You are on page 1of 260

l

The Church Music Association


of America

June 13—19, 2011


Duquesne University
Pittsburgh
Sacred Music Colloquium XXI
June 13-19, 2011

Liturgical Music
n 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 all
First Alleluia of Pentecost with verse from the lectionary (advanced men, Cole)
Offertory: “Confirm, 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)

2 n Sacred Music Colloquium 2011 Liturgical music


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, first 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 Spiritus
Credo IV
Offertory: Confirma 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)

Liturgical music Sacred Music Colloquium 2011 n 3


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 Duruflé, 1902-1986
Postlude: Chorale Variations on Veni Creator (from Op. 4), Duruflé

Saturday, June 18, 11:30 a.m.


Ember Day Mass, extraordinary form, first 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)

4 n Sacred Music Colloquium 2011 Liturgical music


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

Liturgical music Sacred Music Colloquium 2011 n 5


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 organ
music, Livre d’orgue (1699), which together with the work of François Couperin represents the
pinnacle 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 first is a Mass setting; the
second comprises settings of five hymns for Lauds and Vespers: Veni Creator (five versets), Pange
lingua (three versets), Verbum supernum (four versets), Ave maris stella (four versets), and A solis
ortus (three versets).

All of his Gregorian hymn settings begin with the chant in long note values on a reed stop in the
pedal, followed by a fugue for five voices. Also played today is the récit de Cromorne, a beautiful
solo 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 in
1878 as part of three pieces for the large symphonic organ at the Trocadero palace in Paris. The
two contrasting themes—the first 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 conflict until at the end of the work they are
united 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 for
almost 40 years. Such was his fame that J. S. Bach traveled some 200 miles by foot from Arnstadt
to 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 organ
compositions 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.

6 n Sacred Music Colloquium 2011 Organ Music Notes


Komm Heiliger Geist (“Come, Holy Ghost”) was a well-known vernacular version of the Pentecost
Sequence Veni Sancte Spiritus sung to an anonymously composed melody first published in the
early 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 the
chorale 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 Komm


Heiliger Geist represents an alternate manner of chorale-based composition known as the cantus
firmus chorale-prelude. Catalogued as the first of the “Leipzig Chorales,” this brilliant fantasia em-
ploys the chorale as the cantus firmus, that is, with lengthened note values, in the bass voice. The
accompanying voices, with their extroverted texture, have frequently been thought to symbolize
the 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 Duruflé (1902-1986), 8’

That Maurice Duruflé achieved international fame with not even 20 works to his name testifies to
the 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 published
organ works, although is one of his first. Duruflé was among the first generation to receive liturgical
musical 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 flowing as though it never had a beginning, the Prélude shows considerable influence
from the French Impressionistic composers. Duruflé employs a compositional device developed
especially by Debussy called the arabesque, which is essentially a return to ancient and medieval
monophonic 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 the
Prélude.

Organ Music Notes Sacred Music Colloquium 2011 n 7


Postlude: Chorale Variations on Veni Creator (from Op. 4)—Duruflé, 7’

The first full musical statement of Veni Creator begins the Choral varié movement, which serves
as a closing postlude to this evening’s Vespers. This set of four variations was written at least four
years before the Prélude and Adagio, while Duruflé 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 rather
a New York City parish organist and choirmaster at Trinity Church, Wall Street. King left only a
handful of excellent choral and organ pieces, which reflect 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 solo
trumpet with horizontally mounted pipes. The account in Acts of the first Pentecost is quoted in
the music score: “When the day of Pentecost had come, . . . suddenly came from heaven a noise
like the rush of a mighty wind, and it filled the house where they were sitting. And there appeared
to them tongues as of fire, distributing and resting on each one of them.”
King alternates a grandiose A section comprising note clusters over which is heard the fanfare on
the 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 flute of the organ.

Serving as a parish musician at several parishes of the Anglo-Catholic persuasion in southern


England, 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 Psalm
84:2 in the title. As is typical of this period of English organ music, Oldroyd capitalizes on the
organ’s ability to create smooth increases and decreases in volume. This, coupled with Oldroyd’s
use of modal harmony to create seamless harmonies, easily evokes the rolling hills of the English
countryside.

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

8 n Sacred Music Colloquium 2011 Organ Music Notes


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, colorful
harmony (especially seventh chords), generous utilization of the organ’s wide dynamic range, and
the heart-wrenching use of suspension-resolution patterns. Although Howells himself had a rather
limited 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 significant addition
to the organ’s 20th-century repertoire of any Englishman. His selection as the postlude is undoubt-
edly among his finest 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 fifty times, yet the unusually delayed
pedal enters only 24 measures from the end with an augmentation of the subject. The Fugue’s
truly masterly counterpoint also yields a grand nature, concluding with a thunderous tonic, low C
pedal point.

Organ Music Notes Sacred Music Colloquium 2011 n 9


Guidelines for choosing
a chant schola
W hen 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 first day, i.e., singers moving
up or down a level, most people find it relatively easy to choose.

Many returning attendees to the Colloquium find themselves advancing from beginning schola
through intermediate and finally advanced. However, if you have not had many opportunities to
refine your chant work during the year, you might consider staying at a level for more than one
year. 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 find 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 Solesmes
method of learning, teaching, and singing Gregorian chant, and while this influence is clearly re-
flected in the CMAA’s annual Colloquium, attendees will find a considerable variety of approaches
to the interpretation of the chants sung. Happily, we find that each year brings new ideas utilizing
the 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 or
women.

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 designed
for people who
n are new to singing in choirs
n have never sung any chant before (Pange lingua on Holy Thursday doesn’t count!)
n have not sung difficult chants in some time and feel that a remedial course would be beneficial.

This course will start from the beginning, teaching all the most commonly used neumes, working
on 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.

10 n Sacred Music Colloquium 2011 Choosing a chant schola


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 continued
mastery 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 difficult chants of the week are reserved for the most experi-
enced singers.

Advanced men (Charles Cole, conductor)


See the description for advanced women (above).

Choosing a chant schola Sacred Music Colloquium 2011 n 11


Guidelines for choosing
a polyphonic choir
D uring 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 reflects your skill level and interests.

MeeAe Cecilia Nam: Beginning polyphony

This choir is designed to introduce and improve on the critical vocal and musical techniques
necessary for singing polyphonic music. Singers will learn how to carry a part on their own, 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 benefit
from a more advanced choir, but it might also be useful for directors to see how a master goes
about teaching inexperienced singers to make beautiful music. Several motets are also part of this
choir’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 with
Beethoven and Bach, and this Mass illustrates why his status is wholly justified. The piece was
written for private use, mostly in small chapels on landed estates, at a time when Catholicism was
illegal in Britain and the composer himself was employed by Elizabeth’s court. Thus the music was
composed and distributed in secret. The textures reflect the intensity and seriousness of both the
Mass’s liturgical function and the time in which it was written. In the centuries that have followed
the stature of this Mass in particular has risen ever higher, and it has now become a staple of the
liturgical repertoire. Learning this masterpiece under a master conductor such as Schaefer is a rare
privilege. The Schaefer choir’s main Mass takes place on Sunday, but the choir will also sing motets
throughout the week.

William Mahrt

For the fourth year Mahrt will present a highly unusual and spectacular rendering of polyphonic
Vespers, the likes of which most Americans have never experienced as worshipers, much less as
singers. This year 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 with
confidence 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 the
next level. The choir will also sing motets throughout the week. The Vespers will be sung Friday
evening.

12 n Sacred Music Colloquium 2011 Choosing a Polyphonic Choir


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 be
the rarely heard and exceptionally beautiful Missa Ave Maris Stella, based entirely on the Marian
hymn. It is an unforgettable masterpiece of musical genius, and Brouwers knows the style and
approach 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 filled 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 late
symphonic repertoire. He has a particular affection for music that is classical and accessible to
both 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 difficulty range of a good parish choir, so participants can aspire
to sing it in their parish choir after the Colloquium. The singers will also learn from the way he
prepares a choir to sing well. Buchholz has begun to use this Mass in his own cathedral setting and
reports that it has been a great success.

Choosing a Polyphonic Choir Sacred Music Colloquium 2011 n 13


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 Thursday
and 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 the
basic vocal techniques necessary for choral singing. It covers basic exercises to enhance vocal
production and musicianship, including breathing, posture, and vocal warm-ups.

Session II: Vocal flexibility and control


This 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 flexibility as well
as a discussion of how to find 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 earliest
notation 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 how
the 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 learn
something), they will also build upon one another. New signs and new chants will be studied and
sung 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 Conducting
Conducting technique, rehearsal preparation, score analysis, interpretation. No previous
conducting experience is required.

Thursday and Friday: Conducting Masterclass


Bring 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 liturgical
function between each of these genres will be explored, and notable examples of each will illus-
trate the discussion, with the class singing the examples.

14 n Sacred Music Colloquium 2011 Breakout sessions


Morning and
Night Prayer

l
Prepared by William Mahrt

Morning and night prayer Sacred Music Colloquium 2011 n 15


16 n Sacred Music Colloquium 2011 Morning Prayer
Morning Prayer Sacred Music Colloquium 2011 n 17
18 n Sacred Music Colloquium 2011 Morning Prayer
Morning Prayer Sacred Music Colloquium 2011 n 19
20 n Sacred Music Colloquium 2011 Morning Prayer
Morning Prayer Sacred Music Colloquium 2011 n 21
22 n Sacred Music Colloquium 2011 Morning Prayer
Morning Prayer Sacred Music Colloquium 2011 n 23
COMPLINE NIGHT PRAYER

Lector: Lector:

Vbb b b b b bhb b hb b b b hb b b b b ≥gzb b b hb b hb b hb b sb b smb b b b }


V. Jube, domne benedí-ce-re.
Vbb b b b b b bhzb b b b b ≥gzb b b b hb b b hb b b hb b b smb b b b }
V. Pray, Sir, give a blessing.
Officiant: Officiant:

Vbb b bhb b b hb b b b b b hb bhb b hb b b b hb b b hb b gb b b b b fb b b hb b h.b b [b b bhb b b bhb b hb b b hb b b hb b Vbb b b bhb b b b b hb b b b hb b b b hb b b hb b b b hb b b b hb b b b hb b hb b b gb b b b fb b b b h.b b b[b b b hb b b hb b b
Noctem qui-é-tam et finem perféctum concédat no-bis May the Lord almighty grant us a peaceful night and a

Vbb b b hb b b hb b bhb b hb b b bhb b sb b bsmb b b b }b b b gb b bh.b b b }


Dóminus omnípo-tens. R. Amen.
Vbb b b bhb b bhb b b bsmb b b b}b b b gb b b h.b b b b}
perfect end. R. Amen.
Lectio brevis 1 Peter 5:8–9 Short Lesson 1 Peter 5:8–9
Lector: Lector:

Vbb b b b b b bhb b ˘hb b b [b bhb b bhb bhb b bhb b bhb b hb b hb b hb b bhb b bhb b f,b b {b b hb b hb b hb b b hb b bhb b
Fratres: Sóbri-i estó-te et vi-gi-lá-te: qui-a adversá-
Vbb b b b b bhb b hb b ˘hb b [b b bhb b bhb b b hb b b b hb b b b hb b b b b f,b b b[b b hb b b b hb b b b hb b b hb b bhb bhb b hb b b
Be-loved, be so-ber, be watchful. For your adversary the

Vbb b hb b hb b b hb b b hb b b hb b hb b bhb b ˘hb b[b b bhb b b b hb b b b b b hb b hb b bhb b hb b ˘hb b b[b b hb bhb b hb b


ri-us vester di-á-bolus, tamquam le-o rúgi-ens, círcu-it,
Vbb b b hb b ˘hb b b[b b hb b b b b b bhb b bhb b b b b hb b b bhb b b b hb b bhb b b b hb ˘bhb b [b hb b b hb b b b b hb b b b hb b b b b
devil prowls around like a roaring lion, seeking someone

Vbb b b bhb b bgb b b b b b fb b b b b bhb b b hb b b h.b b {b b hb b hb b hb bhb bhb b bhb b bhb b hb b b hb b bh.b bsmb b b }b
quærens quem dé-vo-ret: cu-i resísti-te fortes in fide.
Vbb b gb b b fb b hb b b b ]b b b bhb b bhb b b b bhb b b b b bhb b b b hb b b smb b b}
to devour. Re-sist him, firm in faith.

Vbb b bhb b b gb b bfb b b b b bhb b bhb b b˘hb b [b bhb b bhb b hb b hb b bh.b b smb b}b b b b b hb bhb b b hb bsb bsmb b b }
Tu au-tem Dómi-ne mi-serére nobis. R. Deo grá-ti-as.
Vbb b hb b b b gb b b b bfb b b b ˘hb b b [b b bhb b b b b b hb b b bhb b hb b bh.b b b smb b b b}b b b b hb b b b b b b hb b bhb b b bsmb }
But thou, O Lord, have mercy upon us. R. Thanks be to God.
Officiant: Officiant:

Vbb b b b b b hb b b bhb b hb b bhb b hb b b b b hb b b hb b b b hb b b b hb b hvb hb b b b bhb b bfb b f,b b b}


V. Adju-tó-ri-um nostrum in nómi-ne Dómini.
Vbb b b b b bhb b b b b hb b b b bhb b hb b b bhb b b b hb b b b b bhb b b bhb b b b f,b b b b }
V. Our help is in the Name of the Lord.
R. Qui fecit caelum et ter- ram. R. The maker of heaven and earth.
Officiant: Officiant:
Confíteor Deo omnipoténti, beátæ Maríæ semper I confess to almighty God, to blessed Mary ever virgin, to
vírgini, beáto Michaéli archángelo, beáto Joánni blessed Michael the archangel, to blessed John the Baptist, to
Baptístæ, sanctis Apóstolis Petro et Paulo, ómnibus the holy apostles Peter and Paul, to all the saints, and to you,
Sanctis et vobis fratres, quia peccávi nimis cogitatióne, brethren, that I have sinned exceedingly in thought, word, and
verbo, et ópere: (striking the breast three times) mea deed: (striking the breast three times) through my fault,
culpa, mea culpa, mea máxima culpa. Ideo precor beátam through my fault, through my most grievous fault. Therefore I
Maríam semper vírginem, beátum Michaélem beseech blessed Mary ever virgin, blessed Michael the
archángelum, beátum Joánnem Baptistam, sanctos archangel, blessed John the Baptist, the holy apostles Peter
apóstolos Petrum et Paulum, omnes Sanctos, et vos and Paul, all the saints, and you, brethren, to pray to the Lord
fratres, oráre pro me ad Dóminum Deum nostrum. our God for me.
Congregation: Congregation:
Misereátur tui omnípotens Deus, et dimíssis peccátis May almighty God have mercy on thee and having forgiven
tuis, perdúcat te ad vitam ætérnam. thee thy sins, bring thee to life everlasting.
Officiant: Officiant:
Amen. Amen.

24 n Sacred Music Colloquium 2011 Night Prayer


Congregation: Congregation:
(bowing) Confíteor Deo omnipoténti, beátæ Maríæ (bowing) I confess to almighty God, to blessed Mary ever
semper vírgini, beáto Michaéli archángelo, beáto Joánni virgin, to blessed Michael the archangel, to blessed John the
Baptístæ, sanctis Apóstolis Petro et Paulo, ómnibus Baptist, to the holy apostles Peter and Paul, to all the saints,
Sanctis et tibi Pater, quia peccávi nimis cogitatióne, and to thee, Father, that I have sinned exceedingly in thought,
verbo, et ópere: (striking the breast three times) mea word, and deed: (striking the breast three times) through my
culpa, mea culpa, mea máxima culpa. Ideo precor beátam fault, through my fault, through my most grievous fault.
Maríam semper vírginem, beátum Michaélem Therefore I beseech blessed Mary ever virgin, blessed Michael
archángelum, beátum Joánnem Baptistam, sanctos the archangel, blessed John the Baptist, the holy apostles Peter
apóstolos Petrum et Paulum, omnes Sanctos, et te Pater, and Paul, all the saints, and thee, Father, to pray to the Lord
oráre pro me ad Dóminum Deum nostrum. our God for me.
Officiant: Officiant:
Misereátur vestri omnípotens Deus, et dimíssis peccátis May almighty God have mercy on you, and having forgiven
vestris, perdúcat vos ad vitam ætérnam. you your sins, bring you to life everlasting.
Congregation: Congregation:
Amen (rise). Amen (rise).
Officiant: Officiant:
Indulgéntiam, ✠ absolutiónem, et remissiónem May the almighty ✠ and merciful Lord grant us pardon,
peccatórum nostrórum tríbuat nobis omnípotens et absolution, and remission of our sins.
misericors Dóminus. Congregation:
Congregation: Amen.
Amen.
A cross is made on the heart. A cross is made on the heart.

Vbb b b b b b b bhb b v hb vhb b bhb b b b b b b bhb b hb b b hb b bhb b gb b bfb b b bhb b bh.b b b }


V. Convérte nos ✠ De-us sa-lu-tá-ris noster.
Vbb b b b b b b hb b v hb vb hb b b b b b hb b b b bhb b b hb b b bgb b b b fb b b hb b b b hb b b b bh.b b b}
V. Convert us, ✠ O God of our salva- tion.
R. Et avérte iram tu- am a nobis. R. And turn thine ang- er away from us.
The sign of the cross is made. The sign of the cross is made.

Vbb b b b b b hb b ˘hb b[b b b hb b bhb b hb b bjb b bhb bhb b b b b hb b b˘hb b b b hb bgb b b h.b b b }b b b bhb b hb b ˘hb [
V. De-us ✠ in adjutó-ri-um me-um inténde. R. Dómine
Vbb b b bv bhb b b b ˘hb b [b v v jb b b b b hb b b b hb b bhb b gb b h.b b b }b b b b hb b b ˘hb b [b b b bhb b b b b b b
V. O God, ✠ come to my assistance R. O Lord, make

Vbb b hb b bhb b bhb b bhb b b hb b b b b b ˘hb b b hb b b gb b b h.b b ]b b b b b b b b b b bhb b hb b bhb b b hb b hb b b b


ad adjuvándum me fes-tí-na. (bow) Gló-ri- a Pa-tri,
Vbb b bhb b b b b hb bvb bgb b b b b bh.b b b ]b b b b b b b b b b hb b hb b hb b b hb b b hb b b b hb b hb b b b hb b b bhb b
haste to help me. (bow) Glory be to the Father, and to

Vbb b hb b bhb b bhb b˘hb b b [b b bhb b b b hb b bhb b hb bhb b bgb b b bh.b b ]b b bhb bhb b bhb b hb b bhb b b b hb b b b
et Fí-li-o, et Spi-rí-tu-i Sancto. Sicut e-rat in prin-
Vbb b hb b b b ˘hb b[b b b bhb b b bhb b b hb b b b bhb b b hb b b b gb b h.b b b]b b bhb b b hb b b b hb b bhb b b hb b b b b b
the Son, and to the Ho-ly Spi-rit. As it was in the

Vbb b bhb b bhb b hb b bhb b b b hb b b b b hb b b hb b b b h.b b [b b hb b bhb b b bhb b bhb b hb b b hb b b hb b bhb b hb b


cí-pi-o, et nunc, et semper, et in saécula saecu-lórum.
Vbb b hb b hb b b hb b b b b hb b b bhb b b b bhb b b b hb b b hb b b b b hb b b b h.b b [b b hb b b b b b bhb b b hb b b ˘hb b b
beginning, is now, and ev-er shall be, world without end.

Vbb b gb b b h.b b b {b b bhb b jb b ygb b b g<b b}


Amen. Alle-lu-ia.
Vbb b gb b bh.b b b{b b b hb b bjb b bygb b b bg<b b}
Amen. Al-le-lu-ia.

Night prayer Sacred Music Colloquium 2011 n 25


PSALMODY
8G Cantor (Gospel side): All: Cantor (Gospel side): All:

Bbb b b b b b b b b b b b b b b b b gb b gb b b hb b tfb b b b b b GYb b hb b b bgb b b FTb b b g<b b b {b


Antiphon: Mi-se-ré-re * mi-hi Dó-mi-ne
Bbb b b b b b b b b b b b b b b b b bgb b b b b bhb b b gb b b b b fb b b GYb b b bgb b b FTb b b b gb b b {b b b b
Antiphon: Have mer-cy * up-on me, O Lord

Bbb b b b hb b kb b b ¯JIb b b hb b bhb b bygzb b fb b bGYb b b hb b b b b b g<b b b g<b b b b }b


Et ex-áu-di o- ra- ti- ó-nem me- am.
Bbb b b b b b HIb b b b J¯Ib b b b hb b b tfb b b GYb b b hb b b b bg<b b b b }
and hearken un- to my prayer.
Psalm 4 Psalm 4
Cantor (Gospel side): Cantor (Gospel side):
´ ´
Bbb b b b bgb b b bhb b b bÃb b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b blb bÃb b b k/b b ] Bbb b b b b gb b b hb b b Ãb b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b lb b b b Ãb b kb b ]b
1. Cum in-vocárem exaudívit me Deus justítiæ me- æ * 1. When I called upon him, the God of my justice heard me: *
Be seated. Be seated.
All (Gospel side): All (Gospel side):

Bbb b Ãb b b b b b b b b b b b b b b b b b b b bjb b kb b b ´bhb b òb b g<b b b b}b b b b b b kb b ´bkb b ùb b h.b b } Bbb b b bÃb b b b b b b b b b b b b b b b b b b b b b b b b b b b bjb b b kb b b´bhb b b b b òb b gb b }b b b b b b´kb b ùb bh.b b}
In tribulatióne dilatásti mi- hi. . flex: jus-ti-ti-æ, † when I was in distress, thou hast enlarged me. flex: justices †
2. (Ep. side:) Miserére mei, * et exáudi oratiónem meam. 2. (Epistle side:) Have mercy on me * and hear my prayer.
3. Fílii hóminum, úsquequo gravi corde? * ut quid 3. O ye sons of men, how long will you be dull of heart? *
dilígitis vanitátem et quaéritis mendácium. Why do you love vanity, and seek after lying?
4. Et scitóte quóniam mirificávit Dóminus sanctum suum: 4. Know ye also that the Lord hath made his holy one
* Dóminus exáudiet me cum clamávero ad eum. wonderful: * the Lord will hear me when I shall cry to him.
5. Irascímini, et nolíte peccáre: † quæ dícitis in córdibus 5. Be ye angry, and sin not: † the things you say in your
vestris, * in cubílibus vestris compungímini. hearts, * be sorry for them upon your beds.
6. Sacrificáte sacrifícium justítiæ, † et speráte in Dómino. 6. Offer up the sacrifice of justice, † and trust in the Lord: *
* Multi dicunt: Quis osténdit nobis bona? many say, Who showeth us good things?
7. Signatum est super nos lumen vultus tui Dómine: * 7. The light of thy countenance, O Lord, is signed upon us: *
dedísti lætítiam in corde meo. thou hast given gladness in my heart.
8. A fructu fruménti, vini et olei sui, * multiplicáti sunt. 8. By the fruit of their corn, their wine, and oil, * they are
multiplied.
9. In pace in idípsum * dórmiam et requiéscam. 9. In peace in the selfsame, * I will sleep and I will rest:
10. Quóniam tu Dómine singuláriter in spe * constituísti 10. For thou, O Lord, singularly in hope* hast settled me.
me. 11. (bow) Glory be to the Father and to the Son * and to the
11. (bow) Glória Patri, et Fílio, * et Spirítui Sancto. Holy Spirit.
12. (rise) Sicut erat in princípio, et nunc, et semper, * et 12. (rise) As it was in the beginning, is now, and ever shall be,
in saécula sæculórum. Amen. * world without end. Amen.
Psalm 90 Psalm 90
Cantor (Epistle side): All (Epistle side): Cantor (Epistle side): All (Ep. side):
1. Qui hábitat in adjutório Altíssimi, * in protectióne Dei 1. He that dwelleth in the aid of the most High, * shall abide
cæli commorábitur. under the protection of the God of heaven.
2. (Gospel side): Dicet Dómino: Suscéptor meus es tu et 2. (Gospel side): He shall say to the Lord: Thou art my
refúgium meum: * Deus meus, sperábo in eum. protector and my refuge: * my God, I will trust in him.
3. Quóniam ipse liberávit me de láqueo venántium, * et a 3. For he hath delivered me from the snare of the hunters: *
verbo áspero. and from the sharp word.
4. Scápulis suis obumbrábit tibi: * et sub pennis ejus 4. He will overshadow thee with his shoulders: * and under
sperábis. his wings shalt thou be hopeful.
5. Scuto circúmdabit te véritas ejus: * non timébis a 5. His truth shall compass thee with a shield: * thou shalt not
timóre noctúrno, be afraid of the terror of the night.

26 n Sacred Music Colloquium 2011 Night Prayer


6. A sagítta volánte in die, † a negótio perambulánte in 6. Of the arrow that flieth in the day, † of the business that
ténebris: * ab incúrsu, et dæmónio meridiáno. walketh about in the dark: * of invasion, or of the noonday
devil.
7. Cadent a látere tuo mille, † et decem míllia a dextris 7. A thousand shall fall at thy side, † and ten thousand at thy
tuis: * ad te autem non appropinquábit. right hand: * but it shall not come nigh thee.
8. Verúmtamen óculis tuis considerábis: * et 8. But thou shalt consider with thy eyes: * and shalt see the
retributiónem peccatórum vidébis. reward of the wicked.
9. Quóniam tu es Dómine spes mea: * Altíssimum 9. Because thou, O Lord, art my hope: * thou hast made the
posuísti refúgium tuum. most High thy refuge.
10. Non accédet ad te malum: * et flagéllum non 10. There shall no evil come to thee: * nor shall the scourge
appropinquábit tabernáculo tuo. come near thy dwelling.
11. Quóniam Ángelis suis mandávit de te: * ut custódiant 11. For he hath given his angels charge over thee, * to keep
te in ómnibus viis tuis. thee in all thy ways.
12. In mánibus portábunt te: * ne forte offéndas ad 12. In their hands they shall bear thee up, * lest thou dash thy
lápidem pedem tuum. foot against a stone.
13. Super áspidem et basilíscum ambulábis: * et 13. Thou shalt walk upon the asp and the basilisk: * and thou
conculcábis leónem et dracónem. shalt trample under foot the lion and the dragon.
14. Quóniam in me sperávit, liberábo eum: * prótegam 14. Because he hoped in me I will deliver him: * I will protect
eum, quoniam cognóvit nomen meum. him because he hath known my name.
15. Clamábit ad me, et ego exáudiam eum: † cum ipso 15. He shall cry to me, and I will hear him: † I am with him in
sum in tribulatióne: * erípiam eum et glorificábo eum. tribulation, * I will deliver him, and I will bring him to
honor.
16. Longitúdine diérum replébo eum: * et osténdam illi 16. I will fill him with length of days: * and I will show him
salutáre meum. my salvation.
17. (bow) Glória Patri, et Fílio, * et Spirítui Sancto. 17. (bow) Glory be to the Father and to the Son * and to the
Holy Spirit.
18. (rise) Sicut erat in princípio, et nunc, et semper, * et 18. (rise) As it was in the beginning, is now, and ever shall be,
in saécula sæculórum. Amen. * world without end. Amen.
Psalm 133 Psalm 133
Cantor (Gospel side): All (Gospel side): Cantor (Gospel side): All: (Gospel side):
1. Ecce nunc benedícite Dóminum, * omnes servi 1. Behold now bless the Lord: * all ye servants of the Lord:
Dómini.
2. (Epistle side): Qui statis in domo Dómini, * in átriis 2. (Epistle side): Who stand in the house of the Lord, * in the
domus Dei nostri. courts of the house of our God.
3. In nóctibus extóllite manus vestras in sancta, * et 3. In the nights lift up your hands to the holy places: * and
benedícite Dóminum. bless ye the Lord.
4. Benedícat te Dóminus ex Sion, * qui fecit cælum et 4. May the Lord out of Sion bless thee, * he that made heaven
terram. and earth.
5. (bow) Glória Patri, et Fílio, * et Spirítui Sancto. 5. (bow) Glory be to the Father and to the Son * and to the
Holy Spirit.
6. (rise) Sicut erat in princípio, et nunc, et semper, * et in 6. (rise) As it was in the beginning, is now, and ever shall be,
saécula sæculórum. Amen. * world without end. Amen.
All: All:

Bbb b b b b b b b b b b b b b b b b gb b gb b bhb b tfb b b b GYb b hb b b bgb b b FTb b b g<b b b {b


Antiphon: Mi-se-ré-re mi-hi Dó-mi- ne
Bbb b b b b b b b b b b b b b b b b bgb b b b b hb b bgb b b fb b b GYb b b bgb b b FTb b b b g<b b b {b b b b
Antiphon: Have mer-cy up-on me, O Lord

Bbb b b b hb b kb b b ¯JIb b b bhb bhb b ygzb b fb b bGYb b b hb b b b b b g<b b g<b b b b }b


Et ex-áu-di o- ra- ti- ó-nem me- am.
Bbb b b b b b HIb b b b J¯Ib b b b hb b b tfb b b GYb b b hb b b b bg<b b b b }
and hearken un- to my prayer.

Night prayer Sacred Music Colloquium 2011 n 27


HYMN
All stand All stand
Cantor (Epistle side): All (Epistle side): Cantor (Epistle side): All (Epistle side):

Bbb b b b hb b b kb b kb b bkb b kb b b lb b b kb b jb b b [b b b b b hb b hb b b b bhb b hb bhb b b b bjb b b hb b bg<b b {b


1. Te lucis ante términum, * Rerum Creátor, póscimus,
Bbb b b b hb b b kb b b b kb b bkb b b b bkb b b b lb b b b bkb b b jb b b [b b b bhb b hb b hb b b hb b b hb b b b bjb b b b b bhb b
1. To thee before the close of day, * Cre-a-tor of all things we

Bbb b jb b b bhb b gb b bgb b b bfb b bgb b b hb b hb b b [b b b bkb b b bkb b b bkb b b kb b b hb b b jb b hb b g<b b b }b


Ut só-li-ta cleménti-a, Sis præsul ad custó-di-am.
Bbb b g<b b {b b b b jb b b bhb b b gb b b bgb b b b fb b b b b gb b b hb b b hb b[b b kb b b b b bkb b b b b kb b b b b kb b b hb b
pray That in thy constant clemency Our guard and keeper

Bbb b b b b b b b b b b b b b b b b b b b b bhb b b kb b b kb b bkb b kb b b b b lb b b kb b jb [b bhb b b hb b bhb b hb b


(Gospel side): 2. Pro-cul recédant sómni- a, Et nócti-um
Bbb b b bjb b b b b bhb b b b b b b g<b b b}b b b b b b b b b b b b b b b b b b b b bhb b b kb b b kb b bkb bkb b b lb b bkb b b b b
thou wouldst be. (Gospel side): 2. Far off let idle visions

Bbb b bhb b b bjb b b hb b bg<b b {b b b jb b hb b b b gb b b b bgb b b fb b b b b gb b b b b hb b hb b [b b bkb b b bkb b b


phantasmata: Hostémque nostrum cómprime, Ne pol-
Bbb b b jb b [b b b hb b b b b hb b bhb b b bhb b b bhb b b bjb b b b b hb b b g<b b b {b b b jb b b b b hb b b b gb b b bgb b bfb b b
flee; No phantom of the night molest: Curb thou our raging

Bbb b kb bkb b b hb b b b jb b bhb b g<b b b }b b b b b b b b b b bhb b b bkb b b b kb b kb b b kb b b b lb b kb b jb b b [b


lu-ántur córpora. 3. (bow) Præ-sta, Pater omní-potens,
Bbb b gb b hb b hb b [b bkb b b bkb b b bkb b b b bkb b b b b bhb b bjb b b b bhb b b b g<b b b b }b b b b b b b b hb b b b b b b
enemy That we in chaste repose may rest. 3. (bow) O

Bbb b b hb b b bhb b bhb b b b b b b b bhb b bhb b b b b b jb b bhb b bg<b b b {b b b bjb b b hb b bgb b b gb b b b fb b b b


Per Je-sum Chri-stum Dóminum, Qui te-cum in per-
Bbb b kb b bkb b b b b kb b b kb b b b lb b b bkb b b bjb b [b b b b b bhb b b b b b bhb b hb b b b b hb b b b b b b hb b b b b
Father, this we ask be done, Through Jesus Christ, thine

Bbb b b gb b bhb bhb b b b[b b b kb b b kb b b b kb b b b b bkb b b hb b b b bjb b hb b g<b b }b b b b ghgb b FTM<b b b b }


pé-tu-um Regnat cum Sancto Spi-ri-tu. A-men.
Bbb b jb b hb b b g<b b {b b b b b jb b b b hb b b b bgb b b b gb b fb b b b gb b b b hb b b b b b hb b [b b b kb b b b bkb b vb bv
only Son; Who with the Ho-ly Ghost and thee, Doth live

Bbb b kb b b b b kb b b b bhb b jb b bhb b b g<b b b}b b b ghgb b bFTM<b b b}


and reign e-ternal-ly. A- men.
CHAPTER & SHORT RESPOND
Tu autem in nobis es Dómine, † et nomen sanctum Thou art in the midst of us, O Lord, † and upon us
tuum invocátum est super nos: * ne derelínquas nos thy holy name is invoked: * do not desert us, O
Dómine Deus noster. (Jerem. 14: 9) Lord our God.

Vbb b b b b b bhb b b hb b b fb b b db b bDRM,b b b b}


R. De- o gra- ti- as.
Vbb b b b b b b b hb b b b b fb b bdb b b b DRM,b b b }
R. Thanks be to God.

Bbb b fb b b b fb b b b b b bFTb bgb b b tfb b b gb b GY,.b b b {b b b hb b bfb b b GYb b b b gb b r®sb FTb b b b b bg,b b fb, b }
R. In manus tuas Dómine, * Coméndo spí-ritum me-um.
Bbb b fb bfb b b b FTb b b b b tfb b b b b bgb b b b GYb b b {b b b b fb b b GYb b b b5z$@b b b bFTb b b g,b b b b bfb, b b }
R. Into your hands, O Lord, * I commend my spi- rit.
Repeat: In manus tuas . . . Repeat: Into your hands

Bbb b b b hb b bhb b\bHUb b hb b bhb b b b bGYb b bgb b ≥gb b b[b b hb gb b b gb b b tfb b gb b b GY,.b b }
V. Redemísti nos Dómine, De-us ve- ri- tá- tis.
Bbb b b b hb b b bhb b b b hb b b b b hb b \bHUb b b b b b b hb b b bhb b b hb b [b b gb b b tfb b b gb b b GY,.b b }
V. For you have redeemed me, O Lord, O God of truth.
Repeat: Commendo . . . Repeat: I commend . . .

Bbb b b b b hb b bhb b bhb b\bHUb b b ˘hb b[b b hb b b bGYb b bgb b ≥gb b [b b gb b b b gb b hb b gb b fb b b gb b b bGY,.b b b}
V. Gló-ri- a Pa-tri et Fí- li- o, et Spi-rí-tu- i Sancto.
Bbb b b b b hb bhb b hb b hb b b hb b b \bHUb b b hb b[b b gb b b bGYb b bgb b b b gb b [b b gb b b bhb b b bgb b b fb b bgb b b
V. Glory be to the Father, and to the Son, and to the Ho-ly
Spirit. Repeat: In manus tuas . . .
Bbb b b b GYb b h.b b b }
Spi-rit. Repeat: Into your hands

28 n Sacred Music Colloquium 2011 night Prayer


Bbb b b b b b fb b b fb b fb b bfb b b b bfb b bfb bfb b b fb b b fb b bfb b fb b b bfb b fb b ≤dz 4z#@!zsdsmb b b b} Bbb b b b b b bfb b b fb b b fb b b b fb b b b b fb b b fb b fb b b fb b bfb b b b fb b b b ≤dz 4z#@!zsdsmb b b b}
V. Custódi nos Dómine, ut pupíllam óculi. V. Keep us, O Lord, as the apple of thine eye.
R. Sub umbra alárum tuárum prótege nos. R. Hide us under the shadow of thy wings.

GOSPEL CANTICLE
3a Cantor (Gospel side): All: Cantor (Gospel side): All:

Bbb b b b b b b b b b b b b b bgb b bHIb b bkb b b b b b b b b KOb b bkb b ijb b b hb b jb b bhb b b g<b b b{b bvgb b jb b kb b Bbb b b b b b b b b b b b b b bgb b b b bHIb b b b b kb b b bKOb b b b b ijb b b b b hb b b jb b b b hb b bg<b b b{b bv
Salva nos, * Dómi-ne, vi-gi-lántes, custódi Save us * O Lord while we are wa-king,

bBb b b lb b b b kb b b b hb b bkb b bj.b b b{b b bjb b b gb b bjb b blb b b b kb b b b hb b b b b b b kb b bJ¯Ib b b [b b b bBb b bgb b b b bjb b b b b kb b b b b blb b b b b kb b b hb b b b kb b bj.b b {b b b b b jb b b b gb b b bjb b b b b lb b b b b
nos dor-mi-éntes: ut vi-gi- lé-mus cum Chrí-sto, and guard us while we are sleeping; that we may watch

Bbb b hb b b hb b hb b hb b btfb b b GYb b btfb b b dMb b dMb b }


et requi-escámus in pace.
Bbb b bkb b b b b bJ¯Ib b b [b b hb b b b b hb b b b bgb b b fb b b b bGYb b btfb b b dMb b b }
with Christ, and that we may rest in peace. .
Canticum Simeonis Canticle of Simeon
The sign of the cross is made The sign of the cross is made
Cantor (Gospel side): Cantor (Gospel side):
´ }´ ´ }
´
Bbb b b b b gb b b b bHIb b bÃb b b b b b b b b b b b b b b b b lb b b Ãb b b kb b b b b Ãb b uhb b b k/b b b]b
1. Nunc dimíttis ✠ servum tu- um Dómi-ne, *
Bbb b b b bgb b b b HIb b b b b bÃb b b b b b b b b b b b b b b b b b b lb b bÃb b bkb b b Ãb b b uhb b bk/b b b ]b
1. Now dost thou ✠ dismiss thy ser- vant, O Lord, *
All (Gospel side): All (Gospel side):

bBb b b b Ãb b b b b b b b b b b b b b b b b b b b b b b b b b b hb b b´kb b bÃb b buh<>b b b b }


secúndum verbum tuum in pa- ce.
bBb b b b Ãb b b b b b b b b b b b b b b hb b b ´b kb b b b b Ãb b b uh<>b b b b }
according to thy word, in peace.
(Epistle side): 2. Quia vidérunt óculi mei * salutáre tuum. (Epistle side): 2. Because my eyes have seen * thy salvation.
3. Quod parásti * ante fáciem ómnium populórum. 3. Which thou hast prepared * before the face of all peoples.
4. Lumen ad revelatiónem géntium, * et glóriam plebis 4. A light to the revelation of the Gentiles, * and the glory of
tuæ Ísrael. thy people Israel.
5. (bow) Glória Patri, et Fílio, * et Spirítui Sancto. 5. (bow) Glory be to the Father, and to the Son, * and to the
Holy Spirit.
6. (rise) Sicut erat in princípio, et nunc, et semper, * et in 6. (rise) As it was in the beginning, is now, and ever shall be, *
saécula sæculórum. Amen. Repeat antiphon world without end. Amen. Repeat antiphon
COLLECT
V. Dóminus vobíscum. V. The Lord be with you.
R. Et cum spíritu tuo. R. And with thy spirit.
Oremus. Visita, quaésumus Dómine, habitatiónem istam, Let us pray. Visit, we beseech thee, O Lord, this
et omnes insídias inimíci ab ea longe repélle: † Ángeli tui dwelling-place, and drive far from it all the deceits of
sancti hábitent in ea, qui nos in pace custódiant; * et the enemy: † let thy holy Angels dwell herein to keep us
benedíctio tua sit super nos semper. Per Dóminum in peace, * and may thy blessing be ever upon us.
nostrum Jesum Christum Fílium tuum: † qui tecum vivit et Through Jesus Christ our Lord, thy Son, † who with
regnat in unitáte Spíritus Sancti Deus, * per ómnia saécula thee in the unity of the Holy Spirit * lives and reigns
sæculórum. God, world without end.
R. Amen. R. Amen.

night prayer Sacred Music Colloquium 2011 n 29


V. Dóminus vobíscum. V. The Lord be with you.
R. Et cum spíritu tuo. R. And with thy spirit.

Vbb b b b b b bhb b hb b hb b bHUb b b jb b b b b jb b b jb b 7x^%<b b b }b b b b jb b jb b b jb b bjb b b7x^%<b b b } Vbb b b b b b hb b bhb b b b HUb b b b b jb b b b 7x^%<b b b}b b b b b bjb b b b b b jb b bjb b b7x^%<b b b }
V. Benedi-cámus Dómi-no. R. De-o grá- ti- as. V. Let us bless the Lord. R. Thanks be to God.
Blessing Blessing
Benedícat et custódiat nos omnípotens et miséricors May the almighty and merciful Lord bless and guard us,
Dóminus, Pater, ✠ et Fílius, et Spíritus Sanctus. the Father, ✠ the Son, and the Holy Spirit.
R. Amen. R. Amen.
MARIAN ANTIPHON

Bbb b b b fb b gb b bfb b b gb b bhz.b b b\b jb b b hb b b≥gb b b b\z jb b bhb b bgb b f,b b b b b {b


Regi-na cæ-li, læ-ta-re, al-le-lu-ia;

Bbb b b fb b ¿kb b b bkb b b b b blb b bkb b jb b b hb b b fb b gb b b˘hb b\z jb bhb bgb b f,b b b {
Quia quem me-ru-i-sti porta-re, allelu-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.
Bbb b b kb b b kb b blb b b b¿kb b b b kb b bfb b b bgb b b¯fb b b gb b bhb b\z jb b bkb/ b b b{b
Re-sur-re-xit, si-cut di-xit, al-le- lu-ia;

Bbb b b kb b fb b b b gb b b\z jb b b hb b b b bgb b f,b b b b db b b gb b b gzgb b f,b b b b }


O- ra pro no-bis De- um, al-le- lu- ia.

V. Gaude et lætare, Virgo Maria, alleluia. V. Rejoice and be glad, O Virgin Mary, alleluia.
R. Quia surrexit Dominus vere, alleluia. R. For the Lord has risen indeed, alleluia.
Orémus. Deus, qui per resurrectiónem Fílii tui, Dómini Let us pray. O God, who didst vouchsafe to give joy to the
nostri Jesu Christi, mundum lætificare dignátus es: † world through the resurrection of thy Son, our Lord Jesus
præsta, quaésumus; ut, per ejus Genitrícem Vírginem Christ; grant, we beseech thee, that through his Mother, the
Maríam, * perpétuæ capiámus gáudia vitæ, per eúmdem Virgin Mary, we may obtain the joys of everlasting life,
Christum Dóminum nostrum. through the same Christ our Lord.
Amen. Amen.
V. Divinum auxilium maneat semper nobiscum.
R. Amen.
Lord’s Prayer, Hail Mary, Apostles’ Creed, silently

30 n Sacred Music Colloquium 2011 night Prayer


Tuesday

l
3:30 p.m. June 14, 2011

Mass in English, Ordinary Form


Votive Mass of the Holy Spirit

Tuesday, June 14 Sacred Music Colloquium 2011 n 31


PENTECOST – MASS OF THE DAY
INTROIT
Spiritus Domini Wis I: 7
viii

T HE Spirit of the Lord * has filled the whole world,

al- le-lu-ia; and that which contains all things, knows ev-

ery language spoken by men, al- le-lu-ia, al-le-lu-ia, al-le-

lu-ia.
Psalm 68 (67)
1. Let God arise; let his foes be scattered. *
Let those who hate him flee from his presence.
As smoke is driven away, so drive them away; †
like wax that melts before the fire, *
so the wicked shall perish at the presence of God.

2. But the just shall rejoice at the presence of God; *


they shall exult with glad rejoicing.
O sing to God; make music to his name. †
Extol the One who rides on the clouds. *
The Lord is his name; exult at his presence.
137

3. Father of orphans, defender of widows: *


such is God in his holy place.
God gives the desolate a home to dwell in; †
he leads the prisoners forth into prosperity, *
but rebels must dwell in a parched land.

Glory be to
Glory be to the
the Father
Father,…and to the Son,
and to the Holy Spirit: As it was in the beginning,
is now, and ever shall be, world without end. Amen.
OFFERTORY
Confirma hoc, Deus Ps 68 (67): 29-30
iv
32 n Sacred Music Colloquium 2011 Tuesday, June 14
 

   

 Vzzb YG vbzgvbvtfvbvz5z$#zvzbëfv gbv gb,vzb }bv zAEbvbvbRD bvb FTztfvb b5z$#vzbëfv bgbv gb,vzb}vbvzYG bvõ


 

Vbzbgvzb tfbvzb5z$#vzbëfv gv gb,v z}bz zvzbájv zhzjzuÏgzyÎfbz b 5z$#vbzëfv gbv gb,v z}bzv bzfÃvhgb vzgb,vzvzbf5dbô


Vzvëfvzb gb vzbgb,v v}vbv zájv zhzjzuÏgzyÎfvbz5z$#vbz ëfv bgbv gb,v b}bv jbv IJ bvbz8z&^zjzuÏgzyÎfbvzb5z$#bvzëfvbõ


Vbvgzb vgb,z zb}b vzdbvbvFTv zìtfv b6z%Þ$#zYF vbzfv gv bgb,v b}vbvzjv bygv rdv vu>hÅv8z&^zbvájvzbjb v gb, b}


 


Bv d
Ý v z g v zY
G v b v b h v z h
à v v g v b z h
à v v zb g v
 
z db v
m z } v b d
Ý v b z v g v b v v h
à v zb hb v v g
ß v v z h z v j
á z b ö 
Bvzbhv bhb.v v[v bhv bzàhv vgvzbvàhv vbgv zbdbmvzb}vbzvbgzbv àhv vbgv vzdbmvbz}bv gvbvYG vz àhv bgbv zgvbó


Bvbdbmvzb}z bgbv zYG v zàhvzbvbgbvz bvbdbmvzb}vzvgbvbvàhbvzgzv bàhvbvzgzv vzdbmvb}zbvÝdbv gbvzàhvbvzbhbzvzbgzb vz àhv÷




Bbvbjb vzhb.vzb[zvbhvbv zàhv vzbvbhv vzbhvzbv v zàhv zgbvbvàhv bv bzgbv zdbmv b}v zÝdv bzgbvzb zàhv bvzhbv zàhvbõ


Bbz gvz b bvàhv b gbv dbmv z[zbvbdbv bßgv vbvhv zßgvbvzhvzbvzvbßgvbvzdzb vz dbmv b}vz b zÝdvbvzbgb v bàhv bzhbv àhvbõ


Tuesday, June 14 Sacred Music Colloquium 2011 n 33


 

Bbbzgvbz bhbvz b zájb vzbhbv bhb.vz b[b vgv z àhvb zv v gbv bdbmvzb b}bvbvz Ýdv bgb v àhvbv zbgvbvbdbmvzb[b z gvbvzbvàhvb÷


Bzbvbjbz vhb.v b[b vàhz bvgv bàhv vbvbgvbvbdbmvbz}bzvz Ýdbz vbz gbz vbàhvzb v hv z bgbv zbàhv zbvbjvbz vzhb.v [zbvhzb vzbàhb bõ


Bvzbgvbvbàhvbvzbgvzb vdbmz b }zbv Ýdv bz gv zàhv v bhvbvzbgv zbàhv vzbjv vz hb.v b[v ájv zbhvzbvàhbv vhbv vbàhvbö


Bbz b hvbvàhv zgbzvzàhv v vbgz b bvzdbmv zb}vbzvzbÝdv b gbv bàhvbvzhv vz bzàhv z gbv zàhv v vzbjbv zhb.zvzb[b vhb bö


Bvz àhvzb gbvzb àhbv vbgvzbvdbmvb b}vb vbÝdvbvzgbv bàhvzbv z bhbv zbgvbvzàhv bvz gbv v zbdbmvb }vbvhzb z bzßgv bzhb bõ


Bzbvbßgv z dbv b dbmvzb }zbv bÝdvbvz gvbz bàhz zbvzhv zbßgv zdv zbdbmv b[bz bzÝdbvzb gbvbv v bz îhjîhvb zhb.v }vzbvzdv õ


Bzbzßgvbv vzhvbv vzájv bhz vzhb.vzb[vzbhzbvzbz vzàhv bhv bhzbvzv àhvbvgvzbv h7gztÍdzbvzbdbmvzb}vzb dÂv5z$#v bSEbNMvb}




Bbbz WA 4vbz fbv bÞfv bdv vfvb vìgvb dv v z 5z$#vzbdbmvzb }bvbz Ýdvbzvgvbv z àhv zbhbv vßgv }zöxbv v vb 


34 n Sacred Music Colloquium 2011 Tuesday, June 14


Tuesday, June 14 Sacred Music Colloquium 2011 n 35



     



   
 

  

   
      
         

       


    


     
      
       


    


      

 

  
   

     
 

  

  

         


      

    
 


  
   

  
 

 
        
        
    
 

 


 
  
 

  
    
     
        
  
 
 

 
        

    
          
     
       
  

       
   

 

36 n Sacred Music Colloquium 2011 Tuesday, June 14


Almighty and Everlasting God
SATB a cappella Orlando Gibbons
(1583-1625)

& b 44 ∑ ∑ ∑ œ œ. œ œ
1
MEDIUS
(Soprano)
J
Al - migh - ty and

& b 44 ∑ j j j
œ œ. œ œ
CONTRA
(Alto) œ. œ œ œ œ œ œ. œ
Al - migh - ty and e - ver-last - ing God, and e - ver -

V b 44 ∑ ∑ œ œ. œ œ œ
TENOR
(Tenor)
J œ œ œ œ
Al-migh - ty and e - ver - last - ing, and
? 4 œ œ. œ œ œ œ œ œ œ œœ œ j
BASSUS
(Bass) b4 J œ œ œ. œ ˙
Al-migh-ty and e - ver - last - ing God, and e - ver - last - ing God,

&b œ œ œ œ œ œ œ œ œ œ. œ œ
5

˙. œ œ œ œ
e - ver - last - ing God, mer - ci - ful - ly look up - on our in - fir - mi -

&b œ œ ˙ Œ œ. œ
œ œj ˙ œ œ ˙
œ nœ
-last -ing God, mer - ci - ful - ly look up - on our in -
˙ j
Vb œ œ œ œ Ó œ. œ œ œ œ œ œ œ. œ œ œj
œ.
e - ver - last - ing God, mer - ci - ful - ly look up - on our in - fir - mi -
?b œ Œ Ó œ œ œ ˙ œ œ
Ó J œ œ œ. œ
J
mer - ci - ful - ly look up - on our in - fir - mi -

&b ˙ œ. œ œ œ œ œ œ ˙
9

œ œ œ œ œ œ ˙
J
-ties, mer - ci - ful - ly look up - on our in - fir - - - mi - ties,

& b œ. j j j
œ ˙ œ. œ œ œ œ œ bœ . œ œ nœ ˙
œ œ
-fir - mi - ties, mer - ci - ful - ly look up - on our in - fir - mi -

Vb œ œ. œ œ œj œ œ œ œ œ œ œ ˙ œ œ œ œ. j
œ
-ties, mer - ci - ful - ly look up - on our in - fir - mi- ties, our in - fir - mi -
?
b ˙.
œ œ œ œ œ ˙ œ bœ . œ œ œj ˙
˙
-ties, mer - ci - ful - ly look up - on our in - fir - mi -

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

Tuesday, June 14 Sacred Music Colloquium 2011 n 37


2

&b Œ œ œ œ œ Œ Œ
13

œ œ œ œ œ œ œ œ œ œ œ œ
and in all our dan - gers and ne - ces - - - si - ties, and in all our

&b ˙ Œ
œ œ œ œ bœ œ ˙ œ œ œ œ œ
œne - ces nœ
-ties, and in all our dan - gers and - - - si - ties, and in

Vb w Ó Œ œ œ œ œ œ œ œ œ ˙ œ
-ties, and in all our dan - gers and ne - ces - si -
? bœ j
b w ∑ Œ œ œ œ œ œ œ. œ
-ties, and in all our dan - gers and ne -

&b œ œ œ Œ œ Œ
17

˙ œ œ ˙ ˙ œ œ ˙
dan - gers and ne - ces - si - ties stretch forth Thy right hand,

&b œ œ. j Œ œ
œ œ œ œ œ œ ˙ œ œ œ œ œ œ
all our dan - gers and ne - ces - si - ties stretch forth Thy right hand, Thy
œ œ j
Vb œ œ œ œ œ. œ ˙ Ó Œ ˙ œ œ
-ties, our dan - gers and ne - ces - si - ties stretch forth Thy
? œ
b œ œ œ œ ˙ œ ˙ Œ œ œ œ œ œ œ œ
-ces - si - ties, and ne - ces - si - ties stretch forth Thy right hand, Thy

&b Œ ˙ œ œ œ ˙ œ œ œ œ œ Œ
21

œ ˙ œ œ
stretch forth Thy right hand to help and de - fend us, stretch forth Thy

&b œ Œ œ œ œ œ œ œ œ œ œ œ
œ œ ˙ œ œ
right hand, stretch forth Thy right hand to help and de - fend us, stretch

Vb œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ
right hand, stretch forth Thy right hand to help and de - fend us, stretch
? œ Œ œ œ œ œ œ œ œ œ œ œ œ ˙
b œ œ œ
right hand, stretch forth Thy right hand to help and de - fend us, stretch

38 n Sacred Music Colloquium 2011 Tuesday, June 14


3

&b œ Œ ˙ œ œ œ œ œ œ
25

œ œ œ œ œ œ
œ
right hand to help and de - fend us, to help and de - fend us,

&b œ œ œ œ œ œ œ œ œ
j
œ œ
œœ œ œ œ œ. œ œ
forth Thy right hand to help and de - fend us, stretch forth Thy right hand to

Vb œ œ œ nœ œ œ œ œ œ œ. œ œ œ œ œ. œ œ œj
œ œ œ J
forth Thy right hand to help and de- fend us, to help and de - fend, to help and de - fend
? œ œ œ œœ œ œ
b œ œ œ œ œ œ œ œ.
J
˙ œ
forth Thy right hand to help and de - fend us, to help

œ. œ
&b œ J œ œ œ œ œ œ œ nœ ˙ Œ œ œ
29

œ œ
to help and de-fend us, de-fend us; through Je- sus

&b œ œ œ œ œ œ œ œ œ ˙ œ œ œ œœ œ œ œ ˙ œ
help and de -fend us, stretch forth Thy right hand to help and de- fend us; through Christ

œ. j
Vb ˙ œ œ œ ˙ œ œ œ œ ˙ ˙ Ó
us, to help and de - fend us;
? œ ˙.
b œ œ œ œ œ œ œ ˙ œ œ ˙ œ
and de -fend us, to help and de - fend us; through

&b ˙ Œ œ œ œ œ œœœ ˙
33

˙ ˙ œ œ œ ˙
Christ our Lord, through Je - sus Christ our Lord. A - - - men.

&b œ œ œ œ œ œ œ œ œ
˙ œ œœœ œ œ ˙ ˙
our Lord,through Christ our Lord, through Christ our Lord. A - - - men.

œ j
Vb Ó Œ œ œ œ œ œ œ. œ œ œ œ ˙ œ œ ˙
through Christ our Lord, through Christ our Lord. A- men, A - men.
œ œ
?
b
˙ œ œ œ œ œ œ ˙ œ œ ˙ œ œ ˙ ˙
Christ our Lord, through Christ our Lord, Christ our Lord. A - men.

SOURCE: Select Church Musick (Barnard, 1641)


NOTES: Note values halved, some text underlay is editorial

Tuesday, June 14 Sacred Music Colloquium 2011 n 39


40 n Sacred Music Colloquium 2011 Tuesday, June 14
Tuesday, June 14 Sacred Music Colloquium 2011 n 41
42 n Sacred Music Colloquium 2011 Tuesday, June 14
The Day of Pentecost
Communion
Factus est repente (Mode 7) Acts 2

XrivivzzKivivzzKivzz ivRvzz iuvpopivIv,viovoizz


Sud- den- ly there came a sound from hea- ven, as of

XoivuoKivuvzuuzvtz6zhuvuiYv,czHyvyvruHyvuviovivzz z z
a rush- ing migh- ty wind, and it filled the house where

XuiuvuyvtuyrzzvTRv,vryvgyz tzuyvdrdtdrvRv.vrvGtvzz z z
they were sit- ting, al- le- lu- ia; and they

XuviiovzKiviviczzLoviuviovOv,vivuyuKitzz z z z z tz z z uz z z
were all filled with the Ho- ly Spir- it and spoke of the

XuuyFrtdydtz z z ez z zrtvtvRv,vryvyvuiuvTv,vryvvzz v
migh- ty works of God, al- le- lu- ia, al-

Xgyz tuyvdrdtdrvRv..vvvvvvvvvvvvvvvvvzz z
le- lu- ia.

Ad libitum Psalm 68:36

XruyvuivivivivivivivipvovoivIOv.viyvuizz
How won- der- ful is God in his ho- ly plac- es: the God

Xivivivivivivzz ivzz ziviz9zlpvivuvuuuvTRv..z z z z z z


of Is- ra- el giv- ing strength and pow’r to his peo- ple.

Tuesday, June 14 Sacred Music Colloquium 2011 n 43


1

O SACRUM CONVIVIUM
St. Thomas Aquinas O sacred banquet, wherein Christ is received; Luca Marenzio
William Mahrt, Translation the memorial of his passion is renewed; 1556-1599
the soul is filled with grace;
and a pledge of future glory is given to us.

œ œ ˙ œ œ ˙
1

S &w w ˙ ˙ w
O sa - crum con - vi - vi - um!

&w ˙ ˙ ˙ ˙ œ œ ˙ Œ œ
A
w ˙
O
˙ œ œœ˙ ˙
sa - crum
˙
con
˙
- vi
˙ -
œ viœ - um!
˙ ˙
in quo
T VÓ ˙
O sa - crum con - vi - vi - um! in
?w w ˙ ˙ ˙ ˙ œ œ ˙ Ó
B
˙
O sa - crum con - vi - vi - um!

œ˙ œ ˙˙ œœ œœ ˙˙
1

& ww ww ˙˙ ˙˙ w œ
Œ ˙
˙ œw œ œ ˙ ˙˙ ˙˙ ˙ ˙ œ œ ˙ ˙
? wÓ ˙ ˙ œ œ ˙ ˙
˙
7
˙ j œ œ
&Ó ˙ œ œ œ. œ ˙ ∑ Œ œ
in quo Chri - stus su - mi - tur, in quo Chri -

&œ ˙ œ œ œ œ œœœ œ ˙ ˙ œ œ. j
˙ œ œ ˙
Chri - stus su -
œ œ œ.
- -
j - mi - tur, in quo Chri -
˙
stus su
œ œ
- mi - tur:
j
V˙ œ ˙ Ó Œ œ ˙ œ. œ

Œ œ œ œ œ
quo Chri - stus su - mi - tur, in quo Chri - stus su - mi -
? ∑ Ó ˙ œ œ. œ ˙
J ˙
in quo Chri - stus su - mi - tur, in quo Chri -

j œ œ
& Óœ œ œœ œ ˙œ œ œ œ œœ œ . Œ œ
7

˙ ˙ œ ˙
˙ ˙ œ ˙ œ œ. œ ˙
j J j
œ œ œ. ˙ œ œ . œ
?˙ Ó
œ ˙ œ œ ˙
Œ
˙
œœ œ
. œ ˙ ˙ œ œ
J
www.TheCaTholiCChoirbook.Com • Copying and sharing permiTTed under CreaTive Commons 3.0

44 n Sacred Music Colloquium 2011 Tuesday, June 14


2

œ œ œ. œ j
12

& J ˙ Ó Œ œ œ œ œ. œ œ œ œ ˙ œ
- stus su - mi - tur: re - co - li - tur me - mo - ri - a pas - si -

j
&Œ œ œ œ œ. œ œ œ ˙
Ó Œ
œ j
œ œ œ. œ œ œ
re - co - li - tur me - mo - ri - a re - co - li - tur me - mo - ri -

V˙ Ó Œ œ œ œ œ. œ œ œ ˙ Ó Ó Œ œ
J
tur: re - co - li - tur me - mo - ri - a re -
œ œ œ. œ ˙ œ ˙
? J Ó Œ œ œ œ œ. œ œ œ œ
J
- stus su - mi - tur: re - co - li - tur me - mo - ri - a pas - si -
œ œ j j
& Œ œ œœ . œ œ ˙œ Ó Œ œ
12

Ó œ œ . œ œ œœ œœ
.œ œ œ
J ˙ Œ œœ ˙ œ œ œœ
j . J
œ̇
? œ œ. œ ˙ œ œ œ œ . œ œ œœ œ ˙œ œ ˙ œœ
J Ó Œ œ . œ Óœ œ
J

17

&˙ œ Ó œ œ
œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ ˙
˙ ˙
o - nis e - - - - ius, re - co - li - tur, re - co - li -

&˙ Œ Œ œ œ
œ œ œ ˙ w ˙ œ œ œ œ ˙ œ
a pas - si - o - nis e - ius, re - co - li - tur, re - co - li -

V œ œ œ. œ
J œ œ ˙
Œ ˙ œ ˙ ˙ ˙ ˙

œ œ.
co - li - tur me - mo - ri - a pas - si - o - nis e - ius,
œ œ
?˙ ˙ ˙ ˙ ˙ Œ œ œ œ ˙ Œ œ J œ œ
o - nis e - ius, re - co - li - tur, re - co - li - tur me - mo - ri -

œw œ œ œ œ œ œ œ œ œ œ ˙ œ Ó˙
17

& ˙˙ ˙ œ œœ œ œ œ œ˙ œ œ œ œ ˙ œ œœ œœ
˙ œ œ œ
j
œ œ œ. œ œ œ ˙ œ œ˙ œ œ . œ œ œ
?˙ ˙ ˙ ˙ Œ ˙ Œ œ ˙œ œ ˙˙ ˙ J
˙ œ
www.TheCaTholiCChoirbook.Com • Copying and sharing permiTTed under CreaTive Commons 3.0

Tuesday, June 14 Sacred Music Colloquium 2011 n 45


3

j
& œ. œ œ œ
23

˙ Œ œ œ œ ˙ ˙ œ œœ˙ œ
J œ.
tur me - mo - ri - a pas - si - o - nis e - - - - - -

j
& œ. œ œ œ ˙ œ œ œ œ œ œ œ. j
˙ ˙ œ œ œ. œ˙
tur me - mo - ri - a pas - si - o - nis e - - - - - - - -

˙ œ œ œ. œ
J œ œ
˙ ˙
VÓ Œ ˙ œ ˙
re - co - li - tur me - mo - ri - a pas - - - si - o - nis

?œ ˙ œ ˙ ˙ ˙ ˙ ˙ Ó Ó ˙
a pas - si - o - nis e - ius: mens
j j œœ˙
& œœ ..œœ œœ œœ Œ œ
23

˙ œ œ ˙˙
J
˙œ . œ œ œ
œ . œ œ
œ œ œ. œ ˙ œ
j J
˙ œ œ˙ œ œ˙ . œ œ œ œ œ ˙
? œÓ ˙ ˙ ˙˙ ˙ ˙ ˙
Ó
œ ˙
Ó ˙

28

Œ œ j
& œ #œ œ nœ œ œ ˙ œ #œ ˙ ˙ ˙ œ. œ ˙ ˙ ˙
- - ius: mens im - ple - - - tur gra - ti - a, mens im -

&˙ Ó j œ. j Œ ˙
w ˙ ˙ ˙ œ ˙ œ
œ. œ
ius: mens im - ple - tur gra - ti - a, mens im -
j
V˙ ˙ ∑ ∑
w ˙ ˙ ˙ œ. œ
e - ius: mens im - ple - tur gra - ti -

?˙ ˙ ˙ ˙ œ. œ˙ ˙ ˙ ˙ œ. œ
J ˙ ˙ J
im - ple - tur gra - ti - a, mens im - ple - tur gra - ti -
28
Πj
& œ˙ # œ œÓ n œ œ œ ˙ œ œ˙ # œ ˙˙ ˙ ˙ œ.
œ.
œ ˙
œ ˙
˙ ˙ ˙ œ
w ˙ œ. œ J
J j
? ˙˙ ˙˙ ˙ ˙ œ. œ ˙
J ẇ ˙ ˙˙ ˙˙ ˙˙ œœ .. œœ
J
www.TheCaTholiCChoirbook.Com • Copying and sharing permiTTed under CreaTive Commons 3.0

46 n Sacred Music Colloquium 2011 Tuesday, June 14


4

œ. œ ˙ j
34

&˙ ˙ J
∑ Œ ˙ œ œ œ œ. œ œ œ ˙
ple - tur gra - ti - a: et fu - tu - rae glo - ri - ae

œ #œ œ . nœ œ ˙ Œ j Œ
&˙ œ œ œ œ œ œ œ œ œ œ. œ ˙ œ
ple - tur gra - ti - a: et fu - tu - rae glo - ri - ae no -
j
V œ œ œ œ œ œ œ œœ ˙ ˙ œ œ œ œ œ. œ œ œ œœœœ˙ ˙ Ó
a: et fu - tu - rae glo - ri - ae

?w Œ œ œ œ œ œ œ. œ
Ó Jœ œ ˙ Œ œ œ œ œ œ
a: et fu - tu - rae glo - ri - ae et fu - tu - rae
j
œœ . œ ˙œ Œ œ œ ˙œ œ œ œœ œœ œœ . œj ˙œ œ ˙Œ œ
34

& ˙˙ ˙œ œ #œ . nœ œ ˙ . J
œ
œ
? wœ œ œ œ œ œ œ œ Ó˙ ˙ œ œœ œœ œœ œœ œœ .. œœj œ œ œ œ œ œ ˙
Œ Jœ œ ˙ Œ œ œ̇ œ œ œ

˙ ˙ œ œ œ œ.
40

&˙ ˙ ˙ ˙ ˙ ∑ Œ œ
J
no - bis pi - gnus da - tur, et fu - tu - rae glo -

&˙ #˙ ˙ Œ j
˙ ˙ œ œ œ œ œ œ. œ œ œ œ œ ˙
bis pi - gnus da - tur, et fu - tu - rae glo - - ri - ae no - bis

VŒ ˙ œ œ œ œœœ œ #œ œ œ ˙ ˙ ˙ ˙ œ œ œ œ
et fu - tu - rae glo - ri - ae no - bis pi - gnus da - tur, et fu - tu -

? œ. j ˙ ˙ ˙ ˙ ˙ ˙ Ó Ó ˙
œœ œ ˙
glo - ri - ae no - bis pi - gnus da - tur, no -
40
˙ Œ ˙ œ œ œ œ. j
& ˙˙ # ˙˙ ˙˙ ˙ ˙ œ
˙ ˙ Œ œ œ œ œ œ œ. œ œ œ
J œ œ ˙
˙ œ œ œ œœœ œ˙ # œ œ˙ œ ˙˙ ˙ ˙ ˙ œ œ œ˙ œ
? œ. œœ œ ˙ ˙ ˙ ˙
J
www.TheCaTholiCChoirbook.Com • Copying and sharing permiTTed under CreaTive Commons 3.0

Tuesday, June 14 Sacred Music Colloquium 2011 n 47


5

46

&œ œ ˙ Œ ˙ œ œ œ #œ œ ˙ ˙ Ó ˙ œ œ
œ ˙
- ri - ae no - bis pi - gnus da - - - tur, Al - le - lu -

j j Ó Œ
& œœœœ
œ œ œ. œ œ œ œ œ œ œ œ. œ œœ w ˙ œ œœœ
pi - gnus da - - - - - - - - - tur, Al - le -

Vœ œ œ œ œ œ ˙ ˙ ˙ w œ œ œœœ œ œ ˙
- rae glo - ri - ae no - bis pi - gnus da - - - tur, Al - le - lu - ia,

?˙ ˙ ˙ ˙ ˙ Ó ∑ Œ œ œ œ ˙ Ó
bis pi - gnus da - tur, Al - le - lu - ia,
46

& œœ œ œœ œ ˙ œ ˙œ œ œ . œ œJ œœ œ œw # œ œ ˙ ˙˙ Ó ˙ œ œ
œ œ œ . ˙ Jœ œ œ œœ
˙ ˙ œ œœ œœ œ œœ œœ œœ œ˙ œ œ
? œ˙ œ œ˙ œ œ˙ œ ˙ w
˙ ˙

œ œ
52

&˙ Ó Œ œ ˙ Ó
ia, Al - le - lu - ia,

&œ Œ œ œ œ œ #œ ˙
œ ˙ œ
- - lu - ia, Al - le - - - - - lu - ia,

œ œ œ œ ˙ œ œ
VŒ œ œ Œ œ
Al - le - - - - - lu - ia, Al - le - lu -

?˙ œ œ ˙ Ó Œ œ œ œ œ
Al - - - le - lu - ia, Al - le - - -

œ œ
52

&˙ ˙
Œ œ œ œ œœ ˙œ #œ ˙
œ œœ œœ œ œœ œ œ ˙ œ œ œœ
?˙ ˙ Œ œ œ œ

www.TheCaTholiCChoirbook.Com • Copying and sharing permiTTed under CreaTive Commons 3.0

48 n Sacred Music Colloquium 2011 Tuesday, June 14


6

Œ œ œ œ Œ œ œ
55

&Œ œ œ œ ˙ Ó ˙ Ó œ
Al - le - lu - ia, Al - le - lu - ia, Al - le - lu -

&Œ Œ
œ œ œ œ œ œ Œ
œ œ œ œ
œ œ œ œ œ #œ ˙ ˙
Al - le - - - lu - ia, Al - le - - - lu - ia, Al - le -

V
˙ Ó ˙ œ œ œ œ #œ ˙ Œ œ œ œ œ œ œ ˙
ia, Al - le - - - lu - ia, Al - le - - - lu - ia,

? œ #œ ˙ Œ œ œ nœ ˙ Œ œ œ œ
Ó ˙ Ó
- lu - ia, Al - le - lu - ia, Al - le - lu - ia,

Ó Œ œ œ œ œœ ˙œ œ Ó ŒŒ œœ œœ œ œœ
55

&Œ œ œ œœ œ #œ ˙ œ œ
œ œ œ ˙
˙ œ
? œ # œ ˙Ó ˙ œ œœ œ n œœ œ #œ ˙
˙
œ
Œ œ œœ œ œ
œ œ ˙
˙
Œ

60
U
&˙ Œ œ œ œ ˙ œ œ ˙ w w
ia, Al - le - lu - ia, Al - le - lu - - - - ia.
U
& œ #œ œ œ œ œ œ w w
œ œ œ ˙ œ
- lu - ia, Al - le - - - lu - ia, Al - le - lu - - - - ia.

œ œ œ œ œ œ œ ˙ U
VŒ Œ œ œœ œ œ œ œ ˙ w
Al - le - - - lu - ia, Al - le - - - - lu - ia.

˙ U
?Ó œ œ ˙ ˙ ˙ w w
Al - - le - lu - ia, Al - le - lu - - - - ia.
60
U
& ˙œ # œ œ œ œ œœ ˙ œ œœ ˙œ œ ww ww
œ œœ œ ˙ ˙ œ œ
œ œ˙ œ œ œ U
?Œ œ œ ˙ Œ œ œ˙ œ œ wœ œ œ ˙ w
U
˙ w
www.TheCaTholiCChoirbook.Com • Copying and sharing permiTTed under CreaTive Commons 3.0

Tuesday, June 14 Sacred Music Colloquium 2011 n 49


Come down, O Love divine
Words: Bianco da Sena (d. 1434?); Down Ampney, 66 11. D
tr. Richard Frederick Littledale (1833-1958), alt. Ralph Vaughan Williams (1872-1958)
Descants by Charles H. Giffen

   
       
     
1  
2 O let it free - ly burn, till earth - ly pas - sions turn
Desc.
    
4 And so the yearn - ing strong, with which the soul will long,

2              
3 Let ho - ly cha - ri - ty mine out - ward ves - ture be
4 And so the yearn - ing strong, with which the soul will long,
     
       
        
1 Come down, O Love di - vine, seek thou this soul of mine,
2 O let it free - ly burn, till earth - ly pas - sions turn
3 Let ho - ly cha - ri - ty mine out - ward ves - ture be
4 And so the yearn - ing strong, with which the soul will long

               
   

             
   
to dust and ash - es in its heat con - sum - ing;

   
shall far out - pass the power of hu - man tell - ing,
         
 
and low - li - ness be - come my in - ner cloth - ing,
shall far out - pass the power of hu - man tell - ing,

   
 
          
and vis - it it with thine own ar - dor glow - ing;
to dust and ash - es in its heat con - sum - ing,
and low - li - ness be - come my in - ner cloth - ing,
shall far out - pass the power of hu - man tell

- 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.

50 n Sacred Music Colloquium 2011 Tuesday, June 14


2 Vaughan Williams: Come down, O Love divine

                      

and let thy glo - rious light shine ev - er on my sight,

 
for none can guess its grace, till Love cre - ate a place

    
          
true low - li - ness of heart, which takes the hum - ble part,
for none can guess its grace, till Love cre - ate a place

    
  
  
 
     
 
O Com - fort - er, draw near, with - in my heart ap - pear,
and let thy glo - rious light shine ev - er on my sight,
true low - li - ness of heart, which takes the hum - ble part,

     
for none can guess its grace, till Love cre - ate a place

    
        

 

             

and clothe me round, the while my path il - lum - ing.

 
where in the Ho - ly Spi - rit makes a dwell - ing.


           

and o'er its own short - com - ings weeps with loath - ing.
where in the Ho - ly Spi - rit makes a dwell - ing.
 
             
    
and kin - dle it, thy ho - ly flame be - stow - ing.
and clothe me round, the while my path il - lum - ing.
and o'er its own short - com - ings weeps with loath - ing.
where

- in the Ho - ly Spi - rit makes a dwell - 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.

Tuesday, June 14 Sacred Music Colloquium 2011 n 51


52 n Sacred Music Colloquium 2011 Tuesday, June 14
Wednesday

l
3:30 p.m. June 15, 2011

Requiem for Deceased Members,


Ordinary Form

Wednesday, June 15 Sacred Music Colloquium 2011 n 53


54 n Sacred Music Colloquium 2011 Wednesday, June 15
    

 Vbbzhzygbvzb FTbv Þfv vz dzb vzëfbvbvgv zbgb,v bv }v v zbvzjv zbIJ bv buhbvbzájvbz bjbv bgb,v v b"}v ö


 

Vbvbhzygb z bFTbvbvÞfbvbz dbz vbëfvbvgv zgb,v bvz}vbv zgÄUvz bFTv brdvb vzbuhzIJ z&^zbvbájv bjv bgb,zvz }xvv b 



 Vvzbgv v bvtfbM<v bz[zv gv v ztfbM<vz b [z vzÝdv v z fvbv v ßgv zbgvzbvbßgv v vbgv zbßgv v zgb bô
 

Vzbvfvbvbgb,v vz]v vÝdvzb zfbv bßgv v v gbv ßgv bgv vzgvbvbfb,vbv bàhvzb gbv ßgv bzfvz dbmv ]vz Ýdvzb fvbv zbßgzbõ


Wednesday, June 15 Sacred Music Colloquium 2011 n 55


56 n Sacred Music Colloquium 2011 Wednesday, June 15
Wednesday, June 15 Sacred Music Colloquium 2011 n 57
58 n Sacred Music Colloquium 2011 Wednesday, June 15
Wednesday, June 15 Sacred Music Colloquium 2011 n 59
60 n Sacred Music Colloquium 2011 Wednesday, June 15
Wednesday, June 15 Sacred Music Colloquium 2011 n 61
Thou Knowest, Lord, the Secrets of Our Hearts
(Second Setting)
Henry Purcell
SATB a cappella or with continuo (1659-1695)
1

Soprano
 Thou know - est, Lord, the se - crets of our hearts; Shut not,

Alto
 Thou know - est, Lord, the se - crets of our hearts; Shut not,

Tenor
 Thou know - est, Lord, the se - crets of our hearts; Shut not,

Bass
 Thou know - est, Lord, the se - crets of our hearts; Shut not,

Organ


5

shut not thy mer - ci - ful ears un - to our pray'rs; but spare us, Lord, spare us,

shut not thy mer - ci - ful ears un - to our pray'rs; but spare us, Lord, spare us,

shut not thy mer - ci - ful ears un - to our pray'rs; but spare us, Lord, spare us,

shut not thy mer - ci - ful ears un - to our pray'rs; but spare us, Lord, spare us,

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

62 n Sacred Music Colloquium 2011 Wednesday, June 15


10

Lord most ho - ly, O God, O God most might - y, O ho - ly and most

Lord most ho - ly, O God, O God most might - y, O ho - ly and most

Lord most ho - ly, O God, O God most might - y, O ho - ly and most

Lord most ho - ly, O God, O God most might - y, O ho - ly and most

15

mer - ci - ful Sa - viour, Thou most worth - y judge e - ter - nal, suf - fer us

mer - ci - ful Sa - viour, Thou most worth - y judge e - ter - nal, suf - fer us

mer - ci - ful Sa - viour, Thou most worth - y judge e - ter - nal, suf - fer us

mer - ci - ful Sa - viour, Thou most worth - y judge e - ter - nal, suf - fer us

Wednesday, June 15 Sacred Music Colloquium 2011 n 63


3

19

not, suf - fer us not at our last hour for a - ny pains of death, for

not, suf - fer us not at our last hour for a - ny pains of death, for

not, suf - fer us not at our last hour for a - ny

not, suf - fer us not at our last hour for a - ny

23

a - ny pains of death to fall, to fall from Thee. A - men.

a - ny pains of death to fall, to fall from Thee. A - men.

pains of death, of death, to fall, to fall from Thee. A - men.

pains of death to fall, to fall from Thee. 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)

64 n Sacred Music Colloquium 2011 Wednesday, June 15


Wednesday, June 15 Sacred Music Colloquium 2011 n 65
66 n Sacred Music Colloquium 2011 Wednesday, June 15
Wednesday, June 15 Sacred Music Colloquium 2011 n 67
68 n Sacred Music Colloquium 2011 Wednesday, June 15
Josquin des Prez
Ave Christe, immolate (c.1455-1521)

     
Prima Pars

       
5 10
Soprano 
A - ve Chri- ste, a- ve Chri - ste,
               

Alto
A- ve Chri - ste, a- ve Chri- ste,
Tenor               
 A - ve Chri- ste, a- ve Chri -
Bass
              
A- ve Chri - ste, a- ve
             
          
Practice
         
           

                  
15 20
S 
im- mo - la - te in cru-cis a - ra, in cru-
 cis a - ra, re -
              
         
A

im - mo-la- te in cru - cis a- ra,

T                   
 ste,
      
im- mo - la - te in cru cis a- ra, a- ra,
B
           
Chri- ste, im - mo-la- te in cru- cis a - ra,
                    
       
    

      
                  


               
25
S
 
demp-ti - o-  ho-
nis sti - a:

mor -
     
          
       
A
red-emp-ti - o- 
nis ho - sti - a: mor - te tu-
T        
            
 nis ho- 
               
re-demp-ti - o- sti - a: mor-te tu -
B
     
  red-emp-ti - o- nis ho-sti - a: mor -
                
             
 
           
          

        

1 Ave Christe, immolatev- des Prez
Wednesday, June 15 Sacred Music Colloquium 2011 n 69
                   
30
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 -
          
               

    

                

 

     
              
35 40
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,


                      

 ce cla- ra 
T

    
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 -

                            
    
  
                         
     

                    
45 50
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,
                          
      
     
               
  

2 Ave Christe, immolate - des Prez


70 n Sacred Music Colloquium 2011 Wednesday, June 15

               
    
55
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,
           
                      
   
    
     
   
           

  65  
           
60
             

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.
 
              
           
         
 
               
              


         
70 75
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 -
               
  
          
   
         

3 Ave Christe, immolate - des Prez
Wednesday, June 15 Sacred Music Colloquium 2011 n 71
                   
80 85


S


quod de coe-lo de- scen- di - sti, et po-pu- lum red -
                
A     
quod de coe-lo de- scen-di- sti, et po - pu-lum
T                   
 scen-di-sti, de- scen- di - sti, et po-pu- lum red -
               
B 
sti, de- scen-di - sti,
 et po-pu- lum red -
           
            
    

               
           

 90 
 
                
95
S  
e - mi-
 
sti, red - e - mi - sti, qui in cru- ce pe - pen - di - sti.
A                    
        
red - e - mi - sti, red - e - mi - sti, qui in cru- ce pe - pen - di - sti. Je - su
           
T  
 e - mi-
  
       
sti, red - e - mi - sti, qui in cru - ce pe - pen- di -
B
        

 
e- mi - sti, red - e - mi - sti, qui in cru- ce pe - pen - di - sti.
                       
      
        
    

        
 

     
   
100 105
S          
Je- su bo- ne, fons pi - e - ta - tis, laus An- ge - lo - rum,
          
A       

     
         
bo- ne, fons pi - e - ta- tis, laus An-ge-lo - rum, glo-ri- a
   
T           
 sti. Je-
     
su bo- ne, fons pi- e-ta - tis, laus An-ge-lo - rum, glo -
B
            
Je- su bo - ne, fons pi-e - ta - tis, laus An-ge - lo - rum,
  
                            
        

          
           

   


 

4 Ave Christe, immolate - des Prez


72 n Sacred Music Colloquium 2011 Wednesday, June 15
     
110
S             
glo - ri - a San-cto - rum, mi - se-re- re no- bis.
                
A
     
San-cto-rum, spes pec-ca-to- rum, mi - se-re-re no - bis, mi - se-re-re no- bis.
T                      

   
ri - a San - cto - rum, spes pec-ca- to-rum, mi - se-re- re no- bis.
B
             
glo - ri - a San-cto - rum, mi - se - re - re no- bis.
                            
                       
   

                 
115 Secunda pars 120
S
Sal - ve lux mun- di,
A      
     
Sal - ve lux mun- di,
T                    
 Sal - ve lux mun- di, ver- bum
B
            
Sal - ve lux mun- di, ver-
                   
 

                  
    

                  
125 130
S    
ver- bum Pa-tris, ho - sti - a ve- ra, vi-va ca- ro,
      
A               
ver - bum Pa - tris, ho- sti-a ve - ra, vi - va ca-
                            

T
 Pa-tris,
           
ho-sti - a ve - ra, vi- va ca- ro, De- i - tas in-te -
B         
bum Pa - tris, ho- sti-a ve- ra, vi - va ca - ro,
                      
          

                           
              

5 Ave Christe, immolate - des Prez


Wednesday, June 15 Sacred Music Colloquium 2011 n 73
                 
135 140
S       
De - i - tas in - te - gra, De- i - tas in - te-gra, ve-rus ho- mo.
A             
        
ro, De-i - tas in-te - gra, De- i - tas in - te-gra, ve- rus ho - mo.
T                           

 gra,
              
De- i- tas in - te-gra, ve- rus ho- mo, De-i - tas in - te - gra, ve-
       
B  
De-i - tas in- te - gra, De - i - tas in- te - gra, ve- rus ho- mo. A-ve prin -

              
               
 
                          
             

                  
145
S   
A - ve prin - ci - pi - um no- strae cre - a - ti- o- nis,
      
A              
A - ve prin - ci-pi-um no- strae cre - a - ti - o- nis,
T                     
 rus ho-mo.
           
A - ve prin - ci - pi - um no - strae cre - a - ti - o- nis, A- ve
B
      
ci - pi - um no - strae cre-a- ti - o- nis, A-
                          

              
               
 


                 
150 155
S 
A-ve vi - a-ti-cum no -
A             

  
             
A - ve vi - a - ti -
   
T

 pre- ti-um
 
no - strae red-emp-ti - o- nis,
             
B       

ve pre-ti-um no - strae red-emp-ti - o- nis,
                    

                    
                  

6 Ave Christe, immolate - des Prez


74 n Sacred Music Colloquium 2011 Wednesday, June 15
                  
160
S      

   
strae pe - re- gri - na- ti- o - nis.
  
         
              

A
cum no - strae pe- re- gri - na- ti- o- nis. A-
T           
 A- ve so -
B
         

A - ve
                          
         
 
     
      


     
                    
165 170
S 
A- ve so - la - ti - um no- strae ex - pec-ta - ti - o- nis, A- ve sa-lus
       
A
               
ve so - la - ti - um no- strae ex - pec-ta-ti- o - nis, A-
  
T                     

           
la- ti-um no-strae ex - pec- ta- ti - o- nis, A - ve sa-lus no -
B
            
so-la - ti - um no-strae ex-pec- ta- ti - o - nis, A - ve sa -

            
                     
   
                
                     


                  
175
S  

no-strae sal - va- ti- o- nis.
 
   
             
A

ve sa - lus no - strae sal-va- ti- o- nis.


                 
T      
 strae sal - va-

ti - o- nis. Qui hic im - mo-la-ris pro
           
B
        
lus no-strae sal - va-
  ti - o- nis. Qui hic im-mo - la - ris pro
                
                  

 
  
             
    
       

 

7 Ave Christe, immolate - des Prez


Wednesday, June 15 Sacred Music Colloquium 2011 n 75
               
180 185
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
                     

 
    
   
         

     

             
190
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
          
            


 

           
     
  

          
     
195 200
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 -

   
                   
 
      
             
     
    

8 Ave Christe, immolate - des Prez


76 n Sacred Music Colloquium 2011 Wednesday, June 15

                 
205 210
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 -

       
          
        
            
           
  

 
               
215 220
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 -
                   
     
          
         
 

    
225
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.
       
     
      

         

9 Ave Christe, immolate - des Prez


Wednesday, June 15 Sacred Music Colloquium 2011 n 77
78 n Sacred Music Colloquium 2011 Wednesday, June 15
Thursday

l
3:30 p.m. June 16, 2011

Thursday in the Octave of Pentecost,


Extraordinary Form
First Class Feast

Thursday, June 16 Sacred Music Colloquium 2011 n 79


80 n Sacred Music Colloquium 2011 Thursday, June 16
Thursday, June 16 Sacred Music Colloquium 2011 n 81



 
Bb v Y
Ø
S v z h v b 5 z $ # b v zb s
Ü v b z d v b v f
Þ v z b g
 
v v z í 6 z % $
Þ # v b z db v
m b } b v z Ü s v zb d v v z f
Þ v zb g v v b h
à v v z b z hb õ 
Bvzßgv zbfvbvbgb,v [vzàhvbvzgzbv bzRD v bzgv vzdbmv vdbmvzb}v zsv zrdv zsv vz dbmvz}vz sbv RD v ßgv bgv zrdb ó


Bvbdbmvz}vbz gz bzvbÞfvzb gv zb rdv z dbmvzb}vbz àhvbvgz vbÞfzb vgb v rdvbvz dbmvz}vz bÝdbvz bgbv zàhv zbhb vzbßgv z hb ÷


Bzzb IJ vz bhb.vz b[bvzbàhvbvz hv bv z àhv bvzgv bv v Þfv zgvzb YG v v vgb,v b dbmv b}vbvzÞfv zbdv Üsv vbzdv bfb,vb õ


Bzvgzbv vÞfv zbgvbvbgb,v [z vbàhvbvbhv vbvzßgvzb fvbvbàhv v zgvz vrdbzvdbmv zb}v zb Þfvz vdbvbz bÜsvbvzbdv fb,vb õ


Bbbz ßgbvzb zfzb vz ßgvzb gbv bfb,vbv[bvz àhvzb zgv v bv rdzbvz dbmvz b}zbvz hvzb zßgzbvz hv vbvIJ vbvzhb.v b[b vzßgv v svzó
 


BbvbRD v zbgb,vzb[vbgvbz rdv zsv vz dbmv vzdbmv b}v zgvbvb Þfv gv vzbàhvbvz gv z Þfv vzbgv z hb.v [vz ßgv bzfzb õ


BzvzYG vzb tfb vbvdbmvz b dbmv b}bv av b Üsvbzdv vz Þfv zb gbv zÞfv vbvgv zb gb,vzb[bvzàhv zbgbvz Þfv bzgvbv Þfvbzgb ö


Bzbz hvbvbÞfv bgbv vzb vzdbmzvbvzbdbmv zb}zb v àhv zbgbv àhvbvzbhv v z hv z ßgb vzbhv vz v IJ v zhb.vz b[z vbgbv rÌsb ó


Bbz bdbv bFTv zbdbmv bvdbmz zb}vbvbabvbvWA bvz Üsv v zbszbvb zrdbvzbÜsv vzbdv vbvbfb,vzb}vbvgzbv zßgv zfv zv z ßgb õ
82 n Sacred Music Colloquium 2011 Thursday, June 16
BzvzYG vzb tfb vbvdbmvz b dbmv b}bv av b Üsvbzdv vz Þfv zb gbv zÞfv vbvgv zb gb,vzb[bvzàhv zbgbvz Þfv bzgvbv Þfvbzgb ö


Bzbz hvbvbÞfv bgbv vzb vzdbmzvbvzbdbmv zb}zb v àhv zbgbv àhvbvzbhv v z hv z ßgb vzbhv vz v IJ v zhb.vz b[z vbgbv rÌsb ó


Bbz bdbv bFTv zbdbmv bvdbmz zb}vbvbabvbvWA bvz Üsv v zbszbvb zrdbvzbÜsv vzbdv vbvbfb,vzb}vbvgzbv zßgv zfv zv z ßgb õ


Bzzb gzbv bgb,vzb }bvz hbv z ßgbv zfb zvz àhvbvbgv brdv dbmvz[bvzhz bvzYG vz bv v IJ v zbhb.vb}vbz gv v vb ßgvbvz vb sb ó


Bzz bdFTvbz rdvbvdbmvb[b zdbv v vÞfzb z bdvbvbÜsbv vz dvzbÞfvb vz gv zhb.vz}vz t<fÃYz%$z5z$#vbz SEbNMv }xcbb




Bbbz WA 4vbz fbv bÞfv bdv vfvb vìgvb dv v z 5z$#vzbdbmvzb}b vzÜsv zbdv vz Þfv zbgv vbàhvb}zöv vb bv v vbv zb


 


Xb
b Y
F z % $
Þ # z f b v zb f b v
, z [ zb ½ v Y
F z k z O
K v b k b v
/ b [

v z i Ð h zu
î Ï f z 6 z % $
Þ # z f v zb f b v
, b { b v a v zb R
D v zb v b f v v v y g b z b f
Þ b ó 
XvbdvbvbRD vbvbfb,v vz]zbv zfvz bzIH v bvkb/v v vzbkbvz ájv zbgvbv bygvz bfb,vzb[zbvdv bztfv bghgvzb fb,vbzvfb,vb ]ñ


Thursday, June 16 Sacred Music Colloquium 2011 n 83


84 n Sacred Music Colloquium 2011 Thursday, June 16
Thursday, June 16 Sacred Music Colloquium 2011 n 85
 

   

 Bbbzgzv bÝdv bzfbvbvzsv zbÝdxzgv zbhb.z zb}vbz bàhvbvzbsv b vzbàhv v zgzbv fzvbv3z@!vbz sbmvz b{zbó

 

BbbvÝdbvzb gz bvz àhzv v z jbvzb âkbz b z jbv vz7z^%zbzhb.vzb [bzvájbvz kbv ãlbvzbkzb z bjbvbv zbájv v hbv zgb,v v bájbvzb kbvb÷


Bvzbájzbvbhbz bz buhb vzgbvz hb.vz}bvzbàhvb vbsvbvzàhv zhv vbv vbßgv bfvbvdbmv vb vÜsvbz babv v v vzbsRD vb bdbmz b b{bó


BzzÝdvzb gbz bvàhz v vzb zbjvzbâkvbz jbv zbhz b z uhzb zb gvbvzhb.vb}vbvájv bzkv v b lbv zâkbv z jv zbhb.vzb [zb vàhv z sb ö


Bbbvbàhv vzbgvbvbhbz vzßgz b zbfvb vdbmz b }bvzb Üsv bav v vzÝdv vb gvbvbhb.vzb[zvjv vâkv v bjb v bàhv zbgbzv hb.vb [bõ


Bvbzgbv bÞfv vbvbvbdv bzsbmvbvzb vdv bvb Þfvbvbdbv zwabvbvsbmvb }vbz àhvbz bgbv zhb.vzv v vjv bvzijvbvhb.v b[bõ


Bzzb ßgv zb hv vz ßgv vfvbvÝdbvbvsbv z bz baSEvbz dbmvz b{zb Ýdv v bvzgv vbz àhv v bsbzv gvbvzrdbv dvbvzbsbmvb}zbö


Bbbvbàhvb zv zbgvbvz bàhv bvbvjv bv bâkv zbjb bvhb.vz b[bzvzàhv bv vhv bvbßgv bvbvhvz v Üsv v bz dvbvbfbv bgb,v b [zõ


Bbvzbßgz bv hvbvbvßgv vz fvbvzb3z@!vbz sbmvbz}zvbzlbz bz âkvbvbzlb v zâkv bzjbvbvzbhb.v bzvz gvzv vâkzb bzjvbvzàhvb vz gvzbö


Bvzhb. vb{vzbàhv bv z hbv zßgvbvhb v bzßgv zbfb zvdbmvz b{vb dv bv ßgv vbdvb vzrdv dv bzsbmvbvb}v bvÜsvbvzaz bò




Bbbzsrdzb zbÜsvbzvzfvzbvgbv àhv bvbv vkv v7z^%zb zbhb.vz b{vz hzbvbv vÜsv bzdbv bÞfv zbgvbv4z#@bz zabnvz[bz Þfv z dbvbô


BvzbÞfv vzbsv besvb z av bzsbmvzb}zb zblbvbv zâkvb z hb bvzâkz bvzlvbvbvâkbv bjbv àhbv zgv bhb.vz b[bvbßgvbvhvbv z ßgvb ô
86 n Sacred Music Colloquium 2011 Thursday, June 16
Bbbzsrdzb zbÜsvbzvzfvzbvgbv àhv bvbv vkv v7z^%zb zbhb.vz b{vz hzbvbv vÜsv bzdbv bÞfv zbgvbv4z#@bz zabnvz[bz Þfv z dbvbô


BvzbÞfv vzbsv besvb z av bzsbmvzb}zb zblbvbv zâkvb z hb bvzâkz bvzlvbvbvâkbv bjbv àhbv zgv bhb.vz b[bvbßgvbvhvbv z ßgvb ô


Bvbz fvbv 3z@!bvbsbmvb}zb zÜsvb vzdvbvbfv bz ßgvb zbfvbz b zYG zb vhb.v z{vbzhbv ájvbz bkvbv vzbájvb zbhvbvzjvbv vzbYG b ö


Bzzbhb.vz}vz lbz zvâkv bjv zbàhv v vzgvbv Þfvzbvgvb vbàhzv z bzgv bv vb âkv bjv bhb.v [z ßgvbzhb vz5z$#bzvsbmvb ñ


Bbz b azb vzbÜsvbz b zdv bv zbÞfvzb zbsbv bdbmv z {zb z hbvzb ßgv bvzbhvbzvbájbz b vkvbv ájv bhbv zbgb,vz b zhb.vz}bz b zàhv zb svbó


BzbzÝdbvz bfbz vzßgv v vz gv v zbhb.v vbv vz ßgv z fbzv dbmv v zsvb zb Ýdbvbvbfb vb ßgbv bdbv z sbmv vb{bv zÜsv b dbz ô


Bvfv zÝdv zbfb z sz bvbdv vbzÞfv v dbvbzwaz bzsbmvz b}bvzbhv zbÞfv vzbvbgbvz bàhv bzjv vzâkbvz jbv hb.vzb[vzhv bzßgb ö


Bzbz hv bâkv zbjv zhb.v [vzlv bz âkv bv zjv bàhzbvzgzb z FTv zdbmvz b z{bzvÜsvz b avbz Üsvzb dvbvzbÞfv bv vgv v vbdb ô


Bzz rdvbvbsbmvbz}vz b ãlvzvzblbvz kb/v v z jv zv bhb.v v zbhvbv ájvb bkb bz lb/vzb [zvbzlbvbvbâkv bjbzvz àhbv gbz vzàhvbõ


Bzbzgv bvz Þfv bgbvz bdbmv }vbvzsv bzàhbv bgzb b àhvbvzbkv zájv v bvzhb z bz gz b bz bfb,vb [z Üsbv vzbavbvÜsv fvzvbßgb ô




Bvzfbv b z vzÝdvzbvzfvzb 3z@!bvz sbmvb}bvbzhvzbvbájv bvbvbkvbvblb/vb v ãlvbz b;bvzvãlvbvbkvzbájv zhv v v âkv z jzb ÷


Bbz b7z^%vz hb.vb}vzbhv z btfb vbÝdv v vbfvz vbÝdbv svbvesb z babvzbsbmz b}bz bFTzyÎÌsbmvFT6z%$#bmvz5z$Ý#@z3z@!zb bsbm }


Thursday, June 16 Sacred Music Colloquium 2011 n 87

   
88 n Sacred Music Colloquium 2011 Thursday, June 16
Thursday, June 16 Sacred Music Colloquium 2011 n 89
90 n Sacred Music Colloquium 2011 Thursday, June 16
Thursday, June 16 Sacred Music Colloquium 2011 n 91
92 n Sacred Music Colloquium 2011 Thursday, June 16
Thursday, June 16 Sacred Music Colloquium 2011 n 93
94 n Sacred Music Colloquium 2011 Thursday, June 16
Thursday, June 16 Sacred Music Colloquium 2011 n 95
96 n Sacred Music Colloquium 2011 Thursday, June 16
Thursday, June 16 Sacred Music Colloquium 2011 n 97
  


 


Vv b d z b v zb U
Ù
D v z v j z v b v v j v b v z j b v z db v
m z v z

b z v j v v j b v b v b h v zb Ñ  v 9 j v b j b v
. b z [ v z b v j v v z j z b ÷
Vbz IJ vbv b zvbïijv bz IH vb jbvzbhv zbvbhb.v bzfÃYvb bvzb hb.vzb{vbygvzb hvbvjkjz bz hjhvzbvzygvbvYF zß%zb#vzbrdbm,vb[bó


Vzbz vbv5b,vfygzb bëdfëdv bdbmvb ]bz dv vbzfv vhIáJ v bjbv jv vbvzv v zbjzv vzvzbkvbvjzvbzhbv zb vbz b vzkb/z z{b÷


Vbvzjbvbv zygzêhvbz b fvbvz„vzvv v íghígzdÞFTvb vrÌsvbvfvbz v zëdfëdvbvdbmvbz b{z bz bvv bzgv bzhjhvzbvfb,vzb [vó


Vbvbv z5b,vfygbvzëdfëdvbvdbmz }zóxxxxxxxxxzz




VbbvbdÍÎhgzb vbHUvzb jzv bvzvjvz bjvbv bjv z bjv zjv zbjv vbjvbvzbjv bjbv zJOzvzbkv bzijbz bvIJ b./vzb bz ]bz buÏgbzö


Vbb zHUzb zbjvz jv v v v zjv zjv zjv zjv vz bjv zbjbv v zjbv bjÆObvb ájzb z bhz b z bhzhzhvbzrdbm,v b}zóvcvb



VbbvbdÍÎhgzb vbHUvzb jzb vzvjvz bjb v bjv z jbv zjv zb jv bjvbvz b jvzv bjbv vz zb JOzvzb kv zb ijbz vIJ b./vzbvb]v÷


VbbzuÏgvz b zbHUzb zbjvbz jzbvz bjvz bvzbjÆObzvb ájzb z bhz b z bhzhzhvbzrdbm,v b}zóvcvbxxxxb


VbbvbdÍÎhgvzb HUvzb jzv zb jvbz bjvbvzb vbjz v zbjv v zbjvb zjbv bjbvzbvzJOzvzb kv bzkv bijbzvIJ b./vzb ]bz buÏgb vHUzb÷


Vbbz jz b z bjzb b zjvzb zbjbvbz bjv vzbvjv bz jv zbjbv v jvbvzjbv vzjbv zjb.v zb [bvzvbjv zjvz bjÆObvbvzb bájz b vzhvbö


Vvzhzhzhvbvrdbm,v b}zóxxxxxxxxxxzz zb

98 n Sacred Music Colloquium 2011 Thursday, June 16
VbbzuÏgvz b zbHUzb zbjvbz jzbvz bjvz bvzbjÆObzvb ájzb z bhz b z bhzhzhvbzrdbm,v b}zóvcvbxxxxb


VbbvbdÍÎhgvzb HUvzb jzv zb jvbz bjvbvzb vbjz v zbjv v zbjvb zjbv bjbvzbvzJOzvzb kv bzkv bijbzvIJ b./vzb ]bz buÏgb vHUzb÷


Vbbz jz b z bjzb b zjvzb zbjbvbz bjv vzbvjv bz jv zbjbv v jvbvzjbv vzjbv zjb.v zb [bvzvbjv zjvz bjÆObvbvzb bájz b vzhvbö


Vvzhzhzhvbvrdbm,v b}zóxxxxxxxxxxzz zb




VbbvbdÍÎhgvzb HUvzb jzb z bjvzb z bjvbz b vbjbzvbzv zbJOv bzkvb z bijb z vIJ b./vzb ]z bzuÏgb zbzHUv zb jv v zjbv zjv zjvb ÷


Vbbzjzvbz zjbz b zjvbz vzbJOv b kb z bijb zbvIJ b./vzb zb]zb z b uÏgb z bzHUvzb vjv zvzbjbvbz jvbvzjv zbjvbz jÆObz vb ájzv vz hz b ö


Vbb zbhzhzhvbvrdbm,v b}zóxxxxxxxxxcczz b




VbbvbdÍÎhgvzb HUvzbvz b jvz bz bjvbz bjvbvjv zjv zjv vjv v jv v vzjv vjbzvbvzbJOvbzkbvb kbvz zbijb zvIJ b./z b ]z÷


Vbbz buÏgb zbv bzHUvzb zvjv zb jbvbzjÆOb bz bájzv vzhzb vzbhzhzhvbvrdbm,v b}zóxxxxcvb


VbbvbdÍÎhgvzb HUvzb zb jbz bz jvbz bjvbv vzjvb zjbv jv v z bjbv zjv vzbjb vzbJOvbzkbvbz ijb zvIJ b./z b z]vz uÏgvbvbHUvz÷


Vbbz jvbz jv vzjbv jv vbjv jbv jb.v [z bjv vbjv bjbv jbv zb jÆOb zb ájzvbzhzb vzbhzhzhvb rdbm,vb }zóxv
 

Vbzb dÍÎhgvbzHUvzb zbjbvbz jvbzvz b vbjv zbjbv bjv vzb JOvbvbkvz z kv zbkvzvbijbvbzIJ b./vb z]z zuÏgv bHUv zjv vbvjv÷


Vzzb jzbvzjv z bzjvbz bjv zjv bjÆObvb ájzbv vzbvhbz zb zb hzhzhvbvrdbm,v b}zócv xxbbxcbb


Thursday, June 16
Vbbz bdÍÎhgbz b HUv b zb jbvbzjvbzvbz b vjv zbjbvbz vbJOvbvz bkvz b z ijbz bvbzIJ b./vb z b]vz buÏgv bvzbHUv zbjvb zbjv v zjvb÷

Sacred Music Colloquium 2011 n 99
Vzzb jzbvzjv z bzjvbz bjv zjv bjÆObvb ájzbv vzbvhbz zb zb hzhzhvbvrdbm,v b}zócv xxbbxcbb


Vbbz bdÍÎhgbz b HUv b zb jbvbzjvbzvbz b vjv zbjbvbz vbJOvbvz bkvz b z ijbz bvbzIJ b./vb z b]vz buÏgv bvzbHUv zbjvb zbjv v zjvb÷


Vzzb jb zb jzbvzbjÆObvb ájz bvhbzvzb z bzhzhzhvb vrdbm,v b}zócv xxbb xxcvzbv v vb



 

Vbzb dÍÎhgb vbHUvbvz bzbjz b zjvb z b vjzv bJOvbz kvbzb zijbz b zIJ b./vb z bz]zvb z buÏgvz b zHUv bz bjvz zbjvz v z jz b zjvb ÷


Vzb zjv zbjvbz jbv zjzvzbjÆObvb bájz b vhbz vzb zhzhzhb bvrdbm,v b}zócv xxxxczb


Vbzb b dÍÎhgb vHUbvbzjbz b zjvzb z b vjzv bjv v vzjb v jv v bjzbv bJOvbz kvbzkvz b zijbz b zIJ b./vb z b]bz bz uÏgvzb HUz b ÷


Vbbzjzvbz jbz b zjv zbjv zjv z bjvbvjb vzbjv vbzjv bzjv zjb.v b[bvzjv vzjvb zbjv zjb vzjbv jv vbv zvJOvb bkz bø


Vbb z ijb z bzIJ b./vb z b]b bz bjb zbjÆObvb ájz b vhbzvzb z bhzhzhvbvrdbm,v b}zóxxxxxvb

            
             

             
             
                



            



           



100 n Sacred Music Colloquium 2011 Thursday, June 16






 & c #˙ œ œ ˙ ˙ #˙ ˙ œ œ ˙ ˙ Ó ∑ ∑ Œ œ . œj œ
                 

 &c ˙ œ œ ˙ ˙ ˙ ˙ œ œ ˙ ˙ Ó ∑ ∑ Œ œ . œj œ
                 

˙ œ
 Vc ˙ œ œ ˙ ˙ ˙ œ œ ˙ ˙ Ó ∑ ∑ Ó Œ
              

˙ #˙ ˙ .

?c ˙ œ œ ˙ œ œ ˙ ˙ Ó ∑ ∑ Œ œ œJ œ
                 

#˙ #œ œ ˙ ˙ ˙ ˙. œ #w
 &c ∑ ∑ ∑ Ó
            

 &c ∑ ∑ ∑ Ó ˙ œ œ ˙ ˙ ˙ ˙. œ w
            

∑ ∑ ∑ Ó ˙ œ œ ˙ ˙ œ œœ œœ˙ œ w
 Vc
              

?c ˙ œ œ ˙ #˙ ˙ œ
 ∑ ∑ ∑ Ó ˙ œ w
            








Thursday, June 16 Sacred Music Colloquium 2011 n 101
 
w œ œ œ . œJ œ œ œ œ œ œ œ ˙ ‰ œ œ . œ # œJ œ œJ

& w Ó Œ œ ∑

J
                       

& Ó Œ #œ œ œ œ . œJ ˙ ˙ ˙ ˙ ∑ ‰ # œj œ . œ œj œ œj

˙ ˙ w
                       

œœ œ ˙ w Ó Œ œ œ œ œ . œJ œ œ . œ œ œ œ ˙ ˙ ∑ ‰ Jœ œ . œ œJ
œ œ
 V J J
                       

? #w w œ œ œ . œJ ˙ ˙ ˙ j
 Ó Œ œ ˙ ∑ ‰ Jœ œ . œ œJ œ # œ
                       

œ. œ œ œœœœ ‰ Jœ œ . œ œJ œ œ ˙
 & Œ J ˙ #w ∑ ∑ Ó
J #˙ Ó
                

& Œ œ. œ œ œœœœ˙ w ∑ ∑ Ó ‰ Jœ œ . œ œ œ œ ˙ ˙ Ó

J J J
                

˙ w œ œ. œ œ œ œ ˙ ˙
 V Œ œ. œ œ
J œœœœ ∑ ∑ Ó ‰J J J Ó
                

? Œ œ œ . œ œ œ #œ ˙
œ. œ œ w w ∑ ∑ Ó ‰J J J ˙ Ó

J
                


˙ ˙ ‰ œJ œ . œ œ . œ œ ‰ œ œ œ. œœ œ œ ˙ #w Œ ˙ œ Œ œ œ œ
 & J
                         
j j
 & ˙ ˙ ‰ œj œ . œ ˙ ‰ œ œ œ. œ w œ. œœ˙ #˙ ˙ ˙. œ
                      

V ˙ ˙ ‰ œ œ. œ ˙ ‰ œ œ œ œœœ œ œ. œ œ #œ . œ ˙
J
˙ ˙ œœœœœ œ

J J J
                       

? ˙ ‰ œ œ. œ ˙ ‰ œ œ œ. œ w w ˙ ˙ ˙. œ
 ˙ J J J
                      

j ˙
 & Ó ‰ œ œ . œ #˙ ‰ Jœ œ . œ ˙ œ œ ˙ w ∑ ∑
                   

& Ó ‰ j . ‰ œ œ. œ œ ∑ ∑

œœ œ ˙ J œ œ. œ œ œ œ ˙ #œ w
                         
œ œ
 V Ó ‰ œœœ ˙ ‰ œ œ œ œœ ˙ œ œ ˙ w ∑ ∑
                     

? Ó œ œ. œ ˙ œ œ. œ ˙
 ‰J ‰ J Œ œ œ œ ˙ w ∑ ∑
                 

102 n Sacred Music Colloquium 2011 Thursday, June 16


 
œ œœœ œ ˙ œ œ #œ œ . œ ˙
‰ œJ ‰ Jœ œ


 & Ó ∑ ∑ Ó Ó
                  

& ˙. œ #˙ Ó ∑ ∑ Ó Œ ‰ œ œ œ œ œ œ œ. œ ˙ Ó

J
                 
œ œ œ œ
 V ˙. œ ˙ Ó ∑ ∑ Ó Œ ‰ Jœ œ œ. œ ˙ Ó
                 

? ˙. œ ˙ j œ œ œ œ œ œ. œ
 Ó ∑ ∑ Ó Œ ‰ œ ˙ Ó
                 

œ ˙ œ œ ‰ œ
& ∑ Ó ˙ ˙ Œ œ œœ œ œ ˙ ∑ ‰ œ J

J
                  

 & ∑ Ó ˙ ˙ ˙ œ œ œœœœ œ œ ˙ ∑ Œ ‰ œJ œ œ œ


                   

∑ Ó ˙ ˙ œ. œ œ œ œ œ œ œ œ œ ˙ ∑ Œ ‰ œJ
œ œ œ
 V J
                   
œ œ œ

? ∑ Ó ˙ ˙ ˙ œ œ ˙ œ œ ˙ ∑ Œ ‰ œj
                   

œ œ ‰ œ œ œ œ œ #œ œ . œ œ
‰ œ ‰ œ œ œ œ . œ #œ ‰ œJ


 & Ó J J
Œ Œ
J
Œ Œ
              
         
j
 & Ó ‰ œJ œ œ ‰ Jœ œ œ œ œ œ œ. œ œ Œ Œ ‰ œj œ œ # œ . œ œ Œ Œ ‰ œ
              
         

 V Ó ‰ œJ œ œ ‰ Jœ œ œ œ œ œ œ. œ œ Œ Œ ‰ Jœ œ œ œ . œ œ Œ Œ ‰ œj
              
         
œ œ œ œ œ œ œ. œ
? Ó ‰ J œ ‰ J œ œ œ Œ Œ ‰ Jœ œ œ œ . œ œ Œ Œ ‰ œ

J
              
         

œ #œ œ . œ œ œ œ œ œ œ #œ . œ œ œ œ œ. œ œ œ
 & ‰ Jœ ‰ Jœ Œ ‰ œ œ Ó ‰ œ
     
               
       
 

& œ œ œ. œ œ ‰ œ œ œ ‰ œ œ œ Œ ‰ œ œ #œ œ. œ œ Ó ‰ œ œ œ #œ . œ œ œ

J J
     
               
       
 
œ œ œ œ œ. œ œ
 V œ œ. œ œ ‰ Jœ œ œ ‰ Jœ œ œ œ Œ ‰ Ó ‰ œ œ œ œ. œ œ œ
     
               
       
 
œ œ œ. œ œ œ œ œ œ œ œ bœ œ . œ

? œ ‰ J œ ‰ J Œ ‰ œ œ œ œ. œ œ Ó ‰ œ œ
     
               
       
 

Thursday, June 16 Sacred Music Colloquium 2011 n 103


 
œ œ #œ . œ ˙ Œ œ œ #œ ˙ œ œ œ œ ˙ Œ œ œ œ


 & #œ Œ Ó ∑ ∑
                        

& œ œ œ. œ ˙ Œ ˙ œ œ Ó ∑ ∑ Œ œ œ #œ

œ œ œ œ œ. œœœ ˙
                          

œ . œ #˙ ˙ œ œ œ œ
 V œœ Œ œ œ œ ˙ œ œ œ ˙ Ó ∑ ∑ Œ œ
                         


? œ œ œ. œ ˙ Œ
œ œ œ
˙
œ œ œ œ ˙ ˙ Ó ∑ ∑ Œ
œ œ œ

                        

œ œ œ. œ ˙ ∑ ∑ ∑ ‰ œ œ œ #œ œ œ #œ œ nœ œ œ œ # œj œ œj ˙ Ó
 &
                   

 & œ œ œ . œ #˙ ∑ ∑ ∑ ‰ #œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ Ó
                   

 V œ œ œ. œ ˙ ˙ Ó ∑ ∑ ‰ œœœ œ œ œ œ œ œ œ œ œ ˙ ˙ Ó
                   


?
œ œ œ. œ ˙ ˙ Ó ∑ ∑ ‰ œ œ œ œ #œ œ œ œ
œ œ œ œ ˙ ˙ Ó
                   

˙ ˙
œ œ œ œ ˙ ‰ œ œ œ #˙ œ œ w


 & œ Œ Ó ∑ ∑
                 

˙ œ œ œ œ ˙ Ó ∑ ∑ ‰ #œ œ œ ˙ œ œœ œ
 & ˙ œ w
                 
˙ œ œ œœœ œ
 V œ ˙ #œ ˙ Ó ∑ ∑ ‰ œ œ œ œ œ œ œj œ œ
J
w

                    

œ œ ˙ ˙ w

? ˙ œ œ ˙ Ó ∑ ∑ ‰ œœœ ˙ œ œ
                 

œ œ œ œ œ œ œ œ ˙ œ œ. ˙
 & ∑ ∑ ‰ œœœœ ˙ ‰œœœ œ œ
J
˙
    
                        

∑ ∑ ‰ œ œ œ œ œ bœ œ œ œ j j ‰œœœ œ œ ˙
 & œ œ œ #œ œ œ ˙ œ œ œ œ

                            
œœœœ œ œ œ ˙
 V ∑ ∑ ‰ œ œJ œ œœ
J ˙ ‰œœœ œ œ œ œœœ. œ ˙ Œ œ
    
                      
œ œ bœ œ

? ∑ ∑ ‰ œœœ œ œ œ œ œ ˙ ˙ ‰œœœ œ œ œ œ ˙ ˙
    
                        

104 n Sacred Music Colloquium 2011 Thursday, June 16


 
œ 24 ˙ c œ. œ œ œ w #w


 & ∑ Ó Œ J
              

 & ∑ Ó Œ œ 24 ˙ c ˙ ˙ w w
               

∑ Ó Œ œ 2 #˙ c ˙. œ w w
 V 4
              

? œ 24 ˙ ˙ ˙ w w
 ∑ Ó Œ c
               

 & œ œ œ œ . œœœ ˙ #˙ 2 Œ


4
œ c ˙ œ œ w w
                        

œ œ #œ ˙ 2 Œ œ c ˙ œ
 & œ #œ œ 4 œ œ œ œ œ œ œ œ w
                      

œ œ œ œ œ
 V ˙ œ œ ˙ ˙ 24 Œ c ˙ œ Œ œ œ w
                    

? ˙ œ œ ˙ 2 Œ c ˙ œ #œ w
 ˙ 4 œ w
                     

Thursday, June 16 Sacred Music Colloquium 2011 n 105


106 n Sacred Music Colloquium 2011 Thursday, June 16
Friday

l
3:30 p.m. June 17, 2011

Votive Mass
of the Blessed Virgin Mary,
Ordinary Form

Friday, June 17 Sacred Music Colloquium 2011 n 107


108 n Sacred Music Colloquium 2011 Friday, June 17
Missa Ave Maris Stella.

No. 1. KYRIE
Josquin des Prez (1450-1521)

3 w. œ œ w ˙ w œ œ
Superius &b 1 ∑ w
Ky - - - ri - e e -

3 w. œ œ w ˙ w œ œ ˙ ˙. œ ˙ ˙ ˙
Tenore Vb 1 w
Altus
Ky - - - ri - e e - le - - -
4
w w ˙. œœœ œ w w.
S. &b w #˙ w ˙
le - - - - - - i - son, e -
4
˙ w œ œ ˙ ˙ ˙ ˙. œ ˙ w w
T.
A.
Vb ˙. œ w
- - i - son, e - le - - - - - - -

w. œ œ
T. Vb ∑ ∑ w
Ky - - -

? w. œ œ w. ˙ w
B. b ∑ w
Ky - - - - ri - e

œ œ ˙ ˙ ˙
7

S. & b w. w ˙ w ˙ ˙. œ ˙ ˙
Ó
le - - - i - son, e - le - - - i - son, Ky -

œ œ œ w #˙ w ˙ ˙
V b ˙. ˙ w
7

T. Ó ˙ Ó ˙ ˙
A.
- - - i - son, e - le - i - son, e - le - i -

W w W ˙. œ ˙ ˙ w
T. Vb w
ri - - - e e - le -

? w ˙ w w ˙ œ œ ˙ w ˙ ˙ ˙
B. b Ó ˙ ˙
e - le - - - - i - son, e - le -

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

Friday, June 17 Sacred Music Colloquium 2011 n 109


Josquin :: Missa Ave Maris Stella :: No. 1. KYRIE

œ œ ˙ ˙
10

S. &b ˙ w œ œ W w ˙ ˙. œ ˙ ˙
- - ri - - - e e - le - - -

w
10

T. Vb Ó ˙ ˙. œ ˙ w ˙ œ œ œ œ ˙ ˙ Ó ˙ ˙ ˙
A.
son, e - le - - - - - i - son, e - le -
˙. œ ˙ w #˙ w w w
T. Vb ∑ ˙ ˙ w
- - - i - son, Ky - ri - e e -

B.
?b œ œ ˙ ˙ ˙ ˙ ˙ W Ó ˙ ˙ ˙. œ ˙ ˙ ˙
- - - i - son, e - le - - - i -

bw ˙. œ œ œ ˙ 2
13

S. &b œ œ ˙ œ œ ˙ œ œ #˙ W W 1
- - - - - - i - son.

˙ ˙ ˙ ˙ w ˙ ˙ bw W 2
Vb œ œ ˙ ˙
13

T. ˙ ˙ Ó 1
A.
- - i - son, e - le - - - - i - son.

2
T. V b ˙. œ ˙ ˙ ˙ ˙ ˙. œ ˙ ˙ w W W 1
le - - - - - i - son.

? Ó ˙ ˙ ˙ œ œ ˙ w w W W 2
B. b w 1
son, e - le - - - i - son.

& b 21 w . ˙ w
16

Superius œ œ w w ˙ ˙ ˙ ˙ #˙
Chri - - - ste e - le - - - i -

Altus & b 21 „ „ w. œ œ ˙ ˙ w
Chri - - - - steIe -

Tenor V b 21 „ „ „ „

? 2 „ „ „ „
Bassus b 1

110 n Sacred Music Colloquium 2011 Friday, June 17


Josquin :: Missa Ave Maris Stella :: No. 1. KYRIE

W
20

S. &b „ „ „
son,

& b ˙. œ ˙ ˙ ˙ ˙ ˙. œ w ˙ ˙ œ
A.

˙. œ ˙.
le - i - son, e - le - - - - -

˙ ˙ w #˙
T. V b w. œ œ w w ˙ ˙ ˙
Chri - - - - ste e - le - - - i -

? w. œ œ ˙ ˙ w
B. b „ „
Chri - - - - steIe -

W W bW
24

S. &b „ „
Chri - - - - -

&b ∑
W
˙ ˙ œ œ ˙ ˙ w W
A.

˙ w
- - - i - son, e - le - - - -
W W W
T. Vb W w w
son, Chri - ste e -

? œ ˙ ˙ w #˙ W W
B. b ˙. ˙ W
le - - - - i - son,

29
w. N˙ w. œ œ ˙ ˙ w ˙ w 3
S. &b œ œ w w W 1
ste e - le - - - - - - i - son.

3
A. &b W w w w w b˙ . œ ˙ ˙ ˙. œ ˙ ˙ W 1
- - - - - - - - i - son.
3
T. Vb W w. ˙ w w w w W W 1
le - - - - - - i - son.

? W w. ˙ w bw w W W 3
B. b w 1
e - le - - - - i - son.

Friday, June 17 Sacred Music Colloquium 2011 n 111


Josquin :: Missa Ave Maris Stella :: No. 1. KYRIE

3
35

&b 1 W w ˙ œ œ ˙ ˙ w ˙ œ œ ˙ w
Superius #˙
Ky - ri - e e - le - - - - i -

3 w. w.
Tenor Vb 1 ∑ W œ œ ˙ ˙ ˙ w
Ky - ri - - e e - le - i -

? 3 ∑ ∑ ∑
Bassus b 1

38

S. & b W. „ ∑ „ ∑
son,

A. &b Ó ˙ ˙ ˙ w ˙ œ œ ˙ ˙ w ˙ œ œ ˙ w #˙
Ky - ri - e e - le - - - - i -

T. V b W. „ ∑ „ ∑
son,

? w w. œ œ ˙ ˙ w. w
B. b ∑ ∑ ˙
Ky - ri - - - e e - le - i - son,

41

S. &b „ ∑ „ ∑ „ ∑

A. &b ˙ w œ œ Nw
„ ∑ „ ∑
son,

T. Vb ∑ W w. œ œ ˙ ˙ w. ˙ w
Ky - - - ri - e e - le - - i -

? w œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ bœ œ w #˙
B. b w. ˙.
Ky - ri - e e - le - - - - i -

112 n Sacred Music Colloquium 2011 Friday, June 17


Josquin :: Missa Ave Maris Stella :: No. 1. KYRIE

œ w ˙.
44

S. &b Ó ˙ ˙. œœ˙ ˙ w ˙ œ œ ˙ w ˙
e - le - - - - - - - - i -

&b ∑ Ó
w.
˙. œ œ œ ˙ ˙ w. ˙ w
A.

˙
e - le - - - - - - - i -

T. V b W. „ ∑ „ ∑
son,

B.
?b W ∑ ∑ ∑
son,

47

S. &b W Ó ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ˙. œ œ œ
son, e - le - - - - - -

&b w w w w. w
w w w ˙
A.

son, e - - - le - - - - - -

T. Vb ∑ W w. œ œ ˙ ˙ w. ˙ ˙ ˙
Ky - ri - - - e e - le - - - -

?b W w w ˙
B. W Ó ˙. œ b˙ ˙
Ky - ri - - - e e - le -

50

S. & b ˙. œ ˙ w #˙ W.
- - - - - i - son.

&b Ó w w W.
˙
A.

- - - i - son.

T. Vb ˙ w œ œ w W.
- - - - i - son.

B.
?b œ œ ˙ ˙ b˙ w W.
- - - - i - son.

Friday, June 17 Sacred Music Colloquium 2011 n 113


Missa Ave Maris Stella.

No. 2. GLORIA.
Josquin des Prez (1450-1521)

œ œ œ œ œ œ œ œ œ œ œ
Vb Œ œ œ ˙
Gló - ri - a in ex - cél - sis De - o.

5
3 w w w ˙ w œ œ
S. &b 1 ∑ w
et in ter - ra pax

& b 31 w w w ˙ w œ œ ˙ ˙ ˙ ˙ w
A.

w
et in ter - ra pax ho - mí - ni -

w ˙ ˙
&b ˙ ˙
8

S. ˙ ˙ ˙ w w Ó ˙ ˙. œ ˙
ho - mí - ni - bus bo - næ vo - lun - tá - tis. Lau -

&b Ó
w ˙ ˙ ˙ ˙ W
w ˙ ˙ ˙.
A.

œ ˙
bus bo - næ vo - lun - tá - tis. Lau - dá - mus te,

11
˙ ˙ w ˙ ˙ ˙ ˙. œ ˙ ˙.
S. &b Ó ˙ œ ˙ ˙ Ó ˙
dá - mus te, be - ne - dí - ci - - mus te, a -

&b Ó ˙ ˙ ˙ ˙. œ ˙.
Ó
˙ ˙ œ ˙ ˙ ˙ ˙. œ
A.

˙ ˙
be - ne - dí - ci - - - mus te, a - do - rá -

14

˙. ˙ ˙ ˙ ˙. œ œ œ ˙. œ ˙
S. &b ˙ ˙ œ ˙ ˙ Ó ˙ œ œ
do - rá - mus te, glo - ri - fi - cá - - - - -

&b Ó ˙. ˙ ˙ ˙. œ ˙ ˙ ˙
A.
˙ ˙ ˙ ˙ œ ˙ ˙ ˙
˙
mus te, glo - ri - fi - cá - mus te. glo - ri - fi - cá - - -

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

114 n Sacred Music Colloquium 2011 Friday, June 17


Josquin :: Missa Ave Maris Stella :: No. 2. GLORIA.

w
&b œ œ w
17

S. ˙ w Ó ˙ w W ∑
- mus te. Grá - ti - - as

&b ˙ œ œ ˙ w #˙ ˙
˙. œ ˙ w. œ œ
A.

w w
- - - - mus te. Grá - - -

w w w. ˙ ˙ ˙ ˙ ˙ w w
T. Vb w
Grá - ti - as á - gi - mus ti - - -
?b w w
B. ∑ ∑ w
Grá - ti - as

20

S. &b „ ∑ „ ∑ „ ∑

&b ˙ ˙ ˙ ˙ ˙ œ œ œ œ ˙ œ
˙ œ ˙ ˙ ˙. œ œ ˙.
A.

˙ ˙.
ti - as á - gi - mus ti - - - - - - -
w ˙ ˙ œ œ œ œ ˙ ˙. œ w #̇
w ˙ ˙ ˙
T. Vb Ó

˙.
- - - - - - - bi pro - pter ma -
? ˙. œ ˙ ˙ œ ˙ ˙ ˙ w w ˙
B. b ˙ w Ó
á - gi - mus ti - - - - - bi pro -

˙ ˙ ˙
23

S. &b „ ∑ „ ∑ Ó ˙. œ
pro - pter ma - gnam

&b w ∑ ∑ „ ∑
˙ ˙ ˙
œ œ œ œ
A.

˙
bi pro - pter ma - gnam

T. V b ˙. œ ˙ ˙ œ œ ˙ œ œ ˙ ˙ ˙ w W.
gnam gló - ri - am tu - am.
? ˙ w ˙. œ ˙ ˙ ˙ ˙ œ #œ œ œ W .
B. b ˙
pter ma - gnam gló - ri - am tu - - am.

Friday, June 17 Sacred Music Colloquium 2011 n 115


Josquin :: Missa Ave Maris Stella :: No. 2. GLORIA.

26

S. &b ˙ ˙. œ ˙ w W ∑ „ ∑
gló - ri - am tu - am.

A. &b ˙ ˙ ˙ w #˙ W ∑ „ ∑
gló - ri - am tu - am.

˙ ˙. nœ #˙
T. Vb „ ∑ Ó ˙ ˙ ˙ w ˙ ˙
Dó - mi - ne De - us, Rex cæ - lé -
?b „ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w
B. ∑ Ó ˙ ˙
Dó - mi - ne De - us, Rex cæ - lé -

˙. ˙
29

S. &b Ó ˙ ˙ ˙ w ˙ ˙ ˙ nœ #˙ ˙. œ ˙ ˙ ˙
De - us Pa - ter om - ní - po - tens. Dó - mi - ne Fi - li

A. &b Ó ˙ ˙. œ ˙ ˙ ˙ ˙ ˙
˙ w w
Ó ˙ ˙ ˙
De - us Pa - ter om - ní - po - tens. Dó - mi - ne

W. W.
T. Vb „ ∑
stis, Ie - - -
? W ˙ ˙ ˙ ˙
B. b w „ ∑ Ó ˙
stis, Dó - mi - ne Fi - li

32
˙ ˙ ˙ w w
S. &b ˙ ˙ ˙ w œ œ ˙ W
U - ni - gé - ni - te, Ie - su Chri - - - -

&b ˙ Ó
3 3

˙ w ˙ ˙ ˙. ˙ ˙ ˙ œ
œ W ˙ œ œ œ œ œ
A.

Fi - li U - ni - gé - ni - te, Ie - su Chri -

W
T. Vb w w W w W
œ w
- - - - su Chri - - - - -
?b ˙ ˙ w ˙ ˙.
B. w bw W Ó
U - ni - gé - ni - te, Ie - su

116 n Sacred Music Colloquium 2011 Friday, June 17


Josquin :: Missa Ave Maris Stella :: No. 2. GLORIA.

˙
35

S. &b W Ó ˙ ˙ w w ∑ ∑ Ó ˙
ste, Dó - mi - ne De - us, A -

&b ˙ w
Ó
˙ ˙ ˙ w w
∑ ∑
œ œ w
A.

- - ste, De - mi - ne
Dó De - us,

T. V b W. ∑ ∑ Ó ˙ ˙ ˙ w w
ste, Dó - mi - ne De - us,
?b W ˙. œ ∑ ∑ Ó ˙ ˙ ˙ ˙. œ
B. w
Chri - - - ste, Dó - mi - ne De -

&b ˙ ˙
38

S. ˙ w w ∑ ∑ Ó ˙ ˙ w w
gnus De - i, Fí - li - us Pa -

&b Ó ˙ ˙ ˙ w w ∑ ∑ Ó ˙ ˙ ˙ ˙ œ œ
A.

A - gnus De - i, Fí - li - us Pa -

T. Vb ∑ ∑ Ó ˙ ˙ ˙ w w ∑ ∑ Ó ˙

œ œ ˙
A - gnus De - i, Fí -

B.
?b w ∑ ∑ Ó ˙ ˙ ˙ ˙. œ ˙. œ ˙ ˙
us, A - gnus De - i, Fí - li - us Pa -

2
41

S. & b ˙. œ ˙ w #˙ W. 1
- - - - - tris.
2
A. &b œ œ ˙ œ b˙ w W. 1
œ
- - - - tris.

2
T. Vb ˙ ˙ ˙ ˙ w W. 1
li - us Pa - - - tris.

B.
?b œ œ œ œ ˙ ˙ w W. 21
- - - - - tris.

Friday, June 17 Sacred Music Colloquium 2011 n 117


Josquin :: Missa Ave Maris Stella :: No. 2. GLORIA.

w w w. œ œ
& b 21 W w w w
43

Superius
w
Qui tol - lis pec - cá - ta mun - - -
2
Altus &b 1 ∑ ∑ ∑
w w
W
Qui tol - lis
48

S. &b œ œ w œ œ œ œ w œ œ W „ „
- - - - - di,

&b w w w w. œ œ
w œ œ w œ œ
A.

W
pec - cá - ta mun - - - - - di,

w w w w w w
T. Vb ∑ W
Qui tol - lis pec - cá - ta mun -
? w w w w
B. b ∑ ∑ W
Qui tol - lis pec - cá -

53
w w w w w. œ œ ˙ ˙ ˙ ˙ œ œ w #˙
T. Vb
w ˙ w
di, mi - se - ré - re no - - -
?b w w ˙ ˙ ˙ œ œ ˙ ˙ ˙
B. ˙ ˙ w
ta mun - - - - - di, mi - se - ré - re no -

58

&b ∑ w w w w w w W ∑
w
S.

qui tol - lis pec - cá - ta mun - di,

A. &b ∑ ∑
w w w w w. ˙
W
qui tol - lis pec - cá - ta

W W
T. Vb „ „ „ W
bis; qui
? w w w w
B. b W W „ W
bis; qui tol - lis pec - cá -

118 n Sacred Music Colloquium 2011 Friday, June 17


Josquin :: Missa Ave Maris Stella :: No. 2. GLORIA.

w. ˙
64

S. &b ∑ ∑ ∑ ∑
sú - sci -

&b w w w ˙ œ bœ œ œ w
w ˙ w œ œ w ˙
A.

mun - di, mun - - - - - - di,

w w w w w w W w
T. Vb ∑
tol - lis pec - cá - ta mun - di, sú -
? w w w. œ œ ˙ w œ œ ˙.
B. b œ w w. ˙
ta mun - di, mun - di, sú - sci -

&b w w ˙.
69

S. w w ˙ ˙ œ ˙ ˙ ˙ ˙
pe de - pre - ca - ti - ó - - - nem

&b Ó ˙ w
w ˙ w w. ˙ ˙
A.

w
sú - sci - pe de - pre - - - ca - ti - ó -
˙ ˙ ˙ ˙ w w ˙. œ ˙ ˙ ˙ ˙ ˙ ˙
T. Vb
- sci - pe de - pre - ca - ti - ó - - - -
? w w w w ˙. œ ˙ ˙ œ œ œ œ
B. b w
pe de - pre - ca - ti - ó - - - -

73
w ˙ ˙ ˙. œ œ œ ˙ œ œ ˙
S. &b Ó ˙ ˙ ˙
˙
˙
no - - - - stram, no - - - -

&b Ó
˙ ˙ œ œ ˙ œ œ œ œ ˙
w ˙ ˙ ˙ ˙ ˙
A.

˙
nem no - - - - - - - stram, no -
˙ ˙ ˙ ˙ ˙ ˙ w W W
T. Vb
- - nem no - - - stram.
?b œ œ ˙ ˙ ˙ ˙ ˙ w ˙ œ œ ˙
B. W Ó
- - nem no - stram. no -

Friday, June 17 Sacred Music Colloquium 2011 n 119


Josquin :: Missa Ave Maris Stella :: No. 2. GLORIA.

77

S. &b œ œ w #˙ W ∑ ∑
- - - stram.

&b ˙ Ó
˙ ˙ ˙ ˙ œ œ ˙ ˙
˙ w
A.

W
- - - stram. Qui se - des ad

W W
T. Vb ∑ ∑

? ˙ ˙ w ˙ ˙ w œ œ ˙ ˙ ˙ ˙
B. b w Ó
- - - stram. Qui se - des ad déx - te -

œ œ œ ˙ œ œ w W
81

S. &b ∑ Ó ˙ ˙. #˙
mi - se - ré - re no - bis.

A. &b ˙ ˙ ˙ ˙ w
∑ ∑ ∑ Ó
˙
déx - te - ram Pa - tris, Quó -
˙ ˙ ˙ ˙. œ w W
T. Vb ∑ Ó

˙
mi - se - ré - re no - bis.
? ˙ w ∑ ∑ Ó ˙ œ œ ˙
B. b
ram Pa - tris, Quó - ni - am

˙ ˙ ˙ w
85

S. &b ∑ ∑ Ó ˙ ˙ ∑
Tu sol - us Dó - mi - nus,

&b œ œ ˙ ˙.

w. ˙
˙ ˙ ˙ ˙ œ w
A.

- ni - am tu so - lus San - ctus, Tu sol -


˙ ˙ ˙ ˙ ˙ w
T. Vb „ Ó ∑
Tu sol - us Dó - mi - nus,
?b ˙ ˙ ˙. œ w w ˙ ˙ ˙ ˙
B. ˙ ˙ ∑
tu so - lus San - ctus, Tu sol - us Al -

120 n Sacred Music Colloquium 2011 Friday, June 17


Josquin :: Missa Ave Maris Stella :: No. 2. GLORIA.

89

S. &b ∑ ∑ ∑ ∑

&b ˙ ˙ ˙ ˙ ˙. œ ˙ ˙ ˙ ˙ ˙ œ #œ œ nœ w
˙
A.

us Al - tís - si - mus, Ie - su Chri - ste,

˙
T. Vb ∑ ∑ ∑ ∑ Ó

˙.
cum
?b ˙ ˙ œ ˙ w ˙ ˙ w ˙
B. w w
tís - si - mus, Ie - su Chri - - - ste,

˙ ˙ ˙
93

S. &b ∑ Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙. œ œ œ ˙
cum San - cto Spí - ri - tu: in gló - ri - a De -

A. &b Ó ˙ ˙ ˙ w ˙ ˙ w w

cum San - cto Spí - - - ri - tu:

˙ ˙ ˙ w ˙ œ œ ˙
T. Vb ˙ ˙ ˙ ˙ ˙ Ó ˙ ˙
San - cto Spí - ri - tu: in glo - ri - a, in gló - ri - a

B.
?b ∑ ∑ ∑ ∑

97

S. &b œ œ w #˙ ˙ œ œ Nœ œ
˙ ˙ ˙ œ œ œ œ ˙. œ œ œ ˙
- i Pa - tris. Pa - - - - - - -

&b ∑
w. ˙ b˙ . œ ˙ ˙ ˙ ˙
˙ ˙
A.

in gló - ri - a De - i Pa -

T. Vb ˙ ˙ w ˙ w ˙ ˙ ˙ ˙. œ ˙ ˙ œ œ ˙
De - i Pa - tris. in gló - ri - a De - i Pa -
? ∑ Ó ˙ ˙ ˙ b˙ w ˙ ˙. Nœ ˙ b˙
B. b
in gló - ri - a De - i Pa - -

Friday, June 17 Sacred Music Colloquium 2011 n 121


Josquin :: Missa Ave Maris Stella :: No. 2. GLORIA.

101

S. &b œ œ w ˙ w Ó ˙ œ œ œ œ ˙ ˙ œ œ œ œ ˙ ˙
- - - tris. A - - - - - -

&b w Ó
œ œ ˙ œ œ ˙
w ˙ ˙. œ ˙. œ œ œ b˙
A.

tris. A - - - men, A - men,

T. Vb ˙ ˙ w W „ „
- - - tris.
?
B. b ˙ ˙ w W ∑ ∑
- - - tris.

105

S. &b W ∑ Ó ˙ œ œ œ œ ˙. œ ˙ ˙ œ œ ˙
men, A - - - - - -

& b ˙. œ ˙ b˙ . b˙ .
˙ œ ˙ ˙ œ ˙ ˙ ˙ ˙ b˙ ˙
A.

A - - - - - - - - - -

T. Vb Ó ˙ œ œ œ œ ˙ ˙ œ œ œ œ ˙ ˙ œ œ œ œ ˙ ˙ ˙. œ
A - men, A - men, A - - - -
? œ œ œ ˙ œ œ œ œ ˙ b˙
B. b ˙. ˙. œ œ œ b˙ œ œ b˙ œ œ œ œ
A - men, A - men, A - - - -

109

S. &b œ œ w #˙ W
- - - - men.

A. &b ˙ ˙ w W
- - - men.

T. Vb ˙ ˙ w W
- - - - men.
? b˙ W
B. b ˙ w
- - - - men.

122 n Sacred Music Colloquium 2011 Friday, June 17


Friday, June 17 Sacred Music Colloquium 2011 n 123
124 n Sacred Music Colloquium 2011 Friday, June 17
Friday, June 17 Sacred Music Colloquium 2011 n 125
Missa Ave Maris Stella.

No. 4. SANCTUS.
Josquin des Prez (1450-1521)

W. W
Superius & b 31 W . w
San - - - - - - - -
3
&b 1 Ó w ˙ w w
∑ ∑ Ó
w ˙ w
Altus

San - ctus, san -

Tenor V b 31 „ . „. „.

w ˙ w w
? 3 ∑ Ó ∑ ∑
Bassus b 1
San - ctus,

w w. ˙
&b W w
4

S. ˙. œ œ œ w #˙
- - - - - - - - - -

&b W ˙. œœœ œ ˙ ˙ ˙ Ó
w ˙ w
A.

w
ctus, san - - - - - ctus, san - - -
W. W w
T. V b W.
w
San - - - - - - - - - -
w ˙ w w
B.
?b Ó ˙ w ˙ ∑ ∑
san - - ctus, san - - - ctus,

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

126 n Sacred Music Colloquium 2011 Friday, June 17


Josquin :: Missa Ave Maris Stella :: No. 4. SANCTUS.

˙ œ œ œ œ ˙ ˙ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙
7

S. &b w Ó œ ˙
ctus, san - - - - - ctus, san - - -

&b
˙. œ ˙ ˙ ˙ ˙ ˙. œ ˙ ˙ ˙ ˙ ˙
A.

˙ ˙ ˙ ˙ ˙
ctus, san - - - - ctus, san - - - - -
w ˙ ˙ w w ˙ ˙ ˙ ˙ ˙. œ œ œ w #˙
T. Vb
- - - - ctus, san - - - - -

B.
?b Ó w ˙ w w Ó w ˙ œ œ w ˙ w
san - - - ctus, san - - - - -

10
W. ˙.
S. &b Ó w ˙ w œ W
ctus Do - mi - mus De - us

&b ˙ ˙
˙ ˙. œ œ œ ˙ ˙
˙
œ œ œ
˙ ˙
œ œ œ ˙
A.

˙. ˙.
ctus Do - mi - mus De - - - us, De - -

T. Vb W w ˙ ˙ w w W.

˙
ctus Do - mi - mus De - - - - -
w. ˙ ˙ œ œ œ œ ˙ ˙
? ˙ ˙ ˙ œ œ œ œ ˙
B. b w
ctus Do - mi - mus De - - - us, De - - us,

œ œ œ ˙ œ œ ˙
13

S. &b Ó ˙ ˙. Ó ˙ œ œ ˙
Do - mi - - - - nus De - - -
A. &b œ œ œ œ w w w ˙ ˙ œ œ ˙
- - - - - - - - - us

T. Vb W w w W
- - - - - - - - - -
˙ œ œ œ œ
B.
?b Ó ˙ œ œ œ œ ˙ ˙ œ œ œ œ ˙
De - - - us, De - - - us, De - - -

Friday, June 17 Sacred Music Colloquium 2011 n 127


Josquin :: Missa Ave Maris Stella :: No. 4. SANCTUS.

15

S. &b ˙ ˙. œ ˙ ˙ ˙ ˙ ˙ Ó ˙ œ œ œ bœ w Ó ˙ œ œ œ œ
us Sá - - - ba - oth, Sá - ba - oth, Sá -

&b W ˙ ˙
Ó
w ˙
˙ œ œ œ ˙ ˙
A.

˙ ˙ ˙.
Sá - - - ba - oth, Sá - ba - oth, Sá - ba - oth,

T. V b W. W w W Ó ˙
- - - - - - - us Sá -
? ˙
B. b ˙ œ œ œ œ b˙ ˙ Ó ˙ œ œ œ œ bw W.
us Sá - ba - oth, Sá - ba - oth.

2
18

S. &b ˙ ˙ Ó ˙ œ œ œ œ ˙ ˙. œœ˙ œ #œ œ œ W . 1
ba - oth, Sá - ba - - - - oth.
2
&b Ó W. W. 1
œ œ œ œ ˙ ˙
A.

˙
Sá - - - ba - oth.

Vb œ œ œ œ ˙ ˙ Ó ˙ 21
T.
˙ œ œ ˙ ˙ w W.
- - ba - oth, Sá - - - ba - oth.

? W. 2
B. b W. W. 1

Superius & b 21 „ „ „ „

2
Altus &b 1 „ „ W w w
Ple - - - - ni
W w w w ˙ ˙ œ œ ˙ ˙ ˙
? 2
Bassus b 1
Ple - - - ni sunt cœ - - - -

128 n Sacred Music Colloquium 2011 Friday, June 17


Josquin :: Missa Ave Maris Stella :: No. 4. SANCTUS.

W w w
25

S. &b „ „
Ple - - - - ni

A. &b w ˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙
sunt cœ - - - - - - - - -

? ˙. œ ˙ ˙ œ œ œ œ ˙ ˙ W W
B. b
- - - - - li,

29

S. &b w ˙ ˙ œ œ ˙ ˙ ˙ ˙. œ ˙ ˙ œ œ œ œ
˙ ˙
sunt cœ - - - - - - - - -

& b ˙. œ ˙ ˙
˙ œ œ œ œ ˙ ˙. œ ˙ ˙ œ œ œ œ ˙ ˙
A.

- - - - - - - - - -

?
B. b „ „ „ „

B
œ ˙ ˙
33

S. & b ˙. ˙ œ œ œ œ ˙ W W
- - - - - li,

& b ˙. ˙ Ó
œ ˙ ˙ œ œ œ œ ˙ ˙ ˙ ˙. œ ˙ ˙
˙
A.

- - - - - li, cœ - - -

?b „ W w w
B. „
ple - - - - ni

37

S. &b „ „ „ „

&b ˙ ˙
Ó
˙ ˙ w œ œ ˙. ˙ ˙
œ ˙ œ ˙
A.

˙.
- li, cœ - - - - - - - -

B.
?b w ˙ ˙ œ œ ˙ ˙ ˙ ˙. œ ˙ ˙ œ œ œ œ
˙ ˙
sunt cœ - - - - - - - - -

Friday, June 17 Sacred Music Colloquium 2011 n 129


Josquin :: Missa Ave Maris Stella :: No. 4. SANCTUS.

w
41

S. &b „ „ Ó w œ œ ˙ ˙
et ter -

&b w Ó w œ œ
œ œ ˙ ˙ ˙ ˙. œ ˙ ˙ œ œ ˙
A.

- - - - - - - li et

? ˙. œ ˙ ˙ œ œ œ œ ˙ ˙ W W
B. b
- - - - - li

45

S. &b w Ó ˙ œ œ œ œ ˙ ˙ ˙ ˙ œ œ œ œ ˙ ˙ ˙ ˙
ra, et ter - ra, et ter - ra, et

A. &b ˙ ˙ w w w Ó ˙ œ œ œ œ ˙ ˙ ˙ ˙
ter - - - ra, et ter - ra, et

?
B. b „ „ „ „

&b œ œ œ œ œ œ œ œ ˙.
49

S.
w Ó ˙ ˙ ˙ œ œ œ œ œ w
ter - ra, et ter - - - - ra

&b œ œ œ œ w „ „
W
A.

ter - ra
w œ œ ˙ ˙ w w ˙
B.
?b „ Ó Ó
et ter - ra, et

53

S. &b „ „ „ „

&b Ó ˙ ˙ ˙. œ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙
˙ ˙
A.

glo - ri - a tu - - - a, glo - ri - a tu -
œ œ œ œ ˙ ˙ ˙ ˙ œ œ œ œ ˙ ˙ ˙ ˙. œ ˙ ˙
? ˙
B. b
ter - - - - ra glo - ri - a tu - - -

130 n Sacred Music Colloquium 2011 Friday, June 17


Josquin :: Missa Ave Maris Stella :: No. 4. SANCTUS.

œ ˙
57

S. &b Ó ˙ ˙ ˙ ˙. œ ˙ ˙ w w ˙ ˙ ˙. ˙ œ œ œ œ
glo - ri - a tu - a, glo - ri - a tu -

&b w Ó ˙ ˙ „
w ˙ W W
A.

a, glo - ri - a tu - a,

? ˙ ˙ ˙ ˙ ˙. œ ˙ ˙ w w ˙ ˙ ˙. œ ˙ ˙ œ œ œ œ
B. b
a, glo - ri - a tu - a, glo - ri - a tu -

˙ ˙ ˙ œ œ œ œ œ œ w W
62

S. &b W Ó ˙ ˙ #˙
a, glo - ri - a tu - - - - a,

&b ∑ w ˙ ˙ ˙. œ ˙ ˙ œ œ œ œ ˙ w w
Ó
˙
A.

˙
glo - ri - a tu - - - - a, glo -

? w
B. b W „ „ „ ∑
a, glo -

67

S. &b „ „ „ ∑ w
glo -

&b ˙ ˙ ˙ œ œ ˙ œ œ w #˙ w. Nœ œ
œ œ œ œ . œ
A.

- - ri - a tu - - - - - a,
˙ ˙ œ œ œ œ
B.
?b ˙ ˙ ˙. œ ˙ ˙ w W
- ri - a tu - - - - - a,

˙
71

S. &b ˙ ˙ ˙. œ ˙ œ œ œ œ ˙. œ œ œ ˙ ˙ ˙ œ œ œ œ
- ri - a tu - - - - - a, glo -

&b ˙ ˙ ˙ œ œ œ œ Ó
˙. œ ˙ ˙ ˙ ˙ ˙ ˙
A.

˙ ˙
glo - ri - a tu - - - - - a, glo -

? w ˙ ˙ ˙. œ
B. b „ „ ∑
glo - ri - a

Friday, June 17 Sacred Music Colloquium 2011 n 131


Josquin :: Missa Ave Maris Stella :: No. 4. SANCTUS.

21
75

S. &b ˙ ˙ œ œ ˙ ˙ w œ œ ˙ ˙ œ œ œ œ W W
- ri - a tu - - - - a.
2
&b œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ 1
œ œ ˙ ˙ b˙ œ œ ˙ w W
A.

- - ri - a tu - - - - - - a.

? ˙ ˙ œ œ bœ œ ˙ ˙ bw W W W 2
B. b 1
tu - - - - a.

Superius & b 21 „ ∑ w ˙ ˙ w W
O - san - na,
2
&b 1 ∑ ˙ w

w
w ˙
Altus
W
O - - - san - na, o -
2 W W
Tenor Vb 1 W W
w
O - - - - - - - -
˙ W
Bassus
? b 21 w . w ˙ ˙ w

O - san - - - - na,

84

S. &b ∑ w ˙ œ œ w ˙ ˙ w w. ˙ W
o - san - - - - - na,

&b ˙ w
∑ w ˙ ˙ w
œ œ w ˙ ˙
A.

W
- - san - - - na, o - san -
W W W W
T. Vb „
- - - - - san - - - - - -
˙ w W
B.
? b w. w ˙ ˙ w w. ˙
o - san - - - - na, o -

132 n Sacred Music Colloquium 2011 Friday, June 17


Josquin :: Missa Ave Maris Stella :: No. 4. SANCTUS.

89
w ˙ w ˙ w w
S. &b W ∑ w w
o - - - san - - - -

&b w
Ó Ó
w w w w w w
A.

˙ w ˙
na, o - san - na, o - san - na,
w w W W W W
T. Vb
- - - - - - - - - -

? w w w. ˙ W w. ˙ w
B. b w
san - - - - na, o - san -

w. œ œ œ œ œ ˙ ˙ w
94

S. &b ˙. œ œ ˙ œ œ œ œ ˙
- - - - - - - - - -

&b Ó w w ˙ œ œ ˙
w ˙ w
A.

˙ ˙ ˙
o - san - - - - - - - - -
W w w W W
T. Vb
- - - - - na

B.
? b w. ˙ w w w. ˙ W
- - - - - - - - na
E
w ˙ w
98

S. &b œ œ w ˙ w ˙ w. ˙ w Ó ˙
- - - na, o - san - - - na, o -

&b w Ó ˙ ˙.
˙ ˙ w w œ w ˙ ˙ w
A.

w
- - - - na, o - san - - - na
W w
T. Vb W w W W

˙ w
in ex - - - - - -

? W w. w. ˙ w W w ˙ ˙ w w
B. b
3 3 3 3
in ex - cel - sis, in ex - cel -

Friday, June 17 Sacred Music Colloquium 2011 n 133


Josquin :: Missa Ave Maris Stella :: No. 4. SANCTUS.

˙
103

S. & b w. ˙ w Ó ˙ ˙ #œ œ w w Ó
san - - - na, o - san - na in

&b w
3 3 3
A.
w bW w bw W ˙. œ ˙
w ˙
in ex - cel - sis, in ex - cel -

T. Vb w w W W W
cel - - - - - - - sis,

? w. ˙ w ˙ w ˙. œ
bw . w W ∑
3
B. b
3 3
- - - - - - sis, in

F
w ˙ ˙
107

S. &b ˙ w. ˙ w Ó ˙ ˙ œ œ ˙
ex - cel - - - sis, in ex - cel -

&b ˙ œ œ ˙
3 3

˙ w. œ˙ ˙ ˙ ˙
œ œ œ œ ˙ ˙ ˙.
A.

˙
- - - sis, in ex - cel - sis, in ex - cel -

w w w
T. Vb ∑ w w w. ˙

˙ œ ˙
in ex - cel - sis, in ex - - -
œ œ ˙ ˙ ˙.
B.
?b ˙ ˙ œ œ ˙ ˙. œ ˙ ˙ ˙
ex - cel - sis, in ex - cel - sis, in ex - cel -

˙
111

&b ˙ w w Ó ˙ ˙. ˙ ˙ ˙ œ œ ˙
S.
œ ˙
- - - sis, ex - cel - sis, in ex - cel -

&b ˙ ˙ ˙ ˙ ˙ ˙ Ó
3 3
A.
˙ w ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙
- - - sis, in ex - cel - sis, in ex - cel -

˙ ˙ œ œ ˙ ˙
T. Vb ˙ ˙ w w ˙. œ ˙ w
- - cel - sis, in ex - cel - - - sis,

? ˙ ˙ w w ˙. œ ˙ ˙ œ œ ˙
B. b ˙ œ œ ˙ ˙
- - - sis, in ex - cel - - - -

134 n Sacred Music Colloquium 2011 Friday, June 17


Josquin :: Missa Ave Maris Stella :: No. 4. SANCTUS.

2
115

&b œ œ œ œ ˙ ˙ ˙ ˙ œ œ ˙ w W 1
S.
w
- - sis, in ex - cel - - - sis.
2
&b ˙ Ó ˙ ˙ ˙ œ œ ˙ ˙ ˙ w W 1
˙
A.

sis, in ex - cel - - - - - sis.

T. Vb w ˙ ˙ ˙ ˙ w w w W 21
in ex - cel - - - - sis.

? ˙ ˙ ˙ ˙ œ œ ˙ ˙. œ W 2
B. b w w 1
sis, in ex - cel - - - - - sis.
G
b˙ œ œ œ œ b˙
Superius & b 21 w ˙ ˙ ˙ œ œ w
W
Be - ne - - - dic - - - - tus,
2
Altus &b 1 W W w. ˙ w ˙ ˙
Be - - - - - - - ne -
123

&b W w ˙ ˙ œ œ œ œ ˙ ˙
W
S.

be - ne - - - dic -

A. &b œ œ œ œ ˙ ˙ ˙ œ œ w W W
- - dic - - - - tus,
127

S. &b ˙ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙
- - tus, be - ne - dic - - - - - tus, be -

&b w b˙ ˙ œ œ œ œ b˙ ˙ ˙
W œ œ w
A.

be - ne - - - dic - - - tus,

131
˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ #œ œ œ œ W
S. &b œ œ ˙
- - ne - dic - - - - - - tus.

A. &b Ó ˙ ˙ ˙ œ œ œ œ ˙ ˙ ˙ œ œ w W
be - ne - - - dic - - - - tus.

Friday, June 17 Sacred Music Colloquium 2011 n 135


Josquin :: Missa Ave Maris Stella :: No. 4. SANCTUS.
H

Altus &b W W w ˙ ˙ œ œ ˙ ˙ ˙
Qui ve - - - -

?b w ˙ ˙ œ œ ˙ ˙ ˙ ˙ œ œ ˙
˙ w ∑
Bassus

Qui ve - - - - - - nit,
139

&b ˙ œ œ ˙ ∑
˙ w w ˙ œ œ ˙ ˙ ˙
A.

˙
- - - nit, qui ve - - - -

? œ œ ˙ ˙ ˙ œ œ ˙ w
B. b w ˙ ˙ ˙ ˙ ∑
qui ve - - - - - - nit,
143

&b ˙ ˙.
Ó
˙ ˙ ˙ ˙ ˙.
œ œ ˙ ˙ ˙
A.

œ w œ
- - - - nit in Nó - mi - ne, in Nó - mi -
œ œ ˙ ˙ ˙ œ œ ˙ ˙.
B.
?b w ˙ ˙ ˙ ˙ œ ˙ ˙

qui ve - - - - - nit in Nó - mi - ne Dó -
147

&b ˙ œ ˙ ˙. œ œ œ ˙ œ œ œ œ œ œ ˙ œ œ ˙
œ ˙
A.

˙ ˙
ne Dó - mi -ni, Dó - - - - - - -
˙. ˙
? œ
œ ˙ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙ ˙ ˙ ˙ ˙
B. b
- mi- ni, Dó - mi - ni, Dó - - - - - - mi -
151

A. &b œ œ w #˙ W
Osanna
- - - mi - ni. ut supra.
? w w W
B. b
ni.

136 n Sacred Music Colloquium 2011 Friday, June 17


Missa Ave Maris Stella.

No. 5. AGNUS DEI.


Josquin des Prez (1450-1521)

3 w. œ œ w ˙ w œ œ
Superius &b 1 „ ∑ w
A - - - gnus De -

w. œ œ w w œ œ
Tenore
Altus V b 31 w ˙ ˙. œ œ œ w œ œ
A - - - gnus De - - - - -

œ œ œ w
4

S. & b ˙. œ œ ˙. œ œ œ w œ œ ˙ w œ œ w
- - - - - - - - - -
4
˙ ˙ w ˙ ˙ ˙ ˙ w #˙
T.
A.
V b ˙. œ œ œ w œ œ ˙
- - - - - - - - - -

?b w. œ œ
B. ∑ ∑ w
A - - -

˙.
7

S. &b ˙ œ ˙ ˙ ˙ ˙ ˙ œ œ ˙ œ œ ˙ œ œ œ œ ˙ ˙ Ó ˙
i, qui tol - - - - - - lis pec -

˙ œ
7

Vb ˙ ˙. œ ˙ ˙ w. ˙ ˙ ˙ ˙.
˙ ˙ œ œ œ œ
T.
A.
i, qui tol - - - - - - - lis pec - ca -

w. œ œ w ˙ ˙ ˙ w ˙ ˙ ˙
T. Vb w Ó Ó
A - - - gnus De - - - - -
w ˙ w ˙
B.
?b w Ó ˙ ˙ ˙
Ó
˙ ˙ ˙ w

gnus De - - - - - - - -

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

Friday, June 17 Sacred Music Colloquium 2011 n 137


Josquin :: Missa Ave Maris Stella :: No. 5. AGNUS DEI.

10

˙ ˙ ˙ œ œ ˙. œ w #˙ ˙
S. & b ˙. œœ˙ ˙ ˙ ˙ œ œ ˙
ca - ta mun - - - - di, pec - ca -

˙ ˙. œ œ œ w ˙ w w
w w
10

T. Vb ˙ ∑
A.
- - ta mun - - - - di, pec -
w ˙ ˙ w W w
T. Vb w ∑ ∑
- - - - i, qui tol -

?b w W w œ ˙ w
B. ∑ ∑ ˙. ˙
i, qui tol - - - -

˙. œ ˙ ˙ w
13

S. &b ˙ w ˙ ˙. œ œ œ w ˙ ˙ ˙
ta mun - - - - - - - - -
˙. œ œ œ w ˙ œ œ œ œ ˙ w ˙ w. œ œ w
13

T.
A.
Vb
ca - - - - - ta mun - - - - -

T. V b ˙. œ ˙ w ˙ ˙ w ˙ w w ∑ ∑
- - - - - - - lis

?b ˙ ˙ w w ∑ ∑ w ˙ ˙ w
B. w
- - - - lis pec - ca - ta,

16
˙ ˙ w ˙ ˙ ˙ œ ˙
S. &b w ∑ Ó œ ˙ ˙ ˙ ˙
di, mi - se - ré - re no - - - - -
w ˙ ˙ w ˙
w œ ˙ ˙ ˙
16 3

T.
A.
Vb w ˙ Ó ˙ ˙ ˙ ˙.
3 3
- - - - di, mi - se - ré - re no -

w w
T. Vb w ˙ ˙ w ˙ ˙ ˙ ˙. œ ˙ w
pec - ca - ta, pec - ca - ta mun - - -

? w ˙ ˙ w ˙ ˙. œ ˙ w Ó ˙ ˙ ˙
B. b w
pec - ca - ta mun - - - di, mi - se - ré -

138 n Sacred Music Colloquium 2011 Friday, June 17


Josquin :: Missa Ave Maris Stella :: No. 5. AGNUS DEI.

˙
19

S. & b ˙. œ ˙ ˙ ˙ ˙ Ó w ˙ ˙ ˙ ˙ œ œ ˙ œ œ ˙
- - - bis, mi - se - ré - re no - - -
19
w ˙ ˙ w ˙ ˙ ˙ ˙ w
T.
A.
Vb ˙ ˙ Ó ˙ w
- - - bis, mi - se - ré - re no - - -

T. Vb w Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙. œ ˙ ˙ ˙ ˙
di, mi - se - ré - re no - - - - -

? ˙ ˙ ˙ ˙ ˙ ˙ ˙. œ ˙ ˙ ˙ ˙ ˙. œ ˙ ˙ w
B. b
re no - - - - - - - - -

2
22

S. &b ˙ ˙ œ œ w #˙ W. 1
- - - - - - bis.
22
˙. œ ˙ ˙. œ ˙ W. 2
T.
A.
Vb 1
- - - - - - bis.

˙. œ ˙ 2
T. Vb ˙ w W. 1
- - - - - - bis.

? W. 2
B. b W. 1
bis.

2 w w
24

Superius &b 1 ∑ W ˙. œ ˙ ˙
A - - - gnus De - - -

2
Altus &b 1 W w w ˙. œ ˙ ˙ ˙. œ w
A - - - gnus De - - - - -

28

& b ˙. œ w w Ó ˙ w w ˙. œ ˙ ˙. œ w
˙
S.

- - - i, A - gnus De - - - -

&b w Ó
˙ w w ˙. œ ˙ ˙ ˙. œ w W
A.

i, A - gnus De - - - - i,

Friday, June 17 Sacred Music Colloquium 2011 n 139


Josquin :: Missa Ave Maris Stella :: No. 5. AGNUS DEI.

w w ˙. œ ˙
33

S. &b W ∑ w ˙ w Ó ˙
i, A - gnus De - i, qui

A. &b ∑ w w w ˙. œ ˙ ˙ w
Ó
˙ ˙ ˙ œ œ œ œ
A - gnus De - i, qui tol -
38

&b ˙ ˙ œ œ œ œ ˙ ˙ Ó ˙ ˙ œ œ œ œ ˙ ˙
S.
w ˙
tol - - - - lis, qui tol - - - lis

A. &b ˙ ˙ w
Ó
˙ ˙ ˙ œ œ œ œ ˙ ˙ ˙. œ œ œ ˙
- - lis, qui tol - - - lis pec - - -

˙. œ œ œ ˙
& b ˙. œ œ œ ˙ œ œ œ œ œ œ ˙ œ œ œ œ ˙
42

S.
˙
pec - - ca - - - - - - -

& b ˙. œ œ œ ˙ œ œ œ œ œ œ ˙ œ œ œ œ ˙ w Ó
˙
˙
A.

ca - - - - - - - ta mun -
46

S. &b w Ó ˙ œ œ ˙ ˙ ˙ w Ó ˙ œ œ ˙ ˙ ˙
ta mun - - - di, mun - - -

A. &b œ œ ˙ ˙ ˙ w
Ó
˙ œ œ ˙ ˙ ˙ w
Ó
˙
- - - di, mun - - - di, mi -
50

S. &b w Ó ˙ ˙. œ œ œ œ œ ˙ œ œ œ œ œ œ ˙. œ œ œ œ œ
di, mi - se - - - ré - - - re
3

&b œ œ œ œ œ œ ˙. œ œ œ œ œ ˙. œ ˙ ˙ w
3

˙. œ œ œ œ œ ˙
A.

se - - - ré - - - re no - - -

˙. ˙ 2
54

S. &b œ ˙ w W 1
3 3-
no - - - - - bis.

2
3

&b ˙
3
A.
˙. œ ˙ ˙ #˙ W 1
- - - - - - bis.

140 n Sacred Music Colloquium 2011 Friday, June 17


2 w. œ œ ˙ ˙ œ œ œ œ
56
Tenore
Altus Vb 1 „ ∑ w
A - - - - gnus De -

2 w
Tenor Vb 1 ∑ ∑ ∑ w
A -

? 2 w
w ˙ œ œ ˙ ˙ œ œ œ œ
w
Bassus b 1 „
A - - - gnus De - i,

60
w. œ œ w ˙ ˙ ˙ œ œ w
S. &b ∑ w
A - - - - gnus De - - - -
60

T. Vb w ∑ „ Ó ˙ ˙. œ ˙ ˙ ˙. œ
A.
i, A - - - gnus

˙ œ œ w ˙ w œ œ w w ˙ ˙ w
T. Vb
- - gnus De - - - - - - -
w ˙. œ ˙ ˙ w
? ˙
B. b ∑ ∑ ∑ Ó
A - - - - gnus De -

. ˙ w. w ˙ ˙ ˙ w
&b w ˙ ˙
64

S.

- - - - - - - - - -

w. ˙. œ œ œ ˙.
64 3

T. Vb ˙ ˙ w ˙ ˙ ˙ ˙ ˙ œ ˙ ˙ ˙
A.
3 3 3
De - - - - - - - - -

˙ ˙ w ˙ ˙ ˙ ˙ w w
T. Vb „
- - - - - - i,

? ˙ w ˙ w ∑ ˙ ˙ b˙
B. b w ˙ w
- - - i, qui tol - - - -

Friday, June 17 Sacred Music Colloquium 2011 n 141


Josquin :: Missa Ave Maris Stella :: No. 5. AGNUS DEI.

w w w
68

S. &b ∑ ∑ w ˙ ˙ w
i, qui tol - lis pec - ca -

œ œ œ ˙ ˙ ˙ ˙ ˙ œ œ ˙
68

T. V b w. ˙ ˙. ˙ ˙
A.
i, qui tol - - - - - - -


T. Vb w w w. ˙ w ˙. œ w œ œ
qui tol - lis pec - ca - - - ta

?b ˙ ˙ ˙ ˙ œ œ w œ œ ˙
B. w w ∑ Ó
lis pec - ca - - - - ta, pec -

œ b˙ ˙ ˙
& b ˙. œ œ w w w
72

S. w ∑
- - ta mun - di, qui tol -
˙ ˙ ˙ ˙. œ ˙. ˙ ˙ œ œ w
Vb w œ ˙
72

T. Ó
A.
lis pec - ca - - - - ta mun - - -

T. Vb w w ∑ w w w ˙ ˙ w
mun - di, qui tol - lis pec - ca -

? ˙ ˙ ˙ ˙ ˙ œ œ ˙. w ˙ ˙ w
B. b œ w
ca - ta mun - di, qui tol -

w w ˙
76

S. & b w. ˙ ˙ w w Ó ˙
lis pec - ca - - - ta mun - di, pec -
˙. œ œ œ ˙ ˙ ˙ ˙ ˙ œ œ œ œ œ œ ˙ œ œ œ œ
76

T.
A.
Vb Ó ˙
- - - di, pec - ca - ta mun -

w ˙ ˙ ˙
T. Vb ˙ w w Ó ˙ ˙ œ œ w
- - ta mun - di, pec - ca - ta mun -

?b w ˙ ˙ ˙ w ˙ ˙ ˙.
B. Ó œ W
lis pec - ca - ta mun - - - di,

142 n Sacred Music Colloquium 2011 Friday, June 17


Josquin :: Missa Ave Maris Stella :: No. 5. AGNUS DEI.

w œ ˙ ˙
80

S. &b ˙ œ œ w w „ ˙.
ca - ta mun - di, do - na no -
80
˙ ˙ œ œ ˙ ˙ ˙ ˙ œ œ ˙ œ œ œ œ w ˙
T.
A.
Vb ˙ Ó
di, pec - ca - ta mun - - - - di, do -

T. Vb w ∑ ∑ ˙. œ ˙ w ˙ ˙ ˙ ˙ ˙
di, do - na no - - - bis

?b Ó ˙ ˙ b˙ . ˙ ˙ ˙ w ˙
B. ˙ œ w Ó Ó
pec - ca - ta mun - di, do - na no - bis, do -

&b ˙ ˙ ˙ ˙ ˙
84

S. ˙ ˙ ˙ ˙ w w Ó ˙ ˙
- - - bis pá - cem, do - na no - bis
84
˙ ˙ œ œ œ œ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙
T.
A.
Vb ˙ ˙ Ó
na no - bis, do - na no - bis, do - na no - bis pá -

T. Vb w w Ó w ˙ ˙ ˙ œ œ œ œ œ œ œ œ w
pá - cem, do - na no - bis pá - - -

? ˙ ˙ w ˙ ˙ ˙ ˙ ˙. œ ˙ ˙
B. b Ó ˙ ˙ ˙
na no - bis, do - na no - bis pá - - - cem, pá -

88

S. & b œ œ œ œ #œ œ œ œ W W W
pá - cem.

w ˙ bw w bw W
88

T.
A.
Vb w Ó
cem, no - bis pá - cem.

T. Vb W W W W
cem.

B.
? b ˙. œ w Ó ˙ b˙ ˙ w w W
- - cem, do - na no - bis pá - cem.

Friday, June 17 Sacred Music Colloquium 2011 n 143


 


 
Bz

zb s v b z f v b zr d v z T
F v z R
D z # @
Ü z d v ze s b v
M
N z v z [ z

v z f b v b v Y
G b v 6 z % $ b z \ b z g h g z U
H v zb h v zb hb v
. v b ] b v v f b z õ
Bbzbvzz vbygzyÎfz5z$#vz sÁvRvz esbNMv b[bvzhv\ziÐhzygzHUvbvhb.vz bvzwazfYßG v bërdvbvzWA vz éwazsÁRv besbNMvz}zôv b


Bbz fzb bz YG vbvbhzvzb hz b v bhvbvbvz hv z hvzvz zbvbIH vzb hvz bz bvzygzvzbYG b,.vzb z]vbz tfb vzYG vbz bhbv zhvzvzhb bö


Bzz bhv zhiÐhvzb ßgz bz bfzb z bfzfzfbvb zsbmvz b}zòzbxxxxxxcvbcv




Bbbz bfb b z YG b z b zhzb zb hbz zhzbz z bhbv v vzhb zb hb zb IH vz bhvz bz ygbz bzYG b,.vz b ]b vztfvbz YG vb hbzvz bhbz bvhbvzhb bö


Bvzhvz b vhv vbhv bvzbhvz hvzb z hbvbzvzhv zhvzb vhiÐhbz bzßgvzb zfvzb zb fzfzfzb vzsbmvbz b}zòxcvbcvb


Bbzfzb z YG vbvbhz bhz bvhvbz hbz vz bhvz hb.vzb[zb hv zhv vzhvz zhz bz vIH vzb hv zb vzygvbzYG b,.vz b]bz tfzb zYG v zhb ö


Bzbz bhvzb hv zhv zb hv bhbv zhzv v zbhbv zhv vzbhv v hvbv hiÐhv zb ßgb z bfzb z bfzfzfbvb zsbmz z}zòcvbv b
 

Bbz fzbvbz bz YG vzbvbhz bz hbv bhvbvbvhv v vzbIH zv bhvbz hbvz b vzygvzb YG b,.v zb z]z zb zbtfb vzbYG vbz hbv vhv zbhb ö


Bzzbhv zv vhv z hbvzvhv v hv zbhv vzhv vzhiÐhzb zbßgzb z bfzb z bfzfzfbvbz sbmzvz b}zòzxxccb


Bbbz fzb z YG vb hz zb zhbvz bhbz bv bHIvbzv zvzb hb vzhvbvygbvb YG b,.v zb]zb z btfb vz YG bvbvzb z bhbv zhv v vzhv vhvbö

144 n Sacred Music Colloquium 2011 Friday, June 17
Bzzbhv zv vhv z hbvzvhv v hv zbhv vzhv vzhiÐhzb zbßgzb z bfzb z bfzfzfbvbz sbmzvz b}zòzxxccb


Bbbz fzb z YG vb hz zb zhbvz bhbz bv bHIvbzv zvzb hb vzhvbvygbvb YG b,.v zb]zb z btfb vz YG bvbvzb z bhbv zhv v vzhv vhvbö


Bzz bhbv vhv zb hbz bvz vbhiÐhbz vßgz bz bfzbvz bz bfzfzfb zb sbmzvzb }zòzxxxxxcbb
  

Bbbz fzb zb YG vbz hbz bz hv zb zbhv bhv vzhv hvbz hbz z bIH bz vbhbvbzvhbvzb vz hv z bygzb b GYb,.v zb]zb z tfbvzYG v bhvbö


Bzzbhbv hvzb hbzvzvbhiÐhzvßgzb b fzb z bzfzfzfb bz bsbmzvzb}zòzxxvb xxcxcv




Bbzb zbfvz bz zYG vbz hbz bzhvzv bhv bzhzvz hvbz hbvz hbz bz hzvz zbhbz vbIH vbz hbvbz vzygz zbYG b,.v zb ]bz bz tfb vbzYG vbzhzbö


Bzz bhbvzbv hvzb hbv z zbvzbvbhbv hv z hv zhv zhvbv zhv zbhiÐhzbvßgzb zb bfzb bz zbfzfzfb zb sbmz bv}zòzbxvb


Bbzb fvbz bz YG vbz bhb z b zhzb v bhv bzvhzb zbhbvbz hbvzhbz bz bhzb z bhvzbvhbvbz IH vzb hbvzygzvbzYG b,.v zb ]bz b z btfbz vz YG vbö


Bzz bhbvzb vhv zb hiÐhvzb zßgzb zb bfzb z b z bz fzfzfb zb sbm vz}zòzbxcvvb xxxbcv vb

              





              
          
          



 

Friday, June 17
Bbbz fzb b z YG vzb hvbz hzb zvbhvbz zhzvz hvzvbvbIH vzb hvz bz hbvbvzygzbvzbYG b,.vzb z b]bvbz ztfb zvzYG vzb hbv bzhbv zhb zbö

Sacred Music Colloquium 2011 n 145
Ave Maria Robert Parsons (c. 1530-1572)

b
M & b bb C ∑ ∑ ∑ ∑ ∑

b
& b bb C ∑ ∑ j
œ œ œ ˙ ˙ w
œ.
Ct

A - ve Ma - ri - a, a - - -
b
& b bb C j ˙ j
œ. œ œ œ ˙ œ œ. œ œ
Ct
w w
b
V b bb C j
A - ve Ma - ri - a, a - - - ve Ma - ri - - -
T ∑ ∑ ∑ Ó œ. œ œ ˙ œ
A - ve Ma - ri -
? bb b C ∑ ∑ j ˙ œ œ œ. œ
B
b œ. œ œ œ œ œ
J
A - ve Ma - ri - a, Ma - ri - - -
6

b
M & b bb ∑ w ˙ Ó Ó ˙
A - - - - ve, a -

& bbbb j œ. j
Ct
w œ. œ œ œ œ ˙ œ œ
œ œ œ
bbbb
ve Ma - ri - - - - - - a, Ma - ri - - -
& j j
˙ œ. œ œ œ œ. œ œ œ nœ ˙ œ œ. œ œ œ
Ct

a, Ma - ri - - -
b
T V b bb œ œ ˙ œ œ. j
œ œ œ œ œ œ œ œ œ œ œ ˙ œ
a, Ma - ri - - - - -
? bb œ ˙ œ œ. œ œ œ ˙ ˙ œ. j œ
B bb œ œ œ
a, Ma - ri - - - - - - - - - - -

146 n Sacred Music Colloquium 2011 Friday, June 17


10

b
M & b bb ˙ ˙ œ œ. œ œ
J
˙ Ó ∑
j
ve Ma - ri - - - a

& bbbb œ œ œ j œ. œ œ
Ct
œ nœ œ œ. œ ˙. œ œ
a, Ma - - - ri a gra - ci - a
b
& b bb Œ
œ œ œ œ Œ œ œ œ œ nœ œ
˙ ˙
Ct
˙
bbbb j j j
a, Ma - ri - - - - a gra - ci - a ple
T V ˙ œ. œ œ œ œ œ œ œ. œ œ œ. œ œ œ
a, a - ve Ma - ri - - a, gra - ci - a ple - - - -
? bb œ. œ œ œ ˙ Ó Ó Œ œ
B bb ˙ J ˙
a, a - ve Ma - ri - - - a gra -
14

b
M & b bb Ó ˙ œ œ ˙ ˙ ˙ ∑
gra - - - ci - a ple - na,

& bbbb œ ˙ œ ˙ œ œ œ nœ œ œ œ œ. œ œ
œ J
Ct

ple - - - - - na, gra - ci - a ple - na, gra - ci - a

& bbbb œ œ œ œ œ œ nœ œ œ ˙ Œ
œ œ œ œ ˙
Ct

b œ ˙ œ-
V b bb œ nœ
na, gra ci - a ple - na, gra - ci - a ple
œ œ œ œ œ œ œ œ. œ œ Œ
J
T

na, gra - ci - a ple - - - - - - na, gra -


? bb b œ œ n œ œ œ œ. j ˙ ˙ ˙ ˙
B
b œ ˙
ci - a ple - - - - - - - - - - - - na,
18

b
M & b bb Ó ˙ œ œ ˙ œ œ. œ œ
J
˙ Ó
gra - - - ci - a ple - - - - na,
b
Ct & b bb ˙ . œ œ œ ˙ œ œ œ ˙ œ ˙ Ó
ple - - - - - - - - - - - - na,
b
& b bb œ œ œ. j j
œ œ œ œ œ œ œ œ ˙ œ œ. œ œ
Ct
œ
bb œ œ œ œ œ œ œ œ. œ œ œ ˙
na, Do - mi - nus
T Vbb J œ œ œ Ó
ci - a ple - - - - - - - - - - na,
? bb Ó œ. j œ. œ œ. œ œ
B bb œ œ œ œ œ œ ˙ œ J
gra - ci - a ple - - - - - - - na, Do - mi - nus

-2-
Friday, June 17 Sacred Music Colloquium 2011 n 147
22

b ˙ œ œ ˙ ˙ ˙
M & b bb ∑ Ó
Do - - - mi - nus te - cum,
b
& b bb Πj
nœ œ œ ˙ œ œ œ ˙ œ.
j
œ œ œ œ
œ.
Ct

Do - mi - nus te - - - - - - cum, Do - mi - nus


b
& b bb œ œ œ œ ˙ Œ œ œ œ œ œ œ
œ œ - œ œ- œ - œ -
Ct
œ
j
te - - - - cum, Do - mi - nus te - - -
bb œ œ. œ œ œ œ œ œ œ œ
T Vbb Œ œ. œ œ œ œ œ œ
œ
Do - mi - nus te - - - - - - - - - - cum, Do -
? bb b ˙ œ œ ˙ ˙
B
b œ ˙ ˙ Ó
te - - - - - - - - - - cum,

˙. œ ˙ ˙
26

b
M & b bb ∑ ∑

b
Do - - - mi - nus te -
Ct & b bb œ œ ˙ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ. j
œ œ
te - - - - - - - cum, Do - mi - nus te -
b
Ct & b bb œ œ ˙ nœ œ ˙ œ œ œ œ. j
œ n˙
Œ œ. œ nœ
J
cum, Do - mi - nus
bbbb ˙ œ œ œ. nœ œ œ œ œ œ ˙ ˙
T V œ œ œ œ ˙
œ œ nœ ˙
mi - nus te - - - - - - - - - - cum,
? bb b œ . œ œ œ œ œ. œ œ œ ˙ œ
B
b J J œ
Do - mi - nus te - - - - - - cum, Do - mi - nus te -

bbb œ œ nœ
30

b œ. ˙ Ó ˙ œ œ œ œ Œ œ
M & J

bbbb j
cum. Be - ne - dic - ta tu, be -

& œ. œ œ œ œ Œ œ œ œ œ œ Œ œ
Ct
nœ œ œ
cum, Do - mi - nus te - cum. Be - ne - dic - ta tu, be -
b n
& b bb œ œ ˙ ˙ Œ œ œ œ œ Œ œ œ œ
œ
Ct

b
V b bb Œ œ nœ
te - - - - cum. Be - ne - dic - ta tu, be - ne - dic -
œ. œ œ ˙ Ó Œ œ œ œ œ
T
J œ
Do - mi - nus te - cum. Be - ne - dic - ta
? bb b œ œ ˙ w Ó Œ œ œ nœ œ œ
B
b
cum. Be - ne - dic - ta
-3-

148 n Sacred Music Colloquium 2011 Friday, June 17


34

b œ œ ˙ ˙ ˙
M & b bb ∑ ∑
ne - dic - ta tu
b
Ct & b bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
ne - dic - ta tu in mu - li - e - ri - bus, in
b
Ct & b bb œ œ Œ
œ œ œ œ œ œ nœ ˙ œ œ œ
ta tu, be - ne - dic - ta
œ
tu in mu - li -
bb œ œ œ. œ
T Vbb œ œ œ œ œ œ
J
˙ œ œ œ œ œ
tu, be - ne - dic - ta tu in mu - li - e - ri -
? bb b ˙ œ œ œ œ œ ˙ ˙
B
b œ Ó Œ œ
tu, be - ne - dic - ta tu in

j
38

b ˙
M & b bb Œ œ œ œ œ œ. œ œ œ œ œ œ ˙
in mu - li - e - - - ri - bus, et be - ne - dic - tus

& bbbb œ œ œ œ. œ œ Œ
Ct
œ œ œ œ ˙ œ œ ˙
œ
mu - li - e - - - - - ri - bus, et be - ne - dic -
b
& b bb œ œ œ œ w
Œ
œ œ œ
œ œ œ
Ct
œ
bbbb
e - ri - bus, in mu
œ
li e - ri - bus, et be - ne -

V œ Œ Œ œ œ œ. œ w ˙ Œ
T
J œ
bus, in mu - lil - e - ri - bus, et
? bb b œ œ œ œ œ Ó
B
b œ œ œ w ˙
mu - li - e - ri - - - - - - bus,

Œ œ œ œ ˙ œ œ œ œ
42

b ˙ œ œ. œ
M & b bb Ó ˙
J œ

bbbb
fruc - tus ven - - - tris tu - - - - - - - -

& œ œ œ ˙ ˙. œ œ œ . b œj œ
œ œ œ œ ˙
Ct

tus, et be - ne - dic -
œ
tus, fruc - tus ven - tris tu - - - - -
b
Ct & b bb ˙ ˙ Œ ˙ œ œ œ œ œ ˙ œ œ œ bœ œ ˙
dic - tus fruc - tus ven - tris tu - i, fruc - tus ven - tris tu -
bb œ œ œ œ œ ˙ œ œ œ œ œ
T Vbb œ œ ˙ ˙ Œ œ œ
be - ne - dic - tus fruc - tus ven - tris tu - - - - i, fruc -
? bb b Œ œ œ œ ˙ œ œ œ œ œ œ ˙ ˙ w
B
b
et be - ne - dic - tus, fruc - tus ven - tris tu - i,
-4-

Friday, June 17 Sacred Music Colloquium 2011 n 149


Œ œ
47

b ˙ ˙
M & b bb œ. œ œ œ.
J
œ
J œ
œ œ œ œ ˙ Ó

bbbb
i, fruc - tus ven - tris tu - i, et be - ne dic - tus, fruc -

& j Œ ˙ ˙
Ct
˙ ˙ œ œ. œ œ œ œ ˙ œ œ œ
i, tu - - - - - i, et be - ne - dict - tus
b
& b bb œ ˙ œ œ
œ œ.
j
œ ˙
Œ
œ œ ˙ œ œ œ œ
Ct

i, fruc - tus ven - tris tu - i,


œ
et be - ne - dict - tus, et be - ne -
bb
T Vbb œ œ œ œ œ œ œ ˙ w ˙ Ó Œ œ œ œ
tus ven - - - tris tu - i, et be - ne -
? bb b ˙ ˙ w Œ œ œ œ ˙
B
b w ˙
tu i, et be - ne - dic -

œ œ ˙ œ œ œ œ
52

b ˙ œ œ. œ œ
M & b bb ˙
J
˙ œ. œ
J
b -
b
tus ven - - - tris tu - - - - - - - - i, fruc - tus

Ct & b bb Œ ˙ œ œ œ œ œ ˙ œ œ œ œœ ˙
œ ˙ œ
fruc - tus ven - tris tu - - - i, tu - - - - - i, tu
b
Ct & b bb ˙ œ œ œ ˙ œ ˙ œ œ œ . b œj œ œ œ ˙
œ
b b b dic œ œ œ
œ ˙
- tus, fruc - tus ven - tris tu - - - - - i, fruc - tus ven -
T V b ˙ ˙ œ œ œ œ œ œ œ œ œ ˙
dic - tus fruc - tus ven - tris tu - - - - i, fruc - tus ven -
? bb b ˙ ˙ w ˙
B
b Œ œ œ œ œ œ ˙ ˙
tus fruc - tus ven - tris tu - i, tu - - -
57

b
M & b bb œ œ . œ
J œ
w w ˙ Œ œ œ ˙ œ

bbbb
ven - tris tu - i, tu - - - - i. A - - - -

& œ œ ˙ j Œ
˙ ˙ ˙ œ. œ œ œ ˙ œ œ œ
Ct

i, tu - - - - - - - i, A - - -

& bbbb j Œ ˙
œ œ. œ œ ˙ œ œ ˙ œ œ ˙ œ œ œ
Ct

bb œ ˙
tris tu - - - i, A - - - - - - - - - - -
T Vbb œ œ ˙ w Œ œ œ œ œ œ œ œ œ.
J
tris - tu i. A - - - - - - - men,
? bb b w Ó Œ œ œ œ œ ˙ œ
B
b w ˙
i. A - - - - - -
-5-

150 n Sacred Music Colloquium 2011 Friday, June 17


62

b
M & b bb œ ˙ œ w Œ œ œ
œ œ œ ˙

bbbb
men, a - - - - - - -

& œ ˙ œ ˙ ˙ œ œ œ œ ˙ œ
Ct
œ nœ
men, a - - - - - -

& bbbb Œ
œ j œ œ ˙ œ
˙ œ œ. œ œ ˙
Ct
œ
bb
men, a - - - - - - - - - - - -

Vbb Œ œ œ œ œ œ œ œ œ ˙ ˙ ˙
T
œ œ
a - - - - - - - - - - - - - - -
? bb b œ œ œ œ œ œ ˙ ˙ Œ œ œ ˙
B
b œ
men, a - - - - -

˙
66

b œ œ
M & b bb w w Ó Œ œ
men, a - - - - -
b
Ct & b bb w w ∑ Œ œ œ œ
men, a - - -
b
& b bb œ œ œ Œ œ œ ˙ œ œ œ œ œ
œ œ
Ct

œ ˙
œ œ œ
men, a - - - - - - - men, a -
b œ
T V b bb œ œ œ œ ˙ ˙ œ ˙ œ

˙
men, a - - - - - - - - - - - men, a - - -
? bb b œ œ œ ˙ œ œ œ œ
B
b ˙ Œ ˙
men, a - - - - - - - - - - - - men,
70

b œ
M & b bb œ œ œ œ œ ˙ œ w w w
b
men, a - - - men.

& b bb œ œ œ œ
œ œ œ. j
œ œ œ œ œ œ ˙
œ w
Ct

men, a - - - - - - men.
bb
Ct &bb œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙
œ
men, a - - -
˙ - - - - men.
b j
T V b bb œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ w
men, a - - - - - - men.
? bb b œ œ ˙
B
b œ œ œ œ ˙ Œ œ œ œ ˙ w
a - - - - - - - men, a - - - - men.
-6-

Friday, June 17 Sacred Music Colloquium 2011 n 151


Regina caeli

Gregor Aichinger 1564-1628



           
Soprano        
                 

   
Alto                
                 

       
Tenore        
     
                     

               
Basso
  
                 


     
     
                


          
                

       
    
                  

      
   
                

10/2004

152 n Sacred Music Colloquium 2011 Friday, June 17



         
      
                      


           
       
                         

     
      
           

      


 
            
                  

 
         
 
                 


             

                     

 
      
        


       
     
                    

  
              
                    

   
  
    
      
                      

          
     
                    

-2-

Friday, June 17 Sacred Music Colloquium 2011 n 153



     
        
                


         
                

 
        

                 

      
  
                

     

          

                   


        
        
                   


                 
                      

            

              


  
              
                        


           
          
                      

    
        
                

     
   
      

-3-

154 n Sacred Music Colloquium 2011 Friday, June 17



  
             
                  


        

      
                       


                   
                    

            
    

                     


       
    
                    

  
             
                    

      
  
   
    
                     

          
     
                    


    
   
             


       
             

 
       
               

   
   
             

-4-

Friday, June 17 Sacred Music Colloquium 2011 n 155


156 n Sacred Music Colloquium 2011 Friday, June 17
Vespers

l
6:30 p.m. June 17, 2011

Conducted by William Mahrt

Vespers, Friday, June 17 Sacred Music Colloquium 2011 n 157


Page is intentionally left blank

158 n Sacred Music Colloquium 2011 Vespers, Friday, June 17


Vespers, Friday, June 17 Sacred Music Colloquium 2011 n 159
160 n Sacred Music Colloquium 2011 Vespers, Friday, June 17
Vespers, Friday, June 17 Sacred Music Colloquium 2011 n 161
Page is intentionally left blank

162 n Sacred Music Colloquium 2011 Vespers, Friday, June 17


Vespers, Friday, June 17 Sacred Music Colloquium 2011 n 163
164 n Sacred Music Colloquium 2011 Vespers, Friday, June 17
Vespers, Friday, June 17 Sacred Music Colloquium 2011 n 165
166 n Sacred Music Colloquium 2011 Vespers, Friday, June 17
Vespers, Friday, June 17 Sacred Music Colloquium 2011 n 167
168 n Sacred Music Colloquium 2011 Vespers, Friday, June 17
Vespers, Friday, June 17 Sacred Music Colloquium 2011 n 169
170 n Sacred Music Colloquium 2011 Vespers, Friday, June 17
Vespers, Friday, June 17 Sacred Music Colloquium 2011 n 171
172 n Sacred Music Colloquium 2011 Vespers, Friday, June 17
Vespers, Friday, June 17 Sacred Music Colloquium 2011 n 173
174 n Sacred Music Colloquium 2011 Vespers, Friday, June 17
Vespers, Friday, June 17 Sacred Music Colloquium 2011 n 175
176 n Sacred Music Colloquium 2011 Vespers, Friday, June 17
Vespers, Friday, June 17 Sacred Music Colloquium 2011 n 177
178 n Sacred Music Colloquium 2011 Vespers, Friday, June 17
Vespers, Friday, June 17 Sacred Music Colloquium 2011 n 179
180 n Sacred Music Colloquium 2011 Vespers, Friday, June 17
Vespers, Friday, June 17 Sacred Music Colloquium 2011 n 181
182 n Sacred Music Colloquium 2011 Vespers, Friday, June 17
Vespers, Friday, June 17 Sacred Music Colloquium 2011 n 183
184 n Sacred Music Colloquium 2011 Vespers, Friday, June 17
Vespers, Friday, June 17 Sacred Music Colloquium 2011 n 185
186 n Sacred Music Colloquium 2011 Vespers, Friday, June 17
Vespers, Friday, June 17 Sacred Music Colloquium 2011 n 187
188 n Sacred Music Colloquium 2011 Vespers, Friday, June 17
Vespers, Friday, June 17 Sacred Music Colloquium 2011 n 189
190 n Sacred Music Colloquium 2011 Vespers, Friday, June 17
Vespers, Friday, June 17 Sacred Music Colloquium 2011 n 191
192 n Sacred Music Colloquium 2011 Vespers, Friday, June 17
Saturday

l
11:30 a.m. June 18, 2011

Ember Day Mass,


Extraordinary Form
First Class Feast

Saturday, June 18 Sacred Music Colloquium 2011 n 193


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 natural
seasons: 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 first of these four times comes in winter, after
the Feast of St. Lucy; the second comes in spring, the week after Ash Wednesday; the third comes
in 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 thanking
God 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 “the
fast 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 place
during the change of seasons.

The Liber Pontificalis 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, in
Rome, 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 first lesson; lec-
tor after the second lesson; exorcist after the third lesson; acolyte after the fourth lesson; subdea-
con after the fifth lesson; deacon after the epistle; and finally ordination of priests before the last
verse of Veni Sancte Spiritus and before the Gospel.

The second, third, fourth, and fifth lessons refer to the harvest and to the offerings of the first
fruits of the earth, with the intention of obtaining God’s blessing at the change of the season. The
fifth lesson never varies: it is the record of the miraculous preservation of the three young Hebrew
men 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.

194 n Sacred Music Colloquium 2011 Saturday, June 18


Saturday, June 18 Sacred Music Colloquium 2011 n 195
 

    

 
 Vv z R
D z 6 v b f v bYF z 6 z % z # v b 4 z # @ v d
Ý v d v b a b v
n v zb } v v b v b î h j î h v b 
Í Y
 b v
. f y g zË  4 b z
, b [ z b T
F 6 z % $
Þ # b ñ 
  

Vb‚avbz sv bdbmv vz}bz bvb DTmÄv7vzbhb b ïjkïjzuÏgb,v[zb7z^ß%$#vb fgÞfbvbfv bdbmv v}v b gv rdv DTÄvm 7zbïHUzïijzbuÏgb,z [÷


Vbbz b7z^ß%$#v bfgÞfv fv bdbmv z}xxxxxxxxxbb




 Vzb gbv brdzb vbÝdvbz bdv vFTv vbv b fÃvhgbv rdzbvbdbmvb }vzb db v bgv v7z^%b vbFTv b gvbv vtfb ö

First Lesson: Joel ii. 28-32

T hus saith the Lord God: I will pour out my spirit upon all flesh: and
 
your sons and your daughters shall prophesy: your old men shall dream

Vzzàhv bfvbvdbmvzb[zb hv brdv bfv zbFTvbv bfzfbvbdbmvzb}vbz RD bvbvb ßgv b fvzv bRD bm,vzb}vb hbv YG vb jvb 7z^%zbvbFTb õ
dreams, and your young men shall see visions. Moreover upon my servants
and handmaids in those days I will pour forth my spirit. And I will shew
wonders in heaven; and in earth, blood, and fire, and vapour of smoke. The

sun shall be turned into darkness, and the moon into blood: before the great

Vvbgb,v}bvbdv bfbvz FTvb vfv vb dbmvz}vzbgbvb Ýdvz bgv buhv uhv z GUz7z^zÞ$zfzb}zb zbdbvbFTv bßgv bgvzb fzb vbFTzbô
and 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.


Vbb fzfzbvzdbmvzb[vzdv bzvv v zhv vzbYG v v vzîuhvb IJ vbv v v zbgb,v b gb,vz }vz b zÚIFå 9vb bkbvz bájv bzvkvbz îuhb [b÷


Vvbjvbv zuhbv gb,vzbvbgb,vz [b z gÄUvb 7z^%vbvfzfv Ýdvbvb jvbzv bygvb zFTvbvbgb,vz b}vbz vdvbz FTv ßgv bhvzrdb ô


VvzbfvbvFTvzb Þfvbz fv bdbmvz[vzuhzbvbuhv v vbgb,vzb vzgb,vzb }vzb 8z&à^v jv b uhv zbgb,vzb zbgb,vz b[zb gÄUv v7z^%b ô


196 n Sacred Music Colloquium 2011 Saturday, June 18


Second Lesson: Leviticus xxiii. 9-11, 15-17, 21

I n 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 sheaves
of ears, the first fruits of your harvest, to the priest: Who shall lift up the
sheaf 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 first fruits, seven
full weeks, even unto the morrow after the seventh week be expired, that is
to say, fifty days: and so you shall offer a new sacrifice to the Lord out of all
your dwellings: two loaves of the first fruits, of two tenths of flour leavened,
which you shall bake for the first fruits of the Lord. And you shall call this
day most solemn, and most holy. You shall do no servile work therein. It
shall be an everlasting ordinance in all your dwellings and generations, saith
the Lord Almighty.

Third Lesson: Deuteronomy xxvi. 1-3, 7-11

I n those days Moses said to the children of Israel: Hear, O Israel, the things
that 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 first of all thy fruits, and put them in a basket,
and shalt go to the place which the Lord thy God shall choose, that His
name may be invocated there. And thou shalt go to the priest that shall be in
those days, and say to him: I profess this day before the Lord thy God, who
heard us, and looked down upon our affliction, and labour, and distress; and
brought us out of Egypt with a strong hand, and a stretched out arm, with
great terror, with signs and wonders; and brought us into this place, and
gave us this land flowing with milk and honey. And therefore now I offer
the first fruits of the land which the Lord hath given me. And thou shalt
leave them in the sight of the Lord thy God, adoring the Lord thy God. And
thou shalt feast in all the good things which the Lord thy God hath given
thee.

Saturday, June 18 Sacred Music Colloquium 2011 n 197


Fourth Lesson: Leviticus xxvi. 3-12

I n 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 bring
forth its increase, and the trees shall be filled with fruit. The threshing of
your harvest shall reach unto the vintage, and the vintage shall reach unto
the sowing time: and you shall eat your bread to the full, and dwell in your
land without fear. I will give peace in your coasts: you shall sleep, and there
shall be none to make you afraid. I will take away evil beasts: and the sword
shall not pass through your quarters. You shall pursue your enemies, and
they shall fall before you. Five of yours shall pursue a hundred others, and
a hundred of you ten thousand: your enemies shall fall before you by the
sword. 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 old
store, 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 walk
among you, and will be your God, and you shall be my people, saith the
Lord Almighty.

198 n Sacred Music Colloquium 2011 Saturday, June 18


Fifth Lesson: Daniel iii. 47-51

I n those days, the Angel of the Lord went down with Azarias and his com-
panions into the furnace: and he drove the flame of the fire out of the fur-
nace, and made the midst of the furnace like the blowing of a wind bringing
dew. And the flame mounted up above the furnace nine and forty cubits: and
it 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 fire touched the three
young Hebrews not at all, nor troubled them, nor did them any harm. Then
these three as with one mouth praised, and glorified, and blessed God in the
furnace, saying:

Saturday, June 18 Sacred Music Colloquium 2011 n 199


 

    

 
 Vv z R
D z 6 v b f v b Y
F z 6 z % z # v b 4 z # @ v d
Ý v d v b a b v
n v zb } v v b v b î h j î h v b 
Í Y
 b v
. f y g zË  4 b z
, b [ z b T
F 6 z % $
Þ # b ñ 
  

Vb‚avbzsv bdbmv vz}bz bvb DTmÄv7vzbhb b ïjkïjzuÏgb,v[zb7z^ß%$#vb fgÞfbvbfv bdbmv v}v b gv rdv DTÄvm 7zbïHUzïijzbuÏgb,z [÷


Vbbz b7z^ß%$#v bfgÞfv fv bdbmv z}xxxxxxxxxbb




 Vzb gbv brdzb vbÝdvbz bdv vFTv vbv b fÃvhgbv rdzbvbdbmvb }vzb db v bgv v7z^%b vbFTv b gvbv vtfb ö



 

Vzzàhv bfvbvdbmvzb[zb hv brdv bfv zbFTvbv bfzfbvbdbmvzb}vbz RD bvbvb ßgv b fvzv bRD bm,vzb}vb hbv YG vb jvb 7z^%zbvbFTb õ


Vvbgb,v}bvbdv bfbvz FTvb vfv vb dbmvz}vzbgbvb Ýdvz bgv buhv uhv z GUz7z^zÞ$zfzb}zb zbdbvbFTv bßgv bgvzb fzb vbFTzbô


Vbb fzfzbvzdbmvzb[vzdv bzvv v zhv vzbYG v v vzîuhvb IJ vbv v v zbgb,v b gb,vz }vz b zÚIFå 9vb bkbvz bájv bzvkvbz îuhb [b÷


Vvbjvbv zuhbv gb,vzbvbgb,vz [b z gÄUvb 7z^%vbvfzfv Ýdvbvb jvbzv bygvb zFTvbvbgb,vz b}vbz vdvbz FTv ßgv bhvzrdb ô


VvzbfvbvFTvzb Þfvbz fv bdbmvz[vzuhzbvbuhv v vbgb,vzb vzgb,vzb }vzb 8z&à^v jv b uhv zbgb,vzb zbgb,vz b[zb gÄUv v7z^%b ô


200 n Sacred Music Colloquium 2011 Saturday, June 18


 

Vvzfzfbvbdbmvz[vz7z^%bvbrdvbzFTv v bgb,v vgb,vz }v zbdbv zFTvbz gv v tfvz hv zrdv z fzfvbvbdbmvzb[vbdv zFTb õ




Vvbgv brdvbvbfzfvzb dbmvz }vz bdbv bYF v hv v YG v vjv buhv b gb,v vbgb,vzb[z bdvbvbYF vb hb.v zbvgv vàhvb jvb÷


Vvbuhb vbjv bjkjv bvbgb,v zbvgb,v z}zb zvbfÎijvzb KObv âkvbvbkv bv zb8z&à^bvbjvzb v zbvzbv gb,vzb gb,vz b[vz gbz vbHUb ÷


Vvb jv bygb vzfzfvb dbmv }v vdv FTvbvgv zv btfvbvbàhvbz bfvzbv v v b fb,vz }vzbYG vzb jbvbz IJ v v z 7z^%bô


VvzFTvbvgb,vz}vzbdv zbFTv zbgv zbv zb àhv fvzbvdbmvzb[bvzbuhzbvbuhv vzbvbgb,vbvbgb,vzb}vbz FIÚ v v vzbkv v bzuhbz÷


Vvvbjv bygvbvbgb,vzb [vzdv bv vYF v bàhv bhv vz gÄUvbv7z^%bv bfzfbv dbmv b}vbz jzuhÅv8z&^z7b^%vbz FTbM<vz}v vb




VbBbz RD 6vbz hbv bàhvbvbgv zbhvb vîjvb gv v z 7z^%vzbgb,vzb}bvbz dv b gv bz7z^%v bFTvbv gv }zõv v b v v vb
The Epistle: Romans v. 1-5
rethren, being justified 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 glory
of the sons of God. And not only so, but we glory also in tribulations,

 Vvb gv v vFTz$#bmvbz [bvz bdÂTv zb FTz$#bmvbz [bz bÝdv v zbgv bv vjv z HUv bjb.v vzbvz jbv bîuhbvbvzIJ bvz÷
knowing
 that tribulation worketh patience, and patience trial, and trial
hope; and hope confoundeth not: because the charity of God is poured
forth in our hearts, by the Holy Ghost, who is given to us.
 

Vzbz7z^%b vzgb,v zb]zbv bÚFIå 9bz b âkbzvb kv v vzbjzuhvbz jbvbvjkjv bgb,vzb bgb,vzb[bvgÄv7z^ß%vb fv FTvbz bërdzbvzdbmvzb ]bó


Saturday, June 18 Sacred Music Colloquium 2011 n 201


202 n Sacred Music Colloquium 2011 Saturday, June 18
Gospel: Luke iv. 38-44

A t 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 he
laying his hands on every one of them, healed them. And devils went out from
many, crying out and saying: Thou art the Son of God. And rebuking them
he suffered them not to speak, for they knew that he was Christ. And when it
was 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: for
therefore am I sent. And he was preaching in the synagogues of Galilee.

Saturday, June 18 Sacred Music Colloquium 2011 n 203




   

 Bzbgv bÝdv bvfv zbsv bÝdxzgv zbhb.vz}v\vHUcbàhczbhcvzgv zÞfv bzgv vbgb,v zb{v RD zb õ



 

Bvvgv zbßgcv bgv zbÞfv zhczgb,v z gb,v v[vz Ýdv bfv zßgv zbgz bvzàhczb gcvbfv zesbNmvz [bz\vHUvbvbàhvb õ


BvzgvbvbÞfv zbhv ztfbvzgb,vz}v Ýdv bzfvbvz gzbvzbßgxz gv zbfz vz dfdzdzb[vsv zbÝdxv zgbv zbhb.vb {bö


Bzz\vHUv hz vzàhcczhvz àhv bgv zbÞfv zbhv ztfbv gb,vzb}zb vÝdv zfcvzbgvzb Ýdvbvz gv zhb.vzb[b\vHUv z àhb ö


Bvzhcvbgzb z Þfv bzhv ztfbvz gb,v}vbzgbvzb Þfcv zhczbgb,v vgb,vzb[bvgv z Þfcbvbhvz bßgv bzfb v dfdzdb[bò


BvbzsvzbÝdcbv gv zhb.cvz àhcbzgvzbÞfbv z gv gb,vz}vzbÝdv bfbv gb,cv zb àhczb gvzb dbmv z[v bÞfv vbsb ó
 


Bvz Ýdv z fv bgvz bÝdcv zgv bhb.vz b{z\zbHUcv z àhcz hczb gv zÞfvbvbhv ztfvbvgb,v zb}czbÝdb z z bvfb õ


Bzzgbczbàhcvbgv z fbv zdbmv [vbsczvzÝdczfcz gczÝdcvzbfv bgv zgb,v zb[bv ßgv zgcbÞfczhb bõ


Bzzgb,v z gb,vb}bvzsv zbÝdcfcbßgv z fv zbdbmcbz dcvzÞfbv bsbz vzÝdv z bgcvbhb.vb ]b\b HUcvbz àhv bgbvzÞfbö


Bzbzhv zbtfzb z gb,vzb {z\vHUcvzbhcÞfbv zhv vtfv bgb,v }vbvz Ýdvbvfv gv z Ýdv zbfvbvdv bÜsxzbdb bõ


Bzzbgzbvz hb.vz b{b\vHUcv bàhz z bhv bgbcÞfbv bgv zbgb,vzb {b\vHUz zb àhczbgczÞfv bhz z tfbvzb gb,vz b}vbz svbó


BbbzÝdbv zbfv z gvb zÝdcbfvz bsv bÝdvbvzgbz vzhb.vz b{b\bz HUzbvzbàhvzb vgbv vz z vz bÞfvbvzbgbv zbgb,vb}zb Ýdvbvfvzbvgb bô
204 n Sacred Music Colloquium 2011


Saturday, June 18
Bzzbgzbvz hb.vz b{b\vHUcv bàhz z bhv bgbcÞfbv bgv zbgb,vzb {b\vHUz zb àhczbgczÞfv bhz z tfbvzb gb,vz b}vbz svbó


BbbzÝdbv zbfv z gvb zÝdcbfvz bsv bÝdvbvzgbz vzhb.vz b{b\bz HUzbvzbàhvzb vgbv vz z vz bÞfvbvzbgbv zbgb,vb}zb Ýdvbvfvzbvgb bô


Bbbz Þfvbvdcvbgbv hb.v {z\vHUv z àhvb vzhczvàhv z gv zbÞfcv zbgv zgb,vz}bvzbRD bv ßgv zgbv zßgcv zgvb õ


Bvzbßgv z gcßgcv hxbßgv bfvz dfdzdvb[vsvzb zÝdvz gv zhb.vz b\vHUbvzbhv z Þfcvzbhz z btfv gb,vb {bó


BvvÝdv zbfcbzgz z b ßgczbgcÞfvbvhvbvz gb,czgb,v }v bÝdvbvzfcv zbßgv bgv zbßgcv z gcvz hb.v bõ


Bzbz ßgv z fzbv esbmNvz[z\vbHUv zb àhzbvz gbv Þfv zgz z gb,c{z z bÝdv bfcvzgv bßgvzvzgv gv bgz zbvÞfv v zhb õ




Bvgb,v vbgb,v b}v z Ýdzv z fcv z gv z ßgvbvzhcz ßgv bfbv dbmvzb[zvfv z Ýdvbvzbsbv zbÝdv zgv zbhb.vz b[b \vHUb ö


Bbzbhb cz àhv bgbvzbÞfv bgv zgb,v zb{vbvzÝdv zbfvzb zßgvbz bgv zbgczbvzÞfcvzb hbcz gb,v bzgb,vb}vbz RD v bvgvbõ


Bvgb, v b z gbcvbfb,cv bhcbßgv bfv zesbNmz [b\b HUvb vzhcbhv zbàhbv bhv bgcz Þfczb hvbvtfvbzgb,z }zó


BzbvRD vzb zßgv zbgvbz bßgvb vz gvbvzÞfcv zhcbgbczdbmvzb [b vbfcbzÝdvbvzsvbvÝdbv bgbvbz bhcbv zÞfcbhvzbõ


Bzvzbgb,vb bz gb,z b }bz bz Ýdvzb zbfcvz gbv zdbmcz bfv zbÝdv zbsb vz Ýdbvzbgchbv v vzbÞfv z hvzvbgb,v z gb,zvb }zbó


BvzRD bzv zbgbz b ßgvbz v z gv vbtfvzb Ýdvbz\b SYãØ× 7v zbhz zbhb.z vz}vzvb6z%$vYG z%$#zb z SEbNmvzb}xxcv


Saturday, June 18     Sacred Music Colloquium 2011 n 205


206 n Sacred Music Colloquium 2011 Saturday, June 18
Saturday, June 18 Sacred Music Colloquium 2011 n 207
208 n Sacred Music Colloquium 2011 Saturday, June 18
Saturday, June 18 Sacred Music Colloquium 2011 n 209
210 n Sacred Music Colloquium 2011 Saturday, June 18
Factus est repente de cælo sonus.
Communio Domenicae Pentecostes
Jacob Handl (1540-1591)
[Iacobus Gallus Carniolus]

4 ˙ œ ˙
Cantus &2 ˙ ˙ œ œ ˙ ˙ ˙ œ ˙ Ó ˙
Fac - tus est re - pen - te de cœ - lo, de cœ - lo, de

4
&2 ∑ œ œ ˙ ˙ ˙ ˙ ˙ œ œ
˙ ˙ ˙
Altus

Fac - tus est re - pen - te de cœ - lo so -


˙
Tenor V 42 ∑
˙ ˙
œ œ ˙ w ˙
Fac - tus est re - pen - te de cœ -

? 42 ˙
Bassus ∑ ∑ ˙ ˙ œ œ ˙ ˙
Fac - tus est re - pen - te de

C. & œ œ ˙ w Ó ˙ œ œ ˙ œ ˙ #œ ˙ ˙ ˙ ˙ œ œœ˙
cœ - lo so - nus ad - ve - ni - en - tis Spi - ri - tus ve - he - men -

& w Ó ˙ ˙ ˙
A.
w œ œ ˙ ˙ ˙ œ œ ˙ ˙ ˙
- - nus ad - ve - ni - en - tis Spi - ri - tus ve - he - men -
˙ œ #œ ˙ w Ó N˙ œ œ ˙ œ ˙ ˙ ˙ ˙
T. V˙ #œ ˙
lo so - nus ad - ve - ni - en - tis Spi - ri - tus ve - he - men -

?˙ ˙ w w Ó ˙ œ œ ˙ ˙ œ. œ ˙ ˙ ˙
B.
J ˙
cœ - lo so - nus ad - ve - ni - en - tis Spi - ri - tus ve - he - men -

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

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

Saturday, June 18 Sacred Music Colloquium 2011 n 211


Jacob Handl (1540-1591) :: Factus est repente de cælo sonus

Œ ˙ œ ˙
8

& w œ œ œ ˙ œ œ œ ˙ ˙ ˙ ˙
C.
w ˙
tis, u - bi e - rant se - - den - tes, et re - ple -

& ˙ ˙ ˙ ˙ ˙ œ œ w
w ˙ #˙ W
A.

tis, u - bi e - rant se - den - - - tes,


˙ ˙
V œ ˙ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
w
T.

tis, u - bi e - rant u - bi, u - bi e - rant se - den - tes, et re -

? ˙ ˙ ˙ ˙ ˙. œ ˙ ˙ ˙
B.
˙ ˙ œ œ ˙ w ˙
tis, u - bi e - rant, u - bi e - rant se - den - tes, et re - ple - ti

12

C. & ˙ ˙ w ˙ w ˙ ˙ ˙ ˙ ˙ œ œ œ œ ˙ ˙
ti sunt om - nes Spi - ri - tu Sanc - to, lo - quen - tes,

& Ó ˙ ˙ ˙ w ˙ ˙ œ #œ ˙ ˙ ˙
˙ ˙ ˙ #œ œ
A.

et re - ple - ti sunt om - nes Spi - ri - tu Sanc - to, lo - quen -

T. V ˙ ˙ ˙ ˙ ˙ w #˙ ˙ ˙ w Ó ˙ œ œ œ œ
ple - ti sunt om - nes Spi - ri - tu Sanc - to, lo - quen -

w ˙ w
B.
?˙ ˙ w ˙. œ w ˙ œ œ œ œ
sunt om - nes Spi - ri - tu Sanc - to, lo - quen - - -

16

& w w ˙ ˙ ˙. œ ˙ w w ˙. œ
C.
˙
lo - quen - tes ma - gna - li - a De - i, ma - gna - li -

& œ œ œ œ
œ œ ˙ ˙ ˙ ˙. œ ˙ ˙ w ˙ ˙ ˙. œ
A.

- - - tes ma - gna - li - a De - i, ma - gna - li -


œ œ œ œ œ ˙ #œ w ∑ Ó ˙ ˙. œ ˙ w #˙
T. V
- - - tes ma - gna - li - a De -

? W ˙. #œ ˙ b˙ w w w
B. ˙ ˙
- - - tes ma - gna - li - a De - i, ma -

212 n Sacred Music Colloquium 2011 Saturday, June 18


Jacob Handl (1540-1591) :: Factus est repente de cælo sonus

20

C. & w w w w b˙ ˙ ˙ ˙ ˙ n˙ ˙. œ
a De - i, ma - gna - li - a De - i, ma - gna - li -

& ˙ w w Ó ˙. Ó
A.
˙ ˙ œ ˙ ˙ w ˙
a De - i, ma - gna - li - a De - i, ma -
˙ ˙ ḃ
˙ ˙ ˙ ˙. #œ ˙ N˙ ˙ ˙.
T. V ˙ ˙ ˙ œ
i, ma - gna - li - a De - i, ma - gna - li - a De - i, ma - gna - li -

B.
? b˙ . œ ˙ ˙ w ∑ ∑ Ó ˙ ˙ #˙ ˙ ˙
gna - li - a De - i, ma - gna - li - a De -

˙ ˙
24

& w w ˙ Œ œ œ œ ˙ Œ œ œ œ ˙ ˙
C.
˙ ˙
a De - i. Al - le - lu - ia, Al - le - lu - ia, Al - le - lu -

& Œ œ œ Œ œ œ œ
œ œ w ˙ ˙ ˙ œ ˙ ˙ ˙ ˙ ˙ ˙
A.

gna - li - a De - i. Al - le - lu - ia, Al - le - lu - ia, Al - le - lu -

T. V w w ˙ Œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ Œ œ œ ˙ œ
a De - i. Al - le - lu - ia, Al - le - lu - ia, Al - le - lu -

˙ ˙ ˙ ˙
? œ œ ˙ w Ó ˙ œ œ ˙ ˙ ˙ ˙
B.
˙
- - i. Al - le - lu - ia, Al - le - lu - ia, Al - le - lu -

28

C. & ˙ ˙ ˙ ˙ ˙ ˙ œ œ #˙ ˙
Œ œ œ œ ˙ ˙ Œ œ œ œ ˙
ia, Al - le - lu - ia, Al - le - lu - ia, Al - le - lu - ia, Al - le - lu -

& ˙ ˙ Œ œ œ ˙ ˙ ˙
˙ ˙ ˙ b˙ œ œ ˙ ˙ œ ˙ ˙
A.

ia, Al - le - lu - ia, Al - le - lu - ia, Al - le - lu - ia, Al - le - lu -

V œ #œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Œ œ œ œ ˙ ˙ ˙ ˙ ˙
T.
˙
- ia, Al - le - lu - ia, Al - le - lu - ia. Al - le - lu - ia, Al - le - lu -

? ˙ ˙ ˙
˙ ˙ ˙ b˙ ˙ ˙ Œ œ œ œ ˙ ˙ ˙ ˙
B.
˙
ia, Al - le - lu - ia, Al - le - lu - ia, Al - le - lu - ia, Al - le - lu -

Saturday, June 18 Sacred Music Colloquium 2011 n 213


Jacob Handl (1540-1591) :: Factus est repente de cælo sonus

˙ ˙ ˙
32

& ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ #˙ W W
C.

ia, Al - le - lu - ia, Al - le - lu - ia, Al - le - lu - ia.

& Œ œ œ œ ˙ ˙ ˙
˙ ˙ ˙ ˙ b˙ . œ ˙ W W
A.

ia, Al - le - lu - ia, Al - le - lu - ia, Al - le - lu - ia.

V ˙ Œ œ œ ˙ œ œ #œ ˙ ˙ ˙ ˙ ˙ ˙ #W W
T.
˙
ia, Al - le - lu - ia, Al - le - lu - ia, Al - le - lu - ia.
˙ ˙ ˙
? ˙ ˙ ˙ ˙ ˙ W W
B.
˙ b˙ ˙ ˙
ia, Al - le - lu - ia, Al - le - lu - ia, Al - le - lu - ia.

214 n Sacred Music Colloquium 2011 Saturday, June 18


Trinity Sunday

l
10 a.m. June 19, 2011

Ordinary Form

Sunday, June 19 Sacred Music Colloquium 2011 n 215


216 n Sacred Music Colloquium 2011 Sunday, June 19
Mass for four voices

<  
Kyrie eleison William Byrd (c.1540-1623)

] << {         
  
Cantus
[Soprano]  

[ << {    
Ky - rie e - lei - son, Ky - rie e -
<  
          
Altus


[Alto]    

  
Ky - rie e - lei - - - - - - son,

[ << {        

Tenor
  

[Tenor]


Ky - rie e - lei - -
[ << {   
 

<      
Bassus
[Baritone]

  
10
  

             
- lei - - - - son, Ky - rie e - lei - - son.
 
      
       
Ky - rie e - lei - son, Ky - ri - e e - lei - son.
   

                
   
 - - - son, Ky - rie e - lei - - - - - son.


   
        
        
Ky - ri - e e - lei - son, Ky - ri - e e - lei - - son.

 
                
Chri - ste e - lei - son, Chri - ste e - lei - son,

       
      
    
Chri - ste e - lei - - - son, Chri - ste e -
   
              
 
 Chri - ste e - lei - son, Chri - ste e - lei - - son, Chri -
    
 
          
Chri - ste e - lei - son, Chri - ste e - lei -

  
20
   
           
Chri - ste e - lei - - son, Chri - ste e - lei - son.
 
         
 
 
        
-lei - - - son, Chri - ste e - lei - - son.
  

         
  
  
- ste e - lei - son, Chri - ste e - lei - - - son.
       
   
         
- - son, Chri - ste e - lei - - - - - son.
© David Fraser 2008
Sunday, June 19 Sacred Music Colloquium 2011 n 217
   30

                  
Ky - ri - e e - lei - son, Ky - ri - e e - lei - son, Ky -

   
      
     

Ky - ri - e e - lei - son, Ky - ri - e e - lei - son, Ky -
     
        
 Ky - rie e - lei - son, Ky - rie e - lei - son,
     
         
Ky - rie e - lei - son, Ky - rie e -

 
    
       
       
- rie e - lei - son, Ky - ri - e e - lei - son, Ky - ri - e e - lei - son,

        
    
   
- rie e - lei - son, Ky - rie e - lei - son, Ky - ri - e e -
       
           
 Ky - ri - e e - lei - son, Ky - ri - e e - lei - son,
         
 
  
- lei - son, Ky - rie e - lei - son, Ky - rie e -

  

        
Ky - rie e - lei - - son.



    
           
- lei - son, Ky - ri - e e - lei - - - - son.
 
                 
   


Ky - ri - e e - lei - - - - - - - - son.
         

       
- lei - son, Ky - ri - e e - lei - - - - - - son.

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  rather than than .)

I.4.3: superfluous flat


III.3-4: ky  rie  e  lei 
I.13: lower e flat removed from ks
I.25: lower e flat replaced in ks
III.31-2, 36: ky  rie  e 

218 n Sacred Music Colloquium 2011 2 Sunday, June 19


Gloria in excelsis

 
               
 Glo - ri - a in ex - cel - sis De - o

     
      
C.
             
Et in ter - ra pax, ho - mi - ni - bus bo - næ vo -lun -ta -

     





     
 Et
    
A.
 

in ter - ra pax, ho - mi - ni -bus bo - næ vo - lun - ta - -
  
T.         
  

B.     
         

 
10
    
               
- tis, be - ne - di - ci - mus te, glo - ri - fi - ca - mus

      
         

- tis, be - ne - di - ci - mus te, glo - ri - fi - ca - mus
  
                
 Lau - da - mus te, a - do - ra - mus te, glo -
  
   
             
Lau - da - mus te, a - do - ra - mus te, glo -

          
          
te, glo - ri - fi - ca - mus te, glo - ri - fi - ca - mus te. Gra -

     

        
   
te, glo - ri - fi - ca - mus te, glo - ri - fi - ca - mus te. Gra -
      
             
 - ri - fi - ca - mus te, glo - ri - fi - ca - mus te. Gra -


         
 
     
- ri - fi - ca - mus te, glo - ri - fi - ca - mus te. Gra -
3

Sunday, June 19 Sacred Music Colloquium 2011 n 219


  
20

                   
- ti - as a - gi - mus ti - bi, pro - pter ma - gnam glo - ri - am tu - am, pro -

                  

- ti - as a - gi - mus ti - bi, pro - pter ma - gnam glo - ri - am tu - am,
           
       


- ti - as a - gi - mus ti - bi, pro - pter ma - gnam
    
     
     
- ti - as a - gi - mus ti - bi pro -

         
           
- pter ma - gnam glo - ri - am tu - am, Do - mi - ne De -

                
 

glo - ri - am tu - am, Do - mi - ne De - us, rex cæ -

                
 glo - ri - am tu - - am, Do - mi - ne De - us,
              
     
- pter ma - gnam glo - ri - am tu - am, Do - mi - ne De -

  30

                  
- us rex cæ - le - - - - stis, De - us pa - ter om - ni -

   
                

- le - - stis, rex cæ - le - - stis, De - us pa - ter om - ni -
    
           
 rex cæ - le - stis, rex cæ - le - - stis,
    
            
- us, rex cæ - le - - stis, De -

 
          
- po - tens, De -

    
          
  

- po - tens, De - us pa - ter om - ni - po - tens, De - us
    
         
 De - us pa - ter om - ni - po - tens,
          
 
      
- us pa - ter om - ni - po - tens, De - us pa - ter om - ni -
4

220 n Sacred Music Colloquium 2011 Sunday, June 19


  
40

                
- us pa - ter om - ni - po - tens. Do - mi - ne fi - li, u - ni -



    
     
        

pa - ter om - ni - po - tens, Do - mi - ne fi - li u - ni - ge - ni - te Je -
 
   
              




om - ni - po - tens, Do - mi - ne fi - li, Do - mi - ne
         
      

- po - tens, om - ni - po - tens, Do - mi - ne fi -

     
              
-ge - ni - te Je - su Chri - ste, Je - su Chri -

                   
- su Chri - ste, Je - su Chri - ste, Je - su Chri - ste,

                    

  
fi - li, u - ni - ge - ni - te Je - su Chri - ste, Je - su Chri - ste,
     
           
- li, Do - mi - ne fi - li, u - ni - ge - ni - te Je - su

   50 
            
- ste, Je - su Chri - - ste.
 
               
Je - su Chri - ste, Je - su Chri - - - ste.
 
               
 Je - su Chri - - - ste, Je - su Chri - ste.
    
    
      
Chri - ste, Chri - ste, Je - su Chri - - - ste.

 
                 
 
A.


Do - mi - ne De - us a - gnus De - i, a - gnus De - i, fi -

               

T.

 
Do - mi - ne De - us a - gnus De -
          
B.         
Do - mi - ne De - us a - gnus De - - - -
5

Sunday, June 19 Sacred Music Colloquium 2011 n 221


  

60

                 

- li - us pa - - - - tris, fi - li - us pa - - -
   
                   
 - i, fi - li - us pa - tris, fi - li - us pa - -

          
           
- i, fi - li - us pa - - tris, pa - tris, fi - li - us

         
C.       
Qui tol - lis pec - ca - ta mun - di,

            
A.        

- tris, pa - - - tris. Qui tol - lis pec - ca - ta mun - -
      
         

T.
- tris, pa - - - tris.

      
B.   
        

pa - - - tris. Qui tol - lis pec -

     
70
  
C.        
    
mi - se - re - re no - bis, mi - se - re - re no -

    
            
   
A.


- - di, mi - se - re - re no - - - bis, mi - se -
                   
B.    
-ca - ta mun - - - - di, mi - se - re - re no - - -

      
C.            


- - - - - bis, qui tol - lis pec - ca - ta mun - di,

A.          
     
- re - re no - - - bis.

           
     

T.

     
Qui tol - lis pec - ca - ta mun - di, pec - ca - ta
         

B.  
- bis, mi - se - re - re no - bis. Qui tol - lis pec - ca -
6

222 n Sacred Music Colloquium 2011 Sunday, June 19


     
80
C.                 


sus - ci - pe de - pre - ca - ti - o - nem no - - - stram,
         
        

T.


 
mun - di, sus - ci - pe de - pre - ca - ti - o - nem no -

        
  
B.
  
- ta mun - di, sus - ci - pe de - pre - ca - ti -

                 
     

  
sus - ci - pe de - pre - ca - ti - o - nem no - - - - - -
           
 
      


- - stram, sus - ci - pe de - pre - ca - ti - o - nem no - - -

               
      
- o - nem no - stram, sus - ci - pe de - pre - ca - ti - o - nem no - -

  90
     
C.              
-stram, Qui se - des ad dex - te - ram pa - - tris,

        
A.        
    
Qui se - des ad dex - te - ram pa - - - tris, mi - se - re - re no -

 
             
     

T.
-stram, Qui se - des ad dex - te - ram pa - - - tris, mi - se - re - re no -

   
B.                
-stram, Qui se - des ad dex - te - ram pa - - tris,

    
              
  
mi - se - re - re no - - - bis, Quo - ni - am tu so - lus

              

    
- - - - bis, mi - se - re - re no - bis.
           
          
 - - - bis, mi - se - re - re no - bis. Quo - ni - am tu so - lus san -

      
 
     
mi - se - re - re no - bis.
7

Sunday, June 19 Sacred Music Colloquium 2011 n 223


  
100

               

san - ctus, tu so - lus Do - mi - nus, tu so - lus Do - mi -

   


        
   
  
Quo - ni - am tu so - lus san - ctus, tu so - lus Do - mi - nus,
       
       
 - ctus, tu so - lus Do - mi - nus, tu
             
 
    
Quo - ni - am tu so - lus san - ctus, tu

                 
   
- nus, tu so - lus al - tis - - - - si - mus,

              

tu so - lus Do - mi - nus, tu
             
  
   

          
so - lus Do - mi - nus, tu so - lus al - tis - si - mus, al - tis - si -

       
   
so - lus Do - mi - nus, tu so - lus al - tis -

     
110

            
tu so - lus al - tis - si - mus, Je - su Chri - - ste,

             
   
      
so - lus al - tis - si - mus, Je - su Chri - - - ste, cum
      
           
 - mus, tu
  
so - lus al - tis - si - mus, Je - su Chri - ste, cum
   
        
   
- - si - mus, al - tis - si - mus, Je - su Chri - - ste,

      
          
  
cum san - cto Spi - ri - tu, in glo - ri - a De - i pa -

                
 

san - cto Spi - ri - tu, in glo - ri - a De - i pa - tris, in
            
      


san - cto Spi - ri - tu, in glo - ri - a De - i pa - tris,


        
 
       
cum san - cto Spi - ri - tu, in glo - ri - a De - i pa -
8
224 n Sacred Music Colloquium 2011 Sunday, June 19
  
120

             

    
- tris, in glo - ri - a De - i pa - - - tris, De - - i

 
 
 
                

glo - ri - a De - i pa - tris, in glo - ri - a De - i pa -
          
       


in glo - ri - a De - i pa - tris, in glo - ri - a De -
     
         
- tris, in glo - ri - a De - i pa - tris, De - - i

         
            
pa - tris, A - - - men. A - - - - men.
 
                   

- - - - tris. A - - - men.

                 

 
 - i pa - - - tris. A - - men. A - men.
         

     
pa - - tris. A - - - - - - men.

I.26.2: superfluous flat

Sunday, June 19 Sacred Music Colloquium 2011 n 225


9
226 n Sacred Music Colloquium 2011 Sunday, June 19
Credo in unum Deum

   

      
 Cre - do in u - num De - um,

    
                  

C. 
Pa - trem om - ni - po - ten - tem, fa - cto - rem cæ - li et

   
 
        
       

A.
 

Pa - trem om - ni - po - ten - tem, fa - cto - rem cæ - li et ter -

       
 
T.  

 fa -

B.    
       

    
    
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 -
10
Sunday, June 19 Sacred Music Colloquium 2011 n 227
           
       
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,
11
228 n Sacred Music Colloquium 2011 Sunday, June 19
     
                 
- 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