3Rd, 4Th, 5Th Sundays of Easter

ST MARY’S CATHEDRAL Newcastle upon Tyne Music List: Third, Fourth and Fifth Sundays of Easter Sunday 10 April—THIRD SUNDAY OF EASTER 8.00 am Mass (cantor) 10.00 am Mass (cantor) 11.30 am Mass (Cathedral choir) Introit: Richard Farrant, Shout joyfully to God all the earth Sprinkling Rite: Fontes et omnia (plainsong, Graduale Simplex) Gloria: David Allison (2011) Psalm: Paul Inwood, I will praise you, Lord; you have rescued me Gospel Acclamation: Easter plainsong Profession of Faith: Apostles’ Creed (plainsong, arr. HB) Prayer of the Faithful: Regina caeli (plainsong) Chant for the Year of Mercy: Paul Inwood, Misericordes sicut Pater Mass setting: Michael Haydn, Singmesse (arr. Anthony Ruff) Our Father and Doxology: Collegeville composers, Psaillite Mass Communion Antiphon: Simon, son of John, do you love me more than these? (plainsong, Lalemant Propers) Communion: Ave verum (plainsong) | Colin Brumby (2013), Taste and see Hymns: Sing of one who walks beside us | Be known to us in breaking bread | Now the green blade riseth 6.30 pm Mass (music group) Sunday 17 April—FOURTH SUNDAY OF EASTER 8.00 am Mass (spoken) 10.00 am Mass (cantor) 11.30 am Mass (Cathedral choir) Introit: Ego sum pastor bonus (plainsong, Graduale Simplex) Kyrie: traditional Ukrainian Gloria: HB (2011) after John Stainer Psalm: Andrew Moore, We are his people, the sheep of his flock Gospel Acclamation: Easter plainsong Profession of Faith: Apostles’ Creed (Stephen Dean, arr. HB) Prayer of the Faithful: Regina caeli (plainsong) Chant for the Year of Mercy: Paul Inwood, Misericordes sicut Pater At the Offertory: G F Handel (Messiah), He shall feed his flock Mass setting: Michael Haydn, Singmesse (arr. Anthony Ruff) Our Father: Robert Stone Communion Antiphon: I am the good shepherd, alleluia (plainsong, Lalemant Propers) Communion: Ave verum (plainsong) | Colin Brumby (2013), Taste and see Hymns: The Lord’s my shepherd | Accept, almighty Father, this gift of bread and wine | Good Christians all, rejoice and sing 6.30 pm Mass (music group) Saturday 23 April—ST GEORGE, PATRON OF ENGLAND (Solemnity) 10.00 am Mass (Cathedral choir) Sunday 24 April—FIFTH SUNDAY OF EASTER 8.00 am Mass (spoken) 10.00 am Mass (cantor) 11.30 am Mass (Cathedral choir) Introit: Richard Farrant, Sing to the Lord a new song Kyrie and Agnus Dei: L G da Viadana, Missa L’Hora Passa Gloria: HB (2011) after John Stainer Psalm: Colin Mawby, I will bless your name forever Gospel Acclamation: Easter plainsong Profession of Faith: Byzantine chant (arr. HB) Prayer of the Faithful: Regina caeli (plainsong) At the Offertory: Mandatum novum do vobis (plainsong) | Colin Brumby (2013), This is how you will know Mass setting: Michael Haydn, Singmesse (arr. Anthony Ruff) Our Father: Robert Stone Communion Antiphon: G P da Palestrina (based on a Magnificat), I am the true vine | Colin Brumby (2013), Taste and see Hymns: A new commandment | Accept, almighty Father, this gift of bread and wine | This is my body broken for you | Love divine, all loves excelling 6.30 pm Mass (music group) Howard Baker, Choirmaster .

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First Progress Report of the ICEL Music Committee
MUSIC FOR THE ENGLISH LANGUAGE ROMAN MISSAL AN INTRODUCTION For the forthcoming English language Roman Missal (sometimes called the Sacramentary), the International Commission on English in the Liturgy will offer to the Conferences of Bishops of the English‐speaking world chants for everything that is set to music in the Missale Romanum, editio typica tertia (2002): • The dialogues between the celebrant (or in the case of the Dismissal, the deacon) and the assembly such as the Sign of the Cross (“In the name of the Father, and of the Son, and of the Holy Spirit”) and the Dismissal (“Go forth, the Mass is ended”); • Tones for singing the presidential prayers (Collect, Prayer over the Offerings, Prayer after Communion) with all prayer texts pointed for singing; • The chants before and after the readings such as “A reading from the book of…” and “The Gospel of the Lord”; • Separate tones for singing the First Reading, Second Reading, and Gospel; • The Universal Prayer or Prayer of the Faithful; • The Preface Dialogue and Prefaces, including a musical setting of every Preface; • Full musical settings of Eucharistic Prayers I, II, III and IV, and the concluding Doxology; • Other elements such as the Kyrie, Gloria, Creed, Sanctus, Agnus Dei, and Lord’s Prayer; • Chants for particular days and feasts such as “Hosanna to the Son of David” on Palm Sunday, the Universal Prayer and “Behold the wood of the Cross” on Good Friday, the Exsultet (Paschal Proclamation) at the Easter Vigil, antiphons for the Feast of the Presentation of the Lord on February 2nd, and the Proclamation of Easter and Moveable Feasts for Epiphany.
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Music at Mass by Fr. Gilles Mongeau, SJ, Contributing Editor, Living With
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Psalms Workshop Handout
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January 2015 Mary Mother of God
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MISSAE Versus ALIUS CANTUS APTUS
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SACRED MUSIC Fall 2003 Volume 130 No.3
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Alleluias from the Graduale Simplex – P
TRIPLE ALLELUIAS Pes In its Constitution on the Sacred Liturgy, the Second Vatican Council (1962-1964) required that official sacred chant books for the Church be published with care: §117. The typical edition of the books of Gregorian chant is to be completed; and a more critical edition is to be prepared of those books already published since the restoration by St. Pius X. It is desirable also that an edition be prepared containing simpler melodies, for use in small churches. One edition containing simpler melodies was released as the Graduale Simplex in 1967. Since then, use of Simplex antiphons in the U.S. has been limited, but at least one scholar has written that the Simplex did exert a considerable effect on the Alleluia before the Gospel.1 Prior to the new Missal of 1970, the Alleluias were sizable melismatic chants. When usage of the Graduale Romanum declined, the Simplex approach of substituting a short, ªtripleº Alleluia was adopted widely as the new default. Use of the actual melodies was not. Whatever the faults of the overall approach of the Simplex, its Alleluias are good examples of modal melody. Some are somber, some haunting. They also have interesting rhythmic variety if one pays careful attention to groups of two and three. All the triple Alleluia melodies in the Simplex are shown below. Advent Mass I; Holy Family; Ordinary Time Mass V Verse in Mode IV E BvzzdvvvvvzfvvvzvGYvvvzvgvvv[vvzgvvvvzhvvvvgvvzzzzvƠrsvvvvzfvvvzzgvvvvzdvvvvdvvvvv} Al-le-lú-ia, alle-lú-ia, alle-lú-ia. 1 Dr. William Mahrt, http://www.musicasacra.com/2005/11/latest-version-of-anglican-use-gradual.html Triple Alleluias from the Graduale Simplex ± p.
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The Cathedral of Ss. Simon and Jude
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Roman Gradual
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How Is S.A.L.'S Mass Music Selected?
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St Jerome Worship
If you are a subscriber to the World Library Publications annual reprint license you may reproduce this assembly box. Reprints must contain all the information that appears in the box, including the copyright notice, composer, author, and title. For all other reprint permission, please call 800 566-6150. Help Me, O Lord Adiuva me, Graduale Simplex Charles Thatcher Antiphon trans. by C.T. ANTIPHON 4 j j j &4 œ œ œ ˙ œ. œ œ œ Help me, O Lord, help me,œ andœ I shallœ beœ saved.w Translation of antiphon text and music copyright © 2010, World Library Publications. All rights reserved. St. Jerome Parish Communion Antiphon The 12th Sunday in Ordinary Time O Lord, You Have Commanded June 21, 2020 Tu mandasti, Graduale Simplex Charles Thatcher Antiphon trans. by C.T. ANTIPHON b b bb œ œ œ GLORY AND PRAISE TO OUR GOD & œ œ œ œ œ œ Dan Schutte O Lord, you haveœ com - mand - ed Refrain b b j œ Glo ry and praise to our God, who a lone gives light to our days. & b b œ œ œ œ œ œ œ œ œ œ that your com - mand - ments be lov - ing - ly o - beyed.˙ Translation of antiphon text and music copyright © 2010, World Library Publications. All rights reserved. Man y are the bless ings he bears to those who trust in his Greeting and Final Blessing Verses 1-3 Recessional Taste and See ways. 1. We, the daugh ters and sons of him who 2. In his wis dom he strength ens us, like Gustate et videte, Graduale Simplex Charles Thatcher 3.
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Catholic Choir School Models in the United States: Reinvigorating the Musico-Liturgical Life of the Church
THE CATHOLIC UNIVERSITY OF AMERICA Catholic Choir School Models in the United States: Reinvigorating the Musico-Liturgical Life of the Church A TREATISE Submitted to the Faculty of the Benjamin T. Rome School of Music Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Musical Arts in Sacred Music © All Rights Reserved By Jennifer L. Seighman Washington, D.C. 2015 Catholic Choir School Models in the United States: Reinvigorating the Musico-Liturgical Life of the Church Jennifer L. Seighman, D.M.A. Director: Leo Nestor, D.M.A. Choir schools have been an intrinsic part of the Catholic Church since the fourth century. While the Holy See has instructed that such schools and training be diligently promoted, few programs exist, and even less is known about them. This paper provides much-needed research on Catholic choir school programs and the benefits they offer to the twenty-first-century Church, particularly in bringing the musico-liturgical goals of the Second Vatican Council to fruition. Using a multi-case-study approach, I investigate the only known Catholic institutions in the United States currently employing a traditional choir school education of rigorous daily instruction in choir and sung liturgy: St. Paul’s Choir School (Cambridge, MA), The Madeleine Choir School (Salt Lake City, UT), and The Atonement Academy (San Antonio, TX). To formulate the framework for this study, a survey of related literature was made encompassing musico-liturgical directives of the Second Vatican Council, Church documents calling for chorister formation, papal writings, scholarly sources addressing sacred music within the Catholic Church, and various sets of education standards.
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