑

ste

w

∑

stew# œ œ œ œn

ne De -.˙ œ w#

Do-mi - ne.˙ œ w#

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179„

„

˙ ˙ œœ œ œ

us A -œ œ œ œ ˙ ˙

De - usœ œ œ œ ˙ ˙

6

∑

.˙ œ

Do - mi-.˙ œ w#

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˙ ˙ œ œ œ œ

gnus De -œ œ œ œ ˙ ˙

A - gnusœ œ œ œ ˙ ˙

n

w œ œ œ œ

ne De -

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De - us

˙˙

.˙ œ

i Fi -.˙ œ ˙

˙

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˙ ˙ œnœ œ œ

us A -

œ œ œ œ ˙ ˙

A - gnus

˙˙

.˙ œ

li - us.˙ œ ˙n

˙

Fi - li -.˙ œ ˙n

˙

6

˙ ˙ ˙ ˙

gnus De - i

˙ ˙w

De - i Fi -

œ œ ˙

w

Fi -.˙ œ œ œ ˙

us.˙ œ œ œ ˙

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184

w ˙ ˙

Fi - li - us

˙ ˙ w

li - us Pa -

˙ ˙

wn

li - us

wn˙ ˙

Fi - li - us

wn˙ ˙

w w

Pa - tris

˙ ˙# w

tris

w w

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w

w

Pa - tris

w

w

∑w

Qui∑

w

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w ˙ ˙

tol-lis pec -

w ˙ ˙

tol - lis pec -w ˙ ˙#

tol-lis pec -

„

w ˙ ˙#

w w

ca - ta

ww

ca - taww

ca - ta

„

ww

w w

mun-di

w w

mun - di

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mun - di

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.w ˙

mi - se -

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mi - se -

ww

mi - se -

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re - re

w w#

re - re

wn w

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∑

wn w



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192

w ˙ ˙

no -

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no -›n

no -

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∑

bis

w#

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bis Qui

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tol - lis pec -

w ˙ ˙

tol- lis pec -w ˙ ˙#

tol- lis pec -w ˙ ˙#

„

w w

ca - ta

ww

ca - taww

ca - taww

6

„

w w

mun - di

w w

mun-di

w w

mun-di

w w

„

„

.˙œ œ.˙ œ

Su - sci -

∑.˙ œœ

Su -

w.˙ œœ

„

„

.˙# œ œw

pe.˙ œ

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sci -pe.˙ œ

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199„

„

.˙œ œ.˙ œ

su - sci -w

.˙ œœ

su -w

.˙ œœ

„

.˙œ œ.˙ œ

Su - sci -

.˙ œœ w

pe.˙ œ

.˙œ œ

sci - pe.˙ œ

.˙œ œ

∑.˙œ œ

Su -

w w

pe su -

›

su -w.˙ œœ

su -w.˙ œœ

5

.˙ œ .˙ œœ

sci -pe

˙ ˙ w

sci - pe

›

sci -.˙ œ

.˙œ œ

sci - pe.˙ œ

.˙œ œ

5

w˙ ˙

de - pre -

w ˙ ˙

de - pre -w ˙ ˙

pe de - pre -wn˙ ˙

de - pre -wn˙ ˙

5

˙˙

˙ ˙

ca - ti - o - nem

˙ ˙˙ ˙

ca - ti - o - nem

˙ ˙ ˙ ˙

ca - ti - o - nem˙ ˙ ˙n ˙

ca - ti - o - nem˙ ˙ ˙n ˙

6

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stram Qui

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stram Qui

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stram Quiw Ó ˙

stram Quiw Ó ˙

w ˙

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se - des ad

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se - des ad

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se - des adw ˙ ˙#

se - des adw ˙ ˙#

w ˙

˙

de - xte - ram

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de - xte - ram

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mi - se -ww

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6

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212

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w w

ni -

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ni -

w

wn

ni -

wnw

ni -

wnw

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am

›#

am

w Ó ˙

am Tu›

am›

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ww

so - lus

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w

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w

∑ Ó˙#

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lus San -w w

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so - lusÓ˙# w

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w ∑

w ∑

ctus˙˙# w

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lus San -

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lus Do-mi -ww

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6

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w ∑

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so - lus Al -

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w

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w

∑ Ó˙#

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tis - si-mus˙˙

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lus Al - tis - si-˙˙

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so - lus Al -Ó˙# w

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w ∑

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tis - si -mus

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w

w wn

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mus

w w

su Je -wwn

suwwn

w w

su Chri -

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w w

su

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w w

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ste Cum.w ˙

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ste

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ste

.w ˙

ste Cum˙ ˙

˙˙

San-cto Spi-ri -˙ ˙

˙˙

„

„

˙ ˙˙n˙

San-cto Spi-ri-˙˙ ˙

˙

tu In glo-ri-˙˙ ˙

˙

6



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233„

Ó

˙ ˙ ˙

Cum San-cto

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tu Cum˙ w ˙

a De - i˙ w ˙

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Spi - ri - tu In

˙ ˙˙˙

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„

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glo - ri - a

˙˙ ˙

˙

tu In glo-ri -˙ ˙ w

˙ ˙ w

Ó ˙ ˙ ˙

Cum San-cto

œ œ œ œ ˙ ˙

Cum˙ w ˙

a De - i

w ∑

tris

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w ˙

˙˙ ˙ ˙

Spi-ri - tu In

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w ˙

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Pa -

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w ˙

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glo-ri-a De -

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tu In glo-ri -˙ ˙ w

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6 6

∑ Ó ˙

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Sacred MuSic colloquiuM 2012 n 263appendix

Appendix

o

Brouwers Advanced Chant Seminar

Propers for the Requiem Mass

Propers for the Solemnity of Sts. Peter and Paul

Prayer for Religious Liberty

Veni Creator Spiritus

264 n Sacred MuSic colloquiuM 2012 brouWerS adVanced chant SeMinar

Sacred MuSic colloquiuM 2012 n 265brouWerS adVanced chant SeMinar

Sacred MuSic colloquiuM 2012 n 267brouWerS adVanced chant SeMinar


Requiem Mass

In Missis Quotidianis Defunctorum

INTROIT

REQUIEM aeternam dona eis, Domine: et lux perpetua luceat eis. Ps 64:2-3. Te decet hymnus Deus in Sion; et tibi reddetur votum in Jerusalem: exaudi orationem meam, ad te omnis caro veniet. Requiem aeternam dona eis, Domine: et lux perpetua luceat eis.

ETERNAL rest give unto them, O Lord; and let perpetual light shine upon them. Ps. A hymn, O God, becometh Thee in Sion; and a vow shall be paid to Thee in Jerusalem: hear my prayer; all flesh shall come to Thee. Eternal rest give unto them, O Lord; and let perpetual light shine upon them.

COLLECT

Oremus/Let us pray.

DEUS, cui proprium est misereri semper et parcere: propitiare animabus famulorum famularumque tuarum, et omnia eorum peccata dimitte; ut, mortalitatis vinculis absolutae, transire mereantur ad vitam. Per Dominum nostrum Jesum Christum filium tuum, qui tecum vivit et regnat in unitate Spiritus Sancti, Deus, per omnia saecula saeculorum. R. Amen.

O GOD, whose property is ever to have mercy and to spare; have mercy on the souls of Thy servants and handmaids, and grant them the remission of all their sins; that being delivered from the bonds of mortality, they may be found worthy to enter into life. Through Our Lord Jesus Christ, Thy Son, Who liveth and reigneth with Thee in the unity of the Holy Ghost, God world without end. R. Amen.

THE EPISTLE (Apocalypse 14:13)

Lectio libri Apocalypsis beati Joannis Apostoli In diebus illis: Audivi vocem de caelo, dicentem mihi: Scribe: Beati mortui, qui in Domino moriuntur. Amodo jam dicit Spiritus, ut requiescant a laboribus suis: opera enim illorum sequuntur illos. R: Deo gratias. A lesson from the book of Apocalypse of Blessed John the Apostle In those days: I heard a voice from Heaven, saying to me: Write, blessed are the dead who die in the Lord, from henceforth now, saith the Spirit, that they may rest from their labors, for their works follow them. R: Thanks be to God.

THE GRADUAL (4 Esdras 2:34-35)

REQUIEM aeternam dona eis, Domine: et lux perpetua luceat eis. Ps 111:7. In memoria aeterna erit justus; ab auditione mala non timebit.

ETERNAL rest give to them, O Lord; and let perpetual light shine upon them. The just shall be in everlasting remembrance; he shall not fear the evil hearing.

properS for the requieM MaSS


THE TRACT

ABSOLVE, Domine, animas omnium fidelium defunctorum ab omni vinculo delictorum: V. Et gratia tua illis succurrente, mereantur evadere judicium ultionis: V. Et lucis aeternae beatitudine perfrui.

ABSOLVE, O Lord, the souls of all the faithful departed from every bond of sin. V. And by the help of Thy grace may they be enabled to escape the avenging judgement. V. And enjoy the bliss of everlasting light.

THE SEQUENCE

DIES irae, dies illa, Solvet saeclum in favilla, Teste David cum Sibylla. Quando tremor est futurus, Quando judex est venturus, Cuncta stricte discussurus. Tuba mirum spargens sonum Per sepulcra regionum, Coget omnes ante thronum. Mors stupebit, et natura, Cum resurget creatura, Judicanti responsura. Liber scriptus proferetur, In quo totum continetur, Unde mundus judicetur. Judex ergo cum sedebit, Quidquid latet, apparebit; Nil inultum remanebit. Quid sum miser tunc dicturus? Quem patronum rogaturus, Cum vix justus sit securus? Rex tremendae majestatis, Qui salvandos salvas gratis, Salva me, fons pietatis. Recordare, Jesu pie, Quod sum causa tuae viae; Ne me perdas illa die. Quaerens me, sedisti lassus; Redemisti crucem passus; Tantus labor non sit casus. Juste judex ultionis, Donum fac remissionis Ante diem rationis. Ingemisco tamquam reus; Culpa rubet vultus meus; Supplicanti parce, Deus. Qui Mariam absolvisti, Et latronem exaudisti, Mihi quoque spem dedisti. Preces meae non sunt dignae; Sed tu bonus fac benigne, Ne perenni cremer igne. Inter oves locum praesta, Et ab haedis me sequestra, Statuens in parte dextra. Confutatis maledictis, Flammis acribus addictis, Voca me cum benedictis. Oro supplex et acclinis, Cor contritum quasi cinis. Gere curam mei finis. Lacrimosa dies illa, Qua resurget ex favilla Judicandus homo reus. Huic ergo parce, Deus; Pie Jesu Domine, Dona eis requiem. Amen.

THE day of wrath, that dreadful day, Shall all the world in ashes lay, As David and the Sibyl say. What tremor shall the soul affright, When comes that Judge whose searching light Brings

thought and word and deed to light. The last loud trumpet’s spreading tone Shall through the place of tombs be blown, To

summon all before the throne. Death is struck, and nature quaking, All creation is awaking To its Judge an answer making. The written book shall be outspread, And all that it contains be read, To try the living and the

dead. Then shall the Judge His throne attain, And every secret sin arraign, Till nothing unavenged

remain. What shall my guilty conscience plead, And who for me will intercede, When even saints

forgiveness need? King of tremendous majesty! Who savest whom Thou savest, free, Thou fount of pity, save

Thou me. Remember, Jesus Lord, I pray, For me Thou walked’st on life’s way; Confound me not on this

last day. Twas me Thy weary footsepts sought, My ransom on the Cross was bought, Let not such

labour come to naught. Just Judge of recompense, I pray, Cancel my debt, too great to pay, Before the last accounting

day. My groans a culprit’s heart declare, My cheeks shame’s burning livery wear, Spare me, O God,



Thy suppliant spare! As Thou didst Mary’s sin efface, And take the thief to Thine embrace, So dost Thou give me

hope of grace. Though all unworthy be my cry, Give grace, O gracious Lord, or I Shall burn in fires that

never die? Grant me among Thy sheep to stand; From outcast goats my soul disband, And raise me to

Thine own right hand. When cursed foes are put to shame, And given o’er to biting flame, Ah! with Thy blessed call

my name. Prostrate, my contrite heart I rend; My God, my Father, and my Friend, Do not forsake me in

the end. O day of weeping, day of woe, When rising from his pyre below, The sinner to his Judge shall

cry, “Spare me, Thou mighty God on high!” Ah, gentle Jesu, Saviour blest, Grant to them all

eternal rest!. Amen.

THE GOSPEL (John 6:51-55)

+ Sequentia sancti Evangelii secundum Joannem. R: Gloria tibi, Domine. In illo tempore: Dixit Jesus turbis Judaeorum: Ego sum panis vivus, qui de caelo descendi. Si quis manducaverit ex hoc pane, vivet in aeternum: et panis, quem ego dabo, caro mea est pro mundi vita. Litigabant ergo Judaei ad invicem, dicentes: Quomodo potest hic nobis carnem suam dare ad manducandum? Dixit ergo eis Jesus: Amen, amen dico vobis: nisi manducaveritis carnem Filii hominis, et biberitis ejus sanguinem, non habebitis vitam in vobis. Qui manducat meam carnem, et bibit meum sanguinem, habet vitam aeternam: et ego resuscitabo eum in novissimo die.

+ The continuation of the holy Gospel according to St. John. R: Glory be to Thee, O Lord. At that time: Jesus said to the multitudes of the Jews: I am the living bread which came down from heaven. If any man eat of this bread, he shall live for ever; and the bread that I will give, is My flesh, for the life of the world. The Jews therefore strove among themselves, saying: How can this man give us His flesh to eat? Then Jesus said to them: Amen, amen I say unto you: Except you eat the flesh of the Son of man, and drink His blood, you shall not have life in you. He that eateth My flesh, and drinketh My blood, hath everlasting life: and I will raise him up in the last day.

After the Gospel the priest neither kisses the book nor says the “Per evangelica dicta.” The server says nothing.

THE OFFERTORY

Oremus/Let us pray.

DOMINE Jesu Christe, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni, et de profundo lacu: libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum; sed signifer sanctus Michael repraesentet eas in lucem sanctam: Quam olim Abrahae promisisti et semini ejus. V. Hostias et preces tibi, Domine, laudis offerimus: tu suscipe pro animabus illis, quarum hodie memoriam facimus: fac eas, Domine, de morte transire ad vitam. Quam olim Abrahae promisisti et semini ejus.

LORD Jesus Christ, King of glory, deliver the souls of all the faithful departed from the pains



of hell and from the bottomless pit: deliver them from the lion’s mouth, that hell swallow them not up, that they fall not into darkness, but let the standard-bearer holy Michael lead them into that holy light; which Thou didst promise of old to Abraham and to his seed. V. We offer to Thee, O Lord, sacrifices and prayers: do Thou receive them on behalf of those souls of whom we make memorial this day. Grant them, O Lord, to pass from death to that life; which Thou didst promise of old to Abraham and to his seed.

THE SECRET PRAYER

Annue nobis, quaesumus, Domine, ut animabus famulorum famularumque tuarum haec prosit oblation: quam immolando, totius mundi tribuisti relaxari delicta. Per Dominum nostrum Jesum Christum filium tuum, qui tecum vivit et regnat in unitate Spiritus Sancti, Deus, per omnia saecula saeculorum. R. Amen.

Hear us, O Lord, we beseech Thee, and let the souls of Thy servants and handmaids profit by this sacrifice, by the offering of which Thou didst grant that the sins of the whole world should be loosed. Through Our Lord Jesus Christ, Thy Son, Who liveth and reigneth with Thee in the unity of the Holy Ghost, God world without end. R. Amen.

THE COMMUNION ANTIPHON

LUX aeterna luceat eis, Domine: Cum Sanctis tuis in aeternum: quia pius es. V. Requiem aeternam dona eis, Domine: et lux perpetua luceat eis. Cum Sanctis tuis in aeternum: quia pius es.

MAY light eternal shine upon them, O Lord, with Thy Saints for evermore, for Thou art gracious. V. Eternal rest give to them, O Lord; and let perpetual light shine upon them: With Thy Saints for evermore, for Thou art gracious.

THE POST-COMMUNION PRAYER

Deus, cui soli competit medicinam praestare post mortem: praesta, quaesumus; ut animae famulorum famularumque tuarum, terrenis exutae contagiis, in tuae redemptionis parte numerentur. Qui vivis et regnas cum Deo Patre in unitate Spiritus Sancti, Deus, per omnia saecula saeculorum. R. Amen.

O God, who alone canst give a remedy after death; grant, we beseech Thee, that the souls of Thy servants and handmaids may be rid of earthly contagion and be counted amongst Thy redeemed.

Thou who liveth and reigneth with God the Father, in the unity of the Holy Ghost, God, forever and ever. R. Amen.

THE LAST GOSPEL

IN principio erat Verbum et Verbum erat apud Deum, et Deus erat Verbum. Hoc erat in principio apud Deum. Omnia per ipsum facta sunt, et sine ipso factum est nihil quod factum est; in ipso vita erat, et vita erat lux hominum; et lux in tenebris lucet, et tenebrae eam non comprehenderunt. Fuit homo missus a Deo cui nomen erat Joannes. Hic cenit in testimonium, et testimonium perhiberet de lumine, ut omnes crederent per illum. Non erat ille lux, sed ut testimonium perhiberet de lumine. Erat lux vera quae illuminat omnem hominem venientem



in hunc mundum. In mundo erat, et mundus per ipsum factus est et mundus eum non cognovit. In propria venit, et sui eum non receperunt. Quotquot autem receperunt eum, dedit eis potestatem filios Dei fieri; his qui credunt in nomine eius, qui non ex sanquinibus, neque ex voluntate viri, sed ex deo nati sunt. (Genuflectit dicens) ET VERBUM CARO FACTUM EST, et habitavit in nobis; et vidimus gloriam ejus gloriam quasi Unigenti a Patre, plenum gratiae et veritatis. R. Deo gratias.

IN the beginning was the Word, and the Word was with God, and the Word was God. The same was in the beginning with God. All things were made by Him; and without Him was not any thing made that was made. In him was life; and the life was the light of men. And the light shineth in darkness; and the darkness comprehended it not. There was a man sent from God, whose name was John. The same came for a witness, to bear witness of the Light, that all men through him might believe. He was not that Light, but was sent to bear witness of that Light. That was the true Light, which lighteth every man that cometh into the world. He was in the world, and the world was made by Him, and the world knew Him not. He came unto his own, and his own received Him not. But as many as received Him, to them gave he power to become the sons of God, even to them that believe on his name: Which were born, not of blood, nor of the will of the flesh, nor of the will of man, but of God. (Genuflect while saying) AND THE WORD WAS MADE FLESH, and dwelt among us, and we saw His glory, the glory as of the Only begotten of the Father, full of grace and truth.

R. Thanks be to God.



Proper Prayers of the Mass Feast of the Holy Apostles Peter and Paul

COMMENTARY ON THE FEAST

The whole Church rejoices in this festival day, which is consecrated by the martyrdom of the Apostles Peter and Paul (Collect). Formerly the holy Sacrifice was twice offered solemnly at Rome, in the two great basilicas built above the tombs of these “two princes, who by the cross and the sword attained their place in the eternal senate” (Hymn at Vespers). Later the celebration was divided on account of the distance between the two churches, and St. Peter is more particularly honoured on June 29, St. Paul on June 30. Today’s Mass dwells especially upon Peter’s prerogatives (Gospel), God’s special protection of him (Introit, Epistle), and the Church’s trust in the intercession of the two great Apostles (Prayers). As they sing Tu es Petrus, Christians recall that the prerogatives of the Prince of the Apostles have passed to the popes, his successors in the See of Rome, and they have the assurance that they may rely upon God’s special Providence for Christ’s vicar, now charged with the responsibility for Holy Church.

—Commentary From St. Andrew Daily Missal, 1952 edition

INTROIT

Acts 12.11

Nunc scio vere, quia misit Dominus Angelum suum: et eripuit me de manu Herodis, et de omni exspectatione plebis Judaeorum. — Domine, probasti me: et cognovisti me: tu cognovisti sessionem meam, et resurrectionem meam. V.: Gloria Patri . . . — Nunc scio vere . . .

Now I know in very deed that the Lord hath sent His Angel, and hath delivered me out of the hand of Herod, and from all the expectation of the people of the Jews. — (Ps. 138.1, 2). Lord, Thou hast proved me, and known me: Thou hast known my sitting down and my rising up. V.: Glory be to the Father . . . — Now I know . . .

COLLECT

O God, who hast made this day holy by the martyrdom of Thine Apostles, Peter and Paul: grant that Thy Church may in all things follow the precepts of those, through whom she received the beginnings of the Faith. Through our Lord Jesus Christ, Thy Son . . .

properS for the SoleMnity of StS. peter and paul


EPISTLE

Acts 12.1-11 Lesson From the Acts of the Apostles.

[Peter’s deliverance from prison by an Angel]

In those days, Herod the king stretched forth his hands to afflict some of the Church: and he killed James, the brother of John, with the sword; and seeing that it pleased the Jews, he proceeded to take up Peter also. Now it was in the days of the azymes: and when he had apprehended him, he cast him into prison, delivering him to four files of soldiers to be kept, intending after the pasch to bring him forth to the people. Peter therefore was kept in prison; but prayer was made without ceasing by the Church unto God for him. And when Herod would have brought him forth, the same night Peter was sleeping between two soldiers, bound with two chains; and the keepers before the door kept the prison: and behold, an Angel of the Lord stood by him and a light shined in the room; and he striking Peter on the side, raised him up, saying: Arise quickly, and the chains fell off from his hands; and the Angel said to him: Gird thyself, and put on thy sandals; and he did so; and he said to him, cast thy garment about thee, and follow me; and going out, he followed him: and he knew not that it was true which was done by the Angel; but he though he saw a vision. And passing through the first and the second ward, they came to the iron gate that leadeth to the city, which of itself opened to them; and going out, they passed on through one street, and immediately the Angel departed from him. And Peter coming to himself, said, Now I know in very deed that the Lord hath sent His Angel, and hath delivered me out of the hand of Herod, and from all the expectation of the people of the Jews.

GRADUAL

Ps. 44.17, 18

Constitues eos principes super omnem terram: memores erunt nominis tui, Domine. V.: Pro patribus tuis nati sunt tibi filii: propterea populi confitebuntur tibi. Alleluia, alleluia. V.: Tu es Petrus, et super hanc petram aedificabo Ecclesiam meam. Alleluia.

Thou shalt make them princes over all the earth: they shall remember Thy name, O Lord. V.: Instead of fathers, sons are born to thee: therefore shall people praise Thee. Alleluia, alleluia. V.(Matt. 16.18). Thou art Peter, and upon this rock I will build My Church. Alleluia.



GOSPEL

Matt. 16.13-19 † Continuation of the holy Gospel according to St. Matthew.

[Peter’s confession of the Godhead of Christ. He is declared by Our Lord to be the Rock on which the Church rests securely.]

At that time, Jesus came into the quarters of Caesarea Philippi, and He asked His disciples saying: Whom do men say that the Son of Man is? But they said: Some, John the Baptist, and other some, Elias, and others, Jeremias, or one of the prophets. Jesus saith to them: But whom do you say that I am? Simon Peter answered, and said: Thou art Christ, the Son of the living God. And Jesus answering, said to him: Blessed art thou, Simon Bar-Jona, because flesh and blood hath not revealed it to thee, by My Father who is in heaven: and I say to thee: That thou art Peter, and upon this rock I will build My church, and the gates of hell shall not prevail against it and to thee I will give the keys of the kingdom of heaven; and whatsoever thou shalt bind upon earth, it shall be bound also in heaven; and whatsoever thou shalt loose on earth, it shall be loosed also in heaven.

OFFERTORY

Ps. 68. 21

Constitues eos principes super omnem terram: memores erunt nominis tui, Domine, in omni progenie et generatione.

Thou shalt make them princes over all the earth: they shall remember Thy name, O Lord, throughout all generations.

SECRET

May the prayers of the Apostles accompany the sacrifices which we bring to Thee, O Lord to be consecrated to Thy Name: and by the same prayer, grant that we may be cleansed and defended. Through our Lord Jesus Christ, Thy Son, who liveth and reigneth.


Sacred MuSic colloquiuM 2012 n 277properS for the SoleMnity of StS. peter and paul

PREFACE

Preface of the Apostles

Vere dignum et justum est, aequum et salutare, Te Domine suppliciter exorare, ut gregem tuum pator aeterne, non deseras: sed per beatos Apostolos tuos continua protectione custodias. Ut iisdem rectoribus gubernetur, quos operis tui vicarios eidem contulisti praeesse pastores. Et ideo cum Angelis et Archangelis, cum Thronis et Dominationibus, cumque omni militia caelestis exercitus, hymnum gloriae tuae canimus, sine fine dicentes:

It it truly meet and just, right and for our salvation, to entreat Thee humbly, O Lord, that Thou wouldst not desert Thy flock, O everlasting Shepherd, but, through Thy blessed Apostles, wouldst keep it under Thy constant protection; that it may be governed by those same rulers, whom as vicars of Thy work, Thou didst set over it to be its pastors. And therefore with Angels and Archangels, with Thrones and Dominations, and with all the hosts of the heavenly army, we sing the hymn of Thy glory, evermore saying:

COMMUNION

Matt. 16.18

Tu es Petrus, et super hanc petram aedificabo Ecclesiam meam. Thou art Peter, and upon this rock I will

build My Church.

POSTCOMMUNION

Through the intercession of the Apostles, do Thou, O Lord, guard from all adversity those whom Thou hast fed with heavenly Food. Through our Lord Jesus Christ, Thy Son, who livest and reignest . . .

278 n Sacred MuSic colloquiuM 2012 Veni creator SpirituS

Veni Creator Spiritus

Sacred MuSic colloquiuM 2012 n 279Veni creator SpirituS

John Dryden’s translation of Veni Creator from 1693

Creator Spirit, by Whose aid The world’s foundations first were laid,

Come, visit every pious mind; Come, pour Thy joys on human kind;

From sin, and sorrow set us free; And make Thy temples worthy Thee.

O Source of uncreated Light,

The Father’s promised Paraclete! Thrice holy Fount, thrice holy Fire,

Our hearts with heav’nly love inspire; Come, and Thy sacred unction bring

To sanctify us, while we sing!

Plenteous of grace, descend from high, Thou strength of His almighty hand,

Whose pow’r does Heav’n and earth command: Proceeding Spirit, our Defense,

Who dost the gift of tongues dispense, And crown’st Thy gift with eloquence!

Refine and purge our earthly parts; But, oh, inflame and fire our hearts! Our frailties help, our vice control;

Submit the senses to the soul; And when rebellious they are grown,

Then, lay Thy hand, and hold them down.

Create all new; our wills control, Subdue the rebel in our soul;

Make us eternal truths receive, And practice all that we believe; Give us Thyself, that we may see The Father and the Son by Thee.

Immortal honor, endless fame,

Attend th’almighty Father’s Name: The Savior Son be glorified,

Who for lost man’s redemption died: And equal adoration be,

Eternal Paraclete, to Thee.

280 n Sacred MuSic colloquiuM 2012 prayer for religiouS liberty

Greetings and Best Wishes Church Music Association of America

Sacred Music Colloquium XXII

from friends and colleagues at

MOUNT CALVARY CHURCH BALTIMORE, MARYLAND

ROMAN CATHOLIC, ANGLICAN USE PARISH of the

PERSONAL ORDINARIATE of the CHAIR of SAINT PETER

Pastor/Administrator: The Rev’d Jason Catania BA (Mus), MA, (Mus), MDiv, STM

Organist and Choirmaster: Daniel Bennett Page BA (Mus), MFA, PhD

Founded in 1842, Mount Calvary Church for many years championed the restoration of Catholic customs and belief within the Anglican communion. On Sunday, January 22, 2012, Mount Calvary, its parishioners and clergy

were received into the Catholic Church. The parish clergy were ordained Catholic priests in June 2012.

We are now home to Weekly Sung and Solemn High Anglican Use and Extraordinary Form (Latin) Masses

Historic 1961 ‘Holy Ghost Organ’ by Charles Brenton Fisk Concert Series: ‘Music en route to the Holy’

Gregorian chant in Latin and English A hearty welcome to all visitors

www.MountCalvary.com