Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
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.
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)
Prelude: Prelude on Veni Creator (from Op. 4), Maurice Duruflé, 1902-1986
Postlude: Chorale Variations on Veni Creator (from Op. 4), Duruflé
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)
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.
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.
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.
Postlude: Fantasia on Komm, Heiliger Geist, BWV 651—Johann Sebastian Bach (1685-1750), 6’
3:30 p.m. Friday: Votive Mass of the Blessed Virgin Mary (OF)
Horst Buchholz, organist
Prelude: Improvisation
Postlude: Improvisation
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.
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.
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.
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
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.
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.
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.
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.
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.
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.
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.
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.
l
Prepared by William Mahrt
Lector: Lector:
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Noctem qui-é-tam et finem perféctum concédat no-bis May the Lord almighty grant us a peaceful night and a
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Fratres: Sóbri-i estó-te et vi-gi-lá-te: qui-a adversá-
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Be-loved, be so-ber, be watchful. For your adversary the
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quærens quem dé-vo-ret: cu-i resísti-te fortes in fide.
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to devour. Re-sist him, firm in faith.
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Tu au-tem Dómi-ne mi-serére nobis. R. Deo grá-ti-as.
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But thou, O Lord, have mercy upon us. R. Thanks be to God.
Officiant: Officiant:
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V. De-us ✠ in adjutó-ri-um me-um inténde. R. Dómine
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V. O God, ✠ come to my assistance R. O Lord, make
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et Fí-li-o, et Spi-rí-tu-i Sancto. Sicut e-rat in prin-
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the Son, and to the Ho-ly Spi-rit. As it was in the
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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.
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R. In manus tuas Dómine, * Coméndo spí-ritum me-um.
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R. Into your hands, O Lord, * I commend my spi- rit.
Repeat: In manus tuas . . . Repeat: Into your hands
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V. Redemísti nos Dómine, De-us ve- ri- tá- tis.
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V. For you have redeemed me, O Lord, O God of truth.
Repeat: Commendo . . . Repeat: I commend . . .
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V. Gló-ri- a Pa-tri et Fí- li- o, et Spi-rí-tu- i Sancto.
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V. Glory be to the Father, and to the Son, and to the Ho-ly
Spirit. Repeat: In manus tuas . . .
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Spi-rit. Repeat: Into your hands
GOSPEL CANTICLE
3a Cantor (Gospel side): All: Cantor (Gospel side): All:
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Salva nos, * Dómi-ne, vi-gi-lántes, custódi Save us * O Lord while we are wa-king,
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nos dor-mi-éntes: ut vi-gi- lé-mus cum Chrí-sto, and guard us while we are sleeping; that we may watch
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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
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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.
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Re-sur-re-xit, si-cut di-xit, 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
l
3:30 p.m. June 14, 2011
al- le-lu-ia; and that which contains all things, knows ev-
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.
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
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CONTRA
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Al - migh - ty and e - ver-last - ing God, and e - ver -
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TENOR
(Tenor)
J œ œ œ œ
Al-migh - ty and e - ver - last - ing, and
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BASSUS
(Bass) b4 J œ œ œ. œ ˙
Al-migh-ty and e - ver - last - ing God, and e - ver - last - ing God,
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e - ver - last - ing God, mer - ci - ful - ly look up - on our in - fir - mi -
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e - ver - last - ing God, mer - ci - ful - ly look up - on our in - fir - mi -
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mer - ci - ful - ly look up - on our in - fir - mi -
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-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 ˙
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-fir - mi - ties, mer - ci - ful - ly look up - on our in - fir - mi -
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-ties, mer - ci - ful - ly look up - on our in - fir - mi- ties, our in - fir - mi -
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-ties, mer - ci - ful - ly look up - on our in - fir - mi -
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13
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and in all our dan - gers and ne - ces - - - si - ties, and in all our
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-ties, and in all our dan - gers and ne - ces - si -
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-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
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all our dan - gers and ne - ces - si - ties stretch forth Thy right hand, Thy
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Vb œ œ œ œ œ. œ ˙ Ó Œ ˙ œ œ
-ties, our dan - gers and ne - ces - si - ties stretch forth Thy
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-ces - si - ties, and ne - ces - si - ties stretch forth Thy right hand, Thy
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œ ˙ œ œ
stretch forth Thy right hand to help and de - fend us, stretch forth Thy
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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
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right hand, stretch forth Thy right hand to help and de - fend us, stretch
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right hand to help and de - fend us, to help and de - fend us,
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forth Thy right hand to help and de - fend us, stretch forth Thy right hand to
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forth Thy right hand to help and de- fend us, to help and de - fend, to help and de - fend
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forth Thy right hand to help and de - fend us, to help
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to help and de-fend us, de-fend us; through Je- sus
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and de -fend us, to help and de - fend us; through
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33
˙ ˙ œ œ œ ˙
Christ our Lord, through Je - sus Christ our Lord. A - - - men.
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a rush- ing migh- ty wind, and it filled the house where
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they were sit- ting, al- le- lu- ia; and they
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were all filled with the Ho- ly Spir- it and spoke of the
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migh- ty works of God, al- le- lu- ia, al-
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le- lu- ia.
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How won- der- ful is God in his ho- ly plac- es: the God
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
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O sa - crum con - vi - vi - um!
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in quo
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O sa - crum con - vi - vi - um! in
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B
˙
O sa - crum con - vi - vi - um!
œ˙ œ ˙˙ œœ œœ ˙˙
1
& ww ww ˙˙ ˙˙ w œ
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˙
7
˙ j œ œ
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in quo Chri - stus su - mi - tur, in quo Chri -
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Chri - stus su -
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j - mi - tur, in quo Chri -
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stus su
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quo Chri - stus su - mi - tur, in quo Chri - stus su - mi -
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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
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œ œ œ. œ j
12
& J ˙ Ó Œ œ œ œ œ. œ œ œ œ ˙ œ
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j
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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 ˙
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J
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œ œ j j
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J ˙ Œ œœ ˙ œ œ œœ
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J
17
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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
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∑
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co - li - tur me - mo - ri - a pas - si - o - nis e - ius,
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o - nis e - ius, re - co - li - tur, re - co - li - tur me - mo - ri -
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17
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& 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
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j J
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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
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j
V˙ ˙ ∑ ∑
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J ˙ ˙ J
im - ple - tur gra - ti - a, mens im - ple - tur gra - ti -
28
Œ j
& œ˙ # œ œÓ n œ œ œ ˙ œ œ˙ # œ ˙˙ ˙ ˙ œ.
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w ˙ œ. œ J
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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
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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 ˙
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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
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˙ ˙
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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
Œ œ œ œ Œ œ œ
55
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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
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60
U
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ia, Al - le - lu - ia, Al - le - lu - - - - ia.
U
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www.TheCaTholiCChoirbook.Com • Copying and sharing permiTTed under CreaTive Commons 3.0
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.
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.
l
3:30 p.m. June 15, 2011
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
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,
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
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
23
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
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
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,
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,
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,
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,
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
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 -
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.
l
3:30 p.m. June 16, 2011
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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
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86 n Sacred Music Colloquium 2011 Thursday, June 16
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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;bvzvãlvbvbkvzbájv 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 }
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 bvzb hb.vzb{vbygvzb hvbvjkjz bz hjhvzbvzygvbvYF zß%zb#vzbrdbm,vb[bó
Vzbz vbv5b,vfygzb bëdfëdv bdbmvb ]bz dv vbzfv vhIáJ v bjbv jv vbvzv v zbjzv vzvzbkvbvjzvbzhbv zb vbz b vzkb/z z{b÷
Vbvzjbvbv zygzêhvbz b fvbvz„vzvv v íghígzdÞFTvb vrÌsvbvfvbz v zëdfëdvbvdbmvbz b{z bz bvv bzgv bzhjhvzbvfb,vzb [vó
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
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÷
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
& 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 ∑ ∑
& 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 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
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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
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& ‰ Jœ ‰ Jœ Œ ‰ œ œ Ó ‰ œ
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J J
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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
& #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 ˙ ˙
& ∑ 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 ˙ 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
l
3:30 p.m. June 17, 2011
Votive Mass
of the Blessed Virgin Mary,
Ordinary Form
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 -
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
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.
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 -
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.
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 - - -
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.
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
˙
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.
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.
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 -
w. ˙
64
S. &b ∑ ∑ ∑ ∑
sú - sci -
&b w w w ˙ œ bœ œ œ w
w ˙ w œ œ w ˙
A.
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 -
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.
89
S. &b ∑ ∑ ∑ ∑
&b ˙ ˙ ˙ ˙ ˙. œ ˙ ˙ ˙ ˙ ˙ œ #œ œ nœ w
˙
A.
˙
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 - -
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.
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.
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
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,
˙ 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 - - -
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 - - - -
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 - - - - - - - - -
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 - - -
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
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 -
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 -
˙
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 - - - -
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.
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.
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.
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 - - - - - - - -
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 -
˙
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,
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.
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 - - - -
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 - - - - - - -
b˙
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,
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.
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
Bbzbvzz vbygzyÎfz5z$#vz sÁvRvz 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
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
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 - - - - - - - - - - -
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
& 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
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 Œ j
nœ œ œ ˙ œ œ œ ˙ œ.
j
œ œ œ œ
œ.
Ct
˙. 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-
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-
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
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-
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-
Alto
Tenore
Basso
10/2004
-2-
-3-
-4-
l
6:30 p.m. June 17, 2011
l
11:30 a.m. June 18, 2011
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.
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
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Vzb gbv brdzb vbÝdvbz bdv vFTv vbv b fÃvhgbv rdzbvbdbmvb }vzb db v bgv 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 bzvv 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
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.
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.
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.
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:
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%$#vb fgÞfbvbfv bdbmv v}v b gv rdv DTÄvm 7zbïHUzïijzbuÏgb,z [÷
Vzb gbv brdzb vbÝdvbz bdv vFTv vbv b fÃvhgbv rdzbvbdbmvb }vzb db v bgv v7z^%b vbFTv b gvbv vtfb ö
Vzzàhv bfvbvdbmvzb[zb hv brdv bfv zbFTvbv bfzfbvbdbmvzb}vbz RD bvbvb ßgv b fvzv bRD bm,vzb}vb hbv YG vb jvb 7z^%zbvbFTb õ
Vvbgb,v}bvbdv bfbvz FTvb vfv vb dbmvz}vzbgbvb Ýdvz bgv buhv uhv z GUz7z^zÞ$zfzb}zb zbdbvbFTv bßgv bgvzb fzb vbFTzbô
Vbb fzfzbvzdbmvzb[vzdv bzvv 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
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 zbv 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 gv 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
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.
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
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
? 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.
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.
? ˙ ˙ ˙ ˙ ˙. 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.
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.
? W ˙. #œ ˙ b˙ w w w
B. ˙ ˙
- - - tes ma - gna - li - a De - i, ma -
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.
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.
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 -
˙ ˙ ˙
32
& ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ #˙ W W
C.
& Œ œ œ œ ˙ ˙ ˙
˙ ˙ ˙ ˙ b˙ . œ ˙ W W
A.
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.
l
10 a.m. June 19, 2011
Ordinary Form
<
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 .)
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
- 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
- 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
- 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.
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
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
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.
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 -
-tum non fa - ctum, con - sub - stan - ti - a - lem pa - tri, con - sub -stan - ti -
-ctum,
con - sub - stan - ti - a - - lem pa - - - - -
- ctum, con - sub - stan - ti - a - lem pa -
- tri, per quem om - ni - a fa - cta sunt,
- a - lem pa - tri, per quem om - ni - a fa - cta sunt, per quem
- tri, per quem om - ni - a fa - cta sunt, per quem om -
- tri, per quem om - ni - a fa - cta sunt, per quem om - ni - a fa -
50
per quem om - ni - a fa - - - cta sunt.
om - ni - a fa - cta sunt, per quem om - ni - a fa - cta sunt.
- ni - a fa - - cta sunt, per quem om - ni - a fa - cta sunt.
- cta sunt, per quem om - ni - a fa - - cta sunt.
12
Sunday, June 19 Sacred Music Colloquium 2011 n 229
C.
Qui pro - pter nos ho - mi - nes, et pro - pter no - stram sa - lu - tem, de - scen -
T.
Qui pro - pter nos ho - mi - nes et pro - pter no - stram sa - lu - tem,
B.
Qui pro - pter nos ho - mi - nes et pro - pter no - stram sa - lu - tem de - scen -
60
C.
- dit de cæ - - - - - - - - lis, Et
A.
Et in - car - na - tus
T.
de - scen - dit de cæ - - - lis,
B.
- dit de cæ - - - - - lis, Et in - car - na - tus
in - car - na - tus est, de spi - ri - tu san - - cto,
est, de spi - ri - tu san - - - cto, ex Ma -
Et in - car - na - tus est, de spi - ri - tu san - - - cto,
est, de spi - ri - tu san - cto, de spi - ri - tu san -
70
ex Ma - ri - a vir - gi - ne, et ho - mo
- ri - a vir - gi - ne, et ho - mo fa - ctus est, fa - - - ctus
ex Ma - ri - a vir - gi - ne, et ho - mo fa - ctus est, et
- cto, ex Ma - ri - a vir - gi - ne,
13
230 n Sacred Music Colloquium 2011 Sunday, June 19
fa - - - - - - ctus est. Cru - ci - fi - xus e - ti -
est, et ho - mo fa - ctus est, fa - ctus est. Cru - ci - fi - xus e - ti -
ho - mo fa - - - - - ctus est. Cru - ci - fi - xus e - ti -
et ho - mo fa - - ctus est.
80
C.
-am pro no - bis sub Pon - ti - o Pi - la - to, pas - sus et se - pul -
A.
-am pro no - bis sub Pon - ti - o Pi - la - to, pas - sus et se - pul - tus
T.
-am pro no - bis sub Pon - ti - o Pi - la - to, pas - sus et se -
C.
- tus est. Et re - sur - re - xit
A.
est, se - pul - tus est. Et re - sur - re - xit ter - ti - a di - e,
T.
- pul - tus est. Et re - sur - re - xit ter - ti - a, ter -
B.
Et re - sur - re - xit ter - ti - a di - e,
90
ter - ti - a di - e, se - cun -dum scrip -tu - ras, scrip - tu - - - ras.
ter - ti - a di - e, se - cun -dum scrip -tu - ras.
- ti - a di - e, se - cun -dum scrip - tu - - - - ras, scrip-
ter - ti - a di - e se -cun -dum scrip - tu - ras, se - cun - dum scrip - tu - ras.
14
Sunday, June 19 Sacred Music Colloquium 2011 n 231
Et a - scen - dit in cæ - lum, se - det ad dex - te - ram pa - tris, se -
Et a - scen - dit in cæ - lum, se - det ad dex -te - ram pa - - - - tris,
- tu - ras. Et a - scen - dit in cæ - lum, se - det ad dex - te - ram pa -
Et a - scen - dit in
100
-det ad dex - te - ram pa - - - tris, ad dex - te - ram pa - tris,
se - det ad dex - te - ram pa - - - tris, pa - tris, et
- tris, se - det ad dex - te -ram pa - tris, et i - te -
cæ - lum, se - det ad dex - te - ram pa - - - tris, et i - te -rum ven -
et i - te - rum ven - tu - rus est, cum glo - ri - a ju -
i - te - rum ven - tu - rus est, cum glo - ri - a ju - di - ca - re, cum
- rum ven - tu - rus est,
cum
glo
- ri - a
ju - di - ca -
- tu - rus est, cum glo - ri - a ju - di - ca - - -
110
- di - ca - re, vi - vos et mor - tu - os, cu - jus re -
glo - ri - a ju - - ca - re vi - vos et mor - tu - os, cu - jus
- re vi - vos et mor - tu - os, et mor - tu - os, cu - jus re - gni,
- re vi - vos et mor - tu - os, cu - jus re - gni non
15
232 n SACRED Music Colloquium 2011 Sunday, June 19
- gni non e - rit fi - nis, cu - jus re - gni non
re - gni, cu - jus re - gni non e - rit fi - - - -
non e - rit fi - nis, cu - jus re - gni non e - rit fi -
e - rit fi - nis, cu - jus re - gni, cu - jus re - gni
120
e - rit fi - nis. Et in Spi - ri -tum san - ctum Do - mi - num, et
- nis, non e - rit fi - nis. Et in Spi - ri -tum san - ctum Do - mi - num, et
- nis, non e - rit fi - nis. Et in Spi - ri -tum san - ctum Do - mi - num,
non e - rit fi - nis. Et in Spi - ri -tum san - ctum Do - mi - num,
vi - vi - fi - can - tem, et vi - vi - fi - can - tem,
vi - vi - fi - can - tem, vi - vi - fi - can - tem, qui ex pa - tre fi -
et vi - vi - fi - can - tem, qui ex pa - tre fi - li - o -
et vi - vi - fi - can - tem, qui
130
qui ex pa - tre fi - li - o - que pro - ce -
- li - o - que pro - ce - - - dit, pro - ce - dit,
- que pro - ce - dit, fi - li - o - que pro - ce - dit,
ex pa - tre fi - li - o - que pro - ce - - dit,
16
Sunday, June 19 Sacred Music Colloquium 2011 n 233
- dit, qui cum pa - tre et fi - li - o si - mul a - do -
qui cum pa - tre et fi - li - o si - mul a - do - ra - tur, et
qui cum pa - tre et fi - li - o si - mul a - do - ra - - tur,
qui cum pa - - tre et fi - li - o si - mul
140
- ra - - tur, et con - glo - ri - fi - ca - tur, qui lo -
con - glo - ri - fi - ca - tur, et con - glo -ri - fi - ca - - - - tur,
et con - glo - ri - fi - ca - tur, et con - glo - ri - fi -ca - - - tur,
a - do - ra - tur, et con - glo - ri - fi - ca - tur,
-cu - tus est per Pro - phe - tas, per Pro -phe - - - tas.
qui lo - cu - tus est per Pro - phe - tas, per Pro - phe - tas.
qui lo - cu - tus est per Pro - phe - - tas.
qui lo - cu - tus est per Pro - phe - - - - tas.
150
Et u - nam san - ctam Ca - tho - li - cam, Ca - tho - li - cam, et
Et u - nam san - ctam Ca - tho - li - cam, Ca - tho - li - cam,
Et u - nam san - ctam Ca - tho - li - cam, Ca - tho - li - cam, et
Et u - nam san - ctam Ca - tho - li - cam, et
17
234 n Sacred Music Colloquium 2011 Sunday, June 19
A - po - sto - li - cam Ec - cle - si - am. Con - fi - te - or u - num
et A - po - sto - li -cam Ec - cle - si - am. Con - fi - te -
A - po - sto - li -cam Ec - cle - si - am. Con - fi - te - or u -
A - po - sto - li - cam Ec - cle - si - am. Con - fi - te - or u - num bap -
160
bap - tis - - ma in re - mis - si - o - nem pec - ca - to -
- or u - num bap -tis - ma in re - mis - si - o - nem pec -
- num bap - tis - ma in re - mis - si - o - nem pec - ca - to -
-tis - - ma in re - mis - si - o - nem pec - ca - to -
- rum, Et ex - spe - cto re - sur - re - xi - o - nem mor - tu - o - rum, mor -
- ca - to - rum, Et ex - spe - cto re - sur - re - xi -
- rum, Et ex - spe - cto re - sur - re - xi - o - nem, re - sur - re - xi - o -
- rum, Et ex - spe - cto re - sur - re - xi - o - nem mor -
170
- tu - o - rum, mor - tu - o - rum et vi - tam ven -
- o - nem mor - tu - o - rum, et vi - tam ven -tu - ri sæ - cu - li,
- nem mor - tu - o - - rum, et vi - tam ven -
- tu - o - - - rum, et vi - tam ven -tu - ri sæ - cu - li,
18
Sunday, June 19 Sacred Music Colloquium 2011 n 235
- tu - ri sæ - cu - li, et vi - tam ven -tu - ri, et vi - tam ven - tu - ri sæ - cu -
et vi - tam ven - tu - ri sæ - cu - li, et vi - tam ven -tu - ri sæ - cu - li,
- tu - ri sæ - cu - li, et vi - tam ven - tu - ri sæ - cu - li, et
et vi - tam ven - tu - ri sæ - cu - li. A - men, et vi - tam ven -
180
- li. A - - - - - men. A - - - - men.
et vi - tam ven - tu - ri sæ - cu - li. A - - - - - men.
vi - tam ven -tu - ri sæ - cu - li. A - - - - - men.
- tu - ri sæ - cu - li. A - men. A - - - - - men.
III.61-2: decelis
III.64-5: in Carnatus
19
236 n Sacred Music Colloquium 2011 Sunday, June 19
Sunday, June 19 Sacred Music Colloquium 2011 n 237
238 n Sacred Music Colloquium 2011 Sunday, June 19
Sanctus - Benedictus
C.
San - - - - - - - ctus,
A.
San - - - - - ctus, san - - -
T.
San - - - - - - ctus, san -
B.
San - - - -
san - - - - - - - ctus, san - - - - -
- - - - - - - ctus, san -
- - - - - - - ctus, san - - -
- ctus, san - - ctus,
10
- - - - - - - - - - ctus, Do - mi - nus
- - - - - - - - - - ctus,
- - - - - - - - - - ctus, Do -
san - - - - - - ctus, Do - mi - nus
De - us Sa - ba - oth, Do - mi - nus De - us, Do -
Do - mi - nus De - us Sa - ba - oth, Do - mi - nus
- mi - nus De - us Sa - ba - oth, Do - mi - nus De - us,
De - us Sa - ba - oth, Sa - ba - oth, Do - mi - nus De - us, Do -
20
Sunday, June 19 Sacred Music Colloquium 2011 n 239
20
- mi - nus De - us Sa - ba - oth, Sa - - - ba - - oth.
De - us Sa - ba - - oth, Sa - ba - - oth.
Do - mi - nus De - us Sa - - ba - oth.
- mi - nus De - us Sa - ba - oth, Sa - - - - ba - oth.
C.
Ple - ni sunt cæ -
A.
Ple - ni sunt cæ - li et ter - - ra, ple - ni sunt cæ -
T.
Ple - - ni sunt cæ - - - li et ter - - -
30
- li et ter - - ra glo - ri - a tu - - - -
- li et ter - - ra glo - ri - a tu - - -
- - - ra glo - ri - a tu - - a,
- a, glo - ri - a tu - - - - - - - -
- a, glo - ri - a tu - - - -
glo - ri - a tu - - - - - - a, glo - ri - a tu -
21
- a. O - san - na in ex - cel -
T.
- a. O - san - na in ex - cel - - sis, in ex - cel -
B.
O - san - na in ex - cel - sis, O -
O - san - na in ex - cel - sis, in ex - cel - sis.
- sis, in ex - cel - sis, O - san - na in ex - cel - sis.
- sis, O - san - na in ex - cel - sis, in ex - cel - sis.
-san - na in ex - cel - sis, O - san - na in ex - cel - sis.
50
Be - - ne - di - ctus qui ve - nit, qui ve -
Be - ne - di - ctus qui ve - nit, qui ve - - -
Be - - - ne - di - - ctus
Be - ne - di - ctus qui ve - nit, qui
- - - nit, qui ve - - nit in no - mi - ne Do -
- nit, qui ve - nit, in no - mi- ne Do - mi - ni, Do - - -
qui ve - - - - nit, in no - mi- ne Do -
ve - nit, qui ve - - - - nit
22
- mi - ni, in no - mi - ne Do - - - mi - ni. O -
- mi - ni, in no - mi - ne Do - - mi - ni, Do -
in no - mi- ne Do - - - - mi - ni.
O - san - na in ex - cel - sis, in ex - cel - - - sis,
- san - na in ex - cel - sis, in ex - cel - sis, O - san - na in ex -
- mi - ni. O - san - na in ex - cel - - sis, in ex - cel - -
O - san - na in ex - cel - sis,
70
O - san - na in ex - cel - - sis, in ex - cel - - sis.
- cel - sis, in ex - cel - sis, in ex - cel - - sis.
- - sis, O - san - na in ex - cel - - - sis.
O - san - na in ex - cel - - - - - - sis.
A.
Ag - nus De - - i qui tol - lis pec - ca - ta
T.
B.
10
C.
- ta mun - di, mi - se - re - re, mi - se - re - re no -
A.
mun - di, mi - se - re - re, mi - se - re - re, mi - se - re -
C.
- - - - bis, Ag - nus De - -
A.
- re no - - - bis,
T.
Ag - nus De - - i qui tol - lis pec -
B.
Ag - nus De - - - i
20
C.
- i, qui tol - lis pec - ca - ta mun - di, mi -
T.
- ca - ta mun - - di, qui tol - lis pec - ca - ta mun - di,
B.
qui tol - lis pec - ca - ta mun - - - - di, mi - se -
- se - re - re no - - - - - bis, mi - se - re - re
mi - se - re - re no - - - - - bis, mi -
- re - re no - - - bis, mi - se - re - re no - -
24
Sunday, June 19 Sacred Music Colloquium 2011 n 243
30
C.
no - - - - - bis, Ag - nus De - -
A.
Ag - nus De - - i,
T.
- se - re - re no - bis, Ag -
B.
- - - - - bis, Ag - nus De - -
- i, Ag - nus De - - - - i, qui tol - lis pec -
Ag - nus De - - - - i, qui tol - lis pec - ca - ta
- nus De - - - i, qui tol - lis pec - ca -
- i, De - - - i, qui tol - lis pec - ca - ta
- ca - ta mun - - - - di, qui tol - lis pec - ca -
mun - di, qui tol - lis pec - ca - ta mun - - di, qui
- ta mun - - - - - - - di, qui tol - lis pec-
mun - - di, qui tol - lis pec - ca - -
40
- ta mun - - - di, do - na no - bis pa -
tol - lis pec - ca - ta mun - - di, do - na no -
- ca - - ta, qui tol - lis pec - ca - ta mun - di,
- ta mun - - - di, do - -
25
- bis pa - - cem, do - na no - bis pa - cem, do - na no -
do - na no - bis pa - - cem, do - na no - bis pa -
-na no - bis pa - - - - cem, do -
50
do - na no - bis pa - - cem, do - na no -
- bis pa - - cem, do - na no - bis pa - - -
- cem, do - na no - bis pa - cem,
- na no - bis pa - cem, pa - - cem, do - na no - bis pa -
- bis pa - cem, do - na no - bis pa - - cem.
- cem, do - na no - bis pa - cem, do - na no - bis pa - cem.
do - na no - bis pa - cem, pa - - cem.
- cem, do - na no - bis pa - - cem.
I.12: bis
Edition transposed down a tone from published pitch
Sources:
Polyphony: [William Byrd: Mass for four voices] (No title or publication information on any surviving edition; probably
printed in London by Thomas East, c.1592).
Plainsong: from the Liber Usualis, chosen for their mode rather than liturgical function. If the Mass is used liturgically,
performers may wish to substitute the proper chants.
Part of my complete edition of the published vocal works of William Byrd made available through the Choral Public Domain Library (http://www.cpdl.org).
For general editorial notes, please visit my user page at http://www.cpdl.org/wiki/index.php/User:DaveF.
All scores are made freely available according to the CPDL Licence for downloading, printing, performing and recording. No further conditions are
or can be attached, although it’s always good to hear of any performances.
Please do not, without consulting me, make copies of my scores available through other websites – there’s no need, first of all, as CPDL is always here,
and secondly by doing so you put these editions beyond my control and so will miss out on any updates and revisions.
26
Bz z h v zt f v b v Y
G v b g v z db v
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Bbb bjbv vzb zb HUvbz hv zhb.vzb ]bz bygbzvb YG vbzhbvz b hvbvhv bhv vbhv vzbhv bhv v b tfbz bz YG z b z bgzb vbdbmz b}zö
Bbb ygz b z b YG zbvbhbz bz hb z b zhv z b ygz b zb GUz v vzjv v zbHUvbz hbv zhb.vzb ]bz b ygbzvb YG vbv bzhbvzbhv zhv bhb ö
SANCTA TRINITAS
Antoine de Févin
c. 1470 – late 1511
j œ œ.
1
S &b ˙ ˙ œ. œ ˙ ˙ œ œ œ œ œ. œœœ œ œ
J
œ. œ ˙ wu ˙- œ. œ œ. œœ œ œ
San - cta Tri - ni - tas - nus De us mi - - - se - re -
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San - cta Tri - ni - tas u - - - nus de - us mi -
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J
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San - cta
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u - nus De - -
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- - -
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us
B œ. œ ˙ œ Ó
San - cta Tri - ni - tas u - nus De - - - - - us
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se - re - re no - bis, mi - se - re - re no -
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mus, Te ad - o - ra - - - mus,
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Te glo - - - - ri - fi -
20
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31
J J Œ ∑
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b ‰ œJ œ œ œ œ œ Œ Ó Ó ‰ œJ Jœ œJ œJ œ œj œ Jœ œ
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j Œ ‰ œj œ
35
& b ‰œ œ œ œ œ œ œ œ œ œ œ
Œ Ó
œ œ œœ œ œ œ
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b
V J‰ J œ œ œ . œ œ nœ œ Œ Ó
J
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39
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j j
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J J J
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j
43
&b œ œ œ œ œ œ œ œ œ œ œ ˙ Ó Ó ‰ j
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et us - que in sae - - - - - cu - lum.
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sae - - - - - - - - - - - - cu - lum.
?b j œ œ œj j
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us - - - que in sae - - - cu - lum.
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46
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œ J J J w
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Soprano
Tenor
Bass
Be - ne - di - cta tu in mu - li - e - ri - bus
Be - ne - di - cta tu in mu - li - e - ri - bus
Je - sus.
Je - sus, Je - sus.
tu - - i, Je - sus, Je - sus.
Copyright © 1999 by Choral Public Domain Library (http://www.cpdl.org)
Edition may be freely distributed, duplicated, performed, or recorded. ed. 1/10/99
26
ri - a, ma - ter De - - - i,
ri - a, ma - ter De - - - i,
ma - - - ter De - - - i,
ma - - ter De - - - i,
ri - a, ma - ter De - - - i, o - ra,
31
dim.
41
46
no - - - - bis. A - - men.
no - - - - bis. A - - men.
no - - - - bis. A - - men.
no - - - - bis. A - - men.