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Transcript of Sacred Music Colloquium Packet 2011
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The Church Music Associationof America
June 13—19, 2011 Duquesne University
Pittsburgh
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Sacred Music Colloquium XXIJune 13-19, 2011
Liturgical Musicn The Latin Order of Mass in the Ordinary Form may be found in the Parish Book of Chant,
beginning on page 2.
n The Order of Mass in the Extraordinary Form may be found in the Parish Book of Chant,
beginning on page 24.
Tuesday, June 14, 3:30 p.m.Mass in English, ordinary form, Votive Mass of the Holy Spirit ............................................ p. 31
Prelude: Veni Creator , Nicholas de Grigny, 1672-1703 (Ann Labounsky, organist)
Entrance: “The Spirit of the Lord,” Adam Bartlett, b. 1982 (intermediate men, Morse)
Kyrie: Mass X, sung by all
Gloria: Mass XV, sung by allFirst Alleluia of Pentecost with verse from the lectionary (advanced men, Cole)
Offertory: “Conrm, O God, what you have wrought in us,” Richard Rice, b. 1962 (Schaefer
polyphonic choir)
Offertory motet: “Almighty and everlasting God,” Orlando Gibbons, 1583-1625 (Buchholz
polyphonic choir)
Sanctus: Mass X, sung by all
Our Father: Roman Missal, third edition
Agnus: Mass X, sung by all
Communion: “Suddenly there came a sound from Heaven,” Bruce Ford (advanced women,Brouwers)
Communion motet: O sacrum convivium, Luca Marenzio, c1553-1599 (Mahrt polyphonic choir)
Recessional: “Come down, O love divine,” Ralph Vaughn Williams, 1872-1958, sung by all
Postlude: Pièce Héroïque, César Franck, 1822-1890 (Ann Labounsky, organist)
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Wednesday, June 15, 3:30 p.m.Requiem Mass, ordinary form ................................................................................................ p. 53
Introit: Requiem (intermediate men, Morse)
Kyrie: Mass XVIII
Gradual: Requiem (advanced men, Cole)Tract: Absolve, Domine (advanced men, Cole, and advanced women, Brouwers, alternatim, starting
with women, tutti on last word)
Sequence: Die irae, sung by all, beginning with men
Offertory: Domine Jesu Christe (intermediate women)
Offertory motet: “Thou knowest, Lord,” Henry Purcell, 1659-1695 (Brouwers polyphonic choir)
Sanctus: Mass XVIII
Agnus: Mass XVIII
Communion: Lux aeterna (beginning men and women, Oost-Zinner)
Communion motet: Ave Christe, Josquin des Prez, 1450-1521 (Schaefer polyphonic choir)
Silent recession
Thursday, June 16, 3:30 p.m.Thursday in the Octave of Pentecost, extraordinary form, rst class feast ............................ p. 79
Prelude: Chorale-Preludes on Komm, Heiliger Geist, BuxWV 199, 200, Dietrich Buxtehude, c.1637-
1707 (Jonathan Ryan, organist)Introit: Spiritus Domini (intermediate women, Hughes)
Kyrie: Missa Brevis, Antonio Lotti, 1667-1740 (Buchholz polyphonic choir)
Gloria: Mass XII
Alleluia: Emitte Spiritum tuum (advanced women, Brouwers)
Alleluia: Veni Sancte Spiritus (advanced men, Cole)
Sequence: Veni Sancte SpiritusCredo IV
Offertory: Conrma hoc (intermediate men, Morse)
Offertory: Dum complerentur , Tomás Luis de Victoria, 1548-1611 (Brouwers polyphonic choir)
Sanctus: Missa Brevis (Buchholz polyphonic choir)Agnus: Missa Brevis (Buchholz polyphonic choir)
Communion: Factus est repente (intermediate women, Hughes)
Communion motet: O quam suavis, Peter Philips, c1560-1628 (Buchholz, polyphonic choir)
Postlude: Fantasia on Komm, Heiliger Geist, BWV 651, Johann Sebastian Bach, 1685-1750
(Jonathan Ryan, organist)
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Friday, June 17, 3:30 p.m.Votive Mass of the Blessed Virgin Mary, ordinary form ....................................................... p. 107
Prelude: Improvisation (Horst Buchholz, organist)
Introit: Salve sancte parens (advanced men, Cole)
Kyrie: Missa Ave Maris Stella, Josquin (Brouwers polyphonic choir)Gloria: Missa Ave Maris Stella
Gradual: Benedicta et venerabilis es (advanced women, Brouwers)
Alleluia: Post partum (intermediate men, Morse)
Offertory: Ave Maria (intermediate women, Hughes)
Sanctus: Missa Ave Maris Stella (Brouwers polyphonic choir)
Agnus: Missa Ave Maris Stella (Brouwers polyphonic choir)
Communion: Beata viscera (beginning men and women, Oost-Zinner)
Communion motet: Ave Maria, Robert Parsons, 1530-1571 (Schaefer polyphonic choir)
Recession: Regina caeli, Gregor Aichinger, c1565-1628 (Nam polyphonic choir)
Postlude: Improvisation (Horst Buchholz, organist)
Friday, June 17, 6:30 p.m.Vespers with Spanish polyphony, extraordinary form, conducted by William Mahrt ......... p. 157
Prelude: Prelude on Veni Creator (from Op. 4), Maurice Durué, 1902-1986
Postlude: Chorale Variations on Veni Creator ( from Op. 4), Durué
Saturday, June 18, 11:30 a.m.Ember Day Mass, extraordinary form, rst class feast ......................................................... p. 193
Preludia: Fanfare to the Tongues of Fire, Larry King, 1932-1990 (Jonathan Ryan, organist)
Procession: Liturgical Improvisation No. 1: “My soul hath a desiring and longing to enter the
courts of the Lord,” George Oldroyd, 1887-1956 (Jonathan Ryan)Introit: Caritas Dei (intermediate men, Morse)
Kyrie: Mass I
Alleluia 1: Spiritus est (advanced men, Cole)
Alleluia 2: Spiritus ejus (advanced women, Brouwers)
Alleluia 3: Dum complerentur (advanced men, Cole)
Alleluia 4: Veni Sancte Spiritus (advanced women, Brouwers)
Alleluia 5: Benedictus es Domine (advanced men, Cole)
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Gloria I
Tract: Laudate Dominum omnes gentes (intermediate men, Morse, and intermediate women,
Hughes, alternatim, starting with women)
Sequence: Veni Sancte Spiritus (beginning women, Oost-Zinner, and intermediate women, Hughes)
Credo I
Offertory: Domine Deus salutis meae (intermediate women, Hughes)
Offertory: Lauda anima mea, Orlando di Lasso, c1530-1594 (Mahrt polyphonic choir)
Communion: Spiritus ubi vult spirat (intermediate men, Morse)Communion motet: Factus est repente, Jacobus Gallus (aka Jacob Handl), 1550-1591 (Brouwers
polyphonic choir)
Postlude: Rhapsody in C-Sharp Minor, Op. 17, No. 3, Herbert Howells, 1892-1983 (Jonathan
Ryan)
Sunday, June 19, 10 a.m.Trinity Sunday, ordinary form .............................................................................................. p. 215
Prelude: Improvisation (John Raevens, organist)
Introit: Benedicta sit (beginning men and women, Oost-Zinner)
Kyrie: Mass for Four Voices, William Byrd, c1540-1623 (Schaefer polyphonic choir)
Gloria: Mass for Four Voices (Schaefer tk polyphonic choir)
Gradual: Benedictus es Domine (intermediate men, Morse)
Alleluia: Benedictus es Domine (advanced women, Brouwers)
Credo: Mass for Four Voices (Buchholz polyphonic choir)
Offertory: Benedictus sit Deus with offertory verses (intermediate women, Hughes)Sanctus: Mass for Four Voices (Schaefer polyphonic choir)
Agnus: Mass for Four Voices (Schaefer polyphonic choir)
Communion: Benedicimus Deum caeli (advanced men, Cole)
Communion motet: Sancta Trinitas, Antoine de Févin, c1470-1512 (Mahrt polyphonic choir)
Recession: Ave Maria, Antoine Bruckner, 1824-1896 (Buchholz, conducting all)
Postlude: Fugue from Prelude & Fugue in C Major (“9/8”), BWV 547, J. S. Bach
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Organ Music Notes
3:30 p.m. Tuesday: Votive Mass of the Holy Spirit (OF, English)Ann Labunsky, organist
Prelude: Veni Creator: Grands Jeux, Fugue, Récit de Cromorne—Nicolas de Grigny (1672-1703), ~7’
Nicolas de Grigny was a French organist and composer and a leading member of the French Clas-sical school of organist-composers. He died young and left behind a single collection of organmusic, Livre d’orgue (1699), which together with the work of François Couperin represents thepinnacle of French organ tradition. Unlike many other French livres d’orgue of the time, de Gri-gny’s publication contains no preface. The collection is in two parts: the rst is a Mass setting; thesecond comprises settings of ve hymns for Lauds and Vespers: Veni Creator (ve versets), Pangelingua (three versets), Verbum supernum (four versets), Ave maris stella (four versets), and A solisortus (three versets).
All of his Gregorian hymn settings begin with the chant in long note values on a reed stop in thepedal, followed by a fugue for ve voices. Also played today is the récit de Cromorne, a beautifulsolo for the soprano voice accompanied by soft stops.
Postlude: Pièce Héroïque—César Franck (1822-1890), 13’
César Franck was one of the leading French organ composers of the 19th century and is the fea-tured composer for organ sessions of the Colloquium this year. Pièce Héroïque was composed in1878 as part of three pieces for the large symphonic organ at the Trocadero palace in Paris. The
two contrasting themes—the rst rhythmic and heroic in the key of B minor and the second me-lodic and quiet in the key of B major—seem to be in conict until at the end of the work they areunited in the major key.
3:30 p.m. Tuesday: Octave of Pentecost Mass (EF) Jonathan Ryan, organist
Prelude: Chorale-Preludes on Komm, Heiliger Geist, BuxWV 199, 200—Dietrich Buxtehude (c.1637-1707), 7’
Although of Danish origin, Dietrich Buxtehude stands as one of the great pillars of the North Ger-man Baroque school. He served as organist at the cathedralesque St. Mary Church in Lübeck foralmost 40 years. Such was his fame that J. S. Bach traveled some 200 miles by foot from Arnstadtto meet and hear Buxtehude, subsequently staying far beyond his allotted leave. Buxtehude’s out-put includes numerous vocal and choral works, some instrumental music, and a plethora of organcompositions which have arguably given Buxtehude his deserved prominence. Approximately half of his organ works are based on chorale or hymn tunes, leaving the rest in the popular free style.
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Komm Heiliger Geist (“Come, Holy Ghost”) was a well-known vernacular version of the PentecostSequence Veni Sancte Spiritus sung to an anonymously composed melody rst published in theearly 16th century but possibly dating from as early as the 13th century. Buxtehude’s two treat-ments bear many elements in common, most especially the highly ornamented placement of thechorale melody in a solo soprano voice.
Postlude: Fantasia on Komm, Heiliger Geist, BWV 651—Johann Sebastian Bach (1685-1750), 6’
In contrast to the ornamented chorale-preludes by Buxtehude, Bach’s chorale-Prelude on KommHeiliger Geist represents an alternate manner of chorale-based composition known as the cantusrmus chorale-prelude. Catalogued as the rst of the “Leipzig Chorales,” this brilliant fantasia em-ploys the chorale as the cantus rmus, that is, with lengthened note values, in the bass voice. Theaccompanying voices, with their extroverted texture, have frequently been thought to symbolizethe great rushing wind on the day of Pentecost.
3:30 p.m. Friday: Votive Mass of the Blessed Virgin Mary (OF)
Horst Buchholz, organist
Prelude: Improvisation
Postlude: Improvisation
6:30 p.m. Friday: Pentecost Octave Choral Vespers (EF) Jonathan Ryan, organist
Prelude: Prelude on Veni Creator (from Op. 4)—Maurice Durué (1902-1986), 8’
That Maurice Durué achieved international fame with not even 20 works to his name testies tothe quality of his music. Arguably, the Prelude, Adagio, and Chorale Variations on Veni Creator ,Op. 4, based on the Proper hymn for Pentecost Vespers, is the most sublime of his seven publishedorgan works, although is one of his rst. Durué was among the rst generation to receive liturgicalmusical education in the wake of Pius X’s motu proprio Tra le Sollecitudini as a chorister at the ca-thedral choir school in Rouen. Although of a mild-mannered personality, he was a lifelong, outspo-ken proponent of the liturgical use of Gregorian chant, especially after the Second Vatican Council.Chant and its modality permeates all his compositional work, including his polyphonic style.
Gently owing as though it never had a beginning, the Prélude shows considerable inuencefrom the French Impressionistic composers. Durué employs a compositional device developedespecially by Debussy called the arabesque, which is essentially a return to ancient and medievalmonophonic music consisting of only one line of music. Moreover, this arabesque consists primar-ily of a conjoint (step-wise) line essentially ornamental and freed from any accompanying har-mony. The listener is enticed, as with the Adagio, with only small fragments of Veni Creator in thePrélude.
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Postlude: Chorale Variations on Veni Creator (from Op. 4)—Durué, 7’
The rst full musical statement of Veni Creator begins the Choral varié movement, which servesas a closing postlude to this evening’s Vespers. This set of four variations was written at least fouryears before the Prélude and Adagio, while Durué was still a student at the Paris Conservatoire,which may explain their more compact length, clearer texture, and more conservative harmony.The entire work was published in 1930, won a composition award from Les Amis de l’Orgue, and
unquestionably stands as one of the greatest major 20th-century organ works.
11:30 a.m. Saturday: Ember Day Mass, Octave of Pentecost (EF) Jonathan Ryan, organist
Preludia: Fanfare to the Tongues of Fire—Larry King (1932-1990), 7’ Liturgical Improvisation No. 1: “My soul hath a desiring and longing to enter the courts of the Lord”— George Oldroyd (1887-1956), 5.5’
As we can see from his dates, this composer is not the Larry King of television fame but rathera New York City parish organist and choirmaster at Trinity Church, Wall Street. King left only ahandful of excellent choral and organ pieces, which reect a strong personalized style.
One of his more well-known organ pieces is the majestic Fanfare to the Tongues of Fire, commis-sioned by the Riverside Church in Manhattan in 1978 to showcase that organ’s prominent solotrumpet with horizontally mounted pipes. The account in Acts of the rst Pentecost is quoted inthe music score: “When the day of Pentecost had come, . . . suddenly came from heaven a noiselike the rush of a mighty wind, and it lled the house where they were sitting. And there appearedto them tongues as of re, distributing and resting on each one of them.”
King alternates a grandiose A section comprising note clusters over which is heard the fanfare onthe solo trumpet with a contrasting, softer B section, using chord clusters again, but with the Pen-tecost Vesperal hymn Veni Creator heard on the tranquil ute of the organ.
Serving as a parish musician at several parishes of the Anglo-Catholic persuasion in southernEngland, George Oldroyd was no stranger to solemn liturgy or Gregorian chant. The composer of some memorably beautiful choral music, he happily marries the serenity of post-Victorian com-position with the naturally uneven rhythm of chant in this selection, in which he quotes Psalm84:2 in the title. As is typical of this period of English organ music, Oldroyd capitalizes on theorgan’s ability to create smooth increases and decreases in volume. This, coupled with Oldroyd’suse of modal harmony to create seamless harmonies, easily evokes the rolling hills of the Englishcountryside.
Postlude: Rhapsody in C-sharp Minor, Op. 17, No. 3—Herbert Howells (1892-1983), 8’
A sleepless night in March 1918 during a zeppelin air raid in York prompted Herbert Howells,one of the greatest English composers of the previous century, known especially for his choral
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and organ compositions, to write a free-form work for organ. The next morning saw the comple-tion of what we know now as the Rhapsody in C-sharp Minor. A highly charged emotional work,this deeply personal testament of the composer’s feelings includes many of the hallmarks of How-ells’ writing for the organ, with its smooth increases and decreases in the organ’s volume, colorfulharmony (especially seventh chords), generous utilization of the organ’s wide dynamic range, andthe heart-wrenching use of suspension-resolution patterns. Although Howells himself had a ratherlimited career as an organist because of poor health, which thankfully did not impede his oppor-
tunities as a conductor and pedagogue, he nonetheless made perhaps the most signicant additionto the organ’s 20th-century repertoire of any Englishman. His selection as the postlude is undoubt-edly among his nest contributions if not also his most dramatic.
10 a.m. Sunday: Trinity Sunday Mass (OF) John Raevens (prelude) and Jonathan Ryan (everything else), organists
Prelude: Improvisation
Postlude: Fugue from Prelude & Fugue in C Major (“9/8”), BWV 547—J. S. Bach, 5.5’
Dating from around 1744, during Bach’s monumental tenure in Leipzig, the Fugue from the Pre-lude & Fugue in C Major, BWV 547, centers on one of the shortest fugue subjects ever written.At only one measure in length, the subject enters more than fty times, yet the unusually delayedpedal enters only 24 measures from the end with an augmentation of the subject. The Fugue’struly masterly counterpoint also yields a grand nature, concluding with a thunderous tonic, low Cpedal point.
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Guidelines for choosing a chant schola
When you come to the Colloquium, you will need to choose a chant schola 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 rst day, i.e., singers movingup or down a level, most people nd it relatively easy to choose.
Many returning attendees to the Colloquium nd themselves advancing from beginning scholathrough intermediate and nally advanced. However, if you have not had many opportunities torene your chant work during the year, you might consider staying at a level for more than oneyear. As all of our chant repertory is graded to suit the capabilities of each choir, the musical re-wards and polish of performance are not always related to the level of the schola!
The following guidelines will help you nd the right schola in which to sing for the week.
A note about styles: Although the American Church has a long history with the traditional Solesmesmethod of learning, teaching, and singing Gregorian chant, and while this inuence is clearly re-ected in the CMAA’s annual Colloquium, attendees will nd a considerable variety of approachesto the interpretation of the chants sung. Happily, we nd that each year brings new ideas utilizingthe latest chant research, including interpretation of neumes, rhythm, tuning, and other aspects of performance.
A note to countertenors: If you are a countertenor, you may choose to sing with either men orwomen.
Beginning schola: men and women (Arlene Oost-Zinner, conductor)Typically the largest of the choirs because it includes both men and women, this choir is designedfor people whon are new to singing in choirsn have never sung any chant before (Pange lingua on Holy Thursday doesn’t count!)n have not sung difcult chants in some time and feel that a remedial course would be benecial.
This course will start from the beginning, teaching all the most commonly used neumes, workingon ensemble singing, and polishing the chants to be sung at the Colloquium’s Masses.
Intermediate women (David Hughes, conductor)A good candidate for this schola might be described as one who
n has sung quite a bit of chant
n sings chant propers and ordinaries often, if not regularly
n has a working knowledge of the neumes, e.g., podatus, clivis, torculus, porrectus, climacus,scandicus, quilisma, etc.
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Intermediate men (Jeffrey Morse, conductor)See the description for intermediate women (above).
Advanced women (Wilko Brouwers, conductor)This course is intended for those with extensive experience in singing chant and fosters continuedmastery in its artful execution.
For this chant schola and the one listed below (advanced men), we ask that you assess yourself honestly as one who has considerable experience in singing chant and a familiarity with the Gre-gorian repertory. Rightly, the most difcult chants of the week are reserved for the most experi-enced singers.
Advanced men (Charles Cole, conductor)See the description for advanced women (above).
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Guidelines for choosing a polyphonic choir
During the Colloquium you will choose a polyphonic choir to sing in as well as a chant schola.The descriptions below will tell you more about each conductor and the repertory he or she
will teach. Choose the choir that best reects your skill level and interests.
MeeAe Cecilia Nam: Beginning polyphony
This choir is designed to introduce and improve on the critical vocal and musical techniquesnecessary for singing polyphonic music. Singers will learn how to carry a part on their own, inde-pendent of other sections and without accompaniment. Members of this choir will learn rhythm,pitch, and vocal production. The choir is designed for novice singers who would not yet benetfrom 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 are also part of thischoir’s agenda, and they will be sung during the liturgy.
Edward Schaefer
This choir’s major piece will be the Byrd Mass for Four Voices. William Byrd is often ranked withBeethoven and Bach, and this Mass illustrates why his status is wholly justied. The piece waswritten for private use, mostly in small chapels on landed estates, at a time when Catholicism wasillegal in Britain and the composer himself was employed by Elizabeth’s court. Thus the music was
composed and distributed in secret. The textures reect the intensity and seriousness of both theMass’s liturgical function and the time in which it was written. In the centuries that have followedthe stature of this Mass in particular has risen ever higher, and it has now become a staple of theliturgical repertoire. Learning this masterpiece under a master conductor such as Schaefer is a rareprivilege. The Schaefer choir’s main Mass takes place on Sunday, but the choir will also sing motetsthroughout the week.
William Mahrt
For the fourth year Mahrt will present a highly unusual and spectacular rendering of polyphonicVespers, the likes of which most Americans have never experienced as worshipers, much less assingers. This year the focus will be Spain and the composer Victoria (2011 is the 400th anniver-sary of his death). The format alternates between chant and polyphony and requires singers withcondence at frequent and exposed stops and starts. This choir provides a rich education in li-turgical history as well as performance experience that will take already advanced singers to thenext level. The choir will also sing motets throughout the week. The Vespers will be sung Fridayevening.
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Wilko Brouwers
Josquin des Prez is widely considered one of the most sophisticated composers before the age of Bach, and this choir will explore some of his most spectacular music. The choir’s Mass will bethe rarely heard and exceptionally beautiful Missa Ave Maris Stella, based entirely on the Marianhymn. It is an unforgettable masterpiece of musical genius, and Brouwers knows the style andapproach with profound intimacy. Josquin’s music is structurally unlike post-Reformation music,
which is more familiar in the polyphonic repertoire. This setting in particular is lled with prayer-ful delight and requires notable skill level to achieve the desired results. It will be sung Friday dur-ing a Mass for the Blessed Virgin Mary.
Horst Buchholz
Buchholz is a conductor with near-universal experience with both early choral music and the latesymphonic repertoire. He has a particular affection for music that is classical and accessible toboth singers and listeners. His choir will sing a Mass setting by Antonio Lotti, whose work falls
between the Renaissance and classical periods. Lotti’s Missa Brevis, which the conductor discov-ered only last year, is within the difculty range of a good parish choir, so participants can aspireto sing it in their parish choir after the Colloquium. The singers will also learn from the way heprepares a choir to sing well. Buchholz has begun to use this Mass in his own cathedral setting andreports that it has been a great success.
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Breakout sessions
Tuesday–Friday, 11:20 a.m. to 12:30 p.m.
1. Vocal Pedagogy: MeeAe Cecilia Nam (Mary Pappert School of Music, Room 206: choral room)
This two-session course will be presented on Tuesday and Wednesday and repeated on Thursdayand Friday.
Session I: Basic vocal training for beginning singers and choral directors.The session will teach directors to classify individual voices and help singers develop thebasic vocal techniques necessary for choral singing. It covers basic exercises to enhance vocalproduction and musicianship, including breathing, posture, and vocal warm-ups.
Session II: Vocal exibility and controlThis session focuses on the voice as an instrument that facilitates the demands of the music. It
includes exercises to help with dynamics, range, colors, vowel shapes, and tempo exibility as wellas a discussion of how to nd important clues in a score.
2. Semiology: Edward Schaefer (Mary Pappert School of Music, Room 322: rehearsal hall)Semiology, literally “the study of signs,” takes a look at what the unique indications on the earliestnotation systems can tell us about the interpretation of chant. These sessions will develop a general process for the interpretation of chant and then look at howthe ancient signs can inform that process. We’ll sing lots of chants to see how the process works.
Although the sessions are somewhat independent (i.e., you can come to any single class and learnsomething), they will also build upon one another. New signs and new chants will be studied andsung in each successive class, moving from the simpler to the more complex.
3. Choral Conducting: Horst Buchholz (Mary Pappert School of Music, Room 307: classroom)Tuesday and Wednesday: The Basics of ConductingConducting technique, rehearsal preparation, score analysis, interpretation. No previousconducting experience is required.
Thursday and Friday: Conducting MasterclassBring scores to sing for the “ad hoc” class choir. Conducting experience is required.
4. Anatomy of the Propers: William Mahrt (Power Center Ballroom)This two-day course, presented on Tuesday and Wednesday and repeated on Thursday and Friday,will examine the propers of the Mass: the processional chants—introit, offertory, and Commu-nion—and the meditational chants—gradual, alleluia, and tract. Distinctions in style and liturgicalfunction between each of these genres will be explored, and notable examples of each will illus-trate the discussion, with the class singing the examples.
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Morning andNight Prayer
l
Prepared by William Mahrt
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COMPLINE NIGHT PRAYER
Lector:
Vbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbhbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbb ≥gzbbbbbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbhbbbbbbbbbbsbbbbbbbbbbsm bbbbbbbbbbbbbbbbbbb}V. Jube, domne benedí-ce-re.
Officiant:
Vbbbbbbbbbbbbbhbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbhbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbhbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbhbbbbbbbbbh. bbbbbbbbbb[bbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbhbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbhbbbbbbbbb Noctem qui-é-tam et finem perféctum concédat no-bis
Vbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbhbbbbbbbbbbbbbhbbbbbbbbbbhbbbbbbbbbbbbbbbbhbbbbbbbbbbsbbbbbbbbbbbbsm bbbbbbbbbbbbbbbbbbb}bbbbbbbbbbbbbbbgbbbbbbbbbbbbh. bbbbbbbbbbbbbb}Dóminus omnípo-tens. R. Amen.
Lectio brevis 1 Peter 5:8–9
Lector:
Vbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbb hbbbbbbbbbbbbbbb[bbbbbbbbhbbbbbbbbbbbbhbbbbbbbhbbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbbf, bbbbbbbbbbb{bbbbbbbbbbbhbbbbbbbbhbbbbbbbbhbbbbbbbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbb Fratres: Sóbri-i estó-te et vi-gi-lá-te: qui-a adversá-
Vbbbbbbbbbbhbbbbbbbbbhbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbhbbbbbbbbbbbbbhbbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbb˘ hbbbbbb[bbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbbbhbbbbbbbbb˘ hbbbbbbbbbbb[bbbbbbbbbbbhbbbbbbbbhbbbbbbbbbhbbbbbbb ri-us vester di-á-bolus, tamquam le-o rúgi-ens, círcu-it,
Vbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbhbbbbbbbbbbbbbh. bbbbbbbbb{bbbbbbbbbhbbbbbbbbhbbbbbbbbhbbbbbbbbhbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbbbbbbbhbbbbbbbbbbbbh. bbbbbbbbsm bbbbbbbbbbbbb}b quærens quem dé-vo-ret: cu-i resísti-te fortes in fide.
Vbbbbbbbbbbbbbhbbbbbbbbbbbbbbgbbbbbbbbbbbfbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbbb˘ hbbbbbbbb[bbbbbbbhbbbbbbbbbbbhbbbbbbbbbbhbbbbbbbbhbbbbbbbbbbbh. bbbbbbbbbbbsm bbbbbb}bbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbhbbbbbbbbbbbbbbhbbbbbbbsbbbbbbbsm bbbbbbbbbbbbb}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 ter- ram.
Lector:
Vbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhzbbbbbbbbbbbbbbbbbbbbbbbb ≥gzbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbsm bbbbbbbbbbbbbbbbbbb}V. Pray, Sir, give a blessing.
Officiant:
Vbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbhbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbbbbbbh. bbbbbbbbbbbb[bbbbbbbbbbbbbhbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbb May the Lord almighty grant us a peaceful night and a
Vbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbsm bbbbbbbbbbbbbbbb}bbbbbbbbbbbbbbbgbbbbbbbbbbbbbbh. bbbbbbbbbbbbbbbbb}perfect end. R. Amen.
Short Lesson 1 Peter 5:8–9
Lector:
Vbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbhbbbbbbbbbb˘hbbbbbbbbb[bbbbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbf, bbbbbbbbbbb[bbbbbbbbbbhbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbbbbb Be-loved, be so-ber, be watchful. For your adversary the
Vbbbbbbbbbbbbbbhbbbbbbbb hbbbbbbbbbbbb[bbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbhbbbbb bhbbbbbbbbbb[bbbbbbhbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbb devil prowls around like a roaring lion, seeking someone
Vbbbbbbbbbbgbbbbbbbbbbbbbfbbbbbbbbbbhbbbbbbbbbbbbbbbbbb]bbbbbbbbbbbbbbbbhbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbsm bbbbbbbbbbbbb}to devour. Re-sist him, firm in faith.
Vbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbbbbbb˘hbbbbbbbbbbbbb[bbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbhbbbbbbbbhbbbbbbbbbbbbh. bbbbbbbbbbbbbsm bbbbbbbbbbbbbbbb}bbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbsm bbbbb}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 peccátistuis, 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 forgiventhee thy sins, bring thee to life everlasting.
Officiant:
Amen.
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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 Michae
the archangel, blessed John the Baptist, the holy apostles Peter
and Paul, all the saints, and thee, Father, to pray to the Lordour 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.
Vbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbvvhbbbbvhbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbhbbbbbbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbbbgbbbbbbbbbbbbbfbbbbbbbbbbbbbbbbbhbbbbbbbbbbbh. bbbbbbbbbbbbbbb}
V. Convérte nos ✠ De-us sa-lu-tá-ris noster.
R. Et avérte iram tu- am a nobis.
The sign of the cross is made.
Vbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbb˘hbbbbbb[bbbbbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbhbbbbbbbbbbbjbbbbbbbbbbbhbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbb˘ hbbbbbbbbbbbbbbbbbbbbhbbbbbbbbgbbbbbbbbbbbbbbh. bbbbbbbbbbbbbbb}bbbbbbbbbbbbbbbbhbbbbbbbbbbhbbbbbbbbbhbbbb[ V. De-us ✠ in adjutó-ri-um me-um inténde. R. Dómine
Vbbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbbbb˘ hbbbbbbbbbbbbbhbbbbbbbbbbbbbgbbbbbbbbbbbbbh. bbbbbbbbbb]bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbbbbbbbhbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbb
ad adjuvándum me fes-tí-na. (bow) Gló-ri- a Pa-tri,
Vbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbbbbhbbbbbb˘hbbbbbbbbbbbbb[bbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbhbbbbbbbhbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbh. bbbbbbbbbbb]bbbbbbbbbbbbbbhbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbb
et Fí-li-o, et Spi-rí-tu-i Sancto. Sicut e-rat in prin-
Vbbbbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbh. bbbbbbbbbbb[bbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbhbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbhbbbbbbbbbbb cí-pi-o, et nunc, et semper, et in saécula saecu-lórum.
Vbbbbbbbbbgbbbbbbbbbbbbbbh. bbbbbbbbbbbbbb{bbbbbbbbbbbhbbbbbbbbbjbbbbbbbbbb ygbbbbbbbbbbbbbb g< bbbbbbb}Amen. Alle-lu-ia.
A cross is made on the heart.
Vbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbvvhbbbbvbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbh. bbbbbbbbbbbb}
V. Convert us, ✠ O God of our salva- tion.
R. And turn thine ang- er away from us.
The sign of the cross is made.
Vbbbbbbbbbbbbbbbbbvvbhbbbbbbbbbbbbbbbbbbbb˘hbbbbbbbbbbb[bbbbbbvvvvjbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbbbgbbbbbbbbbbh. bbbbbbbbbbbbbbb}bbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbb˘hbbbbbbbbbb[bbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbb V. O God, ✠ come to my assistance R. O Lord, make
Vbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbvbbbbbbbgbbbbbbbbbbbbbbbbbbbbbbbbbbbh. bbbbbbbbbbbbbbb]bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbhbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbhbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbb
haste to help me. (bow) Glory be to the Father, and to
Vbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbb hbbbbbb[bbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbh. bbbbbbbbbbbbb]bbbbbbbbbbbbhbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbb
the Son, and to the Ho-ly Spi-rit. As it was in the
Vbbbbbbbbbbbhbbbbbbbbbhbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbh. bbbbbbbb[bbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbb˘hbbbbbbbbbbbb beginning, is now, and ev-er shall be, world without end.
Vbbbbbbbbbgbbbbbbbbbbbbbh. bbbbbbbbbbbb{bbbbbbbbbbbbbhbbbbbbbbbbbbjbbbbbbbbbbbb ygbbbbbbbbbbbbbbbb g< bbbbbbb}
Amen. Al-le-lu-ia.
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PSALMODY
8G Cantor (Gospel side): All:
BbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbgbbbbbbbbbbbbbhbbbbbbbbtfbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbG YbbbbbbbbbhbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbFTbbbbbbbbbbbbbbbg< bbbbbbbbbbbbbbb{bbbb Antiphon: Mi-se-ré-re * mi-hi Dó-mi-ne
Bbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbkbbbbbbbbbbbbbbb JIbbbbbbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbbbbygzbbbbbbbbbbfbbbbbbbbbbbbbGYbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbbg< bbbbbbbbbbbbbg< bbbbbbbbbbbbbbbbbbb}b Et ex-áu-di o- ra- ti- ó-nem me- am.
Psalm 4Cantor (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 mi- hi. . flex: jus-ti-ti-æ, †
Cantor (Gospel side): All:
BbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbbG YbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbFTbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbb{bbbbbbbbbbbbbbbbbbb Antiphon: Have mer-cy * up-on me, O Lord
BbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbHIbbbbbbbbbbbbbbbbbbbbbJ IbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbtfbbbbbbbbbbbbbbbbGYbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbg< bbbbbbbbbbbbbbbbbbb} and hearken un- to my prayer.
Psalm 4Cantor (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 quiddilígitis 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 compungí mini.
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 * con stituísti
me.
11. (bow) Glória Patri, et Fí lio, * et Spirítui Sancto.
12. (rise) Sicut erat in princípio, et nunc, et sem per, * et
in saécula sæculórum. Amen.
Psalm 90Cantor (Epistle side): All (Epistle side):
1. Qui há bitat in adjutório Altíssimi, * in protectióne Dei
cæli commorá bitur.
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 ás pero.4. Scápulis suis obumbrábit ti bi: * et sub pennis e jus
sperá bis.
5. Scuto circúmdabit te véritas e jus: * 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 self same, * 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 90Cantor (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.
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6. A sagítta volánte in die, † a negótio perambulánte inténebris: * ab incúrsu, et dæmónio meridiáno.
7. Cadent a látere tuo mille, † et decem míllia a dextristuis: * ad te autem non ap propinquá bit.
8. Verúmtamen óculis tuis considerá bis: * etretributiónem peccatórum vidé bis.
9. Quóniam tu es Dómine spes mea: * Altíssimum posuísti refú gium tuum.
10. Non accédet ad te malum: * et flagéllum nonappropinquábit tabernáculo tuo.
11. Quóniam Ángelis suis mandávit de te: * ut custódiantte in ómnibus viis tuis.
12. In mánibus por tá bunt te: * ne forte offéndas adlápidem pedem tuum.
13. Super áspidem et basilíscum ambulá bis: * etconculcábis leónem et dracónem.
14. Quóniam in me sperávit, liberábo eum: * prótegameum, quoniam cognóvit nomen meum.
15. Clamábit ad me, et ego exáudiam eum: † cum ipsosum in tribulatióne: * erípiam eum et glorificábo eum.
16. Longitúdine diérum replébo eum: * et osténdam illisalutáre meum.
17. (bow) Glória Patri, et Fí lio, * et Spirítui Sancto.
18. (rise) Sicut erat in princípio, et nunc, et sem per, * etin saécula sæculórum. Amen.
Psalm 133Cantor (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 Fí lio, * et Spirítui Sancto.
6. (rise) Sicut erat in princípio, et nunc, et sem per, * et insaécula sæculórum. Amen.
All:
BbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbgbbbbbbbbbbbbhbbbbbbbbtfbbbbbbbbbbbbbbbbbbbG YbbbbbbbbbhbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbFTbbbbbbbbbbbbbbbg< bbbbbbbbbbbbbbb{bbbb Antiphon: Mi-se-ré-re mi-hi Dó-mi- ne
Bbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbkbbbbbbbbbbbbb JIbbbbbbbbbbbbbbbbbhbbbbbbbbhbbbbbbbbbygzbbbbbbbbbbbfbbbbbbbbbbbbbGYbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbg< bbbbbbbbbbg< bbbbbbbbbbbbbbbbbbb}b Et ex-áu-di o- ra- ti- ó-nem me- am.
6. Of the arrow that flieth in the day, † of the business thatwalketh about in the dark: * of invasion, or of the noonday devil.
7. A thousand shall fall at thy side, † and ten thousand at thyright hand: * but it shall not come nigh thee.
8. But thou shalt consider with thy eyes: * and shalt see thereward of the wick ed.
9. Because thou, O Lord, art my hope: * thou hast made themost High thy refuge.
10. There shall no evil come to thee: * nor shall the scourgecome near thy dwelling.
11. For he hath given his angels charge over thee, * to keepthee 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 thoushalt trample under foot the lion and the dragon.
14. Because he hoped in me I will deliver him: * I will protecthim because he hath known my name.
15. He shall cry to me, and I will hear him: † I am with him intribulation, * I will deliver him, and I will bring him to
honor.16. I will fill him with length of days: * and I will show himmy sal vation.
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 133Cantor (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: * andbless 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:
BbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbgbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbbG YbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbFTbbbbbbbbbbbbbbbbbbbbbg< bbbbbbbbbbbbb{bbbbbbbbbbbbbbbbbbb Antiphon: Have mer-cy up-on me, O Lord
BbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbHIbbbbbbbbbbbbbbbbbbbbbJ IbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbtfbbbbbbbbbbbbbbbbGYbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbg< bbbbbbbbbbbbbbbbbbb} and hearken un- to my prayer.
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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.
Bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbkbbbbbbbbbbbkbbbbbbbbkbbbbbbbbbbbbbbbbbbbbbbbbbblbbbbbbbbbbbbbbbkbbbbbbbbbbbjbbbbb[bbbbbbbhbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbhbbbbbbbbb
(Gospel side): 2. Pro-cul recédant sómni- a, Et nócti-um
Bbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbjbbbbbbbbbbbbbbbhbbbbbbbbbbbg< bbbbbbbb{bbbbbbbbbbbbbbjbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbhbbbbbbbbbbb[bbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbb phantasmata: Hostémque nostrum cómprime, Ne pol-
Bbbbbbbbbbbbkbbbbbbbkbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbjbbbbbbbbbbbbhbbbbbbbbbg< bbbbbbbbbbbbbb}bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbkbbbbbbbbbkbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbbblbbbbbbbbbbkbbbbbbbbbjbbbbbbbbbbbbbbb[bbb
lu-ántur córpora. 3. (bow) Præ-sta, Pater omní-potens,
Bbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbbbjbbbbbbbbbbbbhbbbbbbbbbbbg< bbbbbbbbbbbbbb{bbbbbbbbbbbbbbbbbbjbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbbbbbbb Per Je-sum Chri-stum Dóminum, Qui te-cum in per-
Bbbbbbbbbbbbbbbbgbbbbbbbbbbbhbbbbbbhbbbbbbbbbbbbbbbb[bbbbbbbbbbbbbbkbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbjbbbbbbbbbbhbbbbbbbbbbg< bbbbbbbbbbb}bbbbbbbbbbbbbbbbbbbbbghgbbbbbbbbbbbFTM< bbbbbbbbbbbbbbbbbbb}pé-tu-um Regnat cum Sancto Spi-ri-tu. A-men.
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
Bbbbbbbbbbbbgbbbbbbbbbhbbbbbbbbbhbbbbbbbbbbb[bbbbbbbbkbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbjbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbg< bbbbbbbbbbbbbbbbbbbbb}bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbb
enemy That we in chaste repose may rest. 3. (bow) O
Bbbbbbbbbbbbbkbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbblbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbjbbbbbbbbb[bbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbb Father, this we ask be done, Through Jesus Christ, thine
Bbbbbbbbbbbjbbbbbbbbbbhbbbbbbbbbbbbbbbg< bbbbbbbbbb{bbbbbbbbbbbbbbbbbbbbbbbbjbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbfbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbb[bbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbbbbbkbbbbbbbbbvbbbbbbbv only Son; Who with the Ho-ly Ghost and thee, Doth live
Bbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbjbbbbbbbbbbbbbbhbbbbbbbbbbbbbbg< bbbbbbbbbbb}bbbbbbbbbbbbbbghgbbbbbbbbbbbbbbFTM< bbbbbbbbbbbb}and reign e-ternal-ly. A- men.
CHAPTER & SHORT RESPOND
Tu autem in nobis es Dómine, † et nomen sanctum
tuum invocátum est su per nos: * ne derelínquas nos
Dómine Deus noster. ( Jerem. 14: 9)
VbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbhbbbbbbbbbbbbbbbfbbbbbbbbbbbbbdbbbbbbbbbbbbD RM, 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 .
VbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbdbbbbbbbbbbbbbbbbbbbbbbD RM, bbbbbbbbbbbbbbbb} R. Thanks be to God.
BbbbbbbbbbbbfbbbbbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbF TbbbbbbbbgbbbbbbbbbbbbbbbtfbbbbbbbbbbbbbbbgbbbbbbbbGY,. bbbbbbbbbbbbbb{bbbbbbbbbbbbbhbbbbbbbbbbbbfbbbbbbbbbbbbbbbGYbbbbbbbbbbbbbbbbbbbgbbbbbbbbr® sbbbbbbFTbbbbbbbbbbbbbbbbbbbbbbbbbbbg, bbbbbbbbbbfb, bbbbbbbbb} R. In manus tuas Dómine, * Coméndo spí-ritum me-um.
Repeat: In manus tuas . . .
Bbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbhbbbbbbb\bbHUbbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbGYbbbbbbbbbbbbgbbbbbbbb ≥gbbbbbbbbbbbb[bbbbbbbbhbbbbbbgbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbtfbbbbbbbbbbbgbbbbbbbbbbbbbbbG Y,. bbbbbbbbbb}V. Redemísti nos Dómine, De-us ve- ri- tá- tis.
Repeat: Commendo . . .
Bbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbb\bHUbbbbbbbbbbbbbhbbbbbbb[bbbbbbbbbhbbbbbbbbbbbbbbbbGYbbbbbbbbbbbbgbbbbbbbbbb ≥
gbbbbbbbb[bbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbhbbbbbbbbbgbbbbbbbbbfbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbG Y,. bbbbbbbbbbbb}V. Gló-ri- a Pa-tri et Fí- li- o, et Spi-rí-tu- i Sancto.
Spirit. Repeat: In manus tuas . . .
BbbbbbbbbbbbfbbbbbbbbfbbbbbbbbbbbbbbbbbbbbFTbbbbbbbbbbbbbbbbbbbbbbbtfbbbbbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbG Ybbbbbbbbbbbbbb{bbbbbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbbGYbbbbbbbbbbbbbbbbbbb5z$@bbbbbbbbbbbbbbbbbbbFTbbbbbbbbbbbbbbbbg, bbbbbbbbbbbbbbbbbbbbbbbfb, bbbbbbbbbbbbbbb} R. Into your hands, O Lord, * I commend my spi- rit.
Repeat: Into your hands
Bbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbb\bbH Ubbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbhbbbbbbbbbb[bbbbbbbbbbbgbbbbbbbbbbbbbbbtfbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbG Y,. bbbbbbbbbb}V. For you have redeemed me, O Lord, O God of truth.
Repeat: I commend . . .
Bbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbhbbbbbbbbbbbhbbbbbbbbbbhbbbbbbbbbbbbbbbhbbbbbbbbbbbbb\bH Ubbbbbbbbbbbbbbbhbbbbbbb[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
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Bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbfbbbbbbbbbfbbbbbbbbbbbbfbbbbbbbbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbfbbbbbbbfbbbbbbbbbbbbbfbbbbbbbbbbbbbbfbbbbbbbbbbbfbbbbbbbbfbbbbbbbbbbbbbbbbbbfbbbbbbbbbfbbbbbbbb ≤dzz4z#@!zsdsm bbbbbbbbbbbbbbbbbb}V. Custódi nos Dómine, ut pupíllam óculi.
R. Sub umbra alárum tuárum prótege nos.
Bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbbbfbbbbbbbbbfbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbfbbbbbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbbbbbbb ≤dzz4z#@!zsdsm bbbbbbbbbbbbbbbbbb}V. Keep us, O Lord, as the apple of thine eye.
R. Hide us under the shadow of thy wings.
GOSPEL CANTICLE
3a Cantor (Gospel side): All:
BbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbH IbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbKObbbbbbbbbbbbbkbbbbbbbbbbijbbbbbbbbbbbbbhbbbbbbbbbjbbbbbbbbbbbbbhbbbbbbbbbbbbbg< 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,
BbbbbbbbbbbbhbbbbbbbbbbbbbbbhbbbbbbbbbhbbbbbbbbbhbbbbbbbbbbbbtfbbbbbbbbbbbbbG YbbbbbbbbbbbbbtfbbbbbbbbbbbbbbbbdM bbbbbbbbdM bbbbbbbb}et requi-escámus in pace.
Canticum Simeonis
The sign of the cross is madeCantor (Gospel side):
´ ´}
BbbbbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbbHIbbbbbbbbbbbbÃbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbblbbbbbbbbbbbbbÃbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbbbbbbbÃbbbbbbbbbbuhbbbbbbbbbbbbbbk/ bbbbbbbbbbbbb]bbbb 1. Nunc dimíttis ✠ servum tu- um Dómi-ne, * All (Gospel side):
´ bBbbbbbbbbbbbbbbbbbbbbÃbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbkbbbbbbbbbbbbÃbbbbbbbbbbbuh< > bbbbbbbbbbbbbbbbbbbb}
secúndum verbum tuum in pa- ce.
(Epistle side): 2. Quia vidérunt óculi mei * salutáre tuum.
3. Quod parásti * ante fáciem ómnium po pulórum.
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 sem per, * et in
saécula sæculórum. Amen. Repeat antiphon
Cantor (Gospel side): All:
BbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbbH IbbbbbbbbbbbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbKObbbbbbbbbbbbbbbbbbbbbbbbbbijbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbjbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbg< 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[bbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbfbbbbbbbbbbbbbbbbbbbbbG YbbbbbbbbbbbbbtfbbbbbbbbbbbbbbbbdM bbbbbbbbbbbbbbbb}with Christ, and that we may rest in peace. .
Canticle of Simeon
The sign of the cross is madeCantor (Gospel side):
´ ´}
BbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbbHIbbbbbbbbbbbbbbbbbbbbbbbbbbbbbÃbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbblbbbbbbbbbbbbbÃbbbbbbbbbbbbkbbbbbbbbbbbbbbÃbbbbbbbbbbbbbbbuhbbbbbbbbbbbbk/ bbbbbbbbbbbbb]bbbb 1. Now dost thou ✠ dismiss thy ser- vant, O Lord, * All (Gospel side):
´ bBbbbbbbbbbbbbbbbbbbbbÃbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbbbbbbbbbÃbbbbbbbbbbbbbbbuh< > bbbbbbbbbbbbbbbbbbbb}
according to thy word, in peace.
(Epistle side): 2. Because my eyes have seen * thy sal vation.
3. Which thou hast pre pared * before the face of all peo ples.
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 tuisancti hábitent in ea, qui nos in pace custódiant; * etbenedíctio tua sit super nos semper. Per Dóminumnostrum Jesum Christum Fílium tuum: † qui tecum vivit etregnat in unitáte Spíritus Sancti Deus, * per ómnia saéculasæculórum.
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.
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30 n Sed MS ooqM 2011 nght Pe
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¿kbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbbbbbbbbbblbbbbbbbbbbbbkbbbbbbbbbjbbbbbbbbbbbbbbhbbbbbbbbbbbbbbfbbbbbbbbbbgbbbbbbbbbbbb˘ hbbbbbbb\zzjbbbbbbbbhbbbbbbbgbbbbbbbbf, bbbbbbbbbbbbb{ Quia quem me-ru-i-sti porta-re, allelu-ia,
Bbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbkbbbbbbbbbbbbblbbbbbbbbbbbbbbbbb¿kbbbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbfbbbbbbbbbbbbbbbbbgbbbbbbbbbbbb¯fbbbbbbbbbbbbbbgbbbbbbbbbbbbbhbbbbbbb\zzjbbbbbbbbbbbbkb/ bbbbbbbbbbbbbbbbb{bbbbb Re-sur-re-xit, si-cut di-xit, al-le- lu-ia;
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
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Tuesday
l3:30 p.m. June 14, 2011
Mass in English, Ordinary Form Votive Mass of the Holy Spirit
Sed MS ooqM 2011 n 31teSd, Jne 14
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Sed MS ooqM 2011 n 33teSd, Jne 14
B vÝ dvvz gvvz G Y v b v b h v v z z à hvvvgvbz z z à h v v v v z b z g v v z d b m v z z } v v b Ý d v b z b v g v b v v v à h v v z b h b v v v ß g v v v v z z h z z v v á jz z z z bö
B v z b h v v b h b . v v v [ v v b h v v b z à h v v v g v z b v à h v v v b g v v z b d b m v z z b b } v b z v b b g z z b b v v à h v v v b g v v v z z d b m v b z b } b v v g v b v G Yvz z z z à h v v b b g b v v z z g v b ó
B v b b d b m v z b } z z z z b g b v v z G Y v v z z à h v z b v b b g b v z z b v b d b m v z b } v z v g b v b v à h b v z z g z v v b à h v b v z z g z v v v z d b m v b b } z b b v Ý d b b v v g b b v z z à h v b v z b h b z b v z b g z b b b b v z z à h v ÷
B b v b j b b b b v z h b . v z z b [ z v b h v b b v v z à h v v v z b v b h v v v z b h v z b v v v v z z à h v v z g b v b v à h v v b b v v b z g b v v z d b m v v b } v v z z Ý d v v b z g b b v z b b z z à h v v b v z z h b v v z à h v b b õ
B b z z z g v z z z b b b b b b v à h v v b b b g b b v v d b m v v z [ z b b v b d b b v v b ß g v v v b b v h v v z z ß g v b b v z h v z b v z z v b ß g v b b v z d z b b b v z z d b m v v b } v z z b z z b Ý d v b v z b g b b b v v b à h v v b b z h b b v v à h v b õ
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34 n Sed MS ooqM 2011 teSd, Jne 14
Bbbzbgvbzzbzbhbvzzbzzá jbbbbvzbhbvvbhb. vzzbb[bbbvgvvzzà hvbbbzbvvvvgbvvbbdbm vzbzzbb}bbvbvzzÝ dvvbbgbbbbvvà hvbbvvzbbgvbbvbdbm vzb[bbbbbzzgvbbvzbbvà hvbb÷
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Bzbvbß gvvzzdbvvbbbdbm vzbbb}zbbvvbÝ dvbbvzzgvbbzzzbà hzzzzzbbvzhvvzbbß gvvzdvvzbdbm vvb[bzbzzbzÝ dbbvzbzbbgbvbbvvvvbbzzî hî jî hvbbbzbhb. vv}vzbvzdvvõ
Bzbzß gvbvvvzhvbbvvvzá jvvbhzzvzhb. vzb[vzbhzbvzzbbzbbvzà hvvbhvvbhzzbvzvvà hvbbvgvzbbvvh7gztÍ dzbvzbdbm vzb}vzbbzd v5z$#vvbbS EbN M vbb}
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teSd, Jne 14 Sed MS ooqM 2011 n 35
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36 n Sed MS ooqM 2011 teSd, Jne 14
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MEDIUS
(Soprano)
CONTRA(Alto)
TENOR
(Tenor)
BASSUS
(Bass)
&
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1 ∑
∑∑
œ .œ Jœ œAl-migh-ty and
∑
œ .œ jœ œAl - migh - ty and
∑
œ œ œ œe - ver - last - ing
∑
.œ jœ œ œe - ver-last - ing
œ .œ Jœ œAl-migh - ty and
œ œ œ œ œ œGod, and e - ver -
œ .œ Jœ œAl - migh - ty and
œ œ .œ jœGod, and e - ver -
œ œ œ œ œe - ver - last - ing, and
.œ jœ ˙last - ing God,
&&
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œ œ œ œe - ver - l ast - ing
œ œ ˙-last -ing God,
œ œ œ œe - ver - l ast - ing
œ Œ Ó
.˙ œGod, mer -
Œ .œ œ œ jœmer - ci - ful - ly
˙ ÓGod,
Ó .œ
Jœmer - ci -
œ œ œ œ .œ œ œci - ful - ly look up-on
˙ œ œlook up - on
.œ jœ œ œ œmer - ci - ful - ly look
œ œ ˙ œful - ly look up -
œ œ œ œour in - fir - mi -
œ ˙ œnour in -
œ œ .œ œ œ jœup - on our in - fir - mi -
œ œ œ .œ Jœon our in - fir - mi -
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˙ .œ Jœ-ties, mer - ci -
.œ jœ ˙-fir - mi-ties,
œ .œ œ œ jœ-ties, mer - ci - ful - ly
.˙ œ-ties, mer -
œ œ œ œ œful - ly look up - on
.œ jœ œ œ œmer - ci - ful - ly look
œ œ œ œ œlook up - on our in -œ œ œ œ ˙
ci - ful - ly look
œ œ œ œ ˙our in - fir - - -
œ œ .œb jœup - on our
œ œ ˙ œfir - mi-ties, our
œ .œb œ œ jœup - on our in -
œ œ ˙mi-ties,
œ œn ˙ œin - fir - mi -
œ œ .œ jœin - fir - mi -
˙ ˙fir - mi -
Orlando Gibbons
(1583-1625)
SATB a cappella
Almighty and Everlasting God
Copyright © 2000 by the Choral Public Domain Library (http://www.cpdl.org)
Edition may be freely distributed, duplicated, performed, or recorded. ed. 3/7/00
Sed MS ooqM 2011 n 37teSd, Jne 14
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38 n Sed MS ooqM 2011 teSd, Jne 14
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13 Œ œ œ œ œand in all our
˙ Œ œ œ-ties, and in
w-ties,
w-ties,
œ œ œ œ œdan - gers and ne - ces - - -
œ œ œb œall our dan - gers
Ó Œ œ œand in
∑
œ œ œ Œsi - ties,
˙ œ œand ne - ces - - -
œ œ œ œall our dan - gers
Œ œ œ œ œand in all our
Œ œ œ œ œand in all our
œ œn œ œ œsi - ties, and in
œ œ ˙ œand ne - ces - si -
œb œ .œ jœdan - gers and ne -
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17 œ ˙ œ œdan - gers and ne -
œ œ .œ jœall our dan - gers
œ œ œ œ-ties, our dan - gers
œ œ œ œ-ces - si - ties, and
œ œ ˙ces - si - ties
œ œ œ œand ne - ces - si -
œ œ .œ jœand ne - ces - si -
œ ˙ œne - ces - si -
Œ ˙ œ œstretch forth Thy
˙ Œ œties stretch
˙ Óties˙ Œ œties stretch
œ ˙ Œright hand,
œ œ œ œ œ œforth Thy right hand, Thy
Œ ˙ œ œstretch forth Thy
œ œ œ œ œ œforth Thy right hand, Thy
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21 Œ ˙ œ œstretch forth Thy
œ œ Œ œright hand, stretch
œ œ Œ œright hand, stretch
œ œ Œ œright hand, stretch
œ ˙ œright hand to
œ œ œ œ œforth Thy right hand
œ œ œ œ œforth Thy right hand
œ œ œ œ œforth Thy right hand
œ œ œ œ œhelp and de - fend us,
œ œ œ œ œto help and de -
œ œ œ œto help and
œ œ œ œ œto help and de -
Œ ˙ œ œstretch forth Thy
˙ œ œfend us, stretch
œ œ œn œ œde- fend us, stretch
˙ œ œfend us, stretch
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&
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25
œ œ Œ œright hand to
œ œ œ œ œforth Thy right hand
œ œ œ œn œ œforth Thy right hand to
œ œ œ œ œforth Thy right hand
˙ œ œhelp and de -
œ œ œ œto help and
œ œ œ œ œhelp and de-fend us,
œ œ œ œ œto help and de -
œ œ œ œfend us, to help
œ œ œ œ œde-fend us, stretch
œ .œ Jœ œto help and de -
.œ Jœ œ œfend
œ œ œ œ œand de - fend us,
.œ jœ œ œ œforth Thy right hand to
œ œ .œ œ œ jœfend, to help and de - fend
˙ œ œus, to help
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œ œ .œ Jœto help
œ œ œ œ œ œhelp and de-fend us, stretch
˙ .œ jœus, toœ œ œ œ œ œ
and de -fend us,
œ œ œ œ œ œand de-fend us, de-fend
œ œ œ ˙forth Thy right
œ œ ˙ œhelp and
œ œ ˙to help
œ œn ˙us;
œ œ œ œ œ œ œhand to help and de- fend
œ œ œ ˙de - fend
œ œ ˙and de - fend
Œ œ œ œthrough Je-sus
œ ˙ œus; through Christ
˙ Óus;.˙ œus; through
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˙ ˙Christ our
œ œ ˙our Lord,through
Ó Œ œthrough
œ œ ˙Christ our Lord,
˙ Œ œLord, through
œ œ œ œChrist our Lord, through
œ œ œ œChrist our Lord, through
œ œ œ œ œ œthrough Christ our
œ œ œ œJe - sus Christ our
œ œ œ œChrist our Lord.
œ .œ jœ œChrist our Lord.
˙ œ œLord, Christ our
˙ œ œLord. A - - -
œ œ œ œ œA - - -
œ œ ˙A-men,
˙ œ œLord. A -
œ œ œ ˙men.
˙ ˙men.
œ œ ˙A-men.
˙ ˙men.
SOURCE: Select Church Musick (Barnard, 1641)NOTES: Note values halved, some text underlay is editorial
Sed MS ooqM 2011 n 39teSd, Jne 14
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40 n Sed MS ooqM 2011 teSd, Jne 14
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42 n Sed MS ooqM 2011 teSd, Jne 14
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Communion
Factus est repente (Mode 7) Acts 2
XrivivzzK ivivzzKivzzzivRvzzziuvpopivIv,viovoizz Sud- den- ly there came a sound from hea- ven, as of
XoivuoKivuvzuuzvtz6zhuvuiYv,czHyvyvruHyvuviovivzzzzzzzz a rush- ing migh- ty wind, and it filled the house where
XuiuvuyvtuyrzzvTRv,vryvg yzztzuyvd rd td rvRv.vrvG tvzzzzzzzz they were sit- ting, al- le- lu- ia; and they
XuviiovzK iviviczzL oviuviovOv,vivuyuK itzzzzzzzzzzzzzzztzzzzzzzzuzzzzzzzzz were all filled with the Ho- ly Spir- it and spoke of the
XuuyFrtdyd tzzzzzzzzzezzzzzzzrtvtvRv,vryvyvuiuvTv,vryvvzzzv migh- ty works of God, al- le- lu- ia, al-
Xg yzztuyvd rdtd rvRv..vvvvvvvvvvvvvvvvvzzzzzz le- lu- ia.
Ad libitum Psalm 68:36
XruyvuivivivivivivivipvovoivIOv.viyvuizzz How won- der- ful is God in his ho- ly plac- es: the God
Xivivivivivivzzzzivzzzzziviz9zl pvivuvuuuvTRv..zzzzzzzzzzzzzzzz of Is- ra- el giv- ing strength and pow’r to his peo- ple.
Sed MS ooqM 2011 n 43teSd, Jne 14
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44 n Sed MS ooqM 2011 teSd, Jne 14
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wwÓ ˙w
wwœ œ œ ˙w
wwœ œ œ ˙w
˙ ˙sa crum
˙ ˙sa crum˙ ˙sa crum
˙ ˙sa crum
˙ ˙˙ ˙˙ ˙˙ ˙
œ œ ˙con vi
˙ ˙con vi˙ ˙con vi
˙ ˙con vi
œ œ ˙˙ ˙˙ ˙˙ ˙
œ œ ˙ vi um!
œ œ ˙ vi um!œ œ ˙ vi um!
œ œ˙ vi um!
œ œ ˙œ œ ˙œ œ ˙œ œ ˙
wŒ ˙ œ
in quo˙ ˙in
˙Ó
wŒ ˙ œ˙ ˙˙
- - - -
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7 Ó ˙inœ ˙ œ
Chri stus su
˙ œ œquo Chri stus
∑
7
Ó ˙œ ˙ œ˙ œ œ
œ ˙ œquo Chri stusœ œ œ œ œ œ œ
mi
.œ jœ ˙su mi tur,
Ó Œ œin
œ ˙ œœ œ œ œ œ œ œ.œ jœ ˙Ó Œ œ
.œ jœ ˙su mi tur,
˙ ˙tur, inÓ Œ œ
inœ ˙ œquo Chri stus
.œ jœ ˙˙ ˙œœ ˙ œ
∑
œ ˙ œquo Chri stus
˙ ˙quo Chri
.œ Jœ ˙su mi tur,
œ ˙ œ˙ ˙.œ Jœ ˙
Œ œ œ œin quo Chri
.œ jœ ˙su mi tur:œ œ .œ jœ
stus su mi˙ œ œin quo Chri
Œ œ œ œ.œ Jœ ˙œ œ .œ jœ˙ œ œ
- - - -
- - - - - - - - -
- - - - - -
- - - -
O SACRUM CONVIVIUM
Luca Marenzio1556-1599
St. Thomas AquinasWilliam Mahrt, Translation
O sacred banquet, wherein Christ is received;the memorial of his passion is renewed;
the soul is filled with grace; and a pledge of future glory is given to us.
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&
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12 œ œ .œ Jœstus su mi
Œ œ œ œre co li
˙ Ótur:œ œ .œ Jœ
stus su mi12 œ œ .œ jœŒ œ œ œ
œ œ .œ Jœ
˙ Ótur:
.œ jœ œ œtur me mo ri
Œ œ œ œre co li
˙ Ótur:
˙ Ó.œJœ œ œ
œ œ œ˙ Ó
Œ œ œ œre co li
˙ Óa
.œ Jœ œ œtur me mo ri
Œ œ œ œre co li
Œ œ œ˙
Ó
.œ jœ œ œŒ œ œ œ
.œ jœ œ œtur me mo ri
Œ œ œ œre co li
˙ Óa
.œ Jœ œ œtur me mo ri
.œ jœ œ œ
Œ œ œ œ˙ Ó.œ Jœ œ œ
œ ˙ œa pas si
.œ jœ œ œtur me mo ri
Ó Œ œre
œ ˙ œa pas si
œ ˙ œ.œ Jœ œ œœœ ˙ œ
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17
˙ ˙o nis
˙ Œ œa pas
œ œ .œ Jœco li tur me
˙ ˙o nis
17
˙ ˙˙ œœ œ .œ jœ˙ ˙
œ œ œ œ œ œ œ œ œe
œ œ ˙si o
œ œ ˙mo ri a
˙ ˙e
œ œ œ œ œ œ œ œ œœ œ ˙œ œ ˙˙ ˙
œ œ œ œ œius, re
wnis
Œ ˙ œpas si
˙ Œ œius, re
œ œ œ œ œwŒ ˙ œ˙ Œ œ
œ œ œ œ œ œco li tur,
˙ œ œe ius, re
˙ ˙o nis
œ œ ˙co li tur,
œ œ œ œ œ œ˙ œ œ˙ ˙œ œ ˙
˙ Ó
œ œ ˙co li tur,
˙ ˙e ius,
Œ œ œ œre co li
˙ Óœ œ ˙˙ ˙œ œ œ
˙ œ œre co li
Œ œ œ œre co li
∑
.œ Jœ œ œtur me mo ri
˙ œ œœ œ œ.œ Jœ œ œ
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23 .œ Jœ œ œtur me mo ri
.œ jœ œ œtur me mo ri
Ó ˙re
œ ˙ œa pas si
23 .œ jœ œ œ.œ
Jœ œ œ
Ó ˙œ ˙ œ
˙ Œ œa pas
˙ ˙a pas
œ œ .œ Jœco li tur me
˙ ˙o nis
˙ Œ œ
œ œ .œ jœ˙ ˙
œ œ ˙si o
˙ œ œsi o nis
œ œ ˙mo ri a
˙ ˙e
œ œ ˙œ œ œ œ˙ ˙
˙ .œ jœnis e
.œ œ œ œ œ œ œe
Œ ˙ œpas si
˙ Óius:
˙ .œ jœ.œœ œ œ
œ œœ˙ œ˙ Ó
œ œ ˙ œ
.œ jœ ˙
˙ ˙o nis
Ó ˙mens
œ œ ˙ œ.œJœ˙
˙ ˙Ó ˙
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28
œ œ# œ œn œ œius:
˙ Óius:
˙ ˙e ius:
˙ ˙im
28
œ œ# œ œn œ œ˙ Ó˙ ˙˙ ˙
˙ Œ œmens
wmens
∑
˙ ˙ple tur
˙ Œ œw˙ ˙
œ œ# ˙im ple
˙ ˙im ple
∑
.œ Jœ ˙gra ti a,
œ œ# ˙˙ ˙.œ Jœ ˙
˙ ˙tur
˙ .œ jœtur gra ti
wmens
˙ ˙mens
˙ ˙˙ .œ Jœw ˙
.œ jœ ˙gra ti a,
.œ jœ ˙a,
˙ ˙im ple
˙ ˙im ple
.œ jœ ˙.œ Jœ ˙˙ ˙˙ ˙
˙ ˙mens im
Œ ˙ œmens im
˙ .œ jœtur gra ti
˙ .œ Jœtur gra ti
˙ ˙˙ œ˙ .œ jœ˙ .œ Jœ
- - - - - - - - -
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34 ˙ ˙ple tur
˙ œ œple tur gra
œ œ œ œ œ œ œ œ œa:
wa:
34 ˙ ˙˙ œ œ
œ œ œ œ œ œ œ œ œw
.œ Jœ ˙gra ti a:
œ œ# .œ œn œti a:
˙ ˙
Ó Œ œet
.œ jœ ˙œ œ# .œ œn œ˙ ˙Ó Œ œ
∑
˙ Œ œet
œ œ œ œet fu tu rae
œ œ œ œfu tu rae
˙ Œ œœ œ œ œœ œ œ œ
Œ ˙ œet fu
œ œ œ œfu tu rae
.œ jœ œ œglo ri
.œ Jœ œ œglo ri
˙ œœ œ œœ.œ jœ œ œ.œ Jœ œ œ
œ œ .œ jœtu rae glo
œ œ .œ jœglo ri ae
œ œ œ œ ˙ae
˙ Œ œae et
œ œ .œ jœœ œ .œJœ
œ œ œ œ ˙˙ Œ œ
œ œ ˙ri ae
˙ Œ œno
˙ Ó
œ œ œ œfu tu rae
œ œ ˙˙ Œ œœ œ œ œ
- - - - - - -
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40
˙ ˙no bis
˙ ˙#bis pi
Œ ˙ œet fu
.œ jœ œ œglo ri
40
˙ ˙˙ ˙#˙ œ.œ Jœ œ œ
˙ ˙pi gnus
˙ ˙gnus da
œ œ œ œ œtu rae glo
˙ ˙ae no
˙ ˙˙ ˙œ œ œ œ œ˙ ˙
˙ ˙da tur,
˙ Œ œtur, et
œ œ# œ œri ae no
˙ ˙bis pi
˙ ˙˙ Œ œœ œ# œ œ˙ ˙
∑
œ œ œ œfu tu rae
˙ ˙bis pi
˙ ˙gnus da
œ œ œ œ˙ ˙˙ ˙
Œ ˙ œet fu
.œ jœ œ œglo ri
˙ ˙gnus da
˙ Ótur,
Œ ˙ œ.œ Jœ œ œ˙ ˙˙
œ œ .œ Jœtu rae glo
œ œ ˙ae no bis
œ œ œ œtur, et fu tu
Ó ˙no
œ œ .œ jœœ œ ˙œ œ œ œ˙
- - - - - -
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- - - - - -
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46
œ œ ˙ri ae
œ œ œ œ œ œpi gnus
œ œ œ œrae glo ri
˙ ˙bis pi
46
œ œ ˙œ œ œ œœ œœ œ œ œ˙ ˙
Œ ˙ œno bis
.œ jœ œ œ œ œda
œ œ ˙ae no bis
˙ ˙gnus da
˙ œ.œJœ œ œ œ œ
œ œ ˙˙ ˙
˙ œ œpi gnus da
œ œ .œ jœ œ œ
˙ ˙pi gnus
˙ Ótur,
˙ œ œœ œ .œ
Jœ œ œ
˙ ˙˙
œ œ# œ ˙
w
wda
∑
œ œ# œ ˙ww
˙ Ótur,
˙ Ótur,
œ œ œ œ œtur, Al le
Œ œ œ œ Al le lu
˙ Ó
œ œ œ œ œœ œ œ
˙ œ œ Al le lu
Œœ œ œ œ
Al le
œ œ ˙lu ia,
˙ Óia,
˙ œ œœ œ ˙œ œ œ œ œ
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52
˙ Óia,
œ œ ˙lu ia,
Œ œ œ œ œ Al le
˙ œ œ Al le lu
52
˙ ˙œ œœ œ œ œ˙ œ œ
Œ œ œ œ Al le lu
Œ œ œ œ œ Al le
œ œ ˙lu ia,
˙ Óia,
œ œ œŒ œ œ œ œœ œ ˙˙
˙ Óia,
œ œ# ˙lu ia,
Œ œ œ œ Al le lu
Œ œ œ œ œ Al le
˙œ œ# ˙œ œ œŒ œ œ œ œ
- - -
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55 Œ œ œ œ Al le lu
Œœ œ œ œ
Al le
˙ Óia,
œ œ# ˙lu ia,
55
œ œ œŒ
œ œœ œ
˙ Óœ œ# ˙
˙ Óia,
œ œ# ˙lu ia,
˙ œ œ œ Al le
Œ œ œ œn Al le lu
Óœ œ# ˙˙ œ œ œŒ œ œ œn
Œ œ œ œ Al le lu
Œ œ œ œ œ Al le
œ œ# ˙lu ia,
˙ Óia,
Œ œ œ œœ œ œ œ
œ œ# ˙˙
˙ Óia,
œ œ ˙lu ia,
Œ œ œ œ œ Al le
Œ œ œ œ Al le lu
˙ Óœ œ ˙Œ œ œ œ œœ œ œ
Œ œ œ œ Al le lu
Œ œ œ œ œ Al le
œ œ ˙lu ia,
˙ Óia,
Œ œ œ œŒ œ œ œ œ
œ œ ˙˙
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60
˙ Œ œia, Al
œ œ# œ œlu ia, Al
Œ œ œ œ œ œ Al le
Ó ˙ Al
60
˙ œœ œ# œ œŒ œ œ œ œ œ˙
œ œ ˙le lu ia,
œ œ ˙ œle lu
œ œ ˙lu ia,
œ œ ˙le lu ia,
œœ œœ ˙œ œ ˙ œœ œ ˙
œ œ ˙ Al le
œ œ œ œia, Al le
Œ œ œ œ œ Al le
˙ ˙ Al le
œ œ ˙œ œ œ œŒ œ œ œ œ˙ ˙
wlu
wlu
œ œ œ ˙lu
wlu
wwœ œ œ ˙w
wUia.
wU
ia.
wUia.
wUia.
wUwUwUwU
- - - - - - - - -
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- - - - - - - - - - -
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50 n Sed MS ooqM 2011 teSd, Jne 14
1
2
Desc.
4
2
And
O
so
let it
the
4
3
And
Let
so
ho
the
ly
4
1
2
3
Come
O
And
Let
down,
let
so
ho
O
it
the
ly
yearn
free
ing
ly
yearn
cha
ing
ri
Love
free
cha
yearn
di
ly
ing
ri
strong,
burn,
strong,
ty
vine,
burn,
strong,
ty
till
with which
earth
the
ly
with
mine
which
out
the
ward
seek
till
with
mine
thou
earth
which
out
this
ly
the
ward
soul
pas
will
sions
soul
ves
will
ture
soul
ves
pas
soul
sions
will
ture
of
long,
turn
long,
be
mine,
turn
long
be
-
-
-
-
- -
-
- - - -
-
- - -
-
-
---
shall
to
shall
and
andto
shall
and
far
dust
out
and
pass
ash es
the
far
low
out
li
pass
ness
the
be
visdust
far
low
itand
out
li
itash
pass
ness
withes
the
be
power
in
of
its
hu
heat
man
con
power
come
of
my
hu
in
man
ner
thinein
power
come
ownits
of
my
arheat
hu
in
man
dorcon
ner
tell
sum ing;
ing,
tell
cloth
ing,
ing,
glowsum
tell
cloth
ing;ing,
ing,
ing,
-
-
--
-
---
-
- - -
- -
- - -
- - -
- - -
- - -
--
Copyright © 2011 by Charles H. Giffen for the Choral Public Domain Library (www.CPDL.org)
May be freely copied, distributed, performed, or recorded. This copyright notice must not be removed.
Come down, O Love divine
Down Ampney, 66 11. D
Ralph Vaughan Williams (1872-1958)
Descants by Charles H. Giffen
Words: Bianco da Sena (d. 1434?);
tr. Richard Frederick Littledale (1833-1958), alt.
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for
and
none
let
can
thy
truefor lownone lican
O
and
for
true
Com
none
low
let
fort
thy
can
li
guess
glo
its
rious
nessguess ofits
er,
glo
guess
ness
draw
rious
its
of
grace,
light
heart,grace,
near,
light
grace,
heart,
till
shine
Love
ev
cre
er
whichtill takesLove thecre
with
shine
till
which
in
ev
Love
takes
my
er
cre
the
ate
on
a
my
humate blea
heart
on
ate
hum
ap
my
a
ble
place
sight,
part,place
pear,
sight,
place
part,
- -
-
-
-
-
-
- - -
-
-
- - --
-
where
and
and
where
and
and
where
and
in
clothe
the
me
Ho
round,
ly
the
o'er
in
its
the
own
Ho
short
ly
kin
clothe
in
o'er
dle
me
the
its
it,
round,
Ho
own
thy
ly
short
the
Spi
while
rit
my
makes
path
a
il
com
Spi
ings
rit
weeps
makes a
with
ho
while
Spi
com
ly
my
rit
ings
flame
path
makes
weeps
be
il
a
with
dwell
lum
ing.
ing.
dwell
loath ing.
ing.
stow
lum
dwell
loath
ing.
ing.
ing.
ing.
- -
-
-
-
-
-
-
- - - -
-
- - -
- - -
- - -
- -
Copyright © 2011 by Charles H. Giffen for the Choral Public Domain Library (www.CPDL.org)
May be freely copied, distributed, performed, or recorded. This copyright notice must not be removed.
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Wednesday
l3:30 p.m. June 15, 2011
Requiem for Deceased Members, Ordinary Form
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V b b b zb h zy g b v z zb b b F T b b v v Þ f v v v z z d z b b b z v z ë f b v b v g v v z b g b , v v b b v v } v v v v z b v z j v v z b J I b v v b u h b v b z á j v b b z z b j b v v b g b , v v v v b " } v v ö
V b v b h z y g b b b b z z b b F T b b v b v Þ f b b v b b z z d b b z b z v b ë f v b b v g v v z g b , v v b v z } v b v v z g Ä Uvz z z b F T v v b r d v b b b v z b u h z J I z & ^ z b b v b á j v v b j v v b g b , z vz z } x vvvb b b
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62 n Sed MS ooqM 2011
Soprano
Alto
Tenor
Bass
Organ
1
Thou know- est,
Thou know- est,
Thou know - est,
Thou know- est,
Lord, the se - crets
Lord, the se - crets
Lord, the se - crets
Lord, the se - crets
of our hearts;
of our hearts;
of our hearts;
of our hearts;
Shut not,
Shut not,
Shut not,
Shut not,
5
shut not thy
shut not thy
shut not thy
shut not thy
mer- ci - ful ears un -
mer- ci - ful ears un -
mer- ci - ful ears un -
mer- ci - ful ears un -
to our pray'rs;
to our pray'rs;
to our pray'rs;
to our pray'rs;
but spare us,
but spare us,
but spare us,
but spare us,
Lord, spare us,
Lord, spare us,
Lord, spare us,
Lord, spare us,
Henry Purcell
(1659-1695)SATB a cappella or with continuo
Thou Knowest, Lord, the Secrets of Our Hearts(Second Setting)
Copyright © 1999 by the Choral Public Domain Library (http://www.cpdl.org)
Edition may be freely distributed, duplicated, performed, or recorded. rev. 2/1/99
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Sed MS ooqM 2011 n 63
10
Lord most ho - ly,
Lord most ho - ly,
Lord most ho - ly,
Lord most ho - ly,
O God,
O God,
O God,
O God,
O God most
O God most
O God most
O God most
might - y, O
might - y, O
might - y, O
might - y, O
ho - ly and most
ho - ly and most
ho - ly and most
ho - ly and most
15
mer - ci - ful Sa - viour,
mer - ci - ful Sa - viour,
mer - ci - ful Sa - viour,
mer - ci - ful Sa - viour,
Thou most worth - y
Thou most worth - y
Thou most worth - y
Thou most worth - y
judge e - ter - nal,
judge e - ter - nal,
judge e - ter - nal,
judge e - ter - nal,
suf - fer us
suf - fer us
suf - fer us
suf - fer us
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64 n Sed MS ooqM 2011
19
not, suf - fer us
not, suf - fer us
not, suf - fer us
not, suf - fer us
not at our last
not at our last
not at our last
not at our last
hour for a - ny
hour for a - ny
hour
hour
pains of death, for
pains of death, for
for a - ny
for a - ny
23
a - ny pains of
a - ny pains of
pains of death, of
pains of death
death to fall, to
death to fall, to
death, to fall, to
to fall, to
fall from Thee.
fall from Thee.
fall from Thee.
fall from Thee.
A - men.
A - men.
A - men.
A - men.
Edited by Rafael Ornes
SOURCE: Musica Sacra, Vol. I (London, 1724, ed. William Croft)
OTHER SOURCES:
British Library, MS 31444, ff. 208-208v
British Library, Harleian MS 7340,
Christ Church, MS 794
(Manuscript source information from Henry Purcell-Works, Volume XXXII)
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Sed MS ooqM 2011 n 67 WedneSd, Jne 15
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68 n Sed MS ooqM 2011 WedneSd, Jne 15
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70 n Sed MS ooqM 2011 WedneSd, Jne 15
S te
tu -
a
nos
a -
ma -
ra
fac
red-
emp-
tos
lu -
ce
cla-
ra,
fac
red-
emp -
A a
nos
a -
ma-
ra
fac
red-
emp -
tos
lu -
ce
cla -
ra,
T
a
nos
a -
ma -
ra
fac
red-
emp -
tos
lu -
ce
cla -
ra,
fac
red-
emp-
tos
lu -
B te
tu -
a
nos
a -
ma-
ra
fac
red-
emp -
tos
lu -
ce
cla -
30
S
tos lu - ce cla - ra te- cum fru- i glo ri - a.
A- ve ver- bum,
in -
A fac
red-
emp-
tos
lu -
ce
cla -
ra
te
cum
fru -
i
glo-
ri -
a.
A -
ve
ver -
bum,
T
ce
cla-
ra
te -
cum
fru -
i
glo -
ri-
a.
A -
ve
ver-
bum,
in-
car -
B
ra,
fac
red-
emp-
tos
lu -
ce
cla -
ra
glo -
ri-
a.
A-
ve
ver-
bum,
in -
35 40
S car -
na -
tum
de
Ma-
ri -
a
Vir-
gi-
ne,
pa-
nis
vi-
vus
A in -
car-
na -
tum
de
Ma-
ri -
a
Vir-
gi -
ne,
pa-
nis
vi -
vus
An-
ge-
lo-
T
na - tum de Ma- ri - a Vir- gi- ne,
B
car -
na -
tum
de
Ma-
ri -
a
Vir-
gi -
ne,
45 50
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Sed MS ooqM 2011 n 71 WedneSd, Jne 15
S An-
ge-
lo-
rum,
sa-
lus
et
spes
in-
fir-
mo-
rum,
sa-
lus
et
spes
in -
A rum,
pa -
nis
An-
ge-
lo-
rum,
sa -
lus
et
spes
in -
fir-
mo-
rum,
T
pa-
nis
An-
ge-
lo -
rum,
B pa-
nis
An -
ge-
lo -
rum,
sa -
lus
in-
fir -
mo-
rum,
55
S
fir - mo - rum,
me - di- ci - na pec-
ca-
to -
rum.
A sa-
lus
et
spes
in-
fir -
mo -
rum,
me -
di -
ci -
na
pec-
ca -
to -
rum.
T
sa -
lus
et
spes
in -
fir -
mo -
rum,
me -
di -
ci-
na
pec-
ca-
to -
rum.
B
me-
di-
ci -
na
pec-
ca -
to-
rum.
6560
S Sal -
ve
cor -
pus
Je -
su
Chri-
sti,
A Sal -
ve
cor -
pus
Je -
su
Chri-
sti,
T
Sal - ve cor - pus
Je-
su Chri - sti, quod de coe- lo de -
B
Sal -
ve
cor -
pus
Je -
su
Chri-
sti,
quod
de
coe -
lo
de-
scen-
di -
70 75
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76 n Sed MS ooqM 2011
S Qui
hic
im -
mo-
la-
ris
pro
no-
bis
et
san -
A Qui
hic
im-
mo -
la -
ris
pro
no-
bis,
im -
mo -
la
ris
et
T
no-
bis,
qui
hic
im-
mo -
la -
ris
pro
no-
bis
B no-
bis,
qui
hic
im-
mo-
la-
ris
pro
no-
bis
185180
S
cti-
fi-
ca-
ris,
A san -
cti-
fi-
ca-
ris,
ju-
va
di-
es
T
et
san -
cti -
fi -
ca-
ris,
ju
va
di-
es
no-
stros
in
B
et
san -
cti -
fi -
ca -
ris,
ju-
va
di-
es
no-
stros
190
S ju -
va
di -
es
no-
stros
in
pa-
ce
dis -
po-
ni,
A no-
stros
in
pa-
ce
dis-
po-
ni,
T
pa-
ce dis- po - ni, in pa- ce dis- po - ni, et nos e -
B
in
pa -
ce
dis-
po -
ni,
et
nos
e -
lec-
to -
200195
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Sed MS ooqM 2011 n 77
S et
nos
e -
lec-
to -
rum
tu -
o -
rum
gre -
ge
nu -
me -
ra-
A et
nos
e-
lec -
to-
rum
tu -
o-
rum
gre -
ge
nu -
me-
ra -
T
lec-
to-
rum
tu -
o-
rum
gre -
ge
nu -
me-
ra-
ri,
nu-
me-
ra -
B rum
tu -
o-
rum
gre -
ge
nu -
me -
ra -
205 210
S
ri, e - lec -
to -
rum,
gre- ge
nu - me - ra - ri,
gre - ge nu - me- ra - ri,
gre -
A ri,
e -
lec -
to -
rum,
gre-
ge
nu -
me -
ra-
ri,
gre -
ge
nu -
me-
ra -
ri,
gre -
T
ri,
e -
le -
cto -
rum,
gre-
ge
nu -
me -
ra -
ri,
gre -
ge
nu -
me-
ra -
B
ri,
e -
le -
cto -
rum,
gre-
ge
nu -
me -
ra -
ri,
gre -
ge
nu -
me-
ra -
215 220
S ge
nu -
me -
ra -
ri,
gre -
ge
nu-
me -
ra -
ri.
A ge
nu -
me -
ra -
ri,
gre -
ge
nu -
me -
ra -
ri.
T ri, gre - ge nu - me - ra - ri,
nu-
me - ra - ri.
B
ri,
gre-
ge
nu -
me -
ra-
ri.
225
WedneSd, Jne 15
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78 n Sed MS ooqM 2011 WedneSd, Jne 15
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Thursday
l3:30 p.m. June 16, 2011
Thursday in the Octave of Pentecost, Extraordinary Form
First Class Feast
Sed MS ooqM 2011 n 79thSd, Jne 16
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80 n Sed MS ooqM 2011 thSd, Jne 16
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Sed MS ooqM 2011 n 81thSd, Jne 16
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82 n Sed MS ooqM 2011
BbvS Ø Yvvzhvvb5z$#bbvzbÜ svvbbzbbdvbvvÞ fvzzbzgvvvvzzí6z%Þ $#vbzbdbm vb}bbvzÜ svvzbbdvvvzzzÞ fvvzbgvvvbà hvvvzzbbzhbbbbõ
Bvzß gvvzbfvbvbgb, vv[vzà hvbvzgzbvvbzD Rvvbzgvvvzdbm vvvdbm vzbb}vvzsvvzzrdvvzsvvvzzdbm vz}vzzsbvvD Rvvß gvvbgvvzzrdbbbbó
Bvbbdbm vz}vbzzgzzbbzvbÞ fvzbbbzbgvvzbzrdvvzzdbm vzb}vbzzà hvbvgzzvbÞ fzbzbbvgbbbbvvrdvbvzzdbm vz}vzzbbÝdbvzzzbgbvvzà hvvzbbhbbbbvzbß gvvzzhbbb÷
BzzbzJ Ivzzzbbhb. vzzb[bvzbà hvbvzzzhvvbbvvzzà hvvbvzgvvbvvvvÞ fvvzgvzbbzbG Yvvvvvgb, vvbbbbdbm vvb}vbbvzÞ fvvzbdvvÜ svvvbzbdvvbfb, vbbbbõ
BzvgzzbvvvÞ fvvzzbgvbvbgb, vv[zzvbà hvbvbhvvvbvzß gvzbzbbfvbvbbà hvvvvzgvzzvrdbbzbvdbm vvzb}vvzbzzÞ fvzzvdbvbbzzbÜ svbbvzbdvvfb, vbbbbbõ
Bbbbzzß gbvzbbzzfzbbbbvzzß gvzzbbbbgbvvbfb, vbv[bvzzà hvzbbzzgvvvvbbvvrdzbvzzdbm vzzbb}zbvzzhvzbzzzß gzzbvzzhvvvbvJ Ivbbvzhb. vvb[bbbvzß gvvvvsvzó
thSd, Jne 16
BbvbD Rvvzbgb, vzb[vbgvbbzbbrdvvzsvvvzzzzdbm vvvzdbm vvb}vvzgvbvbbbÞ fvvgvvvzzbà hvbbvzzgvvzzÞ fvvvzzbgvvzzzzhb. vv[vzzß gvvbzfzbbbõ
BzvzG Yvzzbztfbbbvbvdbm vzzzbbbdbm vvb}bvvavvbbbÜ svbbzbdvvvzzÞ fvvzbzbgbvvzÞ fvvvbvgvvzzbzgb, vzb[bvzà hvvzbbgbbvzzzÞ fvvbbzbgvbvvÞ fvbbzgbbbö
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Sed MS ooqM 2011 n 83
BzbzzhvbvbÞ fvvbgbvvvzbbbvzdbm zbvbbvzbdbm vvzzb}zbbbbvvà hvvzbbgbbvvà hvbbvzbhvvvvzzhvvzzzß gbbbvzbhvvvzzvvJ Ivvzhb. vzzzb[zzvbgbvvrÌsbbbbó
BbzzzbdbvvbF Tvvzzbbdbm vvbvdbm zzzzzbb}vbbvbabvbbvA WbbvzzÜ svvvvzbbszbvbbbbbzrdbbvzbbÜ svvvzbdvvvbvbbfb, vzb}vbvgzbbvvzß gvvzfvvzvvzzß gbbbbbõ
Bzzbzbgzbvvbgb, vzbbb}bvzzzhbbvvzzß gbvvzfbbbzvzzà hvbvbgvvbrdvvdbm vz[bbvzhzzbbvzG YvzzzbvvvvJ Ivvzbhb. vbb}vbzzgvvvvvbbbß gvbvzzvbbbsbbbbó
BzzzbdF Tvbbzbzrdvbvdbm vbb[bbbzbdbvvvvvÞ fzbbbbzzbdvbvbÜsbbvvvzzdvzzbbÞ fvbbbbbvzzgvvzhb. vz}vzzzt< fà Yz%$z5z$#vbzzbS EbN M vv}xcbb
thSd, Jne 16
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84 n Sed MS ooqM 2011 thSd, Jne 16
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Sed MS ooqM 2011 n 85thSd, Jne 16
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86 n Sed MS ooqM 2011 thSd, Jne 16
BbbzbgzvvbÝ dvvbbzfbvbvzsvvzbÝ dxzgvvzbhb.zbbzzb}vbzzzbà hvbvzbsvvbbbvzbà hvvvvzgzzbbvvfzvbv3z@!vbzzsbm vzzzbb{zbó
BbbbvÝ dbvzbbzbgzzbvzzà hzvvvvzzjbvzbzbâ kbzbbbbbbzzjbvvvz7z^%zzbbzbhb. vzbbb[bzbvá jbvzzkbvvã lbbvzbkzbbzzzbjbvbbvvzbá jvvvvhbvvzgb, vvvvbá jbvzbzzkbvbb÷
Bvzbá jzbbvbhbzzbbzzbbbuhbbbvzgbvzzzhb. vz}bvzbà hvbbbvbsvbbvzà hvvzhvvvbvvvbß gvvbbfvbvdbm vvvbbbbvÜ svbzbzbbabvvvvvvvzzbsD Rvbbbbbbbdbm zzbbbbbbb{bó
BzzÝ dvzbzbgbbzzbvà hzzvvvzbzzbzbbjvzzbâ kvbzbzzjbvvzbhzzbzzzzuhzbbzzbzgvbvzhb. vbb}vbvá jvvbzbkvvvvbbblbvvzâ kbbvvzzjvvzbhb. vzbzb[zbbbvà hvvzzsbbbbbö
Bbbvbà hvvvzzbgvbvbhbbzbbvzß gzzbbbbbzbfvbbbvdbm zbzbbb}bvzbzÜ svvbavvvvvzÝdvvvbbbgvbvbhb. vzbb[zvjvvvâ kvvvvbjbbbvvbà hvvzbbgbzbvvhb. vbbb[bõ
BvbzbgbvvbÞ fvvvbvbvbdvvbzsbm vbbvzzbbbbbvdvvbvbbbÞfvbvbdbbvvzzwabvbvsbm vbbb}vbbzbbà hvbzbbbbbgbbvvzhb. vzvvvvvjvvbbvzzijvbvhb. vvbb[bbõ
Bzzbzbß gvvzzbzhvvvzzzzß gvvvfvbvÝ dbvbvsbvvzzzzbzzbzbaS Evbzbzdbm vzzbb{zzbzbbÝ dvvvvbvzgvvvbzzà hvvvvbsbzvvgvbvzzrdbvvdvbvzbsbm vb}zbö
Bbbvbbà hvbbbzvvzbgvbbvzzbà hvvbvbvjvvbvvbâ kvvzbbjbbbbbbbvhb. vzzbb[bzvzà hvvbvvvhvvbvbß gvvbvbvhvzzvvÜ svvvvbbzzdvbvbfbvvbbgb, vvbbb[zõ
Bbvzbß gzzbvvhvbvbvß gvvvzzfvbvzb3z@!vbzzsbm vbz}zvbzlbzbbzbbzbzâ kvbvbzblbbbvvzâ kvvbzjbvbbvzbhb. vvbzbvzzgvzvvvâ kzbzzbbzbjvbvzà hvbbbbvzzgvzbö
Bvzhb. bbvbb{vzbbà hvvbbvvzzhbvvzß gvbbvhbbbbvvbzß gvvzbfbbbbbzvdbm vzzzb{vbbbbbdvvbvvß gvvvbdvbbbvzzrdvvdvvbbzbsbm vbvbb}vvbvÜ svbvzazzzbbò
B b b z s r d z b z z z b Ü s v b z v z f v z b v g b b v v à hv v bv bv v v k v v v 7 z^ % zbbzbzbhb. v z z b { v z z h z b v b v v v Ü s v v b z b d b v v b Þ f v v z z b b g v b v 4 z # @ b z b z z z a b n v z [ b z z z Þ f v v z z d b v b ô
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Sed MS ooqM 2011 n 87thSd, Jne 16
B v z b Þ f v v v z b s v v b b e s v b b b z z a v v b z b s b m v z b b } z b b z b z b l b v b v v z â k v b b b z b z h b b b b b b v z â k z z b b v z l v b v b v â k bv v bj bv v à h b b v v z g v v b b h b . v z z b b [ b v b ß g v b v h v b v v z z ß g v b b b ô
B v b z z f v b v v 3 z @ ! b v b b s b m v b } z b b b z z Ü s v b b b v z d v b v b b f v v b z z z ß g v b b b z b b f v b b z z z z b b b z G Y z b z v h b . v v z { v b b z b h b b v v á j v b z z b b b k v b v v v z b á j v b b b z b b h v b v z j v b b v v v z z b G Y b b b b ö
B z z b b h b . v z } v z z l b z b b z z v â k v v bj v v zbà hv v v v v zg v bv v Þ f v z b b v g v b b b b v b à h z v v z z z z b z b g v v b b v v v b b b â k v v b j v v b h b . v v [ z z z z ß g v b z b h b b b b v z 5 z $ # b z b v s b m v b b b b ñ
B b z z b b b a z b b b v z b Ü s v b b z z b z z b d v v b b v v z b Þ f v z b z b z b s b v v b b d b m v v z z { z b z z z z h b b v z b z b ß g v v b v z b h v b z b v b á j b z z b z b b b b v k v b v v á j v v bhbv v zbg b, v z z b z z b h b . v z } b b z z b z z à h v v z b b b s v b b ó
B z b b z b Ý d b v z z b f b b z z v z ß g v v v v v zzg v v v v zbhb. v v v bv v v zzß g v v z z f b z b v v d b m v v v v z s v b b b b z b z b b Ý d b v b v b f b b b v b b b b ß g b b v v b b d b v v z z z s b m v v v b { b b v v z Ü s v v b b b d b z z z ô
B v f v v zÝ d v v z b f b b b b z z z s z z b v b d v v v b z Þ f v v v v d b v b z w a z z z b b z s b m v z z b } b b v z b h v v z b Þ f v v v z z b b v b b g b v z z b à h v v b z j v v v z â k bv zzj bv v hb. v z b b [ v z h v v b z ß g b b b b ö
B z b z z h v v b â k v v zbj v v zhb. v v [ v zl v v bzzzzâ k v v bv v zj v v bà h z z b v z g z b b b z z z z F T v v z d b m v z z b b b z { b b z b v Ü s v z z b z b a v b z z b Ü s v z b z b d v b v z b Þ f v v bv v v g v v v v v bdbbbbbô
B z z z z r d v b v b s b m v b b z } v z z b z ã l v z v z b l b v z z z k b / v v v v zzj v v zv v bhb. v v v v zbhv bv v á j v b b b b b b k b b b b b b z z b l b / v z b b z b b [ z v b z l b b v b b v b â k v v b j b z b v z z à h b v v g b b z z v z à h v b b õ
B zbzg v v bv zzÞ f v v b b g b b v z z b d b m v v } v bv zs v v bzbà h b b v v b g z b z z b b b b à h v b b v z b b k v v z á j v v v v b v z h b b b z z z b b z z g z z b z b b b b z b z b f b , v b b b [ z z z Ü s b v v v z b a v b b v Ü s v v f v z v b ß g b b b b b ô
BvzfbvvbbbzzvzÝ dvzbvzfvzbzzb3z@!bvzzsbm vbb}bvbbzhvzbvbbá jvvbvbvbkvbvbblb/ vbbbbvvã lvbz zzzb;b vzvã lvbvbkvzzbbá jvvzhvvvvvvâ kvvzzjzbbbb÷
Bbzzb7z^%vzzhb. vb}vzbbhvvzzbbtfbbbvbÝ dvvvvvbbfvzzvbÝ dbvvsvbbvesbbbzbzbabvzbbsbm zzbbb}bbzbbzbF TzyÎ Ìsbm vF T6z%$#bm vz5z$Ý #@z3z@!zbbbzbbsbm bbbb}
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88 n Sed MS ooqM 2011 thSd, Jne 16
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Sed MS ooqM 2011 n 89thSd, Jne 16
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90 n Sed MS ooqM 2011 thSd, Jne 16
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Sed MS ooqM 2011 n 91thSd, Jne 16
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92 n Sed MS ooqM 2011 thSd, Jne 16
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Sed MS ooqM 2011 n 93thSd, Jne 16
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94 n Sed MS ooqM 2011 thSd, Jne 16
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Sed MS ooqM 2011 n 95thSd, Jne 16
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96 n Sed MS ooqM 2011 thSd, Jne 16
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Sed MS ooqM 2011 n 97thSd, Jne 16
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98 n Sed MS ooqM 2011 thSd, Jne 16
VvbbbdzzbvvzbD Ù Uvzzvvjzvbvvvjvbbbbvzjbvvzzdbm vvzvzbbbbbzvjvvvjbvbvbbhvvzbbbbÑ v9jvvbjb. vvbzzb[vzzbvjvvvzzjzzbbbb÷
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100 n Sed MS ooqM 2011 thSd, Jne 16
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Sed MS ooqM 2011 n 101thSd, Jne 16
8/6/2019 Sacred Music Colloquium Packet 2011
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102 n Sed MS ooqM 2011 thSd, Jne 16
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8/6/2019 Sacred Music Colloquium Packet 2011
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Sed MS ooqM 2011 n 103thSd, Jne 16
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104 n Sed MS ooqM 2011
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106 n Sed MS ooqM 2011 thSd, Jne 16
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Friday
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Votive Massof the Blessed Virgin Mary,
Ordinary Form
Sed MS ooqM 2011 n 107Fd, Jne 17
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108 n Sed MS ooqM 2011 Fd, Jne 17
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Josquin des Prez (1450-1521)
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 XXI. Sacred Music Colloquium.
http://www.musicasacra.com
No. 1. KYRIE
Fd, Jne 17 Sed MS ooqM 2011 n 109
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110 n Sed MS ooqM 2011 Fd, Jne 17
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˙ ˙ ˙ ˙e le
.w œ œChri
„
„
˙ w ˙#i
˙ ˙ wsteIe
„
„
- - - - - - - -
- - - - -
8/6/2019 Sacred Music Colloquium Packet 2011
http://slidepdf.com/reader/full/sacred-music-colloquium-packet-2011 111/260
&
&
V
?
b
b
b
b
S.
A.
T.
B.
20 Wson,
.˙ œ ˙ ˙le i
.w œ œChri
„
„
˙ ˙ .˙ œson, e
w wste
„
„
w .˙ œle
˙ ˙ ˙ ˙e le
.w œ œChri
„
˙ ˙ .˙ œ
˙ w ˙#i
˙ ˙ wsteIe
- - - - - - - -
- - - - - - - - -
- - - - -
&
&
V
?
b
b
b
b
S.
A.
T.
B.
24 „
˙ ˙ œ œ ˙Wson,
.˙ œ ˙ ˙le
„
˙ ˙ wi son,
W
˙ w ˙#i
WChri
∑we
WChri
Wson,
W
Wle
Wste
W
Wb
W
w we
W
- - - - -
- - - - -
- - - -
- -
- - - - -
&
&
V?
b
b
b
b
13
13
13
13
S.
A.
T.
B.
29 .w ˙Nste e
W
Wle
We
.w œ œle
w w
.w ˙
.w ˙le
˙ ˙ w
w w
w ww w
˙ w œ œ
.˙b œ ˙ ˙
w wi
wb wi
w wi
.˙ œ ˙i
Wson.
Wson.
Wson.
Wson.
W
W
-- - - - - - - -
- - - - - - - -
- - - - - - -
- - - - - -
Sed MS ooqM 2011 n 111Fd, Jne 17
8/6/2019 Sacred Music Colloquium Packet 2011
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112 n Sed MS ooqM 2011 Fd, Jne 17
&
V
?
b
b
b
13
13
13
Superius
Tenor
Bassus
35
W wKy ri
∑ WKy
∑
˙ œ œ ˙ ˙ we e le
.w œ œ ˙ ˙ri e e
∑
˙ œ œ ˙ w ˙#i
.w ˙ wle i
∑
- - - - - - - -
- - - - - -
&
&
V
?
b
b
b
b
.
.
.
.
38
.Wson,
Ó˙ ˙ ˙
wKy ri
.Wson,
∑ ∑ wKy
„ ∑
˙œ œ ˙ ˙ we e le
„ ∑
.w œ œ ˙ ˙ri e e
„ ∑
˙ œ œ ˙ w ˙# i
„ ∑
.w ˙ wle i son,- - - - - - -
- - - - - - - -
&
&
V
?
bb
b
b
.
.
.
.
41
„ ∑
˙ w œ œ wNson,
∑ WKy
.w w œ œKy ri
„ ∑„ ∑
.w œ œ ˙ ˙ri e e
.˙ œ ˙ ˙ ˙ ˙e e le
„ ∑„ ∑
.w ˙ wle i
˙ ˙ œb œ w ˙#i
- - - - - - - -
- - - -- - - -
8/6/2019 Sacred Music Colloquium Packet 2011
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&
&
V
?
b
b
b
b
S.
A.
T.
B.
44 Ó ˙ .˙ œ we le
∑ Ó˙ .˙ œe le
.Wson,
W ∑son,
.˙ œ œ ˙ ˙ w
.w œ œ ˙ ˙
„ ∑
∑
˙ œ œ ˙ w ˙i
.w ˙ wi
„ ∑
∑
- - - - - - - - -
- - - - - - - - - -
&&
V
?
b
b
b
b
S.
A.
T.
B.
47
W Ó ˙son, e
w w wson, e
∑ WKy
Ww
Ky ri
˙˙
˙w ˙le
w w wle
.w œ œ ˙ ˙ri e e
wWe
˙ ˙ ˙.
˙ œ œœ
.w ˙ w
.w ˙ ˙ ˙le
Ó .˙ œ ˙b ˙˙
e le
- - - - - - - - -
- - - - - - - - -
- - - - - - -
- - - - - -
&
&
V
?
b
b
b
b
S.
A.
T.
B.
50 .˙ œ ˙ w ˙#i
Ó w ˙ wi son.
˙ w œ œ wi
œ œ ˙ ˙ ˙b wi
.Wson.
.W
.Wson.
.Wson.
- - - -
-- - - -
-- - - - -
-- - - -
Sed MS ooqM 2011 n 113Fd, Jne 17
8/6/2019 Sacred Music Colloquium Packet 2011
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114 n Sed MS ooqM 2011 Fd, Jne 17
V b Œœ
œ œGló ri œœ
œ œa in ex œ œ œ œcél sis De œ œ o.- - -- -
&
&
b
b
13
13
S.
A.
5 ∑
w w wet in ter
w w wet in ter
w ˙ w œ œra pax
w ˙ w œ œra pax
˙ ˙ ˙ ˙ who mí ni- - - -
-
&
&
b
b
S.
A.
8
˙ ˙ ˙ ˙ who mí ni
wÓ w ˙
bus bo næ
w Ó w ˙ bus bo næ
˙ ˙ .˙ œ ˙ ˙vo lun tá tis. Lau
˙ ˙ .˙ œ ˙ ˙vo lun tá tis. Lau
˙ ˙ Wdá mus te,
- - -
- - - - - -
- - - - -
&
&
b
b
S.
A.
11 ˙ ˙ w Ó ˙dá mus te, beÓ ˙ ˙ ˙ .˙ œ
be ne dí ci
˙ ˙ .˙ œ ˙ ˙ne dí ci
˙ ˙ .˙ œ ˙ ˙mus te,
.˙ œ ˙ ˙ Ó ˙mus te, aÓ
˙ ˙ ˙ .˙ œa do rá
- - - - - - -
- - - - - - - - -
&
&
b
b
S.
A.
14
˙ ˙ .˙ œ ˙ ˙do rá mus te,
˙ ˙Ó
˙ ˙ ˙mus te, glo ri fi
Ó ˙ ˙ ˙ .˙ œglo ri fi cá
.˙ œ ˙ ˙ ˙ ˙cá mus te. glo ri
œ œ .˙ œ ˙ ˙ œ œ
˙ .˙ œ ˙˙
˙fi cá
- - - - - - - - - -
- - - - - - - - - -
Missa Ave Maris Stella.
Josquin des Prez (1450-1521)
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 XXI. Sacred Music Colloquium.
http://www.musicasacra.com
No. 2. GLORIA.
8/6/2019 Sacred Music Colloquium Packet 2011
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&
&
V?
b
b
b
b
S.
A.
T.
B.
17 œ œ w ˙ wmus te.
˙ œ œ ˙ w ˙#
w w wGrá ti as
∑
Ó ˙ w wGrá ti
˙ .˙ œ ˙ wmus te.
.w ˙ ˙ ˙á gi mus
∑
W ∑as
w .w œ œGrá
˙ ˙ w wti
w w wGrá ti as
-
- - - -
- - - -
- -
- - -
- - -
- --
&
&
V?
b
b
b
b
S.
A.
T.
B.
20 „ ∑
˙ ˙ ˙ ˙ ˙ ˙ti as á gi mus ti
w ˙ ˙ œ œ œ œ
.˙ œ ˙ ˙ .˙ œá gi mus ti
„ ∑
œ œ œ œ ˙ ˙ .˙ œ˙ .˙ œ w #
˙ ˙ ˙ ˙ w
„ ∑
˙ ˙ .˙ œ œ .˙ œ
w Ó ˙ ˙ ˙ bi pro pter ma
w w Ó ˙ bi
- - - - - - - - - -
- - - - - - -
- - - - - - - -
- -
&
&
V?
b
b
b
b
S.
A.
T.
B.
23 „ ∑
w ∑ ∑ bi
.˙ œ˙ ˙ œ œ ˙
gnam gló ri
˙ w ˙ .˙ œpter ma gnam gló
„ ∑
„ ∑
œ œ˙
˙ ˙ wam tu
˙ ˙ ˙ ˙ œ œ# œ œri am tu
Ó ˙ ˙ ˙ .˙ œpro pter ma gnam
˙ ˙ ˙ ˙ œ œ œ œpro pter ma gnam
.Wam.
.Wam.- - - - -
- - -
- -
- -
Sed MS ooqM 2011 n 115Fd, Jne 17
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116 n Sed MS ooqM 2011 Fd, Jne 17
&
&
V?
b
b
b
b
S.
A.
T.
B.
26 ˙ .˙ œ ˙ wgló ri am tu
˙ ˙ ˙ w ˙#gló ri am tu
„ ∑
„ ∑
W ∑am.
W ∑am.
Ó ˙ ˙ ˙ wDó mi ne De
Ó ˙ ˙ ˙ ˙ ˙Dó mi ne De us,
„ ∑
„ ∑
˙ ˙ ˙ .˙ œn ˙#us, Rex cæ lé
˙ ˙ ˙ ˙ wRex cæ lé
- - -
- - -
- - - - -
- - - - -
&
&
V?
b
b
b
b
S.
A.
T.
B.
29 Ó ˙ ˙ ˙ wDe us Pa
Ó ˙ .˙ œ ˙ ˙De us Pa
.Wstis,
w Wstis,
˙ ˙ ˙ .˙ œn ˙#ter om ní po
˙ ˙ ˙ ˙ wter om ní po
„ ∑
„ ∑
˙ .˙ œ ˙ ˙ ˙tens. Dó mi ne Fi li
w Ó ˙ ˙ ˙tens. Dó mi ne
.WIe
Ó ˙ ˙ ˙ ˙ ˙Dó mi ne Fi li
- - - - - - -
- - - - - - - -
- - -
- - -
&
&
V?
b
b
bb
S.
A.
T.
B.
32
˙ ˙ ˙ w œ œU ni gé ni
˙ ˙ w ˙ ˙ .˙ œ 3 3
Fi li U ni gé ni
Ww˙ ˙ w wb
U ni gé ni
˙ ˙ ˙ ˙ wte, Ie su Chri
W Ó ˙te, Ie
w Wsu Chri
W wte,
w W
˙ ˙ ˙ œ œ œ œ œ œsu Chri
w WÓ ˙ .˙ œ w
Ie su
- - - - -
- - - - - - - - -
- -
- - - - -
- - - - - - - - -
8/6/2019 Sacred Music Colloquium Packet 2011
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&
&
V?
b
b
b
b
S.
A.
T.
B.
35
W Ó ˙ste, Dó
˙ w œ œ wste,
.Wste,
W .˙ œChri
˙ ˙ w wmi ne De us,
Ó ˙ ˙ ˙ wDóDe mi ne De
∑ ∑ ÓDó
w ∑ ∑ste,
∑ ∑ Ó ˙A
w ∑ ∑us,
˙ ˙ w wmi ne De us,
Ó ˙ ˙ ˙ .˙ œDó mi ne De
- -
- - -
- - - -
- - -
- - -
- - -
&
&
V?
b
b
b
b
S.
A.
T.
B.
38 ˙ ˙ w wgnus De i,
Ó ˙ ˙ ˙ wA gnus De
∑ ∑ Ó ˙A
w ∑ ∑us,
∑ ∑ Ó ˙Fí
w ∑ ∑i,
˙ ˙ w wgnus De i,
Ó ˙ ˙ ˙ .˙ œA gnus De
˙ ˙ w wli us Pa
Ó ˙ ˙ ˙ ˙ œ œFí li us Pa
∑ ∑ Ó ˙Fíœ œ ˙ .˙ œ ˙ ˙
i, Fí li us Pa
-
- -
- -
- - - - -
-
- - -
- - -
&
&
V?
b
b
bb
12
12
1212
S.
A.
T.
B.
41
.˙ œ ˙ w ˙#
œ œ ˙ œ œ ˙b wtris.
˙ ˙ ˙ ˙ wli us Pa
œ œ œ œ ˙ ˙ w
.Wtris.
.W
.Wtris.
.Wtris.- - - - -
- - - -
- - - -
- - - - -
Sed MS ooqM 2011 n 117Fd, Jne 17
8/6/2019 Sacred Music Colloquium Packet 2011
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118 n Sed MS ooqM 2011 Fd, Jne 17
&
&
b
b
12
12Superius
Altus
43
WQui
∑
w wtol lis
∑
w wpec cá
∑
w wta mun
WQui
.w œ œ
w wtol lis
- - - - - -
-
&
&
V
?
b
b
b
b
S.
A.
T.
B.
48
œ œ w œ œ
w wpec cá
∑
∑
œ œ w œ œ
w wta mun
WQui
∑
Wdi,
.w œ œ
w wtol lis
WQui
„
œ œ w œ œw w
pec cá
w wtol lis
„
Wdi,
w wta mun
w wpec cá
- - - - -
- - - - - - -
- - -
- - -
-
V?
b
b
T.
B.
53 w wdi, miw wta mun
w wse réw ˙ ˙
.w œ œre˙ œ œ ˙ ˙
˙ ˙ ˙ ˙now ˙ ˙
di, mi se
œ œ w ˙#
˙ ˙ wré re no- - - - - - - - -
- - - - - -
&
&
V?
b
b
b
b
S.
A.
T.
B.
58 ∑ wqui
∑
W bis;
W bis;
w wtol lis
∑
W
W
w wpec cá
Wqui
„
„
w wta mun
w wtol lis
„
Wqui
Wdi,
w wpec cá
„w w
tol lis
∑
.w ˙ta
Wquiw wpec cá
- - - -
- - -
- - -
8/6/2019 Sacred Music Colloquium Packet 2011
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&
&
V?
b
b
b
b
S.
A.
T.
B.
64 ∑
w wmun
w wtol lisw wta mun
∑
w wdi, mun
w wpec cá.w œ œ
di,
∑
˙ w œ œ
w wta mun
˙ w œ œmun
∑
w ˙ ˙
Wdi,
.˙ œ wdi,
.w ˙sú sci
œ œb œ œ wdi,
∑ wsú
.w ˙sú sci
- - - - - - -
- - - -
- - - -
- -
-
&
&
V?
b
b
b
b
S.
A.
T.
B.
69 w wpe de
Ó w ˙sú sci
˙ ˙ ˙ ˙sci pe
w wpe de
w wpre ca
w wpe de
w wde prew w
pre ca
˙ ˙ .˙ œti ó
.w ˙pre
.˙ œ ˙ ˙ca ti ó
w .˙ œti ó
˙ ˙ ˙ ˙nem
˙ ˙ wca ti ó
˙ ˙ ˙ ˙
˙ ˙ œ œ œ œ
- - - - - - -
- - - - - - - -
- - - - - -
- - - - - - - -
- - - -
-
&
&
V?
b
b
bb
S.
A.
T.
B.
73 Ó ˙ ˙ ˙no
w Ó ˙nem no
˙ ˙ ˙ ˙nem no
œ œ ˙ ˙ ˙nem
˙ w ˙
˙ ˙ ˙ ˙˙ ˙ w
˙ ˙ wno
˙ ˙ .˙ œstram, no
˙ ˙ œ œ ˙
Wstram.
Wstram.
œ œ ˙ œ œ ˙
œ œ œ œ ˙ ˙stram, no
W
Ó ˙ œ œ ˙no- - -
- - - - -
- - - - - - -
- - - - - - - -
-
-
Sed MS ooqM 2011 n 119Fd, Jne 17
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120 n Sed MS ooqM 2011 Fd, Jne 17
&
&
V?
b
b
b
b
S.
A.
T.
B.
77
œ œ w ˙#
˙ ˙ w
W˙ ˙ w
Wstram.
Wstram.
Ww Ó ˙
stram. Qui
∑
Ó ˙ ˙ ˙Qui se des
∑˙ w œ œse des
∑
˙ œ œ ˙ ˙ad
∑˙ ˙ ˙ ˙
ad déx te
- - -
- - - - - -
-- - -
&
&
V?
b
b
b
b
S.
A.
T.
B.
81 ∑ Ó ˙mi
˙ ˙ ˙ ˙déx te ram Pa
∑˙ ˙ w
ram Pa tris,
.˙ œ œ œ ˙se ré re
w ∑tris,
Ó ˙ ˙ ˙mi se ré
∑
œ œ w ˙#no
∑
.˙ œ wre no
∑
W bis.
∑ Ó ˙Quó
W bis.
Ó ˙ œ œ ˙Quó ni am -
- - -
- - - -
- - - -
- -
-
&
&
V?
b
b
bb
S.
A.
T.
B.
85 ∑
œ œ ˙ ˙ ˙ni am tu so
„˙ ˙ ˙
tu so lus
∑ Ó ˙Tu
˙ ˙ .˙ œlus San
Ó
˙ ˙ ˙Tu sol us
.˙ œ wSan ctus,
˙ ˙ ˙ ˙sol us Dó mi
w∑
ctus,
˙ ˙ wDó mi nus,
∑ wTu
w ∑nus,
.w ˙Tu sol
∑˙ ˙ ˙ ˙sol us Al- -
- - - -
- --
- -
-
- --
8/6/2019 Sacred Music Colloquium Packet 2011
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&
&
V?
b
b
b
b
S.
A.
T.
B.
89 ∑
˙ ˙ ˙ ˙us Al tís si
∑˙ ˙ .˙ œ
tís si mus,
∑
.˙ œ ˙ ˙mus, Ie
∑˙ w ˙
Ie
∑
˙ ˙ ˙ ˙su Chri
∑˙ w ˙su Chri
∑
œ œ# œ œn wste,
∑ Ó ˙cum
w wste,- - - - - -
- - - - -
&
&
V?
b
b
b
b
S.
A.
T.
B.
93 ∑ Ó ˙cum
Ó ˙ ˙ ˙cum San cto
˙ ˙ ˙ ˙San cto Spí ri
∑
˙ ˙ ˙ ˙San cto Spí ri
w ˙ ˙Spí
˙ ˙ ˙ ˙tu: in glo ri
∑
˙ ˙ ˙ ˙tu: in gló ri
w wri tu:
w Ó ˙a, in
∑
.˙ œ œ œ ˙a De
∑
˙ ˙ œ œ ˙gló ri a
∑- - - - - - -
- -- - -
- - - - - -
&
&
V?
b
b
bb
S.
A.
T.
B.
97 œ œ w ˙#i Pa
∑
˙ ˙ wDe i Pa
∑
˙ œ œ œN œ ˙tris. Pa
.w ˙in gló
˙ w ˙tris. in gló
Ó ˙ ˙ ˙in gló ri
˙ ˙ œ œ œ œ
.˙b œ ˙ ˙ri a De
˙ ˙ .˙ œri a De
˙b w ˙a De i
.˙ œ œ œ ˙
˙ ˙ ˙ ˙i Pa
˙ ˙ œ œ ˙i Pa
.˙ œN ˙ ˙bPa
- - - - - -
-
- - - - - - - - -
- - - - -
- - -
Sed MS ooqM 2011 n 121Fd, Jne 17
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122 n Sed MS ooqM 2011
&
&
V?
b
b
b
b
S.
A.
T.
B.
101
œ œ w ˙
w wtris.
˙ ˙ w˙ ˙ w
w Ó ˙tris. A
Ó˙ .˙ œA
Wtris.
Wtris.
œ œ œ œ ˙ ˙
œ œ ˙ .˙ œmen, A
„∑
œ œ œ œ ˙ ˙
œ œ ˙b œ œ ˙men,
„∑
- - -
- - -
- - -
- - - -
- - - - - -
&
&
V?
b
b
b
b
S.
A.
T.
B.
105
Wmen,
.˙ œ ˙ ˙A
Ó ˙ œ œ œ œA
.˙ œ œ œ ˙A men,
∑ Ó ˙A
.˙b œ ˙ ˙
˙ ˙ œ œ œ œmen, A
.˙ œ œ œ ˙bA men,
œ œ œ œ .˙ œ
.˙b œ ˙ ˙
˙ ˙ œ œ œ œmen, A
œ œ ˙b œ œ œ œA
˙ ˙ œ œ ˙
˙ ˙ ˙b ˙
˙ ˙ .˙ œ
˙ ˙b œ œ œ œ- - - - - -
- - - - - -
- - - - - -
- - - - - - - - - -
&
&
V?
b
b
bb
S.
A.
T.
B.
109 œ œ w ˙#
˙ ˙ wmen.
˙ ˙ w˙ ˙b w
Wmen.
W
Wmen.
Wmen.- - - -
- - - -
- - - -
- - -
Fd, Jne 17
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Sed MS ooqM 2011 n 123Fd, Jne 17
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124 n Sed MS ooqM 2011 Fd, Jne 17
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126 n Sed MS ooqM 2011
&&
V
?
bb
b
b
1313
13
13
Superius
Altus
Tenor
Bassus
.WSan
Ó w ˙ wSan
„ .
∑
.W
w ∑ ∑ctus,
„ .
Ó w ˙ wSan
W wÓ w ˙ w
san
„ .
w ∑ ∑ctus,
- - - - - - - -
- -
-
&
&
V
?
b
b
b
b
S.
A.
T.
B.
4 W w
w Wctus, san
.WSan
Ó w ˙ wsan
.w ˙ w
.˙ œ œ œ œ ˙ ˙ ˙ctus,.W
˙ w ˙ wctus, san
.˙ œ œ œ w ˙#Ó w ˙ w
sanW w
w ∑ ∑ctus,
- - - - - - - - - -
- - - - - - - -
- - - - -
- - - - - - - - - -
Missa Ave Maris Stella.
Josquin des Prez (1450-1521)
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 XXI. Sacred Music Colloquium.
http://www.musicasacra.com
No. 4. SANCTUS.
Fd, Jne 17
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Sed MS ooqM 2011 n 127
&
&
V?
b
b
b
b
S.
A.
T.
B.
7
w Ó ˙ œ œ œ œctus, san
˙ .˙ œ ˙ ˙ ˙ctus, san
w ˙ ˙ w
Ó w ˙ wsan
˙ ˙ œ œ œ œ œ œ ˙
˙ ˙ ˙ .˙ œ ˙ctus, san
w ˙ ˙ ˙ ˙ctus, san
w Ó w ˙ctus, san
˙ ˙ ˙ ˙ ˙ ˙ctus, san
˙ ˙ ˙ ˙ ˙ ˙
.˙ œ œ œ w ˙#œ œ w ˙ w
- - - - - - - -
- - - - - - - - -
- - - - - - - - -
- - - - - - - -
&
&
V
?
b
b
b
b
S.
A.
T.
B.
10 .Wctus
˙ .˙ œ œ œ ˙ ˙ctus Do mi
W wctus Do
w .w ˙ctus Do mi
Ó w ˙ wDo mi mus
˙ ˙ .˙ œ œ œ ˙mus De
˙ ˙ w wmi mus De
˙ ˙ œ œ œ œ ˙ ˙mus De
.˙ œ WDe us
˙ ˙ .˙ œ œ œ ˙us, De
.W˙ ˙ œ œ œ œ ˙ ˙
us, De us,
- - -
- - - - - - -
- - - - - - -
- - - - - - -
&
&
V?
b
b
b
b
S.
A.
T.
B.
13 Ó ˙ .˙ œ œ œ ˙Do mi
œ œ œ œ w w
W w
Ó ˙ œ œ œ œ ˙ ˙De us, De
œ œ ˙ Ó ˙ œ œ ˙nus De
w ˙ ˙ œ œ ˙us
w W
œ œ œ œ ˙ ˙ œ œ œ œus, De
- - - - - - - -
- - - - - - - - -
- - - - - - - - - -
- - - - - - - - -
Fd, Jne 17
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128 n Sed MS ooqM 2011
&
&
V?
b
b
b
b
S.
A.
T.
B.
15
˙ .˙ œ ˙ ˙ ˙us Sá
W ˙ ˙Sá
.W˙ ˙ œ œ œ œ ˙b ˙
us Sá ba oth,
˙ ˙ Ó ˙ œ œ œ œbba oth, Sá ba
˙ ˙ Ó w ˙ba oth, Sá ba
W wÓ ˙ œ œ œ œ wb
Sá ba
w Ó ˙ œ œ œ œoth, Sá
˙ .˙ œ œ œ ˙ ˙oth, Sá ba oth,
W Ó ˙us Sá
.Woth.
- - - - - - -
- - - - - - - -
- - - - - - - -
- - - -
&
&
V
?
b
b
b
b
12
12
12
12
S.
A.
T.
B.
18 ˙ ˙ Ó ˙ œ œ œ œba oth, Sá
Ó˙ œ œ œ œ ˙ ˙
Sá ba
œ œ œ œ ˙ ˙ Ó ˙ba oth, Sá
.W
˙ .˙ œ œ ˙ œ œ# œ œ ba
.Woth.
œ œ ˙ ˙ ˙ w ba
.W
.Woth.
.W
.Woth.
.W
- - - - --
- - - -- - -
- - - -
&
&
?
b
b
b
12
12
12
Superius
Altus
Bassus
„
„
WPle
A
„
„
w wni
„
WPlew ˙ ˙
sunt cœ
„
w wniœ œ ˙ ˙ ˙
- - - - - - -
- - - -
Fd, Jne 17
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Sed MS ooqM 2011 n 129
&
&
?
b
b
b
S.
A.
B.
25
„
w ˙ ˙sunt cœ
.˙ œ ˙ ˙
„
œ œ ˙ ˙ ˙
œ œ œ œ ˙ ˙
WPle
˙ ˙ ˙ ˙
Wli,
w wni
œ œ ˙ ˙ ˙
W- - - - -
- - - -
- - - - - - - - -
&
&
?
b
b
b
S.
A.
B.
29 w ˙ ˙sunt cœ
.˙ œ ˙ ˙
„
œ œ ˙ ˙ ˙
œ œ œ œ ˙ ˙
„
.˙ œ ˙ ˙
.˙ œ ˙ ˙
„
œ œ œ œ ˙ ˙
œ œ œ œ ˙ ˙
„
- - - - - - - - -
- - - - - - - - - -
&
&?
b
b
b
S.
A.
B.
33 .˙ œ ˙ ˙
.˙ œ ˙ ˙
„
œ œ œ œ ˙ ˙
œ œ œ œ ˙ ˙
„
Wli,
˙ ˙ Ó ˙li, cœ
Wple
B
W
.˙ œ ˙ ˙w w
ni- - - -
- - -
- - - - -
- - - - -
&
&
?
b
b
b
S.
A.
B.
37
„
˙ ˙ Ó ˙li, cœ
w ˙ ˙sunt cœ
„
˙ w œ œ
œ œ ˙ ˙ ˙
„
.˙ œ ˙ ˙
.˙ œ ˙ ˙
„
.˙ œ ˙ ˙
œ œ œ œ ˙ ˙- - - - - - - - -
- - - - - - - - -
Fd, Jne 17
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130 n Sed MS ooqM 2011
&
&
?
b
b
b
S.
A.
B.
41
„
œ œ ˙ ˙ ˙
.˙ œ ˙ ˙
„
.˙ œ ˙ ˙
œ œ œ œ ˙ ˙
Ó w œ œet
œ œ ˙ wli
Wli
˙ ˙ wter
Ó w œ œet
W- - - - -
- - - - - - -
-
&
&
?
b
b
b
S.
A.
B.
45 w Ó ˙ra, et
˙ ˙ wter
„
œ œ œ œ ˙ ˙ter
w wra,
„
˙ ˙ œ œ œ œra, et
Ó ˙ œ œ œ œet
„
˙ ˙ ˙ ˙ter ra, et
˙ ˙ ˙ ˙ter ra, et
„- - - -
- -
&
&?
b
b
b
S.
A.
B.
49
œ œ œ œ œ œ œ œter
œ œ œ œ wter
„
w Ó ˙ra, et
Wra
Ó w œ œet
C
˙ ˙ œ œ œ œter
„˙ ˙ w
ter
.˙ œ wra
„w Ó ˙
ra, et-
-
- - - - -
&
&
?
b
b
b
S.
A.
B.
53
„
Ó ˙ ˙ ˙glo ri a
œ œ œ œ ˙ ˙ter
„
.˙ œ ˙ ˙tu
˙ ˙ œ œ œ œ
„
˙ ˙ ˙ ˙a, glo ri a
˙ ˙ ˙ ˙ra glo ri a
„
œ œ ˙ ˙ ˙tu
.˙ œ ˙ ˙
tu- - - - - - - - -
- - - - - - - -
Fd, Jne 17
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Sed MS ooqM 2011 n 131
&
&
?
b
b
b
S.
A.
B.
57
Ó ˙ ˙ ˙glo ri a
w Ó ˙a, glo
˙ ˙ ˙ ˙a, glo ri a
.˙ œ ˙ ˙tu
˙ w ˙ri a tu
.˙ œ ˙ ˙tu
w wa, glo
Wa,
w wa, glo
˙ ˙ .˙ œri a
W
˙ ˙ .˙ œri a
˙ ˙ œ œ œ œtu
„
˙ ˙ œ œ œ œtu- - - - - -
- - -
- - - - - -
&
&
?
b
b
b
S.
A.
B.
62
Wa,
∑ wglo
Wa,
Ó ˙ ˙ ˙glo ri
˙ ˙ .˙ œri a
„
˙ ˙ œ œ œ œa tu
˙ ˙ œ œ œ œtu
„
œ œ w ˙#
˙ ˙ w
„
Wa,
w Ó
˙a, glo
∑ wglo -
- - - - - - -
- - - - - -
&
&?
b
b
b
S.
A.
B.
67
„
œ œ œ œ .˙ œri
˙ ˙ .˙ œri a
„
˙ ˙ œ œ ˙a tu˙ ˙ œ œ œ œtu
„
œ œ w ˙#˙ ˙ w
∑ wglo
.w œN œa,
Wa,- - - - - - -
- - - - - - - -
-
&
&
?
b
b
b
S.
A.
B.
71
˙ ˙ .˙ œri a
˙ ˙ .˙ œglo ri
„
˙ ˙ œ œ œ œtu
˙ ˙ œ œ œ œa tu
„
.˙ œ œ œ ˙
˙ ˙ ˙ ˙
∑ wglo
˙ ˙ œ œ œ œa, glo
˙ ˙ Ó ˙a, glo
˙ ˙ .˙ œri a- -
- - - - - - - -
- - - - - - - -
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132 n Sed MS ooqM 2011
&
&
?
b
b
b
12
12
12
S.
A.
B.
75 ˙ ˙ œ œ ˙ri a
œ œ ˙ ˙ ˙bri a
˙ ˙ œ œ œb œtu
˙ w œ œtu
œ œ ˙ œ œ ˙tu
˙ ˙ wb
˙ ˙ œ œ œ œ
œ œ ˙ œ œ ˙
Wa.
Wa.
œ œ ˙ w
W
W
Wa.
W- - - -
- - - - - - - - -
- - - - - -
&
&
V
?
b
b
b
b
12
12
12
12
Superius
Altus
Tenor
Bassus
„
∑ wO
WO
.w ˙O
D
∑ wO
˙ ˙ wsan
Ww w
san
˙ ˙ wsan
Wna,
W
˙ ˙ w
Wna,
∑ wo
W
Wna,- - - - -
- -
- - - - -
- - - - - - - -
&
&
V?
b
b
b
b
S.
A.
T.
B.
84 ∑ wo
˙ œ œ wsan
W
.w ˙o
˙ œ œ wsan
˙ ˙ w
„w w
san
˙ ˙ w
Wna,
Wsan
˙ ˙ w
.w ˙
∑ wo
W
Wna,
Wna,
˙ ˙ wsan
W
.w ˙o- - - - - -
-
- - - - - - -
- - - - - - - - - - -
- - - - -
Fd, Jne 17
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Sed MS ooqM 2011 n 133
&
&
V?
b
b
b
b
S.
A.
T.
B.
89
W
w wna,
w ww w
san
∑ wo
Ó˙ wo san
W.w ˙
w w
w wna,
WW
na,
˙ w ˙san
Ó˙ wo san
W.w ˙
o
w w
w wna,
Ww w
san- - - - - -
- - - - - - -
- - - -
- - - - - - - - - -
&
&
V
?
b
b
b
b
S.
A.
T.
B.
94 .w œ œ
Ó˙ wo san
W
.w ˙
.˙ œ œ œ ˙
˙ ˙ ww w
w w
˙ w œ œ
w w
Wna
.w ˙
˙ œ œ œ œ ˙
˙ œ œ ˙ ˙W
Wna- - - - - - - -
- - - - - - - - - -
- - - - - - - - - -
- - - - -
&
&
V?
b
b
bb
S.
A.
T.
B.
98 œ œ w ˙
˙ ˙ w
W
W
w wna,
w wWin
.w ˙ w 3
in ex
E
˙ ˙ wo san
w Ó ˙na, o
wwex
.w ˙ w 3
cel
.w ˙
.˙ œ wsan
WW w 3
sis, in
w Ó ˙na, o
˙ ˙ wna
W
˙ ˙ w w 3
ex cel- - - -
- - - - - - - -
- - - - - - - -
- - - - - -
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134 n Sed MS ooqM 2011
&
&
V?
b
b
b
b
S.
A.
T.
B.
103 .w ˙san
w w w 3
in ex
w wcel
.w ˙ w 3
w Ó ˙na, o
Wb w 3
cel sis,
W.wb ˙ w
3
˙ œ# œ wsan
wb W 3
W
w W 3
sis,
w Ó ˙na in
.˙ œ ˙ ˙in ex cel
Wsis,
∑ .˙ œin- - - - - -
- - - - -
- - - -
- - - - - - -
&
&
V
?
b
b
b
b
S.
A.
T.
B.
107 w ˙ ˙ex
œ œ œ œ ˙ ˙∑ w
in˙ ˙ œ œ ˙ex cel
.w ˙cel
˙ ˙ œ œ ˙sis, in ex
w wex cel˙ ˙ œ œ ˙
sis, in ex
w Ó ˙sis, in
.w ˙cel sis,
w wsis, in
.˙ œ ˙ ˙cel sis,
˙ œ œ ˙ ˙ex cel
.˙ œ ˙ ˙ ˙ ˙ 3 3
in ex cel
.w ˙ex
.˙ œ ˙ ˙in ex cel
F
- - - - - -
- - - - - -
- - - - - - -
- - - - -
&
&
V?
b
b
bb
S.
A.
T.
B.
111 ˙ ˙ w
˙ ˙ ˙ ˙ ˙ ˙ 3 3
˙ ˙ wcel
˙ ˙ w
w Ó ˙sis, ex
˙ w ˙sis, in ex
w .˙ œsis, inw .˙ œsis, in
.˙ œ ˙ ˙cel sis, in
˙ ˙ Ó ˙cel sis, in
˙ ˙ œ œ ˙ex cel
˙ ˙ œ œ ˙ex cel
˙ ˙ œ œ ˙ex cel
˙ ˙ œ œ ˙ex cel
˙ ˙ wsis,
˙ ˙ œ œ ˙- - - - - - - -
- - - - - - -
- - - - - - -
- - - --- -
Fd, Jne 17
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Sed MS ooqM 2011 n 135
&
&
V?
b
b
b
b
12
12
12
12
S.
A.
T.
B.
115
œ œ œ œ ˙ ˙sis, in
˙ ˙Ó ˙
sis, in
w ˙ ˙in ex
w ˙ ˙sis, in ex
˙ ˙ œ œ ˙ex cel
˙ ˙ œ œ ˙ex cel
˙ ˙ wcel
˙ ˙ œ œ ˙cel
w wsis.
˙ ˙ w
w wsis.
w .˙ œ
W
Wsis.
WW
sis.- - - - - -
- - - - - -
- - - - - -
- - - - -
&
&
b
b
12
12
Superius
Altus
w ˙b ˙Be ne
WBe
G
œ œ œ œ ˙b ˙dic
W
˙ œ œ w
.w ˙Wtus,
w ˙ ˙ne
- - - - - - - -
- - - - - - - -
&
&
b
b
S.
A.
123
Wœ œ œ œ ˙ ˙
dic
W˙ œ œ w
w ˙ ˙ be ne
Wtus,
œ œ œ œ ˙ ˙dic
W- - - - -
- - - - - -
&
&
b
b
S.
A.
127
˙ œ œ ˙ ˙tus, be
W
˙ ˙ ˙ ˙ne dic
w ˙b ˙ be ne
˙ ˙ ˙ ˙
œ œ œ œ ˙b ˙dic
˙ œ œ ˙ ˙tus, be
˙ œ œ wtus,
- - - - - - - - - -
- - - - - - -
&&
bb
S.
A.
131
œ œ ˙ ˙ ˙ne dic
Ó ˙ ˙ ˙ be ne
˙ ˙ ˙ ˙œ œ œ œ ˙ ˙
dic
˙ œ œ œ# œ œ œ˙ œ œ w
Wtus.
Wtus.
- - - - - - - - -
- - - - - - - -
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136 n Sed MS ooqM 2011
&
?
b
b
Altus
Bassus
WQui
w ˙ ˙Qui ve
H
W
œ œ ˙ ˙ ˙
w ˙ ˙ve
˙ œ œ ˙ ˙
œ œ ˙ ˙ ˙
w ∑nit,
- - - -
- - - - - -
&
?
b
b
A.
B.
139
˙ œ œ ˙ ˙
w ˙ ˙qui ve
w∑
nit,
œ œ ˙ ˙ ˙
w ˙ ˙qui ve
˙ œ œ ˙ ˙
œ œ ˙ ˙ ˙
w ∑nit,
- - - - - - -
- - - - - -
&
?
b
b
A.
B.
143
˙ œ œ ˙ ˙w ˙ ˙
qui ve
.˙ œ wnit
œ œ ˙ ˙ ˙Ó ˙ ˙ ˙
in Nó mi
˙ œ œ ˙ ˙nit in
˙ ˙ .˙ œne, in Nó mi.˙ œ ˙ ˙Nó mi ne Dó
- - - - - - - -
- - - - - - - -
&
?
b
b
A.
B.
147
˙ ˙ œ œ ˙ne Dó mi ni,œ œ ˙ .˙ œ
mi ni, Dó mi
˙ ˙ .˙ œDó˙ ˙ œ œ œ œni, Dó
œ œ ˙ œ œ œ œ
˙ œ œ œ œ ˙
œ œ ˙ œ œ ˙
˙ ˙ ˙ ˙mi
- - - - - - - - -
- - - - - - - - - - -
&
?
b
b
A.
B.
151
œ œ w ˙#mi
w wni.
Wni.
W-- - -
Osannaut supra.
Fd, Jne 17
8/6/2019 Sacred Music Colloquium Packet 2011
http://slidepdf.com/reader/full/sacred-music-colloquium-packet-2011 137/260
Sed MS ooqM 2011 n 137
&
V
b
b
13
13
Superius
TenoreAltus
„ ∑
w .w œ œA
w .w œ œA
w ˙ w œ œgnus De
w ˙ w œ œgnus De
.˙ œ œ œ w œ œ- - - -
- - - - - - - -
&V
?
bb
b
S.
T.
A.
B.
4
.˙ œ œ œ w œ œ4
.˙ œ œ œ w œ œ
∑
.˙ œ œ œ w œ œ˙ ˙ ˙ w ˙
∑
˙ w œ œ w˙ ˙ ˙ w ˙#
w .w œ œA
- - - - - - - - - -
- - -
- - - - - - - - - -
&
V
V
?
b
b
b
b
S.
T.A.
T.
B.
7
˙ .˙ œ ˙ ˙ ˙i, qui tol
7 ˙ ˙ .˙ œ ˙ ˙i, qui tol
w .w œ œA
w Ó ˙ ˙ ˙gnus De
˙ ˙ œ œ ˙ œ œ ˙
˙ .w ˙ ˙w Ó ˙ ˙ ˙
gnus De
w Ó ˙ ˙ ˙
œ œ œ œ ˙ ˙ Ó ˙lis pec
œ œ œ œ ˙ ˙ .˙ œlis pec ca
w Ó ˙ ˙ ˙
w ˙ ˙ w
- - - - - - -
- - - - - - - -
- - - - - - - -
- - - - - - - - -
Missa Ave Maris Stella.
Josquin des Prez (1450-1521)
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 XXI. Sacred Music Colloquium.
http://www.musicasacra.com
No. 5. AGNUS DEI.
Fd, Jne 17
8/6/2019 Sacred Music Colloquium Packet 2011
http://slidepdf.com/reader/full/sacred-music-colloquium-packet-2011 138/260
138 n Sed MS ooqM 2011
&
V
V
?
b
b
b
b
S.
T.
A.
T.
B.
10 .˙ œ œ ˙ ˙ ˙ ˙ca ta mun
10 ˙ w ˙ .˙ œta mun
w ˙ ˙ w
w ∑ ∑i,
œ œ .˙ œ w ˙#
œ œ w ˙ w
w ∑ ∑i,
W wqui tol
˙ ˙ ˙ ˙ œ œ ˙di, pec ca
w ∑ wdi, pec
W wqui tol
.˙ œ ˙ w ˙
- - - - - - -
- - - - -
- - - -
- - - - - - -
&
V
V
?
b
b
b
b
S.
T.A.
T.
B.
13
˙ w ˙ .˙ œta mun
13 .˙ œ œ œ w ˙ca
.˙ œ ˙ w ˙
˙ w ˙ w
œ œ w ˙ .˙ œ
œ œ œ œ ˙ w ˙ta mun
˙ w ˙ w
w ∑ ∑lis
˙ ˙ ˙ w ˙
.w œ œ w
w ∑ ∑lis
w ˙ ˙ wpec ca ta,
- - - - - - - - -
- - - - - - -
- - - - - -
- - - - - - - - - -
&
V
V?
b
b
b
b
S.
T.A.
T.
B.
16 w ∑ Ó ˙di, mi
16 w ˙ w ˙ ˙ w 3
3 3
w ˙ ˙ wpec ca ta,
w ˙ ˙ wpec ca ta
˙ w ˙ ˙ ˙se ré re no
w Ó ˙ ˙ ˙di, mi se ré
w ˙ ˙ wpec ca ta
˙ .˙ œ ˙ wmun
œ ˙ œ ˙ ˙ ˙ ˙
.˙ œ ˙ ˙ ˙ ˙re no
˙ .˙ œ ˙ wmun
w Ó ˙ ˙ ˙di, mi se ré
- - - - - - - -
- - - - - - -
- - - - - - - -
- - - - - - - -
Fd, Jne 17
8/6/2019 Sacred Music Colloquium Packet 2011
http://slidepdf.com/reader/full/sacred-music-colloquium-packet-2011 139/260
Sed MS ooqM 2011 n 139
&
V
V
?
b
b
b
b
S.
T.
A.
T.
B.
19
.˙ œ ˙ ˙ ˙ ˙ bis,
19 ˙ w ˙ ˙ ˙ bis,
w Ó ˙ ˙ ˙di, mi se ré
˙ ˙ ˙ ˙ ˙ ˙re no
Ó w ˙ ˙ ˙mi se ré re
Ó w ˙ ˙ ˙mi se ré re
˙ ˙ ˙ ˙ ˙ ˙re no
.˙ œ ˙ ˙ ˙ ˙
˙ ˙ œ œ ˙ œ œ ˙no
˙ ˙ w wno
.˙ œ ˙ ˙ ˙ ˙
.˙ œ ˙ ˙ w
- - - - - - - - -
- - - - - - - -
- - - - - - - - -
- - - - - - - - -
&
V
V
?
b
b
b
b
12
12
12
12
S.
T.A.
T.
B.
22 ˙ ˙ œ œ w ˙#22 .˙ œ ˙ .˙ œ ˙
.˙ œ ˙ ˙ w
.W bis.
.W bis.
.W bis.
.W bis.
.W
- - - - - -
- - - - - -
- - - - - -
&
&
b
b
12
12
Superius
Altus
24 ∑
WA
WA
w wgnus
w wgnus
.˙ œ ˙ ˙De
.˙ œ ˙ ˙De
.˙ œ w- - - - - - - -
- - - - - -
&
&
b
b
S.
A.
28
.˙ œ w
w Ó ˙i, A
w Ó ˙i, A
w wgnus
w wgnus
.˙ œ ˙ ˙De
.˙ œ ˙ ˙De
.˙ œ w
.˙ œ w
Wi,- - - - -
- - - - - - - -
Fd, Jne 17
8/6/2019 Sacred Music Colloquium Packet 2011
http://slidepdf.com/reader/full/sacred-music-colloquium-packet-2011 140/260
140 n Sed MS ooqM 2011
&
&
b
b
S.
A.
33
Wi,
∑ wA
∑ wA
w wgnus
w wgnus
.˙ œ ˙ ˙De
.˙ œ ˙ ˙De
w Ó ˙i, qui
w Ó ˙i, qui
˙ ˙ œ œ œ œtol- - -
- -
&
&
b
b
S.
A.
38
˙ ˙ œ œ œ œtol
˙ ˙ wlis,
˙ ˙ wlis,
Ó ˙ ˙ ˙qui tol
Ó ˙ ˙ ˙qui tol
œ œ œ œ ˙ ˙lis
œ œ œ œ ˙ ˙lis
.˙ œ œ œ ˙pec- - - - - - - -
- - - - - - -
&
&
b
b
S.
A.
42 .˙ œ œ œ ˙pec
.˙ œ œ œ ˙ca
.˙ œ œ œ ˙ca
œ œ œ œ œ œ ˙
œ œ œ œ œ œ ˙
œ œ œ œ ˙ ˙
œ œ œ œ ˙ ˙
w Ó ˙ta mun- - - - - - - -
- - - - - - - - -
&
&
b
b
S.
A.
46
w Ó ˙ta mun
œ œ ˙ ˙ ˙
œ œ ˙ ˙ ˙
w Ó ˙di, mun
w Ó ˙di, mun
œ œ ˙ ˙ ˙
œ œ ˙ ˙ ˙
w Ó ˙di, mi- - - - - - -
- - - - - -
&
&
b
b
S.
A.
50
w Ó ˙di, mi
.˙ œ œ œ œ œse
.˙ œ œ œ œ œse
˙ œ œ œ œ œ œré
˙ œ œ œ œ œ œré
.˙ œ œ œ œ œre
.˙ œ œ œ œ œre
.˙ œ ˙ ˙ w 3
3
no- - - - - - - - -
- - - - - - -
&
&
b
b
12
12
S.
A.
54 .˙ œ ˙ ˙ w 3
3no
.˙ œ ˙ ˙ ˙ ˙# 3
3
W bis.
W bis.- - - - - -
- - - - - -
Fd, Jne 17
8/6/2019 Sacred Music Colloquium Packet 2011
http://slidepdf.com/reader/full/sacred-music-colloquium-packet-2011 141/260
Sed MS ooqM 2011 n 141
V
V
?
b
b
b
12
12
12
TenoreAltus
Tenor
Bassus
56 „
∑
w wA
∑ wA
∑
˙ œ œ ˙ ˙gnus De
.w œ œ
∑
œ œ œ œ wi,
˙ ˙ œ œ œ œgnus De
w wA
„- - - -
-
- - - - -
&
V
V
?
b
b
b
b
60 ∑ wA
60
w ∑i,
˙ œ œ wgnus
∑ wA
.w œ œ
„
˙ w œ œDe
.˙ œ ˙ ˙
w ˙ ˙gnus De
Ó ˙ .˙ œA
w w
w ∑gnus
˙ œ œ w
˙ ˙ .˙ œgnus
˙ ˙ w
∑ Ó ˙De
- - - - - - - - -
- - - - - - - -
- - - - -
- - -
&
V
V
?
bb
b
b
64
.w ˙64
˙ ˙ wDe
˙ ˙ w
˙ w ˙
.w ˙
.w ˙
˙ ˙ ˙ ˙
w ∑i,
w ˙ ˙˙ ˙ ˙ ˙ .˙ œ
3 3
w wi,
w ˙ ˙qui tol
˙ ˙ wœ œ .˙ œ ˙ ˙ ˙
3
3
„
˙ ˙b w- - - - - -
- - - - - - - - - -
- - - - - - -
- - - - - - - - -
Fd, Jne 17
8/6/2019 Sacred Music Colloquium Packet 2011
http://slidepdf.com/reader/full/sacred-music-colloquium-packet-2011 142/260
142 n Sed MS ooqM 2011
&
V
V
?
b
b
b
b
S.
T.
A.
T.
B.
68 w ∑i,
68 .w ˙i, qui
w wqui tol
˙ ˙ ˙ ˙lis pec ca
∑ wqui
.˙ œ œ œ ˙tol
.w ˙lis pec
œ œ w œ œ
w wtol lis
˙ ˙ ˙ ˙
w .˙ œca
w wta,
˙ ˙ wpec ca
˙ ˙ œ œ ˙
˙b w œ œta
∑ Ó ˙pec- - - - -
- - - - -
- - -
-
- - - - - - -
&
V
V
?
b
b
b
b
S.
T.A.
T.
B.
72 .˙ œ ˙b ˙ta
72 w Ó ˙lis pec
w wmun di,
˙ ˙ ˙ ˙ca ta
˙ œ œ wmun
˙ ˙ .˙ œca
∑ wqui
˙ œ œ .˙ œmun
w ∑di,
.˙ œ ˙ ˙ta mun
w wtol lis
ww
di,
w wqui tol˙ œ œ w
˙ ˙ wpec ca
˙ ˙ wqui tol
-
- - -
- -
-
- - -
-
- - - - - - - -
&
V
V?
b
b
b
b
S.
T.
A.
T.
B.
76
.w ˙lis pec
76 .˙ œ œ œ ˙
w ˙ ˙ta
w Ó ˙lis pec
w wca
˙ ˙ Ó ˙di, pec
w wmun di,
˙ ˙ wca ta
˙ ˙ wta mun
˙ ˙ œ œ œ œca ta
Ó ˙ ˙ ˙pec ca ta
˙ ˙ .˙ œmun
w Ó ˙di, pec
œ œ ˙ œ œ œ œmun
˙ œ œ wmun
Wdi,
- - - - - -
- - - - - -
- - - - -
- - - - - -
Fd, Jne 17
8/6/2019 Sacred Music Colloquium Packet 2011
http://slidepdf.com/reader/full/sacred-music-colloquium-packet-2011 143/260
Sed MS ooqM 2011 n 143
&
V
V
?
b
b
b
b
S.
T.A.
T.
B.
80
˙ w œ œca ta
80 ˙ ˙ œ œ ˙di, pec
w ∑di,
Ó ˙ ˙ ˙pec ca ta
w wmun di,
˙ ˙ ˙ ˙ca ta mun
∑ .˙ œdo
.˙b œ wmun di,
„
œ œ ˙ œ œ œ œ
˙ w ˙na no
Ó ˙ ˙ ˙do na no
.˙ œ ˙ ˙do na no
w Ó ˙di, do
˙ ˙ ˙ ˙ bis
w Ó ˙ bis,
-
- - - - -
- - - -
-
- - -
- - - - - - -
&
V
V
?
b
b
b
b
S.
T.A.
T.
B.
84 ˙ ˙ ˙ ˙84 ˙ ˙ œ œ œ œ
na no
w wpá cem,
˙ ˙ wna no bis,
˙ ˙ w bis pá
˙ ˙ Ó ˙ bis, do
Ó w ˙do na
Ó˙ ˙ ˙
do na no
w Ó ˙cem, do
˙ ˙ ˙ ˙na no bis, do
˙ ˙ œ œ œ œno bis
˙˙
.˙ œ bis pá
˙ ˙ ˙ ˙na no bis
œ œ ˙ ˙ ˙na no bis pá
œ œ œ œ wpá
˙˙
˙˙cem, pá
- - - -
- - - - -
- - -- - -
- -
- -
- - - - - -
&
V
V
?
b
b
b
b
S.
T.A.
T.
B.
88 œ œ œ œ œ# œ œ œpá
88 w wcem,
Wcem.
.˙ œ wcem,
Wcem.
Ó ˙ wbno
W
Ó ˙ ˙b ˙do na no
W
w wb bis pá
W
w w bis pá
W
Wcem.
W
Wcem.- - - - -
-
- -
Fd, Jne 17
8/6/2019 Sacred Music Colloquium Packet 2011
http://slidepdf.com/reader/full/sacred-music-colloquium-packet-2011 144/260
144 n Sed MS ooqM 2011
BzzbzsvbzzzzfvvbzrdvvzzF TvvzzD Rz#Ü @zdvvzesbN M vzvzz[zzvzzzzfbbvbvG Ybvv6z%$bzb\bzzghgzH Uvzbzbhvvzbhb. vvvb]bvvvfbzzõ
Bbzbvz zzvbbygzyÎ fz5z$#vzzzsÁ v RvzzzesbN M vvb[bbvzhv\zziÐ hzygzH Uvbvhb. vzzbvzzwazfß G Yvvbë rdvbbvzzA Wvzzzé wazsÁ RvvbesbN M vz}zôvvb
BbzzzzfzbbbbbbzzzG YvbvbbhzzvzbzhzzbbbvvbhvbbvbvzzzzhvvzzhvzvzzzzzbbvbH IvzzbzbbbhvzzzzbbzbbbvzygzvzbG Yb,. vzzbzz]vbzzztfbbbvzG Yvbzzbbbhbvvzhvzvzhbbbbbbbö
BzzzzbbhvvzhiÐhvzbbbbß gzzbbzzbbfzbzzbzzzzbfzfzfbvbbbzbsbm vzzzzb}zòzbxxxxxxcvbcvv
BbbbzbbbfbbbbbbbbzzG YbbbzzbzzhzbbzzbzzbhbbzbzzzhzzbbzzzzzzbhbvvvvvzhbbbbzbbbbhbbbbbzbbzH IvzzzbhvzzbbzzzzygbzbzzbzG Yb, . vzzbbb]bbbvzztfvbzbbG Yvbbbbbhbzzvzzbhbbzbbbvhbbvzzhbbbbbbbö
BvzhvzzzbbbvhvvvbbhvvbvzbhvzzzzhvzbzzzzhbvbzvzhvvzzhvzbzzbvhiÐhbzzzzbzß gvzbbbbzfvzbbzzbzbbfzfzfzbbbvzsbmvbbzzbb}zòxcvbcvbbb
BbzzfzbbbzbzzG Yvbvbbhzzzzbhzzbvhvbbzzhbzzvzzzbhvzzzhb. vzb[zbzzhvvzzhvvvzzhvzzzzzhzzzbzbbvH IvzbbbbhvvzbbvzzygvbzzG Yb, . vzzb]bzzbztfzbbbzzG Yvvzzhbbbbö
BzbzzbbhvzbbzbhvvzhvvzbzhvvbhbvvzhzvvvvzbhbvvzhvvvzzbhvvvvhvbvvhiÐhvvzbbbbß gbbbbbzzbbfzbzzbzzzzbfzfzfbvbbbbzsbm bzzzzz}zòcvbbvvbbbb
BbzzzzfzbvbzzbbzzzG YvzzbbvbbhzzzbzbzhbbvvbhvbbvbvhvvvvvzbH IzvvbhvbzbbhbvzzzbbbbvzygvzbzbbG Yb, . vvzzbzz]zzzzzbzzzbtfbbbvzbG Yvbzbbhbbvvvhvvzzbhbbbbbö
BzzbbhvvzvvvhvvzzzhbvzzvhvvvvhvvzbbhvvvzzhvvvzhiÐ hzbzzzzbß gzbzbzzbbfzbzzzzbfzfzfbvbzzbsbm zvzzzb}zòzxxccb
Fd, Jne 17
8/6/2019 Sacred Music Colloquium Packet 2011
http://slidepdf.com/reader/full/sacred-music-colloquium-packet-2011 145/260
Sed MS ooqM 2011 n 145
BbbzzzzfzbzbbzbzzG YvbzbbbhbzzbbzbzhvvzbbzzbhvvbhvvvzzhvvhvbzzbhbzzzzzzbbH IbzzbvbhbvbzbvhbvzbbbvzzhvvzzbbygzbzzbbbbbGYb, . vvzbb]zbbzzzztfbbvzzG Yvvbbhvbö
BzzbbhbvvhvzbzzhbzbvzzvbhiÐhzzvß gzbzbbbbbbbfzbbzzzzbzfzfzfbbbbbbzbbbbsbm zzvzbb}zòzxxvbbbxxcxcv
BbzbbbzzbfvzzzzbzbbzzzG YvbzbbhbzzbzbzhvzzvvbhvvbzhzvzzhvbzbbhbvzzzhbzzzzbzzhzvzzzzzbbhbzbbbvbH IvbzbzhbvbzbbbvzygzzzzzbbG Yb,.vvzbbb]bzzbbzzbtfbbbvbzG Yvbzzhzzbbö
BzzzzbbhbvzbbvvhvzbzzbhbvvzzzzzbvzzbvbhbbvvhvvzzzhvvzzhvvzhvbbvvzhvvzbhiÐ hzzbvß gzbzbzbbbbbbbfzbzzbbzzbzzbfzfzfbbbbbzbbbbsbm zzzbv}zòzbbxvb
BbzbbbzfvbzzbbzzG YvbzbbbbhbbbbbzzbzbzhzbzzvvbhvvbzvhzzbzbzbhbvbzbbhbbvzzhbbzzzbzzbbhzbzzzzzbhvzzbvhbbvbzzbH IvzbbzhbbvzzygzvbzbG Yb, . vvzbz]bbzzbzzzbtfbzbbbvzzG Yvbbö
BzzzzbhbvzbbbvhvvzbzzbhiÐ hvzbzbzß gzbzzzbbbbbbfzbzzzzbbbbzzzbzzzfzfzfbbbbbzbbbbsbm bbbvzz}zòzbbxcvvbbbxxxbcvvvbbb
BbbzzzzfzbzbbzzzG YvbbbbhzzzzzbbzbzhbbvzzbhbzzzbvvbH IvbzbvvzvzbbbhbbbbvzhvbvygbvbbbbG Yb,. vvzb]zbbzzzbtfbbbbvzzG Ybvbvzbzzzzzbhbvvzzhvvvvvzzhvvvhvbbö
BzzzbbhbvvvhvvzbzzhbzzzbvzzvbhiÐ hbzzbvß gzzbbzzbbfzbvzzzzbzzzzbfzfzfbbbbzbbzbsbmzvzbzb}zòzxxxxxcbbb
Fd, Jne 17
8/6/2019 Sacred Music Colloquium Packet 2011
http://slidepdf.com/reader/full/sacred-music-colloquium-packet-2011 146/260
146 n Sed MS ooqM 2011
&
&&V?
bbbb
bbbb
bbbb
bbbb
bbbb
C
CCCC
M
Ct
Ct
T
B
∑
∑.œ jœ œ œ
A - ve Ma -∑∑
∑
∑˙ ˙ri - a,∑
∑
∑
.œ jœ œ œ A - ve Ma -
wa - - -∑
.œ jœ œ œ A - ve Ma -
∑
˙ ˙ri - a,
wveÓ .œ jœ
A - ve
˙ œ œ ri - a, Ma -
∑
wa - - -
œ .œ jœ œ Ma - ri - - -œ ˙ œ
Ma - ri -
œ œ .œ Jœ ri - - -
&&&
V?
bbbbbbbb
bbbb
bbbbbbbb
M
Ct
Ct
T
B
6
∑
wve
˙ .œ jœ œ œ ˙ œ œ œ ˙
a,
wA - - - -
œ .œ jœ œ Ma - ri - - - - - -
œ œ .œ jœ œ
.œ jœ œ œ œ œ œ .œ œ œ œ
Ma - ri - - - - - - - - - - -
˙ Óve,
œ œ ˙ œ a,
œ œ na,
œ œ œ œ a, Ma - ri - - - - -
˙ ˙
Ó ˙a -
œ .œ jœ œ Ma - ri - - -
œ .œ œ œ œ Ma - ri - - -
œ œ ˙ œ .œ jœ œ œ
Ave Maria Robert Parsons (c. 1530-1572)
Fd, Jne 17
8/6/2019 Sacred Music Colloquium Packet 2011
http://slidepdf.com/reader/full/sacred-music-colloquium-packet-2011 147/260
Sed MS ooqM 2011 n 147
&&
&V?
bbbbbbbb
bbbbbbbb
bbbb
M
Ct
Ct
T
B
10
˙ ˙ve
œ œ n œ œ a, Ma - - -
˙ Œ œ a, Ma -
˙ .œ jœ a, a - ve
˙ .œ Jœ a, a - ve
œ .œ Jœ œ Ma - ri - - -
œ œ .œ jœ ri
œ œ œ ˙ri - - - -œ œ œ œ
Ma - ri - -œ œ ˙Ma - ri - - -
˙ Óa
.˙ œ
˙ Œ œ a gra -
œ .œ jœ œ a, gra - ci - a
˙ Óa
∑
œ .œ jœ œ a gra - ci - a
œ œ œ œ n œ ci - a ple
.œ jœ œ œ ple - - - -
Ó Œ œ gra -
&&&V?
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bbbb
bbbb
bbbb
M
Ct
Ct
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14
Ó gra - - -
œ ˙ œ ple - - - - -
œ œ œ œ na, graœ œ n œ œ na, gra -
œ œ œ n œ œ ci - a ple - - - - - - - - - - - -
œ œ ˙ci - a
˙ œ œ na, gra -
œ œ œ n œ œ ci - a ple -œ œ œ œ œ ci - a ple - - - - - -
.œ jœ ˙
˙ ˙ple - na,
œ œ œ n œ œ ci - a ple -
˙ Œ œ na, gra -
œ .œ
Jœ œ
˙ ˙
∑œ .œ Jœ œ
na, gra - ci - a
œ œ œ ˙ci - a ple -˙ Œ œ
na, gra -
˙ ˙na,
&&
&V?
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bbbbbbbb
bbbb
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18
Ó ˙gra - - -
.˙ œ ple - - - - - - - - - - - -
œ œ œ œ œ œ œ œ œ
ci - a ple - - - - - - - - - -
Ó .œ jœ gra - ci -
œ œ ˙ci - a
œ œ ˙ œ
œ œ œ œ œ œ œ œ .œ Jœ œ
œ .œ œ œ œ a ple - - - - - - -
œ .œ Jœ œ ple - - - -
œ œ ˙ œ
.œ jœ ˙œ œ œ œ œ œ ˙
˙ Óna,
˙ Óna,
œ .œ jœ œ na, Do - mi-nus˙ Óna,
œ .œ Jœ œ na, Do - mi-nus
Fd, Jne 17
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148 n Sed MS ooqM 2011
&&
&V?
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bbbb
M
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22
∑Œ .œ jœ n œ
Do - mi-nus
œ œ œ œ te - - - -
Œ .œ jœ œ Do - mi-nusœ ˙ œ
te - - - - - - - - - -
Ó ˙Do - - -
œ ˙ œ te - - - - - -
˙ Œ œ cum, Do -œ .œ œ œ œ
te - - - - - - - - - -
œ ˙ œ
œ œ ˙mi - nus
œ œ ˙cum,
œ œ œ œ œ mi-nus te - - - - - - -œ œ œ œ
˙ ˙cum,
˙ ˙te - cum,
.œ jœ œ œ œ Do - mi-nus
œ œ œ œ œ œ œ œ œ œ œ œ
cum, Do -
˙ Ó
&&
&V
?
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bbbb
bbbb
bbbb
M
Ct
Ct
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26
∑œ œ ˙ œ te - - - - - - -
œ œ ˙ œ n œ œ œ œ œ ˙
mi-nus
.œ Jœ œ œ œ Do - mi-nus
∑œ œ œ œ œ œ
˙ œ œ œ œ œ .œ œ n œ œ te - - - - - - - - - -
.œ Jœ œ œ te - - - - - -
.˙ œ Do - - - mi -œ œ n œ œ cum, Do -
.œ jœ ˙ncum,œ œ œ ˙
˙ œ œ cum, Do -
˙ ˙nus te -
œ œ .œ jœ œ mi - nus te -
Œ .œ Jœ œ nDo - mi- nus
˙ ˙cum,
œ œ œ n ˙mi - nus te -
&&
&V?
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bbbb
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30 œ .œ Jœ œ n
œ n .œ jœ œ cum, Do - mi - nus
œ œ ˙te - - - -Œ .œ Jœ œ n
Do - mi - nusœ œ ˙
˙ Ócum.
œ œ Œ œ te - cum. Be -
˙ Œ œ cum. Be -œ œ ˙
te - cum.
wcum.
˙ œ œ Be - ne - dic -
œ œ œ œ ne - dic - ta
œ n
œ œ œ ne - dic - ta tu,Ó Œ œ
Be -
Ó Œ œ Be -
œ œ Œ œ ta tu, be -
œ œ Œ œ tu, be -
Œ œ œ œ be - ne - dic -
œ œ œ œ ne - dic - ta
œ œ n œ œ ne - dic - ta
Fd, Jne 17
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&&
&V?
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34 œ œ ˙ne - dic -œ œ œ œ ne - dic - ta
œ œ Œ œ ta tu, be -
œ œ œ œ œ tu, be -
˙ œ œ tu, be -
˙ ˙ta tu
œ œ œ œ
œ œ œ œ ne - dic - taœ œ .œ Jœ
ne - dic - taœ œ œ œ ne - dic - ta
∑œ œ œ œ tu in mu - li -
œ œ n ˙˙ œ œ
tu in
˙ ˙tu
∑œ œ œ œ e - ri - bus, in
œ œ œ œ tu in mu - li -
œ œ œ œ mu - li - e - ri -
Ó Œ œ in
&&
&V?
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bbbb
bbbb
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38
Œ œ œ œ in mu - li -
œ œ œ œ .œ œ mu - li - e - - - - -
œ œ œ œ e - ri - bus, in
œ Œ Œ œ bus, in
œ œ œ œ mu - li - e - ri - - - - - -
œ .œ jœ œ e - - - ri -
œ œ œ œ ri -
œ œ œ œ mu li e - ri -œ œ .œ Jœ mu - lil - e - ri -
œ œ œ œ
œ œ œ œ bus, et be - ne -
˙ Œ œ bus, et
wbus,
wbus,
wbus,
˙ ˙dic - tus
œ œ ˙be - ne - dic -
Œ œ œ œ et be - ne -
˙ Œ œ et
˙ Ó
&&
&V?
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bbbbbbbb
bbbb
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42
Ó Œ œ fruc -
œ œ œ œ tus, et be - ne -
˙ ˙dic - tus
œ œ ˙be - ne - dic -
Œ œ œ œ et be - ne -
œ œ ˙tus ven - - -
˙ œ œ dic - tus, fruc -
Œ ˙ œ fruc - tus
˙ Œ œ tus fruc -˙ œ œ dic - tus, fruc -
œ œ œ œ tris tu - - - - - - - -
œ œ ˙tus ven -
œ œ œ œ ven - tris tu - i,
œ œ œ œ tus ven - t ris
œ œ œ œ tus ven - t ris
˙ ˙
.˙ œ tris tu - - - - -
˙ œ œ fruc - tus ven -
œ ˙ œ œ tu - - - -
˙ ˙tu - i,
œ .œ Jœ œ
œ .œ jœ b œ
œ œ b œ ˙tris tu -
œ œ œ œ i, fruc -w
-4-
Fd, Jne 17
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47
˙ .œ Jœ i, fruc - tus
˙i,
œ ˙ œ i, fruc - tus
œ œ œ œ œ tus ven - - -
˙ ˙tu
œ .œ Jœ œ ven - tris tu -
œ .œ jœ œ tu - - - - -
œ œ .œ jœ ven - tris tu -
œ œ ˙tris tu -
w
œ œ œ œ i, et be - ne
œ œ i,
˙ Œ œ i, et
wi,
wi,
˙ ˙dic - tus,
Œ œ œ œ et be - ne -
œ œ ˙be - ne - dict -
˙ Ó
˙ Œ œ et
Ó Œ œ fruc -
˙ ˙dict - tus
œ œ œ œ tus, et be - ne -
Œ œ œ œ et be - ne -œ œ ˙
be - ne - dic -
&&
&V
?
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bbbb
bbbb
bbbb
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52
œ œ ˙tus ven - - -
Œ ˙ œ fruc - tus
˙ œ œ dic - tus, fruc -˙ ˙dic - tus
˙ Œ œ tus fruc -
œ œ œ œ tris tu - - - - - - - - -
œ œ œ œ ven - tris tu - - -
œ œ ˙tus ven -œ œ œ œ
fruc - tus ven - tris
œ œ œ œ tus ven- tris
˙ ˙˙ œ œ
i, tu - - - - -
œ ˙ œ tris tu - - - - -œ ˙ œ œ
tu - - - -
˙ ˙tu - i,
œ .œ Jœ œ œ b
œ œ ˙
œ .œ jœ b œ i,œ œ œ œ
i, fruc -
w
˙ .œ Jœ i, fruc - tus
œ ˙ œ i, tu
œ œ ˙fruc - tus ven -œ œ ˙
tus ven -
˙ ˙tu - - -
&&
&V?
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bbbb
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57
œ .œ Jœ œ ven - tris tu -
œ œ ˙
œ .œ jœ œ tris tu - - -
œ œ ˙tris - tu
w
wi,
˙ ˙i, tu - - - - - - -
˙ Œ œ i, A - - - - - - - - - - -
wi.
wi.
wtu - - - -
˙ .œ jœ
œ ˙ œ Œ œ œ œ
A - - - - - - -
˙ Ó
˙ Œ œ i. A - - - -
œ œ i,
œ ˙ œ œ œ œ œ Œ œ œ œ
A - - - - - -
œ ˙ œ Œ œ œ œ
A - - -
˙ œ œ .œ Jœ ˙
men,
œ ˙ œ
Fd, Jne 17
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&&
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62
œ ˙ œ œ ˙ œ
˙ œ Œmen,Œ œ œ œ
a - - - - - - - - - - - - - - -
œ œ œ œ
wmen,
œ ˙ œ n
œ .œ jœ œ a - - - - - - - - - - - -œ œ œ œ œ
œ œ ˙
Œ œ œ œ a - - - - - - -
˙ œ œ men, a - - - - - -
œ ˙ œ œ ˙ œ ˙ Œ œ
men, a - - - - -
œ œ ˙œ œ ˙ œ
œ ˙ œ ˙ ˙œ œ ˙
&&
&V?
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bbbb
bbbb
bbbb
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66
wmen,
wmen,
œ œ œ œ œ œ œ œ œ œ
men, a - - - - - - - - - - -
˙ Œ œ men, a - - - - - - - - - - - -
ww
˙ Œ œ men, a - - - - - - -œ œ œ œ
œ ˙ œ
Ó Œ œ a - - - - -
∑
œ ˙ œ ˙ ˙
˙ œ œ
œ ˙ œ Œ œ œ œ
a - - -
œ œ œ œ men, a -
œ ˙ œ men, a - - -
œ ˙ œ men,
&&
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70 œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
œ œ œ œ a - - - - - - -
œ œ ˙ œ œ œ .œ jœ
œ œ œ œ ˙œ œ œ œ œ œ ˙
wmen,
œ œ œ œ men, a - - - - - -
œ œ œ œ men, a - - - - - - -
œ .œ jœ œ men, a - - - - - -
˙ Œ œ men, a - - - -
wa - - -
œ œ ˙
œ ˙ œ œ œ œ œ œ œ œ ˙
wmen.
wmen.
œ œ ˙men.
wmen.
wmen.
Fd, Jne 17
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152 n Sed MS ooqM 2011
Soprano
Alto
Tenore
Basso
Gregor Aichinger 1564-1628
10/2004
ia cali
Fd, Jne 17
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Sed MS ooqM 2011 n 153
Fd, Jne 17
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154 n Sed MS ooqM 2011
Fd, Jne 17
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Sed MS ooqM 2011 n 155
Fd, Jne 17
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156 n Sed MS ooqM 2011 Fd, Jne 17
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Vespers
l6:30 p.m. June 17, 2011
Conducted by William Mahrt
Sed MS ooqM 2011 n 157 VeSPeS, Fd, Jne 17
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Pa is iially lf bla
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162 n Sed MS ooqM 2011 VeSPeS, Fd, Jne 17
Pa is iially lf bla
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Saturday
l11:30 a.m. June 18, 2011
Ember Day Mass, Extraordinary Form
First Class Feast
Sed MS ooqM 2011 n 193Std, Jne 18
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194 n Sed MS ooqM 2011
Ember days
F
our times a year the Church sets aside three days to focus on God through His marvel-ous creation. These quarterly periods take place around the beginnings of the four naturalseasons: the summer equinox, the fall solstice, the winter equinox, and the spring solstice.
These four times are each kept on a successive Wednesday, Friday, and Saturday and are known as“Ember Days,” or, in Latin, Quatuor Tempora. The rst of these four times comes in winter, afterthe Feast of St. Lucy; the second comes in spring, the week after Ash Wednesday; the third comesin summer, after Pentecost Sunday; and the last comes in autumn, after Holy Cross Day.
These penitential times are spent fasting and partially abstaining, with the intentions of thankingGod for the gifts He gives us in nature, beseeching Him for the discipline to use them in modera-tion, and assisting the needy. (Fasting and abstinence are no longer required by the new Code of Canon Law. They are now done voluntarily.) The fasts, known as Jejunia quatuor temporum, or “thefast of the four seasons,” are rooted in Old Testament practices of fasting four times a year. It is
very probable that these days were also instituted to counteract the pagan practices that took placeduring the change of seasons.
The Liber Ponticalis ascribes a law ordering the fast to Pope St. Callistus (217-222). It is, howev-er, probably older. St. Leo the Great (440-461) considers it an apostolic institution. He also per-mitted the conferring of priesthood and deaconate on the Saturdays of ember week. Eventually, inRome, all the minor orders were given as well, hence the reason for all the lessons on Saturday.
The following orders were conferred: tonsure after the Kyrie; door-keeper after the rst lesson; lec-tor after the second lesson; exorcist after the third lesson; acolyte after the fourth lesson; subdea-
con after the fth lesson; deacon after the epistle; and nally ordination of priests before the lastverse of Veni Sancte Spiritus and before the Gospel.
The second, third, fourth, and fth lessons refer to the harvest and to the offerings of the rstfruits of the earth, with the intention of obtaining God’s blessing at the change of the season. Thefth lesson never varies: it is the record of the miraculous preservation of the three young Hebrewmen in the furnace, followed by an extract of their canticle of praise and thanksgiving.
The 1962 Missal offers the option of a shortened Mass on Ember Saturday with just two lessons.Despite the ancient origin of these days, and even though there was a belief that these days were of apostolic institution, they were completely removed from the 1970 Roman Missal. It is a rare privi-lege to participate in them in solemn form.
Std, Jne 18
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Sed MS ooqM 2011 n 195Std, Jne 18
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196 n Sed MS ooqM 2011 Std, Jne 18
VvzzD Rz6vvbfvvbF Yz6z%z#vbbbbb4z#@vvÝ dvvdvvbbabn vvvzbz}vvvvbvbbîhîjîhvvbbÍ Yb. vfygzË 4b, zbzb[zzzbF T6z%Þ $#bbbbñ
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First Lesson: Joel ii. 28-32
Thus saith the Lord God: I will pour out my spirit upon all esh: andyour sons and your daughters shall prophesy: your old men shall dream
dreams, and your young men shall see visions. Moreover upon my servantsand handmaids in those days I will pour forth my spirit. And I will shewwonders in heaven; and in earth, blood, and re, and vapour of smoke. Thesun shall be turned into darkness, and the moon into blood: before the greatand dreadful day of the Lord doth come. And it shall come to pass, that ev-ery one that shall call upon the name of the Lord shall be saved.
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Sed MS ooqM 2011 n 197Std, Jne 18
Second Lesson: Leviticus xxiii. 9-11, 15-17, 21
In those days the Lord spoke to Moses, saying: Speak to the children of Israel, and thou shalt say to them: When you shall have entered into the
land which I will give you, and shall reap your corn, you shall bring sheavesof ears, the rst fruits of your harvest, to the priest: Who shall lift up thesheaf before the Lord, the next day after the Sabbath, that it may be accept-able for you, and shall sanctify it. You shall count therefore from the mor-
row after the Sabbath, wherein you offered the sheaf of the rst fruits, sevenfull weeks, even unto the morrow after the seventh week be expired, that isto say, fty days: and so you shall offer a new sacrice to the Lord out of allyour dwellings: two loaves of the rst fruits, of two tenths of our leavened,which you shall bake for the rst fruits of the Lord. And you shall call thisday most solemn, and most holy. You shall do no servile work therein. Itshall be an everlasting ordinance in all your dwellings and generations, saiththe Lord Almighty.
Third Lesson: Deuteronomy xxvi. 1-3, 7-11
In those days Moses said to the children of Israel: Hear, O Israel, the thingsthat I command thee today. When thou art come into the land which the
Lord thy God will give thee to possess, and hast conquered it, and dwell-est in it: thou shalt take the rst of all thy fruits, and put them in a basket,and shalt go to the place which the Lord thy God shall choose, that Hisname may be invocated there. And thou shalt go to the priest that shall be inthose days, and say to him: I profess this day before the Lord thy God, whoheard us, and looked down upon our afiction, and labour, and distress; andbrought us out of Egypt with a strong hand, and a stretched out arm, withgreat terror, with signs and wonders; and brought us into this place, andgave us this land owing with milk and honey. And therefore now I offerthe rst fruits of the land which the Lord hath given me. And thou shaltleave them in the sight of the Lord thy God, adoring the Lord thy God. Andthou shalt feast in all the good things which the Lord thy God hath giventhee.
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Fourth Lesson: Leviticus xxvi. 3-12
In those days the Lord said to Moses: Speak to the children of Israel, and
say to them: If you walk in my precepts, and keep my commandments,and do them, I will give you rain in due seasons. And the ground shall bringforth its increase, and the trees shall be lled with fruit. The threshing of your harvest shall reach unto the vintage, and the vintage shall reach untothe sowing time: and you shall eat your bread to the full, and dwell in yourland without fear. I will give peace in your coasts: you shall sleep, and thereshall be none to make you afraid. I will take away evil beasts: and the swordshall not pass through your quarters. You shall pursue your enemies, andthey shall fall before you. Five of yours shall pursue a hundred others, anda hundred of you ten thousand: your enemies shall fall before you by thesword. I will look on you, and make you increase: you shall be multiplied,and I will establish my covenant with you. You shall eat the oldest of the oldstore, and, new coming on, you shall cast away the old. I will set my tab-ernacle in the midst of you, and my soul shall not cast you off. I will walkamong you, and will be your God, and you shall be my people, saith theLord Almighty.
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Fifth Lesson: Daniel iii. 47-51
In those days, the Angel of the Lord went down with Azarias and his com-panions into the furnace: and he drove the ame of the re out of the fur-
nace, and made the midst of the furnace like the blowing of a wind bringingdew. And the ame mounted up above the furnace nine and forty cubits: andit broke forth, and burnt such of the Chaldeans as it found near the furnace,the servants of the king, who were heating it. And the re touched the threeyoung Hebrews not at all, nor troubled them, nor did them any harm. Thenthese three as with one mouth praised, and gloried, and blessed God in thefurnace, saying:
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200 n Sed MS ooqM 2011 Std, Jne 18
Vzbbbgbbvvbrdzb zvbÝ dvbbzzbdvvvF Tvvvb vvbbbbfà vhgbvvrdzbbvbdbm vbbb}vzbzbdbbbvvbg vvv7z^%bbbvbF Tvvbbbbbgvbvvvtfbbbö
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Sed MS ooqM 2011 n 201Std, Jne 18
Vvzzfzfbbvbbdbm vz[vz7z^%bbvbbrdvbbzF Tvvvvbgb, vvvgb, vzz}vvzbdbbvvzF Tvbzzgvvvvtfvzzzhvvzrdvvzzfzfvbvbdbm vzbb[vbdvvzF Tbbbbõ
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The Epistle: Romans v. 1-5
Brethren, being justied therefore by faith, let us have peace with God,through our Lord Jesus Christ: by whom also we have access through
faith into this grace, wherein we stand, and glory in the hope of the gloryof the sons of God. And not only so, but we glory also in tribulations,knowing that tribulation worketh patience, and patience trial, and trialhope; and hope confoundeth not: because the charity of God is pouredforth in our hearts, by the Holy Ghost, who is given to us.
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Gospel: Luke iv. 38-44
At that time, Jesus rising up out of the synagogue, went into Simon’s house.And Simon’s wife’s mother was taken with a great fever, and they besought
him for her. And standing over her, he commanded the fever, and it left her.And immediately rising, she ministered to them. And when the sun was down,all they that had any sick with divers diseases, brought them to him. But helaying his hands on every one of them, healed them. And devils went out frommany, crying out and saying: Thou art the Son of God. And rebuking themhe suffered them not to speak, for they knew that he was Christ. And when itwas day, going out he went into a desert place, and the multitudes sought him,and came unto him: and they stayed him that he should not depart from them.To whom he said: To other cities also I must preach the kingdom of God: fortherefore am I sent. And he was preaching in the synagogues of Galilee.
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204 n Sed MS ooqM 2011 Std, Jne 18
BzbgvvbÝ dvvbvfvvzbsvvbbÝ dxzgvvzbhb.vz}v\vH Ucbà hczbhcvzgvvzÞ fvvbzgvvvbgb, vvzb{vvD Rzbzõ
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Bvgb, vvvbgb, vvb}vvzzÝ dzvvzzfcvvzzgvvzzß gvbvzhczzß gvvbfbbvvdbm vzb[zvfvvzzÝ dvbvzbsbbvvzzbÝ dvvzgvvzzbhb. vzzb[bbb\vH Ubbbbö
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Sed MS ooqM 2011 n 205Std, Jne 18
BbbzbÝ dbvvzbfvvzzgvbbbzbÝ dcbbfvzzbbsvvbÝ dvbvzgbzzvzhb. vzzb{b\bzzH Uzbvzbà hvzbzzbvgbvvvzzzzzzvzzbÞ fvbbvzbgbvvzbgb, vb}zbbbzbÝ dvbvfvzzbvgbbbbbbbô
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Sed MS ooqM 2011 n 211Std, Jne 18
&
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Cantus
Altus
Tenor
Bassus
˙ ˙ œ œ ˙Fac tus est re pen
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Fac tus
∑
∑
˙ ˙ ˙ œ œte de cœ lo, de
œ œ ˙ ˙ ˙est re pen te de
˙ ˙ œ œ ˙Fac tus est re pen
∑ ˙ ˙Fac tus
˙ ˙ Ó ˙cœ lo, de
˙ ˙ ˙ œ œcœ lo so
w ˙ ˙te de cœ
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œ œ ˙ wcœ lo s o nus
w wnus
˙ ˙ œ œ# ˙lo so
˙ ˙ wcœ lo so
Ó ˙ œ œ ˙ad ve ni en
Ó ˙ œ œ ˙ad ve ni en
w Ó ˙Nnus ad
w Ó ˙nus ad
œ ˙ œ# ˙ ˙tis Spi ri tus ve
˙ ˙ œ œ ˙tis Spi ri tus
œ œ ˙ œ ˙ œ#ve ni en tis Spi ri
œ œ ˙ ˙ .œ Jœve ni en tis Spi ri
˙ ˙ œ œ œ ˙he men
˙ ˙ ˙ ˙ve he men
˙ ˙ ˙ ˙tus ve he men
˙ ˙ ˙ ˙tus ve he men
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- - - - - - - - - -
- - - - - - - - - - -
Factus est repente de cælo sonus.
Jacob Handl (1540-1591)[Iacobus Gallus Carniolus]
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 XXI. Sacred Music Colloquium.
http://www.musicasacra.com
Suddenly there was heard a sound from heaven as of a rushing mighty wind where they were sitting,and they were all filled with the Holy Spirit, proclaiming the wondrous works of God.
Acts of the Apostles 2:2, 4
Communio Domenicae Pentecostes
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8
w Œ ˙ œtis, u bi
w ˙ ˙tis, u bi
œ ˙ œ ˙ ˙tis, u bi e rant
˙ ˙ ˙ ˙tis, u bi e
œ ˙ œ œ ˙ œe rant se
˙ ˙ ˙ ˙e rant se den
˙ ˙ ˙ ˙u bi, u bi
˙ ˙ .˙ œrant, u bi e
œ œ ˙ wden
œ œ w ˙#
˙ ˙ ˙ ˙e rant se den
œ œ ˙ wrant se den tes,
˙ ˙ ˙ ˙tes, et re ple
Wtes,
w ˙ ˙tes, et re
˙ ˙ ˙ ˙et re ple ti
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˙ ˙ wti sunt om
Ó ˙ ˙ ˙et re ple
˙ ˙ ˙ ˙ple ti sunt om
˙ ˙w
sunt om nes
˙w ˙
nes Spi ri
˙ ˙ wti sunt om
˙ w ˙#nes Spi ri
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˙˙ ˙ ˙tu Sanc to, lo
˙ ˙ œ œ# ˙nes Spi ri tu
˙ ˙ wtu Sanc to,
w ˙˙
Sanc to, lo
œ œœ
œ ˙ ˙quen tes,
˙ ˙ ˙ œ# œSanc to, lo quen
Ó ˙ œ œ œ œlo quen
œ œœ œ w
quen
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w wlo quen
œ œ œ œ œ œ ˙
œ œ œ œ œ ˙ œ#W
˙ ˙ .˙ œtes ma gna li
˙ ˙ .˙ œtes ma gna li
w ∑tes
˙ ˙ .˙ œ#tes ma gna li
˙ ˙ wa De i,
˙ ˙ wa De i,
Ó ˙ .˙ œma gna li
˙ ˙b wa De i,
w .˙ œma gna li
˙ ˙ .˙ œma gna li
˙ w ˙#a De
w wma
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Sed MS ooqM 2011 n 213Std, Jne 18
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A.
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B.
20
w wa De
˙ w ˙a De
˙ ˙ ˙ bi, ma gna li
.˙b œ ˙ ˙gna li a De
w wi, ma
w Ó ˙i, ma
˙ ˙ ˙ ˙a De i, ma
w ∑i,
˙b ˙ ˙ ˙gna li a De
.˙ œ ˙ ˙gna li a De
.˙ œ# ˙ ˙Ngna li a De
∑ Ó ˙ma
˙ ˙n .˙ œi, ma gna li
w Ó ˙i, ma
˙ ˙ .˙ œi, ma gna li
˙ ˙# ˙ ˙gna li a De- - - - - - -
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&
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T.
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w wa De
œ œ w ˙gna li a De
w wa De
œ œ ˙ wi.
˙ Œ œ œ œ ˙i. Al le lu
˙ Œ œ œ ˙ œi. Al le lu
˙ Œ œ œ œ ˙i. Al le lu
Ó ˙ œ œ ˙Al le lu
˙ Œ œ œ œ ˙ia, Al le lu
˙ ˙ ˙ ˙ia, Al le lu
˙ ˙ ˙ ˙ia, Al le lu
˙
˙ ˙ ˙ia, Al le lu
˙ ˙ ˙ ˙ia, Al le lu
˙ Œ œ œ œ ˙ia, Al le lu
˙ Œ œ œ ˙ œia, Al le lu
˙ ˙ ˙ ˙ia, Al le lu- - - - - - - - - - -
- - - - - - - - - -
- - - - - - - - - - - -
- - - - - - - - - -
&
&
V
?
C.
A.
T.
B.
28 ˙ ˙ ˙ ˙ia, Al le lu
˙ ˙ ˙ ˙ia, Al le lu
œ œ# ˙ ˙ ˙ia, Al le lu
˙ ˙ ˙ ˙ia, Al le lu
˙ ˙ œ œ ˙#ia, Al le lu
˙ ˙b œ œ ˙ia, Al le lu
˙ ˙ ˙ ˙ia, Al le lu
˙ ˙b ˙ ˙ia, Al le lu
˙ Œ œ œ œ ˙ia, Al le lu
˙Œ œ œ ˙ œ
ia, Al le lu
˙ Œ œ œ œ ˙ia. Al le lu
˙ Œ œ œ œ ˙ia, Al le lu
˙ Œ œ œ œ ˙ia, Al le lu
˙ ˙ ˙ ˙ia, Al le lu
˙ ˙ ˙ ˙ia, Al le lu
˙ ˙ ˙ ˙ia, Al le lu- - - - - - - - - - - -
- - - - - - - - - - - - -
- - - - - - - - - - - -
- - - - - - - - - - - -
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214 n Sed MS ooqM 2011 Std, Jne 18
&
&
V
?
C.
A.
T.
B.
32
˙ ˙ ˙ ˙ia, Al le lu
˙ Œ œ œ œ ˙ia, Al le lu
˙ Œ œ œ ˙ œia, Al le lu
˙ ˙ ˙ ˙ia, Al le lu
˙ ˙ ˙ ˙ia, Al le lu
˙ ˙ ˙ ˙ia, Al le lu
œ œ# ˙ ˙ ˙ia, Al le lu
˙ ˙ ˙ ˙ia, Al le lu
˙ ˙ œ œ ˙#ia, Al le lu
˙ .˙b œ ˙ia, Al le lu
˙ ˙ ˙ ˙ia, Al le lu
˙ ˙b ˙ ˙ia, Al le lu
Wia.
Wia.
W#ia.
Wia.
W
W
W
W- - - - - - - - -
- - - - - - - - -
- - - - - - - - -
- - - - - - - - -
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Sed MS ooqM 2011 n 215Snd, Jne 19
Trinity Sunday
l10 a.m. June 19, 2011
Ordinary Form
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216 n Sed MS ooqM 2011 Snd, Jne 19
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Sed MS ooqM 2011 n 217Snd, Jne 19
Mass for four voices
Kyrie eleisonWilliam Byrd (c.1540-1623)
Cantus[Soprano]
Altus[Alto]
Tenor [Tenor]
Bassus[Baritone]
1
2
] < < <{ G
¯
¯ 0Ky
'rie
B- e
Blei
'- son,
'- Ky
'rie
B- e
B-
[ < < <
{ G ¯
¯
Ky
'rie
B- e
Blei
5-
5 B : 5 B B B! B B B Bson,
'- - - - - -
[ < < { Gi
¯
¯ 0 0Ky
'rie
B- e
Blei
5-
5 B : 5 B- -
[ < < <
{ ¯
¯ 0 0 0 0
101
2
G lei
B :-
5 5 5 B 5 5 ' B! son,
'- - - -
?Ky
B Brie
B- e
Blei
B-
B B 'son.
:!- -
G 0 Ky' rieB- eB lei'- son,B- Ky
'ri
B- e
'- e' lei:- son.:
-
Gi
B ' B Bson,
B- - -
?Ky
B Brie
B- e
Blei
B-
5 5 5 5! 5 5 B 5 5 ' B!son.
:- - - - -
Ky
'ri
B- e
B- e
B :lei
5-
Bson,
B-
0Ky
'ri
B- e
B- e
B :lei
5-
B! B 'son.
:- -
1
2
G 0 ?Chri
B Bste
'- e
Blei
'- son,
'-
0Chri
' ste
B- e
Blei
'- son,
'-
0
G 0Chri'
ste'
- eB
leiB
-5 5 B B B
son,'
- - -0 0 ?
ChriB B
ste'
- eB
-
Gi
Chri
'ste
B- e
Blei
'- son,
'-
0 ?Chri
B Bste
'- e
Blei
B :-
5 5 5 Bson,
'- -
?Chri
B-
0 0 ?Chri
B Bste
'- e
Blei
'- son,
'-
0Chri
' ste
'- e
Blei
B- -
201
2
G ?Chri
' ste
B!-
Be
Blei
'-
B B son,
'- - Chri
'ste
B- e
Blei
'- son.
:
-
G lei
B :-
5 5 5 B B B son,
'- - -
0 ?Chri
B Bste
B! :
- e
5lei
B-
B B!son.
:- -
Gi
B ste
'- e
Blei
B-
B son,
'-
?Chri
'ste
B- e
Blei
B-
' '!son.
:!- - -
B : 5! B son,
B- -
?Chri
' ste
B-
Be
Blei
B :-
5! B B! ' 'son.
:- - - - -
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218 n Sed MS ooqM 2011 Snd, Jne 19
301
2
G Ky
B :ri
5- e
B- e
B Blei
B- son,
'-
0 Ky
B :ri
5- e
B- e
B Blei
B- son,
'-
0 Ky
'-
G 0 0Ky
B :ri
5- e
B- e
'lei
B- son,
'- Ky
B :ri
5- e
B- e
B Blei
B!- son,
B- Ky
B-
Gi
Ky
'rie
B- e
Blei
'- son,
'-
0 0 Ky
'rie
B- eB lei
'- son,'-
0 0Ky
'rie
B- e
Blei
'- son,
'-
0 Ky
'rie
B- e
B-
1
2
G rie
B- e
Blei
'- son,
B- Ky
5 :ri- e
5 B- e
B Blei
B!- son,
'- Ky
B :ri
5- e
B- e
B Blei
B!- son,
'-
G
rie
B!- e
B!lei
B- son,
B-
0
Ky
'rie
B- e
Blei
'!- son,
'-
0
Ky
B :ri
5- e
B- e
B
-
Gi
0Ky
B :ri
5- e
B- e
'lei
B!- son,
'-
? Ky
B 5ri
5- e
B- e
Blei
B- son,
'-
0
lei
'- son,
'-
0Ky
'rie
B- e
Blei
'- son,
'- Ky
'rie
B- e
B-
1
2
G 0 0Ky
'rie
B- e
Blei
'-
'son.
:!- -
G BleiB
- son,'
- KyB :
ri5
- eB
- eB B
leiB :
-5 5 5! B ' B!
son.:
- - - -
Gi
Ky
B :ri
5- e
B- e
B Blei
B-
B : 5 5 5 B : 5 5 5 5 5 B 'son.
:- - - - - - - -
lei
Variant scansion of Kyrie as either two or three syllables has been preserved as far as possible from the source. (The suggested
pronunciation as a disyllable is NLUL rather than than NLUMH.)
I.4.3: superfluous flat
III.3-4: ky ' rie R e # lei #I.13: lower e flat removed from ks
I.25: lower e flat replaced in ks
III.31-2, 36: ky M rie #R e '
'- son,
B- Ky
B 5ri
5- e
B- e
B :lei
5-
B B B B ' 'son.
:- - - - - -
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Snd, Jne 19 Sed MS ooqM 2011 n 219
Gloria in excelsis
Gi
Glo
5 5 5ri
5- a
5- in
5ex
5cel
5- sis
5- De
5 5 5o
5-
C.
A.
T.
B.
1
2
G ¯
¯
0 Et' B inB ter ' ra'- pax,' ? hoB miB :- ni5- busB- bo' næB- vo5 lun5- taB :- 5 B-
G ¯
¯
Et
' :
in
Bter
'ra
'- pax,
' ?ho
Bmi
B :- ni
5- bus
'- bo
B :næ
5- vo
Blun
B- ta
B :-
5 B B- -
Gi
¯
¯0 0 0 0 0 0
¯
¯ 0 0 0 0 0 0
101
2
G B B!tis,
'-
0 ? be
5ne
5- di
B- ci
B- mus
'- te,
B ? ?glo
Bri
B- fi
B!- ca
B- mus
B-
G '
tis,'
-
0 ? be
5ne
5- di
B- ci
B- mus
'- te,
' ?glo
Bri
B- fi
B- ca
B- mus
B-
Gi 0 ?
Lau
Bda
B- mus
B- te,
' 0 ?a5 do5- raB- mus
B!- te,
' 0 ?gloB -
0 ?Lau
Bda
B- mus
B- te,
' 0 ?a
5do
5- ra
B- mus
B- te,
' 0 ?glo
B-
1
2
G te,
' ? glo
Bri
B :- fi
5- ca
B- mus
B- te,
B glo
5ri
B- fi
5- ca
B- mus
B!-
' Bte.
' ?Gra
B-
G te,
' 0 ? gloB
ri
B :- fi
5- ca
B- mus
B- te,
B glo
Bri
B- fi
B- ca
B :- mus
5- te.
'! ?Gra
B-
Gi
ri
B- fi
B!- ca
B- mus
B- te,
' ? glo
Bri
B- fi
B- ca
B- mus
B-
B B 'te.
' ?Gra
B-
ri
B- fi
B- ca
B- mus
B- te,
: ? glo
Bri
B :- fi
5- ca
B- mus
B-
'te.
' ?Gra
B-
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220 n Sed MS ooqM 2011 Snd, Jne 19
201
2
G 5ti
5- as
B- a
B :gi
5- mus
'- ti
' bi,
B- pro
' pter
B- ma
Bgnam
B- glo
5ri
5- am
B- tu
'am,
B- pro
B-
G 5ti
5- as
B- a
B :gi
5- mus
'- ti
' bi,
B!- pro
' pter
B- ma
Bgnam
B- glo
5ri
5- am
B- tu
'am,'
-
Gi 5
ti
5- as
B- a
B :gi
5- mus
'- ti
' bi,
'- 0 0 ? pro
B B pter
B- ma
Bgnam
B-
5
ti
5- as
B- a
B :gi
5- mus
'- ti
' bi
'-
0 0 0 ? pro
B-
1
2
G B pter
B- ma
Bgnam
B- glo
5ri
5- am
B- tu
'am,
'!-
0 0 ?Do
B 5mi
5- ne
B- De
'-
G 0 ?glo
B 5ri5
- am
B- tu
'!am,
'-
?Do
B 5mi
5- ne
B- De
'us,
B- rex
'cæ
B!-
Gi
glo
5ri
5- am
B- tu
' B Bam,
'- -
?Do
B :mi
5- ne
B- De
'us,
'-
0
B pter
B- ma
Bgnam
B- glo
5ri
5- am
B- tu
'am,
:-
0 ?Do
B 5mi
5- ne
B- De
'-
301
2
G us
B- rex
'cæ
Ble
B-
B B B B B!stis,
'- - - -
?De
' us
B- pa
Bter
B- om
Bni
B- -
G
leB- B ' stis,'- - rexB cæB leB :- 5 ' stis,'- - DeB : us5!- paB ter 5- om5 niB :- 5-
Gi
?rex
'cæ
Ble
B :-
5stis,
'-
?rex
'cæ
Ble
B-
B ' stis,
'- -
0
us,
'-
0 ?rex
'cæ
B!le
B-
B 'stis,
'- -
0 0 ?De
B-
1
2
G B po
B- tens,
'-
' 0 0 0 0 De
'-
G B po
B- tens,
'-
0 ? De
B Bus
B- pa
Bter
B- om
Bni
'- po
B- tens,
B- De
'us
B-
Gi
0De
'us
'- pa
Bter
B- om
B Bni
B :-
5 B po
B- tens,
'-
0
Bus
B- pa
Bter
B- om
Bni
'- po
B- tens,
'-
0 ? De
'us
B- pa
Bter
B- om
Bni
B- -
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222 n Sed MS ooqM 2011 Snd, Jne 19
601
2
G 5li
5- us
B- pa
B B B : 5 5 B Btris,
'- - - -
? fi
B 5li
5- us
B- pa
B B B B '- - -
Gi
5 5 Bi,
'-
0 ?fi
B 5li
5- us
B- pa
B Btris,
B- fi
B :li
5- us
B- pa
B B B B- -
i,'-
?fi
B 5li
5- us
B- pa
B B 'tris,B- - pa
B BB tris,'-
?fi
B :li
5- us
B-
C.
A.
T.
B.
1
2
G 0 0 ?Qui
Btol
'lis
B- pec
Bca
B- ta
B- mun
5 5 Bdi,
'-
0
G tris,
B- pa
' B 'tris.
'- - -
?Qui
Btol
'lis
B- pec
Bca
B- ta
B- mun
5 : 5 5 5 5 5 B- -
Gi tris,B- pa5 5 5 5
B BB! tris.
'- - -
'0 0 0
pa
B B B B 'tris.
'- - -
' 0 0 ?Qui
Btol
'lis
B- pec
B-
70
C.
A.
B.
1
2
G ?mi
'se
B- re
B- re
B- no
B B B B bis,
'-
0 ?mi
'se
B- re
B- re
B- no
B B-
G 5 5 B B Bdi,'
- -0 ?
mi'
seB
- reB
- reB
- noB B B : 5 5 5 B
bis,'
- - - miB :
se5
- -
ca
B- ta
B- mun
' 5 5 ' B B Bdi,
'- - - -
?mi
'se
B- re
B- re
B- no
B B B : 5 5 5 B- - -
C.
A.
T.
B.
1
2
G B : 5 5 5 B 5 5 B ' bis,
:- - - - -
?qui
Btol
Blis
B- pec
Bca
'- ta
B- mun
'di,
'-
G reB
- reB
- noB : 55 5 5 ' B
bis.:
- - -0 0 0
Gi
0 0 ?Qui
Btol
Blis
B- pec
Bca
'- ta
B- mun
'di,
'-
? pec
Bca
B- ta
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bis,
B- mi
B : se
5- re
B- re
B
- no
B 'bis.
:- Qui
:tol
:lis
'- pec
Bca
B- -
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Snd, Jne 19 Sed MS ooqM 2011 n 223
80
C.
T.
B.
1
2
G ?sus
B :ci
5- pe
B- de
B pre
B- ca
B :- ti
5- o
'- nem
B- no
B 5 5 5 5 5 5 Bstram,
:- - -
Gi
mun
'di,
'!-
0 ?sus
B 5ci
5- pe
B- de
B pre
B- ca
B :- ti
5- o
'- nem
B- no
B : 5 5 5-
B
ta
B- mun
'di,
:-
0 ?sus
B :ci
5- pe
B- de
B pre
B- ca
B :- ti
5- -
1
2
G ? sus
B :ci
5- pe
B- de
B pre
B- ca
B :- ti
5- o
'- nem
B- no
B 5 5 5 5 5 5 B 5 5 ' B- - - - - -
Gi
5 5 B B Bstram,
B- - sus
B :ci
5- pe
B- de
B pre
B- ca
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B- o
B :
- nem
5- no
5 5 5 5 5 5 5 5 5 5 B- - -
o
B- nem
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B Bstram,
'- ? sus
B 5ci
5- peB- deB preB- caB
:
- ti
5- o
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BB '- -
90
C.
A.
T.
B.
1
2
G stram,
'-
?Qui
Bse
'des
'-
?ad
Bdex
B :te
5- ram
B- pa
B B B 5 5 Btris,
'- -
0
G ?Qui
Bse
'des
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Bdex
B :te
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' :- pa
B 5 5 B 'tris,
'- - -
0mi
5se
5- re
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Gi stram,'
-?
QuiB
se'!
desB
- adB
dexB :
te5
- ram'
- paB B : 5 B '
tris,B
- - - mi5
se5
- reB
- reB
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-
stram,
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1
2
G 0mi
5se
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B : 5 B B B bis,
'- - -
?Quo
'ni
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G 5 5 B B B 5 5 B bis,
B- - - - mi
5se
5- re
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' B! bis.
:-
' 0
Gi
B B ' bis,
B- - - mi
5se
5- re
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B B bis.
'-
?Quo
'ni
B- am
B- tu
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Blus
5- san
5-
0 0 ?mi
5se
5- re
B- re
B- no
' bis.
:-
' 0
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224 n Sed MS ooqM 2011 Snd, Jne 19
100
1
2
G san
'ctus,
'-
0tu
'so
B :lus
5- Do
Bmi
B- nus,
'-
?tu
B so
B :lus
5- Do
Bmi
B- -
G Quo
' :
ni
B- am
B- tu
Bso
BlusB
- san
B Bctus,
'-
?tu
Bso
B :lus
5- Do
Bmi
B- nus,
'-
Gi 5 5!
5B
ctus,
'- 0 0 tu
'so
B :lus
5- Do
BmiB- nus,
'- ? tu
B!
0Quo
' Bni
B- am
B- tu
Bso
Blus
5- san
B 5! 5 Bctus,
'-
0 0 ?tu
B
1
2
G nus,
'-
0 ?tu
'so
B 5lus
5- al
B!tis
B :-
5 5 5 ' B Bsi
B- - - - mus,
'-
G ?tu
B so
B :lus
5- Do
Bmi
B- nus,
'-
0 0 0 ?tu
B
Gi
so
B :lus
5!- Do
Bmi
B- nus,
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'so
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5si
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Bmus,
'- al
Btis
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so
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lus
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'-
0 0tu
'so
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lus
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tis
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-
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1101
2
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5-
Bmus,
'!- Je
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5 - Chri
B ' Bste,
:- -
G
B soB : lus5- alB! tisB :
- si5 - 5 5 B mus,B!- JeB : su5- ChriB B B B : 5! ste,'!- - - ? cumB Gi
mus,
B- tu
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5- al
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'- si
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'-
0Je
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5- Chri
'ste,
'-
?cum
B
B B B :
si
5- - mus,
B- al
Btis
B :
- si
5- mus,
'- Je
B :su
5- Chri
B B! 'ste,
:- -
1
2
G 0 ?cum
Bsan
Bcto
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B :ri
5- tu,
'-
?in
Bglo
B :ri
5- a
B- De
Bi
B- pa
' B-
G san
Bcto
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5- tu,
B- in
Bglo
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5- a
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Bi
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B B B!tris,
'-
0 ?in
B
Gi
san
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5- tu,
'-
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B 5ri
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Bi
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'tris,
'-
0 ?cum
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Bcto
B- Spi
B :ri
5- tu,
'-
?in
Bglo
B :ri
5- a
B- De
B Bi
B- pa
'-
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Snd, Jne 19 Sed MS ooqM 2011 n 225
1201
2
G tris,
'-
?in
B glo
B :ri
5- a
B- De
B 5i
5- pa
5 5 5 5 B B Btris,
'- - - De
' :
i
B- -
G glo
B :ri
5- a
'- De
B :i
5- pa
B Btris,
B-
? ?in
Bglo
B :ri
5- a
B!- De
B 5i
5- pa
5! 5! 5 5 B-
Gi
? in
B gloB
:
ri5- aB- De' iB- pa
BB tris,'- 0 ? inB gloB : ri5- aB- DeB -
tris,
:-
?in
Bglo
B :ri
5- a
B- De
'i
B- pa
'tris,
'- De
' :
i
B- -
1
2
G pa
'tris,
'-
?A
B : 5 5 5 B Bmen.
B- - - A
B 5 5 B : 5 B B 5! 5men.
'- - - -
G B 5! 5! 5 5 B B B!tris.'
- - - -' ?
AB 5 5 5 5 B B
men.:
- - -
Gi
5i
5- pa
5 5 5 5 B 'tris.
'- - - A
B B 'men.
'- -
?A
B B 5 5men.
'-
pa
I.26.2: superfluous flat
:tris.
'- -
?A
B 5 5 5 5 5 5 B B B! 'men.
:- - - - - -
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226 n Sed MS ooqM 2011 Snd, Jne 19
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Snd, Jne 19 Sed MS ooqM 2011 n 227
Credo in unum Deum
Cre
do
- in
u
num
- De
um,
-
C.
A.
T.
B.
Pa
trem
- om
ni
- po- ten
- tem,
-
fa cto
- rem
- cæ
li
- et
Pa
trem
- om
ni
- po
- ten
-
tem,
-
fa
cto
- rem
- cæ
li
- et
ter
-
fa
-
10
ter
ræ,
- - - - - -
vi
si
- bi
- li
- um
- om
-
ræ,
- cæ
li
- et
ter
ræ,
- - -
vi
si
- bi
- li
- -
cto
- rem
- cæ
li
- et
ter
ræ,
- -
vi si- bi
- li
- um
- om
ni-
-
vi
si
- bi
- li
- um
- om
-
ni
-
um
- et
in
vi
- si
- bi
-
li-
um,
-
Et
um
- om
ni
-
um,
-
et
in
vi
- si
- bi
- li-
-
um
- et
in
vi
- si
- bi
- li
- um,
- et
in
vi
- si
- -
ni
- um,
-
et
in
vi
- si
- bi
- li
- -
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228 n Sed MS ooqM 2011 Snd, Jne 19
in
u
num
- - Do
mi
- num
- Je
sum
- Chri
stum,
- - fi
-
um.
- Et
in
u
num
- Do
mi
- num
- Je
sum
- Chri
stum,
-
fi
li
- -
bi
- li
- um.
- Et
in
u
num
- Do
mi
- num
-
Je
sum
-
um.
-
Et
in
u
num
- - Do
mi
- num
- Je
sum
-
20
li
- um
- De
i
- - u
ni
-
ge
- ni
- tum,
- u
ni
- -
um
- De
i
- u
ni
- ge
- ni
- tum,
- u
ni
- - ge
- -
Chri
stum,
- - -
fi
li
- um
- De
i
- u
ni
- -
Chri
stum,
- fi
li
- um
- De
i
- u
ni
- ge
- ni
- tum,
-
ge
- ni
- tum,
-
ni- tum,-
et ex pa tre- na tum- an te- om
ni- a- sæ
-
ge
- ni
- tum,
-
et
ex
pa
tre
- na
tum
- an
te
- om
ni
- a
- sæ
-
et
ex
pa
tre
- na
tum
- an
te
- om
ni
- a
- sæ
-
30
De
um
- de
De
o,
-
De
um
- ve
-
cu
- la,
- De
um
- de
De
o,
-
De
um
- ve
-
cu
- la,
-
lu
men
- de
lu
mi
- ne,
-
de
cu
- la,
-
lu
men
- de
lu
mi
- ne,
-
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Snd, Jne 19 Sed MS ooqM 2011 n 229
rum
-
de
De
o
- ve
ro,
- ve
ro,
-
ge
ni
- -
rum
-
de
De
o
- ve
ro,
- ve
ro,
- -
ge
ni
- -
De
o
- ve
ro,
- ve
ro,
-
ge
ni
- tum
- non
fa
- de
De
o
- ve
ro,
-
de
De
o
- ve
ro,
- ge
ni
- tum
- non
fa
-
40
tum
- non
fa
ctum,
- con
sub
- stan
- ti
- a
- lem
- pa
tri,
- con
sub
- stan
- ti
- a
- lem
- pa
-
tum
- non
fa
ctum,
-
con
sub
- stan
- ti
- a
- lem
- pa
tri,
-
con
sub
- stan
- ti
- -
ctum,
- con
sub
- stan
- ti
- a
-
lem
- - pa
- - - - -
ctum,
-
con
sub
- stan
- ti
- a
-
lem
- pa
-
tri,
-
per
quem
om
ni
- a
- fa
cta
- sunt,
a
- lem- pa tri,-
per quem om
ni- a- fa cta- sunt, per quem
tri,
-
per
quem
om
ni
- a
- fa
cta
- sunt,
per
quem
om
-
tri,
-
per
quem
om
ni
- a
- fa
cta
- sunt,
per
quem
om
ni
- a
- fa
-
50
per
quem
om
ni
- a
- fa
cta
- - -
sunt.
om
ni
- a
- fa
cta
- sunt,
per
quem
om
ni
- a
- fa
cta
- sunt.
ni
- a
- fa
cta
- - sunt,
per
quem
om
ni
- a
- fa
cta
- sunt.
cta
- sunt,
per
quem
om
ni
- a
- fa
cta
- - sunt.
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230 n Sed MS ooqM 2011 Snd, Jne 19
C.
T.
B.
Qui
pro
pter
- nos
ho
mi
- nes,
-
et
pro
pter
- no
stram
- sa
lu
- tem,
-
de
scen
- -
Qui
pro
pter
- nos
ho
mi
- nes
-
et
pro
pter
- no
stram
- sa
lu
- tem,
-
Qui
pro
pter
- nos
ho
mi
- nes
-
et
pro
pter
- no
stram
- sa
lu
- tem
-
de
scen
- -
60
C.
A.
T.
B.
dit
- de
cæ
lis,
- - - - - - - -
Et
Et
in
car
- na
- tus
-
de
scen
- dit
-
de
cæ
lis,
- - -
dit
-
de
cæ
lis,
- - - - -
Et
in
car
- na
- tus
-
in
car
- na
-
tus
- est,
de
spi
ri
- tu
- san
cto,
- -
est,
de
spi
ri
- tu
- san
cto,- - -
ex
Ma
-
Et
in
car
- na
- tus
- est,
de
spi
ri
- tu
- san
cto,
- - -
est,
de
spi
ri
- tu
- san
cto,
-
de
spi
ri
- tu
- san
-
70
ex
Ma
ri
- a
- vir
gi
- ne,
-
et
ho
mo
-
ri
- a
- vir
gi
- ne,
- et
ho
mo
- fa
ctus
- est,
fa
ctus
- - -
ex
Ma
ri
- a
- vir
gi
- ne,
-
et
ho
mo
- fa
ctus
- est,
et
cto,
-
ex
Ma
ri
- a
- vir
gi
- ne,
-
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Snd, Jne 19 Sed MS ooqM 2011 n 231
fa
ctus
- - - - - - est.
Cru
ci
- fi
- xus
- e
ti
- -
est,
et
ho
mo
- fa
ctus
- est,
fa
ctus
- est.
Cru
ci
- fi
- xus
- e
ti
- -
ho
mo
- fa
ctus
- - - - - est.
Cru
ci
- fi
- xus
- e
ti
- -
et
ho
mo
- fa
ctus
- - est.
80
C.
A.
T.
am
- pro
no
bis
- sub
Pon
ti
- o
- Pi
la
-
to,
-
pas
sus
- et
se
pul
- -
am
- pro
no
bis
- sub
Pon
ti
- o
- Pi
la
- to,
- pas
sus
- et
se pul
- tus
-
am
- pro
no
bis
- sub
Pon
ti
- o
- Pi
la
- to,
-
pas
sus
- et
se
-
C.
A.
T.
B.
tus
- est.
Et
re
sur
- re
- xit
-
est,
se pul
- tus
- est.
Et
re
sur
- re
- xit
- ter
ti
- a
- di
e,
-
pul
-
tus
- est.
Et
re
sur
- re
- xit
- ter
ti
- a,
- ter
-
Et
re
sur
- re
- xit
- ter
ti
- a
- di
e,
-
90
ter
ti
- a
- di
e,
-
se
cun
- dum
- scrip
tu
- ras,
- scrip
tu
-
ras.
- - -
ter
ti
- a
- di
e,
-
se
cun
- dum
- scrip
tu
-
ras.
-
ti
- a
- di
e,
-
se
cun
- dum
- scrip
tu
-
ras,
- - - - scrip
-
ter
ti
- a
- di
e
- se
cun
- dum
- scrip
tu
-
ras,
-
se
cun
- dum
- scrip
tu
- ras.
-
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232 n Sed MS ooqM 2011 Snd, Jne 19
Et
a
scen
- dit
- in
cæ
lum,
-
se
det
- ad
dex
te
- ram
- pa
tris,
-
se
-
Et
a
scen
- dit
- in
cæ
lum,
- se
det
- ad
dex
te
- ram
- pa
tris,
- - - -
tu
- ras.
-
Et
a
scen
- dit
- in
cæ
lum,
- se
det
- ad
dex
te
- ram
- pa
-
Et
a
scen
- dit
- in
100
det
- ad
dex
te
- ram
- pa
tris,
- - -
ad
dex
te- ram
- pa
tris,
-
se
det
- ad
dex
te- ram
- pa
tris,
- - - pa
tris,
-
et
tris,
-
se
det
- ad
dex
te- ram
- pa
tris,
-
et
i
te
- -
cæ
lum,
- se
det
- ad
dex
te
- ram
- pa
tris,
- - -
et
i
te
- rum
- ven
-
et
i
te
- rum
- ven
tu
- rus
- est,
cum
glo
ri
- a
- ju
-
i
te
- rum- ven
tu- rus- est,
cum glo
ri- a- ju
di-
ca- re,-
cum
rum
- ven
tu
- rus
-
est,
cum
glo
ri
- a
- ju
di
-
ca
- -
tu
- rus
- est,
cum
glo
ri
- a
- ju
di
- ca
-
- - -
110
di
-
ca
- re,
-
vi
vos
- et
mor
tu
- os,
-
cu
jus
- re
-
glo
ri
- a
- ju
ca
- - re
- vi
vos
- et
mor
tu
- os,
-
cu
jus
-
re
-
vi
vos
- et
mor
tu
- os,
- et
mor
tu
- os,
-
cu
jus
- re
gni,
-
re
- vi
vos
- et
mor
tu
-
os,
-
cu
jus
- re
gni
- non
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Snd, Jne 19 Sed MS ooqM 2011 n 233
gni
- non
e
rit
- fi
nis,
-
cu
jus
- re
gni
-
non
re
gni,
-
cu
jus
- re
gni
-
non
e
rit
- fi
- - - -
non
e
rit
- fi
nis,
-
cu
jus
- re
gni
- non
e
rit
- fi
-
e
rit
- fi
nis,
- cu
jus
- re
gni,
-
cu
jus
- re
gni
-
120
e
rit
- fi
nis.
-
Et
in
Spi
ri
- tum
- san
ctum
- Do
mi
- num,
- et
nis,
- non
e
rit
- fi
nis.
-
Et
in
Spi
ri
- tum
- san
ctum
- Do
mi
- num,
- et
nis,
- non
e
rit
- fi
nis.
-
Et
in
Spi
ri
- tum
- san
ctum
- Do
mi
- num,
-
non
e
rit
- fi
nis.
-
Et
in
Spi
ri
- tum
- san
ctum
- Do
mi
- num,
-
vi
vi
- fi
- can
- tem,
-
et
vi
vi
- fi
- can
- tem,
-
vi vi- fi
- can- tem,- vi vi- fi- can- tem,- qui
ex pa
tre- fi -
et
vi
vi
- fi
- can
- tem,
-
qui
ex
pa
tre
- fi
li
- o
- -
et
vi
vi
- fi
- can
- tem,
-
qui
130
qui
ex
pa
tre
-
fi
li
- o
-
que
- pro
ce
-
-
li
- o
- que
- pro
ce
-
dit,
- - - pro
ce
-
dit,
-
que
-
pro
ce
-
dit,
- fi
li
- o
- que
- pro
ce
-
dit,
-
ex
pa
tre
-
fi
li
- o
-
que
- pro
ce
-
dit,
- -
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234 n Sed MS ooqM 2011 Snd, Jne 19
dit,
-
qui
cum
pa
tre
- et
fi
li
- o
-
si
mul
- a
do
- -
qui
cum
pa
tre
- et
fi
li
- o
- si
mul
- a
do
- ra
- tur,
-
et
qui
cum
pa
tre
-
et
fi
li
- o
- si
mul
- a
do
- ra
-
tur,
- -
qui
cum
pa
tre
- -
et
fi
li
- o
-
si
mul
-
140
ra
-
tur,
- -
et
con
glo
- ri
- fi
- ca
- tur,
-
qui
lo
-
con
glo
- ri
- fi
- ca
- tur,
- et
con
glo
- ri
- fi
- ca
-
tur,
- - - -
et
con
glo
- ri
- fi- ca
- tur,
-
et
con
glo
- ri
- fi- ca
-
tur,
- - -
a
do
- ra
- tur,
-
et
con
glo
- ri
- fi
- ca
- tur,
-
cu
- tus
- est
per
Pro
phe
-
tas,
- per
Pro
phe
-
tas.
- - -
qui
lo cu- tus- est per Pro phe- tas,- per Pro phe- tas.
-
qui
lo
cu
- tus
- est
per
Pro
phe
-
tas.
- -
qui
lo
cu
- tus
- est
per
Pro
phe
-
tas.
- - - -
150
Et
u
nam
-
san
ctam
-
Ca
tho
- li
- cam,
- Ca
tho
- li
- cam,
- et
Et
u
nam
-
san
ctam
- Ca
tho
- li
- cam,
- Ca
tho
- li
- cam,
-
Et
u
nam
-
san
ctam
- Ca
tho
- li
- cam,
- Ca
tho
- li
- cam,
- et
Et
u
nam
-
san
ctam
-
Ca
tho
- li
- cam,
- et
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Snd, Jne 19 Sed MS ooqM 2011 n 235
A
po
- sto
- li
- cam
- Ec
cle
-
si
- am.
-
Con
fi
- te
- or
- u
num
-
et
A
po
- sto
- li
- cam
- Ec
cle
- si
- am.
-
Con
fi
- te
- -
A
po
- sto
-
li
- cam
- Ec
cle
-
si
- am.
-
Con
fi
- te
- or
- u
-
A
po
- sto
- li
- cam
- Ec
cle
-
si
- am.
-
Con
fi
- te
- or
- u
num
- bap
-
160
bap
tis
-
ma
- -
in
re
mis
- si
- o
- nem
- pec
ca
- to
- -
or
- u
num
-
bap
tis
-
ma
- in
re
mis
-
si
- o
- nem
- pec
-
num
- bap
tis
- ma
- in
re
mis
- si
- o
- nem
- pec
ca
- to
- -
tis
- ma
- - in
re
mis
- si
- o
- nem
- pec
ca
- to
- -
rum,
-
Et
ex
spe
-
cto
- re
sur - re
- xi
- o
- nem
- mor
tu
- o
-
rum,
- mor
-
ca- to- rum,-
Et ex spe- cto- re sur - re
- xi- -
rum,
- Et
ex
spe
- cto
- re
sur
- re
- xi
- o
- nem,
- re
sur - re
- xi
- o
- -
rum,
-
Et
ex
spe
-
cto
- re
sur - re
- xi
- o
- nem
- mor
-
170
tu
- o
- rum,
-
mor
tu
- o
-
rum
-
et
vi
tam
- ven
-
o
- nem
- mor
tu
- o
- rum,
-
et
vi
tam
- ven
tu
- ri
- sæ
cu
- li,
-
nem
-
mor
tu
- o
-
rum,
- -
et
vi
tam
- ven
-
tu
- o
-
rum,
- - -
et
vi
tam
- ven
tu
- ri
- sæ
cu
- li,
-
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236 n Sed MS ooqM 2011 Snd, Jne 19
tu
- ri
- sæ
cu
- li,
-
et
vi
tam
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tu
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-
et
vi
tam
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tu
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cu
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et
vi
tam
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tu
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cu
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vi
tam
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tu
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cu
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tu
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cu
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et
vi
tam
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tu
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cu
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vi
tam
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tu
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cu
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men,
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et
vi
tam
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-
180
li.
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men.
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men.
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et
vi
tam
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tu
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cu
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men.
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vi
tam
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tu
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III.61-2: decelis
III.64-5: in Carnatus
- ri
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cu
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men.
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men.
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Snd, Jne 19 Sed MS ooqM 2011 n 237
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238 n Sed MS ooqM 2011 Snd, Jne 19
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Sed MS ooqM 2011 n 239
Sanctus - Benedictus
C.
A.
T.
B.
1
2
G ¯
¯
San
B : 5 5 5 B B 5 5 B B ' B : 5ctus,
'!- - - - - - -
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ctus,'
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sanB
-
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B : 5 5 5 B B B '- - - -
1
2
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Gi
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ctus,
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10
1
2
G B B B B! ' ' B B B B 'ctus,
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1
2
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240 n Sed MS ooqM 2011
201
2
G 5mi
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mi
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:-
C.
A.
T.
1
2
G 0 0 0 ?Ple
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B- sunt
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ni
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301
2
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ri5
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Sed MS ooqM 2011 n 241
40
C.
A.
T.
B.
1
2
G a.
:-
0O
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242 n Sed MS ooqM 2011
601
2
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Sed MS ooqM 2011 n 243
Agnus Dei
C.
A.
T.
B.
1
2
G ¯¯ 0
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C.
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2
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C.
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244 n Sed MS ooqM 2011
30
C.
A.
T.
B.
1
2
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B : 5 5 5 B B Bbis,
:- - - - - Ag
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1
2
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ta
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Sed MS ooqM 2011 n 245
1
2
G 'cem,
'-
?do
B :na
5- no
B Bbis
B- pa
'cem,
'- pa
' 'cem,
'- -
G B bis
B- pa
' 'cem,
'- -
?do
B :na
5- no
B Bbis
B- pa
'cem,
B- do
B :na
5- no
B-
Gi
?do
B :na
5- no
B B bis
B- pa
' 'cem,
'- -
?do
B :na
5- no
B Bbis
B- pa
'-
na
'- no
' B bis
B- pa
B B B : 5 B Bcem,
:- - - -
' ?do
B-
50
1
2
G 0 ?do
B 5na
5- no
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G B bis
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Gi 'cem,'
-: 0 ?
doB 5
na5
- no'
bisB
- pa'
cem,'
-
5
na
5- no
'bis
B- pa
'
cem,
'- pa
' 'cem,
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B :na
5- no
B bis
B- pa
'-
Part of my complete edition of the published vocal works of William Byrd made available through the Choral Public Domain Library (http://www.cpdl.org).
For general editorial notes, please visit my user page at http://www.cpdl.org/wiki/index.php/User:DaveF.
All scores are made freely available according to the CPDL Licence for downloading, printing, performing and recording. No further conditions are
or can be attached, although it’s always good to hear of any performances.
Please do not, without consulting me, make copies of my scores available through other websites – there’s no need, first of all, as CPDL is always here,
and secondly by doing so you put these editions beyond my control and so will miss out on any updates and revisions.
1
2
G Bbis
B- pa
'cem,
'- do
'na
B- no
' bis
B- pa
B : 5 'cem.
:!- -
G cem,B- do
B :na5- noB B bisB- pa
'cem,
B- do
B :na5- noB B bis5!- pa5! 5 B 5 cem.:
-
Gi
: ?do
B :na
5- no
B Bbis
B- pa
'cem,
B- pa
' Bcem.
:- -
Edition transposed down a tone from published pitch
Sources:
Polyphony: [William Byrd: Mass for four voices] (No title or publication information on any surviving edition; probably printed in London by Thomas East, c.1592).
Plainsong: from the Liber Usualis, chosen for their mode rather than liturgical function. If the Mass is used liturgically,
performers may wish to substitute the proper chants.
I.12: bis '
'cem,
'- do
'na
'- no
' :bis
B- pa
:cem.
:- -
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246 n Sed MS ooqM 2011
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BbbvhbvzzzhvvzbhvvvvzzhzzvvtfbbzzzzzzzG Yzvzzzzbbzbzzbbgzbbbbvbbdbm zzzbzz}zöxxxxxxvvb
BbzbbzbygzbzzbbbbbbbbG YzzzzzbbbbvvbhvzzbzzbhbvbbbbhbbvzzbhbbvvvbbvzzbhvvzzygzbzzbbbbbG UvvzbzbbbjbbbbbzbzzbbH Uvbzzbzhb. vzbbbzz]zbbvzzygvvbzbzG Yvzvbbhbbvvhvbbbö
BbbvhbvzzzbhvbvzbhvvzzhvvzzhzzvvzzzbhzbvvhvzzbvtfbbzzzzzzG Yzvzbzzbbgzbzbbbbvbbdbm zzzbzz}zöxxxxcvzbb
BbzbbzbygzbbbbbbbbbG YzzzbvbhbbzzbzzbhbvbbbbhbbvzbbvzzhbzzzzbzzygzbzzbbbbbG UvvzbzbzzbbbbbjbbbzbzzbbH Uvbzzbhvvzhb. vzbbbz]zbbvzygvvbzbG Yvbbbzbbhbvvbhvbbbbzhvvzzhbbbbö
BbbbvhbvzzvzzzzvtfbbbzzzzzzG Yzvbzbbgzbbbbvbbdbm zzzbzz}zöxxxxcvzbbxxxcv
BbzbbzbygbbbbbbbbbbG YzzbzbvbhbbzzbzvzbzbhbbbvbbbbhbbvzbzbhzbbbvzzhbzvzzbhbbvzzbhbvvhvvzzvzzzhvvbbbbhvvvhzzbbzbzbzygzbzzbbbbbG UvbbbbbbjbbzbbbzbzzbbH Uvbzzbhb. vzz]zö
BvzygvvbzG Yvvvhvvvzzhvvvhvvzhvvvhvvvzzbhvvvzzzzhvvzzhvvbbzhbbvvhvvvzzbhbvvhb. vvb[bzvbhvvzzhvvvztfvvG Yvzbõ
Snd, Jne 19
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248 n Sed MS ooqM 2011
Bbvzgvvzzdbm vvz}zöxxxxxxxxxxcvvbbb
BbzzbbzbygbbzbbbbbbbbbG Yzbzbvbhbbbbbzbzbhbbbvbbbbhzbbbbbvzbzbhzbbbvzzhbbzvzzbhbbbvzzbhb. vvb[bvzbhvvzzzbhbbvbbbbhvbvhzzvvzzhvvzzhvvhzbbzbzbzygzvbbvzzzzG Uv÷
BbvbjvbbbbzbzzbzbbbH Uvbzbzbhb. vzzzzzb]zbzzzvygvvvbbzG Yvvvvhzbvvzzhvbvhvvvzzhvvzzzbbhvvvbhbvvzhvvzhvvvzzbhbvvhvvvvzhbbvvhzzzõ
BbbbzbtfbzbbbzzzzG Yzzbvbzbbgzbbbvbbdbm zzzbzz}zöxxxxcvzbbxxxcvxbbb
BbzzbbzygzbbzbbbbbbbG Yzbzzbvhbbbbbzbzbhbbbbzbbbbhzbbbbbvzbbbbhzbbbvzbhbbbzvzzbhbvvvvzzzhvvvzzzzzhvvzzbbbhvvzhvbbzzbhb. vvbzb[bbbvzzbhvvzzzbhbzzzzzzbbvbbbbhvzzö
BzzbzbzhvzzzzzhbvvzbhvvvzzbhvvzhvvvygzbzzbbzzzG UvbzzzzbbjvbbbbbbH Uvbzbzbhb. vzzzz]zbzvygvzzbbzG Yvbbvhzbvvhvbvzhvvvbhvvzzhvbvhvvbhzzzbö
BzbvhvvzzzzhvvvhvzbbvhbbzbbbbzbtfbzbbzzzzG Yzzbzzbzbbgzbbbvbbdbmzzzbzz}zöxxxxxxx
BbzbbzbygzbbbbbbbbbG YzzzbvbhbbzbzbzzbhbbbvzbbzbzzzzbzzygzbzbbbbbbG UvbbbbbbjvzbbbzbzzbbH Uvbzzbvvzhb. vzbbbz]bbbvzygbbbvbbbG Yvbzbbhbbvvbhvbbbbzzbbhvbbbzbzhbbbbvzzhvvzhbbzzbö
BbvhvvzzhvvvvbbvhvzbbbzhbvvbtfbzbbvzzzzbzzG Yzzbzzbzbgzbbbvbbdbmzzzbzz}zöxxxxxxcb
BbbzbbzbygzbbbbbbbbG YzzbvbhbzbzbzzbhbbbvzbbzbbzzhvvzzhvzbbzzzhzzbzzbbbzbygzzzbzbbbbbbbbG UvbbbbbjbbbbbzbzzbH Uvbzzbhvvzhb. vzbbb]bbzbbbygbzbbbbvbbbG Yvzbbzbhbbvvbhvbvvzhzbbö
BbvzhbvvvvvbtfbzbzbzbzzG Yzzbzzzbgzbbbvbbdbmzzzbzz}zöxxxxxxcbxxb
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Sed MS ooqM 2011 n 249
BbbbzbygzbbbzzbbbbG YzzbvbbhbzbzbzzbhbbbvzbbzzzbzbbzzhvvbzhvzbbzzbhbbvzzhvvbhvvvvvzhvvzzhvvvvzhvvbhvbvhvvzbhvbbvhbzzbbzzbbbzbygzzbzzzbbbbG Uzzz÷
BbbbbbbbbjbvvvzbbbbzbzzbH Uvbzbbzhvvzhb. vzbbb]bbzbbbygbbzbvbbbG YvbbzbhbbvzzbbbbhvbbvhvvbhvvvbhvvvzbhvvbbhvvvvbbbtfbzbzbbzbzzG Yzzbbbzzbbgzbbbbvbbdbmzzzbb}zö
BbbbbbygzzbbbzzbbbbG YzbvbbhbzbzbzzhbbbzzbzbbbzhvvzzbbbygzzbzbzbbbbG UzzzvvvzjvvvvzzbH Uvbzbzhbvvzhb. vzbbbbb]bbzbbbbbygbbzbvbbbbbG Yvbbvvbzbhbbvzzbhvvzzhvvbhbbbö
BzbbbhvvbbbbbbtfbzbzbzbzzG Yzzbbzzbbgzbbbbvbbdbmzzzbbbbb}zöxxxxxxxxzvvvvbbbb
Snd, Jne 19
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250 n Sed MS ooqM 2011
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&
VV?
&?
b
bb
b
bb
S
A
T
B
1
˙ ˙San cta
˙ ˙San cta
˙ ˙San cta˙ ˙San cta
1
˙ ˙˙ ˙˙ ˙˙ ˙
.œ jœ ˙Tri ni tas
.œ Jœ ˙Tri ni tas.œ Jœ ˙Tri ni tas
.œ jœ ˙Tri ni tas
.œ jœ ˙.œ Jœ ˙.œ jœ ˙.œ Jœ ˙
˙ œ œu nus De
wu˙ œ œu nus De˙ œ œu nus De
˙ œ œw œ œ˙ œ œ
œ œ .œ œ œ œus
˙ .œ Jœnus deœ œ ˙
œ œ ˙
œ œ .œ œ œ œ˙ .œ Jœœ œ ˙œ œ ˙
œ .œ Jœ œmi se re
.œ œ œ œ œus mi
˙ Óus˙ Óus
œ .œjœ œ.œ œ œ œ œ˙ Ó˙ Ó
- - - - - - - - - -
- - - - - - - -
- - - - - - - - -
- - - - - - - - -
&VV?
&?
bbb
b
b
b
6
œ œ .œ œ œ œ œre noœ Jœ .œ œ œ Jœnse re re no
∑
∑
6
œ œ .œ œ œ œ œœ Jœ .œ œ œ Jœn
∑
˙ Óbis,˙ Óbis,Œ œ œ œ
mi se reŒ œ œ œmi se re
˙ Ó˙ ÓŒ œ œ œŒ œ œ œ
∑
∑
.œ œœ œ œœœre no
.œ œœ œ jœ œ Jœre no
∑
.œ œ œ œ œ œ œ.œ œ œ œJœ
œ Jœ
Œ œ œ œmi se reŒ œ œ œmi se re
˙ Óbis,˙ Óbis,
Œ œ œ œŒ œ œ œ˙ Ó˙ Ó
.œ œ œ œ œ œ œre no.œ œ œ œJœ
œ Jœre no
∑
∑
.œ œ œ œ œ œ œ.œ œ œ œJœ
œ Jœ∑
- - - - - - - -
- - - - - - -
- - - -
- - - -
SANCTA TRINITAS
Antoine de Févin
c. 1470 – late 1511
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&
V
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&
?
b
b
bb
b
b
11
.œ œ œ œ .œ œ œ œ œ
.œ œœœ œ Jœ
Œ œ œ œmi se re
Œ œ œ œmi se re
11
.œ œ œ œ .œ œ œ œ œ.œ œœJœ œ Jœ
Œ œ œ œŒ œ œ œ
.œ œœ œ jœ œ jœœ ‰ Jœ œ œ œ
bis, no
.œ œœ œ œœœre no
.œ œ œœœre no
.œ œ œ œ jœ œ jœœ ‰Jœ œ œ œ
.œ œ œ œ œ œ œ.œ œ œ œ œ
˙ Óbis.
˙ Óbis.
œ Œ ˙bis. Te
˙ Œ œbis. Te
˙Ó
˙
œ Œ˙
˙ Œ œ
∑
∑
œ œ œ .œ œ œin vo
œ œ œ œin vo
∑
œœ
œ.œ œ
œœ œ œ œ
∑
∑
œ œ œ œ .œ œ œ œ œca
œ œ .œ œ œ jœnca
∑
œ œ œ œ .œ œ œ œ œœ œ .œ œ œ Jœn
- - - - - - - -
- - - - -
- - - - - - - - - - - -
- - - - - - - - - -
&
V
V?
&?
b
b
b
b
b
b
16
∑
∑
.œ œ œ œ œ jœ Jœ Jœ Jœmus, Te ad o
œ œ œ œ œ Jœ œ œ Jœ Jœmus, Te ad o ra
16
∑
.œ œ œ œ œ jœ jœ jœ jœœ œ œ œ œ Jœ œ œ Jœ Jœ
Ó Œ œTeÓ Œ œTe
œ œ œ Jœn ˙ra mus,
œ œ œ œ œ ˙mus,
Ó Œ œÓ Œ œœ œ œ jœn ˙œ œ œ œ œ ˙
.œ œ œJ
œ œ œglo ri fi ca.œ œ œ Jœ œ .œ œglo ri fi ca
∑
∑
.œ œ œ jœ œ œ.œ œ œ Jœ œ .œ œ∑
œ œœœ .œ œœ œœ œ œ .œ œœ
∑
∑
œ œ œ œ .œ œ œ œœ œ œ .œ œ œ∑
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Snd, Jne 19
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252 n Sed MS ooqM 2011
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&
V
V?
&
?
b
b
bb
b
b
20
œ œ œ œ œ Jœ œ jœœ .œ œ œ œ œ œ œ œ
∑
∑
20
œ œ œ œ œ jœ œ jœœ .œ œ œ œ œ œ œ œ∑
˙ Ómus,
˙ Ómus,
Œ ‰ Jœ .œ œ .œ œTe glo
Ó ‰ Jœ .œ œTe glo
˙ Ó˙
Ó
Œ ‰
jœ .œ œ .œœÓ ‰ Jœ .œ œ
∑
∑
jœ .œ œ œ œ œ œ œ œri fi
.œ œ œ œ œri fi
∑
jœ
.œ œœ œ
jœœ œ œ.œ œ œ œ œ
- - - - - - -
- - - - - - -
- - - - - - -
- - - - - -
&
V
V?
&?
b
b
b
b
b
b
23
∑
∑
jœ .œ œ œ œ jœ œ jœca
œ œ œ œ œ œ œ œca
23
∑
jœ .œ œ œ œ jœ œ jœœ œ œ œ œ œ œ œ
Ó Œ œOŒ œ ˙
O be
œ Œ œ œmus, O be
˙ Œ œmus, O
Ó Œ œŒœ ˙
œ Œ œ œ˙ Œ œ
.œ jœ .œ œœbe aœ .œ œ .œ œ
a ta
œ œ .œ Jœa ta
˙ œ œbe a ta
.œ jœ .œ œ œœ .œ œ .œ œœ œ .œ jœ˙ œ œ
.œ jœ .œœ œta .˙ œ
Tri
.œ œ œ .œ JœTri niœ œ .œ œ .œ œ .œ œ
Tri
.œ jœ .œ œ œ.˙ œ
.œ œ œ .œ jœœ œ .œ œ .œ œ .œ œ
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Snd, Jne 19
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Sed MS ooqM 2011 n 253
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&
V
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&
?
b
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bb
b
b
27 .œ Jœ .œ œ œTri ni tas,
Jœ Jœ .œ œ œ œni tas,
.œ œ œ ˙tas,
˙ ˙ni tas,
27 .œ jœ .œ œ œJœ Jœ .œ œ œ œ.
œ œ œ˙
˙ ˙
.œ jœ œ œO be a˙ œ œ œO be a ta
.œ Jœ œ œO be a
.œ œ œ œ œ œ œ œO be a
.œ jœ œ œ˙ œ œ œ
.œ jœ œœ.œ œ œ œ œ œ Jœ œ
œ .œ œ œ œta Tri ni
‰ œ Jœ ˙Tri ni
œ œ ˙ta Tri ni
œ œ ˙ta Tri ni
œ .œ œ œ œ‰ œ Jœ ˙
œ œ ˙œ œ ˙
˙ ‰ jœ œ œtas, sit no men
˙ ‰ Jœ œ œtas,tas, sit no men
˙ Ótas,
˙ Ótas,
˙ ‰ œ œ œ˙ ‰ œ œ œ
˙ Ó˙ Ó
- - - - - - -
- - - - - - -
- - - -
- - - - - - -
&
V
V?
&?
b
b
b
b
b
b
31
œ œn œ ÓDo mi ni,œ œ œ ÓDo mi ni,
Œ ‰ jœ œ œ œ œnSit no men Do mi
Œ ‰ Jœ œ œ œ œSit no men Do mi
31 œ œn œ Óœ œ œŒ ‰
jœ œ œ œ œnŒ ‰ Jœ œ œ œ œ
‰ jœ œ œ œ œ œ Jœsit no men Do mi ni be‰ Jœ œ œ œ œ œ Jœsit no men Do mi ni be
œ Œ Óni,
œ Œ Óni,
‰ œ œ œ œ œ œ œ‰ œ œ œ œ œ œ œœ Œ Óœ Œ Ó
Jœ œ
J
œn œ Œne di ctusJœ Jœ œ œ Œne di ctus
Ó ‰ jœ jœ jœSit no men
Ó ‰ Jœ Jœ JœSit no men
jœ œ jœn œ ŒJœ Jœ œ œ Œ
Ó ‰jœ jœ jœÓ ‰ Jœ Jœ Jœ
∑
∑
jœ Jœ Jœ œ œ JœnDo mi ni be ne di
Jœ Jœjœ œ Jœ œ
Do mi ni be ne di
∑jœ jœ jœ œ œ jœnJœ Jœ Jœ
œ Jœ œ
- - - - - - - -
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- - - - - - - - -
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Snd, Jne 19
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254 n Sed MS ooqM 2011
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&
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b
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bb
b
b
35 ‰ jœ œ œ Œex hoc nunc,
‰ Jœ œ œ Œex hoc nunc
œ Œ ‰ jœ œctus ex hoc
œ Œ ‰ jœ œctus ex hoc
35 ‰ jœ œ œ Œ‰Jœ œ œ Œ
œŒ ‰
jœ œœ Œ ‰ Jœ œ
‰ jœ œ œ œex hoc nunc et
‰ Jœ œ Jœ œ œ œex hoc nunc, et us
œ Œ Ónunc
œ Œ Ónunc
‰ jœ œ œ œ‰Jœ œ Jœ œ œ œ
œ Œ Óœ Œ Ó
œ œ œ œ œus que in sae cu
œ œ œ œ jœ .œ œ œ Jœnque in sae cu
∑
∑
œ œ œ œ œœ œ œ œ Jœ .œ œ œ Jœn∑
œ Œ Ólum
œ Œ Ólum
‰ jœ œ œ œex hoc nunc et
‰ œ œ œ œ .œ œ œ œet us que
œ Œœ Œ Ó
‰jœ œ œ œ‰ œ œ œ œ .œ œ œ œ
- - -
- - - - -
-
&
V
V?
&?
b
b
b
b
b
b
39
∑
∑
œ œ œ jœ jœus que in sae cu
œ œ œ œ œ œ .œ œ œ jœnin sae cu
39
∑
œ œ œ jœ jœœ œ œ œ œ œ .œ œ œ Jœn
∑
‰ jœ œ jœ œ Jœex hoc nunc et
œ Œ ‰ jœ œlum, et hoc
˙ Ólum,
‰ jœ œ jœ œ jœœ Œ ‰ jœ œ˙ Ó
Ó ‰ jœ œex hocœ œ œ œ Œ
us que,
œ œ jœ œ jœnunc et us que in
‰ jœ œ œ œ œex hoc nunc et
Ó ‰ jœ œœ œ œ œœ œ jœ œ jœ‰ Jœ œ œ œ œ
œœ jœ œ œ œ
nunc et us que in‰ œ Jœ œ .œ œet us que in
.œ œ œ œ œ œsae
œ œ jœ œ œ œus que
œ œ jœ œ œ œ‰ œ Jœ œ .œ œ.œ œ œ œ œ œœ œ Jœ
œ œ œ
-
- -
- - - - - - - -
- -
Snd, Jne 19
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Sed MS ooqM 2011 n 255
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b
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43
œ œ œ œ œ œ œ œ œ œ jœsae cuœ .œ œ œ œ œ œ
sae cu lum,
œ .œ œ œ œ œ œ œcujœ œ jœ œ œ œ
in sae cu43
œ œ œ œ œ œ œ œ jœ œ jœJœ ..œœ œœ œ œ œ œ
Jœ œ œ
œJœ œ Jœœœ œœ œ
˙ Ólum,
‰ jœ œ jœ œ Jœexhoc nunc et
˙ ‰ jœ œlum, ex hoc
˙ Ólum,
˙ ÓJœ œ Jœ
œ Jœ
˙‰ j
œ œ˙ Ó
Ó ‰ jœ œex hoc
œ œ œ œ Œus que
œ œ jœ œ jœnunc et us que in
‰ jœ œ œ œ œex hoc nunc et
Ó ‰Jœ œœ œ œ œ Œ
œ œjœ œ
j
œ‰
Jœ œ œ œ œ
- -
- - - - - -
- - - - - - -
- - -
-
&
V
V?
&?
b
b
b
b
b
b
46
œœ jœ œ œ œ
nunc et us que in‰ œ Jœ œ .œ œet us que in
.œ œ œ œ œ œsae
œ œ jœ œ œ œus que
46
œ œ jœ œ œ œ‰ œ Jœ œ .œ œ.œ œ œ œ œ œ
œ œ Jœœ œ œ
œ œ œ œ œ œ œ œ jœ œ jœsae cuJœ .œ œ œ œ œ œ
sae cu
œ .œ œ œ œ œ œ œcujœ œ jœ œ œ œ
in sae cu
œ œ œ œ œ œ œ œ jœ œ jœJœ ..œœ œœ œ œ œ œJœ œ œ œJœ œ Jœ
œœ œœ œ
wlum.wlum.
wlum.
wlum.
wwww
- - -
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- - - - - - -
Snd, Jne 19
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256 n Sed MS ooqM 2011
Soprano
Alto
Tenor
Bass
Andante (Sehr langsam)1
A - ve Ma -
A - ve Ma -
ri - a
ri - a
gra - ti - a
gra - ti - a
ple - na
ple - na
Do - mi - nus
Do - mi - nus
te - cum.
te - cum.
te - cum.
7
Be - ne -
Be - ne -
di - cta tu in
di - cta tu in
mu - li - e - ri -
mu - li - e - ri -
bus
bus
et be - ne -
et be - ne -
di - ctus
di - ctus
fru - ctus ven - tris
fru - ctus ven - tris
13
tu - -
tu - -
i,
i,
Je -
Je -
sus,
sus,
Je -
Je -
sus,
sus,
Je -
Je -
Je -
Je -
sus.
sus.
sus.
sus.
Anton Bruckner
(1824-96)
Ave Maria
ed. 1/10/99Copyright © 1999 by Choral Public Domain Library (http://www.cpdl.org)
Edition may be freely distributed, duplicated, performed, or recorded.
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Sed MS ooqM 2011 n 257
21
San - cta Ma -
San - cta Ma -
ri - a,
ri - a,
San -San -
ctacta
Ma -Ma -
san - cta Ma -
san - cta Ma -
ri -ri -
a,a,
San - cta Ma -
ri - a,
ri - a,
san -san -
ctacta
Ma -Ma -
ri - a,
san - cta Ma -
san - cta Ma -
ri -ri -
a,a,
san - cta Ma -
26
ri - a,
ri - a,
mama -
--
ri - a,
ma - ter
ma - ter
--
terter
ma - ter
De -
De -
De -De -
De -
- -
- -
- -- -
- -
i,
i,
i,i,
i, o - ra,
31
o - ra pro
o - ra proo -
o - ra pro
no - bis
no - bisra pro no - bis
o - ra-pro no - bis
no - bis
pec - ca -
pec - ca -
pec - ca -
pec - ca -
dim.
dim.
dim.
dim.
to - -
to - - -
to - - -
to -
- ri -
ri -
ri -
- - ri -
2
Snd, Jne 19
8/6/2019 Sacred Music Colloquium Packet 2011
http://slidepdf.com/reader/full/sacred-music-colloquium-packet-2011 258/260
258 n Sed MS ooqM 2011
36
bus,
bus,
bus,
bus,
nunc et in
nunc et in
nunc et in
nunc et in
ho - ra
ho - ra
ho - ra
ho - ra
mor - tis
mor - tis
mor - tis
mor - tis
no - strae,
no - strae,
no - strae,
no - strae,
41
mor - tis
mor - tis
mor - tis
mor - tis
no - strae.
no - strae.
no - strae.
no - strae.
San - cta Ma -
San - cta Ma -
San - cta Ma -
San - cta Ma -
ri - a,
ri - a,
ri - a,
ri - a,
o - ra pro
o - ra pro
o - ra pro
o - ra pro
46
no - -
no - - -
no - -
no - - -
- -
-
- -
-
bis.
bis.
bis.
bis.
A -
A -
A -
A -
-
-
-
-
men.
men.
men.
men.
Snd, Jne 19
8/6/2019 Sacred Music Colloquium Packet 2011
http://slidepdf.com/reader/full/sacred-music-colloquium-packet-2011 259/260
8/6/2019 Sacred Music Colloquium Packet 2011
http://slidepdf.com/reader/full/sacred-music-colloquium-packet-2011 260/260