Octave Day of the Nativity of the Lord

Total Page:16

File Type:pdf, Size:1020Kb

Octave Day of the Nativity of the Lord THE PARISH OF ST. VINCENT FERRER AND T ATHERINE OF IENA S . C S The Very Reverend Walter C. Wagner, O.P., Pastor James D. Wetzel, Director of Music and Organist SOLEMNITY OF MARY, THE HOLY MOTHER OF GOD OCTAVE DAY OF THE NATIVITY OF THE LORD Friday, January 1, 2021 12:10 PM Solemn Mass The setting of the Mass Ordinary is Plainsong Mass for a Mean by John Sheppard (c. 1515-1558). PRELUDE Jan Pieterszoon Sweelinck Hexachord Fantasia (1562-1621) INTRODUCTORY RITES ENTRANCE ANTIPHON (OFFICIUM) Chant, mode ii Salve sancta parens, Hail, holy Mother, enixa puerpera Regem, the Child-Bearer who has brought forth the King, qui caelum terramque regit who rules heaven and earth in saecula saeculorum. for ever and ever. V. Post partum Virgo V. After childbirth, O Virgin, inviolata permansisti: you remained inviolate; Dei genitrix intercede pro nobis. O Mother of God, intercede for us. SIGN OF THE CROSS AND GREETING PENITENTIAL ACT KYRIE AND GLORIA COLLECT O God, who through the fruitful virginity of Blessed Mary bestowed on the human race the grace of eternal salvation, grant, we pray, that we may experience the intercession of her, through whom we were found worthy to receive the author of life, our Lord Jesus Christ, your Son. Who lives and reigns with you in the unity of the Holy Spirit, one God, for ever and ever. Amen. 2 LITURGY OF THE WORD FIRST READING Numbers 6:22-27 The Lord said to Moses: “Speak to Aaron and his sons and tell them: This is how you shall bless the Israelites. Say to them: The Lord bless you and keep you! The Lord let his face shine upon you, and be gracious to you! The Lord look upon you kindly and give you peace! So shall they invoke my name upon the Israelites, and I will bless them.” GRADUAL (RESPONSORIUM) Psalm 97 (98):3, 4, 2 Chant, mode v Viderunt omnes fines terrae All the ends of the earth have seen salutare Dei nostri: the salvation of our God. jubilate Deo omnes terra. Sing joyfully to God, all the earth. V. Notum fecit Dominus salutare suum: V. The Lord has made known his salvation; ante conspectum gentium in the sight of the nations revelavit justitiam suam. he has revealed his justice. SECOND READING Galatians 4:4-7 Brothers and sisters: When the fullness of time had come, God sent his Son, born of a woman, born under the law, to ransom those under the law, so that we might receive adoption as sons. As proof that you are sons, God sent the Spirit of his Son into our hearts, crying out, “Abba, Father!” So you are no longer a slave but a son, and if a son then also an heir, through God. ALLELUIA Hebrews 1:1, 2 Chant, mode vii Alleluia, alleluia. Alleluia, alleluia. V. Multifarie olim V. In many ways in the past, Deus loquens patribus in prophetis: God spoke to the fathers through the prophets; novissime diebus istis, last of all in these days, locutus est mobis in Filio suo. he has spoken to us through his Son. Alleluia. Alleluia. 3 GOSPEL Luke 2:16-21 The shepherds went in haste to Bethlehem and found Mary and Joseph, and the infant lying in the manger. When they saw this, they made known the message that had been told them about this child. All who heard it were amazed by what had been told them by the shepherds. And Mary kept all these things, reflecting on them in her heart. Then the shepherds returned, glorifying and praising God for all they had heard and seen, just as it had been told to them. When eight days were completed for his circumcision, he was named Jesus, the name given him by the angel before he was conceived in the womb. HOMILY 4 CREDO Chant, mode iv 5 6 UNIVERSAL PRAYER LITURGY OF THE EUCHARIST OFFERTORY ANTIPHON Chant, mode i Felix namque es, sacra Virgo Maria, For you are happy, O holy Virgin Mary, et omni laude dignissima: and most worthy of all praise, quia ex ortus est sol justitiae, because from you arose the sun of justice, Christus Deus noster. Christ our God. OFFERTORY MOTET Luke 2:10, 11 Jan Pieterszoon Sweelinck Angelus ad pastores ait: The Angel said to the shepherds: Annuntio vobis gaudium magnum: I bring you tidings of great joy; quia natus est vobis hodie for unto you is born today Salvator mundi, alleluia. the Savior of the world, alleluia. ~Third Antiphon at Lauds of Christmas Day PRAYER OVER THE OFFERINGS O God, who in your kindness begin all good things and bring them to fulfillment, grant to us, who find joy in the Solemnity of the holy Mother of God, that, just as we glory in the beginnings of your grace, so one day we may rejoice in its completion. Through Christ our Lord. Amen. 7 PREFACE SANCTUS MYSTERY OF FAITH AMEN 8 COMMUNION RITE PATER NOSTER SIGN OF PEACE AGNUS DEI 9 COMMUNION ANTIPHON Zechariah 9:9 Chant, mode iv Exsulta, filia Sion, Rejoice greatly, O daughter of Zion, lauda, filia Jerusalem: shout for joy, O daughter of Jerusalem; ecce Rex tuus venit sanctus, behold your King comes, the holy one et Salvator mundi. and Savior of the world. COMMUNION MOTET Psalm 99 (100):2 Jan Pieterszoon Sweelinck Gaudete omnes, et laetamini, Rejoice, all, and be glad, quia ecce, desideratus venit. for behold, he for whom you longed has come. Introite in conspectu ejus in exsultatione: Enter into his presence with exultation; scitote quoniam ipse est expectatio nostra, know that he is our hope, alleluia. alleluia. POST-COMMUNION PRAYER We have received this heavenly Sacrament with joy, O Lord: grant, we pray, that it may lead us to eternal life, for we rejoice to proclaim the blessed ever-Virgin Mary Mother of your Son and Mother of the Church. Through Christ our Lord. Amen. CONCLUDING RITES SOLEMN BLESSING AND DISMISSAL VENI CREATOR SPIRITUS A plenary indulgence (under the usual conditions) is granted when sung or recited on New Year’s Day. 10 Text: Veni, Creator Spiritus; attr. Rabanus Maurus (c. 776-856); trans. Edward Caswall (1814-1878) Tune: LAMBILLOTTE; Louis Lambillotte (1796-1855) PRELUDE Sir Charles Villiers Stanford SIX OCCASIONAL PIECES, OP. 186, BOOK I (1852-1924) I. At Christmas-Tide 11 MUSIC NOTES John Sheppard and Thomas Tallis were appointed Gentlemen (professional singers) of the Chapel Royal (the body of priests and singers attached to the English monarch) during the reign of Henry VIII. Sheppard had previously served as Informator Choristarum (Choirmaster) at Magdalen College, Oxford. Both Sheppard and Tallis were composers for the Chapel Royal as well, and were considered the two finest English church composers of their time. (They were of the generation preceding the better- known William Byrd.) Sheppard was evidently a key figure in Mary Tudor’s restoration of the elaborate Sarum Rite (the de facto national Rite of the Catholic Church originally emanating from the liturgical practices of Salisbury Cathedral) upon her ascension to the throne in 1553. Of Sheppard’s five surviving Mass settings, the Plainsong Mass for a Mean (a musical term likened to the alto part) is a comparatively simple work. Written in a simplified notation format, its style takes after a similar work by John Taverner (c. 1490-1545). Unlike most Sarum Rite Masses, it includes a Kyrie. Jan Pieterszoon Sweelinck was a Dutch composer, organist, and pedagogue, straddling the end of the Renaissance and beginning of the Baroque eras. Before 1580, he succeeded his father as organist of the Oude Kerk in Amsterdam, a post he retained until his death when his own son Dirk followed him. Chief among his vocal compositions are numerous chansons and Italianate madrigals, motets (Cantiones sacrae, 1619 from which today’s motets are taken), and polyphonic settings (for private devotions) of the entire Genevan Psalter. As an organist, Sweelinck was renowned as much for his consulting as for his brilliant improvisations. His own organ compositions and teaching legacy – his students included Heinrich Schiedemann and Samuel Scheidt – helped establish the north German organ tradition of which Johann Sebastian Bach is the culmination. Choral music at this Sunday’s Solemn Mass for the Epiphany: Ippolito Baccusi’s Missa Illuminare Jerusalem; Francesco Corteccia’s Surge, illuminare Jerusalem; and Bartolomeo Lombardo’s Magi videntes stellam. THE PARISH OF ST. VINCENT FERRER AND ST. CATHERINE OF SIENA The Church of St. Vincent Ferrer The Church of St. Catherine of Siena 869 Lexington Avenue at 66th Street 411 East 68th Street www.svsc.info (212) 744-2080 .
Recommended publications
  • Choral Vespers
    GONVILLE & CAIUS COLLEGE CHAPEL Easter Term 2021 CHORAL VESPERS Vespers is the sixth of the seven prayer services of the Christian day. Its name comes from the Latin vespera, which means ‘evening.’ When Thomas Cranmer created the English Prayer Book in 1549 and 1552 he combined Vespers with the night service (compline) into the service we know as Evensong. Magnificat is the Gospel Canticle of Vespers, as Nunc Dimittis is the Gospel Canticle of Compline. The service ends with a traditional antiphon (a special seasonal text, from which comes our modern word ‘anthem’) in honour of the Blessed Virgin Mary. 2nd May Fourth Sunday of Easter LUCERNARIUM (The Lighting of the Lamps) Thy word is a lantern unto my feet and a light unto my paths. Thou also shalt light my candle the Lord my God shall make my darkness to be light. The light and peace of Jesus Christ be with you and with thy spirit Light Prayer Blessed art thou, Sovereign Lord, God and Father of our Lord Jesus Christ, to thee be glory and praise for ever. Thou hast called us out of darkness into thy marvellous light that our lives may reflect thy glory and our lips repeat thy song: Blessed be God, Father, Son and Holy Spirit HYMN LUCIS Creator optime O BLEST Creator of the light, lucem dierum proferens, Who mak'st the day with radiance bright, primordiis lucis novae, and o'er the forming world didst call mundi parans originem: the light from chaos first of all; Qui mane iunctum vesperi Whose wisdom joined in meet array diem vocari praecipis: the morn and eve, and named them Day: taetrum chaos illabitur, night comes with all its darkling fears; audi preces cum fletibus.
    [Show full text]
  • SERVICES & MUSIC September 2020
    S ERVICES & M USIC September 2020 From the Canon Precentor The last Music List was printed at the start of March and when we compiled it we could never have guessed that the Cathedral would be silent for the remainder of Lent, Holy Week, Easter and the entire summer term. Thanks to the expertise of Cathedral staff – notably Tim Popple and Glynn Usher – we have risen to the monumental challenge of live-streaming services every day during lock down. Finally, a few weeks ago, we were permitted to offer worship which was open to the public. A few weeks after that we were allowed a cantor and organist, then last week the regulations changed again, allowing us to have a small adult choir – a wonderful moment! As you will gather, the way forward as we re-introduce choral music is painfully slow and the logistics of arranging rehearsals for our choristers are complicated. I am indebted to my colleagues Mark Lee and Sarah Jenkinson, who are making this happen. For the time being the choristers will concentrate on rehearsing and making up for lost time; choral services on Friday and Sunday will be sung by the Back Row. The number of people allowed into the Cathedral at any one time is strictly limited, so many of our large autumn services will be live-streamed or virtual. A particularly impressive virtual service was the one we broadcast on VE Day in May. Since then there have been others and we plan to continue with virtual services and live-streaming for the time being.
    [Show full text]
  • Music for Compline Tallis • Byrd • Sheppard
    SUPER AUDIO CD Music for Compline tallis • byrd • sheppard stile antico 807419 Music for Compline tallis . byrd . sheppard . white . aston aib 1 Antiphon Libera nos I & II John Sheppard 5:35 (c. 1515–1558) 2 Antiphon Salva nos, Domine Plainchant 0:45 3 Hymn Christe, qui lux es et dies William Byrd 3:49 (c. 1540–1623) 4 Responsory In pace in idipsum John Sheppard 5:29 5 Responsory In manus tuas Thomas Tallis 2:42 (c. 1505–1585) 6 Hymn Jesu, salvator saeculi, verbum John Sheppard 5:38 7 Responsory In manus tuas I John Sheppard 4:00 8 Responsory In manus tuas II & III John Sheppard 3:18 9 Antiphon Miserere mihi, Domine Plainchant 0:30 1 0 Responsory Miserere nostri, Domine Thomas Tallis 3:12 11 Motet Miserere mihi, Domine William Byrd 2:43 12 Responsory In pace in idipsum Thomas Tallis 5:48 13 Hymn Christe, qui lux es et dies Robert White 5:55 (c. 1538–1574) 14 Antiphon Veni, Domine Plainchant 0:36 15 Canticle Nunc dimittis Gradualia I William Byrd 7:02 16 Hymn Te lucis ante terminum festal Thomas Tallis 2:56 17 Antiphon Gaude, virgo mater Christi Hugh Aston 14:32 (c. 1485–1558) stile antico Helen Ashby • Kate Ashby • Alison Hill sopranos Emma Ashby • Eleanor Harries • Carris Jones • Timothy Wayne-Wright altos Peter Asprey • Andrew Griffiths • Tom Herford tenors Oliver Hunt • Matthew O’Donovan • David Wright basses Music for Compline tallis • byrd • sheppard • white • aston 4 Music for Compline tallis • byrd • sheppard • white • aston Music for Compline tallis . byrd . sheppard .
    [Show full text]
  • The Evening Hour
    THE EVENING HOUR 0 Behold thou hast made my days Orlando Gibbons (1583-1625) [5.30] th th British Choral Music from the 16 and 20 Centuries Chapel Choir Jaliya Senanayake tenor solo, Benjamin Morris chamber organ q Evening Watch Gustav Holst (1874-1934) [4.39] 1 God be in my head Philip Radcliffe (1905-1986) [1.29] College Choir College Choir Jake Dyble tenor solo, Elizabeth Edwards alto solo 2 Save us, O Lord Edward Bairstow (1874-1946) [4.56] w The Lord’s Prayer John Tavener (1944-2013) [3.08] Chapel Choir Chapel Choir Benjamin Morris organ e Bring us O Lord God William Harris (1883-1973) [4.09] 3 In manus tuas John Sheppard (c. 1515-1558) [4.02] College Choir College Choir r In Pace John Blitheman (c. 1525-1591) [4.14] 4 Song at Evening Richard Rodney Bennett (1936-2012) [3.25] Chapel Choir Choristers t Bertie Baigent organ Evening Prayers Philip Moore (b. 1943) [6.03] College Choir 5 Miserere mihi Domine William Byrd (1540-1623) [2.49] Max Cockerill baritone solo, Sapphire Armitage soprano solo College Choir y Miserere nostri Thomas Tallis (c. 1505-1585) [3.22] 6 Creator of the stars of night Gabriel Jackson (b. 1962) [3.52] College Choir College Choir u Hannah Woodhouse soprano solo, Benjamin Morris organ Blessèd city, heav’nly Salem Edward Bairstow (1874-1946) [9.10] Combined Choirs 7 The Lord is my Shepherd Lennox Berkeley (1903-1989) [4.43] Theo Amies, Kieran Hazell-Luttman, James Patterson, Gus Richards, Combined Choirs Jamie Wilkinson, Eleanor Hussey, Julia Sinclair solo group, Benjamin Morris organ Bertie Baigent organ Total timings: [77.58] 8 Christe qui lux es et dies IV Robert Whyte (c.
    [Show full text]
  • 1493901883-Sigcd446booklet.Pdf
    THE EVENING HOUR 0 Behold thou hast made my days Orlando Gibbons (1583-1625) [5.30] th th British Choral Music from the 16 and 20 Centuries Chapel Choir Jaliya Senanayake tenor solo, Benjamin Morris chamber organ q Evening Watch Gustav Holst (1874-1934) [4.39] 1 God be in my head Philip Radcliffe (1905-1986) [1.29] College Choir College Choir Jake Dyble tenor solo, Elizabeth Edwards alto solo 2 Save us, O Lord Edward Bairstow (1874-1946) [4.56] w The Lord’s Prayer John Tavener (1944-2013) [3.08] Chapel Choir Chapel Choir Benjamin Morris organ e Bring us O Lord God William Harris (1883-1973) [4.09] 3 In manus tuas John Sheppard (c. 1515-1558) [4.02] College Choir College Choir r In Pace John Blitheman (c. 1525-1591) [4.14] 4 Song at Evening Richard Rodney Bennett (1936-2012) [3.25] Chapel Choir Choristers t Bertie Baigent organ Evening Prayers Philip Moore (b. 1943) [6.03] College Choir 5 Miserere mihi Domine William Byrd (1540-1623) [2.49] Max Cockerill baritone solo, Sapphire Armitage soprano solo College Choir y Miserere nostri Thomas Tallis (c. 1505-1585) [3.22] 6 Creator of the stars of night Gabriel Jackson (b. 1962) [3.52] College Choir College Choir u Hannah Woodhouse soprano solo, Benjamin Morris organ Blessèd city, heav’nly Salem Edward Bairstow (1874-1946) [9.10] Combined Choirs 7 The Lord is my Shepherd Lennox Berkeley (1903-1989) [4.43] Theo Amies, Kieran Hazell-Luttman, James Patterson, Gus Richards, Combined Choirs Jamie Wilkinson, Eleanor Hussey, Julia Sinclair solo group, Benjamin Morris organ Bertie Baigent organ Total timings: [77.58] 8 Christe qui lux es et dies IV Robert Whyte (c.
    [Show full text]
  • Michaelmas Term 2018 Chapel Services and Music MAGDALEN
    Michaelmas Term 2018 Chapel Services and Music MAGDALEN COLLEGE OXFORD COVER IMAGE: DETAIL FROM MAGDALEN COLLEGE MS LAT 223, GOSPEL LECTIONARY COMMISSIONED BY CARDINAL WOLSEY (1529, LONDON) We welcome you to our worshipping community at Magdalen. Prayer and praise have been offered to God in this place since the fifteenth century, when the College was founded by William of Waynflete, Bishop of Winchester. The statutes of 1480 make provision for a Choir comprising sixteen boy Choristers and a number of adult Clerks, ‘that the worship of God, from whom all good things come, might be increased more widely and better sustained’. That tradition continues unchanged today. The Choirmaster at Magdalen retains the ancient Latin title Informator Choristarum, and among those who have held the post over the centuries are John Sheppard, Daniel Purcell, Sir John Stainer, Sir William McKie, and, in more recent years, Dr Bernard Rose. It is the aim of the Dean of Divinity and the Informator Choristarum that all our services here should be dedicated to the glory of God. Our music is not an end in itself but part of a larger whole. We hope that in the singing and in the silence, in the spoken word and in the beauty of this house of God, you will feel that greater presence, and be blessed by the peace that passes all understanding. MARK WILLIAMS JONATHAN ARNOLD Informator Choristarum Dean of Divinity MICHAELMAS TERM Choral Services Services are normally sung by Magdalen College Choir (men and boys). Evensong on Saturdays is normally sung by Magdalen Consort of Voices (men and women).
    [Show full text]
  • About the Choirs at All Saints’
    Music All Saints’ 2018-2019 WELCOME September 2018 Dear Friends, We are delighted to welcome you to this season of Music at All Saints’! The coming year continues our tradition of offering glorious sacred choral music at both Sunday Eucharist, monthly Evensong, Compline, Lessons and Carols for Advent and Christmas, and in concert. In addition, we are thrilled share the first season of All Saints’ Chamber Choir’s concert series offering George Frederic Handel’s The Messiah in its entirety on December 2nd as well as small scale sacred cantatas by Dieterich Buxtehude, J. S. Bach, and Heinrich Schutz in early March. We also celebrate the opening of All Saints’ Music School, a community outreach of All Saints’ Parish. Our Sunday Evensong Organ recital series resumes in October and continues through May. This booklet outlines the musical offering for the coming season, particularly the 9 & 11 AM Holy Eucharist services on Sunday mornings. Also included is an envelope for your support of Friends of Music at All Saints’. Whether you are a parishioner or a friend of music, we hope you will consider making a donation to support our musical presence in North Central Phoenix, for the worship or concert setting. We hope to see you at All Saints’ for worship, music education or concert very soon! Joseph Ripka Director of Music Joseph Ripka Ilona Kubiaczyk-Adler Trevor Carolan Director of Music Associate Director of Music Assistant Organist 2 About the Choirs at All Saints’ Music is central to the worship life at All Saints’. All who enjoy music and would like to assist in enriching our worship services are encouraged to join our music program.
    [Show full text]
  • Christ Church New Haven Choral Services – Fall 2007
    Christ Church New Haven Choral Services – Fall 2007 September 9 The Fourteenth Sunday after Pentecost 11:00 AM Service: Mass for Four Voices – William Byrd Psalm 1 Anglican Chant: Samuel Sebastian Wesley Beati Quorum Via – Charles Villers Stanford Sicut Cervus Desiderat – Giovani de Palestrina September 16 The Fifteenth Sunday after Pentecost 11:00 AM Psalm 51: 1-18 Anglican Chant: John Stainer Cast me not away – Samuel Sebastian Wesley The Holy Eucharist – William H. Harris 9:00 PM Compline Office Hymn: Te Lucis Ante terminum – Sarum, Mode VIII Lord, for thy tender mercy’s sake – Richard Farrant Nunc Dimittis – Orlando Gibbons Votive Antiphon: Salve Regina – Mode I September 23 The Sixteenth Sunday after Pentecost 11:00 AM Psalm 138 Anglican Chant: H. Walford Davies Give Almes of Thy Goods – Christopher Tye Retribue Servo Tuo – Robert Parsons 9:00 PM Compline Office Hymn: Deus Creator omnium – Sarum, Mode IV Responsory: In Manus Tuas – John Sheppard Retribue Servo Tuo – Robert Parsons Votive Antiphon: Salve Regina – Mode I September 30 The Feast of St. Michael and All Angels 11:00 AM Procession and Solemn High Mass Service: Communion Service in E – Harold Darke Gradual: Benedicte Dominum – Mode III Alleluia: Laudate Deum – Mode IV Let all mortal flesh keep silence – Edward C. Bairstow Angeli, Archangeli – Andrea Gabrieli 9:00 PM Compline Office Hymn: Te Lucis Ante terminum – Sarum, Mode VIII Angeli, Archangeli – Andrea Gabrieli Nunc Dimittis – Robert Parsons Votive Antiphon: Salve Regina – Mode I October 7 The Eighteenth Sunday after Pentecost 11:00 AM Psalm 37:3-10 Anglican Chant: Robert Lehman O Lord, Increase our Faith – Henry Loosemore The Eyes of All Wait Upon Thee – William H.
    [Show full text]
  • Download Booklet
    IN THE MIDST OF LIFE The repertory of Latin sacred works by Tudor England over several decades, and the range Music from the Baldwin Partbooks I composers is one of the musical glories of of religious themes encompassed by the the Renaissance, but the survival of much of contents is extremely wide. Baldwin did not that repertory has hung by a strikingly slender organise his collection by composer or by genre. thread, namely a few manuscript collections Our approach in this series of recordings is of polyphony compiled late in the sixteenth twofold: first, to reflect in our selection of music century, at a time when a significant portion of for each disc the panoply of styles in the 1 Circumdederunt me dolores mortis William Byrd [5.04] the music concerned had lost its original partbooks, ranging across the half century or so 2 Libera me Domine Robert Parsons [7.29] liturgical and devotional contexts as a result of musical history which is represented there; of the Reformation in England. This recording second, so that each disc is coherent, we focus 3 Audivi vocem de cælo William Byrd [4.15] presents music from the greatest of these in turn on several of the prominent religious 4 William Mundy [3.31] Sive vigilem Elizabethan manuscript compilations, the themes represented in Baldwin’s anthology. 5 Peccantem me quotidie Robert Parsons [6.08] Baldwin partbooks, and is the first of a series On this first disc we perform works concerned 6 Quemadmodum John Taverner [6.30] of recordings by Contrapunctus which will with mortality: the fear of death and eternal 7 Nunc dimittis Thomas Tallis [3.14] present a broad selection of music from the torment, anticipation of the Day of Judgement, collection.
    [Show full text]
  • Lighten Our Darkness
    LIGHTEN OUR DARKNESS MUSIC FOR THE CLOSE OF DAY including THE OFFICE OF COMPLINE The Cambridge Singers directed by John Rutter LIGHTEN OUR DARKNESS MUSIC FOR THE CLOSE OF DAY Compline (pronounced ‘com-plin’, from the Latin completorium, completion), is the last of the seven daily ‘offices’ or worship services observed in Catholic monastic and collegiate communities, taking place immediately before bedtime. It is a brief, simple service, a preparation for sleep, built, like all the daily offices, around the chanting or recitation of psalms. To these are added some antiphons and responses, a scripture reading, a hymn (generally Te lucis ante terminum), the canticle Nunc dimittis, the Evening, the meeting point of day and night, has always been regarded as an Apostles’ Creed and Lord’s Prayer, confession and absolution, and a final blessing.The psalms appointed evocative and magical time, one which has inspired artists, poets and musicians for Compline are invariable: 4, 31, 91 and 134, of which 91 (Anglican numbering) seems to have been the earliest in general use and is the one chosen for this recording.At the close of the service, which down the ages. This recording gathers together eighteen of the many lovely a was traditionally sung to plainchant or simply recited, an antiphon to the Virgin Mary has always been cappella choral motets, mainly from the Renaissance period, which were written sung, perhaps in a more elaborate polyphonic setting. Compline is believed to have originated with the Rule of St Benedict in the early sixth century, to adorn the evening worship of the church.
    [Show full text]
  • Early English Church Music Early English Church Music
    T75 (2021) EARLY ENGLISH CHURCH MUSIC EARLY ENGLISH CHURCH MUSIC Early English Church Music (EECM) is published by Stainer & Bell on behalf of the British Academy. The aim of the series is to make available sacred music by English composers from the earliest times to the middle of the seventeenth century, in accordance with the highest scholarly standards. The first volume of the series, founded in 1961, was published in 1963, and in the following half-century its pre-eminence as a source of repertoire was confirmed through publication of major works by Dering, Gibbons, Sheppard, Tallis, Taverner, Tomkins, Tye, White and others. In 2002, a facsimile edition of The Winchester Troper was issued as the landmark fiftieth volume, which was shortly followed by three large volumes of music from the mid-fifteenth to the mid-sixteenth century: EC53, containing Masses and antiphons by Robert Fayrfax (edited, with an ingenious editorial reconstruction of the Mass Sponsus amat sponsam, by Roger Bray); EC54, which concludes EECM’s three-volume edition of Latin polyphony by John Sheppard (this volume prepared by the general editor, Magnus Williamson); and EC55, which comprises Gloria and Credo settings by Leonel Power and his English contemporaries (edited by EECM’s chairman, Peter Wright). Recent and forthcoming volumes reflect EECM’s commitment to a broad range of repertories and users. Since the 1990s, the series has used a distinctive diamond-headed notation for music composed before c.1530 (as used in EC55); later repertories, in which duple mensuration predominates, are presented in a round-headed format (see, for instance, EC54).
    [Show full text]
  • View Concert Program
    a mass in canterbury c. 1540 a mass prograM Loquebantur variis linguis Thomas Tallis (1505–85) in anterbury Introit: Benedicta sit sancta trinitas c Kyrie: Deus creator omnium Sarum plainchant c. 1540 Gloria Robert Jones (first half of 16th century): Missa Spes nostra Gradual: Benedictus es Alleluia: Benedictus es Sarum plainchant Credo Blue Heron Jones: Missa Spes nostra Scott Metcalfe, director intermission Noël Bisson Ave Maria dive matris Anne Carol Schlaikjer Hugh Aston (c. 1487–1558) Daniela Tošić Offertory: Benedictus sit deus pater Martin Near Sarum plainchant Aaron Sheehan Sanctus Mark Sprinkle Agnus dei Jones: Missa Spes nostra Allen Combs Glenn Billingsley Communion: Benedicimus deum celi Sarum plainchant Paul Guttry Darrick Yee Libera nos, salva nos John Sheppard (c. 1515–59) Sunday, November 13, 2005, at 3 p.m. Ite missa est First Church in Cambridge, Congregational Sarum plainchant ❧ Please hold your applause until the end of each half. Notes A Mass in Canterbury, c. 1540 by the priest, or they might simply remind us that the ornately melismatic style of late medieval Eng- Like the Magnificat, the Mass is full of supple this is a concert, albeit one whose form is adapted lish Catholicism. Alas for our hardworking scribe, melody and lustrous harmony. Drawing on the This program presents a polyphonic setting of from liturgy. the elaborate Latin repertoire he copied in such musical grammar and vocabulary Jones shared the Ordinary of the Mass—those items which are quantity was very shortly to be rendered obsolete with his contemporaries
    [Show full text]